MUNI, Bharat - Natya Shastra Vol.1 (En)

:
BIBLIOTHECA INDICA
A COLLECTION OF ORIENTAL WORKS
THE NATYASASTRA
ASCRIBED TO
B H A RA
TA-M U N
TRANSLATED INTO ENGLISH BY
MANOMOHAN
GHOSH, M. A
Ph. D-
WORK
ISSUE
NUMBER
NUMBER
272
1559
[MDCCXLVI-MDCCXC1V
CALCUTTA
ASIATIC SOCIETY 0J BENGAL
Park Street.
1,
1951
B1BLIOTHE0A INDICA
Work No. 272
THE NATYASASTRA
A TREATISE
ON HINDU DRAMATURGY AND
HISTRIONICS
THE NATYASASTRA
A
Treatise
on Hindu Dramaturgy and

Ascribed
B H
Vol.
A R A T
I.
Completely translated jor the

with
M .U'OMOH
to
A -
M f X
Chapters I-XXVII
jirst
Introduction
Histrionics
time from the original Sanskrit
and Various Notes
(iHOS
H'M
M.A., Pn.
I).
195y
CALCUTTA
THE RoyiL
ASIATIC SOCIETY OF
BENGAL
<OAt,)
si,**
\*>a^
Dedicated
to
the
thom great
mho by
of
her
their
memory of
scholars of India. and the West
indefatigable
study
Philosophy,
Religion,
strated the high ealiie of India-
ham
and.
ingenious interpretation
Literature and Arts, have demons
culture to the World at large and
helped her towa.nls a reawakening
and
political alteration.,
and
who by
have
their
discovery
made patent
nations
of the
of the
Universal
aspect of this culture
India's spiritual kinship with the other ancient
World and
triumph of Internationalism.
ham
paved the way for an ultimate
PREFACE
The preparation 'of an annotated English translation of the
Natya&stra entrusted to me as early as 1944, by the Royal Asiatic
Society, has been delayed for various reasons which need not
be recounted here in detail. But mention must be made of one
important factor of this delay, viz., the inherent difficulty of this
very old text which is not yet available in a complete critical edition.
From my first serious acquaintance with it in 1925 in connection
with the editing of the Abhinayadarpana (Calcutta, 1934) this work
always engaged my attention in the intervals of other duties.
But it was only a few years ago, that I came to believe that the
has
work could be translated into English. It was, however, only

making some actual progress in translation that I realised the
difficulty ef the task and understood to some extent at least why
'entire
after
no complete translation of
been mada.
this veiy important text
had so
far
not
However, I considered it a duty to make strenuous efforts

and proceeded patiently with the work and finished at last translating the major portion of the Natyasastra. I am now genuinely
happy to place it before the scholarly

be done in an ideal fashion, but because
public, not because

it
it could
could be finished at all.
In handling a difficult old text like this it it natural that one

has to offer conclusions and interpretations, here and there, which
due to the absence of better materials cannot be placed on surer
grounds.
But whatever tentative assertions I have made, have
been made after the most careful consideration with the expectation
may prove helpful to others working in this field, and it
may be hoped that their number has not been too many, and in a
few cases where I myself had any doubt about the interpretation
that they
offered,
the
same has been expressly mentioned
The chapters on music covering
in the footnote.
more than one fourth

These when completed
will be published in the second volume.
As the work on it, is
progressing very slowly and it cannot be said definitely when it will
be finished, it was thought advisable to publish the portion of
of the Natyasastra
still
little
remain to be done.
the translation already prepared.

Though the musical terms occurring in the present volume remain undefined, the
absence of chapters
on music where they have been discussed, will not, it is hoped,

interfere with the understanding of the dramaturgy and
seriously
histrionics treated here.
For information regarding the plan and scope of the present

work, the reader is referred
to the Introduction, section I.
For the purpose of this volume, works of various scholars
have been helpful to the translator and they have been mentioned
VIII
in
But among them all, the American Sanskritist

Haas deserves to be specially mentioned ; for his
proper places.
Dr. G. C. 0.
plan of the translation of the
manner
slightly modified
am
indebted
Dasarupa, has
in the present
work.
Dr. 8. K. De,
to
been
adopted
due to whose kindness I
could utilise the unpublished portion of the AbinavabhSratl

also
a great pleasure to acknowledge
in
It
is
uniform courtesy of
different officers of the Society from 1947-1950, especially Dr. K.N.
Bagchi, and Dr. Niharanjan Ray, the General Secretaries and
Mr. S. K. Saraswati, the Librarian and Mr. Rakhahari Chatterji.
the
Superintendent of the
different
who
whose patience
had to tax on
occasions in course of the publication.
am
read
present
office,
the
grateful
my
to
the original
work and made
draft
father-in-law Sri Kali

of
the
Charan Mitra
fourteen chapters of the

suggestions regarding the language, and to
first
my
esteemed friend Dr. S. N. Ray, M.A.,Ph.D. (London) formerly

Head of the Department of English in the University of Dacca,
for reading the proof of the first twelve formes and also
for going
through in Mss. the Introduction and
for
making welcome
suggestions.
I
wish
mention
to
here vciy gratefully the debt I owe to

connexion with the preparation and the publication of this work.
But for his suggestion to undertake this work
it might not have reached at all the
stage of publication.
Dr. Kalidas
Nag
in
Last but not the

express
my
gratitude
least
it
becomes
to Prof. Suniti
my most cheerful duty to

Kumar Chatterji, who has
also helped me otherwise in

connexion
help and his constant encouragement
have
arduous than
it
with this
rendered
work.
this
less
might otherwise have been.
d hei e *'*
t0
*P lo
ta that
prints
have crept into the gf
volume.
kindly, the necessary corrections
'
Iwf
t^
refers for the many mis-
They
are requested to
pointed out in the corrigenda.
tk
This
work
November, I960
make
Th TnMgahr
ABBREVIATIONS AND SYMBOLS

...
The
Abhi.
...
Bhasa's Abhisekanataka.
AD-
...
Nandikesvara's Abhinayadarpana.
A.dy.
...
Arthadyotanika, Raghavabhatta's
first
hemistich of a verse.
ft.
commentary
on the sakuntala.
Ag.j Abhinava
...
Abhinavagupta or
his
commentary
of
the
Natyasastra.
AMg.
...
Ardhamagadhi.
...
Bhasa's Avimaraka.
4'
...
Kautilya's Arthasastra (ed. Jolly).
A3, notes.
...
Kautilya's Arthasastra (ed. Jolly). Vol.
B.
...
Baroda
b.
...
The second hemistich
Bala.
...
Bhasa's Balacarita.
Avi-
II.
ed. of the Natyasastra.
of a verse.
Bhamaha.
...
Bhamaha's Kavyalamkara.
BhNC.
...
Bhasa-nataka-cakra
BhP.
...
Saradatanaya's Bhavaprakasana.
C.
...
Chowkhamaba
ed.
by C. R. Devadhar
(Benares)
edition
of
the
Natyasastra.
third hemistich in a stanza.
c.
...
The
Caru.
...
Bhasa's Carudatta.
CSS.
...
Chandah-sara-samgraba.
Dandin.
...
Dandin's KavyadarSa.
det
...
Definition or definitions.
...
The Ms.
'
De's
Ms.
of the
Abhinavagupta's commentary
(Abhinavabharati) belonging to Dr. S. K. De.
DR.
...
Dhananjaya's Dasarttpa.
Dutagha.
...
Bhasa's Dutaghatotkaca.
Dutava.
...
Bhasa's Dutavakya.
Ex.
...
Foundation.
...
Nobel's Foundation of Indian Poetry.
G.
...
J. Grosset's edition of the Natyasastra.
GOS.
...
Gaikwar's Oriental
Haas.
...
Haas's translation of the DaSarupa.
LAnt.
...
Indian Antiquary.
1HQ.
...
Example or examples.
Series.
Indian Historical Quarterly.
ID.,Ind.Dr.
...
Sten Konow's Indische Drama.
Itihasa.
...
Haldar's Vyakarana-darsaner Itihasa.
JDL.
...
Journal of the Dept. of Letters,
,..
Vidyalamkara's JivanikoSa.
Calcutta University.
JK.
K.
,.
KA.
..
Kavyamala
ecL
of the Natyasastra.
Hemaeandra's Kavyanusasana.
Bhasa's Karnabhara.
Karna.
..
commentary to
Ramakrishna Kavi or his
K8.
..
Vatsyayana's KamasBtra.
Samara.
...
Kalidasa's
Kutta.
...
Levi,
...
Damodaragupta's Kuttanimata.
indien.
Sylavain LeVi's Le Thfttre
Madhyama.
,..
Bhasa's Madhyamavyayoga.
Malati.
...
BhavabhSti's Malatlmadhava.
Malavi.
...
Kalidasa's
Kavi.
thech-XVILofthaNS.
MG.
...
Mrcch.
...
Kumarasambhava.
Mai vikagnimitra.
Coomaraswamy's Mirror of Gesturesi&draka's Mrcchakatika..
...
Vi&khadatta's Mudrarakasa.
...
Sagaranandin's Natakalaksanaratnakofo.
ND.
...
Ramacandra and Gunaeandra's Natyadarpana.
NIA.
...
New
Nitti-Dolci.
...
Nitti-Dolci's
NS.
...
Natyasastra.
P.
...
Purana.
Paiic
...
Pafcaratra
Pan.
...
Panini.
Pingala.
...
Pangala's CltandalistUra.
Pischcl.
...
Pischel's
Pr.P.
...
Praki'ta-Paingala.
Mudra.
Natakalaksana. \
'
NL.,
/
Indo-Aryan.
Le Grammairiens
Prakrit.
Grammatik der Prakrit-spraehen.
Pr.
...
Pratisakhya.
Prak.
...
Prakarana.
Pratima.
...
Bhasa's Pratima-nataka.
Pratijfla.
...
Bhasa's Pratijna-yaugandharayana.
?i
...
Paniniya-Siksa.
PSM.
...
Paia-sadda-mahannavo.
Bam.
B.,
Ratna.
...
Ramayana.
...
Harsa's Ratnavali.
BS.
...
Kalidasa's Rtusamhara.
Sak.
...
Kalidasa's Abhijflanasakuntala.
Sahityadarpana.
8D.
...
SB.
...
Sarngadeva's Samgitaratnakara.
SV Pr.
...
Bhoja's Srngaraprakafo.
Svapna.
tr.,
trans.
Uttara.
...
Bhasa'B Svapavasavadatta.
...
translation or translated.
...
Uttararamacarita of BhavabhQti.
XI
jjrU ,
...
Bhasa's Urubhariga.
Vikram.
...
Kalidasa's Vikramorva&ya.
Winternitz.
NJS.
to the serial
is
...
(a)
Winternitz's History of Indian Literature.
Numerals preceding the paragraphs of the
number of couplets
repeated in two consecutive paragraphs, in the
the first hemistich

relate to
*
(b)
When
in the original.
first
translation relate
the same number
place it will indicate
Roman
and in the second the second hemistich.
figures
the chapter of the NS.
For the "manner
of referring to
dramas, see under the Bhasa-
nataka-cakra in the'Bibliography (Original Texts).

(c)
In the
footnotes to the Introduction
long
sounds andjthe labial sibilant have been indicated by
vowels, cerebral
italics.
BIBL10GBAPHY
General Works
1,
M.
Barua, B.
Chatterji,S.
Calcutta 1943.
Inscriptions of Asoka, Vol. II,
.-
-Origin
K.
Bengal,
the
of
Development
and
Language, Calcutta, 1926-
Coomaraswamy, A, K.
De,
S.
K.
of Gestures,
...
The Mirror
Sanskrit Poetics
New
Vol. I and
York, 1936.
II,
London, 1903, 1926.

Ghosh, Chandramohan
Haldar, Gurupada
Chandahsarasamgraha (CSS
...
Law
and Customs, Calcutta, 1929.
Hindu
Keith, A. B.
...
Sanskrit Drama, Oxford, 1924.
Konow, Sten.
...
Das Indische Drama.
Levi, Sylvain
...
Lo Theatre
Mankad, D. R.
J.
Typos
...
Nitti-Dolci, L.
Nobel.
PischeliR.
his-
Hindus
Calcutta. 1350 B.E.

...
Jolly, J.
(An
the grammatical speculation # of the
torical account of
in Bengali),
Calcutta.
Itihasa (Itihasa).
Vyakarana-darsaner
...
),
Berlin, 1920.
indien, Paris, 1890.
of Sanskrit
Drama, Karachi,
1936.
...
Les Grammairiens Prakrit, Paris, 1938.
...
Foundation of Indian Poetry, Calcutta, 1925.
...
Grammatik
Prakrit-sprachen,
der
Strassburg, 1900.
Pusalker
...
Bhasa, Lahore, 1940.

Sfngara-Prakasa, Bombay, 1940.
Raghavaa, V.
...
Seth, H. D.
...
Paiasaddamahannavo, Calcutta, 1928.
Sircar, D.C.
...
Select Inscriptions bearing on Indian History
and Civilization, Calcutta, 1942.

Vidyalamkar, S. B.
...
Jivanikosa (A dictionary of the Puranic mytho-
logy in Bengali), Calcutta.

2.
Abhinavabharati (Ag.)
On
Original Texts
On chapters I-XX ed. Ramakrishna Kavi in

XXI-XXVII and XXIX-XXXH the Ms.
...
chapters
Dr. S. K. De. Reference to the Ms. are to

portion
of
the
commentary when
its
pages.
referred to,
B.
of
Printed
relates to
the
relevant text in B.
Abhinayadarpana
of
Nandikesvara
AD.
).
Ed.
Manomohan
Ghosh
Calcutta, 1934.
Abhisekauataka (Abhi.). Ed. Devadhar in
BhNC.
Arthadyotanika. Nirnayasagara ed.
Avimaraka. Ed. Devadhar in
BhNC.
Arthasastra of Kautilya (AS.). Ed. J. Jolly, Vols I and II, Lahore, 1923-24.
VUararamacarita ofBhavabhati
(Uttara.).
Ed. Ratnam Aiyar, Bombay 1930.
Ed. Devadhar in BhNC.
Vrubhanga
(tJru.>
tusamhara
of.'Kalidasa.
Karnabhara (Karna
Ed. Jivananda Vidyasagar, Calcutta,

1893.,
Ed. Devadhar in
).
Kavyadarsa ofiDandin. Ed. N.
BhNC.
Sastri, Lahore, 1990,
Samvat.
Kavyalannkara of Bhamaha. Ed. B. N. Sarma and B.
Upadhyaya Chowkhamba. Benares, 1928.
Kavyalainkara^fjVaniana, Ed. K.P. Parab
K'ytilata of Vidyapati,
& W.
Pansikar, Bombay, 1926.
Ed. Haraprasad Shastri.
Kuttanimata, Ed. in Bibliotheca Indica, Calcutta.
Carudatta of Bhasa (Caru). Ed. Devadhar in BliNC.

Dasarilpa (DB). Ed. K. P. Purab, Bombay, 1897. Oar
references are to
The
thjs edition.
has
slation
G.C.O. Haas with an English tran-
ed. of.
also been referred to. P. Hall's
ed. {.Bibliotheca
Indica) has also been used-
Dutaghatotkaca of Bhasa (Dutagha.) Ed. Devadhar in

Dntavakya'of Bhasa (Dutava.). Ed. Devadhar in
Madhayamavyayoga
of
BhNC.
BhNC
Bhasa (Madhyama-). Ed. Devadhar
BhNC.
in
Malavikagnimitra of Kalidasa (Malavi.). Ed. S. P. Pandit.

( Bombay Sanskrit Series ), Bombay, 1889.
Mrcchakatika
(Mrech).
Bombay,
Ed.
K. P. Parab
Mudraraksasa of Visakhadatta (Mudra). Ed.
{Bombay Sit.
Series),
L.
S.
Pansikar,
Kasinath Trimbak Telang
Bombay, 1928
Meghaduta of Kalidasa (Megha). Ed.

Natakalaksana-ratnakosa
Dillon,
W.
and
1926-
S. Vidyaratna, Calcutta, 1821, Saka.
Sagaranandin (Natakalaksana,
of
London, 1939.
References
are
by
NL). M.
lines
unless
otherwise mentioned.
Natyadarpana of Ratnacandra and Gunacandra (ND.), Ed.
in
GOS.
Natyasastra of Bharata (N^). Chapters I-XIV. Ed. J.

Grosset, Paris,
Lyons, 1898 ; Chapters I-XX. ed. R. Kavi, Baroda,
1926^
1936.
Numbering of couplets in this work is often wrong.
Iu case of chapters I-III this has been corrected, but

case of other
chapters
some cases where
and
in
also
been referred
to.
in
wrong numbers have been retained

confusion
The
may
occur, pages have
edition of Sivadatta
and Parab
(Bombay, 1894), and the Chowkhamba edition (Benares, 126)
have also been used.
Paflcaratra of
Bhasa
(Paflea).
Paflcatantra of Visnusaraman,
Paninlya-siksa (P8.) ( Ed.
Ed. Devadhar
in
Manomohan Ghosh,
PratijaYia-yaugandharayana
of,
BhNC.
Chowkamba, Benares,
Bhasa
1930.
Calcutta, 1938.
(Pratijril.),
Ed. Devadhar.in
BhNC.
XIV
Pratimanataka of Bhasa (Pratima.) Ed. Devadhar in
Balacarita of Bhasa (Bala.), Ed.
Devadhar
Bhavaprakasana of Saradatanaya (BhP.) Ed,
BhNC.
BhNC.
in
GOS.
in
Bhasa-nataka-cakra (Plays ascribed to Bhasa), critically edited by C. R.
Devadhar, Poona, 1937.
and
lines after them, e.g.
References are to acts, verse passages
Svapna,
1.
12,
23 indicates the twenty-
third line afrer the twelfth verse in act I of Svapnavasavadatta
Vikramorvasiya of Kalidasa (Vikram.). Ed- 8. P. Pandit. {Bombay Sanskrit Series),
Bombay, 1898.
Venisamhara of Bhattanarayana
(Vei.il.).
Ed-
K.
8.
Parab and W. L.
'A.
Pansikar, Bombay, 1930.
Raghuvamsa
of Kalidasa (Raghu.). Ed.
Bombay,
K.P. Parab and W.L.S. Pansikar,
1932.
Ratnavall of Sriharasa (Ratna.), Ed.
M. K.
Jogelkar, Bomba'y 1925.
Sakuntala of Kalidasa^ (Sak.) Ed. Isvara chandra Vidyasagar, Calcutta.

Sarogitaratnakara of Sarngadeva (8R.).
Snandasrama
edition.
Sahityadarpana of ViSvanatha Kaviraja (8D.) Ed. Jivananda'Vidyasagar.
Svapnavasavadatta of Bhasa (Svapna.), Ed. Devadhar in
BhNC.
Harsacarita of Banabhatta, Ed. P. V. Kane, Bombay, 1912.
CONTENTS
PREFACE
LIST OP ABBREVIATIONS AND SYMBOLS
BIBLIOGRAPHY
INTRODUCTION
XXXVII
Study, p.
...
XII
...
...
XXXVII
Notes to the Translation,
4.
XXXVII 1. General History of the

p. XL; 8. Translation, p. XLI;
p.
Basic Text,
2-
IX
...
...
The Present Work,
I.
Vll
...
...
XLI.
p.
The Ancient Indian Theory of Drama, p. XLH 1. The

Meaning of Natya, p. XLII
2. The Dramatic Conventions/ p. XLIV
II.
3.
The Time and Place
XLV
p.
Drama,
matter and the division into

p.
LI
LI
(iii)
The Supporting
LI
(v)
The
LI
p.
Ihamrga,
p.
The Prahasana,
2.
Diction of Play,
p.
LIV
The Ancient Indian Drama
IV.
LV
LVI
(a)
3.
The Playhouse,
p.
LVII
The Physical Representation,
p.
LXI
p.
LX1II.
V.
(c)
Literature
(a)
on
p.
p.
Eohala, (b) Dattila,
Asmakutta and Nakhakutta,
(e>
Significant Names,
LV.
(c)
LV
Practice, p.
The Time
for
Occa-
1.
Performance,
LVHI.
p.
The Vocal Representation,

LXI (d) The Temperament,
(b)
the Ancient Indian
SUalin and Krsasva,
The
The
;
The Representation,
4.
LVHI
The Costumes and Make-up,
Early Writers
Bharata
p.
in
2.
LH
LIII
p.
p.
LHI The Bhana, p. LTV

L1V (a) The Use of Metre,
(c) Suggestive or
p.
The Transitional Scene, p.

The Plot and its Develop-
p.
p.
Variety of Languages Dialects,
(d)
Explanatory Devices,
LHI
LIV.
p.
(a) Subject-
The Intimating Speech,
sions for Dramatic Performance, p.

p.
(iv)
XLIX
p. LI ; (c)
The Samavakara,
The Prakarana, LII
The Dima, p. LIII
The Vyayoga,
LIII
(b) Euphony,
LI
Scene, p.
p.
(b)
(ii)
Anticipatory Scene,
Vithi, p.
LV
XLIX
LI
Utsrstikanka, p.
LIV
Acts, p.
Drama,
Indian
Ancient
The Nataka,
Introductory Scene, p.
(i)
p.
Types of Play.
p.
Literary Structure of the
XLIX The Ten
The
XLV 4. The Unity of Imperession,

6. The Pour Aspecta of
p. XLV
p.
XLVIII.
III.
ment,
Drama,
Criticism of Drama,
5.
p.
of
p.LXIV
Drama,
;
2.
p.
The
LXIV
l>The
Socalled Sons of
Satakarni (jSitakarna, fialikarna), (d)
Badarayana (Badari),
p.
LXIV
3,
Sam-
XVI
grahakara,
LXV
p.
(e)
Padmabha, Drauhini, Vyasa, and Inja-
Rabula and Garga,
Yartika-kara-Hara,
Subandhu,
(g)
of the Agnipurana and the Visnudharmottara, pp.
Drama,
Literature on
Natyadarpana,
(a)
Dasarupa,
(b)
(d)
The
VI.
LXXI
3.
1.
Natyasastra
Author,
Its
p.
Unity of the Natyasastra,
P.LXXIV;
5. Its Style
Early Commentators
(b) Bhatta Udbhata,
Nayaka,
Bhatta
(f)
(e)
2.
iis
The two
LXXII
p.
Commentaries,
p.
LXXI
LXXIV
p.
6.
The
and Bhasyakara Nanyadeva
Bhatta Lollata, (d) Sri Bankuka,

p.
(f)
Scope and Importance,
and Method of Treatment,
Yantra,
(c)
Bhavaprakasana,
Recensions, p.
4. Its
Scarya Kirtidhara,
(e)
Late
(6)
LXVII-LXX.
The Text and
LXXI
Compilers
(h)
LXV-LXVII
NStekalaksanaratnakosa,
Rayyaka's Natakamimamsa,
Sahityadarpana and Natakaparibhasa, pp.
and Ghantaka,
(d) Sakaligarbha
Matrgupta,
(f)
5.
Nandi (NandikesVara), Tumburu, Visa-
(a)
khila and Carayana, (b) Sadaftva,

neya, (c) Katyayana,
LXV
of the Natya&stra, p.
The Present Text
4.
Medieval Writers on Drama,
LXXV;
(e)
Bhatta
Abhinavagupta,
Bhatta
7.
p.LXXVI.
VII.
Data of India's Cultural
History in the Natyasastra,
3.
LXXVIII -1. Language, p. LXVIII 2. Literature, p. LXXVIII

Art, p. LXXVIII; 4. Metrics, p. LXXIX; 5. Poetics, p. LXXIX
6.
Costumes and Ornaments,
p.
8.
Geography,
Ars Amatoria,
p.
LXXX;
11.
p. LXXX
p.
The Date of
VIII.
LXXXII
logical
6.
9.
Mythology,
7.
Ethnological
Arthagastra, p.
LXXX
Data, p.
LXXX
12.
LXXIX
p.
10.
Psychology,
LXXXI.
graphical Data, p.
p.
LXXIX
p.
3.
Data, p.
LXXXII
the Natyasastra,
2.
The Mythological Data,
LXXXIII;
The Natyasastra
earlier
5.
p.
LXXXI I
p.
LXXXIII
LXXXIV.
(Translation)
1.
earlier than
The Epigraphical Data,
than Bhasa,
THE NITYA&STRA
p.
The Natyasastra
The GeoKalidasa,
4.
The Ethno-
p.
LXXXIII;
xvn
Chapter One
THE ORIGIN OP DRAMA,
Salutation, p. 1
1.
answers, pp. 2-5

pp. 5-6
7-8
p. 8
Names
of Apsarasas, p. 8
to help Brahman, pp. 8-9

first
9-10
pp.
11
p.
The
58-63.
ent gods asked to

actors, pp. 12-13
Per-
of the
actors,
pp.
playhouse, pp. 11-12
first
Brahman
98-105.
Festival of Indra and the
The Origin
69-75.
10-11
82-97.
67-68.
of the Jarjara,
Differ-
parts of the playhouse as well as the
protect different
Vighnas, pp. 13-14
pacifies the
drama, pp.
Characteristics of a
121.
41
pleased gods reward Bharata's
Vighnas attack the
64-66.
The Origin
75-81.
of the Kaisik! Style,
Svati and Narada engaged
50-53.
Indra comes to iheir protection, p. 11

p.
Need
42-45.
The Banner
53-58.
production of a play,
party,
p. 7
Bharata
6-23.
Creation of Apsarasas for practising the Kaisik! Style,
46-47.
47-50.
p. 1
Bharata's one hundred sons,
of Bharata's one hundred sons, pp. 6-7
formance begins with three Styles,

p.
Pages 1-17
Sages question,
The Nafcyaveda and
Names
26-40.
24-25.
2-5.'
14-16
106-
Offering Piija to
122-129.
the gods of the stage, pp. 16-17.
Chapter Two
DESCRIPTION OP THE PLAYHOUSE,
Introduction, p. 18
1-3.
Three
8-11.
sizes of the playhouse, pp. 19
ment, p.
20
tage of a
too big
site,
p. 21
Measurement of a
measurement,
22
22
24-26.
site,
33-35.
The ceremony
35-43.
p.
The
12-16-
mortals, p. 20
for
playhouse, pp. 20-21
27-28.
pp.
varanl, pp. 26-27
tho stage, pp.
pp. 30-32
The
68-74.
28-30
101-104.
stage,
Disadvan-
18-23.
21-22
Taking up
28-33.
The ground plan
of tho
play-
of laying the foundation, pp. 23-24
pp.
table of measure-
Selection of a suitable
Raising pillars of the playhouse, pp. 24-26
43-63.
in
The playhouse
17.
the string for
house, p.
Three types of playhouse, pp. 18-19
4-8.
Pages 18-32
27-28
75-85.
The MattaDecorative work
63-67.
Description of a square playhouse,
86-100.
Description of a triangular playhouse, p. 32.
Chapter Three
PuJA"
1-10.
TO THE GODS OP THE STAGE,
Consecration of the playhouse, pp. 33-34
Pftja to tho Jarjara, pp.
34-35
for installing the gods, pp. 35-36
tho gods, p.
37
into
40-73.
fire,
pp. 41-42
p.
87-89.
Illumination of tho stage, pp. 42-43
11-16.
33-39.
Offering
;
20-32.
Offering Puja to
Consecration of the Mattavarani, pp. 37-40
Consecration of tho Jarjara,
sacrificial
Installation of gods, p. 35
17-20.
The Mandala
73-81.
Pages 33-44
41
81-87.
Homa
Breaking the
93-97.
Good
or pouring ghSe
jar,
p.
42
89-93.
results of consecrating
xvm
the stage, p. 43
the
Evils following non-consecration of
98-101.
stage.,
pp. 43-44.
Chapter Four
THE CLASS DANCE,
Brahman
1-14.
p.
47
Uses of Aiigahlras,
28-29.
the Angaharas, pp. 60-65
273-274.
The
;
69
p.
277-294.
gentle dance, p. 73
Entry of female dancers and
295-308.
311-314.
The Cnandakas,
72-73
pp.
Occasions when dances are prohibited p. 74
315-320.
Occasions suited to dance,

;
When drums
Playing of drums, pp. 74-7b; 325-328.
324
253-264.
69; 276. The Upohana,
pp. 73-74
pp. 65-66
The Sages speak on the use of

The Vardhamanaka, p. 69 27,5. The Ssarita,
265-272-
the four kinds of Pindis, pp. 69-72

309-310.
pp. 47-49;
Definition of
170-245-
The Angaharas,
The Karanas,
29-61.
performed, pp. 45-46
The Recakas,
246-252.
Pindibandhas, pp. 66-68
dance, pp. 68-69

p.
47
p.
it
16-27.
Definition of 108 the Karanas, pp. 49-60
62-169.
The
play and gets
first
kinds of Preliminaries, pp. 46-47
Two
14-16.
writes the
Pages 45-75
321-
are not to bn
played, p. 75
Chapter Five
THE PRELIMINARIES OP A PLAY,
1-4.
The sages
question, 76
minaries defined, p. 76
Pratyahara, and Avatarana, pp. 78
The Walking-round,
ûskavakjsta Dhruva, pp. 80
and the Mahacari, p. 80

Laudation,
80-81
The
p.
80
82
pacifies the gods, p.
(Bahirgita),
The
pp. 84-86
first
7. Preli-
The
77-84.
third
The Fourth Man
An example
17,
;
Utthapana, p 79
22-23.
The Benediction, 79
Rangadvara,
p.
80
27-28.
The Cari
The
Three Men's Talk, p. 80; 29-30.
and
its
p.
81
25-26.
justification, pp.
38-44.
37-38.
Narada
The gods are pleased with the Nirglta
60-64.
Walking-round,
Dhruva, pp. 89-90

116.
26-27.
44-59.
pp. 82-83;
fourth Walking-round, p. 87
101-104.
79
approach Niirada to stop the Nirglta,
{tods
65-66.
p.
24-25.
Origin of Bahirgita
30-32.
Daityas and Raksasas provoked to jealousy, p. 81
33-36.
p. 79
28-29.
76
20. Samghotanii, Margasarita, p. 79.
and the Application of Songs,
21. Asiirita
p.
Srambha, and Asravana, pp. 78
18.
19. Vaktrapani, Parighattana, p. 78
23-24.
Bharata answers,
p. 5-6.
Parts of the Preliminaries, pp. 76-77.
8-16.
Pages 76-99
Songs
p.
84
in
67-76.
puro
Preliminaries, p.
Walking-round, pp. 86-87
89-101.
enters, p.
The
84-89.
The Parivartani Dhruva,

89
84;
The second Walking-round,
pp. 87-89
104-107. Singing of the Avakrsfci
107-113.
of
Examples of the Benediction, pp. 90-91 j 113SuskavakRta Dhruva, p. 91 116-119. Rangadvara,

;
p.
91
141,
119-127-
Carl, pp. 92-93
The Throj Men's Talk,
p.
94
127-137.
Mahacari, pp. 93-94
14U142.
The Laudation,
137-
pp. 94-95
XIX
The Tryasra
143-154.
preliminaries, pp. 96-97
Preliminaries,
167-179.
pp. 95-96
The Mixed
155-166.
Introduction of a play, pp. 97-99.
Chapter Six
THE SENTIMENTS,
The
1-3.
sages question, p. 100
pages 100-117
Bharata answers, pp. 100-101
4-8.
eight
Temperamontal
eight
The
25-26.
pp. 102-103
States,
103
nic Representation, p.
103
The two
24.
The four kinds
23.
p.-
104
p.
The Sentiments
31-33.
of Histrio-
Practices and the four Styles, p.
four Local Usages, and the Success,
kinds of Dhruva, pp. 104-105

;
and the fur kinds of musical instrument,
notes,
136
Memorial Verse and Etymology denned, pp. 101 15-16. The

17-21. The Dominant States, p. 102
Sentiments, p. 102
22. The
8-14. Digest,
104
The
27-29.
The
29-31.
five
explained, pp. 105-
33-38. Thi relation between the Sentiment and the States, p. 106-107
The
38-43.
eight Sentiments
The presiding
from the four
44-45.
45-48. The Erotic Senti56-57.

The Comic Sentiment, pp. 110-111
of the Sentiments, p. 108
deities
ment, pp.
108-110
Of persons
of the middling type, p. Ill
48-55.
original ones, p. 107-108

;
Of
58-61.
persons of the inferior
63-66. The
The Pathetic Sentiment, p. 112
66-68. The Heroic Sentiment, p. 114
72-74. The Odious Sentiment,
68-72. The Terrible Sentiment, pp. 114-115
74-76. The Marvellous Sentiment, p. 116
77. The three kinds
pp. 115
111-112
type, pp.
61-63.
Furious Sentiment, pp. 112-113
Comic and the Terrible Sentiments,
Erotic, the
of the
three kinds of the Pathetic
Sentiment, p. 116
The
79.
p.
116
The
78.
three kinds of the
Heroic Sentiment, pp. 116-117, 80. The three kinds of the Terrible Senti-
The
ment, 117. 81.
three kinds of the Odious Sentiment, p. 117
The three kinds of the Marvellous
82-83.
Sentiment, p. 117.
Chapter Seven
THE EMOTIONAL AND OTHER STATES,
1-3.
nants)
p.
119
Bkavas
(States)
118119
explained, pp.
;
The
6-7.
other States pp. 120-121
124
p.
Sorrow, p. 122
;
125
21-25.
j
The
ment, p.
126
PP. 127
35-37.
130
8-9.
49-51.
p.
118
Annbhavas
;
Dominant, Transitory and Tem-
Love, p. 121
25-26.
20-21.
37-46.
27-30.
32-35.
10-
Energy, pp. 123-
26-27.
pp. 125-126
Weakness, pp. 126-127
Dominant and the
Laughter, p. 121
9-10.
Disgust, p. 125
Envy, pp. 127-128
Anxiety,
(Consequents) explained,
Difference between the
Transitory States,
129
Vibhavas (Determi-
3-4.
14-20. Anger, pp. 122-123
30-32.
48-47. Weariness, p.
P.
7-8.
Pear, p. 124
27-29.
4-6
three kinds of State
peramantal, pp. 119-120
14.
explained,
Pages 118-147.
Astonishment
Discourage-
Apprehension,
Intoxication, pp.
128-129
47-48. Indolence, pp. 129-130; 48-49. Depression,

51-53/ Distraction, pp. 130-131 ; 53-55.
p. 130
j
XX
181
Recollection, p.
p. 132
59-60.
tion, pp. 133-134
p.
136
138
p.
pp. 138-139
ness, pp. 139-140

;
77-79.
p.
Fright, p. 142
90-91.
p. 143
Temperamental States,
and Trembling,
144
p.
and Horripilation,
p.
p.
138
Deliberation,
Weeping,
Change
p.
of
144
82-83. Sick-
142-143
pp.
Change
Colour
of
p.
144-145
pp.
p|>.
93.
Parafysis
96.
Application of the States to the different Sentiments,
124.
76-77.
Voice and Pointing,
100-106. Representation of the Temperamental States,
Death, pp. 141-
144
98.
185
Dissimulation,
85-90.
Agitap.
70-72. Sleeping,
79-80.
Perspiration, p.
95.
99.
136
81-82, Assurance, p. 139
91-93.
97.
144
Arrogance,
66-67.
Insanity, pp. 140-141
83-85.
82-65.
Dreaming, pp. 137-138
74-76.
Indignation,
80-81. Cruelty, p. 189
134135
Sbame,
57-59.
60-62. Joy, p. 133
69-70. Impatience, p.
72-74. Epilepsy, p. 137
Awakening,
142
135-136
Despair, p.
67-69.
Stupor,
65-66.
131-132
Contentment, pp.
55-57.
Inconstancy, p. 132-133
144
107-
145-147.
Chapter Eight
THE GESTURES OP MINOR LIMBS,
Sages question, p. 148
1-3.
The meaning
149
of abhinaya,
The Gesture
11-16.
its
Bliarata answers, pp. 148-149
4-6
149
p.
The
8-9.
Pages 148-167
;
7.
four kinds of abhinaya,
p.
three varieties, pp. 149-150
The
150-152; 38-42.
of the head and their uses, pp.
17-37.
Gestures
thirtysix Glances,
pp 152-153 43-51. The Glances to express the Sentiments, pp. 153-154

61-84.
52-60. The Glances to express the Dominant States, pp. 154-155
The Glances
to express the Transitory States, pp.
155-158
Glances to express the Transitory States, pp. 158-159

balls,
159-160
pp.
Uses of the
99-102.
160-161
additional Glances, pp.
eyeballs,
108-111.
The
85-95.
p. 160
103-107.
p. 161
eyelids,
Uses of
The
95-98.
eye-
The
112-115.
The eyebrows, pp. 162-163. 121-125.

Uses of the eyebrows, p. 163 126-128. The nose, pp. 163-164 129-132.
135-137, Uses of
Uses of the nose, p. 164 132-134. The cheeks p. 164
137-139. The lower lip, p. 165
140-142. Uses of
the cheeks, pp. 164-165
143-146. The chin, p. 166
146-149. Uses of the
the lower lip, p. 165
Uses of the eyelids,
p.
162
116-120.
149-157.
chin, p. 166
the face,
167
166-167.
p.
The
The mouth,
159-165.
nock, p. 168
Uses
;
pp.
of
166-167
the colour
167-173.
157-158.
The colour
of
of the face, pp. 167-168
Description and
usos
of the neck
gestures, pp, 168-169.
Chapter Nine
THE GESTURES OP HANDS, Pages
1-3.
Bharata speaks,
pp. 170-171
p.
170
4-17. Sixtyseven
17-126. Gestures of single hands,
170-190
gestures of
pp.
171-181
Gestures of combined hands, pp. 182-185
ing the use of hand gestures, p. 185
160-165. Different
;.
the hand,
j
126-155.
156-159. General rules regard-
movements of
XXI
hand gestures,
The quantity
189
p.
The
205-211.
movements
185
166-167. Spheres of hand gestures,

p. 186
of gestures, pp. 186-187
178-204.
168-177.
The Dance-hands, pp.
four Karanas of the hands, pp. 189-190
187-
The
212-214.
of arms. p. 190,
Chapter Ten
THE GESTURES OP OTHER LIMBS, Pages
1-9.
The
sides, p. 192
The
The
18.
The
21-^4.
breast, pp. 191
194
p.
thifch,
shank, pp. 194*195
192
belly, p.
waist, p. 193
25-26.
9-20.
192
sides, p.
their uses, pp. 195-196
52-54.
belly, pp. 192-193
Uses of the waist, pp. 193-194:27-31.
The
194
p.
28-40. Uses of the shank, p. 165
191-196.
16-17. Uses of the
Uses of the
Uses of the thigh,
32-33
The
10-15.
The
34-37.
The
41-51.
feet
and
Carls, p. 196.
'Chapter Eleven
THE
1-3.
CIRI MOVEMENTS,
Definitions, p. 197
thirtytwo Cans,
29-49.
The
71-88.
The four
Sausthava,
Nyiiyas in
205
p.
bow,
205
The
p.
205
The method
SthSnas, pp. 201-203
using weapons, pp. 203-205
94-96.
The
7-12.
earthly Carls, pp. 198-199
50-71.
The Caturasra,
91-92.
p.
The
13-2a
Pages 197-206
Uses of the Carls, p. 197
Carls, pp. 199-201
aerial
relating to the
197-198
pp.
4-6.
The four
92-94.
of exercise, pp.
96-100 Health and nourishment of persons taking exercise
The
88-91.
acts
205-206
p. 206.
Chapter Twelve
THE MANDALA MOVEMENTS,
Tho Mandalas, p. 207
The earthly Mandalas, pp.
1-5.
42-68.
6-41.
The
Pages 207-212
Mandalas, pp. 207-210
aerial
210-212.
Chapter Thirteen
THE DIFFERENT
1.
Gaits for different characters,
personae, p. 213
entrance, p. 213
8-10.
p.
natural Gait, pp
Gait under special

special conditions,
217-218
2-3.
Entrance of dramatis
and middling characters at the
12-14.
214-215
The tempo
pp. 217
Gait of kings,
25-29
conditions, p. 216
41-48.
59-60.
61-69.
35-40.
Gait in the
Tempo
p,
The
10-11.
of their Gait, p. 214
216
15-24.
30-34.
under
of Gaits
Erotic Sentiment,
48-54. Gait in the Terrible Sentiment, p. 218

.
219
213
interval of their feet, pp. 213-214
The
214
the Odious Sentiment, p. 218
218-219
p.
4-7. Posture for superior
time for their steps,
The
GAITS, Pages 213-237
54-56.
57-58. Gait in the Heroic
pp.
Gait iu
Sentiment, pp-
Gait in the Marvellous and the Comic Sentiments,
Gait in the Pathotic Sentiment, pp. 219-220
(of inferior characters) in the Terrible Sentiment, p. 220
70-75.
76-78.
p.
Gait
Gait of
xxn
merchants and ministers, p. 220
pp. 220-321
one
of
riding a chariot,
sky, p. 222
the
101-104.
Gait of ascetics and sectarians,
pp. 221-222;. 92-95.
Gait in ascending a
96-100.
p.
221
Gait of serpents,
114.
Gait of the Kaficukiya,
and fatigued persons,

225
p.
223
p.
p.
225
224
p.
115-117.
p.
224
p.
223
112-
Gait of emaciated, sick
Gait of a person walking
118.
Gait of a Parasite,
105-107.
Gait in riding a horse,
108.
110.
222
palace, p.
lofty
long
Gait of a corpulent person p. 225; 121-122.
119-120.
223
p.
109.
Gait
88-92.
Gait while moving in
Gait in getting down into a lower place, pp. 222-228
Gait in travelling by boat,
distance,
79-86.
Gait of a person in darkness,
87.
Gait of intoxicated persons,
225
p.
123-130.
Gait of a lunatic,
p.
225
131-136. Gait of lame men, cripples and dwarfs, p. 226 ;. 137-1 46. Gait
of the Jester, pp. 226-227; 146-148. Gait of manials, p^227
148-149.
;
Gait of Sakara,
228
p.
Gait of lowly persons,
150.
of the Mleccha tribes, p. 228
bears and monkeys, pp. 228-229

pp. 230-229;
women,
171-177.
231
p.
of children, p. 242
p.
232
192-193.
ascetics
women,
P.
233
thinking mood,
234
232-233
196-197.
233
p.
181-183. Gait
186-187. Gait
Sitting at case, P.
233
188-189.
232
P.
193-195.
195-199. Sitting postures for
women,
189-191. Gait of persons in disguise,
233
Gait of
men
and
197-198. Sitting in a
198-199. Sitting in sorrow, p. 233
199-200. Sitting
200-201. Sitting in shame and sleep,

201-202. Sitting on ceremonial occasions, p. 234 ; 202-203.
Sitting
woman,
in pacifying a beloved
diety,
232
role, p.
Gait of the tribal women,
231
p.
of
Gait
lions,
Gait of young
187-181. Gait of hermaphrodite, p. 232
PP.
Gait of
177-179.
Gait of aged women,
in fainting and intoxication, p.

p.
230
p.
183-186. Gait of half-women, p. 231
Gait in the change of a
women
153-158.
Walking postures
159-171.
Gait of women,
179-181.
of handmaids, p. 231
Gait of birds
152.
228; 151.
.p.
p.
234
p.
234
203-206.
Sitting in worshipping a
206-207. Seats for different characters,
Scats for male characters, p. 235
234
p.
208-210.
210-214. Seats for female characters, p.

235 ; 215-216. Seats for ascetics and sectarians, p. 235 ; 217-220. General
rules about seats, p. 236 ; 221-228. Lying-down postures,
236-237.
;
pp.
Chapter Fourteen
THE ZONES AND THE LOCAL USAGES,
1.
The Zones,
ijonal division,
p.
p.
238
238
2-
The arrangement
4-7. Utility of the
of drums, p. 238
Zonal division,
Indicating relative location on the stage, p. 239

stage, p.
239
12-15.
group walking, p. 239

p.
}f
240
men
18-20.
in
The
;
17.
Movements
Bharatavarsa,
Pages 238-247
rule of exit, p. 232
11.
16.
p.
The
238
3.
;
east on
The
8-10.
the
Indication of rank in
Indicating distance great, small and medium,

of gods and demigods p.
p.
240
22.
Departure
240
for
21.
Movement
a distant place,
TOM
240
p.
Time allowed
28-82.
Movements
32-35.
The Svanti Local

Usage, 243
241;
Usage, p. 243;
The two-fold entrance
Usages,
242-243;
pp.
delicate type, p. 245
The
p. 245. 57-60.
Practice, pp. 245-246
244
Local
50-55.
The two
50.
violent type, p. 245
61.
The
The two Practices, p. 245 63-64. The realistic

65-78. The conventional Practice,
pp. 246-247.
62.
p.
pp.
40-42.
The Odra-Magadhi
43-46.
in observing Local Usage, p. 244
General types of plays,
240-241
pp.
The four Local Usages,
36.
The Pattcala-Madhyama Local Usage,
47-49.
for the events of an Act,
p.
The Daksinatya Local
37-39.
241-242;
of gods,
Chapter Fifteen
RULES OP PROSODY,
The
1.
248
p.
5.
actor's
speech,
The ^wo kinds
Recitation,
249
p.
articulation, pp. 249-251
Vowels
nominal
affix, p.
combination,
The
28.
254
255
p.
256;
verso, p.
metrical
p.
p.
260
The
26-27.
The
The
254
affixes, p.
their
30.
257-258
The
the foot, pp. 259-260

94-95. Pitoh
The
metres, p.
Twenty-six
89-90.
29.
252-253;
pp.
21-22.
The
Syllabic
39.
patterns, pp.
pp. 258-259
34-35.
43-49.
254
251
p.
case-ending, p. 255 ; 32-33. The euphonic

The compound words, pp. 255-256 36. The
256 37. Words in prose, p. 256 38. Words in
31.
two kinds of word,
pp. 256-257
particle, p.
aspects of
9-19. Consonants
their quantity,
The noun,
four kinds of word, p. 252; 23-25.

verb, p. 253
6-7. Different
speech-sounds, p. 249
20.
Pages 248-261
Importance of speech in drama,
2-4.
of recitation, p. 248
The
8.
248
p.
256;
Rhythm-types,
40-42.
Rhythm-types,
257
49-79. Possible
p.
79-89. Another method of defining metres,
regular couplet, p. 259
The stop and
90-91.
93. Quality of syllables, colours of metres, p.
of vowels, p. 260
98-102. Classes of metres,
260
95-97, Three kinds of syllabic metres,
p.
261.
Chapter Sixteen
METRICAL PATTERNS,
Tanumadhya,
1-2.
p.
263
7-8. Malini, p.
ramalika,
265
264
p.
pp. 266-267
Totaka,
p.
27-28.
Indravajra, p. 268
dhata, p. 269
p.
5-6.
11-12.
267
29-30.
Motaka,
39-40.
pp. 267-268
;
Salini,
KumudanibhS, pp. 270-271
Harinapluta,
Aprameya,
p.
pp. 272-273;
273-274;
57-58.
53-54.
Padmim,
21-22.
275;
31-32.
35-36. Rathodp.
45-46.
Kamadatta,
p.
25-26. Mayurasarini,
270
p.
59-60.
41-42.
Candralekha,
271; 47-48. Pramitaksara, pp. 371-272; 49-50. Vamsastha,
51-52.
Malati,
Bhrama-
15-16. Mattacesjita, pp. 264-
33-34. Upendravajra, pp. 268-269
43-44
262
p.
19-20. Cittavilasita, pp. 265-266
23-24. Kuvalayamala, p. 266
Dodhaka,
37-38. Svagata, pp. 269
270
Makaraka-sn-sa,
13-14. Simhalekha, p. 264
266
p.
3-4
9-10. Uddhata, pp. 263-264
17-18. Vidyullekha, p. 265
Madhukari,
p.
262
p.
263
Pages 262-292
p.
273;
272,
55-56.
Patuvrtta,
;;
JXHf
pp. 274-275
Asambadha,
p.
61-62. Prabhavat!
MattamayBra,
65-66.
278
277
p.
75-74.
276
p.
71-72.
Gajavilasite pp. 278-279
pp. 280-281
bitagati, pp. 281-282
283
p.
286
109-111.
Even
Pathya,
290
p.
103-105.
115-118.
139-140. Ketumati, p.292

tagra, 293
296
p.
297
p.
296
p.
;
Pu^pij
Pathya Arya and Vipula Arya,

Vipula SryS,
162.
292
p.
143-144.
Lalita, pp. 294-295
147-151.
160.
Capala.
Vanavasika.
;
Uneven
290; 127-128.
p.
288
p.
123-124-
296
p.
163-164
Mukha-capala and Jaghana-capala Arya,
165.
Mukha-capala
166.
Bhujaiiga-viirm-
141-142. Apar.ivaktra, p. 93
Pathya Ary5,
161.
112-114.
100-102.
Meghamala,
the semi-even metres
137-138.
145-146. Udgata, pp. 293-294
'
Capala Arya, pp. 296-297
Irya,
pp. 290-292
87-88. Vilam-
106-108.
121-122. Pathya, p. 288
Srya metres, pp. 295-296
152-159.
286-287
289; 125-126. Inverted Pathya,
p.
286
p.
83-84.
91-93. &rdalavikridita,
97-99. Sragdhara, p. 284
Asvalalita,
The uneven and
metres, p. 288
129-136. Vipula,
282
p.
280
p.
85-86. Vainiapatrapatita, p. 281
Krauiicapadi, pp.
bhita, pp. 287-288
119-120.
Pravaralalita, p. 279
77-78.
69-70.
Nandimukhi,
73-74.
Vr?abhaeestita,
89-90. Citralekha,
Madraka, pp. 284-285

p.
81-82.
94-96. Suvadana, pp. 283-284
63-64. Praharsini, pp. 275-276;
Vasantatilaka, pp. 276-277
arabhS, pp. 277-278
79-80. &kharini, pp. 279-280
^ridhara,
p. 275
67-68.
Arya,
297
p.
167-170.
Jaghana-capala
298.
p.
Chapter Seventeen
DICTION OP A PLAY,
301;
Causation, p.
10.
Precedent, p. 301
391;
Hesitation,
11.
Unfavourable Precedent,
p.
Persuation, p. 303
Distinction,
303
p.
304
305
305
P.
35. Identity,
p.
p.
308
p.
16.
p.
304
307
307
p.
;
p.
38.
306
36.
51.
of conceit,
p.
309
24.
52.
302
p.
.15.
302
p.
304
Mediation,
p,
17.
306
p.
306
305
p.
50.
p.
Enumeration
39.
308
41-42.
310
306
p.
307
of
37.
Merits,
Compliment,
309; 45-49.
p.
Simils of censure, p. 399

p.
Series
29.
Five kinds of simile,
Simile of uniqueness)
24.
Interrogation
34.
Censure,
31.
Inversion,
26.
Etpreion of Desire,
307
304
Description, p.
23.
28.
of objects compared, p. 309
Simile of praise, p, 309
Favourable
12.
Fancy,
-308; 33. Four figures of Spoech, p. 308; 44. Simile,
Number
9. Parallelism, p.
Inference from Similitude, pp. 303-
304
Expression,
Serai-utterod
40.
Ornateness,
6.
Accusation of Virtues,
19.
Celebrity, p-
p.
301
301;
p.
Deliberation,
Indirect
Concealment,
p.
14.
303
p.
p.
25.
33.
299-300
Convincing Explanation,
Clever Manners,
30.
302
p.
21.
27. Slip of Tongue, p. 305
Presumption,
Wit.
393
>nci, p.
Utterance,
of Offers,
32.
Multiplex Predication,
22.
Pointed
p.
Ewnll
20.
18.
302
play, pp.
Brilliance,
8.
Discovefy,
13.
good
of a
Compactness, p. 300
7.
marks
Thirtysix
1-5.
30
p.
Pages 299-322.
55-56.
53.
p.
309
Simile
Simile
of
;;
XXV
Partial likeness,
PP.
Yamaka,
311
p.
p.
p.
Condensed Expression,
Yamaka,
311;
p.
Padant a Yamaka,
65-66.
57-58.
61.
p. 31 1
67-68.
310
p.
Ten
62-64.
59-60.
kinds
of
Kanei Yamaka,
Samudga Yamaka, p. 312 ; 71-72. Vikranta Yamaka!

Cakravala Yamaka, p 313; 75-76. Sandasta Yamaka,
313; 77-78. Padadi Yamaka, pp. 313-314; 79-83. Imred'ita Yamaka,
314 ; 81-82. Caturvyavasita Yamaka, p. 314 ; 83-87. Mala Yamaka,
pp. 311-312
p.
310;
p.
310;
Metaphor,
69-70.
73-74.
312;
Ten
pp. 314-315; 88.
fluous Expression,
316
Significance, p.
faults,
316
P.
315-316; 89. Circuloeution and super-
Want of Significance and Defective

Want of Synthesis, pp. 316-317
Tautology and
92.
pp.
90-91.
Logical Defect and Metrical Defect,
93.
p.
317;
p.
318
p.
317
318
ableness, p.
ness, pp.
li>l.
319
p.
317
99.
Smoothness,
319
318
p.
319
320
p.
and Slang,
97.
Synthesis,
100. Concentra-
102. Grandeur, p.
Alamkaras and Gunas,
107.
94. Hiatus
317-318;
pp.
104. Directness of Expression, p.
319-320
figure? of
Sweetness,
p.
Ten Gunas,
96.
318
98. Perspicuity, p.
tion, p.
and
Gunas,
95.
319
103
Agree-
105-106. Exalted-
108-110.
Sounds
spsech according to Sentiments, Metres according to SentiSentiment, p. 323
ments, In the Erotic
Sentiment, and in the Pathetic Sentiment,
the Furious Sentiments,
p.
321;
Sentiments and States, p. 321
111-112. Metres in the Heroic
321
p.
113. In
Vowel
114-115.
the Heroic and
length
in
different
116-122. Uses of prolated vowels and
euphony, pp. 331-322.
Chapter Eighteen
RULES ON THE USE OP LANGUAGES,
The Prakritic
1-2.
323
Recitation, p.
6-17.
226
The Superhuman and
27.
two kinds of Recitation,
p.
327
31.
the Noble languages, p. 327
56-61. Distinguishing
pp. 332-333;
30.
The
36-46. Exception to
47 48. Seven major dialects,

52-55. Uses of minor
49-51. Uses of major dialects, pp. 331-332;
dialects,
pp. 324-325
Pour types of language,
26.
Occasion for Skt. Recitation, p. 328
the rule for Pkt. recitation, pp. 329-331
331;
Pages 323-334
Three kinds of Prakritic
Occasion for Pkt Recitation, pp. 328-329
32-35.
p.
3-5.
Vowels and simple consonants,
Conjunct Consonants, pp. 325-326
18-25.
p.
Recitation, p. 323
features of
various local
dialects, pp. 333-334.
Chapter Nineteen
MODES OP ADDRESS AND INTONATION,
1-2.
Different modes of address, p- 335
Pages 335-354
Modes
3.
of addressing
p.
335
5.
men,
Addressing gods, sectarian teachers and learned
man,
old
an
Addressing Brahmins, the king, the teacher and
p.
336
6.
Brahmins addressing the king,
males, p. 335
ing
4.
ministers, p. 336
8.
p.
336
7.
Brahmins
Addressing the' equals, Proviledged
addressinferiors
XXVI
336-337;
addressing superiors, pp.
and
artists, p.
337
sons of equal status
Addressing
9.
employees,
p. 337;
Addressing an ascetic or
The
11.
charioteer addressing the chariot-rider,
a person
with
persons by their occupation or birth, p. 339

;
persons of other sects,
340
p.
339
p. 340
19.
Women
persons, and elderly ladies,
ing
Women
lady, a
nun or a female
344
30.
Names
of
p.
343
33.
Naming
347
woman and an
Addressing a
Two ways
43-44.
karas, p. 348
45 57.
343
343
27.
28.
Addressing the wife in love-making,
29.
p.
king's
registers,
old
Address-
25.
26.
344
wives and courtezans,
Naming
45.
p.
346
p.
344;
31.
Naming merchants and
32.
p.
345
34.
superiors, p. 345
37-38. Qualities of Recitation,
Seven notes to suit different Sentiments,
38-40.
women and
addressing a hand-mand, p.
Brahmins and Ksatriyas,
Uses of the three voice

p.
pp 342-343
sister,
Naming handmaids and menials, p. 345

37-37a. Naming other persons, p. 345
;
accessible
Giving names to different characters in a play,
warriors, p. 344
p. 346
20. Addressing the
ascetic, addressing one's wife, p.
addressing their equals,
Addressing a courtezan,
p.
Addressing an
unmarried princesses and a
Brahmin
The
Jesjfer,
Addressing wives of senior
22.
of addressing
Addressing king's wives, p. 342
23-24.
monks, Addressing
Jester addressing the king,
Modes
21.
female ascetics and goddesses, p. 341
lady, pp. 341-342
The
addressing their husband, p. 341
and the younger brothers, p 341
older
Addressing a son or a
14.
maids, and the king addressing the
Jester addressing the queen, her
12.
Addressing
13.
People addressing the king, pp. 339-
16.
17-18. Sages addressing the king,
Addressing Buddhist and Juin
15.
337-338;
beatitude, pp.
Addressing princes, Addressing inferior persons, p. 338
disciple p. 339
artisans
Addressing persons, of respect, 'addressing per-
10.
347
of intonation, p-
p.
346
40-43.
Uses of the four accents;
43.
The Sis Alam-
45.
Uses of the sis Alamkaras, pp. 348-350
58-59.
Intonation in different Sentiments, Six limbs of enunciation, pp. 350-351

59-60.
Hands
Pause
defined, pp.
351-352
60-61. Uses of Pause, p. 352
with Alamkaras and Pause,
in connexion
out syllables ahd their
p.
352
62-67.
Drawn-
68-78.
use, pp. 353-354.
Chapter Twenty
TEN KINDS OP PLAY,
1-9.
The Nataka,
p.
356
13-18.
The
Act,
pp. 356-357
directly presentable in an Act, pp. 358-359
pp. 359-360
36-38.
The Supporting
p.
362
stage, pf.
48-50.
364-365; 64-66.
361-362;
43-47.
The Prakarana,
27-35.
19-26.
p.
3 55
10-12-
Incidents not
The Introductory Scene,

39-40. Number
;
Introducing chariots and palaces
Introducing an army on the stage
pp. 262-364
The Samavakara,
360-361
Scone, pp.
of dramatis personae.y. 361; 41-42.
on the
Pages 355-379
Tenfold division of plays and their structure,
59-63.
pp. 365 :366; 67.
The Natika, pp.
The
first
act of the
xxvii
366
p.
Samavakara,
The second aed
68-69.
the third acts of the Sama-
The three kinds of Excitement, p. 367

70.
vakara, pp. 366-367 j
Three kinds of Love, p. 367
Deception,
p. 367 ; 72.
Three kinds of
71.
73.
Love together with duty, pp. 367 ; 74. Love together with materia] gain,
368 ; 75. Love due to passion, p. 368 ; 76-77. Metres not allowed in
p.
the Samavakara, p. 368
370
Uima,
p.
kanka,
p.
371
The
p,
372
Vyayoga,
Scenes with
97-101.
The Prahasana,
The thamrga,
78-83.
90-93.
celestial Heroes,
pp-372.
372
p.
The
84-89.
The
94-96.
The pure Prahasana,
103-104.
368-369
pp.
370
p.
Utersti-
371
102.
105-107.
The
107-111. The Bhana, p. 373

112-113.
mix*ed Prahasana, pp. 372-373
373-374
114-116.
Thirteen
the
Vlthi,
types
of
p. 374
Vithi,
pp.
The
;
Accidental
117.
Significance, p. 374
Ominous
Compliment, p.*375
ing,
Interpretation, p. 374
375
p.
Deception, 375
125.
376;
Crushing, p.
376
p.
twelve types of the Lasya,

Sthitapathya p, 378;
p.
Vicitrapada,
379
p.
377
AYina,
122.
The Lasya,
p.
378
379
p.
127.
Undue
The
134-135.
p.
377
188,
p.
378
143. Saindhavaka,
Uttamottaka,
145.
376
Puspagandika,
140.
p.
377
p.
Outvy-
129-131.
Geyapada,
136-137.
376;
p.
p.
124.
Declaration,
126.
p.
379
Bhavita,
p. 379, 148-150.
147. Uktapratyukta,
375
375
p.
Triniudhaka, p. 378
142
Dviinttdhaka,
144.
119.
Incoherent Chatter,
132-133.
p.
139.
Pracchedaka, p. 378
378
Three Men's Talk,
128.
Combination of Words,
141.
120-121.
118. Transference, p. 374
Enigma and Rapartee,
123.
146.
p. 379.
Chapter Twenty one

THE LIMBS OP THE JUNCTURES,
The
1.
Plot
308
action
pp.
five Junctures of the
3-5.
Their
380-381
definition,
Plot,
p.
Beginning,
9.
Possibility of Attainment, p,
381
380
p.
p.
381
the Principal Plot, p. 382
18-19.
kinds of
stages
of the
381
p.
11.
Certainty of Attainment, p. 381
12.
Attainment of Results, pp. 381-382
13-15.
five
Effort,
10.
The two
2.
The
6-8.
Pages 380-400
380
Play to begin with
16-17.
Rules about the omission of Junctures,
The five elements of the Plot, p. 382 22. The Germ,

The Episode, p. 383
24.
p. 383
23. The Prominent Point, p. 383
26-27. The Denouement, p. 383 ;
25. The Episodical Incident, p. 383
p.
382
20-21.
28.
Secondary Junctures in the Episode,
384
p.
Limit of the Epi-
29.
The Episode Indication, p. 384 31. The First Episode

Indication, p. 384
32.
The Second Episode Indication, p. 384 33. The
Third Episode Indication, p, 384 34-35. The Fourth Episode Indication,
36-37.
p. 385
The five Junctures, p. 385 38. The Opening, p. 385
sode, p. 384
30.
39.
The
Progression, p. 385
Pause, pp. 385-386
42-43.
40.
The
The Development,
Conclusion, p.
386
vary in different types of Drama, p. 386; 48-50.

51 .
Alternative Junctures, p. 387- ; 52-53.
The
p.
385
44-47.
41.
The
Junctures
Subjuncturo,
p.
387
sirfold needs of the Limbs
;;;
xxvm
of the Junctures, p. 387
pp. 387-388
Limbs
69.
ment,
390
closure,
Activity,
39D
Joke, Plash of Joke,
892
p.
Meeting
82-
p.
391
391
p.
p.
392
p.
393
p.
ence,
394
p.
cation, p.
Limbs
394
393
86. Deduction,
396
Conclusion, p. 395
Ascertainment,
100.
Gratification, Joy,
Benediction, pp. 396-397
The Supporting
108.
397
396
p.
Scene, p. 398;
Scene, p. 397
394
Alter-
Foresight,
965.
Awakening,
Rever
Opposition,
;
393
Angry
92. Assertion,
94.
p.
90. Censure,
p. 395
98,
Accusation, Confirmation, pp.

Dclivercnce, Surprise,
101.
396
p.
103-105. Termination,
p.
397
107-
The Intimating Speech,
109.
Scene, p. 398
The Anticipatory
113.
Supplication,
Five Explanatory Devices,
106.
The Introductory
110-111.
394
p.
99.
Clever Speech, Retrospect,
102.
393
p.
97. Junction.
392
p.
Outwitting, 6ismay,
Humiliation, p. 39
395
p.
p.
391
391
Supposition, Exaggeration
88.
Placation.
Lassitude
Summing Up,
95.
in the
Assembling,
395-396
Rebuke,
93.
394
Insolence,
91.
p.
Thunderbolt, Reference,
81.
84.
Propitiation, p. 393
87. Revelation, Quarrel, p.
Words,
of the Progression,
77. Refusal, Pessimism, p.
Panicky Commotion, Limbs of the Pause,
89.
74. Dis-
Limbs of the Development,
of Castes,
85. Progress,
Limbs
Accession,
72.
Moving Forward, Hindrance,
79.
Mis-statement, Indication, p, 392;
83.
389-390
Surprise, p. 390
Incitement,
75.
Sweet Words, pp. 391-392
80. Pacification,
p.
390
p-
Amorousness, Pursuit,
76.
70. Enlargement, Establish-
Decision, pp.
Conflict of Peelings,
73.
p.
p.
Allurement,
7.1.
Settling,
78.
Uses of the Limbs of the Junctures,
sixtyfour limbs of the Junctures, pp. 388-389
of the Opening, Suggestion, p. 389
389
p.
64-57.
The
58-68.
The
112.
p.
Transitional
An
Scene, p. 398; 114-130.
ideal
Nataka, pp. 398400.
Chapter Twentytwo
THE
1-5.
The
origin
The
404
The four
;
28-29.
402
p.
The
Presentation, p.
406
origin
405
The
34-37.
306
p.
Graceful Style,
407
407(49-50.
41.
The
p.
The
Pleasantry, p. 407
48.
45-46.
three kinds of
;
52.
30-31.
The Laudation,
27.
The
404
p.
Change
406
p.
51.
p.
407
The
38-40.
Grand
Style, pp.
;
44 The
47.
varieties of the Graceful
Pleasantry, p. 407
p.
33. Particular
405
of Action, p- 406
Unfoldment of Pleasantry,
varieties of the
five
p.
Breach of Alliance,
The four
402
origin of the
of the Nyaya, pp. 403-404
four varieties of the
43
Style, p.
The
14-16.
origin of the
Grand
Personal Business,
Challenge, p. 406
Harsh Discourse,
The
6-11.
Opening of the Story,
32.
;
origin
of the
Verbal Style, p 404
Introduction, p. 404
Style, pp. 405-406
42.
The
17-25.
varieties of the
Introduction, p. 404
Grand
The
12.
origin of the Graceful Style, p. 402
Energetic Style,
86.
401-409
of the Styles, p. 401
Verbal 8tyle, pp. 401-402.;

13.
STYLES, Pages
Beginning
j
5H4,
The
Style, p.
of
Covert
;
;
XXIX
Pleasure, p. 408
Commotion,
49.
409
p.
The Energetic
55-56.
of the Energetic
varieties
409
p.
408
Style, p.
409
p.
63-65. Styles according to Sentiments, p. 409
The
57.
58. Compression, pp.
Raising the Theme,
60.
498
Style, p.
61-62.
four
408409
Conflict
Chapter Twentythree
THE COSTUMES AND MAKE-UP,
1-3.
Costumes and Make-up,
of
pp.410-411
411
Worn
13.
411
p.
Garlands, p. 411
10.
of model-work,
Four
11.
Piercing ornaments, Tied-up ornaments,
12.
Four kinds
4.
The four kinds
5-8
p. 410.
Decoration,
9.
kinds of ornament, p. 411

p.
Pages 410-439
Necessity of the Costumes and Make-up, 410
ornaments. Put-round ornaments,
according habita'tion and tribal origin,
412
p.
412
p.
Ornaments
14.
Ornaments
15.
males
for
Head ornamente, Ear ornaments, p 412

16. Neck ornaments, Finger
17.
Ornaments of the forearm, Wrist ornaments,
ornaments, pp- 412-413
;
413
p.
18.
Ornaments above the elbow,
Ornaments for the entire body,
19.
Ornaments for females

pp. 414-415
415
p.
Head ornaments,
Neck ornaments,
26-27.
Arm
29.
ornaments
Hip ornaments, pp. 416-417
416
p.
p.
p.
419
418-419
p.
;
Raksasa women,
54.
females, pp. 419-420
women
Siddha
52.
p.
419
.p.
31-33.
37-44.
p.
Costume
of celestial
Gandharva women
55. Goddesses, p. 419
Human females
58.
416
ankles, p. 417
53.
56-57.
Monkey
according to their countries,
61.
Women of Avanti and Gauda, p. 420 60 Abhira women, pWomen of the North-east, p. 420 62-63. Women of the South, p.
64.
Ornaments to be worn
420
59.
in the right place, pp.
to suit the condition of females, p. 420

69.
The four
original colours, p. 421
The primary
71-74.
objects, p.
422
81.
human
Colour for gods,
85-87.
demigods, 90-92. Colours for
human
102.
Colours of different castes,
426427
99-101.
p.
426
421
p.
form, p. 422
423
secon-
82. Lifeless
84. Painting
Colours for
88-89.
The
75-80.
422
p.
beings in different regions, p. 424
Colours for Bhutas and Dwarfs, p. 424

peoples of Bharatvarsa, p. 424
p.
420
derivative colours, p. 421
Living beings,
83. Lifeless objects in

;
The
p.
420
Dresses
Painting the limbs,
68.
70.
420- 421; 65-67.
derivative colours, pp. 421-422
dary derivative colours, p. 422
the limbs, p. 422
23-23.
Ear ornaments,
ornaments,
419
p 143
;
Breast ornaments,
28.
45-51.
413
p.
23-25.
Ornaments of the
Other rules about ornaments, pp. 417-418
women
419
415
p.
30. Finger
34-36.
Breast ornaments,
Waist ornaments,
Colours of different
103-109.
93.
Colours of different
94-98.
tribes, p.
425
Rules for the beard,
310-127. Rules for different costumes, pp. 427-429
p.
Use of
128.
masks, p. 429; 129-139. Three kinds of crown, pp. 430-431*; 139-145. Rules
of different hairs, p. 431
of weapons,
pp. 432-433
146-148.
lndra's Banner-staff, p. 433
The Sa
156-1 58.
;
J
160-167.
jiva, p.
432
Use of other
The
148-155.
objects,
p.
Jarjara, pp. 438-484
The use
433
159.
.167-170.
,;
XXX
TheDandakastoVP- 434;
437
p.
tional objects,
436
p.
The
187-198.
Making
198-208.
Use of weapons on the
208-211.
The making of masks, pp. 485-436
170*180.
Other accessories,
180-187.
realistic
and conven-
ornaments, pp. 438-489}
of
stage, p. 439.
Chapter Twenty four

THE BASIC REPRESENTATION,
Importance
1-2.
Temperament,
440
p.
Temperament
of
Physical graces of women, p. 441
6.
441
Peeling, p. 441
8.
Amorous Gestures,
15.
442
p.
443
18.
women,
of
444-445
444
p.
p.
444
tivenoss, p.
Self-control,
447
446
Nobility, p. 446
38.
44. Aiikura, p.
NtvWty.ifik.ira,
48.
Rerpesentation,
448
Repeated Speaking,
p.
\i,
448
Regular
18
sensual perception,
452
p.
452
78.
91-92.
v
Vanous
89-100.
divme
type,
105-106.
''
80.
types of
pp. 454-455
The woman
of
43.
of the verbal
;
Lament,
53.
Pretext, p. 449
57.'
of the Verbal
451}
p.
76-77. Irregular
p.
452
Representation
79.
of the
indifferent mind, p.
95 - 96 Love
'
-
Hist-
447
and the moaning
p.
Sound, p. 452
82. Touch, p. 452
and Smell, pp. 452-453
86. Importance
mind, p. 453;
The
Spor-
37.
46-47. Natyayita,
Laksa,pa defined,
452;
p.
81.
of
Word,
42.
447
of the
90.
personal
27.
Self-posse;
The basic Representation,
87. The three

aspecto
The favourable mind, p. 353
88-89.
!
32. Brilli-
40-41.
58-71. Another classification
84-85. Tasto
446
Twelve forms
I.
of the mind, p. 453;
*S
34..
Spirit, p. 446
Command,
56.
Sastra,
'.he
445
p.
445
36. Gravity, p.
39.
4*K>
72-73.
p.
444
p.
Courage, Dignity, p.
Historionic Representation, p. 451
Practice preferred to
p.
29-30
22.
Dialogue, Change of Words, pp. 448-449
Historionic Representation, p. 451
Form,
444
Involuntary Graces
24.
45. Sakhfi, p.
449
p.
Representation, pp. 449-451
83.
Affection, p.
Coldness, p. 443
Accosting, Prattling, p. 448
54.
Instruction, Statement, p. 449
74-75.
Manifestation f
body, p. 446
the
447
52-
Message, Agreement,
55.
Confusion,
Charm, Rndiance,
26
p.
17.
Affected
21,
Tenacity, pp. 445-446
rionic Representation through
p.
19.
444
p.
Passion, p. 441
11.
Sportive Mimicry, p. 442
14.
Graceful Bearing,
33.
of
definition
origin of these graced p.
441
of Respouse, p. 443
Beauty,
35.
SQca, p. 447
p.
Eight aspects of the male Temperament,
31.
445
443
28.
ant Character, p. 445

ssion, p.
The
8.
Dishabille, p. 442
p. 443
p.
25.
442
p.
16.
Mood,
Anger,
Want
Lolling, p. 443. 23.
Delicacy
442
p.
Hysterical
Pretended
20.
440
The
7.
Emotion,
9-10.
Natural Graces of women,
12-13.
p.
Feminine graces in the drama, pp. 440-441
4-5.
Pages 440-482
P-
of
'
103-104.
Gandharva
p.
W.98.
454
93.
The meaning
Erotic
The woman
type, ,..465
453-454
101-102-
p.
unfavourable
"external", pp.
4S4
women,
453
mind
of the
The
Affair,
94-95
454
The woman of
p.
of Asura type, p. 455
107-108.
The woman o
;;
;
XXXI
Raksasa type,
p.
465
The woman
118.
of tiger type,
woman
Naga
of
type. p. 465
The woman
113-114.
The woman
115-116.
456;
p.
type,
The woman
109-110.
of bird type, p. 456
111-
of Pisaca
of Yaksa type, p. 456

117. The
456; 118-119. The human female, pp. 456457
p.
The woman
120-121.
elephant type, p. 457
The woman
457
of
458
ass type, p.
Thcwoman
458
p.
The woman
147. Etiquette towards
461
classes of
women, pp. 459
women
zan's love, p.
462
166-167.
172-173. Longing, pp.
collection, p.
464;
186-187.
Characteristics
beloved
the
to
women,
210-211.
p.
love,
pp. 466-467
p.
268
268
p.
466
p.
The Heroine with
The Heroine moving

different Heroines,
Heroines, p. 469
Anxiety,
p.
p.
463
184-185.
Women
p.
The Heroine having
465; 190-
The
221-223.
469;
p.
467
her husband in subjecquarrel,
deceived
193.
from
The Heroine dressed
husband,
sojourning
separated
The king's Etiquette
seperated by
268; 217.
180-
Insanity,
lovesickness, p. 466
in
201-207.
267; 212-
p.
love,
176-177. Re-
188-189. Stupor,
to her lover, p. 269
223.
of love,
Signs of a courte-
Reasons for Conjugal Union,
The Heroine
Heroine,
150-155.
Various stages of her
197. Relief
p.
208-209.
214.
215.
194-196.
Eight kinds of Heroine,
The enraged
218.
465;
465-466
460
Manifestation of men's love, p. 465
192.
one, pp.
up for Union,
tion,
174-175.
Sickness, pp. 464-465
of
elassess of Etip.
Enumeration of Merits, pp. 463-464
The female Messenger,
198-200.
169-171
182-183. Lamentation, p. 464
Death, p. 465
191.
462
462-463.
178-179.
Distress, p. 464
181.
p.
463
163-165.
The
144-
Signs of love in a highborn lady, p. 462
168. Signs of a maiden' s love, p.

!
462
p.
459
The beginning
156-159.
134-135.
140-141.
type, p.
Two
147-149.
pp. 460-461
160-162. Signs of love,
458-459
The woman cow
p.
of
of buffalo type,
King'g Etiquette towards women,
quette, p. 460, 149-150.
The three
of goat type, p.
142-143.
The woman
126.
The woman
130-131.
camel type,
of
of swine type, p. 488;
136-137.
of deer type, p. 457
type, p. 458
The woman
132-133.
of horse type, p. 459
woman
p.
Makara
of
The woman of
122-123.
The woman
127-128.
of horse tvpp, p. 458
138-139.
457
typo, p. 459
The woman
124-125.
type, p.
The woman
129.
fish
monkey
of
p.
268
Heroine,
pp.
216.
p.
268;
268-269;
219.
Representation of the
220.
Enraged, deceived and quarreling
The Heroine with a sojourning husband,
p.
469
The Heroine having a husband in subjection, p. 469 ; 225. Different

classes of Heroine moving to their lover, p. 469 ; 226. The courtezan, p.
224.
470
227.
229-232.
Union,
p.
The woman of high
How
470
family, p. 470
to meet a sleeping lover,
236.
472
p,
228.
470
Bohaviour at the Conjugal
Preparation for the Conjugal Union,

the stage, p.
245-252.
pi
471
The Heroine
The hand-maid.
233-235.
Union, p. 470
240-244.
p.
470
The Conjugal
;
237-239.
Acts prohibited on
in expectancy, p.
472
253-2^7.
'
YXTTT
HeroWs reception of the beloved,

Personal omens, pp. 473-474; 258.
Causes
lover, pp. 474-475 ; 264.
guilty
the
Receiving
p. 474 ; 259-264.
of jealousy, p. 475
p.
475
On treating
301.
Disgust, pp. 475-476
Angry
terms of address for tho beloved, p. 479
explained, pp. 480-481
Peeling,
273-292.
beloved p. 479
302-309.
Endearing
Angry terms of address
310-319.
human
320-328. Goddesses in
Acts forbidden on the
293-298.
address explained, pp.479;
terms of
Anger, p 476
Endearing terms for the
299-300.
Mired
267-268.
271-272.
a lover at fault, pp. 476-478
478-479
pp.
stage,
Depression, p. 475
265-266.
269-270.
481-482.
roles, pp.
Chapter Twenty five

DEALINGS WITH COURTEZANS,
Pages 483-492.
The
1-2.
pp. 483-484
Messenger,
The female Messenger,
9-10.
484
p.
24-27.
The
hostile
486
30-31.
p.
485
love, p.
women's heart,
37-39.
p. 487
The
secondary youth, p. 488
The quaternary youth,

p.
488
ft
489
490
60-61.
The
491
68. Gift.
p.
488
Behaviour
49.
p.
429
inferior man, p.
490
491
69. Diasention,
etc.
;
primary youth,
in the
51.
quartcrnary
excellent man,
The middling man,
The
too old
67.
491; 73.
74-80.
The
47-48.
man,
p.
490
Conciliation,
Chastisement, p. 491
p.
of
Acts
45.
488
The
55.
68-59.
62-63.
488
p.
in the
approach to women, pp.490-491
heart from her behaviour, p. 491

p,
489
489;
p.
32-35.
youth, pp. 488-489
Behaviour
52.
486
p.
youth,
tertiary
the secondary
Application of Conciliation, Gift
treatment of men,
43.
The
p.
19.
woman, p.
The middling woman,
The four stages of
46.
53-54. Five types of man, p.
64-66. Psychological
p.
487
p.
p"489; 56-37. The superior man,

p.
three types of
40-41.
The primary youth,
Behaviour in the tertiary youth,

youth,
487
485
p.
Winning back
28-29.
44.
Behaviour in
50.
Qualities of a
attached woman, pp.
hostility, p.
The
36.
p.
woman,
inferior
youth, p. 488
486
p.
Causes of
woman,
superior
The
42.
woman's
11-12
The
20-23.
woman,
winning women's heart, pp. 486-487

487
484
p.
a Gallant,
3-8. Qualities of
Functions of the female Messenger,
13-18.
The woman overcome with

485-486
483
definition of a Gallant, p.
-70-72.
Reading a woman's
courtezan's
mercenary
492.
Chapter Twekttsix
SPECIAL REPRESENTATION,
^^
Oh
J"
Objecteonthe
Reprrcntation, p. 493
ground,
obL'J'n^T
J
p.
493
du 8 8m6kc
Q f'
^T
6.
" tc -
bieCte '
2-4.
Pages 493-510
Day, night, season
ote.
5.
Moonlight, happinc* and air etc, p.

8
Midday 9U n,
494; 9. Pleasant
p.
P 494i11
-
494 I N w t
p.494,l^
klaceandflowcrsetc,p.494
* ^
18.
The
"alto!
idea
feeling,
of entirety,
XXXIII
p.
494
495
etc. p.
p.
14. Audible or visible
495
objects, p.
Lions, bears etc p. 494
18.
Repugnant
16.
objects, p. 494
495
15.
Lighting, shooting star.
Hot wind and heat
17.
etc
19.
Worshipping superiors, p 495

23. Umbrellas, Banners etc,
p. 496 ; 24. Memory
;
20-22. Numerals, p. 495
and meditation
496;
etc, p.
497
497
p.
Height, p. 496
25.
The autumn,
winter, p. 477
The
34.
496
etc, p.
27.
The
31.
496
p.
497
rains, p.
The
32.
Determinants, p. 498
The
41-44.
p. 499
50-51. Joy, p. 499-500
women,
500
Women's mevements
48.
Big
of limbs, p. 499
500
fear, p.
501
36.37
39-40.
The
45-46. General
Women's sorrow,
fear, pp. 500-501
p.
61-64
Parrorts and Sarikiis, p. 501.
65.
497
;
53-54. Jealous Anger

of
56-57.
Women's
intoxicated condition, pp. 501
birds, p.
500
p.
59-60.
498
efforts, p
Meaning of words'
49.
52. Anger, p. 500
Men's sorrow,
55.
#
Men's
58.
Women's
66.
500
p.
States, p.
pp 496-
The summer
Men's and women's
47.
winter,
33.
consequents, pp. 498-499
directions for representation, p. 499
499
rainy night, p.
The
38.
Past and Cessation

early
spring, p. 497
The
35.
Seasons in general, pp, 497-498
26.
The
28-30.
Asses and Camels, p. 501
67.
68-70. Bhiitas and

;
70-71. Greeting an invisible person, p. 502
71-73.
Greeting gods superiors, p. 502 ; 73-74. Great crowd, and
J
502;
Pisacas, p.
friends
502
p.
Mountains and
74-75.
of water, pp. 502-503
78-79.
5U2
tall trees, p.
house and darkness
Lovesick, cursed and possessed persons, p. 503

83-85. Speaking to the sky, pp. 503-504
504
85-86.
p.
504
504-505
91-92. Representing Concealed speakihg,
state
sleep,
p.
p.
506,'
of
507;
p.
506;
p.
507
105-107.
sensation,
p.
p.
508;
508
The
79-80.
;
505-506
98-99.
of
p.
The
p.
505
92-94. Repeti-
No movement
97-98.
Declamation of a
in
person in
old people, Children's words,
506; 102-103. Representation
of
104-105. Death from
eight stages in death
108-109. Tremor,
Representation, p. 505
110-111. Hiccough,
p.
p.
from
507
508;
poison,
109-110.
111-1
2.
112-113. Breaking of the neck, Paralysis,
113 115. Death, pp. 508 509
118-122.
of
103-104. Death from disease, p. 507
Froth in the mouth,
norm
States,
p.
107-108. Weakness, p. 507
Burning
508
Suspension
99-100. Dsclamation
drinking poison,
P-
94-95.
100-102. Dying declamation,
death, p. 507
p.
505
sleeping,
506
p 503
Private Personal address. Thinking within

Mentioning -incidents that occured already, pp.
Observing proper
95-97.
the
503
87-88.
90-91.
p.
ete, p.
Speaking aside, Concealed
ouoself, p.
tion of words,
etc]
Wide expanse
A swing,
80-83.
speaking,
75-78
triple basis of drama,
115-118. General directions,

p.
509
p.
509
123-129. People supplying
to the drama, pp. 509-510.
Chapter Twentyseven
SUCCESS IN DRAMATIC PRODUCTION,
1.
The Success
in dramatic production,
p.
511
Pages 511-526
;
2.
The two kinds
;;
xxxrv
of Success, p. 511
511;
p.
Success, p. 513
The human
8.
The
5-15.
physical
18-19. Three
Blemishes from gods,
p.
514
Success, p. 511
Success,
23-27. Selfmade Blemishes, pp. 514-515
515
p.
29-36. Palpable
sources
Three grades of Blemishes,

41-43. Interpolation
human
efforts in
pp. 519-520;
is
of
617
p.
40.
mance, pp. 520-521
520
p.
mishes, p. 522
522
p.
of limbs, p. 524
83-84.
88-97. Suitable
73.
Qualities of an Actor, p. 526

103. Brilliance
of
102
Pageant, p. 526
An
perforJ
a performance
p.
77-82. Procedure of
554
p.
of time, p. 526
85-87.
100-101.
performance,
ideal
522
p-
performance, p. 525
The
104-105.
59-62. Dis-
Recording of Ble-
Co-ordination,
times for
Emergency performances are independent
98-99,
p. .520
74-75. Ideal position of Assessors in
awarding the Banner, pp 523-524
Charm
44-47. Limitation of
a performance,
Blemishes to be ignored, pp. 522-523
76.
37-39.
62-70. Assessors in a
about
72. Procedure in deciding controversies,
522
514
48-57. Spectators of a performance,
71. Controversy
20.
p.
Benediction, p. 517
Various Classes of spectators,
50.
position of different spectators,
516-517
pp.
Wrong
Blemish, pp. 517-518
a play, pp. 518-519
divine
from an enemy,
Blemishes,
The
pp. 513-514
Blemishes without remedy,
28.
vocal Success,
16-17.
kinds of Blemishes,
21-23. Blemishes
The
4.
511-513;
p.
526
p.
performance,
best
526.
p.
Chapter Thuitfopr
TYPE OP CHARACTERS,
Three types of character in a drama,
1.
male character,
An
p.
527
3-4.
inferior male character,
pp. 527-528
11.
527
p.
24-25.
The two
classes of
33-34 The other queens,
p.
531
p.
531
p.
530
51-53.
533
54-55.
534
64-70.
635
p.
61-64.
Mahattarls, p.
533
57-58.
538
women
The Nirmundas,
p.
535
The
Heroines,
41-42.
Maids of
55-56.
p.
533
53-54.
58-60.
f>.
artistes,
48-49.
Errand
Pratiharics,
;
work,
533
p.
534;
73-74.
71.
530
37-39.
Women
special
p.
p.
Maids
532
girls, p.
;
56-57.
lyuktikas, pp. 533-
to be employed by the kin, p. 534
Other inmates of the harem,

72.
four types of
44-48. Dancers, p. 532
49-51.
Old dames,
Qualities of
inferior
16-20.
30-32.Tho chief queen,
Maids in constant move, pp. 532-533
Maidens,
An
12.
35-36. High-born wives, p. 531
4344. Actresses, pp. 531-532
5-7.
employment for characters, pp. 529-530
40. Concubines, p 531
in constant attendance, p. 532
superior
527
p.
superior female character,
The
20-23.
2-3.
mited character, p. 528
26-29. Female inmates of the harem, p. 530
Ordinary wives,
8-10.
13-14.
four types of the Hero, pp. 528-529
529
527
p.
middling male character,
middling female character, p. 528;
female character, p. 528
p.
Pages 527-537
The Vanjadharas.
The Kaiicukins,
p.
685
p.
76-77,
XXXV
External persosn, pp. 535-636
of the army, p. 586
leader
Judges, p. 537
87-90.
The
78-82
84-85.
king, p. 536
Councillors, pp.
The
82-83.
536-537
85-87.
Courtiers', p. 537.
Chapter Thirtyfive
DISTRIBUTION OP ROLES,
Distribution of Roles, p. 538
1.
538
ribution, p.
Danavas
sas, fiie
The
539-540; 19, 'The role of

disease* pp, 440
without
p,
540
The
22-23.
540-541
The
24.
19-21.
impersonation, p. 541
541
in
31-33.
some
roles,
38. Result of
The
tics
of a king;
gods, p. 546
The
69-71.
62-68.
75. Characteristics
p. 548
Jester,
Members
teristics
of
musician, p.
548
Women
83-85.
p.
547
99-100.
104-135.
72-73.
to
Characteristics
78-81. Charac-
549
be Heroines, p.
party, p. 549
The maker
The
71-72. Characteris-
89-91. Charac-
91-92. Charactcrista of the master
101-102.
costumcr, the painter and the dyer, p, 551

;
typical
p.
550
93-95.
Characteristics of the playwright, p.
96-97.
of ornaments, p. 551
Kusilavas, p, 552
543-544
The
76. Characteristics of the
Characteristics of the Actor, p. 5 51;

;
pp.
53-59.
a Director, pp. 546-547

547
disqualified
theatrical
;
types of dramatic
Meaning of the word Nate,
92-93.
524
p.
Characteristics of the typical
81-83,
the Jester, pp. 549-550
550
p.
women
Characteristics of the Parasite, p. 547
of the typical
of the actress, p, 551
The maker
29.
Impersonation of the attendants
59-62.
544-545
pp.
of the iSakara, pp. 547-548
Benediction defined, p. 550
561; 97-98.
The two
42.
for
j
89-41. Result of
77. Characteristics of the servant, p. 548
result of
impersonation,
delicate type of production,
Director,
p.
The
in different roles,
characteristics of
73-44.
of the courtezen,
Heroine, p. 548
85-89.
p 545
to the
Actor, p. 547
teristics
543
p.
Tho
The
roles,
33-36. Suitability of
natural qualities of a Director, p.
an Assistant
of
of an
acting,
43-47.
violent type of production,
impersonation
of
542
women
37. Training for
of persons
assigning
25-26.
proper assignment of roles, pp 542-543

for
role
of
The unnatural
30,
542
production, p. 543
48-53.
The
psychological preparation
p.
minor characters,
role of
cases
12-13.
role of the
with extra or special limbs, pp.
Imitative representation,
women
employing
Special
539
p,'
The
14,
dist-
Rak$a-
role of
three kinds of impersonation, p. 541
impersonation, p- 541
natural
539
persons,
The
27.
The
28.
role of kings,
p,
entry of a character, p. 541

;
principles of
The
7-8.
The
15-17,
fatigued
proper impersonation, p, 541
The
The
9-11,
roles of characters
first
General
and councillors,
leaders
Kaiicukin and the Srotriya, p, 539

p.
2-4.
role of gods, p. 538
538-539
ete, pp.
army
of
role
The
5-6.
Pages 538-552
other
98-99. Characteristics
of headgears* p> 551
100-101.
The maker of garlands,

103-104. The Craftsmen,
members
of the party, p. 552.
the
the
XXXVI
Chapter Thirtybix
THE DESCENT OF DRAMA ON THE EARTH,
1-9.
Sages question, pp. 553-554
10.
Bharata's reply, pp. 554
The Preliminaries and
their uses, pp. 554-555
Director on the stage,
p.
caricature, p. 556
37-38.
50-51.
p. 559
Gods
j
54-57.
down
71-73
is
34-26.
The
sage3 curse Bharata's sons, pp,
557
558
the
Bharata
41-45.
divine
invites
Urva& and
artistes
mundane drama,
sends his sons
p.
560
Value of the Natyas^stra,
show, and the
final Benediction, p.
p.
39-40. Bharata's
pacifies them, pp, 557-
to the
earth,
to the
;
561
p.
559
558;
p.
58-61. Bharata
earth, pp. 659-560
62-63.
come
65-68, Bhaiate's sons
Kohala and
62-70,
by
556-557:
52-53- Nalnisa approaches Bharata,
the successor of Bharata, p. 560
to the earth,
11-23.
ablution of the
27-29. Bharata's sons offended the sages
reject the request, p.
grants the request and
Kohala
The
their fattier, p.
Nahusja
46-49.
555
80-36-
intercede in favour of Bharata's sons, p. 557
Gods
sons approach
558
Pages 553-661
74-77.
his associates,
p.
560
Value of the dramatic
561.
ADDITIONS AND CORRECTIONS
...
p.
562
INTRODUCTION
The Present Work
I.
General History of the Study
1.
West came
Since the
know
to
of the
Sanskrit literature through
William Jones's translation of the Sakuntala 1 , the nature and origin of

the
ancient Indian theatre have always interested scholars,
especially the
Sanskritists, all over the world.

first
H. H. Wilson who published in

1826 the
volume of his famous work on the subject 2 deplored that the Natya-
sastra,
mentioned and quoted

lost for
had been
ever
in
P. Hall
several commentaries and other works,
who
published
in 1865 his edition of the
a medieval work on the Hindu dramaturgy, did not see any Ms.
of the Natyasastra till his work had greatly advanced 5
And for the time
DasarOpa
being he printeS the relevant chapters of the Natya&istra as an appendix to
DasarSpa.
his
Later on he undertook to critically edit the Ms. of the

this venture was subsequently given up,
; but
Natyasastra he acquired
due perhaps to an insufficiency of materials which consisted

Ms.
numerous lacunae*
full of
But even
if
the
of one unique
work could not be brought
out by Hall, his very important discovery soon helped others to trace similar
Mss. elsewhere.
Aud
1874 Hcymann, a German scholar, published on
in
the basis of Mss. discovered up

the
contents of
The French
teit.
XVH
of
instrumental
very important
1880
in
XV (in part) and the chapter XVI
chapter
9
of the
This was soon followed by his publication of chapters
And
Eegnand, published
J.
later
VI
Grosset another French scholar and a pupil
on
(in 1888) chapter
which treated of the general theory

Saoontaln,
'
Eegnaud published
Sanskritist P.
Vninl884. u
sastra
scholars to the study of this
and in 1884 chapter
Natyasastra.
and
that date a valuable article 7 on the
This seems to have been
Natyasastra.
in attracting competent
till
of
XXVHI "
of the Natya-
Hindu music.
Translated from the original Sanskrit and
or the Fatal Ring.
Pracrita, Caloutta 1789.
H. H. Wilson,
'
Select Speoimens of the
Calcutta. 1826-1827.
4
Wilson,
'
The Dasarupa by Dhananjaya
'
Grosset, Introduction, t.
'
TJeber
Bharata's
Theatre of the Hindus
p. 37. Grosset, Introduction, p.
(Biblioiheca
Mica),
'
iij.
Natyasastrun
in
Le
"
Guimet
1. 1860,
ohapitre
pp. 86
Naohrichten von der
Koeniglisehen
Ref. Grosset, Introduction
du
Bharatiya-naiyasistra.
Annales
metrique de Bharata, texte Sanscrit de deux chapitres
sum
Guimet, Tome,
ff.
'
ff.
It, 1884,
pp. 65
du' Musie
ff.
publio pour premier fois et
Calcutta, 1861-1865.
2-3.
dix-eeptieme
Tome,
La
yolst,
See note 5 above.
Gesellschaft der Wissenschaften, Goetingen 1874, pp. 86
p xj ID. pp
(3
iij.
du Natyasastra
interpretation francaise, Annales
d'une,
'
"
due Musee
Rhctorique sanserite, Paris, 1814.
Contribution a l't*de de la nuisique hindou, Lyons, 1888.
xxxvm
But the
1888; though
till
aspeots of the ancient Indian
some
work and
different chapters of the
were published up
very helpful
on them) which
studies
the understanding of
fot
dramatic works cannot be said to have
thrown any considerable light on the exact nature of the ancient Hindu
manner of their production on the
plays, especially the
Theatre indien
Levi's
(1890) in which he
the contribution of his predecessors in
by
own
his
and added to
field
Though he had
access to three
more or
greatly
it
made unfortunately no great progress
researches,
direction.
specific
the
Sylvain
stage.
discussed comprehensively
in this
complete
less
Mss. of the Natya&astra, Lvi does not seem to have made any serious
attempt to make a close study of the entire work except
XVH-XX(XVffl-XXII
XXXIV.
and
of our text)
chapters
its
Thc.reason for his
relative indifference to the contents of the major portion (nearly nine-tenths)

of the work, seem to be principally the corrupt nature of his Ms. materials,
like his predecessors, Levi paid greater attention to the study

literary
form of the ancient Hindu plays with the difference that he
for the
first
time the relevant chapters of the Natyasastra, 1
the accuracy of the statements
of later writers
on the
of the
utilised
to check
subject
like
Dhananjaya 1 * and Visvanitha 1 * who professed their dependence on the

Natyasastra.
work,
it
But whatever may be the drawback of Levi's magnificient

an
did
excellent
drama by focussing
service to the
Almost simultaneously two
the Natyasastra-
West were planning
well as one in the
on the great importance of

in India
Sanskritists
1
J. Grosset's *
critical
Mss. available up
Though
edition of its
I-X1V
chapters
based on
it
still
materials available,
it is
possible
nowa-dayg
in the light of
to improve
upon his
time a landmark in
study of this important text.
tiie
history of the
a pity that this very excellent

equally deplorable
I.
Chapters
is
that
XVII-XX
it failed
remain for a long
unfinished.
It is
But a
fact
to attract sufficient attention of scholars
XVIU-XXU of our text
The author of the Dasarupa.
See abore note
14
Ike author
Sri Bkaratamuai-pranitam, NiWyajntram,
11
Xwate da
I.
will surely
work remains
11
Partie,
the
remains one of the
modern Western scholarship, and though
work
1 '
all
that date.
till
readings in a few places, Grosset's
"
the
nearly half a century has passed after the publication of
best specimens of
new
Bombay
This was followed in 1898 by
"'
Grosset's incomplete edition of the Natyasastra,
the
as
In 1894 Pandits
its publication.
Shivadatta and Kashinath Pandurang Parab published from

original Sanskrit text of the work.
Indian
ancient
history of
the attention of scholars
).
4.
of the Sabityadarpana. See below.
Bhitrata ur
(Annates de
i'
leTboatru.
Karyamala, 42
Bombay,
1884.
Texts Sanscrit, Edition critique.
UnieertUt de Lyons, Fane.
40, 1898)
Tome
'
TTTTT
the
in
interested
Incomplete though
subject..
was,
it
nevertheless
it
contained a good portion of the rules regarding the presentation of plays on

the stage, and included valuable data on the origin and nature of the
drama, but no -one seems to have subjected it to the

Whoever wrote on Hindu plays after Levi
ancient Indian
searching study it deserved.
work than on
depended more on his

this
was available
may very
the Natyasastra
a substantial
(at least in
even when
itself,
part) in a critical edition.
It
be assumed that the reasons which conspired to
legitimately
render the Natyasastra rather unattractive included among other things,

the difficulty of this text which
was not yet illuminated by a commentary.
Discovery in the early years of the present century of a major portion of a
gupta"
work.
yield
commentary
seemeij
And
of the Natyasastra
by the Kashmirian Abhinava-
however, a new impetus to the study of the
give,
to
appeared for the time being that the Natyasastra would
it
more secrete treasured in the body of
its
difficult
But the
text
first
volume of the Baroda edition of the work (ch. I-VII) 18 including Abhinava's commentary, disillusioned the
expectant
available versions of the Natyasastra, it suffered
Not only did
mission of the text.

a
number of
to their
editor
its
from
relation to the
its
from a very
faulty trans-
contain numerous lacunae, but quite
it
passages were not liable to any definite interpretation due
Of
obviously vitiated nature.

of the
Apart
scholars.
the question of the merit of this commentary and
commentary
mine
scholar friend of
says, 'the
probably
is
condition the learned
this latter
originals are so incorrect

justified
that a
in saying that even if Abhi-
navagupta descended from the Heaven and seen the Mss. he would not
easily restore his
original reading.
now
through which a rough path

of Abhinava's
impenetrable jungle
It is in fact an
The
has been traced'.
textual condition
commentary on chapters VIII-XVHI (VIII-XX of our

9
text) published in 1934
was not appreciably
But whatever may bo
the
better.
real value of the
commentary, the two
volumes of the Natyasastra published from Baroda, which were avowedly

to give the text supposed to
his
have been taken by Abhinava as the basis of
work, presented also considerable new and valuable materials in the
shape of variant readings collated from numerous Mss. of
These sometimes throw new
from the commentary.
as
tents of Natyasastra.
"
Ds
Di, 8. K,
the text as well

light
seems
announcing the existence of a more or
to be the fiist in
complete Ms. ot Abhinava's commentary, and in recommending
less
Poetics,
'
ESkt.
Vol
I.
NaiyasoBtra with the commentary ot AbhinaTagnpta.
Natyasostra
its
publication.
pp. 120-121.
pendix and Index by Ramakrishna Kari. Vol
"
on the con-
study of these togethor with a new and more or
with
reduction and Index by
the
commentary
M. Ramakrishna
1,
of
Kari.
Edited with a preface,
Baroda 1926.
Abhinavagupta.
Vol,
II,
Edited with
Baroda, 1934.
an
'
XL
complete (though uncritical) tett of the work published from Benares
less
in 1929
would,
hoped, bo considered a desideratum by persons
it is
The present work has been the
interested in the ancient Indian drama.

result of such
a study, and in
it
major portion of
of the
plete annotated translation
has been given for the

*
on a text reconstructed by the author.
The Basic Text
2.
The
text of the
time a com-
first
the Natyasastra based
we have
Natyasastra as
seen
is
not available in a
complete critical edition, and Joanny Grosset's test (Paris-Lyons, 1898)

does not go beyond ch.
For
this
edition
XIV-
Hence
cri-
he depended principally upon Ramakrishna Kavi's incomplete
(Baroda, 1926, 1934)
including
had to prepare a
translator
the
remaining chapters before taking up the translation."
tical edition of the
XVIII (our XX) and
running up to ch.
Abhinava's commentary, as well as
Nirnayasagar
the
and
Chowkhamba editions (the first, Bombay 1894, and the second, Benares,
1929). As the test of the Natyasastra has been available in two distinct
After the most
recensions, selection of readings involved some difficulty.
careful
has thought
consideration, the translator
such was
readings from both the recensions, whenever

the context or for
necessary from
felt
the sake of coherence, and these have been mentioned
But no
in the footnotes.
prudent to adopt
it
serious
may be made
objection
against this
rather unorthodox procedure, for A. A. Macdonell in his critical text of

the Brhaddevatit
(Cambridge, Mass. 1904) has actually worked in this
manner, and J. Grosset too in his edition 'does not give unqualified preference to any racension and confesses
due to conditions peculiar to
that
the Natyasastra his text has 'un caractere largement eclectique' (Introduction, p.
xxv) and he further says 'nous n'avions pas l'arabition chimerique
detendreala
tions
rcconstitution
do not seem
"
to
du Bharata primitif
'/.).
(loc.
Condi-
have chaged much since then.
.Sn'-Bharltmuni-prattitam Na/ayasastram.
{Kashi- Sanskrit StrUi\
Benares,
1929.
'
'
This edition will be published later on. The following chapters of the NS. have
been translated into Frooch

P.
Begnaud
in hie
ch
XIV
and
Metrique du Bharata
XV
;
our
XV
and
XVI
see note 8 above. eh.
Vogabhinaya by
XVII (our XVIII)
Ihtsxeidhnna by Luigia Niiti-Dolci in her Les Grammairiens Prakrit,

partially ,( 1-24
Na/yasasrra, See JDL, 1930, pp.

a l'ttude de la mnsique hindou
73f.
Chapter
XXVIII
Bonn. 1922, and
ch.
IV by
the Tawdavalaksanam, Madras,
by
J. Grosset in his
Besides these, ch,
see note 10 above.
Breoler in his Qrund-elemente der alt-indisohen

iflstra.
This has been
translated into English by the present writer in his Date of die Bharata-
Musik nach dem
K V. N. Naidu, P. 8.
1936 and chapters
Contribution
XXVUI
by B.
Bharatiya-nafya-
NaiduandO.V. B. Pantlu
Mil
translated into Bengali
the late Pandit Asokenath Bhattacharyya in the Vasomati, 1352
B8.
in
by
XLI
3.
Though
Translation
the translation has been
made
literal as far as possible
words and phrases introduced
that the stock
have been mostly omitted,
it
to
fill
except
up incomplete
lines
has been found necessary to add a number of
words [enclosed in rectangular brackets] in order to bring
of explanatory
out properly the exact meaning of the
Technical terms have
condensed
Sanskrit
original.
often been repeated (within curved brackets) in
in their basic form, especially where they are explained

In cases where the technical terms could not be literally ren-
the translation
or defined.
dered into English they were treated in two different ways

given in romanised form with initial capital letters
(XX. 107-108,
translation
'112-113),
Nyaya (XXII.
(1)
they were
Bhana and Vithi

(2) Words given as
e.g.
17-18) etc.
have "been adopted with a view to indicating as far as possible
the exact significance of the original, e.g. State (ihava) Sentiment (rasa),
VI. 33-34. Discovery (Prapti), Persuasion (siddhi), Parallelism (uddAarana) (XVII.
1),
Prominant Point (bindu), Plot
(.mufti)
(XX.15)
etc
Lest these should be taken in their usual English sense they are distinguished by initial capital letters.
Constantly occuring optative verbal
forms have been mostly ignored.
Such verbs
have frequently been rendered by simple
And nouns used
in singular
number
'is'
as kuryat
and bhavet
etc,
or a similar indicative form.
for the sake of metre
have been
silently
rendered by those in plural number and vice versa, when such was considered necessary
from the context.
Notes to the Traslation
4.
Notes added to this volumes

(a) Text-critical.
diately,
it
As the basic
fall
generally into
has been considered necessary to record
variant
For obvious reasons variants which in the author's

important have not been generally recorded,
among other
include
subjects
things
three categories,
text is not going to be published
references
imme-
readings.
opinion are less
(b) Explanatory.
to different
and occasional short extracts from the same.
These
works on
allied
Abhinavagupta's
commentary naturally occupies a prominent place among such works, and

it
has very often been quoted and referred
that the worth of this
work should be unduly
for Comparative Study.
very
old text
to.
But
this does not
exaggerated.
like
'
(c)
mean
Materials
the Natyasastra not
illuminated by anything like a complete and lucid commentary, should

naturally
lw
studied in comparison
directly or indirectly.
Hence such
with works treating similar topics

materials have been carefully collated
as far as the resouroes at

the author's disposal permitted.
!
pp. 161ff.
See
M, Qhosh, "The NS. and
tho Abhinavabhoratt" in
IHQ vol.
X.
1934,
zLir
Bat even when supplied with
may have some
difficulty
these nates, readers of this translation
the
in reconstructing from
work written
To give
hoary antiquity
aa well aa literary form, as it existed in the
them some help the theory and praotice of the ancient Hindu drama has
been briefly discussed below together with other relevant matters.
II.
The Ancient Indian Theory of Drama

The Meaning of Natya
1,
The word "Natya" has

But on a
and the
often been translated as 'drama'
plays of ancient India have indeed some
the Greeks.
of similarity with those of
points
examination of the technique of their pro-
closer
duction as described in the NatyaSastra, the Hindu dramas represented by

the available specimens, will appear to be considerably different.
this important fact is borne in
to create a
wrong impression.
mind any
As
Unless
discussion on the subject is liable
early as 1890 Sylvain
Levi (pp. 423-424)
noticed that Indian Natya differed from the Greek
drama from which
the Westerners derived their early conception of the
art.
not possible to agree with Levi on

of this difference and the causes
all
le
drame
Taction mttne" (Joe.
est
it is
which he attributed to them, no one
ndtaka par se nature autant que par son nom

scenique
Though
points about the various aspects
any serious objection against his finding that,
can possibly have
se
cit).
"Le
rapproaehe de-la dance
Levi however did not
for reasons stated above fully utilize in this connection the Natyasastra
which contains ample materials
The
for clarifying his conclusion.
nature of the (Natya)
essential
derived from
its
cannot by any means be called fanciful. For in the Harivamsa 1
we meet with an
naccidavvam
(a
The terms
cle),
all
etymology
(c.
200 A.C)
expression like nalflkam nanrtuh (they danced a play) and
the KarpQramaBjari 1
(c.
Sattaka
like
is
1000 A.C.) has an

to be
expression
like
sattaam
danced or acted).
rupaka or rUpa
and preksa
(representation)
(specta-
denoting dramatic works, also characterise the Hindu dramas
and show their difference from the drama of the Greeks who laid
emphasis on action and not on the spectacle. Of the sir parts of the
tragedy, the most typical of the Greek dramatic productions, Aristotle
puts emphasis on the fable or the plot and considers decoration to be unimportant. On this point the philosopher says
:
"Terror and pity may be raised by decoration the mere spectacle; but
they
may
also arise
from the circumstanco of the action
Visuparrw, Oh.
93. 81. 28,
in
the ancient Indian drama in itt theatrical
a diifiise manner thepicture of
* .Ed.
M. Ghosh,
itself,
p. 80.
which
is
far
XUEt
Prferable
aad shows a superior poet,
For the
that wiftout the assistance of the sight
its
fable should
incidents
be so construe-
may
excite horror
eommissemtion in those who hear them only;

#
#
#
to produce this effect by meaa3 of the decoration discovers
want of
in the poet ; who mast also be supplied with an expensive
art
apparatus"
(JIXIH).
But
in case of the
Hindu dramas
the decoration
and make-up) mostly plays an important

gestures
elements such as
repftscntation of the
teristic
form.
But
(i.
and postures (ahgikd), words
Temperament
(satlva), it gives the
in the theatre of the Greeks,
it
was properly made.
"the power of tragedy
that,
is felt
five other
(vacika),
Natya
was not the
performance of the tragedies, for example, they did not care

spectcale, if the declamation
the costumes
c.
Equally with
part.
the
charac-
its
In the
case.
much
for the
For Aristotle himself
says
without representation and actors"
IH).'
(II.
Another peculiarity of the Hindu dramas was their general dependence

on dance (nrtya), song
and instrumental music (vadya).
[gita),
Greek tragedy introduced
the chorus of the
songs, the function of these elements
ent in the
The
Hindu drama.
in it
some
seem to have been considerably
and
the instrumental music
But these
was played during the performance whenever
plays or different types of play.
According as the emphasis was to be put
what the moderns would
spectacle' 6 .
selves in
Due
its
individual part partook of the
call 'drama', 'opera', 'ballet' or 'dramatic
to this nature the
many ways with
Hindu dramas which connected them-
song, dance
and instrumental music, had a
form which was to some extent
different
But
this literary
was not so much due to
it
their production
dances of actors,
different elements did not play an equal part in all the
on words, music, or dance, a play or

nature of
and
differ-
ancient Indian play was produced through
words, gestures, postures, costumes, make-up, songs and
necessary.
Though
sort of dance
literary
from that of the ancient Greeks.

form as to the technique of
on the stage that the Hindu dramas received their special
character.
After forming a general idea of this Natya, from the various terms
used to denote
exactly
it,
one should enquire what the ancient Indian theorists
meant by the term (Natya) or what they regarded as being the
essence of the dramatic art as opposed

to the arts of poetry,
To satisfy,
ting.
following passage
fiction
or pain-
our ouriosity on this point the Natyasastra gives us the
which may pass
'A mimicry of the
for a definition of the Natya.
exploits of gods, the Asuras, kings
householders in this world,
is
called
drama"
'
Poetics (Eferymans Library),

p. 27.
'
HJB. Wilson, On
'
(1.
as well as of
120).
Ibid. p. 17.
the Dramatic System of the Hindu, Oaloutta, 1827, pt. 1420.
xiiEV
This description Beems to
is
a copy of
life,
fall in
a line with Cicero's view that "drama
a mirror of custom, a
In this
truth".
reflection of
state-
ment Cicero evidently takes his cue from Aristotle who considered that the
But this does not help us
art in general consisted of imitation (mimesis).
very much to ascertain the nature of drama as an example of 'imitation'.
For the Greek philosopher nowhere

So when he declares that
term.
important
this very essentially
defines
"epic poetry, tragedy, comedy, dythrambics
as also for the most part the music of the flute and of the lyre all these are
in the most general view of
drama
rules as to
how
Hindu
the
to be
no such
make mimicry
is to
their divine or semi-divine counterparts.
tion that the
Hindu drama has been
By
be seen' (SD. 270-271).

etc. are
this
at once distinguished
down very
lays
due
elaborate
men and
of the exploits of
It is
to rules of representa-
called by the later theorists
'a
poem
term epic or narrative poetry and
from drama which
For an answer
reality ?
Did
ventions of the
this
mean a
to this question
It
may
word mimicry (anukarana)
exactly was m-ant by the
used by the Indian theorists.
to
fiction
preminently a spectacle
is
including a mimicry of activities of mortals, gods or demigods.
now be asked what
how
about understanding
difficulty
The Natyasastra
theorists.
drama
at best guess
There seems
imitates.
the view of the
them imitations" 8 one can
we
perfect reproduction of the
are to look
into the con-
Hindu drama.
The Dramatic Conventions
2.
That the Hindu
theorists turned
their attention
very early to the
problem of dramatic representation and enquired about the exact placo of

realism or
its
absence in connection with the production of a play,
seen clearly from their very sensible division of the

"realistic" (tokadAarami,
lit.
theatrical".
By
lit.
is
to be
practice into
popular) and "conventional" (nalyadAami,
the realistic practice, the Na^yasastra
XXIII. 187-188) means the reproduction

and women
technical
of the natural
on, the stage as well as tho cases
(XIV. 62-76
behaviour of men
natural presentation.
of other
But from the very elaborate treatment of the various conventions regarding
the use of dance, songs, gestures and
it is
speeches etc.
by
different
characters
obvious that tho tradition of the ancient Hindu theatre recognised very
early the simple truth
allow to
itself
that the real art to deserve the name, is bound to
a certain degree of
through many conventions.

practice on the stage;
is
artificiality
One very
speeches
advocates of extreme realism
may
which receives
its
recognition
patent example of this conventional
uttered 'aside' or as soliloquy.

find fault
The
with these as unnatural, and
the accusation cannot be denied, but on closer examination of circumstances
connected with the construction of a play as well as

stage,
it
will be
BMtfc,p.6-
fouud that
if
its
the spectators are to
production on the
demand realism very
30.V
rigidly then
no theatrioal performence of any value, may be
possible.
Neither the Hindus nor the Greeks ran after this kind of absurdity.
Critics
of
ancient Indian dramas will do -well to
to
understand the scope and necessity of various conventions relating to

that they
production, so
the
may
better
remember
this
appreciate
and
the
to take care
great
art of
play-wrights like Bhasa, Kalidasa, ikdraka and Visakhadatta.
Time and
3.
Drama
place in
Hindu playwrights, unlike the majority
make any attempt
never
of
Greek
tragedians, did
to restrict the fictional action to a length of time
roighly similar to that taken up by the production of a drama on the stage.
In developing plots they had not much restriction on the length of time,
provided that, individual Acts were to include incidents that could take
place in course of a single day, and nothing could be put in there to interrupt
the routine
duties
such as saying prayers or taking meals
the lapse of time between
more than a year)' was
never
(XX
and
23),
two Acts, which might be a month or a year (but
(pravesaka) preceding the last one
be indicated by an Introductory Scene
to
(XX.
27-28).
Similarly there was almost no restriction about the locality to which

individual
Actors, and gods in their
human
except that the
Bharatavarsa (XX.
characters
human
were to be assigned,
roles
were always
to be placed in India
i.e.
97).
The Unity of Impression
4.
In spite of having no rules restricting the time and place relating to

different incidents included in the plot of
careful about the unity
For
of impression
a drama, the playwright had to be
which
this purpose the Natyasastra seems to
The Germ
(Hj'a) of the
it
was calculated
to produce.
have the following devices
play as well as
Prominent Point (iindu)
its
was always to relate to every Act of the play and the Hero was sometimes
to
appear in every Act or to be mentioned there
An Aet was
not to present too
many
(XX.
15, 30).
incidents
(XX24), and such
subsidiary events as might affect the unity of impression on their being

directly presented,
were merely to be reported in an Introductory Scene.
Besides this, short Explanatory Scenes were sometimes put in before an
Act to
clarify the events occuring in it
(XXI). 106-111.
All these, not only
helped the play to produce an unity of impression but also imparted to

plot a rapidity
of
movement which
is
essential for
its
any kind of successful
dramatic presentation.
5.
Criticism of
Drama
Indians from very early times considered plays to

spectacle'
(Jrekea) or 'things' to be visualised
BhaTabhwti however violates the rule in his Uttara.
paw between Acts
and
II.
be
essentially
hence persons attending

in letting
many
years
XLVI
(XXVII. 48-57) as
the performance of a play were always referred to

'spectators' or 'observers'
(prehataY and never as
was always the speech element
there
in
it,
audience (srotr), although
which was a
tiling to
be heard.
This disposes of the question of judging the value of a drama except in

connection with its production on the stage
Though
this
in historical tiuies
wo
written dramas
find
was probably not the case
the stage by
the
drama
the
till
often
medieval
late
times'
".
upon* by Indians as
playwright creators like Blusa,
great
impro-
seems to have
practice
this
naturally continued to be looked
spectacles oven after
historical reason.
drama wore
the
of
the actors", and
continued in certain claws of folk-plays
Hence
an
it
produced on the stage,
very early times, and the dialogues
in
which contribute an important part

vised on
This importance of the
aspect of a play has possibly behind
representational
SOdraka, and Bhavabhuti had writt-n their dramas
which
Kalidasa,
in spite of
their traditional form were literary master-pieces.
Now, dramas being
essentially things to be visualised, their
judgement
should properly rest with the people railed upon to witness

them.
was not only the ancient Hindu view, even the modern producers, in
of th<ir
enlisting
the service of
actually
on
opinion
the
of
the
professional
common
This
spite
(dramatic) eritics, depend
people
who
attend
their
performance.
The judgement of the drama which is to depend on spectators

has
been clearly explained in the theory of the Success discussed
in tho Natyasastra (XXVII). In this connection one must
remember the medley of
persons who usually assemble to witness a dramatic
performance and what
varying taste and inclinations they might possess.
For, this may give us
some guidance as to what value should be put on
their judgement which
appear to have no chance of unity. In laying
down the
characteristics of a
drama
the Natyasastra has the following
those bent on
fulfilment,
restraint
and
in
doing their
it
duty,
chastise* those
those
who
"This (the Niitya) teaches duty to
love to those
who "are
are ill-bread or unruly,
eager
for
promotes
its
self-
who
are disciplined, gives courage

to coward*, energy
men of poor intellect and gives wisdom
to the
learned. Ihis gives diversion
to kings, firmness
[of mind] tcpersons afflicted
with sorrow, and [hints of
acquiring] wealth to those
who arc for earning
it, and it brings
composure to persons agitated
in mind.
to heroic persons, enlightens
The drama
in
Tho Kr,akirtana,
our early boyhood that
theatre
whi^ depend
ol
a collltfo,
teZ3
of
MidH,
J^T"*
Vo11
as I
*>
*" ol.dnm.. We Mw
ZSJl'^ """"*"* '^^ -*
XLvn
havo devised,
a mimicry of actions and conducts of people, which
is
in various emotions
and which depicts
men good, bad and
to actions of
different situations.
to
rich
and will give courage, amuse-
indifferent,
ment and happiness as well as counsel
is
This will relate
them
all" (1.108-112).
objected against the foregoing passage that
no one play
possibly please all the different types of people.
take
may bo
It
But>
a dramatic performance,
amusement.
this
is
is
to deny its
For, the love of spectacle
being
so,
every
this
can
view of
principal character as a social
inherent in all normal people and

one will enjoy a play whatever be its theme, unless
it
'to contain anything which
is
is anti-social in character.
The remarks
of
the author of the Natyasastra quoted above on the varied profits the spectators will reap from witnessing a performance, merely shows in what
diverse
ways
different 'types
plays have thoir special
of
And
dinous spectators.
appeal to the multitu-
his very detailed treatment of this point, is for the
sake of suggesting what various aspects a drama or
its performance may

This manysidedncss of an ideal drama has been
have for the spectators.
summed up by Kalidasa who says, "The drama, is to provide

who may differ a great deal as regards
tastes" (Malavi. 1.4). It is by way of exemplifying the tastes of such
very aptly
satisfaction in one [place] to people
their
persons of different category that the Natyasastra says
"Young people are
pleased to sec
[the presentation
of]
love, the
learned a reference to some [religious or philosophical] doctrine, the seekers

after
money
topics of wealth,
and the passionless
in topics of liberation.
Heroic persons are always pleased in the Odious and the Terrible
Sentiments, personal combats and battles, and
legends,
and
persons are always delighted with the Comic
Costumes and Make-up"
These varying
(XXV.
tastes
The Success
the divine Success
came from
beings.
manner, that
[(XXVII.
[their
was in
human (nianum) (XXVII.
16-17),
i.e.
two
these two,
persons possessed of culture
and the human Success
from these
latter,
who
are liable to give
tumultuous applause and similar
related to
its
expression to
other
5, 6, 12,
of the
16-17).
latter
acts
proceeded
while the spectators of the superior order gave
appreciation of the deeper and the more subtle
Spectators
Of
2).
or disapproval in the clearest and the most energetic
3, 8-18, 13-14),
sXXVII,
his theory of
his opinion of
and came from the average spectators who were ordinary
It is
their enjoyment
when ho formulated
seems to be related to the deeper aspects of a play and
and education (XXVII.
human
and remarkable
of individual spectators were taken into consi-
spectators of a superior order
superficial aspects
Sentiment
in dramatic performance
kinds, divine (dat'viki) and
old people in Puranic
children and uncultured
59-61).
deration by the author of the Natyasastra

the Success.
th/3
And common women,
tales of virtue.
aspects of a play
During the medieval times the approval
of the
kind .came to bo considered appreciation par
XLVUI
They analysed
excellence and pro-occupied tho experts or learned critics.

its
process in every detail with the greatest possible
adherence of Bharata's theory
may bo
it
in spite of this later
what
development of this aspect of dramatic
drama was
basically a social amusraent
gr eat deal for its success
sastra has
set
cri-
Critic* never
and as such depen-
Even the Natya-
on the average spectator.
more than once very clearly said that the ultimate court of appeal
concerning the dramatic practice was the people

fixed
zealous
upon
built
never became the preserve of specalists or scholars.
forgot that the
ded a
Sentiment (rasa)
called a psychological basis.
But
ticism
of
care in their
of rules, be
(XX.
Hence
125-126).
considered enough for regulating the criticism of a performance.
why
seems to be tho reason

different kinds
co-operation
Natyavcda or the Natyasastra was never
of the
it
This
Assessors appointed to judge the
special
(XXVI. 6S-69), decided in

who among the contestants deserved
occurring in a play
of action
with the select spectators,
to be rewarded.
The Four Aspects of Drama.
6.
Though the Hindu
plays are
usually referred to as 'drama' all the ten
varieties of play (riifia) described in the Natyasastra are not strictly
Due
ing dramas in the modern sense.
to the
speak-
peculiar technique of their
construction and production they would partially
at least partake of the
nature of pure drama, opera, ballet or merely dramatic spectacle.
To
under-
stand this technique one must have knowledge of the Styles (vrtti) of dra-
matic production described in the Natyasastra (XXII).

in
number are as follows
the Verbal
(bharati),
Energetic (arabhali) and the Graceful (iaisiki).

tion
in
which
is
the
These being four
Grand
The
(saltvati),
tho
presenta-
theatrical
characterised by a preponderating use of speech (in Skt.) and
which male characters are excusivcly
Verbal Style (XXII.
25ff.).
This
is
to
be employed,
is
said to be
in the
applicable mainly in the evocation of the
Pathetic and the Mervellous Sentiments.

for its effect
acts
The presentation which depends

on various gestures and speeches, display of strength as well as
showing tho rise of tho
(XXII. 38
ff).
This
Furious Sentiments.
is
spirits, is considered to
be in the Grand Style
applicable to the Heroic, the Marvellous
The
Stylo
and the
which includes the presentation of a bold
many words, practising deception, falsehood and bragging

down, jumping, crossing over, doing deeds of
magic and
conjuration etc, is called the Energetic one. This
is applicable to tho Terrible, the Odious and the Furious Sentiments
(XXII. 55ff).
person speaking
and of
falling
The
tion which
is specially
interesting
on account
of
presenta-
charming costumes worn
mostly by female characters and in which many

kinds of dancing and singing are included, and the themes acted ralate
to the practice of love and ite
XL1X
enjoyment;
is
said to constitute the Graceful Style (XXII. 47ff).
It is
pro-
per to the Erotic and the Comic Sentiments.
From a careful examination of the foregoing descriptions one will see

that the Styles, excepting the Graceful, are not mutually quite exclusive in
their application. On analysing the description of different types of play
given in
the
tlio
Natyasastra
it
will be found that the Nataka, the Prakarana.
Samavakara and the Ihamrga may include
tation, while the I)iraa, the
all
the Styles in their presen-
Vyayoga, the Prahasana, the Utsrstikanka, the
Bhaiia and the Vithi, only some of those
(XX.
88, 96).
Hence one may
call
into question the soundness of the fourfold theoretical division of the Styles
of presentation.
it
But
logically defective though this division
may
appear,
helps one greatly to understand the prevailing character of the perfor-
mance
of a play as it adopts one or
to one or the oîer.
It
is
more of the
responsible for giving a play the character of a

spectacle),
an opera or a
ballet,
Styles,
and gives prominence
variation of emphasis on
drama
these,
which
is
(including a dramatic
Considered from this standpoint, dramas or
dramatic spectacles like the Nataka, the Prakarana, the ?amavakara and
the Ihamrga may, in their individual Acts, betray the characteristics of an
opera or a
ballet.
attractive costumes
The Prahasana, an, one Act drama to be presented with

and dance, may however to some extent, partake of the
The Pima,
nature of a ballet.
the Vithi, the Bhaiia, ihe Vyayoga and the
Utsrstikanka are simple dramas devoid of dance and colourful costumes.
Literary Structure of the
III.
1.
To
The Nalaka,
drama,
it
Drama
Ten Types of Play
understand the literary structure of the Hindu
will be convenient to take
up
first
of all the
Nataka which
is
the
1
most important of tho ten kinds of play described in the Natyasastra .
Subject-matter and division into Acts.
(a)
The Nataka
fetory
and for
its
a play having for
is
Hero
its
subject-matter a well-known
a celebrated person of exalted nature.
It describes
the character of a person descending from a royal seer, the divine protection for him, and his
many superhuman powers and
exploits,
success in different undertakings and amorous pastimes
should have an appropriate number of Acts
As
the exploits of the
Hero
of the
success in different undertakings
(XX.
such as
and this play
10-12).
Nataka have been
restricted to his
including love-matters, it is a sort of
Hero's
can never permit the representation of the
compulunder
him
with
treaty
a
or
enemy
defeat, flight or capture by the
'comedy', and as such
it
NS. ignores the Uparopakas. Fortheae scoSD. NL. andBhP.
ete.^
Such a representation would negutive the subject of the play
sion.
is
But
the triumph or the prosperity of the Hero.
The
an Act.
before
whir],
these except his
(th,.
could be reported in an Introductory Scene which may
Hero's) death,
come
all
presentation of the Hero's
death was
for
obvious reasons impossible in a comedy.
The
Nataba,
thing that attracts the attention of reader on opening a
first
Prologue (sthapana or prastuvana).
its
is
Natyasastra this was a part of the
like
to
th<-
That famous playwright*
play proper (V. 171).
outside the scope of the
But according
Preliminaries (/mrvaraitna) and was
Bhisa, Kalidasa and others wrote
it
themselves
aii'l
made
it
the formal
beginning of their dramas, seems to show that they made in this matter an
innovation which as great creative geniuses they were fully entitled
But unlike
Greek
the
to.
Hindu Natakas are divided
plays the
into
Acts the number of which must not be
le.
(XX.
set of clearly divided scenes a
These Acts, however, are not a
57).
than
or more than
live'
they usually are in modern western compositions of this category.
Act of the Hindn drama consists of a

nected scenes* which due
from one another.
Only
-(i)
portant
to its
series of
more or
technique could not be separated
peculiar
(XX.
18).
royal Hero, hi* queen, minister, and similar other im-
personages are to be mndo prominent in
character
An
less loosely con-
It has three important characteristics
the
dn
it
and not any minor
This rule seems to be meant for securing the unity of
impression which has been referred to before.

(ii) It i9
to include only
course of a single day
(XX.
those
23).
If
incidents which could take place in
happens that
so
it
all
the incidents
occurring within a single day cannot be accommodated in an Act these

.
surplus events are to be reported in a clearly separated part of

the Introductory Scene
take
part
(XX.
(firaveiaka) where
The same should be
27, 30).
the
31).
Evidently
for the action of play.
not cover more than
these
latter
But according
a year
(XX.
should
to
28).
called
method of reporting
events that are to be shown as having occurred in the interval
Acts (XX.
it,
minor characters only can
be,
between two
of secondary importance
the Natyasastra these;
This
al
should
lowance of a rather long
period of time for
less important events occurring between

two Acts of a
means by which the Hindu playwrights imparted speed to
the action of the play and compressed the entire plot
distributed through
Nitaka was
many
the
events over days, months
and years within
suitable for representation within a

(iii)
An Act should
narrow frame-work
not include the representation of events relating
to feats of etcessive anger, favour
'
its
few hours.
Sao note 2 in IV. below.
and
gift,
pronouncing a course, running
LI
away, marriage, a miracle, a battle,
and the like (XX.
of a city
loss
kingdom, death and the siege
of
The purpose
20, 21).
of this prohibition was
probably that, when elaborately presented in an Act, these might divert
much
of the spectator's interest from the line of the principal
which the play was
to
which
it
of impression
Sentiment
evoke and might therefore interfere whith the unity
was to make.
Explanatory Devices
(b)
The
(i)
Introductory Scene.
shown before how
which the one was more important than the
of evonts of
in
represented
they
It has been
the
playwrights divided the entire action of the Nataka into two sets
Ililtdu
Acts
its
we
This Scene
Acts.
important
whenever
important ones 'were reported,
Scene giving
the
and how
other,
whereas
set,
the less
necessary, in an Introductory
the idea of the time that intervened between any two

is
one of the
Explanatory Devices {arthopaksepaka)
five
which were adopted by the playwright for clarifying the obscurities that
were liable to occur due to his extreme condensation of the subject-matter.
The
other
Speech (culika),
Explanatory Devices are as follows
The
Intimating
(viskam&haka) the Transitional
the Supporting Scene
Scene (ankdvalara) and the Anticipatory Scene (ahkamukha).
When some
The Intimating Speech.
(ii)
explained by a superior,
curtain, it is called the Intimating Speech
The Supporting
(iii)
Opening Juncture only
(iv)
is
come immediately
Scene.
When
Germ
of the<play,
relates to the
meant for describing some
It is
after
(XXI.
106-107).
a scene which occurs between
it is
is
included in
relates to
it,
called the Transitional Scene
112).
(v)
Act
to
from behind the
108).
The Supporting Scene
a continuation of an Act and
the purpose of the
(XXL
is
The Transitional
is
icene.
(XXI.
the Nataka.
of
incident or occurrence that
two Acts or
points [in the play] are
middling or inferior character
The Anticipatory Scene.
When
detached beginning of an
the
summarised by a male or a female character,
cipatory Scene
(XXI.
(c)
it is called
the Anti-
112).
The
Plot and
its
Development
The Plot or the subject-matter (vaslu) of a Nataka may be twofold

"The principal" (adkikarika) and the "incidental" (prasahgiia). The
:
meaning of the principal Plot

Plot
is
is
obvious from
name, and an incidental
its
that in whioh the characters acting in their
own
furthe^thc purpose of the Hero of the pricipal Plot
The
interest incidentally
(XXL
2-5).
exertion of the Hero for the result to be attained,
represented
through
the following
(ambha), Effort (prayatna),
five
Possibility
stages
(XXI. 8)
is to
be
Beginning
of Attainment (pmpti-sqmihavd),
^
LII
Attainment
of
Certainty
These
(fhalaprapti).
and Attainment of the Result
(niyal&pti)
five stages
the Plot
of
Elements of the Plot (XXI. 20-21) such
five
corresponding
(bija),
the Prominent
liave
Germ
the
as,
Point Hindu) the Episode {pataka), tho Episodical Incident (firaian) and
Besides these aspects of the action and the
Denouement (karya).
the
Plot of the Nataka, the
depending on
its
has been viewed
elaboration of the latter
division into
Opening {mukhi), the Progression ipratimukha). the Develop-
follows*: the
ment (gariha), the Pause (vimaria) and the Conclusion
Aud
a<
the following live Junctions which are a-
have been further subdivided and
these
detailed hints as to
how
was
the playwright
(;'<
vahaiia)-
described
to produce
to
give
a manageable play
including events supposed to occur during a long period of time.

Kalidasa's Sakuntalii
known examples
of the
The Prakarana.
and Bhiisa's
'
The second
real life
range".
the
respect-
all
\^ Plot
army (XX.
49-51).
priest,
officer of the
not meet the Hero when he
high family, and
if
is
in the
'.
the Praka''it
o-mrtezan or a
But the court<vun should
company
of a lady or gentleman of
the courtezans aud respectable
ladies
must meet on any
account they are to keep their language aud manners undistorted
From
56).
these
takes a
drawn from
king or a leader of
The female characters include
depraved woman of good family (XX. 33)
is
that
The Hero may ben
love
is
an
play,
eept
original and
to be
is
and the most appropriate theme
Brahmin, merchant, minister,
Hindu
species of
rana which resembles the Nataka in

rather less elevated
Svapna-vasavadattii are well-
Nataka
(XX.
55-
and other features, the Prakarana has been called a
bourgeois comedy or comedy of manners of a rank below royalty.

Siidraka's
Mrcchakatika and Bhavabhiiti's Malatimadhava are well-
known examples of the Prakarana.

The Samavakhra. The Saniavakara
of
some mythological story which
Asura,
who must be
to take for
minutes).'
its
Hero.
relates
is
the dramatic representation
to gods
and some well-known
It should consist of
three Acfr which are

performance eighteen Nadikas (seven hours and twelve
Of these the first Act is to take twelve and
the econd four
their
and the third
two Nadikas only. The subject-matter

of the Samnvakara
should present deception, excitement or love,
and the number of characters
allowed in it arc twelve.
And besides this, metres used in it should be
of the compter
kind (XX.
63-76).
u.atetheobj^lofdramat.c utriga,, a
prohibition which could sadly hare
cooled tho
tta * ll
"< Ooagrero -Select *pc*im.a. of Hindu
nSTSSu
See"
*lM
H.H. Witaw, Oo tho Dramatic

Sysfe.
tb, Hindus, Occulta, 1887, p. 16.
LIU
No
old specimen of this type of
description given in the NatyaSastra
drama has reached
not a fully developed drama, but.only a dramatic
a mythological story.
and production of
the
spectacle on the sasis of
became extinct with the development
It naturally
fulfledged
Prom
us.
seems that the Samavakara was
it
dramas such as those of Bhasa and
literary
Kalidasa.
The Ihamrga
Ihamrga.
males are implicated in a
is
a play of four Acts in which divine
over divine females.
fight
It should
with well-ordered construction in which the Plot of love
among
causing discord
and oppressing
off
the imperilling battle should be avoided by some artifice
No
of intrigue, in
The l)ima
Sentiments except the
Comic and
in
part.
the Erotic, and should consist of four
arc mostly earthquake, fall of meteors,
it
jugglery and energetic
which
sixteen characters
it
old or
that like the
Samavakara
fulfledged drama.
it lias
many
must contain are to include
(XX
It
The
different types
84-88).
of this type of play has reached us.
this
should
kinds.
It seems
was a dramatic epectacle rather than
With the advent
of literary plays of a
more developed
naturally become extinct.
Vyayoga.
small
new example
of
activity
such as gods, Nagas, Raksasas Yaksas and Pisacas
No
its
It is to contain all the
personal combat, challenge and angry conflict.
deceit,
the
seems that the Ihamrga was a play
of the exalted type.
Incidents depicted in
eclipses, battle,
78-82).
Prom
a play with a well-constructed Plot and
is
Hero should be well-known and

Acts only.
it
which gods and goodesses only took
The Dima-
kind,
(XX.
old specimen of this type of play has been found.
description givAi in the Natyasastra
abound
[the
and when persons intent on killing are on the point of starting a
enemies],
fight,
them
females, carrying
be a play
be based on
is to
The Vyayoga
number of female
one day's duratiou.
a play with a wcll-kuown Hero and a
is
It is to
The
it
are to be of
have one Act only and to include
battle, per-
characters.
(XX.
sonal combat, challenge and angry conflict
Bhasa's Madhyama-vyayoga
is
events related in
90-92).
a solitary old specimen of this type
of play.
Utsrgtikaiika,
a well-known plot,
The Utsrtikanka or Aiika

and it includes only human
abound in the Pathetic Sentiment and

and despondent utterances when
its
battle
is
is to treat of
an one-act play with
characters.
It should
women's lamentations
and violent fighting have ceased, and
Plot should relate to the downfall of one of the contending characters
(XX.
94-100).
Bhasa's Urubhanga seems to be

of play
may
its
solitary
specimen.
This type
be regarded as a kiud of one-act tragedy.
The Prahasana.
The.Prahasaua
Comic Sentiment predominates* dud
it
is
a farce or a play in which the
too
is
to consist of one 'Act only.
HV
The
mainly by the improper couducl
object of laughter is furnished in this,
of various sectarian teachers as well as courtezans
and rogues (XX
The Mattavilasa and the Bhagavadajjukiya
102-106).
arc fairly old specimens
of this type of play.
The Bhana
The Bhana.
is
au one Act play with
it
single character
speaks after repeating answers to his questions supposed to be given
who
This play in monologue
by a person who remains invisible, throughout
own
relates to one's
It should always include
or mother's adventure.
many
movements which are to be acted by a rogue or a Parasite (XX. 108-1
The Bhanas includod
the collection published
in
under the
title
10!.
Cufur-
bhani seem to be old specimens of this typo of play.
The
may
Vithi should be acted by one or two persons-
The
VUlii.
contain any of the three kinds of characters superior,
(XX.
inferior
It seems to be a kind of a ve*y short one Act
112-113).
But one cannot be sure about
play.
of play has
come down
for
no specimen of
this type
Did ion of a Play
The Use of Metre.
(a)
this
to us.
2.
tion of the
It
middling and
One
of the
first
Hindu writers on dramaturgy was
things to receive the atten-
the importance of verse in the
They discouraged long and frequent prose passages
dramatic dialogue.
on the ground that these might prove tiresome to spectators (XX- 34).
After giving a
utilized their
in
purmawul
detailed
used,
(XV.
3bff
XIV.
by putting them
verse iu drama the Hindu theorist*
to
number and sequence
ctesuru as well as the
a pkda
place
knowledge of the structure of metres which varied
in a
1-86),
for
of syllables
appropriate metro.
In this respect they framed
definite
nW
ment*.
For example, the description of auy uct of boldness
a>
or moras in
heightening the effect of the words
to the suitability of particular metres to different Senti-
with the Heroic and the
Furious Sentiments
is
in connexion
to be given in the
Arya
metre, and compositions meant to express the Erotic Sentiment should be

in gentl'' metre- such as
Milini and Mandakrauta, and the metres of the
and the Atidhrti types were considered suitable for the Pathetic
Sentiment (XVII. 110-112). In this regard the Hindu theorists, and for
iSakkari
that
who
matter,
the
Hindu playwrights anticipated the great Shakespeare

made "all sorts of experiments in metre".
in his immortal plays
(b)
Euphony,
After considering the use of metres the author of the
Nityasastra pays attention to euphony and says,

metres which have been described
"The uneven and even
before should be used in composition
with agreeable and soft sounds according to the meaning

intended.
The playwright should make efforts to use in his
composition sweet
and agreeable words which can be recited by women.
A Way
abounding
in
agreeable sound and sense,
and containing no
LV
obscure or
difficult
construction,
becomes
words, intelligible to the country people, having a

good
to be interpreted with dances, developing Sentiments
fit
lor representation to spectators" (XVII.

119-122).
Suggestive or Significant names. Another important aspect
of
fit
(c)
the diction was the suggestive or significant

names for different characters
It has been said of Gustave Flaubert that
he took quite a long
time to find a name for the prospective hero and
heroine of his novels,
in a play.
and
this
may appear
Hindu dramatic
to be fastidious enough.
theorists centuries ago laid
created characters
(XIX.
30-36),
we come
But on discovering that

down rules about naming
the
the
and admire the
to appreciate
genius of the great French writer.

(d) Varisty of languages or dialects. The use
of Sanskrit along
with different dialects of Prakrit (XVIII. 36-61) must
be ascribed to
circumstances
the midst of which the Hindu drama
dramas
reflect
grew up.
The
the linguistic condition of the society in which the early
writers of plays lived.

person's character
As
the speech
is
one of the essential features of a
and socialstandiug.it may profitably be retained unal-
tered from the normal.
Even
in a
modern drama
dialacts are very often
used though with a very limited purpose.
IV.
The Ancient Indian Drama

1.
Occasions for Dramatic Performance
The Hindu drama

aeems
to
jdances
in Practice
like similar
other forms of ancient art and poetry
have been of religions origin, and
and songs in honour of a deity like
styled the great dancer-actor

rith songs gradually
it
developed probably out of
&va who
in later time3
As time
(natarafa).
assumed the form of regular dramatic
ae range of subjects treated
was extended beyond
ith the exploits of a particular deity.
It
is
the
came
spectacles,
and
legends connected
possible that
just
to
passed, the dance
this
Jevelopment of the religious aspect came in course of time to be partially
and plays began to be composed more with a purely secular
rrested,
baracter.
|ith
And
this change considerably loosened its original connexion
the popular deities.
Possibly due to this
the
Hindu drama
Btoric period of its career, is found to be acted sometimes
in the
for moral edifi-
ion as in the case of the Buddhist plays, sometimes for the aesthetic
ftjoyment of the elite
as
in the case of KalidSsa's works, and sometimes
|hononr of a deity as in case of one of Bhavabhttti's

various uses, the Hindu drama unlike
ftsibly
{ttly
its
plays.
never become an ordinary amusement of everyday
on special occasions
In spite of
modern counterparts did
like a religious festival,
life.
It
was
marriage ceremony,
ing's coronation, a friend's visit that dramatic performances were held
39
AD.
12-14).
But among
all these
ocoasions religious festivals
vn
were the most common for the performancee of drama.
It
was natural
that on such occasions the drama was a popular entertainment as well, the
public being then in a holiday mood.
Another fact about the dramatic performances of the Hindus was

that these were sometimes held in the form of contests
71,
Different groups of actors vied with
77-79).
popular appreciation, and reward for their
(XXVII.
21-22,
one another for the
This
skill in the particular art.
drama, however does not seem to have been a regular feature of the Hindu,
as
was the
case with that of tho Greeks, and theatrioal troups gave, how-
performance usually for money without any spirit of rivalry towards
ever,
others,
and were paid by the rich people or the

2.
The Time
different guilds.
of Performance
Except in the midnight or at noon or at the time of the Sandhya
Hindu dramas could be performed almost
prayers, the
day or of the night.
But
does not
this
mean
any part of the
at
"that any play could be pro-
Though
duced at any allowable time during the twentyfour hours.
command
of the patron the Director of a theatrical

this regard, the time
strict rules in
of performance
at the
party could overlook
was
to be regulated
For
according to the nature of the subject-matter of the individual play.
example, a play based on a tale of virtue was to be performed in the fore-
noon
a performance which was rich in instrumental music, and told a
story of strength and energy,
was
which related to the Graceful
vocal and instrumental music for
the evening
to be held in the afternoon,
its
and a play
the Erotic Sentiment, and required
Style,
production, was to be performed in
but in case of plays which related to the magnanimity of
Hero and contained mostly the Pathetic Sentiment, performance was

be held in the morning (XXVII. 88-99).
the
to
Though
in the
modern times dramatic performance
is
mostly held in
the evening, the ancient Indian rules regarding the assignment of a play of
a particular type to a particular part of the day or of tho night need not
be considered queer ki any way.
much
to
nature of
.
On
the other hand,
have been based on a proper understanding
human
personalities.
or of woe,
when properly
anytime,
it
Even
if
they appear very

ever-changeable
of the
a play based on a tale of
presented on the stage,
virtue
could be appreciated at
had better chance of impressing the spectator in the forenoon
or in the morning, when after the night's sleep and
Vmost receptive
in regard to these Sentiments
rest,
he could be the
That a play including a
story of energy and strength can better be assigned to the after-noon

.
be explained on the assumption that on taking rest
after meals at the
pletion the morning's activities, one becomes psychologically
to appreciate stories of strength
similar manner,
more competent
and energy presented on the
a play with love as
its
principal
is to
com-
stage.
In a
theme CUt Jrith
LVJI
the Erotic Sentimont)
when
evening,
company of
may be mora
after the day's
his dear
effectively pro3eatcd
work, one
woman, be she
is
stage in the
his wife or the hetaera.
The Playhouse or the Theatre
3.
The Natyasastra
describes various types of
playhouse, and
have been mentioned to some extent in
different parts
on the
naturally inclined to enjoy the
But
detail.
their
in the
absence of evidence the like of which has been copiously available in case
of the
Greek
theatre,
cannot be said
it
how
far
the ancient Indian plays
were peformed in specially constructed theatres.

only the kings and very wealthy people
ding to the Nityyasastra,
It
may be
possible
that
owned playhouses constructed accor-
while dramatic spectacles meant for the common
people were heid in the open halls called the Nat-mandir (Natya-mandira)
in front of the {Samples, or in a temporarily devised theatre under
a canopy, as in *he case of the
the cover
modern Bengali Yatras which seem
to have
some resemblance and connexion with the ancient Indian Natya described
One remarkable feature of the playhouses described in the
in the Sastra.
Natya-sastra
them
is
that they are of a very
moderate
among
the largest
size,
(meant for mortals) being only thirtytwo yards
long and sixteen
yards board, capable of accommodating about four hundred (400) spectators.
This
as
is
in sharp contrast
many
"
with the Athenian theatre which sometimes held
as fifteen thousand (15,000) people.
The comparative smallness
ancient Indian theatre
of the
ssary consequence of the pecular
was a
nece-
technique of the dramatic production.
For in a larger playhouse the spectators could not
all
have heard delicate
which depended in no-small measure the success of a performance.

The inordinately largo Athenian theatre was not much handicapped in
points on
this respect,
for
the
Greek drama depended on a considerably
different
technique.
The
(vikrsfa),
Natyasiistra
be the large,
and
eight,
medium or
(iii)
of theatres, viz.
the large triangular,
medium square
(viii)
main types of playhouse
(vi)
oblong
These again might
small, with their length respectively as one hundred
and thirtytwo
sixtyfoui,
different varities
square,
describes three
square (caturasra) and triangular {tryasra).
the
the small square
medium
and
(ix)
cubits.
This gives altogether nine
the large oblong,
(i)
(iv)
the
triangular,
medium
(vii)
(ii)
the large-
oblong,
(v)
the small
the small triangular.
These nine types
can also be measured in terms of damjas instead of that of cubits.

will give us eighteen different diamensions oE playhouse.
the
oblong,
This
But the Natya-
sastra is silent about the use of the playhouse measured in terms of danQas,
and the playhouse of the largest typo measuring 108 cubits in length have
been prohibited by the Sastra for tho mortals. And it has been mentioned
before that a playhouse
more
in area than thirtytwo yards long and sixteen
yards broad has been prescribed for them.

three parts
or rahgasirsa) and
This should bo divided into
room (nepathya)
the tiring
(i)
the stage (rahgapitha
(ii)
Of
the auditorium (rahgamanfala).
(iii)
these the
tiringroom would be at one end of the theatre and would measure sixteen
On
yards by four yards.
the two sides of the stage there should
be two
Mattavaranis each occupying an area of four yards by four yards and

having four
tors
Thus the area
pillars.
to be occupied
by the seats of specta-
would be twentyfour yards by sixteen yards.
The
tiring
room
(nepathya) was the place in which the actors
and
the actresses put on the costumes suited to the different roles, and from fhis
place, the tumults,
proceeded.
{daiva-mni) and similar other acts
divine voices
This part of the theatre was separated from the stage by
two screens over
its
two
Between these two doors the members
doors,
of the orchestra {kulapa)
were to
but
a-
kind of
make up
it.
they
scenery,
one unmistakable
utmost
evidence of
This
the Hindus avoided bringing in any
If
made
drama and
the meaning of the
positive efforts in
calling
through suggestive
the spectators
realism and gave
stark
The
absence of any painted scenery from the stage.
negative side of
artificial
avoided
it
and fancy.
to imagination
this is the total

is
them
understand the technique of representation of the Hindu drama
one must remember that

scope
direction facing
east.
The Representation
4.
To
and the
sit
was to be considered conventionally the
use of colour
of the actors and rhythmic
communicating
forth the Sentiment (rasa) in
costume and
in the
movements of many kinds which
have been summed up in their theory of four representations (abhinaya)

such as angika, vaeika, aharya, and sattvika (VI.23).
(a)
Among
The
these, the
Physical Representation
ahgika should be discussed
of the use of various* gestures and postures of

gives
elaborate
attached to
described, with various
each one of them (VIII.-XII).
thirteen different gestures
Akampita
have been named and their
descriptions. Different limbs
manifold gestures and movements
which are
Moving
This consists
first.
which the Natyasastra
as follows
significance
the head has
For example,
:
the head slowly up and down.
Kampita: when the movements in the Akampita head are quick

and copious.
(Uses)
The Akampita head
is
to be
applied in giving
a hint, teaching questioning, addressing in an ordinary way (lit naturally),
and giving an order.
The Kampita head
is
applicable
(lit.
desired)
in
anger
argument
understanding, asserting, threatening, sickness and intolercnce.
Dhnta and Vidhuta
slow movement of the head
is
called
the
1.1X
Dhuta and when this movement

The Dhuta head is applicable
quick
is
in
confidence, looking side ways, emptiness
The Vidhuta head

fever and the
first
stage of drinking
two
is
is
it
known
When
Avadhuta.
head
(Uses)
turned
alternately
is
it
once turned
is
The Parivahita head
surprise, joy, remembering,
to be applied
is
and die
intolerence,
in
pride, showing height,
like.
heaPIs once turned down
the
to be applied in
is
it
the
and [amorous] sporting.
The Udvahita head
(Usts)
intoxication).
(i. e.
Udvahita.
as the
looking high up, self-esteem
Avadhuta
(Uses)
astonishment
and forbidding.
when
applicable in demonstration,
cogitation, concealment
sadness,
the Parivahita, and when
sides it is called
upwards
called Vidhuta.
is
applied in an attack of cold, terror, panic,
is
Parivahita and Udvahita

to
it
unwillingness,
it
is
called the
[communicating]
a message
involking a deity, conversation and beckoning [one to come near].

When the neck is slightly bent on one side the Aflcita
Aflcita
:
head
is
(Uses)
tha result.
It
is
applicable in sickness, swoon, intoxication
anxiety and sorrow.

Nihaficita
when two
by
women
Expression
(mottayifa),
Affection
of
It is to be used
(laltla).
Light-heartedness
(vilasa),
Hysterical
{bibboka),
Affected Indifffirence
(Uses)
produced.
is
Amorousness
pride,
in
are raised up with the neck bent
shoulder**
on one side the Nihaficita head
Mood
(kilakinciia).
Silent
Anger (kuttamitaY
Pretented
Paralysis {stambha) and Jealous Anger (matia).
Paravrtta
the result.
when the
(Uses)
It
is
face
turned round, the Paravrtta head
is
to be
away the
used in turning
face,
is
and
looking back and the like.
Utkipta
result.
when the
(Uses)
face is raised
indicating
It is used
up the Utks.ipta head is the

application
objects, and
lofty
of divine weapons.
Adhogata
the Adhogata.
The head with
(Uses)
It
is
face looking
the
downwards
is
called
and
used in shame, bowing [in salutation]
sorrow.
Parilolita
Parilolita.
(Uses)
ation, possession
The
when the head

:
It
by an
is
is
used in
moving
fanting,
evil spirit, drowsiness
eyes are similarly to
haw
on
all
sickness,
and the
different kinds
is
called
power of
intoxi-
sides,
it
like.
of glances according
express. The
and Sentiments {rasa) they are to
impressions of
eyeballs
too are liable
to similar changes to creat
different feelings and emotions,
and so have the eyebrows, tho nose,
to the States {bhava)
XXIV.
For the
15,18-82.
definition
of
all
ones see
these terms together with the preceding
NK
LX
The
the cheeks, the chin, and the neck.
making of
important limbs in the
hands
relate to
Single-hand
and movements
gestures
one hand only, while combined hands to both the hands,

examples
following are
(single
hand)
thumb
bent.
hands
are the most
Gestures and movements of
{asamyula), combined (samyuta)
three classes, viz. single
fall into
and dance hands (nrtta-hasta).
hands, however,
gestures.
The
of the three kinds of
fingers extended
Ajali (combined hand)

the
is called
hand
The
r Pataka
and close to one another and the

Putting together of the two Pataka
Caturasra (dance-hand)
Afijali.
gestures
The Katakamuk.ha
hands held forward eight Aiigulis apart [from each other] on one's breast,
the
two shoulders and elbows on the same
Besides these gestures,
level-
the hands have varied movements which are characterised by the following
acts
drawing upwards, dragging, drawing
beckon-
out, accepting, killing,
bringing together, separating, protecting, releasing, throwing,
ing, urging,
away,
shaking, giving
threatening,
squeezing
piercing,
cutting,
and
beatingdX. 161-163).
Prom
tional.
Of
it is
apparent that
different categories, viz. realistic
and conven-
the foregoing discussion about the
two
uses fall into
their
these
two
gestures
outnumber
types, the gestures used conventionally far
those of the other kind.
But
and theatrical producers were
ancient Indian dramatists
For the
not appear strange.
this should
conscious
fully
of the limited scope of realism in arts of various kinds, and hence they
conceived action as comething very closely allied to dance. This demanded

that while moving on the stage with or without uttering any word, the
impart grace and
actors should gesticulate rhythmically, to
For
effect to their figure.
this very purpose another
Dance-hands (nrtlahasta) are also to be used.

these hands
were exclusively
tioned above -they were sometimes utilized at

or recitation.
Tjjte
to be similarly used.
them
lower parts of the body
Among
depend the different
various standing postures.

viz.
movement
are to
music
roles-
these,
name implies
the time of declamation
down
to the Jfeet are also
The movements
of the feet are of three
Of
Mandala,
During the
move with Carls and Mandalas
is
these,
the
Can
is
the
two combatants
in accompaniment with
suitable
of different
In this matter too convention plays a very considerable part.
Natya&istra lays
down
age, sex v health
and
they might be placed
kinds,
a simple
a series of such movements
stage fighting
gait is very valuable for the representation
tempo of the gait for
On
movements of the entire body as well as the
of the feet (XI.) while
And the
their
but for reasons men-
the feet are the most important
ordinary gait, Cari and Mandala,
considered together (XII.)
As
to be used in dance,
decorative
set of gestures called
elaborate rules about the width of footsteps
The
and the
different characters according to their social position,
feeling as well as the peculiar environments in
(XEU.
1-157).
which
The Vocal Representation
(b)
theatrical representation consists of the use of
The second means of

It
speeoh.
relates to
musical notes (svara)
the proper
voice
registers
(varrta), intonation (kukri), speech-tempo (laya)

(sthatu), pitch of vowels
a passage for the purpose of evoking
be used in reciting or declaiming
to
Sentimente (rasa) in the spectators.
different
For example to
call forth
Erotic Sentiments a passage should be recited with tho
Comic and The

Madhyama and the Paiicama
the
notes,
and for the Heroic and the Marvellous
Sentiments the Sadja and the Rsabha would be the suitable notes.
To call a person staying at a distance the voice should proceed from
head register (iiras) and when he is at a short distance it should be

side the voice from
from the chest {.uras), and for calling a man at one's
(XIX. 43).
the throat register (kantka) would bo proper
the
ing
For any speech with the Comic and the Erotic Sentiments the prevailpitch would be Udatta (acute) and Svarita (circumflex) while in the
Heroic, tho Furious and the Mervellous
Sentiments
it
should be Udatta
and Kampita.
In the Comic and the Erotic Sentiments the speech-tempo should be
medium, in the Pathetic slow, and in the other Sentiments a quick tempo
is
appropriate
(XIX.
59).
Besides the above aspects of speech, close attention was to be given

in observing
And
rhythm and cadence.
the metrical character of any
passage in verse was to be fully expressed in
its
recitation or declamation.
(XV,
For this propose the Natyasastra devotes nearly two full chapters
XVI) which
discuss prosody and allied topics.

(c)
One important
The Costumes and Make-up
element in theatrical representation now-a-days
various stage appliances
However
able
the
such
as,
actors aud actresses
might
speeches assigned to their roles, without being
be
placed
in
delivering the
against properly
painted scenery and without having proper costumes and make-up,

acting
and delivery alone they cannot create that kind of
which
is
was no painted scenery.
depend a great deal upon costumes and make-up.
by
their
stage-illusion
necessary for the success of a dramatic production.
ancient Indian stage thero
the
is
painted scenery, costumes and make-up
But
in the
Hence the actors had
By
to
the term ShSryabhi-
naya the Hindu theorists understood these two items (XXIII)..
Though painted scenery

theatre,
the
considered indispensable iu tho modern,
tho aucient Indians having a considerably different conceptiou of
drama, did not require
that
is
separated the tiring
together with the
its
aid for the production of a play.
room (nepathya) and the
screens covering
The
wall
stage (raitgapiiha)
the two doors connecting the stage aud

show off to advantage tho
the tiring room, served as tho back-ground to
IiXII
And
figures of the performers.
and the
the wall
these,
screens, possibly
This
did not contain anything other than the usual decorative designs.
simplicity in the character
of
the scenic apparatus was a nacesscry con-
comitant of the peculiar technique of the Hindu drama, and
may be looked
scenery
for in
early history.
ite
The
its
cause
introduction of magnificent
appears to be a later development in the
history of
drama.
Similarly the back scene of the Shakaspearean stage consisted of a bare

walli
and anything in the way of spectacular
movements and grouping
The production
have been alien to the
effect
was created by the
of actors
of an impression
by means of painted scenery would
taste of the ancient
Hindus who were more or
conscious of the limitation of realism in their various arts. In order to

the spectators visualise the
the
Hindus had a
place
less
make
and time of the dramatic story in hand,
Numerous
different device.
descriptions of place and
time composed in rhythmic prose and verse, which are scattered over the
classical
Hindu
plays, served very efficiently indeed the purpose of painted
scenery.
When
properly read or sung, these passages very easily created
an
illusion of the place or
up vividly
lated
to call
thing
may be
its
picture before the
by Shakespeare
also.
stage too painted scenery
lively,
one critic says "The plays are

achievements
has already been mentioned that in
It
The same
Dandaka
forest in
has been
In appreciation of his very beautiful des-
passages as can nullify the
mechanics."
was calcu-
mind's eye.
This device of making a scene
cription of place and time,

criptive
elaborate description
said of the grand description of the
the Uttararamacarita.
utilized
The
the time described.
magnificent reisdence in the Mrcchakatika
of Vasantasena's
of
full of
such des-
and
decorators
the
Shakespercan
was unknown.
There being no scenery of any kind in the Hindu theatre which made
no effort at realism, the spectators were required to use their imagination
to the utmost.
The demand on tho
made by the
spectator's imagination
ancient Indian producers of plays was further testified by their rules of
conventional
Some
Zonal division (kaksa-vibhaga) of the stage (XIV. 1-15).
of these are as follows
A
stage.''
Zone might change with the actor walking a few
Any
ancient
Hindu play
For etample
convention.
in the first
for the first time at a distance
wards he enters
it
around and saying.
"This
Dae
to
this
is
steps over the
numerous examples of this
Act of the Sakuntala tho king appears
from Kanva's hermitage, but shortly
by simply taking a few
By the same kind

>
will furnish
after-
steps over the stage, looking
the entrance of hermitage and let
me
enter it".
of convention the inside and outside of a house
was
kind of convention, scenes of the Hindu plays ware not clearly
separated as thay aro in a modern drama.
This puzzled
J?.
Hall who says
vara
8
simultaneously presented.
The
rule
According to the Zonal division, those

be taken as being inside
of seeing
them
house]
[a
to be as remaining outside
To
walk only
is
follows
it later
are
known
enters the stage with the intention
entering earlier)
should
report himself after
indicate going to a distant locality
and to indicate going
a good few steps over the stage

short
was as
to this
entered the stage earlier should
while those entering
He who
it.
(ie. those
turning to the right.
relating
who
one
is
walk
to
to a place near by, a
needed, while a walk of
going to a place of
medium
medium duration will indicate

But in case a person leaves one
distance,
country and goes to a distant land,
bo indicated by closing
this is to
Act in which such an event occurs, and mentioning again the same
fact in an Explanatory Scene at the beginning of the next Act.
the
An
example* of some of these conventional
occurs in the ninth
rules
Act of the Mrftchakatika where Sodhanaka appears

gate of the court of justice and
ment
room
then again he goes out to

after
first
as being at the
by making a pantomimic movereceive the judge and re-enters, the court-
enters it
him by simply walking over
the same stage.
And when
the
judge has started work, Sodhanaka again goes out to call for the complain-
This going out also consists of actually walking a few steps over
ants.
the stage.
Though painted scenery was not

like hills, carriages,
stage
the
aerial
cars,
in use in the
wrapping
objects
According to the Natyasastra
by suggestive models {putta) of these.
model works were of three kinds,
of mat, cloths or skins,
Hindu theatre
elephants etc, were represented on the
sandhima which was made up
viz.
cloth, or other materials
wrapped round
something, and vyajt'ma which was a mechanical contrivance of some kind
From Dhanika,
the commentator of the
Dasarupa
(II.
67-58),
we
learn
about a model-work of an elephant for the production of the Udayanacarita,
and the Mrcchakatika owes
its
name
to the toy cart
which plays an
indispensable role in the story-
(d)
The Temperament
The fourth or the most important means

Temperament
(XXIV),
The
resources of a
actor or the actress must for the time
States that he or
[related to
of representation is the
or the entire psychological
(sattva)
she
is
them follow.
giving expression
to
to represent,
being
feel
man
the
and only then will the Sentiments
This kind of reprsentation was indispensable for

various
delicate aspects
of
women's
men's and
emotional nature.
So
far as is
known, Hindu dramas have always been parted
ave they had scenes.
It is
somewhat
'ordinate love tor

subdivision,
)asantpa, pp. 28-29.
to be
should have
wondered
left those
Secnote 2 above.
at,
into acts
but never
that the Hindus, wi
univented.
h their
(Introduction to
on the Ancient Indian Drama
Literature
V.
The Early Writers
1.
Krmva.
Silalin and
Panini (circa 500 B;0.) refers (IV. 3.110-111)
As the works of these two

we are not in a position to have
any exact idea about their contents. But LeVi and Hillebrandt have taken
them to be manuals for actors (nata) though Weber and Konow have conto
the Natastttras of Silalin and Krsasva.
authors hare perished beyond recovery
sidered those to have been sets of
Silalin
rules for dancers
Konow
Keith has accepted their view.
and pantomimists, and
further thinks that the treatises of
and Krsasva were absorbed in the body of the Natyasastra (ID.
The
2.
so-called sons of
After Silalin and Krsasva
included in the
list
Bharata
come the writers whose, names have been
of the one hundred sons of Bharata, given in the extant
version of the Natyasatra.
26-22).
(I.
(Dhurtila), Salikarna (Satakarna),
Asmakutta have been referred
to
on dramaturgy and histrionics.
Among
and quoted by
later writers as authorities
Beside3 these, Vatsya and Sandilya have
beon named as authorities on drama by some writers.
Among
Kohala
Kohala, Dattila
these
Badarayana (Badari), Nakhakutta and
quotations are our only source of knowledge of

(a)
the writers on
Such references and
them and
their
version of the Natyasastra
(XXXVI.
work.
drama who wrote
and Krsasva, Kohala seems to be the most important.

63), it
is
after Silalin
In the extant
given in the form of a
prophecy that Kohala will discuss in a supplementary treatise

topics on
of his
from
drama
p. 1)
that have not beon touched by Bharata.
Prom
all those
quotations
works made by Abhinava 1 and another commentator, 2
as well as
Kohala wrote on dance
their references to his opinion, it appears that
and dramaturgy as well as historionics and music.

(b)
Dattila, Hamjilya, and Vatsya,
Dattila seems to be identcal
with Dantila or Dhurtila mentioned in the Natyasastra

too quotes from one Dattilitcarya 3 and
than
on
histrionics
Natyasastra
and
drama and
Ag
I.
music.
(XXXVI.
but mere names.

of
From
Dattila.
this
these quotations
appears that he
.it
Sandilya and Vatsya
montioned
other
wrote
in
the
It is possible that they
were writers on somo aspects
theatre.
pp. 173,
BhP. pp.
Ag.
Abhinava
63) along with Dattila (Dhurtila) are to us nothing
m,
183-184; II
p. 26, 55,
407,416-417,421,434,438-439,413,452,459; De* Ms.
(I. 26).
likely that he is not
it is
130,
133,
142,
p. 413, 436,
116,
148.
151,155,
496 521 680
204. 210, 236' 245, 251.
p. 205, Besides this
Ag. quotes and refer* t ) Dattila in less than

14 times
while eomenting on chapter on ibmc. See Do's Ms.
pp. 544, 573, 576, 580 583, 588 590
'
621,
I.
6^628, 68,
631, 640, 642, 644, 650, 655.
See also
Ku
123
rav
Satakaryi (fatakatwh &Mkarna).
(c)
is
found in inscriptions from the
it is
Satakariii as a proper
name
lecntury B. C. to 149 A. C.
Hence
possible (though not quite certain) that fcktakarni the writer on
drama
first
C*
flourished about the first century A.
Like kings in
later times
who were
sometimes found to take interest among other subjects in drama and poetics
and to write treatises on them, this Satakarni might well have been a king
or a person of royal descent From the quotations made by later writers 3
from him it appears he wrote on dramaturgy.
(d)
Asmakutta and Nakhakutta.
These two writers from their
nanws appear to have been contemporaries, probably belonged to the same
Sagaranandin 9 and Visvanatha' quote from Nakhakutta, and
locality.
Sagara only is, known to have quoted from A^makutta 8 , Prom these
quotations
appears
it
dramaturgy.
AiSmakutta
that
Ebdarayana [Badari).
(e)
and Nakhakutta wrote on
him once
and possibly names
Sagara quotes from Badarayana twice 9
as Badari,
and from the extracts quoted
it
seems that this early writer discussed dramaturgy.
Samgraliakara
3.
Abhinavagupta
10
graliakara.
has been mentioned.
From
once
mentioned the Samgraha and once the Sam-
In the Natyasastra (VI.
those facts
it
It
The Present Text of
4.
10)
itself
also one
Samgraha
to the identical
is
work.
appears that the work might have been a compendium
dramaturgy as well as
treating of
3,
seems that the reference
5.
liistrionics.
the Natyasastra (circa 200 A.C.). 11
Drama
Medieval Writers on
Nandi (Nandikesvara) Tumburu Visakhila and Camyana.
(a)
Besides the writers mentioned above Abhinava and Saradatanaya refer to
Nandi or Nandike&vara 1
and the former also names
Tumburu" and
Visakhila 1 4 with occasional reference to their views or actually quotations
from them, and Carsiyana has once been quoted by Sagaranandin. 15
Sadimva,
(b)
Padmablm,-
Select Inscriptions, pp. 191-207.
NL.
NL.
1101-1102, Rucipati's
SD.
294,
'
Dasampa
Comm. on AR.
Nakhakutta has
also bean
83,437.27663707, 2774-2775.
Ag.
II. pp. 430, 2770-2771.
Ag.
I. p, 171,
the author of the
Ag.
NL.
Ahjaneya.
and
p. 7.
mentioned by
(Indian and Iranian Studies presented to
**
Vy'usa
2768-2769, 2904-2905.
10
"
Drauhini,
I.
Do's Ms. p. 559.
AD.
p. 199 also
862-363.
'
,l
I).
NL.
Bahmwpa
Ross,
Comm. on
p. 201), p.
201
f,n.
1092-1094, 2770-2771.
Sec below sections VI. and VIH.
This Nandikesvara
l '
in his
Bombay,
Ag.
I.
may
bo
identical with
pp. 165.
De's Ms. pp. 547, 561, 5C3, Soo also Kutfa,
si.
123.
UCVI
Abhinava and iWadatenaya once
such as Padmabhn,
on drama,
to Sadasiva
refer
'
Drauhini,
were
These three writors, quoted
Katyayatta, Rahula and Getrga.
Prom
on drama.
the available extracts from his
medieval writers on
tJjo
work Katyayana 81 seems
Rahula has been twice quoted
have been a writer on dramaturgy.
Abhinava's commentary, and Sagara" has once referred
Prom
1'
give them an air of antiquty.
by Abhinava and Sagara may be counted among
to
and Injaneya*
old authors or these names have been attached to some late
really
treatises to
(c)
while some writors
"
are not sure whether they
But we
have boon named by Saradatanaya only.
VyaW
18
these
it
nandin.' 4
as an authority on
In the absence
in
78
Rahula was a writer on dramaturgy as well as
appears that
Garga
histrionics.
to his view.
of
drama has been mentioned by Siigara-
any quotation from him we cannot say what
exactly he wrote about-
Sakaligarbha and Gkaqtaka. Abhinava mentions among others
(d)
the names of SSakaligarbha* 6
and Ghantaka. 78
Of
Ghaiuaka
these two,
we
seems to bo a contemporary of Sanknka, and as for, Sakaligarbha,
have no
it
Prom
about his time.
definite idea
the references to their views
appears that they wrote on dramaturgy.
Harm.
Variika-kara
(e)
Abhinava once quotes from the Varti-
kakrt 17 and once from the Vartika 18 and

vartika,10 and besides this he
karl.
80
It
name
Prom
time from tho Harsa-
8
Sagaranandin and Saradatanaya refer to one Harsavikrama
HarRa. 85
tho
neifc
once refers to tho views of the Vartika-
seems possible that they
all
of the author of the Vartika
these quotations
and the references
'
or
referred to the same author, and
it
was Harsa or Hara-vikramaappears that this Vartika was
an original treatise on dramaturgy and histrionics.

(f)
Matrgupla.
Matrgupta has been taken to be a commentator
of the Natyai&tra by Sylvain Levi.
accepted by authors
metrical extracts
rila's
5 3
'
BhP.
152,
BhP.
251.
who have
made from
DR. IV.
>
Ag.
I.
Ag.
II. p. 452.
pp. 115, 172.
"
Ag,
II. p. 436.
"
Ag.
I.
p. 172.
his
"
Soenotol9.
NL.
" Ag
I. p.
2873-2175.
"
e. g.
'
1186(?),
view has
Bh'*.p. 47.
"
NL.
1484-1485.
NL.
been
from the
it
appears
"
BhP.
Ag.
II. pp. 245-246.
3225.
p. 239.
"
NL.3226.
This Vmrtika seams to have been in original work like
207 alsoDe'9Ms.p.545.
NL.3225.
this
on tho subject, 8 *
Kavi thinks that Sakaligarbha - .Sakaleya- Udbhala.
Slokavnrtika written in verso.
Though
later
work by some commentators
38-3).
33
written
BhP.
23*.
Ag.
I.
Kunw-
174.
Ag.Lp.31.
Le Theatre indien p.
1 5.
Skt. Poetics, Vol. (p. 32-33).
A. dy pp.
2, 0,7, 8, 9,
BhP. p. 234.
13,
15. 110, 126, 230,
NL.
102,
314-316, 459-471, 534,
lxvii
that he
this
work on
composed an original
he occasionally explained
the Natyasastra.'
in
It is probable that in
the subject.
prose the view expressed by the author of
Interpreting in thia manner one can understand the
words of Sundara-nrisra, who, commenting on Bharata's definition of the

remarks that
Benediction (nandi),
About the time
etc'."
axplaining this Matrgupta said
'in
we have no
of Matrgupta,
that can be said is that, Abhinava quotes from his
sufficient evidence.
he [was earlior than this great well-known commentator,.
who
Sagaranandin,
possibly earlier than Abhinava,
is
All
work once 88 and hence

Besides this
names Matrgupta
with old writers such as ASmakutta, Nakhakutta, Garga, and
aloitg
Badarayana
identified
hence
(Badari);'"'
From
him widh the poet
the 4th century

his
AC.
seems to have been the author of a work on

10
From
the extracts
appears that wrote on dramaturgy and music.
it
Subandhu,
(g)
scholars have
living during the reign of Hara-
or in the beginning ofthe5th.'
works
dramaturgy. 41
name
late writer.
him
This would roughly place his work at the end of
called Vartika.
made from
appears that he was not a
of that
who
vikramaditya of "Kashmir
drama
it
the* meagre information available about
Baradatanaya refers to one Subandhu who wrote on
If it
is
the Vasavadatta, then he
him with the famous author
possible to identify
may be
of
placed roughly in the 5th century A.C.
The compilers of the Agnipurut}a and the Visiyudharmottara,
(li)
The Agnipurana
treats of na{ya, nrtya,
and rasa, but this treatment depends
considerably on the Natyasastra-
There
work
some of
as well as parapharases of
This portion of the Agnipurana
1'urana.
(circa. 7th
and abhinaya, and
thia
treatment too
is
metrical
its
is
The Visûdharmottara
century).**
borrowing from
literal
is
this
passages in this
usually placed after
Dandin
too treats of nrtta, nafya
dependent on the Natyasastra and
does not appear to be earlier than the 8th century.
Late writings on
6.
(a)
Daiarupa.
composed in the
last
Munja (Vakpatiraja,
implies, treats of
ghe
The Dasarupa (DaSarupaka)
91
the king of Malawa.
II)
ten principal forms of
"
is
Skt
" A g.
to
of chapter
For example Sugars, (NL.
which
written in Terse
Poetics Vol,
I.
was
Dhananjaya
and
534IT.)
prose.
This work, as
XX
of the Natyasastra, but
discusses Matrgupta's view in his
It
seems that
this author
was
Dr. S. K.
De
thought that
"
See note 23 above.
BhP.p.838.
it
compi-
his model.
Matrgupta was unknown
i. p. 33)
41
name
its
dramatic works (ritpa) which
pp. 102-103.
Do's Ms. p. 643.
Ag. (Skt. Poetics, Vol.
of
quarter of the 10th century A.C. during the reign of
constitute the subject-matter
lation
Drama
"
>
Keith, Skt.
Drama,
p. 291.
Skt. P.oetios, Vol.!- p. 102-103.
LXVUI
brings in
actually
a few other relevant matters scattered over other parts
of this comprehensive
Any
careful
work.
discover that
student of the Natyasastra will easily
Dhananjaya in restating the principles of dramaturgy in a more concise

and
and systematic form has carried too far tho work of his abridgment
left
The
out quite a number of important matters.
and other technical
sides,
which
special stress
its histrionics
he lays on tho literary aspect of drama by his exclusion of
very clearly indicates the general decadene of
With
time.
India's aesthetic culture at the
to
understood the aims and objects of
author
its
professed reverence for
his
Bharata), ho seems to have mis-
the rules of tho Natyasastra (ascribed
who composed
his
work
for
4 3
the playwrights as woll as the producers of plays.
But whatever be
it
Dasariipa, and
the
limitation,
its
Avaloka without which
was only half
its
commentary
intelligible, attained in
course of
time a wido popularity and gradually superseded the Niityasastra which

with tho passage of time.
socms to have become very rare
And
the
DaSarupa so thoroughly supplanted other dramaturgic works as existed

before
Natya&stra
time, that with the exception of the
its
it is
the most
well-known work on the subject and very frequently drawn upon by the
of
commentators
plays as well
as
on
later writers
dramaturgy
like
Visavanatha.
(b) Na{akalaksaiM-ratnako'sa.
contemporaneous with
or
is
it,
Natakalaksana) of Sigarauandin.
Slightly earlier than the Dasariipa
the
Nitakalaksana-ratuako&i (briefly
Till
about a quarter of a century ago
our only knowledge of the work consisted of a few quotations from

commentaries.
different
Ms.
Bat
in 1922 the
late
Nepal and published a report on
in
its
carefully edited by
M.
its
contents and other relevant
Since then the
matters (Journal Asiatique, 1922, p. 210).
it in
Sylvaiu Levi discovered
work has been
Dillon and published (London, 1937).
Just like
Dhananjaya, Sagaranandin too discusses in his NStakalaksjana, dramaturgy

in detail
aud mentions only incidentally certain
histrionics.
But unlike
the
Dasariipa tho
exclusively of dramaturgy, but refers to
Though
topics connected
histrionics
tho author professedly depends on no
whenever necessary.
loss
authorities such as Harsa-vikrama, Matrgupta, Garga,
kutta, Badari (Badariiyana), and Bharata (the
Natyasastra) yet his dependence on tho

greatest
large
5
from the same.'
"
"
to
Ag.
I.
number
of
with
Natakalaksana does not treat
than seven different
Asmakutta, Nukho-
mythical author
of the
last-named one seems to be the
passages have actually been borrowed
by him
Besides these borrowings the extent of Sagaranandin's
p. 7.
See B. Kari, 'Date of Sr'agara-Nandiji
D. Boss. Bombay.
1939. pp, 198ff,
'
in
,"
Indian and Iranian Studies prewnted
SeoNL.pp
143-144.
txra
dependence on
NatyssSstra
the
46
of the
numerous passages
candra
the
The Natyadarpana 4 '
Natyadarparia.
(c)
the next important
is
two jouuVauthors*
But
little is
who were
of this text,
echoing of the
Ramacandra
Jains
known except
number of
largo
works including
its
divided into four chapters, treats of dramaturgy.
the metrical text that the authors

it
work have
latt r
figures
from
It is evident
could not bo accommodated in
Besides this the
views of other writers among
most prominently. 8 "
is
loft for
the Niityasastra and ex-
to
added in the prose vrlti which has
nava's famous commentary.

criticised tho
had access
And whatever
very thoroughly,
the text has been
rupa
brevity
passages cannot be fnlly understood unless a commentary
us a very clearly written and informative vrtti (gloss).
ploited
Its
compareable to that of the Da&ufipa, and as in the
is
Fortunately for us the joint-authors of the
consulted.
T lie
was a disciple of Hemacandra.
that he too
is
This work, has been composed in Anustup couplets.
many, of
lived
of Gunacandra, the collaborator of Ramacandra, very
Natyadarparia which
of the treatment
Of
after the Dasariipa.
A.C., and ho was a disciple of the famous
Ramacandra wrote a
plays.
his
Ramacandra and Guna-
of
work on dramaturgy
probably between 1100 and 1175
Hemacandra.
many
apparent from
is
latter.
Abhi-
utilised also
authors have occasionally
whom
the author of the Dasu-
All this has given tho Niityadarpana
a unique value and some superiority over the Dasarupa.
Ruyyaka's Natakamimamsa.
(d)
Ruyyaka
alias
Rucaka/' T who
was a Kashmirian and flourished probably in the 12th century, was a

voluminous writer on poetics. It was from one of his works (a commentary
of
Mahima-bbatta's Vyaktiviveku) that we learn of his NatakaniimKmsa a
No Ms.
work on dramaturgy.
Ehhvapralmana.
(e)
work has
of this
Soiadiitanaya,
so far been discovered.
who seems
to have been
s
Southerner and flourished in the 12th century, wrote the Bhavaprakaiana"
which dealt with dramaturgy in greater
And
tho Niityadarpana.
work
his
detail than either the
Dasarupa or
acquires an additional authority from
had as his teacher one Divakara who was tho

and might be taken as deeply conversant with the
the fact that Saradatanaya
Director of a theatre
04
theory and practice of Indian
drama
as
it
was current
in his time.
Though
>&radatanaya depends much on earlier authors for the materials of his
work, yet his approach to the subject
name
of his
"
"
"
implies, it deals
is
to
Ed. in G.O.8. Baroda. 1929.
But thoy hare
ND.
also
p. 224.
Ibid. p. 186.
"
drawn
'
Bid.
<
some extent
original.
ND.
the,
HU
See Introduction of
ND.
p.:i.
materials from older writers like Kohala,
See
As
with the "expression" firakusa of the
Printed out by M. Dillon in the margin of
and Ag. See

' >
work
Introduction p.
Q.O.S. Baroda, 1930,
''
3.
BhP.
"
p.
6'aHkuka
Skt. Poetics, p.
I90ff.
2 also Introduction,
p.G.
LXX
Now
"State" (ihavd).
the proper expression of the States
by the
actors
according to the Natyasastra gives rise to the Sentiments (rasa). Hence
Saradatanaya
work with the

Next ho
begins his
description of the States and
everything connected with themdiscussion of the
Sentiments,
up the Heroines
takes
The
Sentiments.
These
passes
of different classes
very naturally to the
thoroughly discussed, he
being
who
are the
main stay of the
time factor in the plot and the diction of the play
which also arc means of developing the Sentiments are considered

Afterwards he analyses the body
of the play
and
its
next.
different parts.
This brings him to the consideration of the ten major and twenty minor
types of play (rtifia), and finally of the miscellaneous matters connected
with drama and theatre.
To avoid
any detailed account of
its
contents
relating to dramaturgy.
It
treatment of the subject
is
may bo
in many
that of the Dasariipa, the
prolixity
works of
as well as the
desist
said
briefly
from giving here

all' possible
topics
that Saradatanaya's
more comprehensive than
respects
Natakalaksana, and the Niityadarpana.
KolnuV'
early writers like
And
referred to the Natyasastra 65

57
08
to attain his object Saradatanaya has freely
and Subandhu. 5 "
we
which include
Matrgupta,
Harsa
Besides this he has sometimes mentioned authors like
Dhvanikrt, Rudrata, Dhanika, Abhinava, Blioja and, sometimes referred
and
their views
also to
criticised these. u
All this adds to the great value
of his work.
Sahilyadarpana and Nalakaparibhasa,
(f)
who
flourished about the
and in
this
tli
irtocnth century"
drama.
It
was the
the early western
For
all
branches of the Skt. literature including
sixth chapter of this
writers
VisvanStha Kaviraja,
was a poet and a scholar
wrote among other things the famous
capacity he
latter
Sahityadrapana which treats
of the
work
drama on which
drama mostly depended.
dealing with
ancient Indian
drama Visvanatha seems to have utilised tho NatyaDasarUpa" and its commentary Avaloka 64 as well as the
his treatment of
sastra,'
Work
of
the
Rudrata and others.
SiAga-Bhupala's Natakuparibhasa
is known only in name.

But his
Rasarnavasudhakara 85 also treats of drama towards its end, It seems
that no important treatise on drama was written after all these
works.
-'
>aradtanaya'a debt to
tee Introduction of BhP. pp. 61-0?.

" See above notes 31-32.
251
So
'
"
has been pointed out by the editor of his work,

See above note 1. " See above notes 33-37.
Sua abeve note
41.
lihP. pp. 175, 179, 95, 150, 327, 82

160, 194, 313, 12, 152. 1U4, 213, 216, 242, 245,
Ski. Poetics, Vol. 1. pp. 233 ff.
"
"
See SD. 281, 306, 321, 503, 517; 537.
" So
SD. Viwan .tha wrongly a aacribed to Dhanika

what belong* to DR.UII.
This misled some scholars to boliovo that
Dhanika and Dhanajaya were
32-33;.
not
different persona.
'
'
fed.
See Skt. Poetics. Vol.
I.
Trivandrura Oriental Series, 1916.
pp. 243
.
ft".
ixxr
The
Vf.
Natyasastra'
The Text
The
If atyasastra is
Author
Its
1.
commonly
Bharata cannot be taken as
Muni. 1
attributed to Bharata
author, for
its
Commentators
aiitf its
in
But
Natyasastra
the
itself
mythical character is very obvious, and the majority of the Parana?
his
are silent about the socalled author of the Natyasastra*,
and there
is
not a
him in any of the extant Puranas or the Bamayana and

the Mahabharata. The word Bharata which originally meant 'an actor'
single legend about
seems to have given rise to an eponymous author of the Rharaiasastra or

the Naiakaslra (the manual of actors).
2.
Whoever
work
the
these
is
Two
Recensions
jnight be the author of the Natyasastra

possesses
itself
that
lta
its
it is certain that
undoubted signs of great antiquity, and one of
two
text is available in
In having
recensions.
distinct
two partly divergent recensions the Natyasastra can well bo compared

with works like tho Nirukta, the Brhaddevata and the Sakuntalii.
The
works have
editors of these
shorter and
accept
longer recensions.
tho
shorter
recension,
the claims of their
differently settled
At
first
sight the tendency
representing
as
tho
because elaboration would seem in most cases to come

is
divided in this matter:
nearer tho orginal

longer recesion
3
,
would bo
original
But opinion
later.
Pischcl regarded the longer recesion as being
Macodonell has also given his verdict in favour of the
but he has not ventured to
tho shorter recension
reject
and Lakshinan Sarnp has
entirely as being late,
is
the oalier one.
tho shorter recension
definitely
suggested that
All these go to show that the
problem of the relation between two recensions of any ancient work

so simple as to be solved off-hand.
settle
to
better,
the issue with
the idea that
So
in this case also
is
not
we should not
the longer recension owes
its
bulk to
interpolations.
The
text-history of tho Natyasastra shows that already in the tenth
century tho
of the
work was
available in two recensions.
Dhananjaya the author
DasarQpa quotes from the shorter recension while Bhoja, who
follows him, quoted from the longer one.

of tho Natyasastra, however,
his work.
It is likely that the
Abhinava
in
his
closely
commentry
used the shorter recension as the basis of
longtime which passed since then has
witnessed at least minor changes, intentional as well as unintentional, in the

1
Seo
IHQ.
'
See
N8X 2-5 note 2.
The Brhaddevata, HOS. Vol.
Introduction to the Nighanra and Nirukta, p. 39.
'
Preface to Baroda od. of N.V. Vol.
Vol. VI. 1930. pp. 72
Annals of BORI, Vol.
ff,
'
I. p.
KolidW*
XV, 1934, p. 90 fn.
Sakuntala.
HOS.
p.
XI.
XVIII-XIX.
I. p. 8.
'
Soe above.note
0.
jar//
'mow<<Mm&
the problem becomes stf/1

toxtofboth tho reeeMoas. Heaoo
may give us some C/ue
But a careful examination of the rival recensions
examined no less
relative autlicnticity. Bamnkrishna Kavi who has
to their
he
of the text, is of opinion that the longer recension (which
Mss
then forty
calls B.)
seems to bo ancient, although
contains some interpolation
it
8
going back to a time prior to Abhinava.
(pointed at by him)
Mr. Kavi,
however, does not try to explain tho origin of the shorter recension which
he
calls
This view regarding the relative authenticity of the longer
A.
recension soems to possess justification.
found in the
(i)
teste differcntating the
XIV
Chapters
and
Reasons supporting
two recensions, which are
XV
scheme of metres.
defining the
(ii)
The
of metres in
longer recension gives
while
the
XV
gives
in
bulk of tho Natyasastra
definitions
(XVI)
of the
different
order.
corresponding ehaptcr
them in Anustup metre and in a
Considering tho fact that tho
guru
shorter recension in its chapter
Upajilti.
and bha
ja, sa, na,
(ra,
while tho longer recension uses terms like laghu and
etc.)
of the shorter recension dealing with
prosody introduce tho later terminology of Pingala
ganas
are to be
it
as follows
is
written in this
(Anustup) metre tho longer recension in this case seems to run closer to tho
original work."
Though Ramakrishna Kavi, has overlooked
may be
point which
it,
dealing with the Natyagunas and Alamkaras have

difforntly
worded
recension (ch.
in
XVII)
sastra while (ch.
The chapter
nearly
forty slokns
These Slokas in the longer
the two recensions.
are written in the usual simple language of the Natya-
XVI)
in
Tho opening
later polish.
there is yet another
two recensions.
said to differentiate tho
tho shorter
stanzas
of
recension (tho Slokas)

the chaptar
(XVI)
betray a
in the shorter
recension are in Dpajiiti metre while in tho longer recension (ch.
they arc in the iSIoka metre.

for tho
in the
bulk of the Natyasastra as has been pointed out before
Now
same metro.
origin, does not
the shorter recension
which appears
seem to be totally devoid of worth.
It
preserved what once existed but arc
the longer recension.
Tho
cases in
different language the corresponding
written from
memory
Some
to
be of later
now missing
in
which the shorter recension gives in a

passages of tho longer recension
that tho passages
in question
may
were probably
Unity of the Natyasastra
scholars have entertained a doubt tho unity are authorship of
the Natya&istra.
composed
of the original in the prototype of the recension.

3.
latter
is
appears that this
has in certain cases
be explained by assuming
XVII)
This points to the earlier origin of the
They think that there
Spe above note
6.
'
are
See above note
6.
indications
that "it (the
LXXJJI
XT(yu/$TstraJ /10s 6cea svA/ectctf to cousii/cmM' jnr>A/wMi/# in A&r t/u/tv
before it assumed
"
present s/iaj
tiio
The .alleged indications may be sumned up as follows

(i) The colophon at the the end of the KM. text of
(ii)
The mention of Kohala
(XXXVI.
Natyasastra
Muni, the
(iv)
The mention
passages in
it.
63).
the Natyasastra.
the future writer on certain topics in the
Bhavabhiili's
(iii)
reference
Bharata
to
author of the Sastra, as the Tauryatrika-sntrakiira.
socalled
parts in the
as
of the siitra, the bfiasya and the karika as its constituent
Natyasastra
As
along with
itself
for the
first
the the existence of prose
alleged indication Dr. 8.
to connect the colophon of the Natyasastra (santaptai
K. De has tried
cayam Nandi-
Bharata-samgitcffiitstakam with the chapter on music only.To
Ho
opines
that the Nandi-Jjharala of the colophon indicates that the chapters on
music
XX VIII-X XXIII) are Bharata's original
as modified by the doctrine of .Nandi.
If
we
teaching on the subject
could accept the view
it would
have been easy to believe in the composite authorship of the Natyasastra.
But this does not seem to bo possible for tho following considerations
:
The colophon
(a)
in question stands at tho end of two Mss.
copied
from the same original and are missing in all the rest of the available Mss.
(b) The word samgita occurring rarely in tho Natyasastra includes
according to Siin'igadeva
1300 A.C.) glla (song), vudya (instrumental
(c.
music) and nrtya or nrtta (dance).

relation to the entire text
Nandi
(c)
as a writer or
mentioned anywheres
As
Hence the colophon may be taken

and and not with the chapters on music alone.
authority
on samgita alone has not been
else.
Kohala
for the prediction that
discussed in the Niityasastra,
show that Kohala
in
is later
it
may be
will
treat certain
said that there is
than the author of this
topics
nothing in
He was
treatise.
it
not
to
in all
likelihood a predecessor or a contemporary of his.
The most important
of
authorship of the Natyasastra

originally written in prose
is
the alleged indications of the plural
all
the third one.
probably from a misunderstanding of the word

tional
etc.
is
nothing iu
it to
show
Indeed the Niityadarpana-sutra

pundarika'Slltra of
partly
in
prose.
is
the
work was
verse,
In spite of
vihmlomukham
survad
entirely
in verse,
Buddhists
Mangalacarana
is
slokas
and the Saddharmapartly

of
his
in
verse
siitra in its oldest sense, the theory of tho
prose version of the Niityasiistra falls to the
ground.
and
commentary
Abhinava too mentions the extant Natyasastra as tho Bharatastttra.

on taking the
arose
its tradi-
that tho siitra must always bo iu prose.
the Mahiiyiina
In
idea that the
siitra.
alpnkzaram asandigdkam
definition as
there
The
and was subsequently turned into
Thus
supposed original
The
existence of the
prose passages in the Natyasastra does not in the least help this theory, and
Skt, Poetics,
Vol
1. p.
21.
''
,
JM. GCH. Baroda,
1929.
IXHV
it
found
explained on the assumption that the author
may bo
AH
venient to write certain things in prose.
more con-
it
remove the
this will
difficulty
words of Bhavabhuti who mentioned Bharata as the
in understanding the
sulmiSra.
Scope and Importance
It
4.
shown what a great variety of topics the Natya-
It has already been
sastra discusses in connection with its principal theme, the dramatic art.
In sharp contrast with almost

treats of
all
fold aspect of this
and
essentially a spectacle,
says that
1i
As
laws of
indispensable for the playwrights.
In justification of this two-
histrionics.
work Abhinava
producers as well as playwrights'

ly
the later writers on the subject its author
dramaturgy as well as
the
its
for the guidance of the
'it is
drama
in
any form
is
primari-
production should be considered
a wellknown fact that many good
It is
dramas often get rejected by the theatrical directors because of
literary
construction being found unsuitable for successful and profitable
their
The author
reperscntation in the stage.
of the Natyasastra
was evidently
conscious about this vital connection between the literary and technical
and treated of both very elaborately.
aspects of a drama,
It is a
very
unique text dealing with every possible aspect of the dramatic theory and
practice.
It is
no wonder therefore that the Natyasastra was often quoted

music, prosody and
or referred to in later treatieses on gestures, poetics,
even on grammar, besides being often laid under contributfon by commentators of diffirent Sanskrit
and Prakrit
on dramaturgy too depended greatly

most of them expressly
plays.
And
all
the later writers
not cxeusively on this work, and
if
mentioned their debt
the
to
Muni
Bharata,
the supposed author of the Natyasastra.
Style and
lis
5.
Method of Treatment
In style the Natyasastra differs very largely from
on drama who professed adherence to
it
Those latter are sometimes so very
cise manner.
all
and formulated
the later writers
their rules in
brief, that
Though some
help of a commentator thoy are not easily intelligible.
a con-
without the
passa-
ges remain obscuro without a commentary or similar help yet the major portion of the Natyasastra
SryS
metres.
passages are in prose.
Bharata,
its
it
is
very
famous
" 4*1
As the work
One
is
in verse,
in
a very small number of
p. 7.
This
it will
is
true.
the
its
the form of dialogue between

it
has some similarity
of the charge, brought against the Natyasastra
diffuse.
method of treatment
like :the
written in a simple language in the Sloka and
mythical author, and some ancient sages,
with the Puranas.

that
is
Though composed mainly
On
is
a careful examination of his
be found that the author of the Natyasastra,
Piinini, treated of the subject

'
Haas,
analytically.
P.XXVIH.'
He
has taken
LXXV
up iudividual topics and considered them in every possible detail and
has found
necessary to repeat things for the completion of the matter in
it
This ha?
hand-
given
But the adoption of
diffuseness.
it
this
method
was unavoidable in a technical work which aimed
at completeness.
however may be said to have rendered
to
difficulty
we
which
with
it
difficult
moderns are confronted in
ancient work, is however primarily due to
its
This
extent-
The
studying
this
some
discussing an art which
has pratically gone out of vogue for quite a long time. That the text was
transmitted through a defective Ms. tradition
ocSasional difficulties
The
6.
Abhinava
in
1.
commentary
his
the commentators' who set
9)
or elucidating the
Abhinavagupta
Sankuka,
Cdbhata,
are Lollata,
I.
task of explaining
to the
less responsible for
Early Commentators
According to Sarngadeva (SB.

themselves
no
is
presents.
it
refers
addition
in
Natyasastra
and
Kirtidhara.
Bhatta
to
Yantra and Bhatta Nayaka who may be taken as commentators of the

Natyasastra, and quotes from of ouoa Bhasya and one Vartika. The Vartika
however seems to be an independent
But
an old commentary.
in
the
treaties on
drama though the Bhasya
absence of suitable data our knowledge
about the date of these commentators and the nature as well as the value of
work,
their
is
very inadequate.
ever meagre informations

(a)
We
are however discussing below what-
may be gathered about them.
Acarya Kirtidhara and Bhusyakaxa Nanyadeva. Abhinava

* But from the special respect
shown
has referred to Kirtidhara only once.
the commentator who calls him acarya, it appears that Kirtidhara

was a very early commentator of the Natyasastra, and as such he was
possibly anterior to Bhatta Udbhata and hence may be placed in the 6th or
him by
the 7th century.

of the
And Nanyadeva 16 quoted by Abhinava
15
As
quoted by Abhinava.
who
as the author
Bharata-Bhaya seems to be another early commentator of our text.

Bha\ta Udbhata. Bhatta Udbhata's" opinion has been thrice
(b)
his
views were controverted by Bhatta Lollata
flourished in the 8th century
it
is
possible that
of the early 8th or the late 7th century.
Though
Udbhata was
it
a person
7'
has been doubted
whether Udbhata was really a commentator of the Natyasastra, from the

reference
to
his
work by Abhinava we may be
fairly
certain
in
this matter.
14
1 '
Ag.I.p.206. Cf. Skt. Poetics, Vol. I.p,29.
Ho should
be distinguished from bis namesake
Iho 12th century (see
"
"
11
Ag.
JASB for
1915, pp. 407
II. pp. 70, 441, 451, De-s.
See Skt. Poetics,

Skt. Poetic,
I.
I.
pp.
pp. 37
ff.
76ff.
ff.)
Ms. pp. 392.
'
Cf. Ski. Poetics,
who was a kiug
I. p. 39.
off Mithila in
"
LXXVI
Bhatta Lollata has been referred to as many
Bhatlfl Lolla{a.
(c)
From
as eleven times.*
As
Natyasastra.
he appears to be a commentator of the
these
rasa theory of Saiikuka was
the
view on
lavelled against Lollata's
:the
possibly in the middle of the 8th century. 51
(d)
as
many
>ri
Haitiuki.
5
as fifteen times.
For he
information.
About
have been
to
"
Abhinava referred
-
known
same, this latter writer nourished
his time
to
SrI-Sankuku or Hankuka
wo seem
to liavo
some
definite
probably identical with the author of the poem

Bhuvanabhyudaya written during the Kashmirian king Ajitiipida whose
date
is
is
about 818 or 816 A. C. 33
Malta Nayaka.
(e)
Bhatta NSyaka has been referred to as many

Besides explaining and elucidating the
in part, he wrote on the Dhvani theory
an indepen-
by Abhinava. u
as six times
Natyasastra, at least
dent work named the Hidayadarpaiia. He has been placed

between the
end of the 9th and the beginning of the 10th century.
(f)
BhaUa Yantra,
commentary
va*s
From
the single reference to
him
Abhiua-
in
appears that Bhattu Yantra 2 * was a commentator

of
About him nothiug more can be said except that lie pre-
it
the Natyasastra.
ceded the celebrated commentator.
Bhatta Abhinavaguplu
7.
Among
the commentators of the Niityasistra, Abhinavagupta or

Abhi-
nava
is the most wellknown.

But his fame rests also on his commentary
on the Dhvanyaloka as well as numerous learned treatises
on the Kashmir
Saivism.
From
the concluding portion of
facts of his family history,
some of his books we learn a few

and on the strength of these lie lias been placed
between the end of the 10th and the begining of the

the AbhinavabhSrati
Although
like
we
learn that his another
any other work of
Abhiuava's commentary
text,
1th century. 2
From
'
name was Nvsimhagupta.- s
this class it professes to
explain
not always an adequate help for
is
the
under-
standing the several difficult passages of the

Natyasastra.
This drawback
might be due to its defective text tradition,
but a careful study of it will
convince any one that all ite weak -poiuts
cannot be explained away on this
assumption alone. There are instances

of Abhiuava's not being sure about
the explanation offered, for example,
the word kutafia is once explained as
" Ag
pp. 208, 260, 279, 299
bkt. Poetics. Vol.
I,
pp
,217 274
'
4i3.utf;K
"
"
Poetics,
II. pp. 134. 196, 415, 423, 436, 452.
'^ m
Mb
Dc's
'
mai8ilI
pp 4iii436
'
'
ije 8
'
M8
'
See Skt. Poetics, I pp

Ag. I. pp. 4, 26,278, II.
Skt
I.
pp.
p. 380.
3S.39.
:j8-39.
p. 298,
39ff.
SktPoetfe 8,I.pp.U7tf.
Dee MS
Ag.
I.
pp. 000, 508.

p, 208.
'-S6e Ague's. Ms.
pp. 428, 611.
>
LXXV1I
'four kinds of musical instruments'
89
and next as
'a
group of singers and
players of musical instruments'" and then again as 'four of musical instru5

ments'," while explaining the mallavararii he gives four different views*
and does not give special support
to his
own
preference.
explanation in some cases seem to be fanciful.
khamlana
palmleaf'.*
(meaning)
as
J
some extent
due to
3*
But such
different
its
a fan made
of
be interpreted as
better
That
instances are not many.
commentary a defective
basis of his
apparent from
sastra, is
by means of
and kharfâna may
'drawing patterns or designs'.
his
this,
wrong, for in the same context vyajanakam
is
'fanning' has been mentioned,
Abhinava had as the
fanning
'also
This evidently
Besides
For example, he oxplains
Natya-
text of the
published portion, and his text was in places to
from any of the versions that have reached
this latter fact that sometimes particular passages of the
us.
It
is
commentary
cannot be connected with any portion of the text (given above the commentary) iu
For example, once Abhinava writes "here
the Baroda edition.
four ca-karas", 3
iire
only are
'"
available.
elsewhere
36
the
in
but in the text indicated by the pralika two ca-kuras
And
curiously enough a part of this
commentary
Jn another place of Abhinava's commentary we
the text.
alambhana explained, but we look

is
the case with avyaiireka and
on.
And some
4 "
the fact that
in vain
for
it in
agama occuring
in
his
of
have the word
the text.
37
The same
the commentary later
responsibility for its reduced usefulness
Abhinava had
text quoted
corroborates the available reading
must be ascribed
commentary based on an imperfect text
to
of
the Natyasastra.
There
is still
another reason due to which Abhinava's
prove to be quite adequate for our need.

the
commentary with a view
It is probably
to help scholars of his time,
work
does not
because he wrote
whose knowledge
on many things relating to the Indian drama, theatre and general literature
he could easily assume, his commentary sometimes falls short of our needs.
But
in
Whenever
spite of these
limitations
Abhinava's work has
its value.
he has to explain any theory or problem concerning the dramatic
art or general aesthetics,
lie
does
it
very exhaustively by quoting
all
possible
views on the same and often cites examples from a vast number of dramatic
and other works some of which have perished. Often he sums up the
discussion in a masterly fashion. That he was a voluminous writer on the
abstruse
matters.
topics gave him some facility in handling such

But, for the purpose of reconstructing the theory and practice
philosophical
of the ancient Indian drama, such
much
a j
value, though
scholastic
Ag. I.p.73.
Ag.I.p.65.
Ag.
"
Ag.
X. p. 41.
Ag.
I. p. 203.
1.
pp. 64-65.
Ag.II.p.34.
Ag.
discussions arc often not of
students of Indian poetics and aesthetics will surely
II. pp. 9?, 226.
"
"
Ag. l.p.
186.
See note 2 on
Ag.II.
pJi
IX
,
61-64'
LXXVTd
But
be profited by their perusal.
said of
must be
it
Abhioava's common-
passages
gives considerable help in understanding some difficult
tary that it
for this we should be
of the very old obsolete text of the Natyasastra, and
genuinely greatful to him.
Data of India's Cultural History in the Natyasastra
VII,
Besides giving all sorts of information relating to the dramaturgy
and histrionics as well as the allied

sastra includes considerable other
The most
India.
arts of
dance and music, the Natya-
materials for the cultural historv of
important among theso will be discussed below under
their several heads.

1.
The Natyasastra
Language
gives some description of Pkt. (XVIII. 1-25) and
examples of Dhruva songs in Pkt. (XXXII).

seems that the
classical
in this
Pkt
of the Natyasastra lie
dramas and that of Asvaghosa's
work (XVIII.
44, 48)
From
Besides this there occur
plays.
some references about
the.
used by the ancient tribes liko the Barbaras, Kiratas,
Sabaras aud Candiilas.
nature of languages
Andhras, Dramidas,
Thare arc besides other interesting matters
men
ing to the language used by
2.
In
these materials it
mid-way between the Pkt. of the
of different professions
aud status
in
relat-
life.
Literature
addition to Prakrit verses given as examples of Dhruvas, the
Nfityasiistra
numerous poetical stanzas in Skt. as examples of the
cites
Benediction and of the different metres
(V.
130-131
108-112,
These arc very early specimens of the ancient Indian literature.
XVI).
It is
on
the testimony of these which are free from the artificiality of the later classical poetry, that P.
Regnaud placed tho Natyasastra about the beginning of
the Christian era (Introduction to Grosset's cd. of the
The Natyasaastra
figures of speech
contains also the
earliest
NS.
available
p.
VII-VIII).
discussion
on
(alamkara), and the method of criticism based on the
theory of Sentiments (rasa) which became very popular amongst Indian

scholars during the medieval times3.
In the Visnudharmottara
(II. 2.
Art
4)
painting arc difficult to understand
canons of dancing.
Now
great deal on dance which
the
is
it
has been "said that tho canons of
without an acquaintance
Hindu drama
as
we have
in fact its mainstay.
with
the
seen before depends a
The same work
similarly
connects the canons of painting with the canons of image-making.
Thus
the three arts being connected with one another, the Najyasastra receives
an aditionat importance.
This view
is
justified
by the fact
Natyasastra desoribes various male postures (sthatta)
that tiw
such as Vainava,
ixxae
Manila, Jlidho and Pratyaiidha
Saroapada, Vaisakha,
female postures (sthana)
Asvakranta.
may
also
should be noted in this connection that the Samarftngana-
sBtradhara a medieval
eneyclopoedie
making imaees describes

etc,
(XIII. 159-169) such aslyata, Avahittha and
These and the various gestures described in the Natyasastra
be helpful in studying specimens of the ancient sculpture and

It
painting.
(XJ. 50-71), and
GOS.
(od.
work while
Vol.
describlug the rules of
II. p. 301ff)
the hand gestures
almost in the language of the Natyasastra.
Metrics
4.
Piftyeight varieties of metre of soma,
ardhasama and visama types
have been described in the Natyasastra (XVI).
All those are perhaps
antorior in timo to the Chandhah-siitras of Pingala.
One important
name
of this description is that the

in tho
NS. e.g. Drutavilambita=Harinapluta
Aprameya
(N>,
Srrigvini=Padraini
Harini=Vrsabha-cestita
(NS),
(Ni3),
Bhujangaprayata=
Malini=Nandimukhi (Ns),
Mandakriinta=^ridhara (NS),
(Ni5),
aspect
of the following metres are different
Pvithvi=
Vilambita-gati (NS), Kusumita-lata-vellit5=Citralekha (NS).
Poetics
5.
The Natyasastra enumerates (XVII.
43-106)
four
poetic
(alamkara), ten Gunas and ten faults (dosa) of a composition.

these
may be
Sentiment
the earliest writings on poetics.
called
To
figur, s
In brief
the theory of
and the States (ihava) (VI-VII) also the same remark
(.rasa)
applies.
6.
Costumes and Ornaments
Detailed descriptions of ornaments, and directions about costumes to

bo used by characters in a play according to thoir social status, profession,
religious faith,
1-67,
110-127).
and
tribal origin etc. are given in the Natya&istra
These may throw interesting light on the
(XXIII.
social life of
the Indian people in tho remote past.

7.
The NStyasastra mentions
Mythology
(I-V,
merous gods, 'goddesses, demigods
etc.
XXXVI
XXXIII-XXXIV,
Classified
adopted by Hopkin in his *Epic Mythology* they are as follows

(a)
Lower Mythology
nu-
according to the system
Serpont, Birds, Waters,
Bhutas, Rakasas, Asuras, Daityas, Danavas, Yaksas,
(b)
Spirits
Guhyakas.
Pitrs,
The
Tho Sun-God, tho Moon-God, tho Wind-God, the
Fire-God, the Goii of death, Varuna and Ocean, Indra, the Dikpalas
(World-protector), (d) The Host of Spirits : Gandharvas, Apsafasas,
Kama, Asvins, Maruts, Rudras, Visvedevas, Sdityas, (e) Divine * Seers
eight great gods
(c)
Brhaspati,
NSrada,
Tiimburu,
(f)
Earthly
list's
and
Personages:
TJBtX
Bala
(d.'va),
Brahman,
Nalmsa, Sauatkumara.
Niyati, Niyyti.
(h)
fiiva.
Vi51.u1,
Sarasvati, Laksmi,
Lesser
TJnra, Parvati,
It is
The Three Supreme Deities
Goddesesses
(g)
God
KSrtikcya.
(i)
Medha, Smrti, Mati,
Candika, Siddhi,
probably significant that Ganesa and the Avatiiras of
Visnu are absent from
this
list.
8.
Geography.
In its chapters XIV, XVIII and XXIII the Natyasastra mentions

some geographical names such as Anga, Ante (Anti) rgiri, Andhra, AvantI,
Arvnda, Svarta, Snarta, Usinara. Odra, Kalinga, Kasmlra, Kosala, Khasa,
Tamralipta, Tosala, Tripara, Daksinatya, Dramida, Nepala, Paftcala, Pulinda (bhiimi), Paundra, Pragjyotisa. Pramsu-pravrtti, Plavamga, Bahirgiri,
Brahmottara (Suhmottara), Bhargava, Magadha, Madraka, MalavMaharastra, Margava, Malava, Mahendra, Mosala, Vauga.
artaka,
Vatea, Vanavasa, Vartika (Martika), Vahlika, Vidisa, Vidcha, Siiraseua,

SSiilaka,
Mahen-
Sindlui, Surastra, Sauvira, Gaiiga, Carmanvati, VetravatT,
dra, Malaya, Sahya, Mekala, Kalapaiijara, Himalaya, Vindhyn, Bhiirnta.

9.
The names
Kiisi, Kosala,
of
Ethnological Data.
occur
following tribes
the
Barbara, Andhra, Dramida, Abhira,
Pallava (Pahlava) and Yavana.

assigned to their body
it
may bo
10.
From
the
in
Natyasiistra.
Habara, Candala, Sakn,
the costumes and colours
to
he
possible to trace thorn historically.
Ars Amatoria.
The Natyasastra mentions Karaitantra or Kiimatantra (XXV. 38, 53567) and Kamasastra (XXXV. 46). But as it divides women into twentyfour classeR, and Viitsyiiyana's Kamasiitra into four classes these names do
not seem to relate to the Kamasiitra
11.
The Natyasastra
Is
which probably comes
later.
Artliasaslra.
of opinion that
"The members
of the court
(sali/iir
stara) should be appointed after consulting the views of Brhaspati

thinks that the following are the qualities required
for
this office.
who
"They
should be always roady for work, alert, free from indolence, undaunted by
hard work,
polity
and
affectionate, forbearing, modest,
impartial, skillful, trained in
and good manners, deeply conversant with .tho art
all
other branches of knowledge,
the like"
(XXXIV-87-90).
here as a
member
this officer
edification
and not
affected
of the court, occurs in the Smrti of
who
argumentation
The word sabhastara which has been
should hold discussion about

of those
of
by sexual passion
are
Vyasa who holds that
morals (dhOrmavakya) for tho
present (in court).
In
Mbh 4.1.24,
however
who
is parti-
sabhastara appears only as a courtier (sabhya, Ntlakantha)

cularly interested in gambling (Jolly,
and
translated
Hindu law and Custom, pp. 287-288).
LXXII
The description
amalya and
of the king, the senapati, the
Natyasastra
8 given in the
(XXXIV,
the pifcfowaka
78-87) might well have been taken
from the now lost work of Brhaspati recognised by Kautilya as one of his
The Natyasastra gives besides one interesting information that
sources.
the inmates of
there
As the
a royal palace included a smtaka
(XXXIV.
definition has been lost, it is not possible to
Can he be
identified
84-69) and that
named kumaradhikrla (XXXIV.
besides a functionary
was
76-77).
know what his duty was.
with the kumaramatya mentioned in Samudragupta's
inscription P
Psychology.
12.
The Natyasastra seems to be the
first
in
recognizing the twofold
importance of psychology in connexion with the production of a play. Its

classification of Heroes and Heroines according to their typical mental and
emotional state*
(XXIV.
2l0ff.,
XXXIV.
15ff).
proves
admission of
its
art ; for
the importance of psychology on the creative side of the dramatic
with the complete knowledge of all possible reactions of different objects
and incidents upon such Heroes and Heroines, the playwright as well as
in characactors and actresses could attain the greatest possible success
psychology was
terisation. On the critical side also the importance of
realised
discovorod by the Hindu theorists almost simultaneously. It was
and the
existed,
ever
beauty
of
standard
objective
strictly
that no
early
reactions which
enjoyment of a theatrical production consisted of peculiar
actors could successthe art of the playwright as well as that of the
fully
It is on this assumption that
evoke in spectators of different types.
the theory of Sentiments and
criticism of the theatre
States
and the
author of the Natyasastra.
(VI-VH) important
belles letlres has
Such
a view does not allow
dogmatism in the criticism of art and
More than
and
literature,
allowance for the views of people who may widely

because of their varying cultural equipment.
VIII.
alike for the
been elaborated by the
make due
in their
differ
tastes
Natyasastra
TUe Date of tUe
sixteen years ago, a careful
any kind of
will
of the linguistic,
investigation
the evidenco to be drawn

metrical, geographical and ethnographic data, of
Kamasastra and the Arthafrom the history of poetics and music, of the
to the conclusion that
the- present writer came
century after
second
the
in
existed
Natyasastra
the available text of the
to
a period as
back
go
may
recorded
which
it
tradition
Christ, while the
Vol.
early as 100 B.C. (Tho Date of Bharata-Natyasastra", in the JDL.
sastra,
and from inscriptions
XXV.
1984). 1
Since
this
conclusion
For a bibliography on the Date
of the
was
NS.
made,
more
see this paper p.
intensive
txxxu
study of the text as well as accession of fresh data has confirmed the
writer's belief in ite
materials are
Thc30 additional
soundness.
being
discussed below.
The Geographical Data
1.
Geographical names occur in the Natyasastra (XIV.

in
36ff.)
mostly
connexion with pravrttts or Local Usages which seem to be a later con-
ception and not at
all
indipensable for understanding the
who speak
Natakalakana,
Considering the fact that those works
depend a great deal on the Natyasastra their omission of

taken as very significant.
Mbh. and some
being almost in the same sequence (see D.
IHQ.
item
this
may be
Geographical names occuring in connexion with
tho praw;ilis are found in the
Lists of Peoples" in
art as
the vrttis are absolutely silent on pravrttis
of
connected with them.
whicli are
theatrical
In fact the authors of the DasarQpa and the
explained in the Natyasastra.
Vol. XXI.,
of the PurSnos,
1945,
some of those
Sircar, "Text of the Puranic
pp. 297-314).
It
seems that
some interpolator put them into the text of the Natyasastra, for associating
it
with
all
the different parts of India, though the original
exposition of the dramatic art as

especially in the midland only.
it
was
Hence
bo used in determining the date of our
The Natyasastra
2.
The argument
down
work was an
the northern India
practised iu
the geographical
data should not
text.
earlier than Kalidasa
that a particular dramatist
in the Natyasastra, will be earlier than
who
disregards any rule laid
in
time, will reverse the
it
accepted chronological relation between the Natyasastra and Kalidasa.
Though
(a)
subject,
following points
(i)
the fact has been
Kalidasa
overlooked by oarlier writers on the
too violates the rules
of
tho
Natyasastra on
Though
the prescribed rule
(XIX. 33)
is
that tho king's wives
should be given names connects with tho idea of victory, some

dasa's royal
the
Heroines
have
been
named
as follows
of Kali-
Dharini, Iriivati
(Malavi.) Hamsnpadikii, Vasumati (Sak,).

(ii)
It
is
also
in disregard of the rule
(XIX.
34) proscribing for tho
handmaids (presya) the names of various flowers, that Kalidasa has

Nagarika, Madhukarika, Samabhrtika, Nipunika, Candrika, Kaumudika
(Malavi.), Parabhrtika,
his play.
Caturika (Sak.) as the names of
handmaids in
Vakuliivalikii (Malavi.) is possibly an exception.
(iii)
Though the prescribed rule (XIX. 34) is that the names having
,,
an idea of auspiciousness, should bo given to the menials, Kalidasa has
Raivataka and Sarasaka (Malavi.) as tho names of servants.
(iv)
The term svamin has been used by an army-chief (senapaii)
addressing the king (Sak. II) in violation
of the proscribed rule that
should he used for the crown-prince (XIX- '12).
in
it
lxxxhi
(v)
Besides these, Kalidasa has written elaborate Prologues to his
though the Natyasastra does not recognize anything of this kind as
plays,
These as well as the departures from the rules
a part of the play proper.

in Bhasa's play,
may be taken
(b)
as great dramatists' innovations which as
were fully
creative geniuses they
entitled to.
Besides these there seems to be other facte which probably go to
show that Kalidasa knew the present Natyasastra.

(i)
They are as follows
Kalidasa uses the following technical terms of the Natyasastra
ahgahara, wtti, sandhi, prayoga, (Kumsira, VII. 91), ailga-sattva-Bacana'
srayam nrttam (Raghu, XIX.

upavahana,
(ii)
sMa,
vastu,
KalidSsa
palm, prasnika, sauMava, apadeia,
mythical Bharata as
mentions the
(Vikram,
the celestical thoatrc

(iii)
36),
mayuri mar/ana (Malavl.)

the director of
III).
According to Katayavcnia,
Malavi.
Kiilid:isa in his
refers to particular passages in the Natyasiistra (1. 16-19
4.0
(I.
NS
21.0)
XXX,
(C.)
92ff.)
3.
The Mythological Data
In the paper montioned in the beginning of this chapter the present

writer
was mistaken
does not
word mahagrumaifi which
in his interpretation of the
mean Ganapati
as
Abhiuava the reputed commentator
of the
Natyasastra opines (see notes on III.1-8.). The absenco from the Natyasastra
of this deity
who
does not appear in literature before the fourth century
speaks indeed for the great antiquity of this work.

4.
The Natyasastra
The Ethnological Data
in otie passage
(XXIII. 99) names Kiratas, Barbaras
and Pulindas together with Andhras, Dramilas, Kasis and Kosalas

wero brown
(asita, lit- not white),
and in another passage (XVHI.
Andhras and Dramilas together with Barbaras and Kiratas.

the author of the Dharinasutra
who
Apastamba
of tho Dharmasastra.
Law and
Vol.
I. p,
Custom,
45).
p.
6 and
Hence
assumed on the basis of these names that the Natyasastra was in
hood composed at a time when a section at
least of the
Dramilas (forefathers of the modern Tamils) were

as thoroughly
civilized.
who
names
lived at the latest in the 800 B-C.
belonged to the Andhra laud (Jolly, Hindu
P.V. Kane, Hist,
44)
still
it
also
may be
all likeli-
Andhras and tho

not looked upon
Such a time may uot have been much
after the
beginning of the Christian era.

5.
The Epighraphical Data
Sylvain Levi has discovered parallelism between the Natyasastra and

the inscriptions of the Indo-Seythian Ksatrapas like Chastana
referred to therein as
svimi a term
Jtpplioablo, according
who
are
to the Sastra to
Lxxxrv
the
yuwraja
XXXIII.
or crown-prince (I. Ant. Vol.
MM.P.V. Kane
(Introduction to the
8D.
Levi's argument does not seem to be without
common
sidered unusual for
who
persons
Though
pp. 163f).
has differed from him,
p. viii)
may not be
con-
him
show
It
its force.
aro intimate with
to
by calling him svamin u term to
the future king an exaggerated honour
be formally applied to the reigning monarch only.
Besides the argument
put forward by Levi, there may be collected from
the inscriptions other
which may incline us to tako 200-300 A.C. as tho thno of the
facts too
compilation
of
the
sastra uses it
(XXXVI.
of Budradaman, I (150
in
the senso in which the Natya-
76) occurs in the Junagarh
This also
A.C.).
and niyttddha which we moot

sense
These are as follows:
Natyasastra.
The word gemdharva probably
(a)
inscription
probably in the same
the Natyasastra
in
Bock
mentions terms, like savslhava
(Junagarh Inscription of Budradaman
I.
See
Select Inscriptions,
pp. 172-173).
The
(b)
respect for 'Cows and Brahmins' (go-hrahmana)
which the
(XXXVI.
And respect
author of the Natyasastra shows at the end of his work
77)
has
for
its
parallel iu
Brahmins
the inscription referred to above.
also finds expression in
the 3rd century A.C. {op.

(c)
The
cit.
more than one
pp. 159, 161, 165)
three tribal names Saka,
in the inscription of Vasistiputra
same order in the Natyaiastra
The cumulative
Yavana, and Pahlava appearing
Pulomayi (149
{op. cit., p. 197,)
A.C.) occur
in
the
seems to be that they
may
and NS.
of all these data
effect
inscription belonging to
enable us to place the Natyasastra about 200
A.C., the time of these
inscriptions.
6.
Lack
The
Natyasastra earlier than Bhasa
of conformity to the dramaturgic rules of the Natyasastra has
sometimes been cited as an evidence of the antiquity of Bhasa, the argu-
ment being that as ho wrote before the rules were formulated, he could
not observe them. This view however, seems to be mistaken. For the
rules occurring in
the Natyasastra cannot, for obvious reasons, be the
author's fabrication without relation to any pre-cxistcnt literature.' 1

the Natyasastra
was written
after Bhasa's plays, its
of having been a generalisation from

drpjjiatic
works
Bhisa being
F.Hall
them as well as from numerous other
existing at the time, while the contrary being the ease
later
than the
Najyaswtw) some
in his Introduetion
(p. 12)
(Bharata) .would hardly have elaborated

actual compositions,
If
rules had every chance
to
them
*
the Dasarwpa says:

(the rules)
.
(i.e,
novelties are likely to be
At
all
events,
he
oxcept as inductions, from
txxxv
by the dramatist
introduced
disregard of the existing rules.
in
argumont that the chronological
this line of
relation between
It is on
Bhasa and
the Natysiistra, will be judged below.
On
(a)
no
than three points, Bhasa seems to have disregarded
less
the rules of the Natyasastra.
The suiradiara
(i)
to
the
Natyasastra
the
These are as follows
(Director) begins the plays, though according
stkapaka
(Introducer)
perform this
should
function (V. 167).
In
(ii)
contravention of the rule of the
Natyasastra
(XX.
20)
Bhasa allows death in Act I of Abhiseka.

In the^ Madhyama-vyayoga and the Dutaghtotkaca, Bhasa
(iii)
bharatavakaya
tho usual
not give
in its stead,
may be au
Hence
benediction) and
does
what he gives
innovation.
may be assumed
it
(final
that the Natyasastra
was completed before
the advent of Bhasa,.
Besides
(b)
to
this, there
seems to bo some good evidence in
show that the dramatist was acquainted with
For example, he mentions
drama.
mention of some tcchinical terms
0.
works
his
work on
ancient
humorous context the Jester con-
in a
founding the Natyasastra (Avi. II
this
38-39) with the Ramayana.
Bhasa's
as the acquaintance
which he
as well
shows with some special rules of the Natyasastra
may
also
be said to
strengthen the above assumption.

First,
(i)
about the technical terms. They are
svtradhara, prehaka,
cari,
gait,
'
bhadfamtikha,
sauslhava, prastavana,
mama,
hava, bhava,
natakiya, the root patha, rahga.

(ii)
The hetaera
am unworthy
in the Carudatta
abbhanlara-pavesassa).
expression,
(iii)
The
within herself, "I
Nataka
(I. 4. 7)
XX.
aham
54.
The
suiting the time" (kalasamvadiiia
probably points to NS.
XXVII.
88ff.
vocal skill of the hetaera referred to by the Sakara (Parasite)
Carudatta
may
also be said to point to the elaborate rules regarding
intonation (kaku) in the

(iv)
26, 3 a) says
This seems to refer to the N8.
"by means of a
nwlaena) in Pratima.
in tho
(I.
being allowed entrance into the harem" (abkaini
of
Besides
NS.
these,
XIX
37-8.
expressions like "the two feet
made
facile
in
dance due to training" {nrtlopadesa-viiada-caranau) and "she represents

the
words with
all
her
the Carudatta (1.9.0,
limbs" (jtbhinayati vacamsi sarvagatraih) in
16.0) probably
relate to
the elaborate discussion
on dance and tho use of gestures in the Natyasastra.
On
the.
basis
of
all
these
it
may be assumed
that
Bhasa was
acquainted with the contents of the-pfeseut text of the Natyasastra.
Hence
LXXXVI
it
ma; be
the 2nd centuary A. C.
placed in
the time generally assigned to Bhasa's works.

p.
10, bat according to
A.C. See ID.
From
the
Konow
Bhasa's date
the foregoing discussions
not be supposed that the

of later ages.
century before
may
to Ari
be the 2nd century
p. 51).
work remained
uninterfored
Such an interpolation may
For example,
may be
it
exist
suspected to have interpolated passages in
it.
it
less in all the ancient
received text, has bfien
There are indeed interpolated
and some of these have been^ pointed
passages in the Natyaiastra
out'
and a few more may by some chance bo discovered afterwards. But
may
not bring
1
after
giro
down
the
See notes on XVlfl.
XV.
101 and the
five
work
6,
48
as a
whole to
XX. 63.
couplets after
must
by interpolators
with
more or
Aristotle's Poetics too, in its
assume
reasonable to
2nd centuary A.C., though
existence of the Natyasastra in the
texts.
one
i-e.
(Jolly, Introduction
this
later times.
Besides these cases, the seventeen couplets
XVI
169 are spurious.
For theae do not
any important information regarding the art of the theatre or dramaturgy and may
be merely scholastic additions.

spurious.
The passage on
pravrtlis
XIV.
36-55
may
also
bo
THE NATYASASTRA
a
CHAPTEB ONE
THE ORIGIN OP DRAMA
Salutation
With'a bow
1.
the
shall* explain
(Siva)
Pitamaha 1 (Brahman) and Mahesvara*
to
Canons of
Drama* (NaiyaSastm)
which were uttered by Brahman.

Sages question.
Once
2-5.
as,
Streya
the pious
mission
of
in
the days
yore,
of
and others who had subdued
Bharata
1 (B.
of the
'
sages
their senses,
approached
dramatic art during an inter-
the master of
He
studies (anadhyaya).
G. same).
such
high-souled
(Bharata) then just Bnished
Pitamaha (the Grand-father)
is
a Puranic epithet
For, the Pitts (the Fathers) such as Angiras,
Vedic god Brahman.
Bhrgu, Daksa and Mariei and others> whose descendants peopled this earth,
In the later literature and religion of India, Brahman
were their progeny.
gradually recedes in the background and practically vanishes.
&va, and Visnu
taken by the extra- Vedic
in
His place
his fullfledged
is
Puranic
character.
2
Mahesvara
(the
Great God)
originally a pre-Vedic deity.
another
is
name of Siva who
is
Salutation to Siva along with Brahman, is
very rare in Indian literature.

3
By 'drama'
theatrical
the
N8.
and
is
in
this
connexion
literary character.
to be understood
is
For on
meant ior the producer
this point
(of a
Ag.
any play in
(I. p. 7)
play) as well
as
its
says that
the poet
(=playwright). rfwftwN$>Wi mwfafii.

2-5 (B.G. same).
disciple of Yajiiavalkya
'
Itreya There
are
two
Streyas.
One
is
(Mbh.) and another that of Vimadeva (Brahma P.)
See Vidyalankar, /ivani-kosa, sub voce.

*
Puranas.except the Matsya (24. 28-30) are silent on this Bharata,
the authority
on the Canons'of Drama,
'
THE NATYASASTBA
muttering of prayers
the
The
sons.
originate
Naytyaveda* similar
the
have properly composed

limbs does
applied
it
And
what
possess,
is
was surrounded
and
(japa)
sages respectfully said to
him,
by
his
did
the
to
which you
Vedas,-
is it
it all
how many
meant,
and how
extent*
Please speak to us in detail about
5-
"0 Brahman, how
whom
for
its
[ 1.
to
it
is
be
5 ".
Bharata' answers.
Hearing these words of the
(i.
to speak thus about the Natyaveda
"Get
7-12.
yourselves
sages,
Bharata began in reply
be
cleansed,
the
Silver
the
reign
of
Manu,
and
people
and
no Vedic work.
is
the
with
became
Natyaveda The 'Natyaveda' according
the 'Natyasastra',
Krta-
Svayambhuva (Manu), and
Age (Tretaynga) commenced
Vaivasvata
3
with
1
by Brahman
Golden Age
Brahmins, in the days of yore when the

yuga)i* passed
and hear
attentive
Natyaveda devised
about the origin of the
Ag.
to
He (I.
career
addicted
synonym for
is
p. 4) says
of
sensual
to
*is
*W *C
4
firanuma=fsztei\t. Ag. tak<* the word in the sense of proof
(prammiam atra nucaya-janakatvam), but ho cites another view as well,
which takes the word to mean 'number' and is as follows
3 iTOiaral
:
wrrfttt iTBrrfHirawftmii *i swfii famirfwfls'j v* *sitw.

6
Prom
the five questions put in here,
it is
not tol)e assumed that
the treatment of subjects mentioned will follow the order'of these.

6 (B.G. same).
7-12 (B.G-. same).
'
The
alleged to have been composed
reference
also believed that, later on a shorter
on
this great
Parvatl.
bharata.
work and
This
is
it
was
here
by Brahman
in the
work
(in
is
to
in about
Natyaveda
the
36000 tiokas.
It is
12000 granthas) was based
form of a dialogue between Siva and
considered by some to bo the Sdibharata or Sadaslva-
The present NS.
contains about 12000 granthas and
to include the views of the authors of the
now
extinct
it is
supposed
Natyaveda (composed
by Brahman) as well as of the Sdibharata. See Preface to NS. (B.) pp. 6-7.
On this point Ag
la A.
Gestures,
(I. p.
8) says:
iSi ssifawswftwwrafa^'ta
mwtm
W Bftwismg
K. Coomaraswamy has freely translated 8-17 (The Mirror of
New York,
1936, p. 16),
15
-1.
THE ORIGIN OF DBAMA
were under the sway of desire and greed, became
pleasures*,
jealousy and
infatuated
with
happiness
mixed
with
Lokapalas
the
(guardians
the
(Nagas),
Vedas
Raksasas
(Mahendra)
Indra
born
the
Sudras,
as
belong to
will
object
As
visible*.
the
all
(varna)".
"Let
be so", said he
it
in
and then having
reply
to
yoga (concen-
mind) 1 and recalled to mind the four Vedas.*
He
14-15.
make a
thought: "I shall
then
Natya with the Semi-historical Tales
the
head,
their
as
dismissed the king of gods (Indra) he resorted

tration of
gods,
Uragas
'We want an
those
Veda which
another
to create
13.
by
not to be listened to
Colour-groups
their
of
full
and great
which must be audible as well as
are
be pleased
was
worlds)
of the
(approached) Brahman and spoke to him,

of diversion,
found
[thus]'
and Jambudvlpa* protected by
Yaksas,
with
gods,
and
anger
sorrow,
Gandharvas,
Danavas,
fifth
Veda on
which
(itihaxa),*
will
conduce to duty (dharma)*, wealth (artlm) as well as fame, will
'
gmmyadharma~kg.
explains the
1WtS^tnllfalT^t"t$'itfaift <*+:
8
Jambudvlpa
dvipas (continents).
Bharata-varsa o* Bharata-varsn,
1-12).
differently
geography
ancient Indian
According to
into seven
word
known
is
On
this point Ag. says
S*afa%
Hi wfafil
I, p.
(ch.
548.
^pfturefaari:.
This relates to the four classes such as Brahmana, Ksatriya, Vaisya
13 (B.GK same).
cittamiiinirodhah.
* After
'
It
Yoga
13, B. reads
14-16 (B.G-. same).
one additional couplet.
and Sutbmipata,
11.7
same position to the
On
'
dhama
In
But G>
the
early Indian
Veda.
considers this
(sollasiutta).
itt/iiisas.
literature
the
See Chandogya Dp. VII.

Kautilya's Arthasastra too
See Winternitz, Vol.
itihasa see note below.

also
as
of the mind.
in the footuote.
it
as the fifth
alone was considered
has been defined in Patafljali's work
however begins with the concentration
passage to be spurious and puts
tho
It included
Vimi P.
at present as India'.
and Sfldra.
?.,
was divided
the earth
one of them.
See Winternitz, Hist, of Indian Literature, Vol.
and as follows
WtfaflWNW.
means virtuo, law and custom
etc.
T.-p. 313.
itihasa
If.
and
gives
THE NATCASASTBA
4
contain good
counsel and collection [of other materials for

give guidance
well-being], will
in all
their
actions,
be
will
scriptures {mtra) and
will
human
people of the future as
to
by the
enriched
15-
[ 1.
give a review of
teaching
and
arts
all
well
of
all
crafts*
(%a)'\
16.
his
With
memory
this
resolve
Holy One (bhagavat) from
the
Vedas shaped
of all the
this
Natyaveda compiled
from the four of them.
The
17-18.
the
recitative
(pathija)
he took from the Egveda,
song from the Saman, Histrionic Representati6n
(abhinaya)
from the Yajns, and Sentiments (rasa) from the Atharvaveda,
was
thus
[and]
Vedas
created
and
principal
the
Brahman who knows [them]
Indra
(itihasa)
(lit.
the
by
Brahman
[dramatized and] acted

those of the gods
who
are
holy
by
by gods.
skilful,
said
Tales
"Semi-historical
gods),
have been composed

2
the
all.
of the
lord
with the
connected
(vedopnvala) 1 ,
After the creation of the Natyaveda
19-20.
to
Natyaveda
subsidiary
me, you are to get them
Pass on
learned,
Natyaveda to
this
from stage-fright
free
and inured to hard work."

4
The word iUpa
very often synonymous with kola.
is
As
the 64
kolas enumerated in different works include different arts and crafts, these
two words may be
translated as 'arts
and
crafts',
times to be distinguished from kola; and then it
tSilpa,
however,
may mean merely
is
some-
'a craft'.
16 (B.G. same).
17-18 (B.G. same).
i.e.
the Vedas
'
principal
Vedofiavedatiie Vedas
as
well
subsidiary.
as
and the Upavedas
The Vedas
are all
well-known, and there are at least four Upavedas, one being attached to each
of the Vedas.
to
They are as follows: the Syur-veda.(the Science of Medicine)
the Rgveda, Dhanur-veda (the Science of
Gandharva-veda (Musical Science)
to the
Arms)to
the Yajurveda,
Samavcda, and Sthaparya-sastra
(the Science of Architecture) to tho Atharvaveda.
19-20 (B.G. same).

itihasa enumerates
'
Kautilya's Arthasastra
purima and
ttiwtta, according to
itivrtta
in
its
definition of
as belonging to its contents.
Wmtmiitz, can only mean an
"historical event"
turayta probably means "mythological and legendary lore."
Vol.
An
and
p. 818.
Pargiter has, however, extracted solid historical facte from some of the
THE 0BIG1N OF DBAMA
.1.35]
At
21-22.
are they
understand
to
fit
The
and have
1
sages (muni)
(Natyaveda) and putting
"0
receive
it
the
of
it
they
it,
are
nor
unfit
who know
Vedas
the mystery of the
maintaining this
into practice."
it
The Natyaveda and Bharata's one hundred
sons
On, these words of Kakra (Indra), Brahman said to me;
24.
"0
the sinlesstone,
put
it
yon with your one hundred sons
will
have to
(the Natyaveda) to use".
Thus
25.
ordered.
extant Puraiias (See
learnt
Brahman
the Natyaveda from
Ancient Indian Historical Traditions,
Iris
According to the native Indian tradition itihasa
1922).
it
instructions
The
about duty, wealth, enjoyment of pleasure, and salvation.
London,
said to be an
is
account of events that occurred in the past, carrying in
iloka
and holy
best
and maintain
vows, are capable of
their
fulfilled
Indra bowed to him
reply,
and make use
it
1
do anything with the drama
23.
Brahman,
in
gods are neither able to
one,
to
these words of
palms and said
with folded
traditional
is
tradition assigns the position
The same
the great Indian
It is possibly this
epic.
Mahabharata
of itihasa to the
itihasa that has been connected
with the Natyaveda by the author of the mstra. Hence it appears that
Oldenberg's theory about the original connexion between epic and dramatic
poetry, is
worthy of serious consideration.
setihasam karomy aham

explains setihasam as
Vol.
I.
pp. 100
ff.
Nuty'ukhyam paticamam vedam
(15) seems to be very significant Ag.
(I. p.
13)
itihasopademkatvpam saprabhedam. Sec Winternitz,
312
See note on 14-15 above.
'
n.
21-22 (B.G-. same).
'
It
may be
tentatively
suggested hero that the
gods represented the primitive Indo- Aryans who. possibly had no drama.
On
this point see the
Calcutta, 1945 p. 60
23 (B.G-. same).
from the Pkt. root
European
24.
author's PrScIn Bharator Natya-kala (in Bengali),
ff.
l
The
muqa 'to
word muni
know' which
is
is
evidently
to
be
derived
most probably not of Indo-
origin.
(B.G. same).
The Puraiias and
ignoro these one hundred soas of Bharata.
25 (B.
G-.
same).
similar other
works
totally
THE NATyASAStBA
my
and made
sons study
able
as
it
[1. 25-
[learn]
also
proper
its
application.
of Bharata's one
Names
^-Names
26-39.
Dattila
man,
Jatila,
Sadvali,
of
my sons
hundred sons
are) Sandilya, Vatsya,
Kohala 2 ,
Ambasthaka, Tandu, Agnislkha, Saindhava, PuloVipula,
Kapi&jali,
Yaraa, Dhumrayana,
Badari,
lambudhvaja, Kakajangha, Svarnaka, Tapasa, Kedara, Kalikarna,*,
Tandayani, Pingala,
Dirghagatra, Balika, Kautsa,
Saindavayana
Bhaktaka, Mustika
dhula,
Taitila,
Citraka,
Ban-
Bhargava,
Suci,,
Bahula Abudha, Budhasena, Pandukarna, Kerala, Rjuka, Mandaka,

ambara, Vtinjula, Magadha, Sarala, Kartr, Ugra, Tuflara, Parsada,
Gautama, Badarayana 5
Bhraraara, Pithamukha
Visaht,
Sabala,
Sunabha, Mesa, Kaliya,
Muni, Nakhakutta
As"makutta 7 Satpada,
,
Uttama, Paduka, Upanat, Srati, Casasvara, Agnikunda, Ajyakunda,

Vitandya, landya,
26-89 (B. same
Some
differently.
Kartaraksa,
G.
26-38).
'
at least of the
Hiranyaksa,
Kusala,
etc.
3
iSingabhupala mention the
Bharata might in fact
first four.
Kohala has again been mentioned
in
art,
142, 144,
J.
pp.
146,
140,173,182,183,288; Vol.
147,
151,
155,
dance and
See below notes 2-7.
NS.
(<J.)
XXXVI.
has referred to his opinion several times and quoted from
natya (Vol.
names
B. and G. road some of these
so-called sons of
have been the authors who wrote on dramaturgy, histrionic

music
Diihsaha,
JUL
pp.
'&>
liis
Mf
65.
13>
407, 416, 421,434,452,458,459).
S.
K. De,
him
as
133,
JLater
writers like Damodaragupta, Hemacandra, Sarngadeva, Saradatanaya
Singabhilpala acknowledge
Ag.
work on
and
an authority on drama and music. (Sec
Skt. Poetics, p. 25. f.n.)
Ag. has quoted a passage from the work of one Dattilaearya

(Vol. I.
p. 205). He seems to be identical with this Dattila. Sec also note
1 above.
1
Walikania is probably identical with ISatakania

referred to and
quoted in the commentary of the
Anargharughava '(,,. 7. gcc Levi, IT
PP. 27, 65) and the Sitakalak jana.
(p. 47, ed. M. Dillon),
Satavakana.
5
The Natakalaksana
(pp.
^^Szt
46, 114)
refers
to
S51iv5hana
and quotes from him.
m,m Mmu> " d
qHOtra from
t,,i8
-I.
45
THE OBIGN OP DBAMA
Bhyanaka, Bibhatsa,
Jala,
Asita,
Mathara
Lohitanga, Saijivartaka,
Sankhavarnamukha,
Pundriiksa,
Pundranasa,
Salufikayana,
Syamayana,
Vicaksana,
Mahsjihva,
Vidyujjihva,
Sita,
ParbiSikha,
Sanda, ânkukarmi,
Sikha,
Trislkha,
Sakranemi,
Gabhasti,
Ams'umali, Hatha, Vidyut, Satajangha, Raudra and Vira.
[Thus] at the command of Brahman and
39-40.
of the people I assigned to
benefit
to.
them 1
my
Performance begins with three
O' Brahmins,
41.
then
Verbal
(bharati),
the
Styles.
to give a performance
prepared
[yrayoga) in which was adopted dramatic

the
for the
sons different roles suitable
Grand
Styles
(mttrntl),
such as
(rrtti)
and the Energetic
(aralhati).
Need
42-43.
him
informed
of
gods)
[in
my
my
me
told
went 2
[then
[of
to
its
43-45.
Brahman and]
to
the
and he
Graceful
asked
(lit.
to
the
(jui'h
Style also
(kaffikl)
me
bowing,
after
Now Brahman
work].
include
performance],
conducive to
of the Kaisiki Style
name
materials
introduction.
Thus
addressee]
by the master
I replied,
"Give
me
materials necessary for putting the Graceful (ktiiiill) Style into prac-
At
tice.
the time
of Nilakantha's
(Siva) dance I have seen his
Graceful Style appropriate to the Erotic Sentiment, and this requires
39-40 (B.
41 (B.
same
same
G.
G.
39).
40).
G. reads 39b
The
four
differently.
Styles
such as Bharata, Siittvata, Keiika and
tribes
Bharata and SSttvata are wellknown.
have been
same
G.
41).
Among
these
om. 42a.
pragrhya (=embracing) has been taken
to
same G. 42-44a). l Siva is

See M. Ghosh (ed.) Abhinayadarpana,
43-46 (B.
dance.
Arabhata.
The remaining two names might
lost.
42-43 (B.
?
probably related to four
Translation, p. 1.
mean 'going
India's
to'.
traditional
Calcutta,
god
of
1934, English
THE NATYA8ASTRA
and
dresses
beautifnl
has Sentiments
is
with gentle AngahSras*
endowed
3
States (bh&va) and action as
(/.),
Creation of Apsarasas far practising the
except
with
help of
the
(Brahman) created
skillful
from
[for helping
me]
drama 1
the
Maiijiikes% Sukeft, MKrakefl,
Duvadatta, Devasena,
Arjuni, Sarala, Kerala, Dhrti,
Manoiama,
And
Nanda, Supuskala and Kalabha.
him (Brahman) Svati 1 together with
l.y
was employed
celestical
Sudati,
Sumukhi, Magadhi,
and Narada engaged to help Bharata
Sviiti
and
me
of Apsarasas
[Their names 1 are]
1)0-51.
Lord
and gave them over to
Sundari, Vidagdha, Sumala, Santati, Sunanda,
disciples
by men
powerful
in the performance.
Saudamini,
Sulocanii,
Style
properly
the
and
its soul.
mind nymphs (apsaras) who were
Names
47-50.
Then
women."
his
embellishing
in
Kai&ki
This Style cannot he practised
46-47.
46-
[ 1.
on musical instruments,
to play
musicians (<jmihan;i) such
drums)
(lit.
Narada 1
as,
his
and others
were engaged in singing songs. 2
Thus
51-53.
which arose out
comprehending the dramatic
after
the
Vedas and
along with
my
sons
as
well
as
Brahman
(lit.
lord
of
the
worlds)
;1<V mgakvm
nrthnga ;1 B.
],
46-17 (ft
to
same
see
(I.
47
44b-45;.
in
ln
>
'
16
(a%)
ff.
,
folded
palms
XXIV.
50-51).
for
here ,nav be taken also
4-5.
" ^ **"* -*-W
5W3(B.51b-53a,G.
and
R, ad mrdvahgahara
yj ,
Bhagavata and Vayn P.

Spo Vidyalankar. JK.. sub
8
.instrumiSr
limbs!
and Narada approached
^m
a"d
[different]
with
mlyidaiMra
NS.
'? G -'tMSX '*
ina
in
a Sslightly ditterent ninnim-
mas can
Sta
011
their
Svati
Ns. IV.
cttai ] H
mean nmydmikaras mentioned
lS^
art
'
of
**.
of stringed
-1.
61
THE ORIGIN OF DBAMA
said that the dramatic art
has
{>Mija)
been mastered, and prayed
command.
for his
The Banner
Festival of Indra and the
On
53-55,
first
Brahman
these words,
begun
just
make
use
of
"A
said,
time for the production of a play has come

of Indra has
production of a play
very suitable
Banner Festival 1
the
the Natyaveda
now on
this occasion".
I then went to that festival in honour of Indra's
55-58.
victory which took place after the

of
gods) were
the
assembled in
the holy
In
killed.
numbers
great
Danavas and the
this
festival
performed for
A suras (enemies
where jubilant gods

their
satisfaction
Benediction (n&ndi) containing blessings with words
their eightfold 3 aspects (astahga,
in
Afterwards I
of eight limbs).
lit.
an imitation of the sitution in which the Daityas were
devised
by gods
defeated
which represented [sometimes] an
(and),
cation and tumult
and [sometimes] mutual cutting
off
alter-
and piercing
[of limbs or bodies].
The
pleased gods reward Bharata's party
Then Brahman
58-61.
as well as the other gods were pleased
with the performance and gave us

of joy
that
their
filled
53-55 (B. 53b-55a
G.
all
mind.
52-53).
twelfth day of the bright half of the
sorts
First
'
This
moon
a very popular festival in ancient
gifts
as
a token
the pleased
month
of
Indra
on
occurred
festival
in the
India.
of
of all
Bhadra.
Asvaghosa mentions
It
it
the
was
in his
Maha, a part of the compound dhvaja-tnaha is simply a Pkt.

form of the word makha meaning 'sacrifice' cf. Indra-makha.
kavyas.
55-58 (B. 55b-58a
means
'like the
'
The
Veda'
eight
i.
G.
suffixes (vibhakti).
58-61.
Veda-sammita
(.veda-nirmiia, G.)
e. 'holy'.
aspects of words
particle (nifatd), prefix {upasarga),

suffis (taddhita),
54-56).
euphonic
See
are noun (noma), verb (akhyata),
compound word (samasa), secondary
combination (sand/ii),
nominal awKverbal
S& XV. 4.
(B. 58b-61,
G. 57-59)
and actors at a performance,
is
Making
gifts
to
a very old custom in India.
dancers,
Such
singers
gifts
were
mado by rich members of the audience, while the common people enjoyed
2
THE NATYASASTBA
10
(Saki-ii)
banner, then
gave his auspicious
Visnu gave us a
the goddess
a crown, and
audibility
Sfirya
(the
wind-
(simltasam), Kuvera
lion-seat
gave
Sarasvati
(the sun-god)
Vayu
Siva success (sUdhi), and
gave an umbrella,
61-
Brahman a Kutilaka 8
(bhrngara),
and Varuna a golden pitcher
god) a fan.
[ 1.
as
visibility
as
well
8
.
62-63.
The
and the Gandharvas, the
gods,
rest of the
Yaksas, the Eaksasas and the Pannagas (Nagas) who were present
different birth and merit, gladly, gave
in that assembly and were of
my
sons speeches suited to their different roles [in the play], States
{bharn) 2 ,
movement
H,
Sentiments
Now when
64-65.
[proper]
the performance relating
Vighnas (malevolent
[uninvited] instigated the

said,
paksa as their leader,
the killing
to
Danavas began, the Daityas who came there
of the Daityas and the
this
form,
physical]
[good
[of limbs] and strength as well as beautiful ornaments.
"Come
forward,
we
spirits)
with Viru-
not tolerate 1
shall
dramatic performance."
Then
66.
the Yighnas (evil spirits) together with the
resorted to supernatural
movement as
well as
Asuras
power {maya) and paralysed the speech,
memory
of-
the actors.
the performance without any payment.
This old custom
under the influence of modern theatres which
realise;
is
now dying out
the price of the enter-
tainment beforehand by selling tickets.

3
by the
Kutilaka.Ag. takes
But
Jester'.
lie
dramatic literature.
it
te
mean
Jn Kalidiisa's Miilavi.
i'ult'la-damlakaUAa and damjakallha (id
But
160).
Jester.
it
is
not clear
TheNK. XXIII
does not connect
hm*:,
'
same
For
curved stick
fit
this
in
to bo
used
by the old
however occur bhuahgama
Pandit,
Bombay, 1889, IV.
from the context whether
it
150,
belonged to the
167-170 describes probably this damlakM.ha, but
ith the Jester.
it v,
Prom now on
62-63 (B.
'a
does not seem to be supported
the numbering of couplets

;
G.
details
60-61).
68 (B.same;Q.
64).
wrong
B. reads 63a as
in B.
rw mui
W'lit
on States see NS. VI.
64-65 (B.same-, 0.62-63).
make, B).
'
is
'
na kmmnymnahe
(neltham
ucha-
-I.
78
THE QBIGIN OF DBAMA
Seeing this injury to them, 1 Indra sat
67-68.
the cause
to ascertain
out
that,
surrounded on
had been rendered
sides
all
and
by the Vighnas
with
together
senseless
Then with
69-70.
in meditation
break in the performance and found
of
Director (sUtradhara)
the
11
his
(evil
spirits),
associates
(actors)
inert.
turning in
eyes
jewels, set
in
With
it.
the
all
Indra beat to death the
Jarjara
this
and
be rose
anger
took up that best banner staff (dhvaja), brilliant with
Asuras and the Vighnas who were hanging about the stage [for
mischief].
'
The Vighnas
71-73.
together with the Danavas having been
"0
the gods saids in joy.
slain, all
weapon with which
all
Hence
(beaten to pulp).
Bharata,] you have got a divine
destroyers of a play have been

it
The remaining enemies
73-75.
it
too
To
this."
violence to [actors] will fare like

said with pleasure, "'Let
made jarjara
have the name of Jarjara. 1
will
be so
who may come

the
g"ods,
this Jarjara will
do
to
then
Indra
be the protection
of all actors.''
[And
75-76.
when the play was ready and
afterwards],
Indra's festival continued in full force, the remaining Vighnas began

to create terror for the rest of the actors.
Having noticed these attempts caused by the
76-78.
of the Daityas
said],
"O
spirits)
I,
sons, approached
Brahman
the holy one and the best of gods, the Vighnas
[and
(the evil
are determined to destroy this dramatic performance
enlighten
me
about the means of
67-68 (B. same

69-70
G. 65-66)
(B.MW!;Cf.
71-78 (B. 71-72, 78b

of
my
along with
insult
folk-etymology.
but B. G. lfrlM
We
'
its
tatra tesam
G.
69-70,
read 72b.
71b).
as,
G.
salt
(svtradharasya, B.G.)
This isjsvidently an instance
itoPmTw:
3i
SI
smfiwm
75-76).
.
(
'
(C.)
one hemistich as follows:
75-76 (B. 76, G. 74).
73-75 (B. 73b-75, G. 72-78).

;
so
67-68).
WT 9** m*r. m: and adds
76-78 (B. 77-78
protection."
daityattam (madarthe, V.)
THE NATYASA8JBA
w
"0
78-79.
Visvakarman,
[and said],
and
"0
then to
"build carefully a playhouse of the best type."
according-to this instruction
it
which has
god, please have a look at the playhouse
made
been
all
78~
Visvakarman) went with folded palms to Brahman's court
(i.e.
[just]
one," said Brahinan
high-souled
After constructing
79-81.
he
the
[ 1.
other good
Then Brahman, along with Indra and
ready."
(lit.
the best) gods, went to have a view
of the
playhouse.
On
82-88.
seeing
it
Brahman
said to the rest of gods,
ought to co-operate in the protection of the playhouse in
its
parts [and of the objects relating to dramatic performance)
(the moon-god)
worlds)
(guardians of the
its
Varuna the space [within the

Agni
(nepathya),
deities of four
the
plinth
its
main building
the
protect
to
1
,
Colour-groups (nirna)
[of seats
the
its
four corners,
musical
instruments 2
the pillars, the

the Bhutas
pillars,
"dharani], the Apsarasas
Yama
(spirits) the
the door, the two
Naga kings (Ananta and Vasuki) the two blades
Yama
Sdityas and
rooms, the Yaksjtais
its
the entire house, the ocean-god the ground,
(dvampatra)*, the Rod" of
Candra
the Lokapalas
Mitra the tiring room
building],
Rudras the space between the
rows
Maruts
sides, the
clouds
"You
several
of the door
the door-frame, diva's Pike the
top of the door.
88-93.
keepers,
Niyati and
78-79 (B. 79
He
Yama
(Mrltju)
were made two door-
and Indra himself stayed by the side of the stage.
G.
77).
'
Visvakarman
is
the 'architect of the gods,
very frequently met with in the Puriinas.
is
deity of this name.
There was
also'.a
Vedic
See Vidyalankar, JK, sub voce.
79- tl (B.81-,82;
padmodbhavnwya.
In the
G.
82-88 (B. 8 3-89a
79-80).
G. read
B.
'
G. 8l-87a).
Krtva yatkokUm
in place of this hemistich
Vedika
evam tu grham
a complete ihka.
rahgfiwdM
tatra tikmo'
dhisthutetyarihali (Ag.).
2
bharpla iti tripuskare sopakarane

(Ag.)
"
Such
dvamfiatr* (dvam-fiarhe
deities arc
nowhere to be met with.

<}.)
88-93 (B. 891,95a ;G.87b-92a).
See NS.
.
^ ^^ ^
III. 1-8 note
THE OBIGIN OF DBAMA
.1.99]
13
Mattavarani was placed Lightning which was capable of killing

Daityas, and the protection of
was entrusted to the very
its pillars
In the Jarjara was
strong Bhutas, Yaksas, Pisacas and Guhyakas.
and in
Daityas,
posted Thunder (vajra) the destroyer of
its
(farm) were stationed the best and powerful gods. In the

topmost section was placed Brahman, in the second Siva, in the
third Visnu, in the fourth Kartikeya and in the fifth great Nagas
sections
such
as,
Sesa, Vasukl and Taksaka."
Thus
93-94.
for the destruction of the Vighnas, gods
placed in different parts of the Jarjara, and

occupied the middle of the stage.
It
is
Brahman
for this reason
were
himself
that flowers
are scattered there [at the beginning of the performance].

95.
Denizens of the nether regions such
Guhyakas and the Pannagas were employed
as,
the Yaksas, the
to.protect the bottom
of the stage.
96.
hero,
Let Indra protect the actor who assumes the

1
Sarasvatt
Omkarah*
assuming the
the actress
of
role
role of the
the
heroine,
Siva the rest of the characters (dramatis
the
Jester and
He
(Brahman) said that the gods who were employed
personx).
97.
protect
the play) would be
it (ie.
Brahman
pacifies the
This (method)
;
93-94
(B. 95b-96
and
be applied
to
is
(dam)
a body said to Brahman,
G.
94).
96 (B. 98
G.
95).
G. 92b-93).
'
Sarasvati
Vedie goddess of the same name.
Oinkara as a deity
97 (B. 99
G\
96).
is
'
(Oman).
and secondly the making
first,
(these proving futile)
95 (B. 97
in
pacify the Vighnas by the conciliatory method
"You should
to
deities.
Vighnas
In the meanwhile gods
98-99.
gifts
its
guardian
of
one should afterwards create
See NS. V. 74.
mentioned
See Rk.
1,
here seems
42.9 and
OK. sui
very rarely to be met with.
to
voce,
be the
THE NATJASASTBA
[among enemies], and
dissension
f 1. 100-
proving
this too
punitive force (dan/fa) should be applied [for curbing
unsuccessful
them 1 ].
Hearing these words of the gods, Brahman called the
100.
and
evil spirits
"Why
said,
are you out for spoiling
the dramatic
performance ?"
Virupaksa 1
Brahman,
by
thus
Questioned
101-103.
and the Vighnas, said these conciliatory
together with the Daityas
words: "The knowledge of the dramatic art (riatyaveda) which you
have introduced for the

,
an unfavourable
us in
the gods; this ought
the
first
progenitor
came out
first
light,
not
time, at the desire of
and
have not been done
to
grand-father) of the
(lit.
the gods, has put
done by you for the sake of
this is
by you who
is
whom
from
world,
alike gods as well as Daityas."
These
104-105.
Brahman
said,
words
being
uttered
'Enough of your anger,
by .Virupaksa, 1
Daityas, give up your
grievance (lit sorrow), I have prepared this Natyaveda
determine the good luck or
and which
which
will
luck of you as well as of the gods,
ill
will take into account acts
and ideas of you as well as
of the Daityas.
Characteristic of a
In
106.
it
you or of the gods:

of the Three
107.
(ii&tya)
there
for the
drama
no exclusive representation of
is
is
a representation of the
Worlds (bhavaiinkirtam) 1
[In
times to games,
it]
sometimes
drama
tliere
state
is
[reference to] duty,
some-
sometimes to money, sometimes to

peace, and
Js
98-99.
(B. 100-101
O.
97-98).
This
is
an aicientilndian
political
maxim.
100 (B. 102
G.
99).
101-103 (B. 10S-105

MM,
A
r>
107.'
(BUWjG.lMX
mm
100-109"
>-
itu
Thw
name occurs
in
t.-
Ram. and
THE OBIGIN OF DBAMA
L uj ]
sometimes laughter
found in
is
love-making and sometimes
sometimes
it,
15
sometimes
fight,
killing [of people],
This teaches" duty to those bent on doing their
108-109.
who
duty, love to those
are eager for
and
its fulfilment,
it
chastises
those
who
who
are disciplined, gives courage to cowards, energy to heroic
are ill-bred or unruly,
men
persons, enlightens
leawied
promotes self-restraint in those
of poor intellect and gives wisdom
the
1 10.
This gives diverson to kings, and firmness [of mind] to
persons afflicted with sorrow, and [hints

those
to
who
for
are,
earning
it,
and
money
of acquiring]
to
brings composure to persons
it
agitated in mind.
The drama
111-112.
have devised,
as I
actions and conducts of people, which
and which depicts

of
men
is
good, bad and indifferent, and
will
and happiness as well as counsel to them

113.
actions
The drama
in
emotions,
relate to actions
give courage,
amusement
all.
it,
to
all,
through
and through Sentiments,
it.
114-115.
afflicted
will
thus be instructive 1
and States (bhava) depicted
arising out of
are
will
a mimicry 1 of
rich in various
This
different situations.
is
It will [also] give relief to
unlucky persons who
with sorrow and grief or [over]-work, and will be
conducive to observance of duty (dharma) as well as to fame, long

life,
intellect
116.
and general good, and
There
educate people.
no wise maxim, no
is
no device, no action that
108-109 (B. 110-111
will
is
learning,
not found in the
O. 107-101).
All
drama
these
no art or
craft,
(natya).
lay
stress
on the
educative aspect of dramatic performances.
110 (B. 112
G.
109).
111-112 (B. 113-114

tion' to
G.
110-111).
'Aristotle also brings in 'imita-
explain poetry and drama (See Poetics).
118 (B. 115
G.
112).
114-115 (B. 116-11?

116 (B. 118
G.
115).
>
G.
Sec above 108-109

118-114).'
Hote.
THE NATYASA8TBA
16
Hence
117-118.
all
1.
117-
have devised the drama in which meet
the departments of knowledge, different arts and various actions.
any anger towards the gods
So, (0, Daityas) yon should not have

for a
mimicry of the world with
has been
made a
119.
*
its
drama.
rule of, in the
taken out of Vedic works as well as Semi-
Stories
Tales (itih&sa) [so embellished that they are] capable of
historical
giving pleasure,
120.
is
drama
called
(nStya).
mimicry of the exploits of gods, Asuras, kings as
well as house-holders in this world,
121.
depicted by
And when human

means
is
drama.
called
nature with
joys and sorrows,
its
of Representation through Gestures,
and the
Words, Costume, and Temperament or Satlva)
(i.e.
Seven Divisions (sopta dvlpa) 1
is
like
called
it is
drama.''
Offering Pflja to the gods of the stage
122-123.
in
The Brahman
the playhouse
Mantras 4
(sacred)
said to all the gods,
ceremony (niijana)
plants,
Japa 3
with
and the offerings
consist of eatables hard as well as soft (bhojijn
124.
Thus
this
Veda
{i.e.
"Perform duly
offerings,
should
it
and bliahj/a*).
Natyaveda)
this
in
Homa, J
will
have a
G, 116). ' According to the Puranic geography

was divided into seven continents such as Jainbu, Plaksa,
Balmali,
Kraufice, SSka and Puskara.
Each of these continents
117-118 (B. 119-120
the world
Kusa,
was further
subdivided into nine regions, and Bharata (India)
is
a legion of the
Jambu
continent.
119(1231-1248
G. 119)
120 (B. 121b-122a
>
B. readsone couplet more afirr

this.
G. 117)
natyam etadbhamnyati, but B. G.

121 (B, I22b-I23a
G.
122-123 (B. I25b-127a
We read
kHmukamaam
G. 120-121).
'
W.
fferiK
oMations to
fire.
i3/rffl-formula of prayer sacred

to any deity.
/^-repeating
lake
118).
gods by throwing ghee into the

consecrated
8
120b as
differently.
mantra
or muttering
'
it
many time*
-1.
125
THE ORIGIN 01 DRAMA
happy adoration of the world.
17
dramatic spectacle (preksa 1 )
2
should not be held without offering Puja to the stage.
125.
He who
will hold' a
dramatic spectacle without offering
the Puja, will find his knowledge [of the art] useless, and he will be
reborn as an animal of lower order (tiryag-yoni).

126.
all
Hence [producers
of a play] should first of
by
all offer
means, Puja to the ' [presiding] deity of the stage, which
is*
similar to the [Vedic] sacrifice.
127.
The
will sustain
128.
(arthapati)
actor (nartaha) or his wealthy patron
who does not 'offer
this
Puja or does not cause
to
it
be offered,
ajoss.
He who
the observed
will offer this
practice, will attain
Puja according
to the rules
and
auspicious wealth and will [in the
end] go to heavens."
129.
so, offer
Then Brahman with other gods
Puja
said to me, '"Let
it
be
to the stage."
Here ends Chapter
I of Bharata's Natyasastra,
which treats of the Origin of Drama.

124 (B.l27b-128a
pinks
(c.
1
600 D. C.
G.122)
>
prekm Pali petkha occuring
in
Puja worshipping
a deity
with flowers,
sweet
scent,
music and offering of eatables.

125 (B.128b-I29a,
G.12.*i).
127 (B.130b-131a, 0.125)
129 (B.l32b-13:t, G.127).
?&
S\
Sikkha
).
SEP 1959
126 (B.129b-130a, G.124).
128 (B13lb-132a, G.126).
incense,
CHAPTER TWO
DESCRIPTION OF THE PLAYHOUSE
'
On
1-2
we would
one,
stage.
Introduction
"0
hearing Bharata's words, the sages said,
And how
playhouse or [to
the holy
about the ceremony relating to the
like the hear
men
are the
know about]
of
the
future
practices
to
Puja
offer
related
to
in the
it,
or
its
accurate description ?
As
3.
you should
of all] give us ks description."
The
4.
On
"Listen,
Puja
drama begins with the playhouse,
the production of a
[first
hearing
three typos of the playhouse
words of the sages,
these
sages, about the
Creations of gods [observed] in houses

and gardens 2 .
1-2 (B.O. same).
ranga here means
*tlie stage.'
the auditorium as well as the spectators

sitting there.
wsftwjfiwfBpw
i
.ill
(KG.
same).
n tfft xv
'.
suspected by Th.
India,
said,
and of the
to bo offered in this connexion.

5-6. J
**1
Bharata
description of a playhouse 1
S a k.
tl.
may
the
200 B.;C.) in the
(c.
remains of a theatre,
existence of a playhouse i
S"
ksMalav,
nek
r
'
ancient India.
there, is
Prom
<
like
playhouse
"7;""'.
ne,ghlwilnn
fl
"*
no
the
V ><*** ** mentioned by Ka.idasa
was poss,blv something
wifl,
Ramgarh
in
the prêut chapter we
learn that it was
walls and wooden posts
probably with a thatched
is sr :"S~,"r
connected
mean
Survey of
desenpfonof the playhouse

,nstrctlwith
also
3 (B.G. same)
Bloch (Report of the Archaeological
190H PP.123 ff) to have been
other evidence of
J. i. o.
Except the cave
It
So Kalidasa write
BrWh
'
* hi^S
"
*g
]mvimei
f
'
L L*
,
**"
(nilyammlaM
*-
,,
8 itabI
"
Is
one
the
-Ii.
11
DESOBIPTION OF THE PLAYHOUSE
are the outcome of their [mere]
be carefully guided by
Hence,
listen
manner
clown in the Sastras].
rules [laid
about the method of building a playhouse and of the
Puja
of offering
at the site [of its construction].
There are three types of playhouses devised by the
7-8.
Visvakarman [the heavenly
wise
but men's [creative] activity
will
should
19
They
art (mstra).
architeeht] in the treatise

(vib-dn), 2
are oblong
on
his
square (eatwrauru) and
triangular (tryasra).
The
Their sizes vary
8-11.
sized
three sizes of the playhouse
(madkya)
may
The
they
arid small (avara).
have
[respectively]
or
meant for gods 4
Dandas]
(lit.
measurement)
They 2
thirty two.
one hundred and
[sides]
[cubits
thirtytwo
sixtyfour or
eight,
length
of cubits as well as Dandas,
of these [three types] fixed in terms
one hundred and
be large (jycslhi), middle-
The
long.
and the middle-sized one
eight, sixtyfour
large
is
should
and
playhouse
is
for kings, while for the
has been prescribed the smallest [theatre]. 5
rest of people,
7-8 (B.G. same).

8-11 (B.G. same).
'
Some
are for identifying
the oblong, the square
and tho triangular types respectively with the large, the
and tho small playhouses, but Ag. very rightly objects to

According "Wti* i\H sSsrslfa
<flrct*
(i)
iftt
%Uf[
<w
middle-sized
this.
v&4 faa ftrfa *wtn
He says.
wrt:
Ssi
9mi to Ag's view there will be the following nine tj-pes of playhouses
large oblong
medium
large square,
(ii)
medium
square, (vi)
(iii)
large
triangular, (vii) small
square and (xi) small triangular.
For a
triangular, (iv) oblong (v)
oblong,
(viii) small
free translation of the passages in
this chapter (8, 17, 19, 24-28, 33-35, 43-53, 63,68, 69-92) relating to.the cons-
truction of
playhouse see D. R. Mnnkad, "Hindu Theatre" in
the
VIII. 1932. pp. 482

3
They
As
<fo>i<las
*
in this
'.
the
e.
the large, the middle-sized and the small.
measurements described are
in
terms of cubits and
Ag
(I.
p.51) thinks that by gods,
kings and other peoples mentioned
passage characters in a play have been meant But this view does not
So
the other
Sods and kings etc. as spectators
24.
both,
(4 oubite), eighteen kinds of playhouse will be available.
soem to be plausible.
1HQ.
ff.
After this, B. reads throe
Oh
view, mentioned by liim, which takes
may be
*
also holds tho
same view.
accepted.
couplets which go rightly between 2Q and

*
THE NATYASASTBA
20
The
12-16.
the
measurement of
all
these
Units of these
which has been fixed by Visvakarman.
theatres,
II. 12-
measurement
table of
now about
Listen
measurements 1 are: Ami, Raja, Bala, Liksa, Yiika, Yava, Angula,

cubit {hasta)
and Danda.
=
=
=
Anus
8 Rajas
8 Balas
8 Yiikas
Yavas
24 Angulns
4 cubits
preceding
the
them
of
table
Liks.fi
Yukii
Yava
Angula
cubit
Danda.
'
measurement
shall describe
the different classes of playhouses).
(i..
The playhouse
An
17.
made
Raja
1 Bala
=
=
=
=
=
8 Liksas
for mortals
playhouse meant for mortals 1
[oblong]
should be
sixtyfour cubits in length and thirtytwo cubits in breadth.
Disadvantage of a too big playhouse
No
18-19.
above; for a play

properly
one should
[producedj in
build a
playhouse bigger than the
it (i.e.
a bigger house) will not be
For anything
expressive.
recited or uttered in too big a
playhouse will be losing euphony due to enunciated syllables' being

indistinct
20.
[to spectators not sitting sufficiently close to
[Besides this]
w hen
the
playhouse
pression in .he face [of actors] on which rests
12-16
(\\.\
o-l9,
G.samrX
'.The
table
is
the
p.
of Kautilya (see
482 footnote).
17 (B.20, (!.).
'
A medium
It is described in detail later ou.
18-10 (B.21-22,
0. same).
oblong playhouse is meant here.

See 33-38, 43-45, 63-66 below.
anabhivyakta-varmivhd.
B. reads
In spite of Ag's acceptance
of this reading it
not be considered genuiue.
amhsawm-dharmatvad.
may
Representation
of measurement giveu here
agrees substantially with the one given

in the ArthasTistra
IHCJ. VU1.
the stage].
very big, the ex-
>
-II.
27
DB8CBIFTI0N OF TEE PLAYHOUSE
of States
and Sentiments, 1
21
not be distinctly visible [to
will
all
the
spectators],
Hence
21.
medium
desirable
is
it
playhouses
that
should
so that the Recitatives as well as the songs in
size,
be of
may
it,
be more easily heard [by the spectators]. 1

22-23.
Creations of gods [observed] in houses and
are^the outcome of their [mere] will, while

efforts in their creations
creation of gods. 1
shall
[play] house suitable for

*
The
24.
of land
men
hence
now
human
men
should
describe
are to
gardens
make
careful
not try to rival
the
the
characteristics of a
beings.
Selection of a suitable site
expert [builder]
and then proceed with
should
first
good resolve
of
to
all
examine a plot
measure the
site
of the building.
25.
is plain, firm,
26.
a plough,
It
builder
should
erect a playhouse
should
shrubs growing in
first
of all be cleared
which
The ground being
[the building sitel 1
it
and
as well as grass
of the site
one should measure out
cleared
20 (B.24, G.21).
G.21)
and then scratched with

in
are to be removed.
it,
Measurement
J21 (B,24,
soil
and then bones, pegs, potsherds
27a.
on the
hard 1 and black or 2 white.
'
'
rugo dkivasrsli-rasasrayali.
After this B.
22-23 (B. 27-28, G. 24-25).
'
G.'
read two more couplets.
That
mortals
is,
(men)
should
not
build a playhouse the biggest type which has beeu prescribed for gods.
24 (B.
29,
G.
26).
25B.30,G.27).
'
Ag. thinks
ka[hina
According to Ag. the second ca moans
means
anmaru
(=fertile).
or'.
26 (B. 3I.G.28).
27a (B. 32a, G. 28a).
one couplet which in trans,
'This hemistich
is
as
follows
is
The
followed in
and
by
asteiismsi UttaraphalgunI
(Beta-Leonis), Uttarasadha (Tau-Stigitlarii),
Cttarabhiidrapada (Andromedoe),Uxs^m\ (Lambda- Orionis), Visakha (lota-Ltbra), Revati (Pisc\um), Hastii (Cotyii), Tisya (Delta-CancriJ and Anuradha
are favourable, in connexion with drama.
Delta-Scorpii)
I'
THE NATrASASTBA
22
Under
27-28.
tlic
asterisin
'
--
Pusya (Gancri) he should spread
cotton, wool, Muiija grass or bark of
may
which
[for measurement] a piece of white string
some
made
be
of
tree.
Taking up the string
Wise people should prepare
28-31.
which
is
[pieces]
When
patron
the
[of
the string
broken into two
is
dramatic spectacle] will surely die.
the
broken into three a political disorder will occur in
it is
and
land,
When
not liable to break.
for this purpose a string
broken into four pieces
being
it
2
dramatic art
while
will perish,
some other kind
of loss
Besides this the
the
master of the
the string slips out of the hand
be the
will
always
that the string should
if
the
Hence
result.
be taken
and held with
it
desired
is
[great] care.
measurement of ground for the playhouse should
be carefully made.
And
32-33.
(happy) Tithi 1
the auspicious day
[with
it
at
during
a
its
moment which
favourable
declared alter the
Brahmins have been
Then he should spread the string
gifts].
occurs in a
good part (mt-knram)' he should get

satisfied
after sprinkling
on
the propitiating water. 3
The ground plan of the playhouse

33-35.
four
[equal] parts.
will
Afterwards he should measure a plot of land

[long] 1
cubits
The
part which will be behind
have to be divided again
halves one
parts,
sixty-
and divide the same [lengthwise] into two
him
(i.e.
at his back)
two equal halves.
into
behind him] should be again ' divided equally
um- of which
will
the part at back the tiring
be
made
room
the
-tago
Of
into
these
two
(aiwia-iina) and
mpalhijn).
27-28 (B. 33b-34a, 0. 30b-3k).

28-31 (B. 34b-37,
-
G. 31b-34).
mminoli-firekmpateh. Ag.
firayoktur=naty?tmryasya. (Ag.)
32-33
UUs-39a,G.
35).
>
W-
kara,,a~ & half of a !uuiH

day>
G. omits 33a.
.
03-35'
(B.39b-41a.G
ia, m. 3-<vn
le -37).
,
^^
a lunar
lu^-i*
See
1.7
(lav.
L
jibove
and the note
on
it.
'
II.
41
DESCRIPTION OP THE PLAYHOUSE
The ceremony
Having
35-37.
laid
down
before,
And
house.
28
of laying the foundation
the plot of land according to rules
divided
he should lay
in
it
the
during this ceremony
foundation
of
th8 play-
[of laying the foundation]
all
the musical instruments such as, conchshell, Dundubhi*, Mrdanga 2
and Panava* should be sounded.
And
37-38.
(Jcasaija)
the places for the ceremony, undesirable
heretics, including
persons such as
2
from
men
robes as well as
Sramanas 1 men
in
with physical
dark red
should
delects,
be
turned out.
At
38-39.
directions
night, offerings should
made
be
gods guarding them J ami
to various
should consist of sweet scent, flowers,
in
all
these
the ten
offerings
and etables of various
fruits
other kinds-
The
39-41.
blue, yellow
food-stuff
offered
south and north,
tions east, west,
the
four [cardinal] direc-
Offerings preceded by
and red colour.
35-37 (B.41b-43a, G.38-49).

a
in
should respectively be of white,
dundiMia
[the muttering
kind of drum.
a kind of earthen drum.

pmia-M a small drum or tabor.
mrdanga
37-38 (B.43b-44a, G.40).

history.
Derived
'community')
its
originaly
'
pasamla. This word
from
panada
Pkt from was tpassada
:has a very curious
(moaning
or *passa<]a
'assembly'
or
The
or pasatja.
form pasad.a with spontaneous nasalization of the second vowel gave
rise
Asokan pasamda (Seventh Pillar Edict, Dolhi-Topra), which
the
to
basis of Skt. pasa>,i<]a in
that in
cal
is
to be
I.
8
found
One
It
is
may be mentioned here

'hereti-
of the very early indications of disfavour to heretics
in the fourth
book
Cell.
18) of the
Visnu P.
See Winteruitz,
p. 551.
Ft reads iramina, but G. iramana, the word means Jain monks.
See NS. XVIII. 36 note

3
the sense of 'heretic'.
Asokan Pkt. the word meant simply a 'community' and not a
community'.
Vol.
2.
Muwtya-vasana men
people being Buddhist

considered
an
wordly success
evil
etc.
in kusmy& or robe of
dark red colour
monks who accepted the vow
such
of eclebacy, were
omen, for they symbolised unproductivity and want of
See also NS\ XVIII, 36 note
38-39 (B.44b-45a,G.41)
2.
39-41 (B.45b-47a, G42-43)
THE NATTASA8TRA
24
Mantras should be made in
of]
At
41-42,
Piiyasa
Brahmins, Madluiparka
to
ghee
the foundation
:)
molasses ('jmla) to masters [of dramatic
The foundation should be
42-43.
41
different directions to
the ten]
[the time of laying]
should be offered
rice with
and
II.
over them.
deities presiding
[all
and
to the king,
art].
during the auspicious
laid
happy Tithi under the asterism Muh(Lamhda.8cm-idonin}.
part of a
Raising pillars of the playhouse
After
43-45.
been
lias
it
laid,
should be built and
walls
these having been completed, pillars within the playhouse should be
and Karana which arc under a good
raised in an [auspicious] Tithi
This [raising of
asterism.
(Ahli'ln-ntit)
Rohini
asterism
pillars]
ought to be made under the
Sravana
or
(A'/u'dLr)
[which
are
considered auspicious for the purpose].
The master
45-46.
[days and]
three
moment
at
nights,
to
after he has fasted for
art),
the
raise
an auspicious
pillars in
dawn.
41-42 (B.47b-48a. G.44).

"
dramatic
[of
is
pHwsa-r'm
rooked
gAee-elariM
'
butter.
milk with sugar.
in
It
a kind of rice-
i<
porridge.
3
to bo
madhuparka'u mixture
made
to an
of honey'
a respectful offering proscribed
honourable person in Vedic times, and this custom
lingers in ceremonies like marriage.
ghee (sarph), water (jala),
Its ingredients are five
homy (handra) and
white sugar
still
eurd (dadhij
(situ).
42-43 (B.48b-49a, G.45).

43-4'i
(tithi).
(IU9b-51a, G.4<>-47).
Thei
(3)
kaulava,
(9)
calmpada,
are
taitila,
(4)
<
eleven
10)
moo)
wood
to the
(dark half of the moon).

ing
karams
(5)
nhga and
are counted From the

half of the
in
fct
'
karat/a hnli
number
gara, (6)
(11)
mru'ja, (7)
kintughm, and
half of the lirst

half of the
of
the
viz. (I) vava,
PtW,
of these
lunar
(8)
the
day
vidava,
(2)
iakwi,
first
seven
hMa-paha (bright
day of the hâ-paha
day of the
fourteenth
They occur eight times
in a mouth.
Th'c remain-
occur in the remaining duration

of tithis and
appear only
once in a month.
See Suryasiddhanta-II. 67-68.
45-46 (RK]b-52a, G.48).
DESCRIPTION OT THE PLAYHOUSE
-11.57]
46-50.
*In the beginning,
Brahmin
the
pillar
with ghee and mustard
articles purified
Payasa
should be distributed [to
Ksatriya
the ceremony rice mixed with
western direction of
be
ceremony
In case of
the
performed with cloth,
be of red 3 colour, and during
all
pillar
should be raised in the north-
the playhouse and [at the
ceremony of
yellow 4 articles should be used and
raising] completely
And
should be given rice with ghee.

is
in this
white,
molasses (gu4<() should be given to
The Vaisya
the, twice-born caste.
and
seed,
connexion with
in
completely
BrahminsJ.
the ceremony should
pillar,
garland and unguent which should
which
ceremony
the
should be performed with
25
in case
offering should all be of blue 5
and the
colour,
Hudra
of the
to be raised in the north-eastern direction,
its
Brahmins
articles
pillar,
used in
twice-born
caste
should be fed with Krsara,

50-53.
First
of
in case of
all,
the
Brahmin
white
pillar,
garlands and unguent as well as gold from an ear-ornament should

bo thrown
to be
its foot,
;it
thrown
Besides
this,
while copper, silver and iron are
respectively
the feet of the Ksatriya, Vaisya and i%dra pillars.
at
should be
gold
thrown
at
the feet of the rest [of
pillars].
The
53-54.
placing
display of garlands
of
and the utterance of 'Let
it
auspicious day' {[mnijaha).
54-57.
After
(analjin) gift of
W
She
*WW
pleasing
jewels,
tradition
V" V:
cows and
*"1
be
preceded by the
cloths,
'Let
with
pillars
this
be an
considerable
should be raised
bofore 46, G. reads on the strength
'
around them],
trees
This
1 n ^ mm'
5
interpolation
wt
seems
Hifafa ^
record
to
that the pillars should be considered as wooden.
white symbol
red symbol
yellow symbol
blue symbol
of purity and learning, associated with the Brahmins.
of energy
and strength, associated with the Ksatriyas.
of wealth (gold) associated with the Vaisyas.
of non- Aryan origin associated with the Madras.
50-58 (B.56b-58aAG.54-56).
mango
Rrahmins
the
one couplet as follows :
should
be well' (misti) and
46-50 (B.52b-56a, G.50-53).

of a single ms.
pillars
of [green] leaves [of
'
53-54 (Btf9b-60a, G.57,)
THE NATYASASTKA
26
[in
such a manner that] they do neither
round.
consequences
Evil
move nor shake nor
turn
follow in connexion
with
may
that
[.II. 57-
'when a pillar [after

the raisins of pillars, are as follows:
moves drought comes, when
fixed]
occurs,
and when
it
Hence one should
raise a pillar free
be given
as fee (dahina) and
builders
have
should
purified with
and
all
00-63.
the
After
musical
raise the pillars
[which
is
bring victory
to
these
all
On
03-65.
and the
and
tiring
supposed
immoveable and
room, according to
be
should
in length
it
correctly
krsaru
is
made
of milk,
khicaili
a few spices).
or
sesamum
turret or small
a pavilion'.
varana
hite
In
valayu-
is
probably a
and
rice.
Compare
tin's
and peas boiled together with
64-66)
matta-vurani'W? word does not
'
seem to occur in any Skt. dictionary. There

'a
(tila)
(rice
(B.66b-2a,
63-65 (B.69b-71a, G.67-68).
meaning
as
metallic currency.
kkuw]i
e>0-fi8
four
p.6(0.
This kind of payment
'
when there was no
with
(w hgiijiUha)
acalilan) Though Ag.
(B.
interprets
lie
furnished
to the stage
amlitam
58-60 (B. 4-66a, 0. 61b-63).
word with NIA.
rules.
of the stage {fiwjn-iiilka) should be
this
hjyadinuparivarttanam yasya karaiiiyam na b/tavati'Q.
relic of the time
Mantra
unmoved
is
Mattaviiraiu
and should be equal
road acalitam
Mem
Thus the experts should build up
side
[each]
put into practice
of a suitable
of
be thou
so
KrsarS*
sounded, one should
them
mount
the
54-57 (B.56b-63, 0.r.8-61n).

is
foodstuff]
feast
fed with
been
have been
very strong,
the king.'
Mattavarani
to
have
rules
'Just as
TV
pillars
this
[in
Then he should be
instruments
is
doors, walls
built the
And
with the muttering over
as follows]
and the Himalaya
pillars,
a cow 1 should
Mantr.i should be given by the wise master of the
dramatic art (vHtijafarim).

salt.
pillar,
of the rest [of the pilkrs]
case
in
feast-
from these eventualities.
Brahmin
In case of the holy
58-60.
and
from an enemy state appears.
fear
shakes,
has been
it
round fear of death
turns
it
is
however a word
mattavumm
room on the top of a large building, a veranda,
Ksirasvamiu's commentary
been explained as follows
to
the
AmaraWa,
matta-
matttdamiopmrayah syht pragriw
-II.
DESCRIPTION OF THE PLAYHOUSE
68]
and
should
plinth
its
And
high*.
a half
{rahijanvtnialaY
auditorium
the
of
plinth
cubit and
be a
27
the
should be equal in
height to that of the two [Mattavaranis].
At the time
65-07.
'
garlands,
them
of building
sweet
incense,
(the
cloths
scent,
well as offerings agreeable to [Bliutas] should
And
ensure the good
to
piece of iron below
put" a
including
food
[to them].
and Brahmins should be given
them,
The Mattavaranis
Kivara-
colours as
be offered
the pillars, one should
of
condition
two Mattavaranis)
of different
should
be built up
after observing* all these rules.
The
Then one should
68.
matlavhranalt (see Oka's ed.
in
This
these woids as follows
Bftq^ffl
afo-j fafti 91
<j
.lie
*$*{
Ag. seerasto have no clear idea about
Kîftsijtf finftwiWiiw.
the
in
On
this
H1 firifto-fftWwi ft
Jdatta-
Jivananda.
fiwiWSWpf
$\
?irqfilHT
This also does not give any clear
ii
it.
clear.
(ed.
Sivarama Tripathl explains
WlskTJ%l!
taken
tentatively
fwroft *r*fSjuHiwi*m
however not
is
matlavamiiayor varantlaka.
idea about mattavii-rtiiia or
mattavaram may
HWft
JrWiwI
(ravijapjtlta) 1
stage
Subandhu's Vasavadatta
probably connected with this word.
p. 33) is
the
construct
p. 50).
varanayor varmjilaka mentioned
iRiF^t
stage
But
the
word
sense of 'a side-room.'
he
(I.
pp. 64-65) says
nrKrrftt
îrftiw
? )
Dictionary of Hindu Architecture, by (P. K.
Acharya Allahabad, 1927) does not give us any light on this term.
''
According to a view expressed
mattavuran*
Ktii
also to
is
the Ag.
(I. p.
62) the plinth of the
iwitsa
*r<tai3w ai^TWifwro
torium
in
a cubit and a half higher than that of the stage
is
be of
tlis
v% m:
qrnif
mnrcwr.
The
plinth of the audi-
same height as that of the mattavarani.
But
nothing has been said about the height of the plinth of the tiring room.
From
the
use of terms like raitgitvataraim (descending into the stage)
would appear that the plinth of the tiring room
Weber however considered
stage.
Studien
i.
374,
8
is
XIV.
ii.
p.
that the
225 Keith, Skt. Drama,
was higher.
p. 360. of.
it
was higher than the

Indische
Levi, Theatre indien,
62.
B. reads
rahgamamlapam
instead of
the correct reading.
68 (B.74, G.71b-72a).
of taking
stage
too,
raiigamaiirjalam (G) which
65-67 (B.71b-73, 69-71a)

'
Some
scholars following Ag, arc in favour
and rahgapMho rahgaiina
as
two
different parts
of the> play-
house (see D.B. Mankad, "Hindu Theatre" urfflQ. VIII. 1932, pp. 480
ff.
THE NATYA8ASTBA
28
due performance of
after
prescribed by
the acts
all
II.
68^
and the
rules,
stage (raiiijaiirsa) should. include six pieces of wood.
The
69-71.
with two doors
made
up
In filling
[the
a plough to which are to be yoked two
Those who
in
a tortoise or that of a
which
the
(nihyniimi) by expert
east,
hmdi
lapis
to
animals.
free
from
be carried
construct the plinth of
be
back of
ground
commendable.
be put
to
is
in the
quartz
is
the
underneath
laid
Diamond
south,
like the
(rahij<t[)Uha)
a mirror,
of
should
builders.
the
in
carefully
surface
stones
precious
earth should
the
For a stage
fish.
as
as level
is
draught
white
must not be [convex]
It
is
from defective limbs.
free
Thus one should
the stage (rtmgaiii'Kn)
Jewels and
And
of all kinds.
new baskets by persons

72-74.
This earth
care.
do [the ploughing] work should be
will
defects
physical
furnished
for the stage]
gravel and grass by the use of
from stone chips,
free
be
ground marked
be used with great
the black earth should
be
mora (uepdlhya) should
tiring
this
in the
west and coral in
the north, and in ihe centre gold.
Decorative work iu the stage
The
75-30.
plinth
thus, one should start the
thought
of
out {uha-tiiatyuliarsamyttlrtii)
and IX. 1933-pp. 973
ff.
;
ff.
on
so..
and
this
The
print
NiS'
am
and the Abhiiiavabliiirati"
69-71 (15.75-77, G.72b-75a).
Chinw
Theatre" in IHQ. IX. 1933.
interpret
are take, to
to,
is
based on a carefully
[plan], with
many
artistic
"Hindu Theatre", IHQ. IX.

For my arguments
with them.
in
in
On
'
lueatre.
IHQ. IX. 1933
pp. 591
IHQ. X. 1934 pp. 161
this point the
(See A.K.
ff.
ff.
Hindu Theatre has
Coomaraswamy-"Hindu
p. 594).
72-74 (B. 78-80, (>.75b-78).
rmgafrha
also
anable to agree
"The Hindu Theatre"
a similarity with the
V. ltaghavan, "Theatre Architecture in Ancient
India" Triveni 1V-VI, (1931, 1933)

1933. pp. '991
having been constructed
the stage
wood-work which
See note
'
mean two
different
on 68.
parte
If
rangaiina and
of the playhouse the
of the passage will lead us

to unncessary difficulty.
?5-8<J (B.80-86a, 0.780-83).

fife
and pralyuha
taken as t,vo architectural terms
(see Ag. I, p. 63).
<
may
ako b.
.11.
82
DESCRIPTION OP THE PLAYBOU SE
pieces
such
tigers
and snakes.
variously
of
and
there,
up
good
designs,
Many wooden
wood-work
this
mechanized
placed
carved
figures
statues
also
[should]
the
floor
And
the
include
pillars raised
window, corner or door should face a door 5

80-82. .The
Niryuhas 2
different
in
No
finished,
bracket 4 ,
be made
playhouse should
pillar,
like
a mountain
should have two floors 2 [on two different levels]
it
and small windows
And
it
should be free from wind and should
For
have good acoustic quality.

free
be set
wood-work having been
the builders should set out to finish the walls.
cavern 1 and
of elephants,
should
windows, rows (Moroni)
latticed
numerous dove-cots and
seats,
of
parts
decorative
as
29
[in
such a playhouse] made
from the interference of wind, voice of actors and singers as
'
niryaka
evidently an architectural term but
is
have been explained clearly in any extant work.
does not seem to
it
Ag's explanation does not
give us any light

*
of the
In the absence of a more detailed description of the different parts
wood-work,
it is
not possible to have a clear idea of them.
our knowledge of the passage remains incomplete
till
Hence
such a description
is
available in some authentic work.

*
nagadanta means
Kamasutra.
*
On
'a
this passage
Ag.
(I. p.
wood, the roof was in
pyramid with four
all
(I.
The
sftwi ^flurafto
pillars of the
fax
WTO%^-
playhouse being
probability thatched and in the form of a
Probably that was to give
sides.
in Vatsyayana's
5.4)
64) says
80-82 (B. 86b, 89a, G. 84-85).

of
The word occurs
bracket'.
mgadantavasakta vina
it
the semblance
of a mountain cavern.
mentioned here seem to refer to floors of different

heights which the auditorium, w//wr'. ud the stage hail. See 63-65
above and note 2 on it. According to some old commentators dvirbkOmi
*
The two
floors
indicated a two-storied playhouse while others were against such a suggestion.
Ag.
(1.
p.
64) says
*fffwpiw%>i wft
ftiffctwrnfiMi
1*
*f i^3ww>if'im^*fn
twiwiuft*t
(?)
mMtsnft
*f*1
fvfMt
fiwft
igfiiftm*
sound of musical instruments
the
as
well
be
will
distinctly
heard
plastered
smeared
amorous exploits
Thus
house of the oblong
(n'W")
and
clean
perfectly
be executed on them.
should
In this
creepers,
men, women, and their
the architect
should construct a play-
be depicted
should
made
limej,
painting
plain,
beautifully
and
plaster
they have been
After
and carefully white-washed.
[with
painting
construction of walls being finished, they should
The
82-85.
be
[H-82-
THE NATYASASTBA
30
type.
Description of a square playhouse
Now
86-92.
length and breadth,
and on
it
in
perfectly
case
square
the string [of
strong
with
stage and
of
in
that
and
divided
proper
comm.
time too
he say
(J. p. J<-6) lie
says
*ty.
2U. The
lirst
I. ?.
73) he says
^gf5vmni
and
will
also
should be
made
parts
walls
by
holding
should be
And
made
inside
the
raise
ten
Ag. differently in different
f llWfl
<*<jfwfliwii*tfl
but in another place
latter
view seems
mentioned
architect] should
?a<i,
this
It
together.
explained by
is
(J, p.
W. wi-iimm
repeated in
4
Once
outer
set
[the
directions
type.
dramatic
in
ceremonies
requisite
its
thickly
very
kutapa This word
parts of his
into
measurement], and
bricks
by experts
oblong type]
the
square
the
of
an auspicious moment,
in
propitiatory
playhouse of
of
;ind
of that of
thirtytwo cubits in
plot of land,
measured out
to be
definitions
before [in case
apply
type.
the playhouse should be erected
Rules,
art.
is
of the characteristics
speak
I shall
1
the square {i-nhinwi-a)
and next
(I.
p. 65)
view seems to have boon
to give the correct interpretation.
After H.87 B. repeats 19 (B22) unnecessarily.
82-go (B.89b-92, G.86-P9a).
'
atmabhogajam
to self-indulsfiice or eujoynnit of the self.
literally
Compare with
means
'due
this description
the decorative paintings in the Ajanta cave*.
86-92 (B.9:t-99a,
l>. 89b-95).
'
caturasra gives rise to NIA.
mums
or corns.
'The
exact nature of this division

is not clear
from tl.e passage.
expressed by Ag. 0.
P. 66) on this point does not seem to be
convincirg.
The view
-II.
100
pillars
supporting
capable of
the
31
Outside the
roof.
should be constructed in the form of a staircase
seats
of
DESCRIPTION OP THE PLAYHOUSE
and wood, for the accommodation
bricks
the
of
pillars,
by means
spectators.
rows of seats should be made one cubit higher than
Successive
those preceding them, and the lowest
the
higher than
And
floor
row
one cubit
of seats being
these seats
all
should overlook the
stage.
In the interior of the playhouse six more strong
92-95.
pillars capable of supporting the roof should
and'with [proper] ceremonies
positions
And
before).'
by
raised
addition
in
their
rutujaihlhii] a
plinth
raised to support
(o these,
Then
side.
(i e.
in suitable
with those mentioned
more
eight
alter
be raised
raising
should bu
pillars
the
[for
stage or
[square, more] pillars should be
eight cubit
These
the roof of the playhouse.
by proper
to the
figurines
of 'woman-with-a-tree' (xdht.it n sdhihhanjikh).
95-100.
roof
After
fully construct the
all
I'a-teuers,
these have been made, one
room (ntjMthjd).
tiring
should care-
auditorium
the
be
playhouse] should
it
should
surface,
and
its
(minjtt).
eight
be furnished
cubits
Mattaviirani
measurement prescribed before
i*
The
in
is
Rajfli avail (loc.
in
with
plain
to the
(is. in
ease of the
oblong type of
and others mentioned afterwards

is
written on this point in Ag's
Those who are interested
referred to articles of D.
R.
Mankad
cit.).
Women
and
Acta Orieutalia, vol. VTl. also
'
satastri^&ila-bhanjika
tree or siilabha jikii

cf. this
95-inn (B.1026-107 6.99-104).
should be two
square
plinth
be
92-95 (B.99b-102a, G.96-98).
t'ooinaraswamy, 'The
second
[of the
made according
should
Whatever
may be
stage
length and in breadth,
in
equally difficnlt to understand.
the alleged view of Ag.
and V.
The
elevated
position of tltcso ten pillars
not clear from the text.
commentary
an
with
enter with
There should also be
towards [the spectators].
door facing
have one
should
It
door leading to the stage through which persons should

their face
should
[pillars]
and be decorated with
be fixed
mattavaratfis as
>
in
author's Yaksas, Part
Both the
in the ease
sides
of
(see
II. p. 11.)
are meant.
an oblong
(rikrsia-madhya) playhouse described before (17, 32-35).
A. K.
Indian literature
There
medium,
THE NATYASASTBA
32
playhouse).
by
square type
the
plinth
is
made with
100.
four pillars
The
above].
stage
than this plinth or equal to
elevated
playhouse of the
oblong
whereas in
stage,
rules according to
it
(oilcrsla) type,
'
should have a height equal to
it
These are the
stage.
house
the
higher than the
be
should
of
[mentioned
of
In case of a
height.
it
should be
be either more
should
in
The Mattavaram"
side
the
[ J,
playhouse
that of the
which a square type play-
to be built.
Description of a triangular playhouse
Now
101-104-
triangular [Irynm,)
f shall
type
speak about the characteristics

of the
house with three corners should be

in
it
also
should
playhouse there
made
at
should
back
the
made
be
be a
are
the rules
to
yon
be
the builders, a
play-
and the stage {mwjnpHhn)

In one corner of the
door, and
a second door should be
(mw</a/itta).
good
in
case
Rules
regarding
of a playhouse
of the
be applicable in case of the triangular
type*. Those
according to which different types
of playhouses
will
are
to
built,
triangular.
of the stage
walls and pillars 1 which hold
square type,
By
of playhouse.
constructed
by
the
learned.
Next
shall
describe
tin.'
i
propitiatory] I
fija in this
Here ends Chapter
connexion.
II of Bharata's Natyasilstra
which treats of the Characterises

of a Playhouse.
101-104 (B.108-1 11, G.104b-108). >
It is not clear
playhouse will have pillars like
those of other types.
""*"*""*
Playhol!"
W bMn
PrCaCriW
"'
how
the triangu.ar
of the triangular
CHAPTER THREE
PUJS TO THE GODS OP THE STAGE
Consecration of the playhouse
1-8.
In the auspicious playhouse constructed with
the
all
characteristics [mentioned obove] cows, and Brahmins muttering
[proper Mantras] should be
made
to dwell for a
Then
week.
the
master of the dramatic art who has been initiated [for the purpose]
and has put on new

his
bed-room
days, lived
cloths, fasted for three
the dwelling house), has kept
(lit.
control and has [thus]
become
under
besprinkle his
limbs
will
purified,
with water over which purificatory Mantras
have been muttered,
This [consecration]
and consecrate the playhouse.

place after he has
made
of all the regions,
Brahman who sprung from
Siddhi,
all directions,
1
Rudra, Varnas
Kala*
Yama*, Weapons
A^vins, Mitra, Agni, and other gods, such
Kali 8
of Visnu", the
Yama,
Lord
leader of
Ganas)
1-8 (B.l-7,
9.
G.l-7,
specially ovor the four
8
,
Nagas
Sceptre of
(Serpents), the
Lightning, Seas,
MahSgramani
Gan-
(the great
Yaksas, Guhyakas 8 and the hosts of Bhutas.
9).
be met with in any other work.
KalaThere
Niyati, the
of the
dharvas, Apsarasas, Sages, Natya-maids
'
the lotus, Brahaspati
Vi?nu, Kartikeya, SarasvatI, LaksmI,
Lord of the birds (Garuda), Thunderbolt,
of this
take
Medha, Smrti, Mati, Candra (Moon), Sflrya (Sun), Winds,
Guardians of
as
should
Siva the lord
obeisance to the great god
the preceptor of the gods,
away from
his senses
varnas No gods
called varnas are to
They may be taken
as
deities
ruling
varnas of people.
are several legendary heroes (gods, sages and Asuras)
name, see Vidyalankar, JK. sub voce.
KaliThere
are
many legendary heroes
of this
name, see JK.
sub voet.
*
See note 5 below.
Weapons of Vinu appear as deities in the Act I of Bhasa'i Bala.

natyakumari Such goddesses are possibly mentioned nowhere else.
*
'
mahagramani The
great leader of Ganas.
itanir ganapati))).
For
in
It is
very
difficult
mahagramani with Ganapati (jnakagra58 below, occurs the term mahagmieivara
to accept Ag's identification of
THE NATTASASTHA
84
Having made obeisance
0-10.
to
III.
these,
and other
9.
divine
sages (devarsi), he should with folded palms invoke all the gods to
and
their respective positions,
"Ye, holy ones, should take us
say,
under your protection during the night, and ye with your followers
should offer us assistance in this dramatic performance".
Offering Paja to the Jarjara
Having worshipped
11-18.
all
Jarjara
to
[thus] all
the gods
as
well
1
the musical instruments (kutapa) he should offer Puja
it
as
for attaining
demons
good success at
"Thou
follows].
the
thou hast been fashioned by
capable of destroying
all
the obstacles
and defeat to his enemies,
welfare
all
;
to
performance [and pray
weapon
Indra's
art
as
the
to
killing
bring victory to
the
all
the gods,, and
thou
art
the
king
cows and Brahmins
and
progress to dramatic undertakings".
After proceeding thus according to rules and staying
14-15.
in the playhouse for the night,
(in
the
(Nandin).
One
of
such leaders
been mentioned there as Nandisvara
lias
Besides this the term Ganeâ (the
been applied to Siva in 47 below.

of
art)
number) indicating the different leaders of Ganas who
plural
followed Siva.
he (the master of the dramatic
leader of Ganas)
has also
describing pimjibai dhas the
pt'nrji
Ganesvara has been named as dakxayajlia-vimardini (KB. IV. 260).
This
too shows that ganesvara,

leader,
one
of
In
gramani
the leaders or the
or mahagriimaiii
great
leader of Ganas.
developed Ganapati .seems to be non-existent at the time

composed.
Our
suspicion in
meant simply the
in
the
ms (ha
mahagnmanyam. Ganapati seems to be a late entrant into

pantheon. He is not mentioned in any one of the old Puranas.
Varaha, Vamana and Brahma-vaivarta P. which arc very
1.
KalidSsa makes no
See Meghaduta
See
pp. 566-568, 573, Vidyalankar,

distinction
above..
the
Hindu
Only the
late
JK. sub
know
voce).
between Yaksas and Ouhyakas,
9-10 (B.10-11, G.10-11).
in all editions
and
emended as samprapujya.
'.
by
of B. for
and 5.
11-13 (B.12-14, G.12-H).
samfimyuja
fully
the matter seems to be corroborated
the variant tathu grimadhi-devala recorded
the deity (Winternitz, Vol.
The
when the NS. was
See 73-81 below.
14-15 (B.15-16, G-,15-16).
See below 72- r 3 note 3.

inss.
seems to be wrong.
The reading
It
should be
-in. 31
PUJA TO THE GODS OF THE STAGE
should begin Puja as soon as
This Puja connected
morning.
it is
*6
with the stage should take place under the asterism Ardra (Alpha-
Ononis) or
Magba
(Regulus) or
Yamya (Mmca)
or Purvaphalguni
(Delta-Leonis) or PurvasSdha (Della-Sagittarii) or Purvabhadra-
pada (Alpha-Pegasi) or
(Hydrae) or Miila {Lambda.
Silesa
Scorpionis).
The
16.
gods in
its
be illuminated and
stage should
dramatic art (jacaryn) after he has purified

his
mind
[to these acts]
and
the
Puja of the
by the master of the
connexion should be performed
body, concentrated
his
initiated himself [to the Puja],
Installation of the gods
During the concluding moments of the day, which are
17.
considered to be hard and
of evils,
full
and are presided over Ky
Acamana 1 and
Bhutas, one should perform
cause the gods to
be
installed.
18.
[Along with these gods] should be [taken] red thread-
1
bangle (pratinara) , the best kind of red sandah red flowers and red
[With these andj
fruits.
sunned
articles
such
as
white mustard,
barley,
Nagapuspa 2 powder and husked
rice,
saffron (priyangu)*,
the gods should be installed.
The Mandala
In
20.
this
ceremony one should draw
Mandala 1 according
21.
and
it
for installing the gods
to the
manner
in
proper place a
prescribed.
This mandala should be sixteen Talas (hasta) 1 square
should have doors on
all its
four sides.
16 (B.17, G.17).
17 (B.l 8,0.18).
sipping water
'
SfliiwwM ceremonial
of the
rinsing
mouth by
from the palm of the hand.
18-20 (B.l21a. G.19-21a).

1
(I.
pratisarceSutrO'vinirmita grant hi-mantah
ka'nkanavncaah, Ag,
p. 74).
"
nagapwpa^the campaka
tree (ApteL but Ag.
says
nagapuspam
nagadantah,
*
priyangu saffron, and
20 (B.21b.G. 2lb).
t\ (B.22-G82).
'
not the fruit of the priyangu creeper.
See the diagram
hasta in
this
1.
passage
i*
to be
interpreted
as
THE NATYASASTBA
36
In
22.
middle should be drawn two lines vertically and
its
and
horizontally (ie. parallel to the sides),
by
[{m. jg.
in the
apartments made
these lines, should be installed the different gods.
middle of this (manfala), should
In the
23-30.
Brahman who has
lotus as his neat
Then one should
put in the ea-t Siva with his host of Bhutas,
Skanda
Indra,
Surya,
(Kartikeya),
Laksmi, Araddha and Medha,

Visvedevas, Gandharvas, Rudras
As"vins,
and Rsis,
Raksasas and
Seas and Varuna,
the
in
Garuda with other
all
the
Svaha,
south
Yama,
the
Winds 3 and
Seven
north Knvera,
as Nandin, Brahmarsis
Agni,
the
the Bhutas, in the west the
Natya, Yaksas with their followers, in
Ganas such
Candra, SarasvatI,
in
north-west the
birds, in
all
Uragas and Guhyakas,
Mitra with his followers, Pitrs, Pisaeas,

in the south-west the
of
Narayana (Visnu),
the south-east
in
be put
first
Mothers of the
north-east
leaders
and the host of Bhutas
of
in their
proper places.
31.
kumara 1
Gramani
And
in
(lit.
[in the
eastern] pillar
the southern
one
should
Daksa*,
in
be
the
placed
Ganas) 3 and in the western one
leader of
Sanat-
northern
one
Skanda
(Kartikeya).
32.
According to
this rule all
form and colour should be placed
hasta-taia or tola
i.e.
possible k.
83-35).
others pointed out
The
(see
Ag.
Brlaf'^
'
it
above 1-8 not,
7.
ft
Otherwise*
it
will be
im-
would be take hasta in the passage

22 (B 23. 0.23)
According to Ag. a lotus
i.
to
be
JK. tut voce)
of
the great
of the creation
frajipati),
Ihere wereotl.erDaksasb.id..
*e
thumb and the
on.
**'
'.Daksa-oneofthe lords
cetas
of the
I. p. 75).
0,24-31).
P. (see Vidyalaukur,
1046.
[proper]
the stage which is eight cubits

ancient commentators like i$ankuka
and
how absurd
23 3U (B.24-31,
of
maV ,1ala
accomodate the
m the sense of cubit,
Vamana
SB. VII.
their
11WWI? nil TW8 wrWt
in opposite directions.
mnfcroiS mwoittlfa:
in
respective positions.
the interval between the tips
middle-finger stretched
wide (8eeNS.lI.
gods
the
in their
and
>n of Pra-
^ VidXkTjK.SL
*<*U,j
-III.
44
?UJA TO THE GODS OF THE 8TAGE
37
Offering Paja to the godB
33.
After they have been installed with
regular
in suitable places they should be worshipped in a
34.
Gods
[in general] should
unguents, while Gandharvas,
lands and unguents of

.
35.
fitting
ceremony
manner.
be given white 1 garlands and
Agni and Surya should be given
gar-
red* colour.
After being treated [thus] in due order and manner
they should be worshipped according to rules with suitable offerings.
36-39.
are as follows]
like Siva,
Brahman Madlmparka 1
Sarasvatl
rice
cooked
with
Gandharvas and sages honey and Payasa,

and sweetmeats,
Bhutas
Agni
Visnu, and Indra sweetmeats.
ghee, Candra and Surya
of
gods and goddesses
"[Offerings suitable to different
rice
Pitrs, Pigacas
Payasa 2
rice
gods
cooked
with
molasses,
Visvedevas,
Yama and
Mitra cakes
and Uragas ghee and
milk,
host
cooked with meat, wines of different kinds and grams
covered with thick milk.

Consecration of the Mattavarani
4044
regarding
Similar shall be the rules
^connexion with the Mattavarani. [Offerings to be
gods and demigods are as follows]
the
made
Puja
in
to different
Raksasas half-cooked meat,
Danavas wine and meat, the remaining gods cake and Utkarika* and
and
boiled rice, gods of seas
rivers fish
and
Payasa,:Sages various roots

different edible
stuff
(lit.
and cakes, Varuna ghee and
fruits,
bhaksija
the
wind god and birds
and hhojyu), Mothers 8
of the
33 (B.34, 034).
34 (B.35, 0.35).
'
'WluV
here seems to be the symbol of purity
and good grace.'
'Rod' here seems to bo the symbol of energy.
35- (B. 35, G.36).
36-39.
(B. 37-40,
G.
37-40).
'
mad/mparkasx* above
note 3.
*
Payasaate above
II. 41-42 uote.
40-44.(B,41 45, G.41-45).
See above.
//tef*o"a kind of sweetmeat.
These goddesses seem to have beu ignored by the Purayag.
II. 41-42.
THE NATYASASTBA
38
III. 44-
his followers eatables including cakes,
Natya, and Kuvera with
and
Locikas*.
different kinds
These
45.
them and the Mantras
to
offering to different
gods
one,
the
worlds) accept this
my
lordly
the god of gods,
(For Indra),
49.
one, accept this
(For
52
worlds,
all
(For
my
the
goddesses
my
from
Maruta)
vFor fiaksasas)
~Thi9
U8
k ""
m-m
word
who
my
etc.
celestial
the gods, the very
my
etc.
Mati,
Medha)
are honoured by
all
the
to
you who know the might
Mfiruta,
nnd are the
life
of all
the world,
'" ali
be
accept this
the great Kaksasas, the
in
"*
coiu v bd
'top'**,
with the
great-souled
NIA.
lefiikh,
luci,
loci,
been
tloctu, *lociku.
15(K46,0.46)
ll.
best of
etc.
etc.
fe
my
the six-mouthed
Laksmi, Siddhi,
etc.
;v/Îk.
Wo.
this
goddess of
Mati and Medha, ye
the creatures
3*.
the lord
etc.
etc
accept this
53.
of
my
iva,
blessed one, the dear wife of Hari, accept this
.Laksmi, Siddhi,
great 'god,
Skanda the leader of the
(For Sarasvati,),
51.
the
exploits, accept this
the dear son of
one.
my
the
(of 'he
Purandara, the lord of gods, the thunder
hundred
of the
the blessed
gods,
by the Mantra.
movement, accept
(For Skanda),
>(.i.
army,
maker
of
Narayana, Padmanabha, the
(For Visnn),
the gods, with unrestrained
hearer, the
the god
the grand-father
killer of Tripura, accept this
and the
IS.
offering consecrated
(For Siva)
47.
of Garros
one,
time of making
the
Brahman),
for
lotus-born
should be offered
foodstuffs
uttered at
be as follows
will
(The Mantra
46.
most
of
be
to
p'T
(!
'
48
36 (B.47, G.47)
'
48(B.50.(r.49).
51JB.53,0.52).
'
8 ' l0Uld
** marked
49(B.48,(i.50).
MfR.tf. M
hm
t,,at'
50 (B 49
51)
'
fit
68
.III.
the
ones,
my
song
of
born of different cause?, accept this
Pulastya,
etc
(For Agni)
55.
the gods, the
Agni, the mouth of the gods, the best of
smoke-bannered one, the eater
my
accept this
sacrifice,
Soma, the
the
king of the twice-born ones,

thi3
my
best
among
(For Sflrya)
of
favourite
maker
the
the planets, accept this
the world, accept
of day, the
my
a?,
is
the great
he foremost,
accept
etc.
(For Pitrs)
50.
(For
offering.
this offering
60-61.
(For
to
I always
Bhutas)
bow
my
do ye accept
Pitrs.
Bhutas who
to all the
may
KSmapila,
always bow to thee
made.
is
Gaudharvas, amongst
Gandharvas)
Tumburti and
the
all
(For Kainapala)
60a.
whom
bow
have a liking for offerings
Nfirada,
the
heat,
Nandls'vara)
Ganas. among whom NandlsVarn
my
mass of
etc.
(Far lords of Ganas such
58^
this
of all the planets, the
lord
etc.
57.
lord of
things offered in
of
offering given with love.
(For Candra)
56.
to
89
ViSvavasu are the
foremost,
whom
accept this
my
best offering.
61-62.
gods
who
(For
Yama
are adored by
62-03.
nether region,
all
(For Nagas) I
who
bow
to
are .devourers of
dramatic production after I

63-64.
and Mitra)
Yarnn
all
wind,
the
and Mitra, the
my
the worlds, accept this
etc.
Pannagas
give
me
in
success
the
in
have worshipped you.
(For Varuna)
Varuna, you who are the lord of
all
waters and haye the swan as your mount, be pleased along with the
seas
and
have worshipped you
rivers, after I
56 (B.58. G.57).
55(B.57,G.56).
58 (G.60, B.59).
57(IU9,G68).
59(P.6l,G.60a).
Wing
it.
all.
'
G. puts one hemistich
60a (B.62a, G.6Db).
61-62 (B.68b-64a, G.62).
63-64 (B.65b-65a, G.64\
after
60a without nura-
60-61 (B.62b-63a, G.61).
62-63 (B. 64b-65a, G.63).
THE NATYASASTRA
40
my
birds, accept this

one, the lord, the king of all the
(For Kuvera)
64-66.
etc.
of [all]
superintendent
the
84-
the high-souled
VinatS,
the son of
(For Garuda)
64-65.
[ III.
wealth,
the king of Yaksas, the guardian of the world, the lord of riches, ye
my
along with Guhyakas and Yaksas accept this
(For mothers of
66-67.
etc
mothers of the
Natya)
the
Nstya such as Brahml and others, ye be happy and pleased to

accept
my
offering.
(For
B7-''-8.
of devotion for Visnu.
Yama, the
68-69.
creatures
my
weapons of Visnu, ye too accept [things given by
offerings.
me] out
weapons of Rudra, ye accept
others)
and the end of
Ye
69-70.
accept this
my
70-71.
who
all
offerings.
are occupying the JIattavSrani,
other gods and Gandharvas too
made
middle region and
(lit.
its
front,
jar
full
should be placed
and a piece of gold should be put into

All
the
in the
soft.
a garland
middle of the
stage,
it.
should be worshipped with [sweet] scent,
and various eatables hard and
by them).
of water with
instruments
musical
who occupy
the ten directions,
these be accepted
let
Then a [earthen]
71-72.
64-6,1
my
accept
all actions,
all
etc.
To
these offerings are
72-73.
dispenser of death to
the
Fate,
other gods
the heavens, the earth, the
of leaves in
covered
flowers,
with cloth
garlands, incense
B.66b-67a, G.65).
65-66 (B.67b-6$a, G.66).
66-67 (B.68b-69a, G.67).
66-68 (B.69b 70a, G.68).
68-69 (B.70b-71a, G.69).
89-70 (B.71b-72a, G.70).
70-7! (B.72b-73a, 0.71).
71-72 (B.73b-74a, G. 72).
>
For the
significance of this iar see
below
87-89.
72-73 (B.74b-75a, G.76).
has been repeated inB. and G.

order
'
This passage with some minor variation
But
this
in which musical instruments
worshipped sec 11-13 above.
is
out of place there.
(kulafia)
For the
and the Jarjara Lould be
-III.
W-]
41
Consecration of the Jar jar a
Having worshipped
73-74.
offering
Puja
the gods
all
to the Jarjara fin the following
in
due order, and
manner] one should
Have the obstacles removed.
[One should
74-76.
fasten a
top [of the Jarjara], blue cloth at
Visnu
the
cloth at
red cloth
joint,
the lowest joint 1
are to be offered to
it
the
at
And
(the Jarjara) in
all
at
the-
Raudra
joint,
yellow cloth at
Skanda
joint,
and variegated
garlands,
Having observed
76-77.
piece of] white cloth
the
and unguents,
incense
fitting
these
manner.
rites
with
incense,
consecrate 1 the Jarjara with the
garlands and unguents one should

following Mantra:
"For putting
77-78.
off obstacles thou hast been
made very
Mrong, and as hard as adament, by gods such as Brahman.
Let Brahman with
78-70.
most
third
Hara
part,
Pannagas the
80-81.
Thou, the
other gods
(KSrtikeya) the
fourth
thy top-
protect
second part, Janardana
the
(Siva)
KumSra
part,
all
part,
fifth part*
Let
all
the gods protect thee,
killer of foes, hast
and be thou
blessed.
been born under Abhijit (Vega), the
best of the asterisms. Bring victory and prosperity to the king
Homa
81-82.
offerings
perform
or pouring ghee into sacrificial
have been made
and pour
to
it,
and
all
one should with appropriate Mantras
(ghee) into the sacrificial
After finishing
!"
fire
After the Jarjara has thus been worshipped
Homa
82-83.
the
(Vis.nu)
and the great
Homa
the
fire.
he should with the
do the cleaning work
lighted [in the place of sacrifice]
(?)
which
fire
is
to
enhance the brilliance of the king as well as of the female dancers."
73-74 (B.75b-76a, G.73).

'
74-76 (B.76b-78a, G.74-75).
below..
76-77 (B.79b-80a, G.77).
78-80 (B.81b-82, G.79-8(M.
81-82 (B.84b-85a, G. 82).

6
For identifying the

-
joints
eee 78-79
77-78 lB.80b-81a,G 78).

80-81 (B. 83b-84a, G.80l)-81).
'
82-83 (B.85b-86a, 0.88).
"
king
After, faring illumined the
83-84.
and
the dancers
instruments one should sprinkle them

together with the musical
Mantra, and say to them :
again with water sanctified by the
84-85.
noble families and adorned, with
are born in
"You
multitudes of qualities, let whatever you
have acquired by virtue
of birth, be perpetually yours."
65-86.
After saying these words
the king, the wise
man
the
for
happiness of
should utter the Benediction for the success
of the dramatic production.
86-87.
you
give
[The Benediction]
Let mothers such as Sarasvatl,
1
Medha, Hrl, &i, LaksmI, and Smrti project you and
Dhrti,
success.
Breaking the Jar

87-88.
Then
after
ghee and the proper

carefully break the
88-89.
Homa
according to rules with

should
art
jar.
In case the
the master) will
remains
jar
unbroken the king
have a cause of fear from enemies
broken his enemies
it is
performing
Mantra the master of dramatic
will
but
(lit.
when
meet with their destruction.
Illumination of the stagp
89-90.
breaking
After the
dramatic art should
illuminate
of
the jar,
the
the auditorium
master of the
{rabgo)
with
lighted lamp.
90-91.
Noisily, that
is,
with
roaring,
snapping of
fingers,
jumping and running about, ho should cover the auditorium with

that lighted
lamp
91-92.
[in his hand],
Then a
fight
should bo caused to be
83-84 (B.86b-87a, G.84).
84-85 (87b-88a, G.85).
85-86 B.88b-89a, G.86).

.
87-88 (B.90b-91a, G.88).
86-87 (B.89b-90a,
>
These
23-30 above.
are
the
seven
GJ7X
H5tyanStrkis.
g8 . 89 B.91b-92a, G.89).
89-90 (B.92b-93a, G.90).
91-93 (B.94b-96a, G.92-93).
made [on the
90-91 (B.93b-94a, G.91).

'
dundubhi-* kind
of drum.
PUJA 3V TMS OOI>S Off TOE STAGJS
ZUiMJ
stage] in accompaniment with
40
the sound of all the musical fnsfra*
meats such as couch-shell, Dundabhi 1 , Mrdanga* and Panava*.

92-93.
will
the
If
wounds
bleeding
be bright and wide,
that
will
[resulting
from the
omen
be a [good]
fight]
indicating
success.
Good
93-94.
results of consecrating the stage
Tf the
stnge
good luck to the king
properly consecrated
is
master) and
the
(lit
it
to people
will
bring
young and
old of the city as well as of the country.
94-95.
But
proper manner
will
it
when
auditorium
the
be an end of the dramatic spectacle, and
evil to
not consecrated in
is
be indifferently held by gods, and there
will
it
will
likewise bring
the king.
He who
95-9G.
willfully
loss
will
as
[Vedic]
made without
When
the stage.
the
to
art],
will
is
as
performance
dramatic
worshipping the deities presiding over
worshipped, they (these

they will
all efforts offer
[of
gods of the stage
No
sacrifice.
first
worship, and honoured
should by
rules
be reborn as an animal of lower order.
Offering worship
90-97.
meritorious
should be
and
these
and practises [the dramatic
consecration of the stage]
soon sustain
transgresses
Puja
god.-) will
Hence one
bring you honour.
to the
gods of the
bring you
stage.
Evils following non-consecration of the stage
98-99.
so quickly,
dramatic
*
'
will fire
as defective
fanned by violent wind burn things
rites will
burn quickly [the master of the
art].
99-100.
of the
Never
So the
stage should be
dramatic art who
is
worshipped
disciplined
purified,
and
by the master
proficient
in
mrdahgak kind of earthen drum.

panava a kind of drum.
-
93-94 (B.96b-97n, G.94).
98-99 (B.lUlb-102*, G.99).
94-95 (B.97b-98a, G.95).
96-98 (B.99b 101a, G.97.-98).
95-96 (B.98b-99a, G.96).

'
99-100-(B.l02b-103a, 0.1 0U
).
*HE NATIASASTRA
44-
[II. 100
*
and
the rules of the art
initiated
into
the
practice of it
and has
quiet of mind.
100-101.
offering in a
He
wrong
ghee into the
who
show
in
an
place, is liable to
sacrificial fire
procedure prescribed for
should be followed
with
without
agitated
expiation like one
proper Mantras.
worshipping the
by producers
mind places
This
of Bharata's Natyalastra,
whirl) treats of Pujii to the
100-101 (B.103b-104a, Q.101-102).
the
It
holding a theatrical
a newly built playhouse.
Here ends Chapter III
is
gods of the stage.
[of plays] in
his
who pours
gods of the
stage.
CHAPTER FOUR
DESCRIPTION OF THE CLASS DANCE
Brahman
writes the
first
play and gets this performed.
After having worshipped [the gods
1.
stage] I said to
Brahman,
"Tell
me
presiding
over the
the mighty
quickly,
one,
which play should be performed 1"
was told by the Lord, "Perform the Amrta-
[In, reply] I
2.
uianthana (the Churning of the Ocean) 1 which

lating efforts
to [the
desire
have compo.-ed
3.
performance of]
(tow)
this .Samavakiira
duties
('thai nut),
to
as well as [to the earning] wealth
When
4.
capable of stimu-
is
of giving pleasure to gods.
.'Mid
which
[the
(<i
conducive
is
fulfillment
ofj
rthn),"
Samavakiira was performed, god> and demons
this
were delighted to witness actions and ideas [familiar to them].
Now,
5.
said to me,
"We
souled Siva
(lit.
(lit.
said,
"O
time
Brahman
present today the
shall
(lit.
play
the lotus-born
before
the
one)
great-
the three-eyed one)"
Then on
6-7.
Siva
in course of
reaching along with other gods the
the bull-bannered one)
Brahman
the best of the gods, please do
paid
me
him
abode
respects
the favour
of
of
and
hearing
and seeing the Samavakiira which has been composed by me."

8.
"I shall enjoy
Brahman asked me
9-10.
connected
the
said the lord
of gods in reply.
with
Then
to get ready [for the performance].
"O. the best of the Brahmins, after the
had
performance
the
been
Preliminaries
completed
this
(B.G. same)
2 B.G. same).
in
it,"
Mbh.
(I.
'
The legend about
17-19.)
the churning of the ocean occurs
and the Visnu P. (1> Sec Wintcrnita, Vol. I
pp. 889, 546.
8 (B.G. same).
See
N& XX. .69
ff.
4 (B.G. same).
5 (B.G. same).
8 (B.G. same).
9-10 (B.G. same).
6-7
t
(B.G. same).
IBB NAT1ASASTBA
46
[1V.10-
1
(Samavakara named the Amrtamanthana) as well as a Dlnia named
the Tripuradaha (the Burning of Tripura) was performed in the
Himalayan region which consisted of many

were
many
Then
11.
the [Bhutas]
all
actions
and ideas familiar
said to
Brahman
"0
12.
and in which there
hills
Bhutas, Ganas* and beautiful caves and waterfalls".
to
and Ganas were pleased to see
them, and Siva too was pleased and
the high-souled
drama (%) which
one, this
conducive to fame, welfare, merit and
intellect,
has
been
is
well-
conceived by you.
Now
13-14.
bered
that
made
dance
Karanas 2
different
in the evening,
by Angaharas 1
beautiful
You may
while performing
utilize these
it,
remem-
consisting
of
the Preliminaries
in
[(lUrmrahya) of a play.
Two
14-10.
In
the
kinds of Preliminaries
application
of
Asarita*, the Gita* and the Mahaglta

ideas [by
means
you have
[just]
'
of
are. called
"pure" (suddha).
(]tmaOD.e of the plays of the major type

84 ff.
Tripuradaha-&iv&
'
or Tripnrari.
8
killed an
fiery
the
[But] when
for its characteristic*
Asura (demon) named Tripura by

Hence he is called Tripurantaka
arrows.
Thi legend occurs in the Varaha P. Sec JK. sub

voce.
B.G. read toAuctttodrutitakirne instead of
11
(B.U.
smey
1S-U&6.JMM).
on nunor dance
_L i
^
figures
lains jt
i2
'
^ ^
^9 3,l
Nl
dance figures which depend
The word means 'movement
of limbs'
" wmt *** ** ""*nw rw wt vc
'
See
'8eeKf5.V.2luotel.
Bee
bah:Mmgunakirne.
(B.G. same).
patera-major
(kara.fasj
Fw
ff, 7
14-16 (B.G. same).
'
depict properly the
will
dance movements]; and the Preliminaries which
performed
burning him with one of his
below
you
XX.
see N^.
tL
Vardhamanaka 1
the
V. 60-3 note
8.
K&
** *-
V. 12-1S no* 3
**- -
Vf. SO
DESCBIPTION OF THE CLASS DANCE
these dances will be added
47
them (pure Preliminaries) they will
to
he called "mixed" (eUra%
The AngahSras
To
16-17.
these words of Siva
the best of the gods,
said*,
tell
said in reply,
"0
us about the use of the Angaharas."
Then Siva
17-18.
Brahman
Tamju and
lord of the world) called
(lit.
"Speak to Bharata about the use of the Angaharas."
And by Tandu
18-19.
I shall
now speak
Reoakas*.
of thera as
was
well
told the use of the Angaharas.
as of the various
Karanas and
19-27.
The
thirty two
Angaharas are as follows : Sthira-
hasta, Paryastaka, Sficlviddha,
Apauiddha, Xkisptaka, Udgha$ta,
Viskambha, Aparajita, Viskambhapasrta, Mattakrlda, Svastikarecita,

Parsvasvastika, Vrfcika, Bhramara, Mattaskhalitaka, Madavilasita,
Gatimandala, Paricchinna, Parivrttarecita, Vai&kharecita, Paravrtta,

AlStaka, Parsvaccheda, Vidyudbhranta, Uddhrtaka, A~lldha, Recita,
Acchurita, Aksiptarecita, Sambhranta, Upasarpita, Ardhanikutteka.
Uses of the Angaharas
28-29.
I shall
dent on the Karanas.

mins, I shall
ire
tell
now speak
[And
about their performance depen-
besides this]
you about the movements
"0
the best of the Brah-
of hands
and
feet
that
proper to the Angaharas.
The Karanas
All the AngahSias consist of Karanas
29-80.
nention the
names of the
hence I shall
17-18 (B. same, G. 16).
16-17 (B.G. same).
18-19 (B. same, G.17).
latter as well as their descriptions.
Se below 247
ff.
19-97 (B. same, G.18-27a).

28-29 (B. same, G.27b-28).
for details, about
katana
see SOff below.
same G.29). ' karana minor dance figure.

karana as vw?n ft*** wrsfnfii <w*vfHiti g
29-30 (B.
plains the
'
Ag. (1 93)
nwwW
THE NATYASASTKA
48
The combined [movement
30-34.
dance
Karana:
the
railed
is
hands and
ot]
Two Karanas will make
IT. 30.
feet
in
one MatrkS,
and two, three, or four Matrkas will make up one AngahSra. Three
taka.
Kaliipaka.four a Sandaka 1 , and
will m:ike a
Karanas
Thus the Angaharas
'
Karanas.
making up
now speak
shall
of
five a
SamghS-
of six. seven, eight or
consist
hand and
the
feet
nine
movements
these (Karana*).
The Karanas
3 1-55.
are one
hundred and eight
number
in
and they are as follows: Talapuspaputa, Vartita, Valitoru, Apaviddha,

Samanakiia,
Katk-chinnn,
Ardhanikuttaka,
matta,
'
Sva-tikaiwita,
Llna,
Mandalasvastika,
Ardliarecita,
Prsthasvastika,
Svastika,
Nikuttaka,
Vaksahsvastika,
Diksvastika,
Un-
AlSta, Katisama,
Aksiptareeita, Viksiptaksipta. \ rdliasvastika, Aficita, BlmjangatrSsita,
Urdhvajanu, Xikuficita, Matalli, Ardhamatalli. Recukanikuttita,
Padapaviddhaka, Yalita, Giiuiniu, Lalita, Dandapaksa,

Nfl'-ura,
trastaredta,
Dan
jangaacitaka,
vrs"c'ika,
Chinna,
Vaisikhareeita,
l.ikarmta,
Vr-cikakuttita,
VrsYikarwita,
kuttana, Latatatilaka, Kianlaka,

dala,
Aksipta,
Vivrtta,
Talavilfwta.
VinivrSta'.
Atikranta.
plutaka.
Pur<vakriiutn,
Vivaititaka.
OanuViioI,
Samnata, SucI,
KatibhrSuta,
Vyainsita,
Paiivi-tta,
Parsvani-
Svrtta, DolnpSda,
Xisumbhita,
(.'ajiikiidifa,
BhuLata'-
Cakramandala, Uroman-
Viksipta,
Vidyudbhrilnta,
Talasamsphotita,
PSrsVnjSnu,
Ardhnsfici, Surlviddhn.
Sarpita. Daijdapilda.
Karihasta.
Vrscika,
Kuiicita,
Argala,
Bhujanga-
Bl.raniaraka, Catura,
Apakranta.
llarinaplutn, Prenkholita,
Garuda-
GrdhraA'allnaka,
Mayuralalita.
Nitamba, Skhalita,
Pnn-irpit;!,
Siinhalai'dita,
Simliiikarsita,
Udvrtta.
Upasrta, Talasinighattila. J.mita, Avahitlhaka.Nivesa
Elakakrfcjita.
Urudvrtta, Mada>k! li dita. VisnukiSnta,
Sambhrftnta, Viskamblia.
Udgha.ttita,
Vrs
Gangavataratvi.
.l,liuku..lii il ,
[11],..,
Lolitaka, Nagapa.supita,
Kaianas
persona! combat, walking as well as

56.
80-34
Foot
( 15.
movements
same, G. 30-33!.
>
)>
used] in
movement
which
4-55 (B.34-55a, 56a, G.34-54)
56 (B.59, G.167).
will
have
W^yz-B.G.
Pakatasya,
dance,
'fight,
in general.
been
prescribed
read tnaâka.
for
.IV.
62
DESCRIPTION OP THE CLASS DANCE
the exercise
Karanas
Sthanas 1 and Caris 8
of
apply
will
19
also to these
8
.
And
57.
application
of the Nrtta-hastas 1
which have been
prescribed for dance is generally implied in the Karanas.
The Sthanas,
58.
[before] are
called
as
Matrkas the variations of which are
the
the Karanas.
I shall treat the Carls suitable
59.
at the
known
the Carls and the Nrtta-hastas mentioned
time of discussing the
[representing]
for
fight
The master
movements.
foot
[of
dramatic art] should apply them on any occasion according to his

histrionic talents.
In the Karana the
60.
movement
hands and
of
sides, thigh as
dance in relation to that of hip,

back and belly 1
to follow the [right] foot.
is
Listen [now] about the
61.
hand should generally be held
left
on the breast, and the right hand
as
well
to
feet in
breast,
Definition of the Karanas.
Talapuspaputa Puspaputa hand held on the
62.
the foot
is
Agratalasancara, the side
N& XI. 49
See NS. XI. 2
'
See
B.G. read one hemistich more before
Ag. records this
mas.
Sannata (Nata) 1
is
which
dance,
is
ff.
Though
fact.
these
f)8
ff.
It does not occur in
56a.
]
w\
sometimes interpolated in 'the acting to
of any kind. Ag.
uym*, jwifcji
(I. p.
96) says
'sft'tf
fill
(I. p.
its
gaps,
of limbs in
besides this he says
97)
For nrttahastas
57 (B.171, G.56a, 168).
up
q* *g|5tsfiraT*m<?tW fiisn^fR'n^
wrss* *" toT**f'i 11 "F" 8
tanugatisihitisammiliie karanam
some
karanas constitute general
they (karanas) may be also used to embellish the movement

fights
left side,
see N!$.
IX. 177
ff.
89 (B.56b-57a, G.56).
58 (B.173, G.170).
60 (B.57b-58a or 172, G.169).
61 (B. 58b-59a, G.57).

62 (B.61, G.59)
the
'
For B.60 (G.58) omitted
see
NS.
XL
90-91.
For the sake of convenience constituent parts
of
karanas have been separately mentioned without putting them in a
cumbrous sentence.
swamy
in
MG. As
This method has been followed by A. K. Coomarathe definitions of these parts can be easily traced
through the index they have not been referred to in the notes.
7
THE NATYASASTBA
60
63.
Vartita
Vyavrtta
IV. 68-
= Vyavartita) and Pari vartita hands
hands placed on thighs.

bent at the wrist, then these
04.
Valitora $ukatunda hands
to
make Vyavartita and
Parivartita K., and thighs are Valita.
65.
Apaviddha the
on the
to fall
66.
(right)
(right) thigh, the
left
hand with Sukatunda gesture
hand held on the
Samanakha the two Saraanakha
breast.
feet touching
each
pose.
other, two hands hanging down, and the body in natural
67.
Linathe two
Pataka hands held together in
Anjali
pose on the breast, the neck held high, and the shoulder bent.
6?.
gesture
Svastikarecita two hands with
held
together
and hold on the

69.
in
Mandalasvastika two hands moved to unite
also
Nikuttaka
palms turned upwards
their
manner, and the body

70.
in
each
71.
in a similar
in
the
in
similar
the Mandala Sthana (posture).

of
alternately between the
moved
and Aviddha
Rccita
Svastika, then separated
hip.
Svastika gesture with
down 1
form of
the
the hands
to
be
moved up and
another arm, and the legs
head and
manner.
Ardhanikuttaka hands with Alapallava 1
gesture
bent
towards shoulders, and legs moved up and down:

72.
Katiechinna the hip
serially
in
the Chinna
pose,
two Pallava hands held alternately and repeatedly on the head.
63 (B.62,
66
in the
(B.fiS,
Ml)
0.63).
64 (B.63, 0.61)
samanakha
'
65 (B.65, G.62)
nowhere
else
been mentioned
67 B.66, 0.64).
68 (B.97, 0.65).
70(B.69, G.67>.
f>t has
69 (B.68, 0.66).
nikuttita=nikuttam. Ag. (I. p. 103) quotes the

definition of nikuUana from Kohala
as follows umamanam vinamattam
syad ahgasya nikuttanam.
'
7UB.70 0.68). For kuwita BG. read aneita. But

Ag.
Tread *iW/"suid means by this word
tho alafiallnva gesture,
h (B.71, 0.69).
(I. p.
204)
MSCBIPTION OF IHK CLASS DANCE
-IV. 88]
Ardharecita
73.
freely, feet to
move
hand
51
with Suclmukha 1 gesture to
up and down,
alternately
move
Sannata
side in
(i.e.
Nata) pose.
74.
Vaksahsvastika
two
on each other
legs
a Svastika, the two Recita hands brought
manner on the breast which
is
in a
form of
similar
bent (iiihihcita).
be Aiicita and hands to be Recita.
75.
Unmatta
76-
Svastika hands and
feet to
in the
together
respectively
feet
held
together
in the Svastika form.
77.
Prsthasvastika
down coming
as a Svastika with
78.
in course
turning sideways
single
from [the
80.
Alata
Katisama
come together
Carls.
and towards the front

forming
feet.
after
level of] the
making Alata Carl 1
taking
down hand
shoulder 8 , then making Urdhvajanu Carl 8 .
feet
be
to
and the
Aksiptarecita
placed
left
the
at
the
Svastika
navel and the
Udvahita pose.
sides in the
the
after
separated,
Karana, of the two hands one to be

other at the hip,
81.
thrown up and
movement, and
connected)
(lit.
Svastika with hands and

79.
after being
Apakranta and Ardhasuci
Diksvastika
of
two arms
together as a Svastika, two feet also to
hand on the
heart,
the
right
hand Recita and thrown up and sideways, and then the two hands
to
be Recita with Apaviddha (Xviddhaka) gestures.

82.
Viksiptaksiptaka hands
then again thrown

83.
'
the
two
first
thrown up,
feet to
By apaviddha
Ag.
(1.
make
i>.
the Svastika, the
105)
means the
sitd-
gesture.
74 (B.74, G.71).
75 (B.7i, G.72).
77 (B.77, G.74).
78 (B.78, G.75).
79 (B.79, G.76).
'
carana^nin.
kramariam kuryat (Ag).

80 (B.80, G.7/)'the
feet
down.
Ardhasvastika
73 (B.73, G.70).
mukha
and
'
'*
'
76 (B.76, G.73).
udvahita aide
syamsayetâmsiui
it*
nowhere
else
mentioned
Mb.
81 (B.81,
G.
78).
82
(.B.82,
;>//?
krama^chn.
G.79)
83 UJ.83, G.i).
in
TEE NAT*ASASfBA
M
right
gesture, and the

hand making the Karihasta
left
IV. 83-
one lying on
the breast-
Ancitain
84.
alternately in Vyavartita
Karihasta to be
Ardhasvastika the
the
(Vyavrtta) an<l
movement,
Parivartita
nose.
and then bent upon the tip of the
Blmjangntmsitathe KuScita
85.
thighs to hire
and the
an
thigh also to hare the
Unlhvajaima
86.
knee to be held up
Nikuiieita
feet to
thrown up, the
movement, tlw hip
to
be thrown up, and the

with
and
the breast,
with the dance.
be moved
to be bent at the sides, the right
two hands
tip of the
Jvuiirita foot
harmony
same movement.
stretched) on a level
(lit.
the two hands to be in

87.
feet to l>e
oblique Xivartatm (Nivrtta)
as
the
in
hand
Vrscika K.,
to be held at
the
nose
88.
Matalli
back the two
making a
feet
(left
and
whirling
right),
movement
throwing
while
and moving hands
the
in
Udvestita and Apaviddha movement.

89.
Ardhamatalli
in the Skhalita K.,
feet to
be drawn away from the position
hand Recita, and afterwards
left
to be put
on
the hip.
90.
Udghattita
Recitanikuttita the right hand to-be Recita,
(=
Nikuttita),
and the
left
hand with Dola
left
foot
gesture.
84(B.84,G.8l).
85(15.84,0.82).
rV
,'
nivariayet,y,.Vt. read
nivrttam B. vivrttam and G. vivartuc.

87 (B.87, 0.84).
But
vivartayet, and for
86 (B.86, G.83).
For vycika karana, B.G. read vridka coram.

NS. does not know any carana or carl of
this name, while a K.
of this
name
karana;
occurs,
'
and one karana
sec texts for
is
very often used to defino anotlicr
84 above, 103 and 107 below.
In all those eases
some mas. read karana instead of carana.

88(B.88,G.85).
89 (B.89, G.86).
'
skhalitipasitfrn
the lwsition of tlw skhalita
90/B.9U, 0.87).
which see above 70
uote.
fiadan foot
drawn away from
K.
'According
U,
Ag.
udgAa^ta-nikuttita for*
DESCRIPTION OP THE CLASS DAN'JE
.IV. lfo]
Padapaviddhakathe Katakamukha
91.
,
back against the navel, and
Apakranta
Trika turned round

93.
the right
[in the
to be Apaviddha, feet to be in SucI Cari
Bhramari
Cart].
Ghurnita the left hand in Valita and moved round,

hand with Dola gesture, and the two feet to be drawn
away from each other from
right
and [then] the
Can
Valitahands
92.
hands with their
to be in SucI
feet
68
94.
Lalita
one
to he
the Srastikn position.
the left
again
hand
Karihasta
with
gesture,
the
turned aside (Apavartita), two feet to be
moved up and down.
Dandapaksaobserving Urdhvajanu
95.
to
Bhujahgatrastarecita
96.
Cari, the
the
feet
be in Bhujahgatrasta
to
two hands to be Recita and moved to the
Nupura the
97.
the
two hands to show respectively Lata and
Nupurapada Cart with the
Vaisakharecita hands and
98.
and the neck, and the entire body
in
Bhramaraka Svastika
99.
Udvestita
left side.
Trika to be gracefully turned round, [in
Bhramari Cart] the
Recita gestures, and the
in
Lata hands
Cari,
be placed on the knee.
movement,
and
feet to
feet.
be Recita, so the hip
Vai&kha Sthana
Sskipta Cart, hands
in
feet
Trika 1
(posture).
turned
round
[in the
Bhramari Cart].
Catura the
100.
gesture, the right
Kuttita
(i.e.
hand
is
left
hand with
Aiicita,
(i.e.
with Catura gesture, the
Alapallava) 1
right
feet
in
Udghattita) pose.
91 (B.91> G.88).
92 (B.92, G.89).
98 (B.98, G.90).
Kor voMo.
'
M (B.94, G.91).
BG
read vartita,
See N8. IX. 191.
95 (B.95, G.92).
96 (B.96, G.93).
97 (B.97,
G .94).
98 (B.98, G.96).
99 (B.99, G.96).
means the
trMsthi
'
Trika used here
ami
many
times afterwards
(sacrum) the lowest point in the vertibral column
where the two other bones of the legs meet

100 (B.100, G.97).
This is Ag's interpretation of
' Thu ig Ag'e
interpretation.
'
Aficita.
THE NATYASASTBA
64
Bhujangancita the
101.
hand
right
Recita, the left
feet to
all
feet in BhujangatrSsita Cart,
hands
and
the
be freely thrown
feet to
like a staff (daiufa),
sides
IV. 101-
hand with Lata gesture.
Dandakarecita
102.
about on
and the same hands and
be Recita afterwards.
Vr&ikakuttita
103.
assuming
Vrscika K.
the
and the
1
hands with Nikuttita movement.
Katibhrantt the SucI Cart, the right hand with the
104.
Apaviddha (Aviddha) gesture and the hip to be moved round.

105.
wards,
Latavrscika a foot to be Ancita and turned back-
and the
fingers bent
106.
left
hand
be with Lata gesture-
to
palm and
its
and turned upwards.
Chinna the Alapadma hand
on the hip
to be held
which in Chinna pose, the body in the Vaisakha Sthana (posture).
Vyscikarecita assuming
107.
hands in the form of a Svastika

to
to
the
two
be Recita
and
show Viprakirna gesture.
Vrscika the two hands
108.
shoulders, and a leg bent

109.
to be Recita
down
and
bent
held
and turned towards the back 1
over the
Vyamsitaassuming Alldha Sthana, the two hands

and held on the breast and afterwards moved
up and
with Viprakirna gesture.
110.
side,
Parsvanikuttaka Svastika bands to be held

on one
and the
Ill
{tUaka) in
112.
the
VnScika
the
gradually
feet to be Nikuttita. 1
Lala$atilakaafter assuming the

Vrscika. K. a mark
forehead to be made with a
great toe.
tlie
Krantaka-bendiug a KunciUi
At.km.ta Can, then the two hands
101(B.101,U.98).
108 (B.103, (1.100).
to be
leg behind
the back,
thrown down.
102(B.102.G.9)
'
S,o above 70 note.
issssr
'?<"**
I" (Mil, G.108).
U2 (B,li G
104
ffl
"
100
104
1011
rssss*
"*
.IV. 124
DESCRIPTION OF THE GLASS DANCE
113.
liekl
on the
114.
Kuncita
leg to be
with
left side
its
Cakramandala
Aiicita
and
hand
left
to be
palm upwards.
the
with the body bent and held
first
55
(Addita) 1 Cari
inner Apaviddha
down between
the two
arms hanging
straight.
1 15.
Uromandala
and used
position
two
feet
drawn away from the Svastika
Apaviddha (Addita) Cari and hands
in
in
Urflmandala gesture.
1
in
10.
Aksipta
hands and
be thrown about swiftly
feet to
thisKarana.
1
17.
Ttlavilasita
foot
upwards and held high on the

118.
iind
Argala feet
Viksipta
side,
moved
hands
and
the
turned
sole
and the palm of hands
bent.
backwards and kept two Talas
stretched
a half apart, and hands

119.
with the toe and
in conformity with these.
be thrown backwards or
feet to
sideways in the same way.

120.
Svarta
the
hands moved swiftly to

121.
Kuncita
befit
feet
put forward and
the
two
the dance.
Dolapada the Kuncita
feet
thrown up, and two hands
swinging from side to side in a manner befitting the dance.

122.
Nivrtta
hands and
feet
first
thrown
out,
and
the
Trika to be turned round and the two hands to be Recite.

123.
Vinivrtta
observing
the
>Suci
Cari, the Trika to be
turned round and hands to be Recita.

124.
Parsvakranta observing
throwing out hands
manner
towards
the
the
front,
Pars"vakranta
Carl,
and moving them in a
befitting the dance.
113(B.113 G.U0).
(
114 (B.114, 0.1
1).
'
which see N8. XI. 22.
According to Ag. apaviddha = Ofjijith curi for

1
15 (B.l 15, G.l 12).
116 (B.U6, 0.113).
U7(B.117,G.1U).
118 (B.118, G.1I5).
119 (B.119, G.116).
120 (B.120, G.117).
121 (B.121, G.118).
122 (B.122, G.119).

123 (B.1 23,0.120),
'
For nivrtta, B. reads

124 (B.124, 0-121).
vivrtta,
THE NATYASASTRA
56
NWumbhita a
I2f).
foot bent towards the back,
IV. 128-
the breast
1
held at the centre of the forehead (tUakn).
raised high, and the hand
1
turned backwards and the
foot
Vidyndbhranta
126.
in the
two hands
Mandalaviddha* gesture stretched very
close to
the head.
Atikranta
127-
observing
the
manner
bunds stretched forward in a
Vivartitaka hands and
128.
Trika
to be turned
[left]
ear,
and the
the
two
feet
to
be thrown out, the
round and hands to be Recita
Gajakridita the
129.
Atikranta Cari,
befitting the dance.
left
hand
right
hand bent and brought near the

Lata
in
and the
gesture
feet
Dolapada Cari.
Talasamsphotita
130-
foot to be swiftly lifted
tip
and
2
put forward, the two hands showing Talasamsphotita gesture.
Garudaplutaka the two
131.
wards and
the two hands -right
feet
to be
stretched back-
and left to be respectively with
Lata and Recita gestures, and the breast raised up.

132.
Gandasuci
the feet to be in Sucl position, the side to
be Unnata, one hand to be on the breast and the other to bend and
touch the check.

133.
the
feet
Bhramari
in
Parivrtta the hands raised in

Suci
position,
the Trika
Apavestita gesture,
round
(in
the
and
the
stretched backwards
and
is
turned
Cari).
134.
ParsVajanu-one
foot
in
opposite thigh raised, and one Musti
135.
Sama
position
hand on the
Grdhravalinakii one foot
breast.
one knee slightly bent and the two arms outstretched.
125 (H.125, 0.122).

126 (B;126, 0.123).
a
Nowhere
defined in
Ag. interprets differently
>
'
Ag. interprets differently.
N&
127 (B.127, 0.124).
128 (B.128, 0.1 25).

130 (B.l 30, 0.127).
Defined nowhere in
'Ag.
29 (B.129, 0.126).
interprets the passage, differently.
N&
131(11.131,0.128).
132 (B.182, 0.129).
134 (B.134, 0.131).
135 (B.135, 0.132).
133 (B.138, G.1S0).
DESCBIPTION OF THE CLASS DANCE
IV. 145]'
Sannata
136.
after jumping,
forward in Svastika form
the two
57
feet are
be put
to
and the two hands to show Sannata 1
Dols) gesture;
(?,e.
Sucia
137.
Kuficita foot to be raised and put forward
on
the ground, and the two hands to be in harmony with the per-
formance.
the
Ardhasuci
138.
right foot is in
the
Alapadma hand
Suelviddha one
139.
is
held
on the head,
Sue! (karana) position.

Suci Karana
foot of
the two
the heel of another foot,
being put on
hands to be respectively put on
the waist and the breast.
Apakrantaafter making
140.
Cart
is
to be performed, the
two hands
the Valita thigh, Apakrauta

to
moved
be
in
harmony
with the performance.
Mayuralalita after
141.
hands
to
assuming
the Vrscika K.
be Recita, and the Trika to be turned round
[in
two
the
Bhramari Cart].
142.
position
and
Sarpita
the
two
to
feet
the head with ParivShita
be moved from the Aficita

gesture,
and the two hands
are Recita.
143.
Dandapada
after
the
Nupura
Cart,
Dandapada Cart
should be observed and the aviddha (vaktra) hand should be
shown
quickly.
144.
jumps and
Harinapluta
stops,
after
observing the Atikriinta Carl one
and then one of the shanks are bent
and
thrown up.
145.
is
to
come at
Prenkholitaka
jump and
let
after observing the
the Trika turn round
(in the
rest.
186 (B.136, G.133).
'
According to Ag. Sannata =Dolahasta.
137 (B.137, G.134).
138 (B.138, G.135).
140 (B.140, 0.137).
HI
U2 (B.142, G.139).
145 (B.145, G.142).
Dolapada Cart one
Bhramari Cart and
(B.H1, G.138).
U3 (B.H3, G.UO).
'
Defined nowhere in N8,
144 (B.144, G.141).
THE NATYASASTRA
58
Nitamba arms
46.
to be
first
their fingers pointing upwards and the
thrown up and hands to have
Baddha Cari
Kecita gesture to be turned round in
the
Krihasta
148.
harmony with
hand
left
breast,
the palm of the other hand
feet to
be Aucita.
to
is
with Lata gesture, and feet to be Samsarpitatala
Simhavikrldita
150.
move
on
placed
be
made
to be
with
this.
the
Prodvestitala, the
Prasarpitaka;one hand to be Recira and the other
149.
to
be observed.
to
Skhalita - after observing Dolapada Cari, hands
147.
is
IV. 146
swiftly
and hands
Simhakarsita
151.
after
observing
= Talasaiicara).
tlin
Alata Cari one
to follow the feet.
one foot to be stretched
backwards and
hands to be bent and turned round in the front and again to be bent.
Udvrtta hands,
152.
violently
153.
154.
will
and the entire body to be moved
and
Upasrtaka observing Aksipta Cari
harmony with
palms
feet
thrown up) and then Udvrtta Cari to be observed.
(lit.
hands
in
this Cari.
observe
Talasamghattita
clash
with
Janita
one
each
Dolapada
the
other and
the
left
two
Cari
hand
be
to
Recita.
155.
hand
to
be on
the breasti, the other
hanging loosely and observing Talagrasamsthita (Janita) CSri.

156.
Avahitthaka
after observing Janita
with fingers spread out and then letting them

157.
should
Sthana
Nivesa the twe hands
be Nirblmgna
and
K.
raising
hands
slowly.
be on the breast which
will
the dancer
fall
should
assume Mandala
(posture).
146 IB.H6, G.143).
147 (B.H7, G.144).
149 (B.149, G.146).
150 (B.150, G.147).
151 (B.151, G.148).
152 (B.152, G.149).
153 (B.153, G.150).
154 (B.154,G161).
155 (B.155, G.152).
means Janita
'
According
to
Ag.
cari.
156(B.156,G.153).
1.57
(B.T57, G.154).
148 (B.148, G.145).
Talagrasamsthita
pad
IV. 167
158.
coming
DESOBIPHION OB THE GLASS DANCE
to the
159.
jumping
Elakakrldita
with Talasancara 1
feet
;md
ground with the body bent and turned.
Urudvrtta
a hand made Avrtta (Vyavartita) and then

made
bent and placed on the thigh, shanks

160.
S9
Madaskhalitaka
two hands
and Udvrttn.
aiicita
hanging down, the head
assuming the Parivahita gesture, the right and the
feet
left
to be
turned round in Aviddha Cart.
161.
Visnukranta
foot stretched forward
and bent as
if
on the point of walking, and hands to be Recita.

162.
Sambhranta a hand
ment placed on Jhe thigh which

163.
to
Viskambha
a hand
be made Nikuttita and the

164.
Udghatta
is
left
to
feet
with Avartita (Vyavartita) move-
made Aviddha. 1
hand on the
Vrsabhakridita
breast.
Udghattita 1
in
hands in Talasamghattita movement

105.
be Apaviddha, 1 SucI Cari, foot
to
after
movements
and
are to be placed on two sides.
the Alata Carl two
observing
hands to be made Recita, and afterwards these should to be made

Kuiiclta and Aiicita.
166.
Ancita,
hands
Lolita
and the head
167.
Lolita.
on
the
two sides to be Reicta and
and Vartita.
Nagapasarpitato
draw back
position and the head to be Parivahita
158 (B.158. G.155).
I-
Same
feet
and hand
as agratalasaticara, see NS.
159 (B.159, G.156).

160 (B.160, 0.157).
'
Denned nowhere
in
NS.
161 (B.161, G.158).
168 (B.162, G.159).

163 (B.163, G.160).
164 (B.164, G.161).

4
Defiuud nowhere in >".
'
'
'
Defined nowhere in NS.
185 (B.165, G.162).
'
'
Defined
166 (B. 166, G. 163).

167 (B.167, G.164).
from
nowhere in
Svastika
to be Recita.
Nti.
X.
46.
THE NATYASASTBA
168.
69.
[-
Sakatasya beginnning with body
with a Talasaiicara
]
at
rest,
IV. 168-
advancing
and making the breast Udvahita. 2
foot
Gangavatarana
foot with the toes
upwards, hands showing Tripataka with the
and the sole turned
fingers
pointing
down-
1
wards and the head being Sannata.
Tho Aiigaharas
170.
shall
now
I have spoken of one hundred and eight
Karanas.
describe the different Angaharas.
Sthirahasta stretching two arras and throwing
171-173.
them up, taking up Samapada Sthana, the

upwards from the
of the
level
Pratyalidha Sthanai
then
left
shoulder, taking
"hand stretched
up afterwards the
observing successively the Nikuttita,
Urudvrtta, Aksipta, Svastika, Nitamba, Karihasla and Katiechinna,
Karanas.
Paryastaka observing
174-176.
assuming
then
Nikuttaka,
Talapuspaputa,
takiug up
viddha, and Vartita Karanas, then
Urudvrtta,
Apa-
Pratyalidha Sthana,
Aksipta,
Uromandala,
Nitamba, Karihasta, Katiechinna, Karanas.

176-178.
Sucividdha after showing Alapallava(Alapadma)
and Suci (mukha) gestures assuming one after another Viksipta.

Avartita, Nikuttaka, Urudvrtta, Aksipta,
Urnomandala, Karihasta,
and Katiechinna Karanas.

178-180.
Apaviddha Apaviddha and Sucividdha Karanas,
then observing Udvestita K.
168 (B.168, G.165).

16:) (B.169, G.166).
3
with hands and turning the Trika,
See above 158 note.
B. reads udghaiitt.
'
Defined nowhere in Nii.
For B.170-174 and G.167-170 see 50-61 before.
170 (B.I74,
0.17U
171-173 (B.175-177,
have been translated
Defined nowhere in N8.
'
0.172-174).
like the
katams
'
Definition
above
sec.
of
62 not*.
mostly combinations of the karams.
174-176 (B.17H-18I),,, Q.175-176).

176-178 (r5.l80b.-182a, 0.177-1
79aJ.
478-1S0 (B.l82b-184a,
(j
.I79b-180).
>
G. Omits 175b.
th,
aiâkaras
Airfqm
are
.IV. J96
DBSOBIPTiON OP THE CLASS DANCE
61
showing with hands Uromandalaka gestures and assumiug Kati*

chinna Karana.
180-182.
Alataka,
ipta,
Aksiptaka
assuming
successively Nupura, Vik-
Aksipta, Uromandala, Nitamba,
Karihasta
and
Katicchinna Karanas.
182-184.
Udghattita 1
moving
(Aviddha) hands and the two
Udvestita
to
feet
and Apaviddha
be Nikuttita, and again
changing them to Uromandala gesture and then assuming JsuccesNitamba, Karihasta and Katicchinna Karanas.
sively
184-187.
.are successively
Viskambha hands by
made
turns
made Caturasra 1 and feet

then Bhujangatrasita K. hands to be made
K. hands
made
Udvestita, feet
Nikuttita and bent, then assuming Urudvrtta
to be
Nikuttaka,
assuming
Udvestita, assuming
Chinna and Bhramaraka Karanas while Trika
is
to be moved,
then Karihasta and Katicchinna Karanas to be assumed.

187-190.
Aprajita
Viksipta and Akspita
assuming Dandapada K., hands
having
movement, then assuming Vyamsita K. the
hand moving along with the
left
rasra
sita
and
feet
left foot, then bands being Catuhaving Nikuttaka movement, assuming Bhujangatra-
K. and hands having Udvestita movement, then assuming
successively the
two Nikuttakas
(i. e.
nikutta and ardhanikuttaka),
Sksipta, Uromandala, Karihasta, and Katicchinna Karanas.
Viskambhapasrta assuming Kuttita and BhuKaranas, Reclta hand to show the Pataka gesture,
190-192.
janga trasita
then to be assumed
successively
Aksiptaka, Uromandala, Lata,
Katiccheda Karanas.
192-195.
Mattakrida
assuming
Nupara K.
by
Tirka, then assuming Bhujangatrasita K. assuming next
turning
Becita K.
180-182 (B.I84b-l86a, G.l8l-ld3).
182-184 (B.186b-188a, G.188-184).

this
lu the
definition
of
ahgahara
term has been equated with nrtta or dance.

184-187 (B.l88b-19la, G.185-187).
187-190 (B.l9lb-I94a, G. 188-189).
190-192 (B.194b-I96a, G.190-191).
192-195 (B.196b-199a, G.199.-194).
'
Defined nowhere iu NS.
tiHti
gg
the right
with
NAUYABASTBA
and then assuming successively Jksiptaka,
foot,
Nitamba,
Uromandala,
JBahyabhramaraka,
Chinna,
[IV.lM.
Karihasta,
Katiccheda Karnas.
196-197.
Svastikarecita
hands and
assume Vrscika K. and again repeat

and
feet,
197-200.
one side
thigh,
are Recita, then
feet
movement
hand
of the
and then Nikuttaka K. and the Lata gesture alternately
with the right and the
on the
this
ParsVasvastika
and
then
then the
side,
then
hand, and then Katicchinna K.
left
to
assuming
Ardhanikuttaka,
the
^flvrtta (vyaavartita)
(Dik-)
Svastika from
these to be
all
hand
repeated
to be .placed
on the
assume successively Urudvrtta, ^ksipta, Nitamba,
Karihasta and Katicchinna Karanas.
200-202.
Lata band
Udvestita
Vrs'cikapasrta assuming Vrs'cika K. holding
to be held
on the nose, after moving the same hand
movement,
then
assuming
successively
the
in
Nitamba,

202-204.
-4ksiptaka
Bhramara assuming
Katicchinna,
successively
Sucividdha, Nitamba,
Nupurapada
Karihasta,
Uro-
mandala and Katicchinna Karanas.

204-206.
Mattaskhalitaka asuming Matalli K. and moving
round the right hand and bending and placing
it
near the fright)
assuming (successively) Apaviddha. Talasamsphotita,

cheek, then
206-208.
Madavilasita moving
with
Dola hands and
making hands Ancita as well as Valita and
Svastikapasrta
feet,
then assuming
successively
Talasamghattita,
Nikuttaka, rudvrtta,
195-197 (B.l99b-201a,G.195-198).
'
the translation
of this
Ag. has been followed.
197-200 (B.201b-204a,
G,19M9).
have followed Ag.

200-202 (B.204b-2()6a, G.200-201).
202-204 (B.206b-208a, G.202-203).

204-206 (B.208b-210a, G.204-205).
i.08-208(B.arob-212a, G.806-207).
ln
the translation of tin,
K.
K.
.IV. 223
63
Gatimandala after assuming Mandala Sthanaka
208-210.
and making the hands Recita and the feet Udghattita assuming
Aksiptn,
Uromandala
Matalli.
and Katiccheda
successively
Karanas.
Paricchinna
210-212.
ing Paricchinna {ue. Chinna)
Bahya Bhrama
ka
then with
and with the
left foot
Aviddha foot assuming

assuming Sue! K. and
Atikranta, Bhujangatrasita, Karihasta
212-216.
Parivrttakarecita
loose Svastika form
to
Samapada Sthan 1 assum
nna Karanas.
*
Katicc'..
to be
after the
(successively)
than observi*
and
made
and them
Recita, and
holding on the
body,
the
raising
head hands
bending the body the
after
again
be made Recita, after this hands to show
left
in
hand
same hand
the
Lata gesture and
assuming successively Vrfcika, Recita, Karihasta Bhujangatrasita,

A"ksiptaka
repeated
Karanas then
after turning
have Svastika foot
all
to
this
be
completely, then assume (successively)
back
Karihasta.
216-219.
to
Vaisakharecita
be made Recita and
bent, then
observe
all
along with
this is to
body the two hands
be repeated with the body
Nupurpada Can and Bhujangatrasita,
Recita,
Mandalasvastika, afterwards bending shoulder Urudvrtta, Aksipta
Uromandala
and
Karihasta'
Katicchinna
Karanas
are
to
be
assumed.
219-221.
ward a
the
foot,
Paravrtta assuming Janita K. and putting for
then assuming
Alataka K. and turning the Trika, [in
Bhramri Carl] afterwards
cheek, then
the
left
hand bend and
to
on
the
assuming Katicchinna Karana.
208-210 (B.2l2b-214a, G.208-209).
210-212 (B.2Ub-2l6a, U.. 10-211).
bahya bhramaraka seems
to
mean a
'According
cari of that
by this bhramaraka, the movement known as

See
M. Ghosh AD.
289ff. also A.
bhraman
K. Coomaraswamy.
212-216 (B.2l6b-220a, G.212-215X

216-219 (B.220b-223a, G.216-218).
219-221 (B.228b-22.r>a, G.219-2$0).
Ag
to
name.
But
it
(I.p.152)
seems that
has been meant.
MG.
p.74.
THE NAT7ASASTBA
6t
Alataka assuming
221-223.
hands
being RecitaJ, Alataka,
vyarasita
Svastika,
Drdhvajanu, NikuScita.
Viksipta, Udvrtta, Aksipta, Krihasta and Katicchinna
IV. 221-
[in
it
Ardhasfici,
Karanas one
after another.
hands on
Parlvacchedaholding Nikuttita
223-225.
the
Karanas, Trika
breast assuming Drdhvajanu, Aksipta, Svastika
Karihasta and
Nitamba,
Uromandala,
to be turned round, then
Katicchinna, Karanas to be assumed.
Vidyudbhranta assuming SucI K. using the
220-227.
foot
first,
K. with
Sfici
the
and Vidyubhranta K,
left
foot
using the right
foot
first,
left
then
and Vidyudbhranta with
the right foot
moved
moved
afterwards assuming Chinna K., and
first,
first,
turning round the Trika, then Lata and Katicchinna Karanas.
Udvrttaka- assuming Nupurapada Cart hanging
227-229.
the right and the
Viksipta K.,
turning
left
with
hands by the
these hands
round the Trika
[iu
side,
and with them assuming
K, and
Suci
assuming [again J
Bhramari Cart] and then assuming
Lata and Katicchinna Karanas.
Slidhaassuming
229-231.
Vyamsita
hands on the shoulder, and then Nflpura
[moving
the
right
gestures
first],
afterwards
[moving
foot
with hands
K,
K,
Alata and Aksiptaka

first]
and
then
striking
with the
left
the
foot
Karanas with
making Uromandala
and assuming Karihasta and Katicchinna
Karanas.
showing Recita hand, bending
231-233.
Recita
it
on one
side
and making the [same] Recita movement and then repeating
this
movement
sively
after
bending the entire body, assuming succes-
Nupurapada, Bhujangatrasita, Recita, Uromandala and Kati-
cchinna Karanas.
221-223 (B.225b-227a, G.221-222).
223-225 (B.227b-229a, G.223-224).

225-927 (B.229b-231a, G.225-226).
227-229 (B.231b-233a, G.227-228).

229-231 (B.233b-235a, G.229-280).
231-233 (B.235b-237, G.231-232). *
-IV. 247
DESCRIPTION OF THE CLASS DANCE
/
234-285.
65
A"echurita assuming Nupura K. and turning the
Trika round, assuming Vyamsita K. and again turning round the

then
Trika,
[sidej
and
assuming
successively
Sucl, Karihasta
236-238.
Alataka 1
K. from
the
left
and Katicchinna Karanas.
Aksiptarecita Svastika
feet to
so the Svastika hands, then with the same
(i.e.
be in Recita and
Recita)
movement
they should be separated) and with the same Recita movement they
are*to be
thrown up, then assuming successively Udvrtta, Aksipta,
Uromamjala, Nitamba, Karihasta and Katicchinna Karanas.

239-241*.
the left
hand
Sambhranta- assuming Viksipta K. throwing out
with'Siici gesture, the right
hand placed on the breast,
Trika to be turned [in the Bhraraari Cart} then assuming successively
Nupura,
Nitamba,
Ardhasvastika,
Aksipta,
Karihasta,
Uromandala and Katicchinna Karanas.

242-243.
observing
Apakranta
Apasarpita
assuming Vyamsita K. with
hands moving
the
and
Cart
in
Udvestita
manner, then assuming successively Ardhasuci, Viksipta, Katicchinna, Udvrtta
and [again] Katicchinna
Aksiptaka, Karihasta
Karanas.
244-245.
Ardhanikuttaka -observing swiftly Nupurapadika
Cart, hands to move
in
harmony with the
round [in the Bhramari Cart], then

Nikuttita movement,
feet
and Trika
hands and
to
turn
make
to
feet
afterwards assuming Uromandala, Karihasta,
Katicchinna and Ardhanikuttaka Karanas.
The Recakas
246.
now
I have spoken of these thirtytwo Angaharas
describe the four Recakas 1
247.
Among
the Recakas the
234-235 (B.238-239, G.233-234 1
padam calatakam
please listen about
'
first is
Read
them
shall
that of the foot (jwla),
vamam
calatakam
for
in B.
236-238 (B.240-242, G.235-237).
239-241 (B.243-245, G.238-240).
242-243 (B.246-247, G.241-242).
244-345 (B.248-249, G.213-244).
246 (B.250, G.245).
For the
Angaharas and the use of the Recakas

247(B.251.G.94fl),
relation
see Ag,
between Recakas
and the
THE NATIASA8TRA
66
IV. 348-
\
the second
and the fourth
(haxki)
248.
it
that of the waist (kaii), the third is that of the
is
up or
with differently moving
Kati-reeaka
250.
feet, is
the Trika
drawing back,
Hasta-recaka Raising
with wavering
side
called their Recaka.
Raising up
of the waist as well as its
251.
drawing
its
any kind separately.
Pada-recaka Going from side to
249.
feet or
of
a limb] means moving
[relating to
not in any Karana or Cari) or
{i.e.
movement
its
that of the neck (ijrlva).
is
The term Recita
round separately
hand
is
and the turning
called the Kati-reeaka.
throwing
up,
forward, turning round and drawing back of the
putting
out,
hand
is
called
its
Recaka.
Raising
up,
lowering and bending the
movements
of
are called
GrivS-recaka
252.
neck sideways, and other
it
Angaharas, Parvati too performed a Gentle

1
and
this
instruments
musical
Din/lima,
like
(lit.
danced with
Mrdanga, 1
Bheri, Pataha,
Bhambhs*,
Gomukha, Panava and Dardura.

[Besides on this occasion]
255.
Dance
dance was followed by the playing of
the evening after the break-up

lice
Recaka.
Seeing Hamkara (Siva) dance with Recakas and
253-254.
delicate forms)
its
MahesVara (Siva) danced
destruction) of
(lit.
Daksa's
with different Angaharas and in conformity with proper
beat [tola)
and tempo
in
saeri-
time
{layn).
248 (B.252, G.247).
249 (B.253, G.248).
2f0 1B.254, G.249).
251 (R.255. G.250).
252 (B.256, G.251).

l
253-254 (B.257-258, G. 252-253).
A?.
I. p.
arc
drums
Read iirtyanti sma ca parvati
203.
mrdahga,
bheri, pataha.
of different sizes
such as clay, wood
etc.
Of
bhambha, dincjima, dardura and panava
and shapes, and' made of different materials
these bheri,
panava and gomukha
(possibly
n horn) have been mentioned in the Bhagavad-glta, eh. 1.13.

5
B. read jhanjhyit (pa. bambha).
255 (B.259, G.254).
The
story of the break-up of
occurs in two different forms in
See JK. under Daksa,
the Bhagavata and
Daks/s
the
sacrifice
Varaha P,
.IV. 263
DESCRIPTION OF THE CLASS DANCE!
Ganas
256.
[in
and Bhadramukha seeing then
N/andin
like
course of this performance of
6?
fW], Pindibandha 1
different
[of
dance forms] gave names to them [and imitated these] well.
Names
257-263.
Pindls specially attached
of
gods and [goddesses are as follows]
Sakra (Tndra)
(lotus),
different
Siva Vrsa, Nandin - PattisI,

Visnu Tarksya, Svayambhu
(Kali) Simhavahini,
Candika
(Brahman) Padma
to
Airavuti,
Manmatha
Jhasa, Kuinara (Kartikeya)Sikhi (peacock). Sri (Laksmi) Ulu

YamaPasa, Varuna Nadi,
(Ganga) Dhara,
Jahnavi
(owl),
Kuvera (Dharfada) Yaksi, Bala (riima) Hala

(serpents)
Sarpa,
vimardini,
The
Raudrt
the
in
(plough),
Ganesvaras (the lords of Ganas) 1
Pin Ji
form of
] of Siva,
Andhaku*,
the killer of
The Pindis
his trident.
gods and goddesses will be similarly, named after
own banners 3
their
2G3-264.
Pin
his
After
made
turn
inventing the
out
fq^twi:
<tirs*ifq
'
Pimlibandhakg.
(I.
\fa)
tmrawfav;-
songs and
170-171)
explains the
fq<gtfa
Prom
occurs in the
following couplet
in
with
fq$ir.
fflfarq^K*qiwfraif^[i:<iiqT:
fqi^tw
and
inwf-
\rim
these quotations
apparent that Ag. had no definite idea about the pirulibandha or
But the word
be
marked with)
Tandu 1 who
sage
together
tfwtw *mfflfajrtwqr?:nflwt
f^^*nvQq
trofci
(lit.
Recakas, Angaharas
the
to
them dance
of
256 (B.260, G.255).
words as follows:
will
of the remaining
Siva communicated them
lis,
Bhogins
Daksayajna-
of a
later
11
is
it
ptttfi.
work on
dramaturgy (Bh P. p.264)
$Wiwl *t qfantsifa mfirai:
fq^q^tftfwtre: top* W5?rsn
I'rom the above quotation the meaning of the

relating
to
For more
group-dance.
about
word seems
to be a term
fii)u\ibandha
see
257-262,
284-285, 291-294 below.
257-262 (B.261 266a,
GaneSvaras or lords of hosts
G.256
;
see
261).
Ganesvari means relating
'
above NS.
III. 31,53
and
to
111. 1-8 note 7.
The story of Siva's killing the Asura Andliaka occurs ..in Ram,
Hraivamsa and several Puranas. See JK. sub voce.
*
B. omits 263b altogether.
263-264 (B.266b-268a, G.262-263).

to
occur in any extant Purana.
this
muni
originally
has
It
is
Tandu's name doe, not seem
just
possible that the
been derived from, tamjav/t a non-Aryan
may have meant
dance.
name
of
word which
f HE NATtASASTBA
B8
music
instrumenbil
(i.e.
and hence
dance
this
known
is
iV. 266.
as Tfindava
of Tandu's creation).
The
Use
2G5.
by
in
and what
is its
does
It
what
nature
is
(ahhimya) having been devised
drawing out
for
a play]
Why
2G6.
songs
of Gestures etc,
experts,
the
speeches
sages speak
led
to
the
and
sense [of songs
making
the
of dance (""")>
dance made in
neither
relate
connexion
to
with
meaning
its
the
nor
Asgrita
reflect
its
spirit.
207.
dance
[In answer to
use simply because
268.
these
by no
occasioned
is
questions]
need
specific
it
is "
it
said
the
that
has
come
into
all
people,
it is
creates beauty.
it
As dance
is
naturally loved
by almost
eulogised as being auspicious.
269.
It is eulogised also
on occassions of marriage,
as being the source of
child-birth,
reception
of a
amusement
son-in-law,
general festivity and attainment of prosperity.
270.
Hence the host of Bhutus have ever praised 1 the
Pratiksepas' which are used in songs and in regulating the division

of dances.
271.
"Perform
Siva
this
(lit.
pleased
to
say
to
Tandu,
dance in connexion with the singing of songs.
265(B268b-269a,G.264).
ntflam
was
god) too
B. reads
'
tasman nrttam
for
kasman
in 265b.
266 (B.269b-270a, G-285).
267 (B.270b-271a, G.266).
268 (B.27lb-272a, G.267).
269 (B.272b-273a, G.268).
270 (B.273b-274a, G.269).

'
Pratiteepa Ag.
271 (B.274b-275a,
(I.
For Prakirtitdh, B.G. read pravarlitah.
p.182) defines this term as follows
G.270).'
: mwftjw
For tamjuh santosaphrvakam.
variant has been recorded by Ag. (1.181) and

reading. B.G. read tan<\ustlm<\avaJHtrvakam.
it
This
seems to be the correct
.IV. 2?8
The Class Dance (landava) 1
272.
the adoration
of gods but
relates to the Erotic
gentler
its
<&
mostly to accompany
is
form (siihintara-yrayoya)
Sentiment.
The Vardhamanaka
273.
Now
while coming to discuss
shall describe the
Dance (larutava) as
274.
As
it
in its
Vardhamanaka
the
the performance of
Class
the
was performed by Tandu.

performance Kala and tempo (luya)
crddhi (increment) due

the
regarding
rules
increment of Aksaras
to the
it
attain
called
is
Vardhamanaka.
275.
The Asarita
After setting
down
instruments
the musical
(knlaiia)
the producers [of plays] should get the Asarita performed.
270.
the
Then
Upohana has been performed
the
after
to
accompaniment of drums 1 and stringed instruments, a female
dancer should
enter
[the
with
stage]
playing
the
of
drums
[only].
277.
in
This playing of the [instrumental] music should be
pure Karana 1 and Jati 2
And
then a Cari should be performed
with steps in accompaniment of music.
278.
On
entering the stage with flowers in her hands
the
and
per-
female dancer should be in the Vaisakha Sthana
form
all
the four Recakas
(i.e.
272 (B.275b-276a, G.271).
those of
l
be misleading.
word meant
From
p. 5),
which has been
the
codified.
NS,
For the
it
It is
guished from the folk dance' mentioned in later works.
no exclusively male dance.
translated by
but the adjective seems to
the present chapter of
'class dance'
hand, waist and neck).
The tawlava has been
some as 'wild dance' (Haas, Dasariipa,
the
feet,
(posture)
appears that
to
illustrations of the kararpas
out of old bos reliefs and printed in the Baroda ed. of the
that these
were performed by women as
elements of tamlava
litsya
be distin-
Tuniiava was
well.
taken
NS. show
These karmias were evidently
performed by women was only a gentler form
of the tuifffava.
273 (B.276b-277a, G.272).
274 (B.277b-278a, G.273).
275 (B.278b-279a, G.274).
27
277 (B.280b-261a, G.276).
278 (B.281b-282a, G.27-7).
B.279b-280s, G.275).
1HE
to
NATYASAS!I?BA
Then she should go round
279.
IV. 2t9-
the slage scattering
flowers
from her hands to gods, and after bowing to them, she should make
use of different gestures (abhimiya).
when
Instrumental music should not he played
230.
is
any song to be delineated by gestures,
The playing
of
drums
instrumental music) during
(lit.
Dance should be Sama, Rakta, Vibhakta and
the Class
there
the performance
at
drums must be employed.
of Aftgaharas
281.
but
heard (m>knta) on
distinctly
account of clear strokes and should be properly
following different aspects of the dance.
After following the song [with her danqe]
282.
make
should
her exit and others [like
stage]
due order form
will in
Pindis 1
these are formed they will perforin the Paryastaka.
all
till
[the
These other women
283.
the dancer
enter
will
same manner.
in the
and
her]
After forming [Pindis] these
281.
women
make
will
their
and during the formation of the Pindis an instrumental music
exit,
which has various Oghas and Karanas should
be played, and
it
should be similar to the music at the time of the Paryastaka.
285.287.
Then
this
Upohana should be again performed
and the Asarita too
before
as
song also should be sung and a
female
dancer should enter the stage in the manner described
before,
and she should delineate [the meaning of the song
second Axarita by suitable
and
gesture]
translate
the
in the
subject-
matter {radii) 1 into a dana>.

288.
make her
stage
After finishing the Asarita the female
exit,
and make a
the
similiar performance.
Thus
289.
dancer should
and then another female dancer should enter
at
every
step
the
rules
of Asarita should be
followed by singers as well as players of

the instrumental music.
279 (B.2821,-283., G.278).
280 (B.283b-a84a,
281 B.284b-285a, 6,-80).
283 <B.28Hb-287a, (i,m>.
....
&.. d
284-285 (T1.2H71.-288, 0.283(1-284).
285-287 (B.289-291a, 0.284h-H-,
r -o*)-a.., -Nl
.
Malavi.
"
U.
'>'
'
U, 5, 8, 13, 14.
G .279).
292 (B.285D-28B*, 0.281).
'
..sbj.
,'82
im*> 2
v ,. wstu
,
/i j
(padavaslu)
(
288'(B,!i91b-292a, 0.287).
sec
-IV.
DESCEIPTI ON OF TBE CLASS DANCE
293]
[During
290.
all
performances] the
these
71
foot
first
song should be sung once, the second twice, the third

the fourth four times.
The
291.
Pindis
have
The name Pindi
292.
four
Bhedyaka
it
due to
is
being a
its
and that
Latabandha*, and
is
be applied in the
to
is
shortest Asartfa), Hmkliala at
the
transition
middle
one
and
longest
[proper]
2
called Srnkhalika ,
is
were] by a net,
The Pindibandha
Latabandha
Pindi
varieties
to be the (separate) dance of one individual.
is
293.
and
or Pindibandha
{iinhn.ii) 1
a cluster
wh'ich is held together [as

1
of the
thrice,
Srnkhalika, Latabandha, and Bhedyaka.
Pindi (lump),
in
the
first
tempo,
of
Bhedyaka
the
(lit.
the
in
the
padavastu.
See
Asarita).
(i e.
Vastn here
2S9(B.292b-293a, G.288).
means
above 285-287 note.

2
These
(ishritas
According
required.
seventeen kalas,
tli
were distinguished
Ag.
to
(1.185)
medium asarita
by .the kalas
the
shortest
time they
of
asarita takes
thirty-three kalas
up
and the longest
asarita sixty-live kah'is.

l
290 (B.293b-294a, G.289).
It is implied that
each each of these
groups of songs should be followed by dance of different dancers.

291 (B.294b-295a, G.290).
(p.
'
246) occurs the following passage
5n:
<W*K
From
a9fi inraisO*i*aiJ'l
fa;
<jqiii 5Fj
See
notes
256 above.
<wqrnrWi
* 8g*:
In the
BhP.
fq5ftW5 5
la'i r
<srar
<rafatW<i
wit
ii
3*1
II
this it is quite clear that the pirtitlbandlia relates to the grouping
of dancers.
Of
these the
gulma
is
a general collective dance, the
mikhala
which partners hold one another's hands, the lata is

the dauce of two putting their arms'around each other, and the bhedyaka
is the dance
of each one separately .away from the group. The section
is
the dance
in
292 below does not quite agree with this view.
of
Sec above 291 note.
292 (B.295b-296a, G.291).
'
BhP. does not
gulma and
See above 291 note
1.
Sec above 291 note
1.
sakrt
( - once).
identify the
the mtkkalika.
* See above 291 note 1.

*
sanrtta=ekanrtla=ekasya nrtta
THE NATYASASTBA
72
sana.
(of Pindis)
Origin
294.
J
is
IV. 294-
Yantra and Bhadra-
and properly applied by the
be learnt
These should
twofold
producers [of plays].
The Clmndaka
In the Vardhamana the producer
295.
I
[dances].
now speak
I shall
the
should
thus
use
rules regarding
the
and Chandakas.
performance of songs
290.
about
speak again
shall
and the instrumental
of the dance
music that should accompany songs consisting of the Vastu 1 as

their (Angas).
well as of
iill
the
drums
are to be sounded
arc to be played with
298.
During the performance of
dancer should
and music a female
First
of
and
this
song
at that
time
stringed instruments
all,
the
entire
words (vastu) of the song
and next the same should be
a dance.
299.
gestures
the
all
Ksepa and Piatikscpa. 2
should be represented by gestures,
shown by
enter the stage.
Directions given above regarding
and the instrumental music
will
the
apply
dance,
equally
use
of
to (he
subject matter of the songs in the Asarita.
300.
the Vastu.
301.
This
Now
is
the rule
with
regard
listen to description of
to songs
songs
consisting of
made by Angas.
Rules regarding the dance, use of gestures and the
in-
strumental music which apply to words (of songs) are equally applicable in case of
302.
Chandakas which are composed of
During the
Mukha and
the
Upohana
their Angas.
the instrumental
music should be played with heavy and light

Aksaras by keeping
them
distinct
(lit.
separate).
293 (R.296b-297a, 0,292).

'The distinguishing
three asartlas have been given
in note to 289 above.
394(B297b-298a,
emanation
0.2*0.
(I.p.193) f the
"Ibis
passage
is
yantra an d the bhadrasana
is
features of
not
clear.
A^
not convincing.
295 (B.298b-299a, 0.294).

296-297 (B.299b-301a,
i!
the
0.295).
See above 285-287 note
or firatikzepa see above
270 note 2
1.
[V.-1.
DBSCMPTION OF THE CLASS DANCE
When
308.
song some of
of a
course
in
repeated, the parts uttered first should
73
parts
its
are
be delineated by gestures
and the rest are to be translated into danqe.
When
304*305,
repeated
in course of a song
some of
parts
its
On
observes the rule of three Panis and three kinds of tempo.

like
occasion
the instrumental
this
are
by the instrumental music which
should be followed
it
an
music should follow the
[proper] tempo.
305-308..
The Tattva,
Among
the Karana.
tempo, the Anugata in
This
is
of the
the
Anugata and the Ogha
the Tattva
these,
is
to
relate
to
be applied in slow
medium tempo and the Ogha
the rule regarding the instrumental music.
in quick tempo.
[Different] parts
song in case of a Chandaka are to be repeated.
This
is
always the rule in [combining] the dance, Gestures and the song.
In case of songs composed in one stanza (nibaddha) commencement
the
(gralia of
but
in
playing of drums) should take place at their end,

the parts [of a large
of
repetition
the
commencement should take
song] such
place from the beginning.
The Gentle Dance

809.
procedure
This should be the
Asarita songs.
Now
consider
[all]
in
performing the
that relating to the adoration of
gods as the Gentle Dance'isukmara).

310.
The Gentle Dance
a dialogue between a
with the Erotic Sentimen t [relates to]
man and a woman when
they are in love.
Occasions suited to dance
311.
Now
listen,
Brahmins, about occasions in plays
when dance should.be introduced in course of songs.

312.
of a
song
[in
Experts should apply dance when the principal words

a play] as well as
its
[ornamental adjunct known as]
302 (B.305b-306a, G.801).
301 (R304b-305a, G.300).
304-305 (B.3)7b-308a, G.303-804h).
303 (B.306b-307a, G.302).
805-308 (]B.308b-311, G.304b-307). 309 (B 312, G.308).
S10 (B.313, G.309),
311 (B.3H, G.310),
THE NATYASASTHA
74
Varna
comes
fortune [in
to
when any character
close or
And
813,
attains
good
dance should take place on an occasion in a play
Dance should
314.
occurs
between a married
(the dance) will be a source of joy.
it
when the
play
IV. 313
a play].
when something connected with love

couple, for
lover
is
also
take place
any scene
in
near and a [suitable] season
of
or
the
like is visible.
Occasions when dances are prohibited
But dance should not be applied
315.
young woman who
is
to
the part of a
enraged (kharrfita), 1 deceived (vipralabdha) 1
or separated [from her lover] by a quarrel (kalahantarifa)*.

310.
dialogue
is
Dance should not be applied

going* on
when the
or
also at a time
beloved one
is
when a
not near at
hand, or has gone abroad.

317.
And
besides this
when one
one of the seasons or the like from
and
feels eagerness
the appearance of
realises
the words
or anxiety on account of
this,
of a
Messenger,
no dance should
be applied.
318.
the heroine
319.
deity
But
is
if
during the performance of any part of the play
gradually pacified, dance
If
any part of a play
one should
perform
there
is
to be applied
relates to the
till its
adoration
end.
any
of
a dance with energetic Angaharas
which Siva created.

320-
And any
love-song mentioning relations between
men
and women should be followed by a dance with delicate Angaharas

which Parvati
(lit.
the goddess) created.

Playing of drums
321.
I shall
now speak
312 (B.315, 0.311).
'
of the
See NS. (C.)
313 (B.3I6, 0.312).

315 (B.318, G.314).
*
ibid. 215.,
rules
XXIX.
about
the playing
19-82.
314 (B.317, 0.313).

>
soe
N8\
XXIV.
216.
8
.
316 (B.819, G.315),
317 (B.320, G.316).
818 (B.821, 0.317).
819 (B.322 ,0.318).
880 (B.328, 0.819).
ibid. 217,
of
4V. 828
DESdfclPTIOtf
Of tHB CLASS DANCfi
75
1
drums which should follow four-footed Narkutaka, Khanjaka"
and Parigltaka.
Playing of drums should
322.
Narkuta
class has
feet
begfti with
Dhruva
of the
foot
number
with equal
Graha by
played with the
the
SannipSta
of the Khafija or the
been sung.
In course of a DhruvS which
323.
of
when a
at a time
Graha
consists of even
of
syllables
the fore
finger
number
drum should be
the
after
its
foot has
first
been sung.
of
drums
as
directed
above] this song
proper gestures [to delineate

at the
end of
its last
foot
it],
325.
its
Drums
should
Vargas have been

326.
Trantris
and
should be repeated with
should be again
it
drum should be
When drums
or
Dhruva song with the playing
[After performing the
324.
sung, and
played.
are not to be played
not
be played at a time when the song
finished or
it is
beginning afresh.
may
During the Antara-marga which
be made by
Karanas, the Class Dance should be followed by
or
drums as well as the Suci Cari.

3ii7.
One who
Mahesvara (Siva)
will'
perform
will
go
[at
well
dance created by
this
his death] free
from
all sins
the
Class
to the
abode of this deity.

328.
arising out
speak
These
are
of
application.
its
now about
the
rules
regarding
Tell
me what more
Danee
am
the rules of the Natyaveda.
Here ends Chapter IV
of Bharata's Natyasastra
which treats of the Characteristics of the Class Dance.
831 (B.S24, G.320).

>
See
Si
(C.)
XXXI.
823 (B.326, G.822).
See NS. (0.)
511
XXXH.
XXXI.
434.
51 1
XXXII. 304
ff.
322 (B.325, G.321).
824.(B.327, G.323).
325 (B.328, G.324).
M6
827 (B.330, 0.32*).
328 (B.381, G.327).
(B.829, G.3-26).
to
Chapter five
THE PRELIMINARIES OP A PLAY
The Sages
On hearing
1-4.
topic of
question.
the words of Bharata
drama the sages were pleased
in
heard from you about the origin of drama 1

well as [the
detail
(lit
Preliminaries
exhaustively),
with
worship
the
like
to
of
know
splendid one, about the
the very
their
all
the
have
and the Jarjara* as
stopping obstacles 8 , and
of]
"We
said,
Having grasped the meaning we would
gods*.
in
means
who continued
mind and
characteristics
Brahmin, to explain [everything] for our
behoves
it
you,
understanding [the
same properly]."
Bharata answers.
Hearing these words of the sages Bharata spoke thus
5-6.
about the rules of the Preliminaries
am
me. I
"0
the^blessed ones, listen to
speaking about the Preliminaries as well as of the Pada-
bhaga 1 , the Kalas
and the Walking-round 3 [which
relate
to
them].
Preliminaries defined
7.
As
it is
the stage (rahga)
first
it is
performed
at
beginning (pUrvam) in
the
1
called the (.pur varanga) Preliminaries.
Parts of the Preliminaries
8-11.
Its different parts
1-4 (B.G. same).

'
See
'
54-68.
6-6 (B.G. same).

ls
a term relating to
'
On
>
See
1.
13-18.
See TS&
I.
69-73.
Mill.
fiadabAaga-See
Ntf. (C.)
XXXI.
308-309.
Thio-
tola.
Ai/a-unit of the time measure in music. See N8. (C.) XXXI. 608.
Ag. (I. 211) says vn î[ * wrfVfl mwit ft'i.unfw*
OT
this
mst
See NS.
which are to be performed in due
jmpin!mrirf wfti:.
7 (B.G. same).
itfwifa
qftft:
tho the
comm.
>
BhP.
parivarta.
defines
On
this see
bdow
23-24, 65-80.
purotahga as follows wnwir. unmtw:
tfftiflns# *tft%i: (SR. p .

of DR. (III. 2) is corrupt.
742)1
The
definition
8-11 (B.G. same).
in
THE PBELiMlKAfclES.OP A PLAY
V.ld
order with the playing of
with
as
Recitatives
Avatarana
Arambha 8
drums and
Ss*ravana 4
stringed
are
(pathytt),
as
well
Pratyahara 1
Vaktrapani 6
Parighattana 8 ,
medium
of the long, the
These songs outside [the performace of a
and the short types.

play] are to
instruments as
follows
Samghotana 7 Margasarita 8 and Asarita*
77
by persons behind the curtain 10
be sung
the
to
accompaniment of drums and stringed instruments.
Then
12-15.
recitals
are
to
instruments, and
or
one of
Dance
[one
the
removing
after
the
curtain
dances
performed with the playing of
be
some song
Madraka*
of the
Vardhamanaka
during the
another]
class is
along
class
to
with
Preliminaries
and
musical
all
be sung,
the
Then should
[suitable to it] should be applied,

after
Class
take place
the following
6
Utthapana 8 Walking round , Benediction'', Suskapakrsta 8 Ranga,
11
Three Men's Talk 12 and Laudation 13 .
dvara 9 Cari 10 , Mahacari
,
16.
of
explain
in
due order the
characteristics
which are to be included in the ceremony of the
these
all
now
I shall
Preliminaries.
See below 18.
See below 17.
"
See below 18
Sec below 18.
See below 19.
See below 19.
'
See below 20.
'
See below 20.
'
See below
lg
From this statement it
appears that the
tirst
minaries were performed on the stage covered with a front curtain

like the
modern drop
There were besides
curtain.
two doors of the tiring room.

regular use in later times
and
kantar used as a synonym of

12-15 (B.G. same).
s
end of each
act.
'
see 8-11 note 10 above.
See below 23-24, 65-89.
See below 25-26, 113-116,
See below 27-28, 119-120.
'
See below 28-29, 137-141.

'
(prarocam)
of songs with dance. See NsJ. (C.)
16 (B.GK same).
Cf. javani-
KM.
class of songs.
See below 22-28.
24-25, 107-113
in the
The front curtain
vardhamanaka a. claw
224ff.
madraka a
much
two curtains on
seems that the front curtain came into
especially at the
'act'
this,
Recitals of the Benediction fnhndi) and the Laudation
etc.
4
'
It
21.
nine items of the preli-
It
may .appear
"See
'
"
'
XXXIX.
See below
See below 26-27.
below 27-28,
127-130.
See below 29-30, 141-142.
u
that these items of the Prelimi
THE NATYASASTBA
V. 17-
The Pratyahara
Arranging
17.
of
the
musical
instruments (kutapa)
is
called the Pratyahara 1 .
The Avatarana
The
seating
of singers
called the
is
Avatarana
(lit.
coming
down) 8 .
The Irambha
The commencement
18.
(parigita)
is
called the
of
Arambha (lit.
vocal
exercise
singing
for
beginning)*.
The Ssravana
Adjusting the musical instruments for playing them in
manner
is
due
'
called the AVravana.
The Vaktrapani
Rehearsing
10.
(lit.
dividing) the
of playing musical instruments
different
styles
(vrtfi)
called the Vaktrapani'.
is
The Parighattana
The
strings of instruments
are
adjusted
duly during the
Parighattana 4 .
neries to
elaborate.
bo performed behind the front curtain, have been
But
is
it
not
'so.
In ancient times
conditions of their lives, were
the theatrical show,
not
so
They did not come
made
needlessly
people duo to different
much punctual
to it all at once
in
coming
and at any
to
fixed
time.
Quite a long time passed before they all assembled. Hence from
behind the curtain the Director offered
to the early-comers (naturally
the people
who
had no haste
in
their
lives)
while preparing for the actual

performance.
whatever
Hence Ag.
they
(I. p.
could,
215) says
that nine items of the

Preliminaries were
meant for a [common] women,

The same practice about the Preliminaries maybe
children and fools.
observed even
now incase ofthcYatris or the open
formances in Bengal.
1
Kor
the arragement of
the musical instruments see the diagram" 2.
tor the position of singers
18 (B.G. same).
;hisseeNS.
((J.)
:or this see Ncj.
'
XXIX.
W (TiXi. same).
"
air theatrical per-
17 (B.G. same).
(0.)
120
'
see
diagram
2.
asravaiiih-For details about the performance of

ff.
vakirap,,i-V
XXIX.
131
details n
Um
the performance-
ft".
fiartetaftanar-Vvr the performance

of this see N. (0.)
XXIX.
.V. 34
THE PRELIMINARIES OF
PLAY
79
f
The Samghotana
The Samghotana 1
20.
different
hand poses
meant
is
rehearsing the
for
use of
[for indicating the time-beat].
The Margasarita
The playing
together
The
A"sarita
time-fractions .(kalapata)
is
Xsarita
meant
beat
the
practising
for
of
z
.
The Application
And
of
called the Margasarita*.
is
The
21.
harmony with one another]
[in
drums and stringed instruments
of songs
the Application of songs (yltavixlhi)* is for
singing
the
glory of gods.
The Utthapana
22-23.
ceremony which
Benediction start
[of
now speak about
shall
is
(lit.
raising)
is
considered
the
performance
raise) first of all in the stage the
(lit.
Hence the Utthapana
the play].
Utthapana
the
so styled because from this, the reciters of
by some
to be
the beginning [of the performance].
The Walking-round
The Walking-round
23-24.
because in
it,
(parirartana.)
the guardian deities of
[by the Directer] walking
all
styled
so
is
different worlds
are praised
over [the stage].
The Benediction
2-1-25.
The
Benediction
must always include [and invoke
(iiaii'fr)
)
is
so called because
it
gods,
Brahmins
performance
of this see
the blessing of
and kings.
20 (B.G. same).
N& (C.) XXIX.

8
samghotana For
the
137-141.
margasarita-For the performance of
this
see
N8. (C.)
XXIX.
146-116.
21 (B.Q. same),
(C).
XXXI.
>,
hsarila For the

'
59-75. 169-194.
performance of this see NS.
See S&. (C).
XXX.
267
ff.
22-23 (B.22-23a, G. 21 e-22).
23-24 (B.23b-24a, G.23).
parivartana-parivarta
see
below 65
1
24-25
(B 24b-25a,
G.24).
'
For
its
specimens see below 107
ff .
ff.
THE NATVASA8TBA
80
[V.
2fi-
The iûskavakrsta Dhruva
When
25-26,
meaningless sounds
for the Jarjara
Avakrsta Dhruva
an
it is
called
composed
is
ûskavakrsta 1 ,
It indicates
with
verses
3
.
The Rangadvara
26-27.
The Rangadvara
is
so called, because from this part
commences the performance which includes Words and Gestures.

The Carl and
27-28.
The Cart
is
the
so called
Mahaeari
because
ments depicting the Erotic Sentiment and
in
it
consists of
the Mahaeari
moveoccur
movements delineating the Furious Sentiment.

The Three Men's Talk
28-29.
The conversation
of the Director
Assistant {paripariroka) and the Jester 1
Talk
is
called
(mtradhara), an
the Three Men's
(trigata).
The Laudation
29-30.
The
which
address
the
Director
(lit.
the expert)
makes suggesting the Denoument of the action (karyo) of the play

in hand with [proper] reasoning and arguments
is
called the
Laudation (prarocana).
The
30-31.
which
is
origin of the Bahirgita and its justification
now
shall
included
in
the
describe
Bahirgita
in
and
detail
shall
the SsrSvana
speak of
its
origin as well as its justification.
25-26 (B.26, G.25).

2
The meaning
is
'
aftC
below 113-115.
not clear.
B.G. read between 25b and 26a two prose
lines.
26-27 (B.27, G.26).
28-29 (B'29,G'28).
27-28 (B.28 G.27).
The Jester's role is assumed by one of the

where two Assistants enter along with the Director,
of the Three Men's Talk see
below 137-141.
>
Assistants. See below 70
lor
details
29-30 (B.30,G.29).
For
details
about the Laudation see below
37
V.
THE PBELIMINABIE8 OF A PLAY
Now when
31-32.
81
songs in seven forms 1 and in Citra a and
Daksina* Mgrgas together with the Upohana 4 and the Nirgita*

were started by musical experts like Narada
in
of gods,
praise
the gods and the Danavas, in the assembly were
all
made
hear
to
1
the Nirgita* performed with proper tempo and time beat .
Daityas and Raksasas provoked to jealousy
Now
33-34.
matter] and said to
were
provoked
all
these circumstances they pondered
one another
Nirgita
this
Raksasas
and the
Under
34-36.
accept)
on hearing these happy songs praising the
Daityas
the
gods,
in
"We
are glad
to
to
[over the
hear
(lit.
accompaniment of the instrumental music,
(and not the songs) in seven forms 1 about the exploits of the gods,
which they were pleased to hear
and shall
always
be
we
[and Raksasas] pleased with
shall hear the
with
pleased
Then
it.
the Nirgita urged
Nirgita only
Daityas
these
for
repeated
its
performance".
The gods approach Narada
to stop the Nirgita.
These
This enraged the gods who said to NSrada,
37-38.
Danavas and Raksasas are pleased with the Nirgita only [and do
not want anything else
mance
songs].
i.e.
Hence we wish
this
perfor-
What do you
an end.
(of the Nirgita) to coxne to
think
of this ?"
30-31 (B.31, G.30).

81-32 (B.32-33, G.31-32).
See
N& (C.) XXXI.
497
XXXI.
ff.
Seven forms means the types of

'
Sec (C.)
See (C.)
See (C.)
Another namo for bahirgita.
nirgila
For
412.
instrumental music.
NS. (C.) XXVIII. 15-16 and
33-34 (B.34, G.33).
34-86 (B.35-87a, G.34-36a).

224) says
tolas.
XXXI. 414.
XXXI. 234 ff.
See below 33-42-
different aspects of the tela sec
(C) XXXI.
P-
'
The seven forms On
w*MwfcrMMawT
vwrcii
Ag.
this
vvm i?if"tfa
( 1.
**m liJW
THE NATYASASTBA
83
Narada
pacifies the gods.
Hearing these words of the gods Narada
38-41.
V. 88-
replied,
"Let the Nirgita dependent on the music of stringed instruments be

not stopped, and this (nirg-rfa) combined with the
Upohana and
accompanied by the music of stringed instruments will have seven
Enraptured
forms.
and the Raksasas
(lit.
will
bound down) by
this
Nirgita the Daityas
not be provoked and they will not create any
obstruction [of the performance].
This
41-42.
Daityas while in
is
This
42-44.
the called Nirgita to satisfy the vanity of the
honour of the gods

is
to be played
it is
called the Bahirgita.
by experts in
with metallic strings, and the performance
It
is.
Citravlna 1
should contain
light
and have Varnas* and AlamkSras*.
syllables (afaara)*
and heavy
She
called the Nirgita because in
it
there
is
sung a combination of
sounds carrying no sense, and to satisfy the jealousy of the gods

it is
called the Bahirgita".
The gods
44-45.
well as the
The
are pleased with the Nirgita (Bahirgita).
reason behind the Nirgita in
Utthapana and the
like, will
now be
its
seven forms as
given.
45-54. ThePratyShSra pleases the Raksasas (Yatudhana) and

the Pannagas, while the Apsarasas are delighted with the Avatarana.
The Gandharvas
in the
when the A"rambha
are pleased
performance of the
A"ft 5vana
is
performed, and
the Daityas take delight.
The
Vaktrapani pleases the Danavas and in the Parighattana the hosts

of
By
Raksasas are [again] pleased.
are satisfied, while
the
37-38 (R37b-38, G.36b-37).
Sanighotana Guhyakas
the
Margasiirita the
pleases
Yak?as.
When
38-41 (B.39-41, G.38-40).
41-42 (B.42, G.41).
42-44 (B.43-44,.G .42-43).
a kind of
vim
drama.
ma,
la, ka,
.
See
suitable for
'
citravinanatyoparanjanarthaya vina;
being played during the performance of a
Syllables like gkrt
la are
light.
and
drri
are heavy, and syllables
See N8. (C.)
N& (C.) XXIX. 24-75.
4*5-54 (B,54b-55, 46-53, G.45-58),,
XXIX.
19-23.
44-45 (B.45, G.44),
like,
-V. 59
THE PBELIMiNAkiES
followers
Similarly
is
tana) Lokapalas
Moon-god
and the
of the Avakrsta
the singing
with
pleased
is
with
Walking-round (parivarr
the
of
guardians of the
(the
Eudra
performance of the Vardhamana.
pleased by the
the performance
in
'83
them, and
songs (g'daka) are sung the gods enjoy

his
A PLAY
01?
worlds) are
delighted,
During
Benediction.
the
(Dhruva) Nagas are pleased, while
Suskavakrsta (Dhruva) pleases the host of Pitrs (ancestors).
Rangadvara Visnu
the"
the leaders
pleases
Uma
On
of Vighnas.
on
while
pleasure
takes
the
In
the Jarjara, ceremony
pleased, while
is
performed
the Carl being
performance of Mahacari
Bhutas are delighted.
the
55.
So much about worshipping the
of the Preliminaries (purvarahga)
and ending
56.
[Maha]
in the
deities in different parts
beginning with the Pratyahara
cSri.
O the best of Brahmins,
different parts of the Preliminaries I
in
course of describing the
have named the gods pleased
mentioned [the individual] parts of
by them and
it
which they
in
take delight.
The performance
57-58.
worshipping the gods,
of the Preliminaries which
praised by them
is
ducive to duty (dharma),
fame and long
mance whether with or without songs,
is
gods) and
(i.e.
And
life.
meant
Daityas and the Danavas as well as the gods
tliis
means
is
con-
perfor-
for pleasing the
(lit.
denizens of the
celestial region).
59.
rules of
I shall
now
Dhruvas 1 the
with or without
Vardhamana
tell
you [afterwards] while discussing the
characteristics
songs
{saglta
and function of performances
and nirglta)
as
well
as of
the
*
t
56 (B.57, G.55).
55 (BJS6, G.54).
57-58 (B.58-59, 0.66-57).
59 (B.61, 0.59).
*
'
See TS&. (C.)
Before this couplet (59)
XXXH.
B. reads one additioual
Uoka
(B. 60).
ff.M-
fgg NATTA8ASTSA
84
in die pure Preliminaries
The songs
(gltaka) and the Vardha60-63. After performing the songs

Dhruva 8 which has
(Raising)
m5na', one should sing the Utthapant
the eighth
syllables the first two, the fourth,
in its feet of eleven
Caturasra
the
should be [sung in]
and the eleventh as long. It
four feet and four Sannipatas"
(Tala)* and [should consist of]
Besides this
{yah).
and three
tempo {lay*)*
of
three kinds
as
as well
caesura
should consist of four Walking-rounds
it
{parivarta) and of three Partis
8
,
and
should be in the Visloka
it
metre and in the same kind of Tala.
The Tala
64.
Saroya
in question should
consecutively
of
two Kalas, Tala of two Kalas, Samya of one Kala and
of
Sannipata of three Kalas.
First Walking-round
The
Thus
65.
a Sannipata Tala
And
observed by the experts.

is
consist
is
it
Kal8s should
eight
of
said
that
be
a Walking-round
made up of four such Sannipatas.

The
60.
be made
in
first
Walking-round
the
in
Preliminaries should
slow tempo (sthitalaya) and on
the third Sannipata in
(ie. the
it
first
the termination of
parivarta) drums should
be played.
The
67.
second one
On
(i.e.
the
second Walking-round
termination
60-63 (B.62-65, G.60-63).
'
'See NS.(C.) XXXI. 225
V&.
of
the
first
Walking-round
Walking-round) having commenced
See
N& (C.) XXXI.
in
267
the
medium
ff.
ff.
The term utthapani dkruva does not occur in the Dhruvadkyayn

* See N8. (C.) XXXI. 9-11.
XXXII.
(0.)
SeeNS. (C) XXXI.
'
See
Nl
(C.)
38-39.
XXXI.
See N8\ (C.)
XXXI.
4.
532-537.
Ag. explains three pants as samapuni, avara-pani and ufiaripai}'-
See
M(C.) XXXII.
64 (B.B6. 0.64).
65 (B.67,
O 65).
>
149.
Cf. N8\ (C.)
XXXI.
66 (B 68, 0.66).
74.
67 (B.69, 0.67).
$BB PBMLJMINAMIES OF A
T4J
AT
PI.
1
tempo (laya) the Director [and the two Assistants]
Si
should enter
[the stage].
The
three should
simultaneously enter [the stage]
with handfuls of flower-offering..
But before that they should get
68-09
and
initiated
purified,
themselves
by them should
flowers carried
be looking with
Adbhuta glance
the
for
be clad in white, and
and they should
[also] be white,
1
charms
with
furnished
They should
protection [against evil spirits].
and be
the "Vaisnava
in
Sthana" with Sausthava of the body.
The two 1
70.
(]>avii>awika) should
Assistants
golden pitcher tylirhgara) and the Jarjara, and with them
should put forward
side the Director
These
71-
carry a
by
his
five ateps.
five steps [will be] for the
purpose of worshipping
Brahman, and the manner of putting them forward
will
be described
[below] in detail.
They should slowly
72.
and then
apart
raise
SucI
five steps
in the
and his two Assistants
Cart
feet
three
Talas 1
[distance].
After going
the Director
the
two
their
[them one by one] on each side and again put
them down at the same

73.
place
with
(lit.
moved
foot
left
manner described above

should
others)
and the
first
perform
right
foot
afterwards.
74.
Then
the Director should
(Brahma-mamfala) which
circle
to stage
where the deity
is
is
offer
another
flowers in
name
Brahman's
for the centre of
supposed to be present.
Entrance of the two
Assistants
is
implied in this passage.
'
See
below 68-69,
68-69 (B.70-71, G.68-69).
70 (B.72, G-.70).
the Jester in the Tliree
*
Jarjara
see
'
72 (B.74, G.72).
8ee NS. VIH. 48.
of the Assistants
N& HI,
73
'
to
See NS. XI. 50-52.
assume the role of
ff.
B. omits 71b.
tola a
unit' of length.
of the middle finger to the wrist.
73 (B.75, G.78).
is
'
See above 28-29, 187-144.
Men's Talk.
71 (B.73a, 0.71).
til>
One
The
distance from the
See NS. Ill, 21 note.
B. vwtuupadi for fiancai>adi.
74 (B.76, G.74).
THE
86
And
75-77.
pectfully
and
bow
(lit;*
touch the ground with
{is.
Director) should
the
entrance
medium tempo
he should
of gestures [related to
it],
perform
of taking
78-80.
third
it
up
Acamana and
Walking-round (parivarta)
is
as follows
up
Bising
And
from
quickly
(lit.
the left foot
call
golden
[The
[Brahman's]
and the
foot
left
then he should again raise his right foot
first
80-83.
the centre
circle
Vedha) Cart with
and perform the SucI (Vedha) 1
side
should
circle {i.e.
:]
foot {is. the right foot) put forward first
wards.
should be performed
take up the Jarjara.
(manilaht) he should perform the SucI
on the
[to
Walking round
third
the Director should go round the Brahman's
manner
begins, with
and ends 2 with the salutation
Next during the
of the stage),
res-
(laya).
The
77-78.
H-
hand, and his steps should be
his
of the Director
Brahman] and use
V.
Pitamaha) with Lalita gesture, 1
The second Walking-round which
[suitably] divided.
in
he
afterwards
Brahman
to
4TYASASTRA
measure the length of time during the salutation
to
thrice
the
tf
Can
this
after-
which was
putting forward
and the right foot afterwards.
Going found
the person
(i.e.
[the centre of the stage]
pitcher {bhrhgara)}
He
water from this vessel].
Jarjara, the destroyer
Director
carries
the
and perform ablution
(iauca) [with
should then perform
Acamana and
sprinkle himself with water in due order.
properly the ablution the
the
who
one of the Assistants)
Director
of obstacles,
Thus
after
performing
should carefully take up the
and
this
formed along with the beginning of the
last
act should
be per-
Sannipata [of
this
second Walking-round].
83-84.
The
third
Walking-round
75-77 (R77-79a, G.74c-76).
beginning with going
See MS. IX. 201.
'
B reads wmdatfithi-
nayanugali for "nayant'akah.

77-78 (B.79, G-.77
tr
Ag.
(I.
l>.
'"
78-80 (B.80-81, G.78-79).
).
233) Vedha*" Suci Can.
80-83 (B.82-84, 0.8(1-82).

83-64 (B.85, G.88).
'
S- above 70.
'
According
89
.y.
THE PBBLIMINARIBS OF A PLAY
87
Brahmtmoâla) 1 and
round the centre of the stage (if.
ending
be performed in n quick
with the taking.up of the Jarjara should
tempo.
The fourth Walking-round

After taking up the
84t87.
Jarjara to ward
should mutter [some Mantras] in eight
perform the Suci (Vedha) Car! by putting forward

first
right foot afterwards,
and the
wards the musical instruments.
and then, move
And
the
The
foot* afterwards.
begins with the
the
five
foot
left
steps
to-
then again he should observe
the Suci (Vedha) Cari by putting forward the left
right
he
off evils
Kalas. .-Then he should
fourth
foot
and
first
Walking-round which
taking up of the Jarjara and
approach to the musical instruments should be
ends 1
made
in
with
an
a quick
tempo.
In this [punarainja which
87-88.
movements
it
of
hand and
feet in
it
being of the Tryasra type such
will
is
of the Caturasra type]
occupy sixteen Kalas while
movements
will
occupy Twelve
Kalas only.
88-89.
[The Director and the two Assistants] should
salutations
three
by touching the ground, with
the
make
hand and
before this they are to sprinkle themselves with water, but in case
of
the Tryasra
prescribed
such
[Preliminaries
sprinkling]
has
not
been
1
.
The Pari vartani Dhruva

In this manner they should perform the Utthapana
89-90.
(lit.
raising).
See
Then*comes the Parivartanl (Walking-round) Dhruva
N& m, 23-30*note.
G .84-86).
84-87 (B.86-88,
'
B. reads kutapo nigamaniakah.
87-88 (B.89, G.87).

88-89 (B.90, G.88).
properly go after
N& 64
for
This and the preceding (87-88) passage should
they relate
come before the Walking-round

89-90 (B.91, G.89).
'sec
to the Utthapana which should
before 22-23.
For caturasre, B. G. caturasram.
THE NATYASASTBA
88
V. 90-
which should be performed in the Caturasra (Tala) and medium
tempo and with eight Sannipatas.

90-91.
long in
its
(song) which has only the last syllable
The Dhruva
four feet of eleven syllables,
is
the Parivartant
called
(Walking-round) Dhruva.
91-92'
During the singing of
should move letffords

in
in the
92-93.
And
music and
and
the Atikranta
foot first
left
to
Kalas.and movement
two Sannipatas.
and
the
right
(Vedha)Cari
afterwards
foot
a distance of two Talas.
manner
In this
Carl
bow
should
observe the Suci
Then he would
putting the latter at
94-95.
step
during the foot movement [mentioned above]
in each direction should consist of
putting forward the
Director
graceful
belonging to them.
each step of the Director should consist two
93-94.
Dhruva the
Vartika MSrga with
accompaniment of instrumental
[different] deities in directions
this
he should go
and bow
with
steps
five
to different deities in
directions
belonging to them.
95-97.
First of
presided over by
he should bow to the eastern
all
Indra, secondly he should
(Sakra)
to
the northern direction
bow
to
the
Yama.
Thirdly he should bow to
by Varuna.
Fourthly he should bow
southern direction belonging to

the western direction ruled
direction
of
which Dhanada (Kuvera)
Is
the
protector.
97-98.
After bowing to these directions he should perform
the Slid Cari putting forward the
left
foot
afterwards and begin the Walking-round.
98-99
Then with
his
face
first
and the right foot

*
towards theêast the Director
90-91 (B.92, G.90).
91-92 (B.93, G.91).

92-93 (B.94a, 0.92).
vamakena (vMikena, B).
'
},
B. pmits 93a.
'
93-94 (B.94b-95a, G.93).

94-95 (B.95bc, G.94).
"
'Sec NS. 3&. 29.
9.5-97 (B.96-97, G.95-96).
98-99 (B.99, G.98),
97-98 (B.98, G.97),
THE PBELTMIN ARTIES
.V.lflB]
bow to&va
should
feet
B6
Brahman and Visnu
(Rudra),
going "forward three steps
W A PLAY
by
'masculine',
(Upenflra) while
and
'feminine'
^neuter'
[one after another).
The
99-100.
right foot is 'masculine'
'feminine' while the right foot not
100-101.
fiva ,([sa)
foot [put forward
firstj
and the
[much] raised
is
left
clled
foot
is
!neuter'.
should be bowed to with the masculine
while in bowing to Brahnwif the neuter .foot
1
[should be so put forward] .
Theôutb Man
enters.
101-102.
then the FourtU
The Walking-round should be
Man
[finished] thus,
and
{luitwtha-kara) should duly enter [the stage]
with flowers [in his hands].
102-103.
to all the
And
His foot-movements during the Puja should be
103-104.
made
to
he should duly offer Pujfi to the Jarjara and
musical instruments (kntapa) as well as to the Director.
accompany the playing of drums, and there should be no
song sung then,
but only meaningless syllables should be chanted
(dobhaJcr'uja).
Singing of the Avakrsta Dhruva
After offering the Puja the Fourth
104-105.
make
his exit.
And
Man
should
then should be sung an Avakrsta Dhruva 1 in
Caturasra (Tula) and slow tempo (4hiU-hujri).
This Dhruva should abound in heavy syllables
105-106.
and depend on the Sthayi-vainji 1 and be made up of eight Kalas,
and
'
its
Tala should be Avapanika.

-II
l.ll.l
"
'- '
"
"
-.111.1..
'
I.
.11
99-100 (B.100,G.99).
100-101 (B.101a-102b, G.100).
'
B. repeats here 90-91-
101-102 (B 103/ G.101).

102-103 (B.104, G.102).
See NS.
Ill,
U-13.
103-104 fB.105, G.103).

104-105 (B.106, G.104).
(C) XXXII.
105-106 (B.107, G.105).
19
'
Que
of the six kinds of
Se*>
Ns, (C.)
Dhruvas. See NS.
154-159).
XXIX.
21
THE NATYA8ASTBA
90
The Avakrsta Dhruvg
106-107.
[V. 108-
'
a song consisting of
is
four feet of ten syllables of which the fourth, the
and the eighth
fifth,
the seventh
be short. 1
will
Tho Benediction
Then
107-108.
[madhyama) tone the
Director
the
Benediction
will
recite
in
a medium
which should consist of eight
1
or twelve feet {paila).
108-109.
'
These are tho specimens of Benediction)

namo'stu sarvadevebhyo
dvijatibhyah
subham
tatha
-
arogyam bboga eva ca

TV.
Salutation
May Soma
class.
to
the god?.
all
l)
Blessed be the twice born
the king attain victory
'and [eartblyj enjoyment.
jitam somena vai rajiia
as
as healthy
well
life
brahraottaram tathaivastu
109-110.
hatabrahmadvisas tatha
pra&stvimam maharajah
prthivim ca sasagaram
let
an
bo
Tr. Let there
Brahmins, and
advancement of tho cause of the
their enemies be killed,
and
let
the great king rale
this earth together with all the seas.
110-111.
rastrara pravardhatam caiva
rangas cayam samrdhyatam
preksakartur
mah8n dharmo
bhavatu brahmabhavitah
77. Lot this state prosper, and this theatre flourish and
106-107 (B.108).
>
G. omits
107-108 (B 109, G.106).
talatika (p.
this.
For
different interpretations of fiada see
Raghnvabhatta quotes from Ag. in his bakun6) the following

usiffl tffatwijflifn faumtf wfi or ijwgflat-
Levi, pp. 132-133,
mPi or
let
II.
25-26.
iwwft v and *i*ta wmwiwii*.*^
<rcs[.
Those passages do not
occur in tho published Abhinavabharati.

.108-109 (B.U0; G.107).
109-110 (B.111, G.108).
See Levi, p. 133.
-UO-lll (B-112, G.109).
THE PBELMINABIES OF A
118]
V.
the producer of the theatrical
show
PLAtf
91
virtues proceeding
attain
from
the Vedic knowledge.
U 1-1 12.
kavyakartur
yasas" castu
dharmas capi pravardhatam
ijyaya canaya nityam
prtyantam devata
Tr.
let
Let the playwright
let his virtue increase,
and
iti 1
writer of the karya) attain fame
(lit.
and by
this
kind of
sacrifice
(tjajhu),
the gods be# a)ways pleased with him.
After
112-113.
the
be
this
recitation of each of such Benedictory
and
should loudly
poems the two Assistants
"Let
distinctly say,
so."
The Suskavakrsta Dliruva
The
113-114.
should thus be performed duly
Benediction
the
Suskavakrstii Dhrura and
verses praising the Jarjara.
This Dlmiva should consist of nine long syllables
114-115.
first
Then should be sung
above].
according to the rules [mentioned
and then six short syllables followed by three long
jam
digle digle jhande jhande
115-110.
bu ka va
li
ta
ka
syllables, e.g.
te tc ja.
The Rangadvara
After
116-118.
performing
properly
the Suskavakrsta
Dhruva, he (the Director) should recite in a loud tone one Sloka in

adoration of the deity in course of
performance
is
whose worship
[the
dramatic,
going to be held], and then [another Sloka] paying
homage either to the king or to the Brahmins should be sung.

118-1
It).
tha Rangadvara
After reciting the Jarjara.Sloka in what'

(lit.
entry into the performance) he
read another Sloka to
honour the Jarjara 1
is
called
should again
111-112 (B.tlS.GllO).
112-113 (B.114, G.llla).
113-114 (B.U5, 0.112).
114-115 (B.U6, 0.113).
115-116 (B,117a. 0.114).
116-117
(B 117b-U8a,
117-118 (B.118b-119a,
0.115).
lr6)
;
<
118-119 (B.119b-l30a, 0.117).
'
'
Mss. reading is/arjarasya vitmana
THE
N'ATXASASTftA
V. IIS
The Cari
And
119-120.
perform
should
two
and the
a ,ari
been honoured; 1
has
after the Jarjara
backwards.
Then
120-121.
with the
he
Assistant* should step
medium tempo
(/a//)j
The Dhruva
121-122.
Dhruva 1 should be performed
the Addita
Catarasra Tala and four Sannipatas.
(song) which has
the
the
first,
fjfth
audi the lasf syllables long a nef the remaining syllables short in
its four feet of twelve syllables, is called the Addita.
122-123.
I shall
relate
procedure adopted by Siva (Mahesvara), and

it
in the past with [the display ol]
UmS
different
according to the
application
its
all
When performing
(Wiora)- and'
States
movements.
i23-t25.
and placing the
After assuming the Avahittha Sthana (posture), 1
hand
left
navel and taking up
should go
[first]
with his
five steps,
with
by
the Jarjara
left
palm downwards on the
its
his other hand,*
and while going he should cover one Tala

his limbs gracefully
125-127.
move
Afterwards ho should perform the Sucl Carl
Then
it.
the Director
step and
left foot
its
at each
putting forward his
love as
the Director
hand showing the Pallava gesture
<( I
the expert one)
subject-matter,
{timmwa). But this

mmtnanam.
And
by
first
should recite a Sloka with
after reciting this Cart
gives aa relevaat
meaning.
We
Sloka and
emend,
i*.
jarjfuasytt
llShl23(B.li0brl2Ua.Ua).
'
120-121 (B.12.lb-122, G.11S).
Bead
'
m&^&(&&.nmuit#*i),
Hi (C.)
See below 12^422, !,
XXXII.10,357.
121-122 (B.122b.l23a, GL120).
l2a42a;(B123kl25, 0.121).
123-125 (B.124b, 125b, 126, G. 122-123).

*
165.
Mss. read
just possible, that
emend
*
lutudlirtam.
But
its
'
Deaacdin.
meaning
is
the original reading has been changed.
this to taladki;tam.
T&&.
XHL lAfc
not clear.
We
meaning 'held in palm" or 'held byhand,'

B. reads.hetwcen 123b.and 124a an.additionalliomjitiea.
UUH27
(B,127-I28,.aia4125).
'
It is
thorefore
184
.V>.
THE PRELIMINARIES OF A PLAY
93
performing the Walking-round, he should with his face towards the

front
withdraw backwards with steps described before.
The Mahacari
127-128.
And
should
of the Assistants fie
down
with the rules laid
128-130.
the
During
Caturasra type
perform
tempo, and
quick
in
Mahacari
in accordance
Dhruva song should be
this Cari the
and
feet of eleven syllables of which
of
have
should
it
This Dhruva song should have

the
first,
fourth,
seventh,
tenth
and the remaining ones short.
last are" long
130-131.
the
below.
four Sannipatae and eight Kalas.
and the
hands of one
after placing the Jarjara in the
(An example
padatalahati-pat
Dhruva)
of the Caturasra
ta- sailam
ksobhita-bhuta-saraagra-samudram
tSndava-nrttatn idam pralayante
patu harasya sadS sukliadayi

Tr, Let the ever-pleasing Class
the
destruction
of
the
Dance
Hara
of
which smashed the
world,
impact of his feet and agitated the ocean with

it.
II
all
(Siva)
hills
after
by the
creatures living in
always give you protection.

130-131.
Then he should
step towards the
drums (hhanfri)
and afterwards perform the Suci Cari followed by a change of the

Vik?epa.
1S2-J 33.
Afterwards he should
with a quick tempo, and keeping
go
should"
( Vedha)
five steps.
C&M
afterwards.
with his
his
feet
gracefully
three Talas apart,
he
There Again he should perform the Sucl

left foot
put forward
first
and the right one
134-135.
should
move
them
And
with the foot
move backwards with
movement
[described above] he
his face towards the front,
and again
he should go three steps forward in a similar manner, and then he
27-128 (B.129, G.126).
128480
130-131 (B.132, 0.189).

132-133 (B.134-I35a, G.131-132n):
(B. 130-131, G.127-128).
131-132 (B.133, G.130),
134-135 (B.ia5b-13fc G.138b-133).
[V.1S6
TAB NATYA8ASHRA
9i
first
put forward
left foot
with his
should again perform theSuci Cart
Then he should
130-137.
a couplet calling up the
recite
Furious Sentiment while bringing his feet together, and
then after
going three steps he should call for the two Assistants, and on their
coming
up, a
At
Narkutaka Dhruva should be sung.
Dhruva he should perform
singing this
putting forward the
left foot first
the time
the SucI (Vedha) Carl
of
by
The Three Men's Talk
Then
137-138.
(Wio-
in case of a phiy in the Verbal Style
During
Throe Men's Talk (Irigntn) should take
the
rati vrtti)
(this
it
come
Talk) the Jester should suddenly
place.
in
and
words to excite
deliver a discourse consisting mostly of irrelevant
the smile of the Director,
138-139.
be brought in
some
remark or an enigmatical
utter-
In this discourse should
controversial topic with an abrupt
who
ance [of some kind], and questions such as
has won, leading to the plot pf the play

unpleasant topie should be brought
140-141.
the Jester
who
(lit
is
and who
[there]
the
poem), but no
in.
In the Three Men's Talk an Assistant talks with

finds
fault
with
his
words which
are,
[however,]
supported by the Director.
The Laudation
141.
Then the Director
Laudation and the Invitation
(lit.
[to
an expert) should put in the
members
for the success of the performance
of the
audience], and
the stage) the subject of the
(lit.
play should again be mentioned.

142.
persons
(i.e.
After putting into practice

the Director
all
these rules,
138437 (B.137-138a, G.134-135a).

137-138 (B.138b-139a, G.l35b-I38a).
138-139 (B.139b-140, G.136b-137).
140 (B.1 41, G.omite).

142 (B.148; G.139X
all
the three
and the two Assistants) should perform
u\
(B.U2, G.138X
THB PBELWINABIE8 OF
<V.161
PLAT
95
(Vedha) Carl, and they should go out together while
the SucI
performing any CSrt other than the Jviddba one.
The Tryasra
143-144.
Preliminaries
Preliminaries of the Caturasra type
now
Its use is similar
the Tryasra type.
and
same
one
is its
abridged measure of Tala.
1-15-146.
[In
it]
the Tftla of one Kala,
the
component parts are
its
Bamya should
of Kala, Tala
With
from the Caturasra.
it
consist of
and again the SamyS
and the Sannipata of two Kalas.
the
I shall speak of that of'
the only feature that distinguishes
the
be performed
should
Brahmin?,
Thus,
two Kalas and
to consist of
is
one Kala
kind of measurement
this
and tempo, should be performed the Tryasra
Preli-
minaries which include the Utthapana and such other items.
147.
The Dhruva
(song) which has
the tenth and the last syllables long in all

syllables, is called the
148.
the fourth,
its
four
the eighth,
of twelve
feet
Utthapana Dhruva of the Tryasra
(type, .
1
In the Tryasra Preliminaries an expert dancer should
abridge the instrumental music,
movements
Dhruva
[of persons],
songs and their Tata-
US.
The
of two
made
and movements
actions
types elaborate
a dancer] are to be
[of
and abridged
according
as the
instrumental and vocal musics are such.
150-151.
It
is
said that each
movement
of
hands and
feet
should be of two Kalas' duration, and in any Walking- round in the
Caturasra (Preliminaries)
the hands and
feet
should be moved
sixteen times, while in the Tryasra Preliminaries
move only twelve

151-152.
foot
movements)
the foot
they
are
to
times.
This
is
the measurement of both
in the Preliminaries.
movement should
('.".
of
hand and
But in the Walking-round,
consist of three steps only, but in bowing
143-144 (B.U4- 145, G.140-1
ll).
145-145 (B.146-147, G.14M43).
148 3.149,0.145).
150-151 (B.l51-152a, G.147-148a).
151-152 (B,l52b-153, G.148D-149).
147 (B.148, G.144).
149 (B.150, G.146).
TEE NATIASASTBA
96
to
[the different] directions
in
.[
the Caturasra
V.
one
Preltmimttfes
should go five steps.
[But
153.
all
be performed in the
these matters] should
Tryasra Preliminaries according to the measure of Tala as the

master of the art thinks
no [elaborate]
to avoid repetition
[here].
of the Brahmins, thus should be perform-
the best
154.
Hence
fit.
same has been given
direction about the
ed the pure Preliminaries of the Caturasra and the Tryasra types,
which
relate to a play
depending on the Verbal Style.
The Mixed Preliminaries
So much about the pure Preliminaries which
155.
now
I shall
describe.
to one of the
mixed
to
you how the producers may turn them

type.
(r.itrn)
After the Utthapnni (Raising) Dhruvii has
150-157.
decor.it'
till
was
by the Fourth
d with flowers given
Man
been
{raturthakard)
and resounded with the well measured loud songs of musical experts,
DundubhU
[And
158.
of white
should be played again and again.
mixed Preliminaries thus begun]
in the
flowers should
bo scattered
all
clusters
over [the stagej, and the
Angaharas should be performed by [dancers dressed as] goddesses.
The Class Danco which has been
159-160.
with
its
should
poems
[firths],
intervene
(pitdu).
separate
the
Tliis rule
feet
described
above
Nyasas and ApanySsas
Angaharas,
Recakas,
of the
Benedictory
(itHiidi)
should be put into practice by those
who
would turn pure Preliminaries into mixed ones.

After
1GI.
'mixed'
[all
the
Preliminaries
tho 'pure'
dancers
dressed
as]
have been duly made
goddesses
should
make
their exit.
102.
After tho exit
of
all
the female dancers
the other
parts of the Preliminaries should be performed.
153 (B.154, G.UO).
154 (B.155, G.151).
155 (B.l5t>, G.152).
156-157 (B.157-158, G.153-154).
158 (B.159, G.155).
159-160 (B.160-161, G.156.157).
161 (B.l62a,
162 (B.l63b-J64a, G.159).
16.3a,
G.158).
.V. l&t
THE PBELIMINABIES OF
manner
163." This is the
A PLAY
97
which the pure Preliminaries
in
should be changed into mixed ones.
But
in the Preliminaries,
much dance and
they of any type, there should not be too
song.
be
:
If [in a performance] songs, music and dance continue
164.
for too long
[a
timej they tire out the artists as
well
as the
spectators.
Tired [persons] can neither attain or help to attain a
165.
clear impression of
the Sentiments and the States, and because of
performance
this the rest of the
(i.e.
of the play
itself)
cannot
excite pleasure.^
After performing the Preliminaries, be they Caturasra
166.
or Tryasra of the pure or mixed type, the Director along
make
Assistants should
their exit
from the stage 1
with
his
Introduction of the play
After the Preliminaries have been duly performed 1 in
167.
the
manner
[the stage]
(sthapaka) 2 should
Introducer
the
described,
enter
and he should resemble the Director (sulrwlhara) in
every respect
(lit.
in quality
163 (B.164W65a,
and form).
G 160).
165 (B.166b-167a, G.162).
'
166 (B 168b-l69a, G.163).
64 (B 165b-166a, 0.161).
B. reads one additional couplet after this.

'
B.
reads three additional couplets (B.
I69b-172a) after this.
167
(B
2b-173a, G.164).
seems to bo defective
slhapaka
that
for
'
The read ng prajujya

;
the nominative
Dhanaiijaya
0ntroducer).
the sulradhara (the Director)
minaries
(purvaraiiga), another
The same
(III. 2).
the
BhP.
is
what like the
10th
(c.
actor
enters
in
to
this
parage
prajujya cannot be
century)
having gone
the opinion of Saradatanaya
p.228, lines 56.
See the SD. VI. 26.
to this
clearly
gays
out after the Preliintroduce the drama

(c.
1175-1250).
See
ViSvaniitha also expressed a similar opinion.
Hence
this
well-known proverb
passage should be construed
ralhe ca
vhmanam
some-
drstva pwnar-
janma na vidyate
It seems tl at BhiUa cut down the Preliminaries
and made an end of the practice of getting the play introduced by the
.
sthhpaka.
This assumption will explain why Bairn wrote sutradhara-
krlarambhailp etc.
'
(Harsascarita, Introduction, 15).
Ag. says sitfradkara era stAaPakah,

13
cf.
nt
above,
98
He
168.
THE~N.ATYA6ASTRA
[Vi.lflft-
should assume the VaisnavaStharin (posfere) 1 and
the Sausthava* of the body, and
on entering the staê he should

-
observe the foot movements which the Director had used.
At
16!).
be made
(lit.
meaning) and
it
Then he should perform
a Carl in praise of. gods
Brahmins in accompaniment with the
recitation
After thus pleasing the spectators
should announce the
then he
is
name
of the play-wright
(lit.
Then by mentioning
172-173.
States..
(lit.
the
stage)
(lit.,
the
poet),
Prologue (prastavana) which
to start the
proclaiming the theme of the play
(lit.
having recourse
[a play] where gods
and men [meet, he] should proclaim
to
its
of the play
[lit.
174.
After
introducing
a god
to)
man
in
in different
C'/Jtj)
play
the
the
introduction of the
Thus should be performed
[of the stage].
to
poem] by variously alluding
the
Opening (mukha) and Germ
Brahmin who makes the
relates
a human [play] and a god or a
man
ways the subject
he
and
the poem) 1 .
in a divine [play], a
in
and
of Blokas contain-
ing sweet words and evoking various Sentiments and

171.
be either
will
medium tempo.
Caturasra or Tryasra and be in

170.
DhravS' ishould
the entrance of the Introducer the
suitable to the occasion
Introducer
play)
(lit.
the
should go* out
the Preliminaries accord-
ing to the rules.

175.
If
any producer of a play
will
perform the Preliminaries
according to the rules laid down, nothing inauspicious will happen"

to
him and be
176.
will [after his
On
the contrary]
willful violation of the
and
death] reach the heavenly "region/
whoever produces a play
rules [in this matterj will sustain
will [after his dealli] be
168 (B.l73b-174a, G.165).
Sec XI. 50-51.
176 (B.182, G.173).
Sec XI. 89b, 91a.
170 (B.175-176a, G.167).

'
B. reads one additional hemistich.
172-173 (B.178-179, G;169-170).
.174 (B.180, G.171).
an
reborn as a creature of a lower order.
169 (Ii.l74b-175a, G.166).

171 (B.176b-177a, 0.168).
in
great loss
'
Sec SD. VI. 27. also
175 (B.181, G.172).
DB.
HI 3.
V. 1?9
THfi PBtfLIMINABiES
17?.
tents
86
Fire fanned by a strong wind dpes not burn [anything]
so quickly as does the wrongly
178.
OF A PLAY
In
this
made
production.
manner the Preliminaries
^
two
of
different ex*
{pramana) should be performed by the people of Avanti,
Odra
Pancala, Daksinatya and
Brahmins, these are the rules regarding the Preli-
.179.
minaries.
regions.
Tell
me what
should be discussed
now
other rules
relating
to
the
Natyaveda
1
.
Here' ends Chapter
of Bharata's
Natya&stra
which treats pi the Preliminaries to the production of a play.
178 (B.184, 0.175).
177 (B.184, G.175).
179 (B.185, G.176).

has not been translated.
'
The portion
It is not
of this chapter after this iloka
from the hand of author of the NS.
CHAPTER SIX
THE SENTIMENTS
The, sages question.
After hearing about the rules regarding the Prelimina-
1-3.
the great sages continued their inquiries and
ries,
"Answer
enumerated by experts
And why
ings
(make us
terms
of
and what do they
called,
(mmijrahi)1
Digest
as,
Etymology (nirukta)"
(karika) and
Sentiments
the
Besides these, what are the real
feel) ?
such
said to Bharata,
how
dramatic art attain their special qualities.
in
bhaoas (States) so
are the
bhavatjanti
Explain
our questions.
of
five
mean-
Memorial Verse
Bharata answers.
At
4.
these words of the sages, Bharata continued speaking
and mentioned
reply to their question the
in
distinction between
the Sentiments and the States.
And
5-7.
detail
and
means
to
then
he
said,
"0
sages,
shall
tell
you
in
due order about the Digest {sowjraha), the Memorial

Verse (kaiika) and the Etymology (lUnikta). I am not able
by any
in
exhaust
(jham), 1
repectively
and
and
manifold
crafts
subjects
(lit.
which are [vast]
any question of mastering them

[Hence]
9.
{hilpa)*
and endless
possible to treat exhaustively

these
I shall tell
in
to
1-3
IB.G. tame),
karM,
to the
an
And
end
ocean,
for
science
with
it
are
as
is
not
of)
it
even one of
there cannot
be
all.
you about the Digest on Sentiments,

has
its
contents embodied'
For
a possible chronolouieal
implication of
uirukta, svtra and bhteya
mentioned in this chapter
seoSkt.Port.cs.Vol.I.Mff.
5-7 (B.G. same).
.
(nalt/a)
connected
number.
go
like
States and such other matters,

which
sanigraha,
drama
the topics about
all
arts
>
uPam~citrap U stndi-karmani{X
8 (B.O. same).
>
4 (B.O. *,).
Mmnwyiitaranadint iasMni (A g).

% ).
ad sutra&MrtJia.
VI
in
tHB SENMMENTS
14-
a small
number
101
Sutras (short rules) but which promotes
of
inference [about the understanding of the
subject].
Digest Memorial Verse and Etymology defined
When
9.
subjects taught
and brought together
in [a
(commentary), these
latter
have been compressed
in detail
number
of]
constitute
Sutras and their Bhasyas
according to the learned a
Digest isamgraha).
10.
The Digest
the Natyaveda treats] the Senti ments,
[of
Practice
the States, the Histrionic Representation {abhinaija), the
(dharmi), the Styles

the
{vrlli),
11.
When
briefly in the
a rule
manner
number of words
12.
nexion
meaning)
(lit.
of a Sutra
[of the rule
The Etymology
clearly].
(iiimkta)
with various nouns,
explained
is
is
(lit.
is
helped
Verse (k&rika) which
that which
arises
by dictionaries
as the reasons modifying
it,
and
is
in con-
and rules
grammatical interpretation, includes the meaning of
involved as well
uttered)
by means of a minimum (lit. small)
the Memorial
called
it is
shows the meaning
of
the Success (siddhi), the notes (xvara),
instrumental music (atndya), songs and the stage.
the root
helped
by
various findings [of Sastras].

13.
When
consideration of
the meaning [of a noun]
its
root [and pfatijaya or
is
established
affix],
from a
words expressing
[such] meaning in brief are called the Etymology.

14.
the best of the Brahmins, [the subjects included into]
the Digest (mmgraha),
which I mentioned
earlier,
will
now be
discussed in detail with the necessary Memorial Verses (karika) and
Etymologies connected with them,
9(8.G
same).
10 (B.O. same).
11 (B.12,
Or.
'
same).
B. adds one more couplet after 10.
'One
additional characteristic of the karika
ii
that it should be generally composed in metres like arya or tloka, e.g
the Samkhyakarika.
12 (B.18, 0.19).
13
(B.U, G. U).
(B.15,
G.U).
THE NAT*A8ASTBA
iQt
The
are as follows
(rasa) 1
Comic
Erotic (srhgam),
Furious (ramlra), Heroic
(fira),
recognised
drama
in
(hanya), Pathetic (Icarunn)
Odious
(bhaijanalca)
Terrible
and Marvellous {adbhula).*
(biblmtsa)
These eight are the Sentiments named by Brahman;
16.
now speak
I shall
eight Sentiments
The eight Sentiments
15.
[Vl.lg.
Temperamental
the
of
States.
Dominant, the Transitory
The Dominant
The Dominant
17.
the following
States
x
States {dha>j\bham) are .known
love, mirth, sorrow, anger,
and the
energy,
terror,
to
be
disgust
and astonishment,
The
18-21.
bhava) 1 are
tliirtytliree
known
apprehension, envy, intoxication,
States (vijabhuari-
Transitory
to be the following
discouragement, weakness,
weariness,
anxiety, distraction, recollection, contentment,
indolence,
shame,
depression,
inconstancy,
joy, agitation, stupor, arrogance, despair, impatience, sleep, epilepsy,
dreaming, awakening, indignation, dissimulation, cruelty, assurance,

sickness,
defined
death,
insanity,
by
The
22.
15 (B.16, G.15).
to
this
The
deliberation.
later
These are
eight
Temperamental States
rasa A. K. Coomaraswamy
'
Change
is for
of Voice,
translating the
p. 17).
writers
on Skt. poetics add one mora
rim
ihma-k.
this
iiania)
number.
16(B.17, G.16).
1
feeling
or 'emotion'.
and others translate

it
and
Paralysis, Perspiration, Horripilation,
TfwdM'navour' (MQ.
9
fright
names.
their
as 'State.' See
it
DR.
'
B.
See Skt. Drama,

as 'mood' (he. cit.).
Keith translates
p.
We
31V.
n*rd
as
A. K. Coomaraswamy
Haas who
are with
translates
p. 108.
17 (B.18, Q.17).
' sthayMava-Ktit\i
translates the term as 'dominant emotion' (Skt. Drama) aod Haas as
'Permanent State' (DR.) and
as 'permanent mood' (./. S. K. De, Skt Poctiej,
Vol. II. p. 28).
,f&m
19-21
(B.IH2,
G.18-21).
M(B.28,0.9S).
'
'i&thO*
Thesa are
also
MSM-The
known
worn
as
wVSnVMaw,
Mtika
cannot b
,yj a*
-5CHE
SENTIMENTS
~#3
Trembling, Change of Cofoiir, Weeping and Fainting are the eight
Temperamental States 1 .
The lour kinds
The
2').
Representation are
Words
and Make-up (aharya)*
(naciha)', Dresses
and the Representation of the Temperament
The Two
performance
twofold
fs
Praotiees
(lokadharmi,
realistic
coventional {n&tyadharmi,
lit.
And
attempt
the Verbal (bliarat:), the
But
Involuntary States'.
of
the
satha
author of the
ND.
this
153) writes
(III.
jwi <n tft?nfi
fr
of
sattva which
BhP.
of the
psychological
States
vodka
(
sec
-,
NS.
work
in
VI.
any
such
as
it
Tiiii
sjfagij.
sw
and most
94),
So
respect.
this
iW
aîi'jfaw
%gfh
the
srfsnr:
The N8. has also a

*m (XXIV. 7).
w*n
elaborately defines the term sattva and discusses
connected with
its
use
ahgika means Gestures
sec
(pp.
13-14).
vm "W watfw*-
of special kind defined-
VIH-XH.
means Words
suitable for representation of the different
bhava) composed by the playwright.
See NS. XXIII.
Sec NS.
24 (B.25-26a, G.24-25a).
'
But the meaning
correctly used,
(vftti)*.
sattvika-bhava
the
as follows: ftiii*
is
process
23 (B.24, G.23).
in the sustra
make
Keith does not

translates
Visvanatha in his SD. (164) dofincs sattva as follows
the Graceful
(salt call),
seems to bo very misleading, for the
follow
definition
The author
Haas
this
n^s'raqtf'
the
Grand
be connected with manas. (see
to
writers
later
English.
into
Drama)
Skt.
(sec
Ntj. takes
Styles
and the Energetic (arahhiHl) are the four Styles

translated
properly
popular) and
lit.
theatrical).
The four
(Icaigik',)
{sattviha).*
Practice of Representation (dharml) 1 in a dramatic
The
24.
Ges-
four kinds of Histrionic
1',
tures (ahgilca)
of Histrionic Representation
See NS.
dhami This
is
XV-XXII.
XXIV.
clear
word
lias
been very
not
for details about
of
Procedure (DR.
dharml
see
NS. XIII 69-81.

'
Haas
translates mitts as
four Styles aro translated by
Gay
(kaiiiki)
(Skt Drama,
and
him
"Horrific
p. 326).
For
Styles
p. 67).
The
as Eloquent (bharati), Grandiose (satlvati)
(arabMi).
We
follow Keith's translation
details about vrttis see
N& XXII.
Iff.
[Vi. 26-
THE NATYASASTKA
l64i
The four Local Usages
madhyama
OdramSgadhi and
Daksinatyn,
Avanti,
2f>-26.
are the four Local' Usages
(pWdliy
Panelist-
a dramatic
in
performance'
"
The Success
The Success 8
divine {laivih) and
in the
dramatic performance
human
(wa'*?i).
is
two kinds
of
The Notes
And
27-29.
seven
lit
[musical] notes such as, Sadjn,
Rsabha
into two groups
human
number, and they
in
fall
(w'wm
from body) and instrumental
lit
:.
are
etc.
(fartrg
from the Vina). 1
Th< four kinds of musical instruments

are of four kinds
The musical instruments
(.ww*/H
covered
Among
these,
means
'iivi naildha)
strings, the covered
(swim) a
a cymbal and the hollow
The
five
Songs which
20-30.
25-26 (B.28b-27a,
(Avanti,
D ikstinatya,
ww the
those
when
India,
list
the
see
new immigrants
N.'i.
PR
Dhruvas are
of
five
firavrttiKaas translates
'
The
74).
five
kinds
tliis
word
geographical names
show that
in this
NS,
were,
Omission of the north-eastern
arose.
and Assam, probably
Bengal
in
still
many
the omission of the
si
ows that
w'.o frequently poured

difficult.
at
respects outside tho palo of
north-western India from this
the assumption that it being on the
istiiiUhcd usage was
XIV.
into this
For
way
of
country the forma-
details
about Pravrttis
36-56.
sidtthi
27-29
relate to
at tho time
may be explained on
tion of a iv
flute.
show was current
including
An 1
with
(ghana)
Odra, Magadl.a and Paficala) probably
that time these places
Aryanized India.
(mtira).
instrument
a drum, the solid
parts of India where dramatic
tradition recorded
part of
an
stringed (tata)
hollow
kinds of Dhruvas
25b-2fi:i).
as 'Local Characteristics', (See
and
means
(tain)
stringed
the
(ghnna),
solid
(*\\cw&) For
(15.28.i-30,
\See NS.
(C.)
0.27b
details about the Success sec

l
29).
XXVI11.
N&
XXVII.
Sec NS. (C.) XXVIII. 19,
11.
1-2.
g9-30 (B.31-33a, G.30-31a).
'
See NS. (C.)
XXXII.
334-352.
1 ff.
.yi. 81
THE SENTIMENTS
(ahepa), going out
entering (pravesa), casual
and
{pr&sadika)
triangular (tryasra)
is
Digest on drama giving
its
con-
Sutras (concise rules).
of
the contents of the Sutra-work 1 .
now speak about
I shall
the
meaning by a small number
(lit.
the playhouse
square (caturasra) and
(vilysla),
So much about
31.
tents
oblong
(niskama), pleasing
And
(antara).
intermediate
types
the three
of
105
The Sentiments explained

In that connexion
No
(rasa).
of]
T shall firft of all explain
the Sentiments
meaning proceeds [from speech] without [any kind
The Sentiment
Sentiment.
produced (rasa-nispaitih) from
is
a combination (sumyoga)* of Determinants (vibham), Consequents
(anubhava) and Transitory States (vynbhicari-bhavn).
any instance (drdanta)

taste (rasa) results
and other
3
,
and as six
raw
as,
[Yes],
it].
from a combination of various
articles
such
articles
to
[parallel
sugar
testes
or
spices
it is
spices, vegetables
produced by
(rasa) are
or
Is there
said that, as
vegetables,
so
the
Dominant States (sthayibhava), when they come together with

(bhara) attain the quality of the Sentiment
various other States

(.".
become Sentiment) 4
word rasa"
of the
because
called]
is
it
rasa tasted ?
Now
It is
one enquires, 'What
said in reply
reply]
it
said
is
persons while eating food cooked with
(asvadayanti)
'
its
to this
the meaning
is
[(hat rasa
capable of being tasted (ayra<lt/ate).
is
[In
tastes
(raw) and
that just as
many
is
so
How
well-disposed
kinds of spices enjoy
attain pleasure
and
satisfaction,
B, adds one couplet after 30.
31 (B.33b-34a, G.31b, c).

beginning of 33
is
The
original of the next passage
till
the
in prose.
N&
nowhere explains the terms nnfatti and samyoga of this

Hence the
definition and does not include tho sthayiblihva in it (the def.).
theory of rasa has come to be interpreted differently in later times by
8
Tho
Lollata,
Sankuka,
(Bhatta)
exposition of their views see
Niiyaka
Visnupada Bhattacarya Sahityamimanisa
(Bengali), Calcutta, 1948. pp. 33

8
and Abhinavagupta. For a brief
ff.
G. adds here ono sentence more (tatha

4
tatraha (G. rsaya ucvJi),
14
'
nispattih).
THE NATYASASTBA
106
people taste the Dominant States (stlifiyi-bhava)
so the cultured
represented by an expression of the various
while they see them
Words, Gestures and the Temperament and derive
States with
Thus
pleasure and satisfaction.
explained [the Memorial Verse
is
For
ending with] tasman nalyarasa Ui".

are two traditional couplets
Dominant
food (bhalcta) while

spices
and
so the learned
it,
(such as
States
love,
people taste in their
mind
when they are
sorrow etc)
by an expression of the States with Gestures. Hence
represented
these
which has been prepared from various
food
other articles, taste

the
connexion there
in this
Just as connoisseur of cooked
32-33.
eating
LVI.32-
Dominant States
The
in
a drama are called the Sentiments.

and the
relation between the Sentiments
States.
Now one enquires, "Do the States (bhava) come out of the
?"
Sentiments (rata) or the Sentiments come out of the States
On
some
this point,
But
mutual contact.
Why
this is not so.
"It is apparent
they
opinion that
are of
the Sentiments arise
that
from the
and not the States from the Sentiments. For [on this
are [traditional] couplets such as
34-35.
The
States
from their
arise
point]
are so called
by experts
with various modes of dramatic representation.
kinds
various
of
'See below
auxiliary
in
32-33 (B.35-36, G32-33).
but
its
The
original of this passage
may be
in emending
dNI
it
justified
if it is
P. 26.
is
really
?ra
ff.
till
the beginning of 34 is in prose,
In the light of the
*w?i
iw*
five
KfltimSjfttfflftfil,
on
f* i<*rcii^'nt<niff"iftftffl.
an instance of textual corruption
riso to rasas relied
karikas that
some sentences and
tWt
^rai* itfJPUil
to have been sanctified by time, for Bhoja
bhavas giving
many
cooked food (vyahjana)
in changing the order of
partially as follows
suirafafasfttftfn
But
connexion
Just as by
For a discussion on Bharata's theory
'
reading seems to be confused.
follow one
drama, for
33-34.
of rasa see Skt. Poetics, Vol. II. pp. 25

*
there
they cause to originate (bhavayanti) the Sentiments in
articles
States
who
this text
it
may be
said
refuted Bharata's view on
Cf V. Raghavan,
.
34-36 (B.38-39, G.84-35).
$Sr.
Pr.
-VI. 43
TAB SENTIMENTS
10?
brought forth, so the States along with different kinds of Histrionic Representation will cause the Sentiments to
originate.
There can be no Sentiment prior to
30.
(lit.
without) the
and no States without the Sentiments [following
States
it],
and
during the Histrionic Representation they are produced from their
mutual
relation.
Just as a combination of spices and vegetables imparts
37.
good
taste to the food cooked, so the
and the
States
Sentiments
cause one another to originate (bhavayanli).

ft
Just as a tree grows from a seed, and flowers and
38.
[including the seed] from a tree,

(lit.
root) of all the
source of
all
The
[as the
1
.
eight Sentiments
original ones
from the four
shall describe the origins, the colours, the [presiding]
Now we
deities,
and likewise the States exist
States,
the Sentiments]
fruits
so the Sentiments are the source
and examples of these Sentiments.
Sources of these [eight]
Sentiments are the four [original] Sentiments
e.
;;.
Erotic,
Furious,
Heroic and Odious.*

39.
The Comic [Sentiment]
Pathetic from the Furious, the
from the Erotic, the
Odious.
the Terrible from the
40-41.
arises
Marvellous from the Heroic, and
mimicry of tho Erotic [Sentiment]
Comic, and the result of the Furious Sentiment

the result of the Heroic Sentiment
that which is
42.43.
Odious to see
The
Comic Sentiment
Erotic
white,
See
Tho
Bhoja
Sentiment
the
the
the Marvellous, and
is
light green (syama), the
Pathetic (Sentiment)
ash-coloured
37 (B.41, G.37).
'
B adds ono prose' sentence more after this passage.

criticises this
Ramaswamy
called
results in the Terrible.
36(B.40,G.36).
33 (R42, G.38).
called
is
is
the Pathetic, and
is
till
the beginning of 39 is in prose.
view of the author of the
Sastri Bh. P. Introduction p.
39 (B.44, G.89).
42-43 (B.47-48, G.42-43).
Stt.
in his Sr.
28; V. Raghavan,
40-41 (B.45-46, G.40-41).
ft
Sr. ft. 27.
THE NATYASASTRA
108
(kapota), the Furious Sentiment
VI. 44-
the Heroic (Sentiment) light
reel,
orange (gawa), the Terrible (Sentiment) black, the Odious (Senti-
ment) blue and the Marvellous (Sentiment) yellow.

deities of the Sentiments
The presiding
Visnu
44-45,
Comic, Rudra
kala), of the Odious,
Yama
Yama
Thus have been described the
(ribhnra),
the
of the
of the Terrible, Indra
(Kala)
Now
deities of these (Sentiments).
nants
of
&va (Maha-
of the Pathetic,
of the Marvellous Sentiments.
Brahman
Heroic, and
Pramathas
the god of the Erotic,
is
of the Furious,
the colours and
origins,
we
shall explain the
Consequents (aimhhant),
the
States (njahhirariu),
their
the
Determi-
the Transitory
combination, and their definitions and
examples.
We
now enumerate
shall
Dominant
the
States in
different
Sentiments.
The Erotic Sentiment
Of
these, the Erotic
Dominant State
;
beautiful
appreciated
is
lovely
for
in
(irnyarin).
is
authority,
objects connected with
so the
a bright and elegant

relates
to
(wmhhoga) and
the
It
fullness of
its
owes
soul) a
and
is called
are named,
after the
famiiyjn accordance with the

the
drama are given names
attire.
(lit.
Dominant State of love
Sentiments,
has been so named on account of
basis
its
white, pure, bright
is
elegantly 'dressed
custom and the traditional authority.
and
has as
Just as persons
or mother' or
their father
traditional
it
terms of the
For example, one who
person
custom of
and
(rati)
whatever in this world
bright attire
(srhijara).
(otjoiw)' Sentiment 'proceeds .from the
love
of
Hence
States
and other
in pursuance of the
the Erotic Sentiment
usually being' associated with

its
youth.
origin
It
separation (viprcdamblui).
Of
'men and women
to
has
two
bases': union
these two, the Erotic
Sentiment in union arises from Deteminants like the pleasures of

the season, the enjoyment of garlands,
"
44-45 (B.49-50, 0.44-45).
beginning of 46,
is in
prose.
'The
unguents, ornaments
original
of this
passage
till
[the
the
THE SENTIMENTS
.VI. 47]
company
109
beloved persons, objects [of senses], splendid mansions,
of)
going to a garden, and enjoying [oneself] there, seeing the [beloved
him or
her].
quents
such
soft
and
It
as
and
movement
clever
of
eyebrows,
eyes,
do not include
it
[The Erotic Sentiment]
disgust.
sleep,
jealousy,
feais
in
pathetic
it
has
well
saslra)
inactivity,
beeen asked, "If the Erotic Sentiment has
why does
love,
conditions ?"
[sometimes] manifest
it
[In reply
to
this]
as
in
its
have mentioned ten conditions
through
"It
has been
basis
union
in
amatoria {vaiiika-
Authorities on ars
separation.
its
itself
said,
it is
mentioned before that the Erotic Sentiment has

as
drowsiness,
death and other conditions.
Now
origin
indifference,
epilepsy,
insanity,
illness,
similar
in separation should
yearning,
anxiety,
fatigue,
dreaming awakening,
[fainting],
glances,
fear, indolence,
be represented on the stage by Consequents such as

langour,
by Conse-
of limbs, and sweet words and
Transitory States in
other things.
cruelty
should be representated on the stage
movement
delicate
and dallying [with
playing
words],
or her
hearing [his
one],
[of the persons
separated
from their beloved ones,
which are pathetic],
We
them
Common
Representation. 2
The
in the chapter
Pathetic
to the affliction
on the
under a curse, separation from dear ones,
separation relates to a condition
and the Erotic Sentiment

is
the
conditions available in
46.
And
retaining
the
separation
in
why
reason
of
the
optimism arising
Pathetic Sentiment,
differ
Erotic
the Sentiment called Erotic

objects,
and similar other things, and
from each other.
Sentiment
includes
it
is
rich
in
pleasure,
enjoyment of seasons, garlands
relates to [the
union of]
woman.
man and
.
There are besides two ArySs related

47-48.
of
other Sentiments.
all
connected with desired
loss
Sentiment based on
Erotic
Hence
out of yearning and anxiety.
this
discuss
Sentiment relates to a condition of despair owing
wealth, death or captivity, while the
And
Histrionic
shall
The
Erotic
Sentiment
to the preceding Sutra
arises
in
connexion with
'8wN&(C.)XXIV.
46(B.52,G.46).
"
47-48 (B.54-55, G.47-48).
THE NATY ASA8TEA
110
company
favourable seasons, garlands, ornaments, enjoyment of the
music and poetry, and going to the garden
of beloved ones,
roaming there.
It
serenity of the eyes

tion
VI. 49-
and
should be represented on the stage by means of
and the
sweet and smiling words, satisfac-
face,
and delight, and graceful movements of the limbs.
The Comic Sentiment
*Now
Comic (h&sya) Sentiment has
the
Dominant emotion
This
of laughter.
as
its
created by
is
basis the
Determinants
such as showing unseemly dress or ornament, impudence, greediness,

words, mentioning of
quarrel, defective limb, use of irrelevant
is
to be represented
of the
lips,
the nose
on the stage by Consequents
the sides.
Transitory
States in
drowsiness, sleep, dreaming,
(Sentiment),
is
of two kinds
are
it
indolence,
insomnia, envy and
it
dissimulation,
This
the like.
and centered
self-centered
a person himself laughs
Sentiment), but
ment
like the throbbing
and the cheek, opening the eyes wide or con-
them, perspiration, colour of the face, and taking hold of
tracting
When
diff-
This (the Comic Sentiment)
erent faults, and similar other things.
in
others.
relates to the self-centred
(Comic
when he makes others laugh
it
(the
Comic
Senti-
therein) is centred in others.
There are two traditional Aiyas here

9.
As
this
placed
ornaments,
strange
movement
50.
As
known
as the
51.
of limbs,
this
behaviour, words,
makes one laugh by an exhibition of oddly

uncouth
behaviour,
it is
makes
movement
called the
persons
of the
words and
dress
and
Comic Sentiment.
laugh
by means
of uncouth
limbs and strange dress,
it is
Comic Sentiment.
This Sentiment
is
persons of the inferior type, and
mostly
it
to be seen in
women and
has six varieties of which I shall
speak presently.
5,2.
They are: Slight Smile (mita), Smile (hadta),
Gentle
Laughter (oihadta), Laughter of Redicule
(itpahasita), Vulgar
1
The
original of thts passage
till
the beginning of
49{B.58,G.49).
50 (B.59, G.50).
61 (B.60, G.51).
52(B.61,G.62).
49
is in
prose.
TBB SENTIMENTS
-VI. 60J
111
Laughter (apahanifa) and Excessive Laughter
two they belong respectively to the
(atihasiia,).
superior, the
Two
by
middling and
the inferior types [of persons].
To
53.
persons of the superior type belong the Slight Smile
(smita) and the Smile
those of the middling type the
{lianita), to
Gentle Laughter (vihasita) and the Laughter of Ridicule (npahasita)

the inferior type the
to those of
the'
Vulgar Laughter (aijahasita) and
Violent Laughter (atihasita).
There are Slokas on

5k
The
this subjects
Slight Smile (smita) of the
people of the superior
type should be'characterised by slightly blown cheeks unci elegent

glances,
and
55.
ing eyes,
in
it
the teeth should not bo visible.
Their Smile (haita) should be distinguished by bloomface
and cheeks, and
in
it
the
teeth should be slightly
visible.
Of
56.
persons of the middle type
The Gentle Laughter
{vihasita)
have
should
slight
sound, and sweetness, and should be suitable to the occasion and in

it
the eyes and the cheeks should be contracted and the face joyful.
57.
During the Laughter
of Ridicule (npahasita)
nose
the
should be expanded, the eyes should be squinting, and the shoulder
and the head should be bent.
Of
persons of the inferior type
The laughter on
58.
occasions not suitable
ter with tears in one's eyes, or
violently shaking, is called the
with
expanded and
to
it,
the laugh-
shoulder and the head
Vulgar Laughter (apahasita).
The Excessive Laughter
59.
the eyes are
the
tearful
(atihaxita)
sound
is
is
that in
which
loud and excessive, and
the sides are covered by hands.

00.
Comic
situations which
G53).
may
arise
in
the course of a
(B 66,
54 (B.65, G54).
55
56 (B.68, G.56).
57(B.69,G.57).
58 (B.71, G.58J,
59 (B.72, G.59),
60 (B.73,G.60).
53 (B.62,
G-55).
THE NATYASASTBA
112
[V. 26-
play, for persons of the superior, middling or inferior type are thus
to be given expression to.
This Comic Sentiment
61.
centred in others; and
it
is
of
two kinds self-centred and

:
relates to the three types of persons
supe-
middling and inferior, and has thus [on the whole] six varieties.
rior,
The
Now
the Pathetic
nant State of sorrow.

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

these are
excitement,
inactivity,
Determinants.
This
is
to be
represented
weeping loudly, fainting, lamenting and bewailing, exerting
like
the body or striking
it.
The Furious Sentiment
*Now
the Furious {rawlra) Sentiment has as
Dominant State
of anger.
and haughty men, and
61 (B.74, G.61).
in pros
62
is
64
is in
prose.
owes
caused
is
The
63"(B.77, 0.63).
It
its
by
its
basis
origin to Raksasas,
fights.
This
till
is
the
Danavas
created
by
the beginning of
62 (B.76, G,62).
'
The
till
the beginning of
-VI. 66
THE SENTIMBNS
Determinants such as anger, rape, abuse,
113
insult,
untrue allegation,
and the
exorcizing, threatening, revengefulness, jealousy
Its
like.
actions are beating, breaking, crushing, cutting, piercing, taking
hurling of
arms,
This
other deeds.
of
fighting,
be represented on
is to
up
drawing of blood, and similar

the stage by
means
Consequents such as red eyes, knitting of eyebrows, defiance,
movement
the lips,
of
biting
and the
with, the other,

of
missiles,
like.
mind, determination,
of the cheeks, pressing
indignation,
energy,
it
restlessness,
perspiration, trembling, horripilation, choking voice
Now
one enquires,
"Is
and the
fuiy,
like.
assumed from the [above]
to be
it
one hand
are presence
statement about Kaksasas that they only give rise to the Furious
Sentiment, and that this
Sentiment does
"No, in case of others too
[Reply].
in case of Riiksasas]
They are naturally
furious,
unkempt
standing and
this
for
hairs
their speech,
Even
furious.
movement
may
arise.
brown
of
colour,
and prodigious
Whatever they
of limbs or
any other
attempt, be
effort, is
by nature
love-making they are violent*.
in their
[But
theyhave many arms, many mouths,
physical frame of black complexion.

it
Sentiment
be understood as their special function.
to
it is
not relate to others ?"
be easily inferred that persons
who
imitate
them
It
give rise
to
to
is
the
Furious Sentiment from their fights and battles.
On
these points there are two Aryas
The Furious Sentiment
64.
mutilation
and piercing
in
is
lights,
created by
striking,
and tumult of the
cutting,
battle
and
special
acts
the like.
be represented on the stnge by
It should
65.
such
the
as
release
of
many
missiles,
cutting off the head, the
trunk and the arms.
Such
66.
it
is full
of
is
the
conflict of
Furious
Sentiment viewed [by experts]
arms, and in
it
words,
movements and
deeds are terrible and fearful.
'
G. considers
(0.64).
this passage till the. end of this sentence as an atya
Cf. Bhattikavya, VIII. 98.
64 (B.79, G.65).
15
65 (B.80, 0.66).
66 (B.81, G.67).
THE NATYASASTBA
Hi
[VI. 67"
The Heroic Sentiment
*Now
the Heroic (vlra)
Sentiment, relates to the superior
type of persons and has energy as
basis.
its
This
created
is
by
Determinants such as presence of mind, perseverance, diplomacy,

military
discipline,
influence
and the
strength,
agressiveness,
of might,
reputation
be represented on the stage by
It is to
like.
Consequents such as firmness, patience, heroism, charity, diplomacy
and the
like.
pride, agitation,
horripilation
energy
and the
(vega),
are contentment, judgement,
it
remembrance,
indignation,
ferocity,
like.
There are two Aryas [on these points]

67.
ance, optimism, absence
of
and presence of mind and
[such other] special conditions [of the

08.
This Heroic Sentiment
spirit].
to be properly represented
is
the stage by firmness, patience, heroism,

ness, influence
from energy, persever-
arises
surprise,
pride, energy,
on
agressive-
and censuring words.

The Terrible Sentiment
the
Now
the Terrible
Dominant State
of
(bhayamka) Sentiment has
fear.
This
is
as
its
basis
created by Determinants like
hideous noise, sight of ghosts, panic and anxiety due to [untimely

cry of] jackals and owls,
staying
in
an empty house or
sight of death or capitivity of dear ones, or
about
it.
colour and loss of
voice.
choking voice,
change of colour,
69.
and the
change of
Its Transitory States are paralysis, per-
horripilation,
trembling, loss
and death and the
Terrible Sentiment
The original
forest,
or discussion
horripilation,
feet,
of
voice,
like.
these points there are two traditional
The
it,
fear, stupefaction, dejection, agitation, restlessness,
inactivity, fear, epilepsy
On
of
be represented on the stage by Consequents such
It is to
as trembling of the hands
spiration,
news
of this passage
till
is
created
ArySs
by hideous
tho beginning of 67
noise,
is in prose.
67 (B.83, G.68).
68(B.84,G.69).
of 69 is in prose,
'
The
original
of this passage till the beginning
69 (R.86, G.70).
THE SENTIMENTS
-VI. 74]
sight of ghosts, battle, entering
Terror
70.
an empty house or
forest, offending
or the king.
one's superiors
mouth and the
115
characterised by
is
looseness
eyes, paralysis of the thighs,
uneasiness, dryness
mouth,
tha drooping
of
limbs, the
of the
looking around with

palpitation
of the
heart and horripilation.
This
71.
shown
is
[the character of]
natural fear; the
fear also should be represented
the feigned fear
case of
But
in
representation should be
for its
all efforts
artificially
by these conditions.
milder.
This'Terrible Sentiment should be always represented
72.
by tremor of the hands and

body,
the palate
and the
the
shaking of the
paralysis,
feet,
the heart, dryness
palpitation of
of the lips, the mouth,
throat.
The Odious Sentiment

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

the
eyes,
covering the
head and walking imperceptibly.
71 (B.88, 0.72).
70 (B.87, G.71).
72 (B.89, Q-.78).
'
The
original
of this passage
f 73, is in prose.
78 6.92, G.74).
74 (B.93,'G.75).
till
the boginning
TEE NATYASASTRA
116
[iy.
TAo Marreffom /Sbat/meat

'The Mavvellous (miiAtt&i) Sentiment has as
Dominant
State of astonishment.
It is created
its basis
the
by Determinants
such as sight of heavenly beings or events, attainment of desired

objects, entrance
into
superior mansion, temple, audience hall
(sabha), a seven-storied palace

acts. It is to
and [seeing]
illusory
and magical
by Consequents such as
wide opening of eyes, looking with fixed gaze, horripilation,

[of joy] perspiration, joy,
uttering words
gifts,
crying incessantly ha, ha,
hii,
3ri,
and movement of
and the
it
fingers
On
two
dhoti or
of
like
choking voice, horripilation,
death and the
like.
Aryas
traditional
The Marvellous Sentiment
75.
tears
making
approbation,
waving the end
are weeping, paralysis, perspiration,
agitation, hurry, inactivity,
of
is
that which arises form
words, character, deed and personal beauty.
This
76.
is
to be represented
on the stage by a gesture of
feeling [sweet] smell, joyful shaking of limbs,
ha, ha, sounds, speaking

voice, perspiration
The
words
and the
The Erotic Sentiment
77.
and
action.
And
and uttering of
the
Comic and
is
the Terrible Sentiments
of three kinds, viz, of
The three kinds
and words.
of tbo Pathetic Sentiment
The Pathetic Sentiment
nsmg from
words,
Comic and the Terrible Sentiments
are likewise of three kinds, viz,

of limbs, dress
78.
ha,
approbation, tremor, choking
like.
three kinds of the Erotic, the
dress,
of
is
obstruction to lawful deeds,
of three kinds, viz
from
loss of
that
wealth and
from bereavement.
The
79.
'The
three kinds of the

Heroic Sentiment
original
'75(B.95,G.76).
78(B.98,G.79).
f this
passage
till
is
the
likewise of three kinds, viz.
bovine of
76 (B.96, G.77).
79(B.99,G.80).
78, is in
77 (B 97
prm
781''
THE SENTIMENTS
.VI. 88
nf
that arising from making gifts, from doing one's duty (d/tarma)
and
from fighting [one's enemy)

The three kinds of
The
80.
the Terrible Sentiment
Terrible Sentiment
feigned fear, fear from a
wrong
also
is
action,
three
of
kinds,
viz,
and fear from an apprehen-
sion of danger.
The
The Odious
81.
nauseating,
a sight
three kinds of the Odious Sentiment
and
simple,
of stool and
and similar objects
Sentiment
exciting.
worms
is
of
is
Of
three
these the
kinds,
viz.
Sentiment from
nauseating, and the sight of blood
is exciting.
The three kinds of the Marvellous Sentiment
82.
and
The Marvellous Sentiment
joyous.
Or
the celestial
these
and the joyous due
sights,
83.
I shall
to joyful
is
of
is
two kinds,
viz. celestial
due to seeing heavenly
happenings 1
These are the eight Sentiments and
their definitions,
hereafter speak of the characteristics of the States.
Here ends Chapter VI

which
Natya&stra
81 (B.101, G.82).
80 (BJOO, G.81).
82 (B.102, Q.83).
of Bharata's
treats of the Sentiments.
'
B. adds here a spurious passage on ianta rasa.
CHAPTER SEVEN
THE EMOTIONAL AND OTHER STATES
Bhwvas
0.
this
Now
(States) explained
"Why
is,
because through Words,
words such
expression
like,
are
(infuse) the
meaning
oasita
and hta are synonymous.
common
Ont
When
Hence the
people.
root
is
presented
by
Consequents are made to pervade (yamaytc)
An
by one
established
bhamya means
his point there are the following Slokas
the meanings
for
'instrument',
or
these things are bh'dvHa (pervaded)
all
play
of the
bbdcita,
'cause'
another's smell or moistened by one another's juice,'
1.
so called
is
'0,
it
and the Representation of the
Uhava
even amongst the

'to pervade'.
Is
spectators].
as,
enquiry in
are hence called bliavas
bhavas (States)
Gestures
Temperament, they bhavayanti

the
and
(pervade)
It is said in reply that
(States)?"
An
(States).
are the bhava* (States) so called ?
because they bhavayanti
[into
bhamn
I shall;spoak of the
connexion
and
Determinants
heart
of the
inner idea of the playwright
(kavi)
[the
spectators] they are called bhavas (States).

2.
is
made
As
these
in
to pervade
the
mind
[the
Words, Gestures, colour of the

the
Temperament they
of
Histrionic
3.
face
and the Representation of
the Sentiments relating to
Representation
they
by means of
the spectators]
are called bhavas (States).
As they cause
spectators],
of
are
called
to
pervade [the
bliavas
(States)
various kinds
mind
by
of
the
those
who
produce a drama.
Vibkatoas (Determinants) explained
"Now, why
word vibham
is
is
the
word
used for
vibhava used ?"
[Answer]
the sake of clear knowledge.
"The
It is
(B.O. same).
1 .(B.l-2,
G.1).
2(B.8,G.2).
'
Wo read bhava
itikarana(m) sadhanam yatha
3(B.4-5;g.8).
etc.
THE EMOTIONAL AND OTBER STATES
-VII. 6
synonymous with k&rana, nimitta and
119
As Words,
hetn.
Gestures
and the Representation of the Temperament are vibhaoayte

mined) by
(also)
this,
is
it
called ribhava (Determinant).
means the same thing as vijhata
On
this point there is a
As many
4.
Words,
through
Temperament
Sloka
known).
(clearly
are vibhavynin (determined) by
things
and
Gestures
it is
(deter-
Vibhavita
the
Representation
this
of
the
named vibhava (Diterminant).
Anubhavas (Consequents) explained
"Now, why
is
nnubhava used ?" (Answer) "Because
the word
means
the Histrionic Representation by
Temperament
Words, Gestures and the
of
mmbharyntfi (made
are
to be
by
felt)
this, it
is
called awibhavit (Consequent).
On
As
5.
it
in
means
things by
it
are anubhavyate
the spectators
of
Words and Gestures
words as well as
relates to
Sloka
to [gestures
it is
[made
called
to
feel]
anubhara and
and movements
major
of]
and minor limbs.
Now we have
explained that the States (bhava) are related to
Determinants (vibhava) and Consequents (nnubhava). Thus are the

States (bhai:a) created.
Hence we
examples of the States together with

quents.
Of
these, the
known among
people.
6.
1)0
their
and
Determinants and Conse-
Determinants and the Consequents are well-
They being connected with
their definitions are not discussed.
On
shall discuss the definitions
this point there is the
This
Sloka
is
the
human
nature,
for avoiding prolixity.
Determinants and Consequents are known by the wise to
things
which are created
by
human
nature
and are in
accordance with the ways of the world.
The
ber.
tliree
kinds of States
Dominant, Transitory and Temperamental
Now the Dominant States (dhayi-bhava)

The Transitory States (ryabhii'arinah)
4 (B.6, G.4).
6 (B.9, 0.6).
6 (B.7-8, G.5).
'
are eight in
num-
are thirtythree and
We read with B.
THE NATYASASTBA
120
.["VII. 7-
the Temperamental States are eight in number. These are the' three
are to understand that there are
Hence we
varieties of the States.
fortynino States capable of drawing out the Sentiment from the

play.
The Sentiments
arise
the quality of universality
On
this point there
The
7.
to the heart
is
body just as
from them when they are imbued with
(mmamja,
is
a Sloka
lit.
commonness).
State proceeding from the thing which
the source of the Sentiment
fire
and
it
congenial
is
pervades the
spreads over the dry wood.
Difference between the
Dominant and the other States
connexion
It is said in this
"If the fortynine States being
represented by Determinants (vibhavn) and Consequents (anubhava)
coming into contact with one
Dominant States only are changed

minants
when
another become Sentiments
they are imbued with the quality of universality,
and Consequents) ?"
how
is
that
it
into Sentiments (and not Deter-
[In
reply to
this]
is
it
said
"Just as among persons having same characteristics and similar

hands, feet and belly, some, due to their birth, [superior] manners,
learning and skill in arts and crafts, attain kingship,
endowed with an
identical
become
inferior intellect
manner, the
Dominant
States
while
others
an
their attendants, in
become masters because
on them Determinants (vibhava), and Consequents (anubhava) and

Transitory States
other States
ties
(e.g.
of [king's]
(vyabhkarin)
Similarly some of the
(tyabhicariv) depend.
Determinants and Consequents) have the qualiofficers,
local
and [hence]
become attendants
Cons equents) because
to
these
Transitory
of their [superior] quality.
asked, "Is there any parallel instance ?"
States
and
(Determinants
Now
it
may
be
[Answer.] "Just as only a
king surrounded by numerous attendants receives this epithet [of

king] and not any other man, be he ever so great, so the
States (dhmji-bhava) only
and Transitory
point] there
is
States
srfSwiM
hhi;.
followed by Determinants, Consequents

receive the
a traditional &loka
7(B.10-11,G.7).
Dominant
name
of Sentiment.
[On
this
fwn^HM-aifWhi:
wifilHWfllfair
wwuraaui
THE EMOTIONAL AND OTHEB STATES
-Vir. 10]
Just
8.
a king
as
preceptor (guru)
States (sthayi-bhava) are
the
so the
Dominant
superior to the other States
(Determi-
superior to his
is
men, and
superior to other
is
121
disciples,
nants, Consequents and Transitory States).
The Dominant
States
known
Characteristics of these which are
Now
have been mentioned before.

the States
common
Dominant
of] the
to them.
we
Sentiments
as the
marks
shall discuss the
we
First of all
up
shall take
of
[the case
States (sthayi-bhava).
Love
Love
(rati)
Determinants
ones,
which has pleasure as
opposition [from any one].
by Consequents such as a
9.
is
its
dear
be represented
on the stage
words,
motion
of
like.
a Sloka [on this point]
Love
because of
by
caused
house and absence of
snirling face, sweet
eyebrows, and glances and the
There
residential
It is to
is
unguent, ornaments,
garlands,
seasons,
like
enjoyment of a superior
basis
its
from the
arises
agreeableness.
attainment
It is to
by sweet words accompanied by
of
desired
objects,
[suitable] gestures
and movements
of limbs.
Laughter
Now
Laughter (ha*ya)
is
caused by
mimicry of others' actions 1 , incoherent

ness and the
of Smile
.On
and the
It
is
to be represented
Laughter
It
is
to
on the stage by means
is
arises
a traditional Hloka
from a mimicry
of other
people's
be represented on the stage by the learned
Smile, Laughter and Excessive Laughter.
8 (B.l 2-14,0.8).
9 (B.H-15, G.9).
10 (B.16-17, G.10),
16
as.
foolish-
like.
this point there
10.
actions.
like.
Determinants such
talk, obtrusiveness,
'
B. adds ku/iaia after paraceMu.
with
THE NATtASASTRA
122
VIL
11/
Sorrow
Sorrow (ioka)
caused by Determinants such as death of the
is
beloved one, loss of wealth, experience of sorrow due to any
murder or
stage
ing,
captivity,
and the
by Consequents such as shedding
change of colour,
one's
be represented on the
It is to
like.
tears, lamentation, bewail-
of limbs, falling
loss of voice, looseness
the ground, crying, deep breathing, paralysis, insanity, death
Weeping
the like.
joy,
[weeping] of
in this case
is
kinds
three
of
and
[weeping of
and [weepingj due to jealousy.
affliection
on
On
these points there are traditional Aryas

1
11.
body
is
Weeping
which the checks are blooming
in
are not concealed
Weeping
12.
weeping of joy.
called
is
which there
in
shedding of
tears, uneasiness of
ments and
efforts,
is
called weeping
Loud weeping
13.
14.
and
to
in anger, is called
Sorrow
relates to
its
persons
it,
distinguished
by
origin
of
in
the
by their
affliction.
affliction [of
patience
lips
and the
weeping due to jealousy.
women, persons
any
and
superior
move-
on the ground and
which the
in
copious
of steady
shaking, the eyebrows and the
is
moving
has
it
due to
women
of
cheeks are throbbing and the head

glances are
a loud sound,
is
body, want
the
lamentation after falling
on the earth
rolling
in joy, the
words 2 of remembrance and tears
horripilating, there are
of the
kind].
the
inferior type,
With
relation
middling types are
and those of the
inferior type
their weeping.
Anger
Anger (fowllm)
abusive
language,
objects]
and the
Consequents
such
is
caused by Determinants such as insolence,
quarrel,
like.
as
Tt
swollen
throbbing checks and the
11 (B.l n, G.ll).
.
altercation,
is
opposing [persons or
to be represented
nose,
upturned
on the stage by
eyes,
bitten lips,
like.
B. reads one additional

couplet (B.18, before
Read sanusmararjam vaganibkrthsram.
W(R20,Gkl2).
13(B.21,G.13).
14 (B.88-23, 0.14).
tliis,
.Vlt.
THE EMOTIONAL AND OTUEB STATES
20]
Anger
15.
is
of five kinds,
viz.,
anger caused
by enemies,
superior persons, lovers, servants, and feigned anjjer.
On
One
16.
fierce look, bitten
own head and
each other, and touching one's
One
17.
slightly
should show anger against resistance by the enemy
with knitting of eyebrows,
with
Aryas
this point there are traditional
hands clasping
lips,
breast.
should show anger against control by superiors
downcast eyes, wiping off
perspiration and
slight
not expressing* any violent movement.

One,
18.
show
should
anger to the beloved
one's
movement
by a very slight
[of
the body],
woman
by shedding
tears,
and knitting eyebrows and with sidelong glances, and throbbing

lips.
Anger
19.
the stage
should
servants
one's
to
by means
be represented on
of threat, rebuke, dilating the eyes
and casting
contemptuous looks of various kinds.
Anger which
20-
the
of an ulterior motive and
realisation
marks of
shown with a view
artificially
is
effort
is
feigned anger, and
called
to
which mostly betrays

it
two 1
relates to
Sentiments.
Energy
Energy (utsaha)
caused
patience, heroism
stage
relates to persons of the superior type.
by Determinants such as
and the
like.
It
absence
is
On
this point there is
20 (B.30-31, G-19).
21 (B.82-33,
3
munificence, boldness of
6 (B.26, G.15).
17 (B.27, G.16>.
'
ubhayarasa (dvirasa, G.).
after slhairya.
20).
Omit kantara
19 (B29, G.18).
18 (B.28, G.17).
Omit dhairya
a Sloka
Omit smPada
before durdina.
It is
power,
like.
15 (B.24, G.omits).
sadness,
to
by Consequents such as steadiness
an undertaking, and the
of
before siittya.
TBE MTYASASTRA
124
Energy which has
21.
out o{ alertness
the stage
by
effort
and such other
and which grows
its basis
should be represented on
qualities,
and the
acts of vigilance
as
[ Y1L 25
like
Fear
Fear {bhmjo)
ft is
women and
relates to
persons of the inferior type,
caused by Determinants such as acts offending one's superiors
and the king 1 , roaming

staying
in
forest, seeing
an elephant and a snake,
an empty house, rebuke [from one's superiors],
it.
rainy night, hearii.g the hooting of owls and

that
go out
at night, and the like.
the
cry
a dark
of
animals
It is to be represented
on the
stage by Consequents such as, trembling hands and
feet,
palpitation
of the heart, paralysis, dryness of the mouth, licking

thelips, perspiration, tremor, apprehension [of danger],
ning away, loud crying and the
On
run-
Slokas
Fear arises from an embarassment due to offending

one's
22.
superiors
seeking for safety,
like.
and the king, seeing
terrible
objects
and hearing awful
things.
23.
This
panic, drying
is to be
represented with tremor of the
limbs,
up of the mouth, hurried movement,
widely opened
eyes and such other gestures and actions.

24.
Fear
in
men
limbs and suspended
Thde
25.
is
This
.dung the
lips,
{msanna) body.
by
(fear)
from terrifying objects should be
actors
movement
also an
tremor of hands and
arising
Arya on
(lit.
dancers)
with
slackened
of the eyes.
this point
should be represented
on the stage with
and palpitation of the heart,

paralysis,
drying up of the mouth,
loosened limbs and sinking
b
22(B.34,G.21).
24 (B.36, G.23).
26(13.37-38,0.24).
feel,
23(B.35,G.22),
THE EMOTIONAL AND OTBEB STATES
37
.VII.
j 2i
Disgust
Disgust {jwgupm) relates
to women and persons

of the interior
by Determinants such as hearing
and seeing 1
unpleasant things, and the like.
on the
stage by Consequents sucli as, contracting all
the
It is caused
type.
limbs,
narrowing down of the mouth, heartache and the
On
26.
nose,
the
spitting,
like.
this point there is a -Sloka.
Disgust
to be represented
is
contracting
the
all
on the stage by
covering
limbs,
[general]
uneasiness
and
heartache.
Astonishment
Astonishment (n,ayy.)
created by Determinants
such as
of men, great
excellence in
painting, art- works in parchment 1 and
the like.
It is
is
illusion, inagtc,
extraordinary
feats
to
presented on the stage by Consequents

such
the eyes, looking without winking of
the
as wide
eyes,
of the eyebrows, horripilation,

of "well,
moving the head

done," "well done," and the like.
On
Sloka
be
opening Z'l
[much] movement
to and fro the <**
Astonishment arising from joy due

to extraordinary
acts should be represented by means
such as joy tears, fainting
and the like.

27
The Transitory
The Dominant
We
shall
now
States
Slates 1 are
explain
the
to be known as described
hereTransitory States (v^bhicari-bhava)
It is
questioned,
"Why are these called vyabkkanmhr
it is
said that
and
t>t
of, hi
are prefixes,
and the root
is
[In answer]
cara meaning
to go', 'to
move
that
move. Hence the word vyabhicarinah

means 'those that
in relation to the Sentiments
towards different kinds of objects
is,
they carry the Sentiments which

are connected withWords
Gestures and the Temperament.

It
cany
[the Sentiments] ?"

1
Omit fiarikirtana
40 " 41 ' G,a8)k
a? (B.42-43,
fn
Ga6 )-
is
In answer
questioned,
it
is said,
"How do
they
"It is a popular
after iravana.
'
l
0mit "4* afto **

Omit rasasamj?,a/f (B) after sthbyino bhavah.
*HB
126
convention to say like

this
this,
should
be considered like
caribham) as mentioned
We
number.
It does not
The sun
carries
however mean that
The Transitory
arms or shoulders.
arc carried on
Vtl. 28-
people say,
as
just
iiahaira (star) or that day.
these
in
NAtftfASASTBA
States
These Transitory States (vyahhi-
this.
[samgruha) are thirlythree
in the Digest
them now.
shall describe
Discouragement
(irira>th)
Discouragement
such as, being reduced to poverty
by
caused
is
Determinants
getting insulted,
abusive lan-
guage, wrathful beating, loss of beloved persons and the knowledge

of
the ultimate
represented
truth
essential)
and the
women and
On
28.
It
like.
like,
on
be
to
is
Determinants such as
by
stage
deep breathing, deliberation and the
sighing,
and
(lit.
on the
weeping,
the
part
of
persons of the inferior type.
this point there
is
a Sloka:
Discouragement grows out of being reduced to poverty,
loss of dear ones,
and
it is
to be represented
on the stage by
deliberation and deep breathing.
On
29.
disease,
this point there
two traditional Aryas
Discouragement
arises
from
loss of
dear ones,
poverty,
envy from seeing the prosperity of others.
30.
discouraged
and eyes miserable due
to
man
has the eyes bathed in

is
face
tears,
heavy breathing and he
like a
yogi
absorbed in meditation.
Weakness
Weakness
(ylani) proceeds
ting, purgation, sickness,
too
much
from Determinants such as vomit-
penance, austerities, fasting, mental worry,
drinking, sexual indulgence, too
a long way, hunger, thirst, sleeplessness
body, change of colour and the

2
Omit vyadhyavatmna
exercise, travelling
like.
It
is
by Consequents such as weak
lustreless eyes, pale face, slow gait,
28(B.44,G.27).
much
and the
to
be
voice,
want of energy, thinness of the
like.
after dhtidra.
29(B.45, Q.28).
80 (B.47-48, G.29).
: :
.VII. 36
On
two Aryas
Weakness grows out
31.
and old age.
ness, penance,
127
and
of voinitting, purgation
It is to
sick-
thinness of the body, slow gait and tremor [of the limbs].
Weakness
32.
weak
is
on the stage by a very
to be represented
weakness of the eyesight, poor
voice,
constant slackness
gait,
of the limbs.
Apprehension
Apprehension (ianka) has doubt as

to
women and
minants such a
relates to
by Deter-
giving offence to the king and the
like. It is
on the stage by Consequents such as constantly
hesitating
mouto, licking the

loss
it
theft,
to be represented
looking on,
lips,
of voice and the
There
is
movement
change of
("
r<il,-ii)rfhati<t)
dryness of the
tremor, dry
colour,
facial
lips,
like.
a Sloka on these points
Apprehension
33.
and
basis
It is caused
its
the
in
Sentiment
Terrible
is
robbery, and the like, and in case of the Erotic Sentiment
it
due to
is
due
to [a possible] deception on the part of the lover.
Some
authorities prescribe
ment of appearence which

of] clever tricks
Apprehension
from^qne's
be
characterised
by [adoption
in this
is
of
connexion
two kinds
that arising from
viz.
That arising
and that arising from another person.
own
35.
to
desire) in this case a conceal-
and gestures.
There are two Aryas
one's ownself
is
(lit.
be known from one's eyes and
self is to
man
with Apprehension has
protruding tongue, slightly
dark
face,
trembling limbs, and
efforts.
a thick and
he constantly
looks sideways.
Envy
Envy
offences,
(aaUjia) is
hatred,
other
31 (B.49, G.30).
34 (B.54, G,33).
caused
by Determinants such as various
people's
'
wealth
82 (B.50,51, G.31).
good
luck,
intelligence,
33 (B.52-53,
35 (B.55-56, G.34).
G 32).
THE NATYASASTEA
128
sports, learning
and the
It is to be: represented
like.
fault with
by Consequents such as finding

virtues, not
On
36.
people's
others,
86-
on the stage
decrying their
paying any heed to these, remaining with downcast
eyebrows
face, knitting
assembly
VH.
[of
disparagement and abusing others in the
in
men].
two Aryas
these points there are
Envy
arises in a person
good fortune, wealth,
who
is
displeased to see
intelligence,
and
other
exuberence of
sportiveness.
37.
be represented by
It is to
a distorted face, knitting
eye-
brows, face turned away in jealous anger, decrying other people's

virtues
and showing hatred towards them.
>
Intoxication
(mtidn)
Intoxication
Similar other things.
It is of
is
There are the following Aryas on

38.
excessive.
Iotoxication
It
has
five
by drinking
caused
this point
of three kinds,
is
and
of liquor
three kinds and has five Determinants.
viz.
light,
medium and
causes which should bo represented
on the
stage.
39.
While intoxicated some
sing,
some laugh and some
use hot words while other sh>ep.

40.
Among
these,
persons
of
the superior type
those of the middling type laugh and sing, and (hose of the
sleep,
inferior
type cry or use hot words.

41.
Light
intoxication
pleasant feeling, joyful
is
characterised
body, slightly
faltering
by smiling
words,
face,
delicately
unsteady gait and relates to persons of the miperioV type.
42
Medium
intoxication
rolling eyes, drooping
is
characterised
arms or arms
irregularly unsteady gait,
and
relates
restlessly
by drunken and
thrown about and
to persons of
the
middling
type.
36 (B.57, Q.35\
.39 (B.61, G.38-.
42(B.64, G.41).
37 (B.58-59, G.86).
38 (B.60, G.37),
40 (B.62, G.39).
41 (B.63, G.40).
THE EMOTIONAL AND OTHBB STATES
-VII.47]
Excessive
43.
intoxication
memory, and incapacity
129
by
characterised
is
of
loss
walk due to vomitting, hiccough and
to
cough, and a thick protruding tongue and
and
spitting,
to
relates
44.
is
who
is
character
show that
to
his
enters the stage
who
as
on entering the stage
[acts] drinking
intoxication
increasing, but the character
is
drank should show that
his intoxication
decreasing.
But the
45.
there
is
panic, grief
intoxication should be stopped
and increase of
On 'account
40.
disappears quickly
of
just
these
when
effort
intoxication
conditions,
special
away on hearing the
passes
grief
as
by
due to some cause.
terror
happy news of [sudden] prosperity.

Weariness
Weariness
(srama)
caused
is
a long way, exercising of the limbs and the
travelling
to be represented
like.
It is
on the stage by ^Consequents such as gentle
rubbing of the body, [deep] breathing, contraction of the mouth,

belching,
eyes,
massaging of the limbs, very slow
making Sitkara and the

There
is
an 5rya on
like.
this point
Weariness in man
47.
by [deep] breathing,
by travelling [a long
caused
is
way] and exercising [the limbs], and

stage
of the
gait, contraction
tired gait
on the
to be represented
is
it
and the
like.
Indolence
Indolence (alasija)
is
it
relates
to
represented
On
Determinants such
pregnancy and the
women, and men of the
inferior type.
like.
It
this point there is
43 (B.65, G.42).
drowsiness,
sitting,
an Arya
sleep
is to
45 (B.61, G.44).
46 (B.68-69, G.46).
We follow the reading of the ms <fa in B.
47 (B.70-71, G.46).
adhvagali for nrtt wfew'lB).
17
be
to
and the
44 (B.66, G.43).
as
And
on the stage by Consequents such as aversion
any kind of work, lying down,

like.
by
caused
nature, lassitude, sickness satiety,
THE NATYASASTBA
ISO
[VII. 48.
Indolence arising from lassitude as
48.
well
nature
as
should be represented on the stage by discontinuance of
all activity
except taking food.

Dipression
Dipression (dainya)
caused by
is
poverty, mental agony and the
It
like.
Determinants
self-command, dullness
the stage by Consequents such as want of
up of cleansing
of'the body, absent-mindedness, giving
and the
such as
be represented on
to
is
[the
body]
like.
There
is
an Arya on
this point
<
49.
Dipression of
and misery.
tation
men
proceeds from
modes
Different
up
stage includes giving
anxiety, eager expec-
representing
of
on the
it
body] in any way.
of cleansing [the
Anxiety
Anxiety (cinta)
of wealth, theft of
is
caused by
thinking
meditation,
Determinants such as loss
and the
object, poverty
like.
It
on the stage by [deep] breathing, sighing,
to be represented
agony,
is
a favourite
with
downcast
face,
thinness
of
the body and the like.
There are two AYyas on

50.
Anxiety of men
this point
arises in various
wealth, theft of a favourite object,

51.
be represented on
It is to
breathing, agony,
[the body]
ways
and a heart
the
full
stage
from the
loss of
of expectation.
by sighing, deep
and absent-mindedness, giving up of
cleansing
and want of self-command.

Distraction
Distraction
accidental
(tnnha)
injury,
is
adversity,
bering past enemity
and the
caused
by
sickness,
like.
It
is
Determinants
such as
agitation,
remem-
fear,
to
be represented
on
the stage by Consequents such as want of movement, [excessive]
48 (B.92-73, G.47).
49 (B.74-75, G.48).
60 (B.76, G.42).
51 (B.77-78, G.50),
Vll. 55
movement of
[a particular]
seeing properly
and the
There
52.
is
kinds
no help [near
There
53.
memory
is
this point
down,
reeling,
not
unexpected place or from
an
to seeing a robber in
panic of different
finds
falling
like.
a Sloka on
Due
limb,
181
occurs
distraction
to
man when he
by].
an Arya on
also
due
Distraction occurs
of past enemity.
by suspension of the
this point
to
It is
to
adversity, accidental
be
represented
injury,
on the stage
activity of all senses.
Recollection
(smrti)
Recollection
happiness and
misety.
remembering
is
It
every
condition
impairment of health, disturbed nightly
sleep, seeing
and speaking
with a level head, thinking, constant practice and the like.

be represented
64.
It is to
on the stage by Consequents such as notkling of
the head, looking down, raising
On
of
caused
is
this point there is
One
is
said
to
up the eyebrows and the
a Sloka and an Arya

be
recollecting
like.
'
something when one
remembers past happiness and misery' which were either conceived

in
mind or did actually occur and was

55.
to the
and
from impaired health, or relating
arising
Recollection
Vedas
Darsanas
forgotten.
is
to
by raising or nodding of the head and raising the eyebrows.

Contentment
Contentment
(dhfti)
is
caused
by [Determinants such as]
heroism, spiritual knowledge, learning, wealth, purity, good conduct,

devotion to one's superiors, 'getting excessive
enjoying sports, and the
like.
by Consequents
as
such
6 (B.78^.61).
It is to be
amount
represented
of
enjoyment of objects gained, and
53 (B.80-81, G.52).
54 (B.82, G.53).
65 (B.83-84, G.54).
'
money,
on the stage
Omit mamratha (B.G.)
after adhika,
not
THE NATIASASTBA
132
tVII. 66-
grumbling over objects unattained, past, partially enjoyed,

the
lost
and
like.
On
two Aryas
Contentment arising from
56.
wealth and power,
spiritual knowledge,
purity,
always to be represented on the stage by an
is
absence of fear, sorrow and sadness.
When
67.
sound, touch,
one enjoys
form and smell, and
taste,
non-attainment one
such as [sweet]
objects
attained
is
not
sorry
over
their
said to have Contentment.
is
Shame
Shame
by
caused
has improper
(vrtfa)
Determinants such
as
as
action
humiliation
on account of transgressing words of superiors
vows and the
them, nonfulfilment of
on the
stage
downcast
face,
and
and
rings,
drawing
is
on
lines
When
a man,
or
disregarding
be represented
touching clothes
like.
this point
he has done anything improper,
after
by those who are pure, he becomes repentant and
seen
59.
is
face, thinking with
the ground,
and the
biting, the nails,
It
and repentance
It is to
by Consequents such as covered
There are two Aryas on

58.
like.
basis.
its
The ashamed man
will
is
cover his face, draw lines on die
ground, bite the nails and touch clothes and rings.

Inconstancy
Inconstancy (capalata)
caused by
is
and the
love, hatred, malice, impatience, jealousy, opposition
like.
on the stage by Consequents such as harsh
words, rebuke, beating, killing, taking prisoner, goading and the

like.
There are two Xryas on

'
'
"
"
'
i
'
this
i
...I..
point
i
56 (B.85, G.5S).
57 (S.86-87, 0,58).
58 CB.88, 0.57).
59 (B 89-90, CK58).
||
^âtaw
THE EMOTIONAL AND OTHBB STATES
VIL62]
When
00.
man
ld3
does anything like killing or imprisoning
any one without any forethought he
is
be inconstant be-
said to
cause of his not being definite in his action.

Joy
Joy (harm)
is
caused by Determinants such as attainment
of the desired object, union
with a desired, trusted
person, mental satisfaction, favour of
husband
by means
stage
the eyes,
of
and beloved
preceptor,
king,
[good] food, clothing and
(or master), receiving
and enjoying them, and the
gods,
It is to
like.
and
money
Consequents such as brightness of the face and

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

Agitation
Agitation (avega)
tents,
wind or
is
caused by Determinants such as por-
rains, [outbreak] of
fire,
running about of elephants,
hearing very good or very bad news, stroke of adversity

like.
In
this
[falling] of
meteors or shooting stars, eclipse of the sun and the moon,
and appearance of comets.

looseness of
all
to
be
It is to
the limbs, sadness, distraction of the mind, loss of
facial colour, surprise

is
and the
connexion portents include [a stroke of] lightning and
and the
represented
by
like.
veiling
[Agitation] due to violent winds

[the
collecting [the ends] of clothes [worn],
[Agitation] due to [heavy] rains
60 (B. 91-92, 0.59).
61(B.93,G.60).
82 (B.94-94, 0.61).
'
is
face],
to be
Omit pulakila
rubbing the eyes,
hurried going and the like.

represented
after
by lumping
kan\akita (B.O).
fHB NATYASASfPRA
lti
together of
shelter,
running,
limbs,
the
all
and the
[Vll.136
looking
some covered
for
[That] due to [an outbreak of]
like.
limbs, or shaking them, running with
That due
like.
by hurried
to running
retreat,
back and the
about of elephants
unsteady
like.
wide steps,
gait,
is
on the ground, lamentation,
embracing,
due
to popular rising
sudden
retreat, taking
and horses and
is
{prakrti-vgasana)
On
chariots, striking
marked by
to
down
falling
to
is
be
And
like.
represented
that
by
and the
the
like.
has
part
hurry
of
as
its basis,
persons
of
the
but agitation of persons of the
flight.
two ArySs
Agitation occurs over an unpleasant
64.
'
up weapons and armour, mounting elephants
superior and the middling types

is
by
is
clothes
That due
like.
weeping and the
characterised by patience on
inferior type
away
about [even] on a rough
rolling
Agitation of these eight kinds
63.
This
tremor, looking
giving
to be represented
surface, running away, bewailing,
and the
represented
something favourable
and ornaments, weeping, horripilation and the

hearing anything unpleasant
to be
the
all
flight
paralysis,
fear,
[That] from hearing
to be represented by getting up,
is
be
to
fire is
down
represented by eyes troubled with smoke, narrowing
report,
disregard
of instruction, throwing a missile and panic.
Agitation due to an unpleasant report has as
6i>.
its
Conse-
quents assuming a sad look, and that due to a sudden appearan.ee

of
enemy
is to
be represented by clash of weapons.

Stupor
Stupor (ja4ata)
of
all activity,
is
caused by Determinants such as cessation
hearing of a
ful thing, sickness
and the
much
like.
stage by Consequents such as

indistinctly,
It
to
silent,
on others and the
tampraharana (pradkarana B.
63 (B.96, G.62).
is
the
word,
speaking
looking with
steadfast
like.
G.J.
64 (B.98, G.63).
harm-
be represented on
not uttering any
remaining absolutely
gaze, dependence
desired thing or a [very]
65 (B.09-100, 0.64).
::
-VII. 68
There
is
an A"rya on
this
A man is called
60.
185
point
when due
stupid
he
senselessness
to
cannot distinguish between good and bad as well as happiness and

misery, and remains silent and dependent on others.
Arroganee
Arrogance (yarva)
beauty, youth,
ship, noble birth, personal
ment
of wealth
and the
caused by Determinants such as king-
is
It is to
like.
1
by Consequents such as contempt
be represented on
[for others],
roaming
to sh ulders,
[at
stage
the
harassing [people],
not giving reply [to one's question], not greeting
contemptous
large],
power, attain-
learning,
looking
[others],
laughter,
harsh
words, transgressing [commands of] the superiors, insulting [others]
and the
like.
There
67.
is
an A~rya on
Arrogance
learning, youth,
this point
persons
of
beauty, royalty
of
the
type due
inferior
and attainment of wealth
is
to
to
be represented by movement of the eyes and the limbs.

'
Desoair (rka<1a)
to, finish the

is
is
Despair
caused by Determinants such as inability
work undertaken,
accidental calamity and the like.
It
to be represented on the part of persons of the superior and the
middling types by Consequents such as looking for
thinking
allies,
about means, loss of energy, absent-mindedness, deep breathing and

the like.
And on
the part of persons of the inferior type
represented by running away, looking down, drying
mouth, licking the corner
of
the mouth, sleep,
deep
it is
up
of
to be
the
breathing,,
meditation and the like.
There are two Sryas on

08.
this point
Despair arises from nonfulfilment the work begun, being
taken at the time of committing
king and the
theft,
and giving offence
like.
66 (B.101-102, G.65).
67 (B.103-104, G.66),
Omit awya
8
before avajtm.
(B.105, G.67).
to the
THE NATYASASTBA
186
and
Vl'1.
69-
In case of persons of the superior and the middling
69.
types this
is
to be represented
by thinking about various means,
persons of the inferior type sleep, deep breathing,
in case of
and meditation are to represent
it.
Impatience
Impatience (nutsuhja)
separation from beloved
garden and the
is
created
remembering them, sight of a
persons,
like.
on the stage by Con-
sequents such as sighs, thinking with downcast face, sleep, drowsiness, desire for lying
There
70.
from
is
down and
the like.
an Arya on this point
Impatience arises from the loss of beloved persons or
remembering
and desire to
lie
This
them.
stage by thinking, want
of sleep,
down and
to
is
be represented
on the
drowsiness, dullness of the body
the like.
Sleeping
Sleeping (nidi a;
is
caused by Determinants such as weak-
ness, fatigue, intoxication, indolence, [too
eating, [soporific] nature
and the
like.
much] thinking, too much
It is to
be represented on
the stage by Consequents such as heaviness of the face, tolling

of
the body, rolling of the eyes, yawning, massaging of the body,
deep
breathing, relaxed body, closing the eyes
tion,
ing
Sleep comes to a
[too
much] thinking, natural
72.
like.
this point
71.
awake throughout the
and the
man through
weakness, fatigue, exer-
('tendency [to sleep]
such as heaviness of the
face,

closing the eyes, or their rolling,
stupor, yawning, massaging of the
body and the
like.
89 (B.106-107, G.68).
70 (B.108-109. G.69).
7J(B.110, G.70).
72 (B.11 1-112,0.71).
and keep-
night.
>
hrira-lolana (avalckanaB.),
-VII. 76
137
Epilepsy
Epilepsy (apasmara)
and the
and a memory
like,
somebody's partaking of
it,
caused
is
being possessed by a god, a Naga, a
Yaksa, a Raksasa, a Pisaca
of such beings, eating food left after
staying in a deserted house,
vation of proper time [in taking food, in sleeping

of
humours (dhatu) 1 and the
like.
It
is
etc.],
non- obser-
derangement
stage
by Consequents such as throbbing, trembling,
falling
down, perspiration, foaming
[the lips] with the tongue,
On tliis
Epilepsy occurs in a person when he
73.
[for taking food etc.],
74.
is
down
Falling
in the
and
house,
impure
disregards
by
possessed
is
remembers these
lie
Ucchista 1 stays in a deserted
foaming
like.
point there are two Aryas
Bhutas and Pisacas, when
running,
mouth, hiccough, licking
in the
and the
on the
to be represented
beings,
[eats]
for proper
time
[in body].
suddenly
on
the
mouth, and rising up while
ground, trembling,
senseless, are
condi-
tions during Epilepsy.
Drowning
Dreaming
(siipta) is
caused by Determinants such as inter-
ruption of sleep, enjoying objects

kind], spreading the
ground and the

represented
like.
and the
75.
infatuation [of
any
as
occurs in sleep
is
to
be
deep breathing, dullness of
the eyes, stupefaction of
all
the
senses,
dreams
like.
objects
senses,
The dreaming which
by Consequents such
the body, closing
of
bed on the ground, dragging the bed over the
of
They
this point
Dreaming occurs due

senses
to interruption of sleep,
and infatuation [of any
are three in
number
please viz.
kind].
wind (vayu),
It
enjoying
is
to be
bile (pitta)
and
phlegm (kapha).
73 (B.113, G.72). 1 That which
is
left
over in one's plate after he
has finished his meal.
M (B.114-11!?, G.73).
18
75.(B.116, O.omit).
THE NATTA8ASTEA
188
on the stage by closing the
ropresented
[Vn.76eyes,
deep breathing,
dreaming dreams and talking while asleep.

70.
Dreaming
is
be represented on the stage by deep
to
breathing, imperfectly closing eyes, stupefaction of all
absence of
senses
and
all activity.
Awakening
Awakening
-
(viboflha) is the break of
by Determinants such
as
digestion of
sound, sensitive touch and the
There
77.
is
and
it is
caused
bad dreams, loud

on the
like.
stage by Consequents such as yawning,
the bed, and the
sleep,
food,
rubbing the eyes leaving,
like.
an Arya on
Awakening
this point
by digestion of food, [loud]
caused
is
sound, [sensesitive] touch and the
It is
like.
to be represented
on
the stage by yawning, rubbing the face and the eyes, and the like.
Indignation
Indignation (amavssa)
by
is
caused to persons abused or insulted
those having superior learning, wealth

perspiration, thinking
nation, looking for
reflecting with
ways and means and
Indignation
It is
to
bo
by Consequents such as shaking the head,
and
There are two Hlokas on

78.
or power.
a downcast face, determi-
allies,
and the
like.
this point
grows
energetic
in
men who have been
abused or insulted in an assembly by those having superior learning and wealth.

79.
Tt is to
mination, reflection with a downcast
face,
by energy,
deter-
shaking the head, pers
piration and the like.

Dissimulation
Dissimulation^flw/M^/io)
It is caused
is
the concealment of appearance.
by Determinants such as shame,
76 (B.117-118, G.74).
VB (B.121, G.76).
fear,
defeat,
77 B.119-120, G.75).
.
79 (3.122-123,
(3.77),
respect,
.VII. 82
deceit
and
It
the like.
to be represented
is
139
on the stage bj Con-
sequents such as speaking like another person, looking downwards,
break in the speech, feigned patience and the
There
is
Dissimulation
80.
It is to
like.
a Sloka on
not speaking
this point
is
due to boldness,
deceit, fear
and the
be represented by carelessness about an action, and
much in
reply or in addressing [others].

Cruelty
Cruelty (ugmta)
is
caused by Determinants such as arrest of
robbers, offence to kings, offending
words and the
represented on the st;ige by Consequents

beating,
rebuking and the
There
is
like
an Arya on
given affence.
quents such as
It is to
killing,
like.
It is to
be
imprisoning,
killing,
like.
this point
Cruelty occurs when a robber
81.
is
like.
'
arrested
is
or the king
be represented on the stage by Conse-
imprisoning, beating, rebuking and the
like.
Assurance
(matt)
Assurance
thinking- about
the
and cons of things.
the pros
by Consequents such
stage
of [any]
many
It
is
Sastras
be
to
as instructing
meaning, removal of doubt and the
There
82.
in the
by
caused
is
meaning of
is
and considering
represented
pupils,
on the
ascertainment
like.
a Sloka on this point
Assurance comes to men when they arc well-versed
meaning of many SSstras-
It is
to
be
represented
on the
stage by
Consequents such as instructing pupils and explaining the
meaning
[of Sastras].
Sickness
Sickness (rydilhi)
humours such
as]
wind
80 (B.124-J.25G.78).
82 (B.128-129, G.80).
owes
it
origin
{rata), biles
to
(////<)
[sin
attack
and phlegm
81 (B.126-I27, 0.78).
of
three
{ka[ilni).
tHE NATIASASfRA
140
Fever and similar other

is
two kinds,
of
feeling
viz.
heat
of
[VII. 83-
are special varieties of
illnesses
Fever
it.
that with a feeling of cold (sita) and that with a
Fever
{il&ha).
with
feeling
cold
of
should
be represented by Consequents such as shivering, tremor of the

entire body, bending [the
down
the nasal
lamentation
is
bodv], shaking of the jaws,
and the
desire
feet,
coolness,
sicknesses are
breathing,
making
There
83.
is
the ground,
narrowing
mouth
the
The
other
dullness of the
[peculiar] sounds, crying, tremor
types of
body, [deep]
and the
like.
a Bloka on this point
Sickness
down
should
general
in
by looseness of the
stage
[use of] unguent, desire for

like.
represented
such as narrowing down
a feeling of heat,
crying and the
be
to
narrowing
horripilation,
throwing oat clothes, the hands and the
on]
roll
[to
lamentation,
the mouth,
of
And. Jhat with
like.
be represented by
tp
dryness
passuge,
the mouth due to
be represented
throwing out
limbs,
the
on the
limbs
and
illness.
Insanity
Insanity
(uiimadu)
caused
is
by
Determinants
such as
death of beloved persons, loss of wealth, accidental hurt, derange-
ment
of [the
humours]
three
(Uesman), and the
like.
laughing, weeping, crying,
dancing, singing,
and
wind
It is to
.
talking,
reciting
{i'al(i),
biles
(i>ilt<t),
phelgm
down,
lying
sitting,
by
running,
[something] without any reason,
smearing [the body] with ashes and dust, taking grass, Nirmalya 1
soiled
cloth,
body],
many
rags,
potsherd, earthen tray as decoration
Insanity occurs
>
this point
owing
toss af wealth, accidental hurt,
{kaplta)
the
other senseless acts, and imitation of others.

84.
[of
wind
to
death
of
(void), biles
beloved
(pitta},
persons,
phlegm
derangement of the inind in various ways.
83 (B.130431, G.8I.
Remains of a
Which- isûpposed to purify a person

84(13.132, G.82).
who
takes
flower-offering
it
to a deity,
with reverence.
-VII 86
Insanity
85.
be represented by laughing, weeping,'
to
ie
Ul
running and crying without any reason and [other] sense-
sitting,
less acts.
Death
Death (inarana) conies through sickness as well as
Of
dental injury.
is
by Determinants such
caused
and the
caused by
And
like.
and other
methods
sickness
of
is
taking
vehicles.
the
of
80.
stage
Death
Death due
for
sickness
to
family
members, speaking
accidental
to
in
weapons
be represented
to
down on
ways
different
the ground
or taking poison [there
which are eight in
be represented on
to
by
injury
c.<j.
to
is
the
Consequents
and the
like.
viz.
be represented
due
[death
to]
wound by
such as suddenly
In case of snake-bite
gradual] "development
is
number,
burning sensation, hiccough,

neck, paralysis
is
body and inactive sense organs.
viz. loose
But death due
of
its
symptoms
thinness (of the body),
tremor,
foam from the mouth breaking of the
and death.
l
85 (B.133-134, G.83).
Earlier
writers
on
the
Hindu
Wrongly believed that NS. excluded wanes of death from the stage.
drama
(See
Drama, pp. Hi
also M. Ghosh. "A so-called convention of
Hindu Drama", JLHtJ. ,IX. 1933, pp. 981 ff.). Windish thought that.
Keith, Skt.
the
from
like.
on the stage
is
of the different
stage.
is
by one mark
falling
fero-
elephant, horse,
body, niotionlossness of the limbs, closed eyes,
words and the
There
on the
ofj
is
on the stage by Consequents such
hiccough, deep breathing, looking

indistinct
[attack
now speak
shall
representation
their
poison,
down from
falling
to
to be represented
as looseness
and
intestine
due to accidental injury
that
weapons, snake-bite,
cious animals, injury due

charriot
malady of the
as a
acci-
from ' sickness
death, that
of
disturbance of humours, tumours, boils, fever,
the liver, colic pain,

cholera,
kinds
these two
Sudraka in his (Act.

"asantasena by
VUI)
Sakara (Der
Berlin, 1882. p. 43).
86 (B.13W86, G.84).
violated a
rule
in showing the murdex of
griechischo Einfluss in indische Drama.,
'
iflE NATYASABTB'A
There are two traditional Slokas on
The
87-88.
poison]
of
effect
symptom "
first
VII. 87-
this point
development [of the
the
of
the
of
thinness
is
body,
the
second trenior,
the third a burning sensation, the fourth hiccough, the fifth foaming
in
mouth, the
the
paralysis
breaking
sixth"
of
the
neck,
seyenth
the
and and the eighth death.
There are besides two XrySls on

Death due
89.
horse, or falling
to
this
point
[an attack of] ferocious animals, elephant,
from chariots and mounts, wound by weapons should
be represented by absence of any further
movement
Thus death occurs under various
90.
of the body.
conditions.
It
should
be represented by proper words and gestures.

Aright
Fright
of
(I
is
caused
earthquake,
meteor, thunder,
lightning
raw)
bowling of big animals and the
like.
on the stage by Consequents such

tremor [of the
choked
91.
is
shaking of
as,
and the
crying or
clouds,
to
is
be represented
narrow limbs,
speaking
paralysis, horripilation,
voice, talking irrelevantly,
There
It
body],
It
flash
with
like.
Fright
is
caused by a very terrible sound
should be represented on the stage by
looseness
and the
like.
limbs and
of
half-shut eyes.
Deliberation
Deliberation
{ritarka) is caused
doubt, cogiation, perplexity
and the
like.
It is
to
be represented
on the stage by Consequents such as various discussions,

the definition, concealment of the counsel
There
92.
is
its
basis
is
to
and which
discussions
be represented
of the head, the eyebrows
settling
like,
Deliberation whieh arises from
has doubt as
movement
and the
on
the
stage
by
and the eyelashes.
~~
8-98 (B.137-138, G.85-86).
90 (B.140-141, G.88).
89 (B.139, G.87).
91 (B.142-143, G.89).
'
92 (B.144-M5, G.90).
.VII. 94.1
These are the thirtythree Transitory States

produced in a play by
men and women
the
of
143
they are to be
middling
superior,
and the inferior types in conformity with [proper] place, time and
occasion.
These
93.
thirtythree- are
known
The Temperanfentai
Now
it
"Are
may
(bhQva)
States
Temperament
mind.
ment
Temperament
is,
">e
is
perspiration,
the
human
any reason
in
support of
it is
said
The Temperanature
Its
horripilation,
Temperament
the
purpose of imitating
'Is there
answer]
tears,
be mimicked
cannot
like,
Hence
man.
absent-minded
play for the
[In
[something] originating
concentration of the mind.
paralysis,
and
colour
of
loss
is
caused by the concentrated mind.
It is
includes]
[which
and Transitory States)
?"
in this connexion
accomplished by
is
Temperamental because
called
(Determinants, Consequents
are said to be without the
in
States
be questioned,
these
other States
that the
Transitory States,
as the
explain in detail the Temperamental States,
now
I shall
nature.
view
this
is
desired
the
If
?'
by an
in
then
it
may
situations of happiness as
said that in theatrical practice,
question
well
misery should so purely accord with the Temperament behind
:hem that they
may
appear to be
realistic
jan sorrow which has weeping as

stage
who
by any one
joy
has
which
who
any one
is
as
is
not sorry
basis
its
not happy
be
How
(i/athwivarujia).
basis be represented on the
its
And how can
represented on
happiness
the
tage
Hence the Temperament
being desired (in acting) in connexion with certain States the

are called
is this,
Temperamental.
that
tears
and
The
explanation
horripilation should
of (he
by
(wit for)
latter
Temperament
respectively
be shown
by persons who are not [actually] sorry or happy.

94.
The
eight
Temperamental States
Paralysis, Perspiration, Horripilation,
Change
of Cojour,
Weeping and
Change
Fainting.
93 (B.146-147. G.90).
94 (B.148, G.92),
'
above
VI 22
note
are
as
follows
of Voice, Trembling,
'
THE NATYASASTBA
144
Among
YII. 100.
these,
Perspiration
95.
fear,
Perspiration
joy,
shame, sorrow,
svrJa
occurs as
the
sickness,, heat,
toil,
result
exercise,
of anger,
fatigue,
summer and massage.

Paralysis and Trembling
96.
Paralysis
4amhlM
occurs
sickness, surprise, sadness, intoxication
duo to
(l:an>iin=:i-q>atlni)
cold,
fear,
as being due
to joy, fear,
and anger, and Trembling

joy,
anger,
touch "[of tho
beloved] and old age.
Weeping
Weeping (awi) occurs
97.
smoke, collyrium, yawning,

gaze, cold
98.
cold,
ripilation
as being due to joy, indignation,
sorrow, looking with
a steadfast
and sickness.
Change
to
fear,
of Colour
and Horripilation
Change of Colour (mivaniya) occurs as being due

anger, fear,
toil,
sickness, fatigue
{nimanr'i)
due
to
touch,
fear,
and
cold
heat,
joy,
and Horanger
and
sickness.
Change of Voice and Fainting

99.
fear, joy,
(praltt i/h)
Change of Voice (xwni-s&ht) occurs

anger,
due
sickness
fever,
to loo
much
astonishment and the
toil,
and
swoon,
as being due
to
and Fainting
intoxication,
intoxication,
sleep,
injury,
like.
Representation of the Temperamental States
100.
These are to be known by the wise as the eight
Temperamental
which
States,
shall
will represent these States.
speak afterwards
f
95 (B.149, G.93).
96 (150, G.94).
f! (B.151, B.95).
9 8 (B.152, G.96).
99 CB.153, G.97).
10o (B.159, G.98)
about actions
.yll. 108
.THE EMOTIONAL AND OTHEB STATES
101.
should
Paralysis
bo
145
on the stage by
represented
being inactive, motionless, smileless, like an inert object, senseless,
and
stiff-bodied.
102.
Perspiration should be represented on
the
stage by
taking up a fan, wiping off sweat as well as looking for breeze.

103.
repeated
104
and choking
should be
Horripilation
thrills,
represented on
the
stage
by
hairs standing on the end, and touching the body.
Change
Voice should be represented by broken
of
and Trembling by quivering, throbbing and
voice,
shivering.
105.
of colour
this is
of
Change
the
of Colour should be
face
represented
by putting pressure on the
by
alteration
and
artery,
dependant on the limbs.
Weeping
106
rubbing the eyes
should
on the
represented
be
and shedding
tears,
stage
by
and Loss of Consciousness
by falling on the ground.

Application of the States to the different Sentiments
107.
These are the fortynine States (bhava) of the three
kinds mentioned by me.
Now
you ought
to hear
of the
different
Sentiments to which they are applicable.

'
108.
All the (fortynine) States except indolence, cruelty and
Sentiment
disgust are applicable to the Erotic
Sentiment by their
109.
own
(lit.
raise the Erotic
name).
Weakness, apprehension, envy, weariness, inconstancy,
dreaming, sleeping dissimulation are
the States
applicable
to the
Comic Sentiment.
110.
ing,
Discouragement,, anxiety, depression, weakness, weep-
stupor and death are the States applicable to
the
Sentiment.
101 (B.155, G.100).
102 (B.156, G.99).
103 (B.157, G.102).
104 (B.158, G.101).
105 (B.159, G.I03-104a)
106
107 (B.162, G.106).
108 (B.169, G.107).
109 (B.171, G.108).
#
'
(cf.
B.160-161, G.105).
110 (B.172, G.109).
Pathetic
THE NATYASASTBA
146
111.
VII. Ill-
Arrogance, envy, energy, agitation, intoxication, anger,
inconstancy and cruelty are the States applicable to
the Furious
Sentiment.
112-113.
cruelty,
Presence of mind, energy, agitation,
indignation,
intoxication,
horripilation,
anger, envy, contentment, arrogance
joy,,
assurance,
change of
voice,
and deliberation are the States
applicable to the Heroic Sentiment.
114.
death,
fear,
Perspiration,
trembling, horripilation, choking voice,
change of colour are the States
applicable to the
Terrible Sentiment.
115.
Epilepsy, insanity, despair, intoxication, death, sickness
and fear arc the States applicable

116.
Odoius Sentiment.
Paralysis, perspiration, loss of consciousness, horripila-
astonishment,
tion,
to the
agitation,
stopper,
and
joy
fainting
are the
States applicable to the Marvellous Sentiment.
These 1 Temperamental States which depends on the
117.
various kinds of Histrionic Representation are included

into
all
the
Sentiments by experts in the production of plays.

118-119.
No
play in
its
production can have one Sentiment
an assemblage of the many 1 States, Sentiments, Styles
only.
If in
(rrtti)
and Local Usages (prcmiti)
[in
the
any one item has varied representation

the
Dominant Sentiment and
is
principal
[of the
112-113 (B.174-175, G.I10-111).
114(B.176,G.114).
117 (B.179, G.116).
115(B.177,G.115).
'
ye tvete
116 (B.178, G.115).
(canye. B).
namibhinayasam%riiah B.
118-119 (B.180-181, G.117-118).
>
tahunam (sarvemm
vetaiiam.
*
theme
Dominant Sentiment.
Ill (B.173, G.113).
of a play],
be considered
combined with Determinants, Consequents and Tran-
sitory States is the
production
should
the rest the Transitory ones*.
That which stands on the
120.
play] and
it
After this B. reads one additional couplet,
120 (B.183, G.119).
G.).
soma-
.VII. 124
THE EMOTIONAL AND OTHEE STATES
121.
This Dominant
147
Sentiment should be represented
with an exuberence of the Temperament, but the Transitory States
by mere gestures and postures

the
[An
122.
equally
form), for
(lit.
they
are to
as such should not excel 2
Dominant Sentiment [and
support
it],
representation of] a variety [of Senti-
full
ments] does not please [the spectators], and such a variety

in practical life
(lit.
amongst
people).
But a mixture
rare
is
of different
Sentiments will however, bring pleasure [to the spectators] when

such
is
]
carefully represented.
23.
In [the production
of]
a play the Dominant, the
Tem-
peramental andjthe Transitory States which are supporters of the
Sentiments and which are accomplished through
many
objects
and
1
should be assigned to male characters 2 .
ideas,
124.
be created.
[in the
The Sentiments and

One who knows this
the States in
plays
well will attain the
are
thus
to
best Success
production of a play].
Here ends Chapter VII
which treats of the Representation of the States.
121 (B.184, G.120).
'
disregard of this principle
is
liable
to
cause undue prominence to a minor character in a play and thereby to

frustrate the principal object of the playwright.
1
After this B. reads some additional couplets (B.185-189a)
include a variants of 122 a (B.189a) and

of 118a (B.186a)
and 1186 (B.187a).
122 (B.184 foot-note,
9,
G.121).
123 (B.189b-190a, Q-.122).

*
An
punisanukiTiiah (puspavaklrnali. B.G.).
analysis of the plays of the best kind,
explain this rule.

to
which
122b (B.186b) and a repetition
men who can
For
in almost
better be
psychological states.
124 (B.190bc, G.123).
.ill
of
made the
them
vehicle
known
to us seems to
superior roles are assigned

of different aud
complex
CHAPTER EIGHT
THE GESTURES OF MINOR LIMBS
Tne
sages question.
Through your kindness we have heard
1-2.
AVe
ments (rasa)'.
shall
now
know
like to
also
due order
in
1
everything relating to the origin of the States (bhava)
and Senti-
what the experts
say about the different kinds of Histrionic Representation,
meanings and
the blessed
3.
their
different subdivisions.
one,
you are
also
to
us
tell
accurately
what kinds of Histrionic Representation are to be applied to which

[places or occasions]
by persons aiming
at the Success.
Bharata answers.
4.
On
these words of the sages, Bharata spoke thus relating
to the four kinds of Histrionic Representation.

5.
"0
sages, I shall
now speak
to
you
so that
in detail
the Histrionic Representation becomes properly explained to you.

1
We shall
Representation)
is
?"
the abhinaya
derived
speak of [the fact that] the abliiiuiya (Histrionic

of four kinds.
The
It is said in reply
question
to this
"Why is
the
Hence a
should be
[full]
answer to
of the root and
There
is
As
its
this
sufix
ac
attached
made
called
it
that the abhinaya
from the prefix abhi, and the verbal root *
cause to get' (to attain), and
6.
is,
after
meaning
to these
is
'to
two,
a consideration
meaning.
the root nl preceded
by abhi means 'carrying the per-
formances (prayoga) of a play [to the point of direct] ascertainment
1-2 (B.G. same).
'
3 (B.G. same).
5 (B.5-6, G.5).
ally in prose.
See NS. VIII.
See
W& VI.
i (B.G. same).
This portion
till
6 (B.7, G.6).
the beginning of 6
is
origin-
Mil i3
of
the gestubes of minob limbs
meaning,' so [the word
its
(carrying towards).
made
Abhinaya
7.
is
"explains the
of abhinaya
so called because in
together with
it
out of them] becomes abhinaya
'
The meaning
play]
Sakha 1
the
meaning of
the
the performonce [of a
Anga 2 and
the
Upanga*
of abhinaya
IJrahmins, the Histrionic Representation of a play
on
place in four ways, and
takes
different [things].
The four kinds

8.
149
this (Representation) the plays
of different types rest.
Brahmins,
9.
to be fourfold
Histrionic
this
Gestures 1 {any ilea),
Make-up {aharya) and the Temperament

The Gesture
10.
Of
these, the
along with the States
Representation
Words (wika)
is
and
{sattrika).
three varieties
its
Temperament has been described
now
known
Dresses
listen
first
of all about
the
before,
Gestures
(ahgika).
11.
The Gesture
{sarira), that of tho face
movements
of the entire
of
is
three kinds, viz. that of
(mnkhaja) and that related to
the limbs
[different],
body {cedalrla) including the Sakha, the
Anga and the Upanga.

12.
Dramatic performance
limbs including the major and

hands,
lips, breast, sides
13.
sides,
The
and
in its entirety relates
the minor
ones
such
to the six
as head,
feet.
major limbs {anga) are head, hands,
six
waist and feet,
and the
(six)
breast,
minor limbs {upanga) are
eyes,
eyebrows, nose! lower lip and chin.
7 (B-8, G.7).
Sec 15 below-
'
See 13 below.
See 13 below.
8 (B.9, G.8).
9 (B.10, G.9).
>
10 (B.11, G.10).
More
properly 'gestures and postures.'
11 (B.12. 0.11).
12 (B.13, G.12).
^
18(B.U,G.18).
THE NATIASASTBA
150
reckon the Sakha, dance
Producers of plays should
14.
(itrtta)
VIII. 26
and the Ankura as the three aspects
the
of
Histrionic
Representation (abhinaya).
The
15.
gestures (ahgiko) are called
miming through them
Sakha
and consists of the Angaharas 4
on the Karanas 3
Ankura* and that which
the
is
the
pantois
based
dance
called
is
(nrtta).
Brahmins,
10.
listen
of
first
about
all
which are included in the
head,
gestures of the
and which support many Sentiments {ram) and
The
Avadhuta,
and
Dhuta,
Kampita,
Akamptita,
Aflcita,
Nihaucita,
gestures
'
of thirteen
is
kinds,
viz.
Vidhuta,
Parivahita,
Udvahita,
Paravrtta,
Utksipta,
Adhogata,
Lolita.
19.
Akampita
called.the
Akampita.
Kampita
Moving
When
(Uses)
20.
hint,
teaching,
naturally,),
the head slowly
movements
the
quick and copious the same
head
gesture of the
different
State's (bhava).
Gestures of the head and their uses
17-18.
the
facial
called
is
The Akampita head
is
is
are
be applied in giving
to
addressing in an ordinary way
questioning,
and giving an order
Akampita head
the
in
Kampita 1
up and down
(lit.
1
.
14 (B.15, G.14).
15(B.l6, G.15).
follows
Tflsir
t ftn
From
this
1$
wo
Sarngadeva
'
iretfs ftrarmt
ftf"w
mfiranfrnitaHi
learn that the
See
Si IV.
170
sakhu and aitkura as
the
vsti ijpfarwtfgqtftar mffoir
8R. VII.
87-38).
sakha means the flourish of the gesticulating
hand (kara-vartanit) preceding

such a flourish following
defines
wmnr
one's
it.
ff.
speech whereas the ankura means
IV. 299
'
See
Ni.
See
Si IV.
170
ff.
ff.
16 (B.17, G.16).
17-18 (B.18-19, G.17-18).
Sec ed.
M.
'
The AD. has nine
Ghosh, 49-66, and A.K. Coomaraswamy,
gestures of the head.
MG.
pp. 86-38,
19 (B.20, G.19).
20 (B.21, G.20).
E reads one additional couplet after this.
-VIII. 80
THE GESTURES OF MINOB LIMBS
The Karapita head
21.
understanding,
argument,
is
applicable
asserting,
(lit.
181
desired)
threatening,
anger,
in
and
sickness
intolerance.
22.
called the
Dhuta and Vidhuta

Dhuta, and when
A slow
movement
movement
this
is
head
of the
quick,
it is
is
called
the Vidhuta.
23.
(Uses)
The Dhuta head
applicable in unwillingness,
is
sadness, astonishment, confidence, looking sideways, emptiness

forbidding.
24.
*
The Vidhuta head

and the
terror, panic, fever
25.
is
first
to be applied in
turned upwards
known
it is
(Uses)
it is
The
nn attack of
cold,
stage of drinking.
Parivahita and Udvahita
turned to the two sides
26.
and
When
the head
called Parivahita,
as Udvahita
alternately
it
is
once
head
Parivahita
is
and when
applicable in
is
demons-
tration, surprise, joy,
remembering, intolerance, cogitation, conceal-
ment and [amorous]
sporting.
27.
The Udvahita 1 head
28.
Avadhuta
called Avadhuta.
a message,
to
come
When
(Uses)
invoking
[a
to be applied in pride,
is
height, looking high up, self-esteem
and the
the head
is
once turned down
conversation and
deity],
it is
applied in [communicating]
It is to be
showing
like.
beckoning [one
near],
29.
Aiicita
the Aficita head
is
When
the neck
the result.
slightly
is
(Uses)
bent on one side
It is applicable in sickness,
swoon, intoxication, anxiety and sorrow.

30-31.
Nihancita
When
two shoulders are raised up with
21 (B.22, G.21).
22 (B 24,0.22).
23 (B.25, G23).
24 (B.26, G.24).
25 (B.27,
G.2B>),
'
G. reads one additional hemistich between 25a
and 25b, and names the head movement as udhuta.

26 (B.28, G.26).
27 (B.29, G.27).
B. reads the name
28 (B.30, G.28).
30-31 (B.32-33, G.30-31).
as adkuta.
29(B.31,G,29).
THE NATYASA8TBA
152
[VII. 38-
neck bent on one side the Nikaflcita head
the
It is to be used
by women
Mood,
Paravrtta
32.
the result.
is
Light-
Hysterical
When
(Uses)
the face
It is to
33.
Utksipta
Utksipta head
is
When
is
turned round.the Paravrtta
be used in turning away the
like.
raised
the
used in lofty objects
and
face
the
(Uses)
the result.
Paralysis and Jealous anger (mana).
and looking back and the
face
Qcilalihcita)*, Silent Expression of Affection {moffiyita)
Pretended anger, (LiiUamita)
head
(vilasa)
(bibboka)
Affected Indifference,
heartedness {lalita)*
produced. (Uses)
is
Amorousness
in pride,
It is
[slight'y]
is
application of divine weapons.

34.
is
Adhogata
(Uses)
called Adhogata.
salutation]
35.
It
is
used
in
shame, bowing
[in
and sorrow.
Parilolita
called Parilolita.
When
(Uses): It
the head
is
is
moving on
all sides,
it is
used in fainting, sickness, power of
by an
intoxication being possessed

like
with the face looking downwards
The head
evil spirit,
drowsiness
and the
1
.
36.
Besides these there are
many
according to the popular practice

37.
Now
I have
(lit.
other gestures
These are
head, which arc based on popular acting.
of the
be used
to
nature).
spoken about the thirteen gestures of the head.
I shall discuss the characteristics of the Glances.
The
38.
thirtysis Glances
The Glances expressing
Sentiments 1 are KantS,
the
Bhayanaka, Hasya, Karuna, Adbhuta, Eaudrl, Vlra, and Blbhatsa.
Sec NS.
See ibid 22.
See ibid 11.
Sec ibid
Sec ibidiO.
XXIV.
15.
19.
'
18.
34 (B.36, G.34).
B. reads after this an additional couplet.
36(B.39,G.36).
38 (B.41, G.38).
See Hid
33 (B 35, G.33).
32 (B.34, G.32).
35 (B.37, G.35).
37 (B.40, G.37).
The AD.
too has only eight glances, see ed.
Ghosh, 66-78, and A. K. Coomaras\ramy,
MG.
enough the names of 'the eight glances in the
p.
AD.
40.
even
Bat
if
M.
curiously
referred by
-VIII. 47
THE GESTOSES OF MINOB LIMBS
The Glances
39.
to be used
in the
158
Dominant States
are
Snigdha, Hrsta, Dlna, Kruddha, Drpta, Bhayanvita, Jugupsita and

Vismita.
The Glances
40-42.
Malina,
such as &unya,
Visanna, Mukta,
be used in the Transitory States
to
Grants,
KuRcita,
Lajjanvita,
Glana,
Abhitapta, Jihma, Lalita
Sankita,
Vitarkita,
Ardhamukula, Vibhranhl, Vipluta, Akekara, Vikosa, Trasta and

Madira,
make up
number
their
The Glances
I shall
43.
now
thirtysix
1
.
to express the Sentiments
explain the characteristics of these Glances
in connexion with the various Sentiments and the States, and shall
describe their functions.
Kanta
44.
tracts
When
with a feeling of love a person con-
his eyebrows and castes a sidelong look, he
a Kanta (pleasing) Glance which has

It is
said to have
origin in joy
and pleasure.
used in the Erotic Sentiment.
Bhayanaka
45.
drawn up and
is
its
is
Bhayanaka
called
The Glance
which the eyelids are
in
and the eyeballs are gleaming and turning up
fixed,
indicates a
It
(terrible).
great fear and
is
used in the Terrible Sentiment.

46.
eyelids are
moving and
Hasya
by
Hasya
In the
visible
slightly
Glance
(smiling)
the
two
and they open with the eyeballs
turns contracted,
should
it
be used in
representing
jugglary.
47.
Karuna
The Glance
descended, the eyeball

gaze
is
at
which
in
the"
upper eyelid has
due to mental agony, and the
rest
tip of the
fixed at the
Karuna
is
nose,
and there
is
tear,
is
called
(pathetic).
Coomaraswamy's text
which has no
maraswamy's
less
to
the Bharatasastra, does not occur in the NS.
text
records (he. cit)
those mentioned in the
NsL
40-42 (B.43-45, G.43-42).
43 (B.46, G.43).
45-46 (B.48-49a, G.45-46a).
20
Besides the eight glances Coo-
than thirtysix glances.
fortyfour
39 (B.4J,
See note
glances
which include
G .39).
1 to
38 above.
44 (B.47 G.44).
47 (B.49, G.46b).
THE NATYASASTBA
164
Adbhuta
48.
The Glance
are charmingly
windened
till
which eyelashes are
in
the end,
slightly
AdbbatS
called the
is
4ft.
and the eyes
are raised in wonder,
curved at the end, eyeballs
Till.
(of
wonder).
Raudri
49.
The
pitiless
Glance
knitted,
Raudrl
called
is
(cruel),
and
which the
in
are rough, red, raised, and the eyelids are

it
is
eyeballs
and the eyebrows
still
used in the Furious
Sentiment.
.
Vlra
50.
tated, serious,
eyes are
Blbhatsii
fully
open, agi-
The Glance
the eyelashes
are
(lit.
used in the Heroic Sentiment.
it is
which the corners of the
in
nearly covered by eyelids,
disgust and
bright,
is
which eyeballs are at the centre of the eye
in
Vira (heroic), and
level) is called
51.
The Glance which
and
the eyeballs
and
still
close
are disturbed in
to
each other,
is
called Bibhatsa (odious).
The Glances
The Glances
52.
to the Sentiments.
the
Dominant
and there are
known
explain
is
sweet,
and
tears of joy, is called
Hrsta
not
is
it is
Ding
fallen,
very slowly,
is
is
called
much
Hrsta
(joyful)
The Glance
Dlna
'
48(B.51,G.48).
still,
it is
used
which the
in
(lit.
entering),
(pitiable)
it is
and
used in laughter.
lower
eyeballs are slightly swollen, and which

called
widened
are
moving, slightly bent
visible
winking,
55.
to
).
there
slightly
relating
eyeballs
Snigdha (loving)
The Glance which
is
which
in
and in which eyeballs are not wholly

is
to occur in relation
the Glances
The Glance which
grows out of love
in love ( lit
54.
now
States
States.
Snigdha
53.
defined here are
I shall
medium widened),
(lit.
Dominant
to express the
eyelid
is
is
moving
used in sorrow.
49 (B.52, G.49).
50 (B.53, G.50).
51 (B.54, G.51).
B.G. add
after
this
one couplet defining the
iantarasa.
52 (B.56, G.53).
55 (p-9, B.56, G.56).
53 (B.57, G.54).
54
(p.9, B.55, G.55).
THE GESTOSES OP MINOR LIMBS
-VIIL68]
5t$.
Kruddha
The rough Glance
166
which eyelids are
in
motionless and drawn up, eyeballs are

immobile and turned
and the eyebrows are knitted, is called
Kruddha (angry)
used in anger.
is
The
Drpta:
57.
eyeballs
are motionless,
called
steady and widely opened Glance in

which
and which shows forth
Drpta (haughty)
up
it is
used in energy
it is
(lit.
emits) prowess
(lit.
grows out of
energy).
58.
Bhayanvita
The Glance
in
which the eyes are widely
opened, the eyeballs are
mobile in fear and are away from

the
called Bhayanvita (awe-stricken)
it is used
centre [of the eye], is
in
59.
Jcgupsita
but not joined
together,
The Glance in which eyelids are contracted

and the eyeballs are covered and
are
turning
away from the
coming
object
view) is called Jugupsita (disgusting)
The
Vismita:
60.
in
it is
view
(lit.
the place in
used in disgust
Glance which is fully blown and

which eyeballs are throughly turned up and the
two eyelids are
motionless,
is
called
Vismita (astonished); it is used
level
in
in
astonishment.
The Glances
These are the Glances
61.
that I
to express the Transitory States
have just defined.
I shall
relating to the
now
Dominant
States,
explain the characteristics
of
the Glances in the Transitory States.
62.
Sunyg: The Glance which is "weak and
motionless
and in which the eyebalhs and the
eyelids are in ordinary position
(ht. level),
and which turns
external objects
63.
very
to
the space and
is
not attentive to
called 8\inya (vacant).
Malina
are not shaking

terised
is
The Glance in which ends of the eyelashes

and ends of the eyes are pale, and which is charac:
much by
half-shut eyelids,
is
56 (p.9, B.57, G.57).
67
89 (B 60, G.60).
60 (B.61, G.61).
62(B.68,G.63).
63 (B.64, G.64).
called
(p.9. B.58, G.58).
Malina
(pale).
58 (B.69, G.59).
61 (B.62, G.62).
THE NATrASASTBA
156
The
64.
Srffnta"
let
down due
been
65.
Pranta
fallen, is called
Lajjanvita
are
eyelashes
The
slightly
Glance
the eyes are narrowed,

(tired).
which
in
upper
the
bent,
VIII. 64
Glance in which eyelids have
resting
to fatigue, corners of
and the eyeballs are
eyelid
shyness, the eyeballs are lowered due to shame,
ends
of
the
descending in
is
called Lajjanvita
is
(bashful).
Glana
06.
The
languid Glance
which the eyebrows
in
and the eyelashes are slowly moving and eyeballs are covered
[under the eyelids] due to
67.
Sankita
and once at
The concealed Glance which'
slightly
rest,
the eyeballs are timid,

68.
are
Visanna
fatigue, is called Gliina (lazy).
is
obliquely open
raised,
and
in dejection,
the eyeballs are slightly motionless,

69.
trembling,
Mukula
The Glance
is
there
which
in
which
in
eyelids
no winking and
is
Visanna
called
(dejected).
in which eyelashes are
slightly
upper eyelids are of the Mukula type and the
the
eyeballs are opened in happiness, is called

70.
once moved,
Sankita (apprehensive).
The bewildered Glance
drawn wide apart
is
and
Kuncita
The Glance
in
Mukula.
which ends of eyelashes are
bent due to the eyelids being contracted
and the eyeballs are also
contracted, is called Kuncita (contracted).
Abhitapta
71.
The Glance
slowly moving due to the

indicates
much
72
down and
which casts
73.
distress
Jihma
slightly
itself
Lalita
and
pain,
The Glance
contracted
obliquely
:
in
which the
of
the eyelids,
movement
is
are
and which
called Abhitapta (distressed).
[in
which the eyelids are hanging
and the eyeballs are concealed, and
and
slyly is called
The Glance which
the end [of the eye] and which
eyeballs
is
eyebrows, and shows signs of love
is
Jihma
sweet,
smiling and has

is
(crooked).
and contracted
movement
called Lalita (amorous).
64 (B.65, G.65).
65 (B.66, G.66).
66 (B.67, G.67).
67 (B.68, G.68).
68 (B.69, G.69).
69 (B.70, G.70).
7(B.71,G.71).
71 (B.72, G.72).
72(B.73,G.73).
73 (B.74, G174).
at
of the
.VIII. 83
THE GESTOSES OF MINOB LIMBS
74
Vitarkita
The Glance
157
which the eyelids are turned
in
up for guessing, the eyeballs are full blown and moving downwards
is
called the Vitarkita (conjecturing).
75.
Ardhamukula
and
slightly mobile is
called
Vibhranta
76.
The Glance
owing
to joy the
Ardhamukula.
The Glance
open'and full-bjown,
Vipluta
middle [of the eye]
called
Vibhranta (confused) 1
The
Glance
is
which the eyeballs are
in
uiovingjand'so are the eyelids, and the
77.
in which
Ardhamukula*. type, the eyeballs are half-blown
eyelids are of the
is
which the eyelids
in
wide
[first]
tremble and'theh become, motionless and the eyeballs are [again]

disturbed,
78.
is
called Vipluta (disturbed).
Akekara
corner of the eyes
and
The
Glance in which the eyelids and the
slightly
are
is
Skekara
called
79.
are wide
Vikosa
80.
is
The
is
joyful
Glance
in
which the two eyelids
no winking and the eyeballs are not
called Vikos"a (full-blown).
Trasta
The Glance
which the eyelids are drawn
in
up in fear, the eyeballs are trembling and

full-blown due
81.
is
(half-shut).
open and there
immobile,
is
and joined together
contracted
half-winking, and the eyeballs are repeatedly turning up,
the middle of the eye
is
to panic, is called Trasta (frightened).
Madira
The Glance
in
which the middle of the eye
rolling, the ends of the eyes are thin, the eyes are bent, and the
corners of the eyes are fully widened,

It is to
82.
eyelids
is
called
Madira
(intoxicated).
be used in representing light intoxication.
In medium intoxication this Glance should have
slightly
contracted,
the eyeballs
its
and and the eyelashes
slightly mobile.
83.
In excessive
the
worst) intoxication
the
Glance
75 (B.76, G.76)
74 (B.75, G.75).
76 (B.77, 0.77).
(lit.
'
B.G. read 76b.
differently-
77 (B.78, G.78).
78 (B.79, G.79).
79 (B.80, G.80).
80 (B.81, G.81).
81 (B.82, G.82).
82 (B.8S, G.83).
83 (B.84, G.84).
THE NATYASASTBA
168
should have [either too]

the eyeballs
should
in
be turned
84
much winking
or no winking
should be slightly
it
and
visible,
at
VIII. 84-
all,
and
(the look)
it
downwards.
These are the thirtysix Glances due
and the Dominant States described by me.
the
Sentiments
listen
about their
to
Now
uses.
Uses of the Glances expressing the Transitory States
85.
The Glances due
representing them, while
to the Sentiments are
Now
should be used'Jin expressing these.

of the Glances due
to
to
be used in
Glances due to the Dominant (States)

listen
about the uses
the Transitory States in representing these
(States),
Sunya
86-93.
(vacant)
in
anxiety and paralysis (motion-
Malina (pale) in discouragement, change of colour.

Sranta (tired)
in weariness
Lajjanvita
(bashful) 1
GIana\(lazy)
in
and depression.
in epilepsy, sickness
Sankita (apprehensive)
shame.
and weakness.
in apprehension.
Visanna (dejected) in depair.
-Mukula
in'sleeping,
dreaming and happiness.
KuScita (contracted) in
visible
Abhitapta (distressed)
and
envy,
undesirable object, objects
with difficulty and pain in the eye.
discouragement,
in
accidental
hurt
distress.
Jihma (crooked) in envy,

(amorous)in contentment and
stupor and
indolence.
Lalita
joy.
Vitarkita (conjecturing)in recollection and deliberation.
Ardhamukula in joy due
to
an experience of [sweet] smell
or touch.
84 (B.86, 0.84).
.
'
We adopt
G's reading
85 (B.86, G.85).
86-93 (B.87-94, 087-94).
lajjita Qalita, B.).
VIII.
THE GESTOSES OE MINOE LIMBS
159
Vibhranta (confused) in agitation, hurry and confusion.

Vipluta
(disturbed) inconstancy,
insanity,
of
affliction
misery and death.
Skekara
(half-shut) in
looking
to
distant [object],
separation and consecration by sprinkling (proktita) 1 .
Vikosa
cruelty
(full-blown)
in awakening, arrogance, indignation
and assurance.
Trasta (frightened) in
fright.
Madira (intoxicated) in
94-95.
thirtysix
Here
Glances
intoxication.
have finished the proper discription of the
now
listen
about the [additional] Glances, and
gestures of the eyeballs, the eyelids
and
Sentiments
the
and the eyebrows due
The
eyeballs
Eyeballs have gestures of
95-96.
to the
States.
nine kinds
(moving round), Valana (turning), Pata-Patana
Bhramaaa
(relaxing), Cakuaa,
(trembling),
SampravoSana, (drawing
inside),
sideways),
Samudvrtta
Niskrama (going
(raising up),
Vivartana, (turning
out)
and
round
the
Prakrta (natural).
96-98.
eyeballs at
Bhramana (moving round)
turning
random.
Valana (turning) moving
P5tana= Pata
Calana
(relaxing)
(the eyeballs) obliquely.
the relaxation
(trembling) the tremor
Sarapravesana= Praves\a
(of the eyeballs.)
(of the eyeballs.)
(drawing
inside)
drawing
(the
eyeballs) in.
Vivartana (turning)
turning
the
eyeballs
sideways in
sidelong glance {kalaha).
B. G. read preksitem.1
94-95 (B.95, G.95).

95-96 (B.96b-97n, G.96).
B.G, read one additional couplet
this.
96-98 (B.98b-100a, G.98-100n),.
after
fVIII.99.
THE NATIASASTBA
the
Samudvrtta (raising up)-the raising up of
Niskramana
(going out)-going
out. [as
eyeballs.
it
were of the
eyeballs.]
Prakrta (natural))-eyeballs in the natural (glance.)

Usf of the eyeballs
Now
99-101.
ments and
about their uses in [different] Senti-
listen
States.
Bhramana (moving
round),
Valana (turning) and Samudvrtta
(raising of eyeballs) in the Heroic
Niskramana (going
and the Furious Sentiments.
and Valana (turning
out),
of
the
eyeballs) in the Terrible Sentiment.
Sampravesana (drawing
of the
eyeball) in the Comic and
the Odious Sentiments.
Patana (relaxed eyeballs)
in the Pathetic
Sentiment.
Niskramana (going out of the eyeballs) in
the Marvell-
ous Sentiment.
(natural)
Prakrta
(lit.
eyeballs in the remaining Sentiments
States).
Vivartana (turning sideways of the eyeballs) in the Erotic

Sentiment.
102.
These are the natural gestures of eyeballs based on the
popular practice.
They are
to
be applied [suitably]
to
all
the
different States.
The
103-107.
I shall speak
special relation of these
Sama
(level),
(lit.
about the varieties of Glances in
there).
These are of eight kinds,
viz.
Saci (sidelong), Anuvrtta (inspecting), Alokita (casual),
Vilokita (looking
(looking
additional Glances
round),
Pralokita (carefully looking), Ullokita
up\ and Avalokita (looking down).
99-101 (B.101b-104a, G.100b-102a).
102 (B.104b-105a, G.l02b-l04a).

103-107 (B.105b-110a, G.104-109a>
.VIII.
THE GESTURES OF MINOR LIMBS
108]
lel
Sama
(levelj-the eyeballs are in a /

ere] position and at rest
Sacl (side-Iong)-the eyeballs
are covered by
eyelashes.
Anuvrtta (inspecting)-Glance which

carefully observes anv
'
form.
Slokita (casual)-(the
eyeballs)
in
suddenly
seeing
object).
Vilokita (looking
round)(eyeballs)
Pralokita (carefully
any
'
in looking back.
looking)-turning (eyeball from side
to side.
Ullokita (looking
up) (turning
the eyeballs) upwards.
Avalokita (looking down)-(turning the

eyeballs) towards
the ground.
These are the gestures of the eyaballs
in
relation
to all the
Sentiments and the States.
The
eyelids
Now listen about the gestures of the eyelids follow

which the movements of eyeballs They
are : Unmesa (opening),
108-1 1 1.
Nimesa
Sama
(closing),
(level),
(resting),
and
Prasrta
(expanding),
Kuncita
Vivartita (raising up), Sphurita
(contracted),'
(throbbing), Pihita
Vitaclita (driven).
Unmesa (opening)separating
Nimesa (closing) bringing
the eyelids
together the eyelids.
Prasrta (expanding) -separating the

eyelids widely.
Kuncita (contracted) contracting the eyelids.
Sama
(level) eyelids in a natural position.
Vivartita (raising
up) raising up
the eyelids.
Sphurita (throbbing) when the eyelids are

throbbing.
Pihita (resting) when the eyelids are
at rest
Vitadita
(driven) when
struck
iccidentally.
108-111 (B.110b-ll4a,
G.109b-U8a).
81
the
(lit.
eyelids
clofed).
are
struck
THE NATYASASTBA
163
VUI, 112
Uses of the eyelids
Now
112-115.
about their uses in different Senti-
listen
ments and States

Vivartita (raising up)
in anger.
Niniesa (closing) in anger.
Uninesa (opening)
in anger.
(expanding) in objects causing wonder,
Prasrta
and
joy,
*
heroism.
Kuiicita (contracted)
scent, flavour
in
seeing
undesired
(sweet)
objects,
and touch.
Sama
(level)
in love.
Sphurita (throbbing)
Pihita (resting)
in
in jealous}'.
dreaming,
fainting,
due
affliction
to
storm, hot smoke, rains and collyriuni and eye-disease.
Vitadita (driven)
in accidental injury.
These are the uses of the eyeballs and the eyelids
in
express-
ing the Sentiments and the States.
The eyebrows
116-120.
Now,
listen
about the gestures of
eyebrows,
which accord with those of the eyeballs and the eyelids.

are seven in
number and
(lowering),
Bhrukufi (knitting),
tracted), Recita
Utksepa
are as follows
Catura
Utksepa
(raising),
(clever),
(They)
Patana
Kuiicita
(con-
(moving) and Sahaja (natural).

(raising) raising
of
eyebrows simultaneously or
one by one.
Patana
(lowering)
lowering
of
eyebrows simultaneously
or one by one.
Bhrukuti
Catura
brows
(knitting)
raising the root of tho
(clever) slightly moving and
in a plea-sing
manner.
112-115 (B.U4b-118a, G.113b-Wa).
116-120 (B.ll8b-123a, G.117b-l2?a),
eyebrows.
extending the
eye-
Villi 186
the gestures of minor limbs
KuBcita (contracted) slightly bending of eyebrows one by

one or the both at once.
Recita (moving) raising of
one of the eyebrows in
an
amorous way.
Sahaja (natural) the position which the eyebrows maintain
by nature.
Uses of the eyebrows
Now
121-125.
I shall speak about their uses in (expressing)
the Sentiments' and the States.
Utksepa
.(raising)
venoss, in seeing
in
anger, deliberation,
and hearing only one eyebrow
passion, sporti-
raised, and
and violent anger both the eyebrows are raised up.
surprise, joy
Patana (lowering)
is
in envy, disgust, smile,
and smelling.
Bhrukuti (knitting) in objects of anger, dazzling

(Datura
(clever)
(pleasing) touch
in
love,
sportiveness,
in
light.
pleasing
(object),
and awakening.
Kuncita (contracted)
in manifestation of affection, pretended
and hysterical mood.

Recita (moving)
in dance.
Sahaja (natural) in simple (anav'uhlha) conditions.
The nose
126-123.
now
listen
(.Gestures
of
the eyebrows have been described
They
about those of the nose.
are of six kinds
Nata, Manda, Vikysta, Socchvasa, Vikimita and Svabhavika.
Nata -lobes are constantly clinging (glidajmia)
Manda
lobes are
Vikrsta lobes
are blown.
Socchvasa when
Vikimita
at rest.
air is
121-125 (B-123b-126,
differently
drawn
in.
the contracted nose.
I28-l2!>a,
G.122b-127).
and one additional hemistich after
126-128 (B.129b-182a,
G.Wb-ROa).
this.
'
B.
road?
12-t
tHE NATYASASIBA
164
SvSbhavika the
VIII. 135-
natural nose.
Uses of the nose
129-132.
nose.
Now
This
listen
is
the description of the gestures of the
about their uses
weeping
Manda discouragement, impatience and anxiety.

Vikrsta
strange
breathing, anger and
sweet smell and deep breathing.
Socchvasa
Nata
in slight
it
intervals.
in
smell,
in
fear.
in
Vikunita in
Svabhavika
laughter, disgust
and envy.
in the remaining conditions.

The cheeks
132-131
Phulla (blown),
Cheeks are of
Purna
(contracted) and Sama
Ksama
Purna
Kampita
Ksama
(trembling)
(cheeks
and Kuiicita
(cheeks
are) fallen.
are) raised
(full) (cheeks are) expanded.
Kampita (trembling) (cheeks
are) throbbing.
(cheeks
are) narrrowed
Sama
(depressed).
(natural).
(depressed)
Phulla (blown)
(full),
six kinds
(natural)
-as (cheeks
are)
by
down.
nature.
Uses of the cheeks
135-137.
Cheeks have been described.
Now
listen
about
their uses.
Ksama (depressed)in
sorrow.
Phulla (blown) in joy.

Pfirna (full)
in
energy and arrogance.
129-132 (B.132b, 134-136a, G.130D-133).
one couplet slightly different in content,
132-134 (B.136D-138, G.l34-138a).

135-137 (B.139-141a,G.136b-l38).
Instead of 129b, B. read*
WO
VIII.
THE GESTOSES OP MINOB LIMBS
Kampita (trembling)
fear
and
in anger
(natural) in the remaining conditions.
The lower
Vivartana
Kampana
(trembling),
Visarga
Sandastaka
(biting),
(contracting).
Vivartana (narrowing)
lips
narrowed down.
Kampana (trembling) throbbing

Visarga (spreading out)
Viniguhana (concealing)
(of lips).
to spread out (lips).
drawing
in (of lips)-
Sandastaka (biting) -(lips) bitten by
Samudgaka (contracting)the
them at
(They
Viniguhana (concealing),
(narrowing),
(spreading out),
Samudgaka
lips
Gestures of the lips are six in number.
137-139.
:
joy.
in horripilation (sensitive) touch, cold,
fever.
Sama
are)
and
168
teeth.
contraction of lips
and keeping
rest.
Uses of the lower lips
These are the gestures of the
140-142.
lips
now
listen
about their uses.
Vivartana (narrowing)
and the
Kampana
and the
in envy, pain,
contempt, laughter
like.
(trembling)
in
pain, cold, fear, anger,
swiftness
like.
Visarga (spreading out)

ence and painting of
in
women's amors,
affected indiffer-
lips.
Viniguhana (concealing)in making
efforts.
Sanda?taka (biting) in manifestation of anger.

pity, kissing
Samudgaka (contracting)-in
187-138 (B.141b-143, G.l39-141a
140-142 (B.144-146, G.141b-144).
and
greeting.
THE NATYASASTRA
166
VIII. 1<8
The chin
So much
143-146.
listen
about the gestures
ahout those of the chin
(they are)
the
of
lips
now
Kuttana, Khandana,
Chinna, Cuksit.i, Lehita, Sauia and Dasta.
Kuttana
when
the upper teeth
are in
conflict
with
the
lower ones.
Khandana
when (the
come together
two
lips)
lips)
very closely meet each other,
repeatedly
with each other.
when two
when two
Lehita
the
Samawhen (the two
Chinna
(the
Cuksifci
(the
in licking
lips)
are held widely apart.
with the tongue.
(lips;
lips) slightly parted
Dasta when
the lower lip
is
bitten
by the
from each other.

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

teeth, the lips
of the
chin
in relation
to
the
and the tongue.

The mouth
149-156.
Gestures
Vinivrtta, Nirbhugna,
of
the
mouth
are:
Bhugna, Vivrta and Udvahi.
143-146 (B.147-150a, 0.l44b-147).

146-149 (B.150b-153a, G.U7-150aJ.
l4P-156(B.163b-l60a, G.150D-157).
Vidhuta,
-VIII. 169
THE GESTURES OB MINOR LIMBS
Vidhuta the
.167
obliquely open (mouth).
spread out mouth).

mouth) lowered.
Nirbhugna
mouth)
Bhugna= Vyabhugna
(the
Vinivrtta
(the
(the
Vivrta
the mouth with
Udvahi
(the mouth) turned up.
Uses
Vinivrtta
in
Vidhutajin
Nirbhugna
the
of
women's
and bashfulness and the
mouth
envy,
jealousy,
in looking into depth
being ashamed,
discipline
contempt
anger,
like.
restraining, saying 'not
Bhugna in
anxiety,
slightly spread out.
kept apart.
the lips
and
.so'
and the
and the
like.
like.
discouragement,
consultation.
It
impatience,
natural
is
for
the
ascetics.
Vivrta in
Udvahi
'go away',
laughter, sorrow
in
156-157.
The
fear.
and pride of women,
sportiveness
and disregard,
and
in saying 'so indeed'
exports
should
use
also
in saying
and angry words.
mouth
the
conformity with the varieties of Glances such as Sania and
and the
like
mentioned by others.
The
157-158.
stances
in
Saci
(lit,
The
colour of the face
col.. ur
meaning)
is
the face
of
of four
according to the circum-
kinds
natural
(wabharika)
bright ( prasaima), reddened {nriia) and dark (ii/ama).
Uses of the colour of the
159-100.
Natural face
in a natural
Bright face in wonder, laughter
Reddened
Terrible
face in
intoxication
and the Pathetic Sentiments.
156-157 (B.160b-161n, G.158).
157-158 (B.l6lb-162a, G.159).
"
159-160 (B.162b-164, G.160-162a).
face.
and
and
and
indifferent (mood)-
love.
in the
Heroic the
THE NATTASASTM
168
Dark facein
161-162.
The
the Terrible
[VIII. 10].
and the Odious Sentiments.
colour of the face should be thus used to re-
present the States and the Sentiments.
The
acting
Gestures of the Sakha 1 , the
the
Upanga
Anga and
done with the

is
good, but
be charming
(lit.)
Even a few Gestures when combined with
the
without proper colour of the
face
not
will
it
beautiful.
162-163.
proper colour of the face will double their charm

as the
moon
Glances too when combined with the proper colour
163-164.
ments, and on
this
Representation
rests.
164-165.
of
(i.e.
gestures of the
and the Senti-
different States
the colour of the face) the Histrionic
The colour
the States
much about
beauty) just
[rising] at night will.
of the face will clearly express the
tation
(lit.
of the face
suitable
to the
represen-
and the Sentiments, should follow every
eye (Glance), the eyebrow
the colour of the
and the mouth.
which
face
is
So
the basis of the
and the Sentiments.
States
The neck
166-167.
gestures
of
the
I shall
neck.
now
are
Unnata. Tryasra, Recita, Kuficita,

Description
167-171.
you,
tell
They
Brahmins, about the
of nine
kinds
Aficita, Valita,
Sama, Nata,
and Vivrtta.
and uses of the neck gestures
Sama the
natural neck. (Uses)
in meditation
natural pose, and muttering of Mantras.
Nata (neck
with) face bent down.
binding) ornaments, putting ones
(Uses) in wearing
arms round
(lit.
taking)
body's neck.
161-162 (B.165b-I66a, G.162b-163).
162-163 (B.166-l67a,G.l64).
163-164 (B.l67b-I68a, G.165).
164-165 (B.168b-169, G.l66-167a).
166-167 (B.170, G.167b- 168a).
167-171 (B.171-175, G.l68b-173a>
'
See 11 and 15 above.
(lit.
some-
VIII.
THE GE8TUBES OF MINOB LIMBS
172}
Unnataneck
Tryaara
- neck
169
with the face upturned. (Use): in looking up.
with
the
turned
(ace
sideways.
(Use)
in
carrying weight on the neck, and sorrow.
the
neck
Eecita
shaken or
moved. (Uses)
in
feeling
(bhava), churning and dance.
Kuncita the neck
with
head
the
bent down. (Uses)
in
pressure of weight and in protecting the neck.
Ancita
the
neck
with
head turned back.
the
(Uses)
in
hanging (to death), arranging hair and looking very high up.
the neck
Vahita
witli
face turned sideways. (Uses)
the
in
looking with the neck turned round,

1
Vivrtta
neck
with
face towards
the
(indicating) going towards one's
172-
73-
according
to
[expressing
and the head gestures
So much about
neck.
head
N'ow
the
also
to
follow
are
description
and the connected minor limbs

listen
which T
am
front.
varieties of the
different]
all
the
the gestures
reflected
of
the
{v/iaSiya)
in those
gestures
and
which treats of the Gestures of Minor Limbs.
of
the
of the
of
the
their uses.
of Bharata's NatyasSstra,
l72-m(l',.l7(i-177,Or.l7:U>-l7.r.).
in
neck gestures
about the gestures of the remaining limbs
VIU
customary states of
going to describe.
Here ends Chapter
22
(Use)
place.
These are the many

their
men. Gestures of the neck are

head
own
{ah'j),
MNE
CHAPTER
THE GESTURES OP HANDS

Bharata speaks
So much about the minor limbs such
1-3-
eyesbrows,
was to
you.
tell
of
In
this
and
connexion I shall
hands and the
You
how they
are to listen
feet
and [explain] theirproper
of all] explain the
[first
gestures
that are used in the production of
like,
now- define you for the gestures of hands,
I shall
breast, sides, belly, waist, thighs
use 1
as head, eyes,
and cheecks, and their description that
nose, lips
a play.
are to be applied [in acting].
Sixtysevcn gestures of the hand
Gestures of single haiuhiiisnmijhta-haxta) 1 are twenty-
4-7-
number:
four in
Patilka, Tripataka,
Sukatunda,
Arala,
Kartarimukha, Ardhacandra,
Sikhara,
Musti,
Katakanmkha 2
Kapittha,
Sucyasya (Suciinukha),Padmakosa, Sarpasirah, Mrgas'irsa, Kangula,
Alapadma
Bhramara, Hamsasya,
Catura,
(Alapallava),
Hamsa-
paksa, Sandarpsa, Mukula, Urnanabha and Tfimracuda.
1-3 (B.l, 3, 2, G.l-3).
and
(realistic
(1)
on
relates' to
the two-fold Practice
XIV.
stage (See N>S.
the
(lokadharmi) in this connexion
Practice
realistic
This use
'
coventioual)
is
of
that reflecting one's emotion, as in arrogant reference to one's
self,
this {paiukd)
hand
is
to
Padmakosa hand
conventional
(1) that
of the
Practice
{'talyadliarmf)
ornamental
creating an
is
effect, as
hand (See NS. IX. 205-211
a popular
external
form of an
likewise
the
janimtika
4-7 (B.O. same).
).
of
the
The
(wo kinds, vW.
use of the four karmias
below), (2) thai
behaviour, as the use of the trifiatakh
words spoken aside
object, as
represent lotus and similar flowers.
to
viz.
own-
be laised on a level with the forehead
(IX. 19), (2) that representing the

use of the
The
62ff).
two kinds,
partially
hand
to
suggestin.it,
represent
See Ag.
The-e hands gestures are ordinarily used singly;
'
but at times two bauds showing one of these gestures are used simultaneously.
But
still
these
are railed
single
(asamyu/a)
hands.
For,
combined (samyuta) hands are so called because they are always to be
shown by both the hands

3
Some
mss.
see
read this
Ag.
name
as
khalakimukha.
Our reading
is
-IX 17
THE GESTUBES OF HANDS
8-10.
in
thirteen
Gesture?
number
vardhamanaka 2
Gajadanta,
1
combined hands (/mmijuta-hanta)
of
Aiijali,
Dance-hands (nrtta-lntdn) 1 are Caturasra 2
Hecila,
vaktra, Siieyasya,
Udvrtta
Viprakirna, Arfdakatakamukha, Aviddha-
Talamukha, Svustika,
Nilamba, Kesabandha,
Pallava,
Uttanavancita,
Ardliarecita,
Paksa-
Lata, Kariliasta, Paksavafieitaka,
Urdhvamandali, Parsva-
pradyotaka, Gatudapaksa, Dandapaksa,

liiarulali,
Puspapata, Makara,
Vardhamana.
Avahittlia and
10-17.
are
Kapota, Karkata, Svastika, Kabika-
Nisadha, Dola,
Utsanga,
171
Uromandali
(Jrah-parsvardliaiiiaridall,
Mustikasvastika,
Nalinipadinakoâ, Alapallava, (Jlbana, Lalita and Valita.
These are (he sixtyfour 3 gestures
of hands.
Gestures of single hands
Now
l'('-2ti.
Pataka
(Hag)
AD. (See
supported by the
extended and close against one
lingers
bent.
ed.
M. Ghosh,
Coomaraswamy
verse 124. A. K.
p. 50).
8-10 (B.G. same).

'
warm'
about their definition and uses.
the
thumb
another, and the
MG.
listen
Some
'
See note
of a samyuta-hasta in the
Cooinaraswamy,
MG.
10-17 (B.G.
as their
name
to 4-7 above.
read this name as khalaih"
mss.
AD-
kaiakiwardhana,
M. Ghosh,
(od.
is
the
187 and A. K.
p. 60).
I0b-17a).
'
These gestures (dance hands, nrttahasta)
implies, are ordinarily to be used in dance
bat in course
of acting too they arc often to be used along with other gestures (single
and combined) to create an ornamental
effect
(See note
1-3
to
above).
See Ag.
2
In the Skt.
text these
names
in the fact that unlike the single
one single idea

to
are given
The
our caturasra stands as caturasrau.
in dual
reason for this
number
is to
e.g.
be sought
and combined hands which must represent
or object, the
hands in
the dance-haud
gestures are
be individually moved, not for representing any idea or object but
for creating an ornamental effect in acting as well as in dance.

8
In actual
(single. 24,
enumeration hand
gestures are sixtyseveu in
combined 13 and Dance-hands
should be emended to saptasaslhi.
See Ag.
30).
Catuhsas{hi in
number
the text
17-26 (B.18-25, 26a, G.18-25. 26a).
THE NATYASASTBA
172
(Uses)
To
IX. 26.
represent an administration of blows, scorching
heat, urging, attainment of happiness
ownself 1 this. hand
and arrogant reference of one's
be raised on a
is to
To
level with the forehead.
represent the glare of heat, torrential rain and shower of flowers two
Pataka hands with the
together.
any design
fingers separated
and moving, are
pool of -water,
present of flowers,
shallow
[lit.
by two such
object]
made on
be used
covered,
its
represent
to
dense or
anything closed, made
movement
waves] breaking
against
of wind and
the
hand should be used
and
shore,
of
this
[in
number], a great crowd of men, height,
pounded, or holding up a
manner
26-32.
(Uses)
bowing
or uprooting
beating of drums, and
it,
should be represented
man and woman 2
other.
This
is
be bent.
to
be used in representing
It is to
[in salutation],
[the head with]
comparing
auspicious
invocation, descent,
entrance, raising
2
,
This very hand with

is
its
fingers pointing
to be used
in
In saying
'I
too/
'of
mc
And
mouth or the
ears.
downwards and moving
representing
too', 'by
them on the head,
objects or putting
stream, snake, bees and the like.
up [anything] 1
suggesting alternatives, touching
putting on a turban or crown and covering the
many
Tripataka (flag with three fingers) the third finger
goodbye, prohibition,
up and down
to
[ocean
anything washed, pressed, cleansed,
of representing
Patakahand
bidding
with
is
The Recaka
flood.
palms of two such hands rubbing each
also the
of the
hill
waves,
encouragement,
represent
to
And
upwards.
[ocean]
to
protected,
This very band
(concealable).
express the speedy
by the
open,
downwards and moving up ami down,
lingers pointing
flight of birds
The
position.
downwards arc
their lingers pointing
private
grass and
the ground are to be represented
hands separated from the Svastika
same Pataka hands with
to be joined
flight
of
small birds,
with the third finger of the
me too',
in
me
too'
and the
like (Ag).
Ag. gives detailed rules about tho use of the pataka hand in
the cases mentioned above.
26-32 (B.G. 26b-32)
'
Ag. thinks that this
one's chin.
2
nidarianam upanumopameyabhrniam
(Ag.).
all
relates to objects like
THE GESTURES OF HANDS
jX. 39
Tripataka should be represented wiping

or Patralekha
and touching of
Two
33-88.
173
off tears,
drawing a Tilaka
hairs.
Tripataka 1 hands held like a Svastika repre-
(yum).
sents adoration of the feet of venerable persona
Two
such
hands are to meet each other's end for representing marriage.
and
Separated
When
wards.
an ascetic they are to be raised
a king.
indicate
with
palm
To
turned back-
represent a door they are to face each other. Submarine
To
to be
and sea monsters are
battle
hands,
they
this position
obliquely forming a Svastika they represent planets.
indicate
lire,
moved from
first
pointing downwards.
ith these, very
>>
by two Tripataka
indicated
and then moved with the
raised near one's face
lingers
hands should be indicated
jumping of monkeys, waves, wind and women. To show the cresent

moon this hand should put forward its thumb, and to indicate
a
march [against
king's
bis
enemy]
hand should turn
this
itself
towards the back.
Kartarliuukha
3D-H.
hand
the Tripataka
(Uses)
will
to
This [hand with
tion
fingers]
its
With
of
forefinger
pointing downwards
(i.e.
pointing
fingers
And when
represent biting, horn and letters.
are turned differently

will
the
1
represent showing the way, decorating the feet or dying them-,
3
and the crawling [of babies]
will
blades)
(sissors'
bend backwards.
the middle finger
represent falling down, death, transgression
and putting [anything]
:J
in trust
4
,
it
it
backwards)
it
bent
is
upwards
the lingers in
reversion, cogita-
5
.
rocanalabhanakam-bo\\c\\m% (the body) with go-rocam or drawing

(patralekha)
on
the
body
with
this
substance.
ornamental
designs
Gorocana
a bright yellow pigment prepared from the urine or bile of
is
a cow.
33-38 (B.G. 33-38).
may well have been a

8
Parents,
'
This portion does not occur in
all
mss.,
and
later addition.
grand-parents and the spiritual guide
etc.
are meant by
this term.
39-11 (B.(x. 39-41).
'
(Ag.).
racanam kasturika dimpairabMigadikriya
mnjanam
Read rihgana
vyatikramalfaparadhali
for
rahgana
alaktakena (Ag.).
iu B.
(Ag.).
nyasta-niksepana.
THE NATYASASTEA
IU
And
42.
elephant (airavata),
(Uses)
as to
make
With
crescent moon,
be represented young trees,
should
hand women should represent
With
and the
fingers
bow.
forcible opening,
conchshell, jar (knhi'sa), bracelet,
exertion 1 thinness and drinking
buffalo,
gate {(jOfjara) and hill-top.
a curve like a
this
yak,
antelope,
represented
bull,
Ardhacandra (crescent moon) the
43-45.
thumb so bent
IX. 42-
with the two such (samyuta) "bands or one such
(asamynta) hand should be

celestial
waist,
hip,
girdle,
Ardhacandra
this [very]
Talapatra'
face,
and earring.
thumb
(bent) the
Arala
40-52.
the
lingers
bow,
like a
curved
forefinger
and the remaining
also curved
and
separated
turned upwards.
(Uses)
prowess,
blessing and
present
With
this
should
contentment,
beauty,
other
favourable
woman's gathering
to be represented
and their
similar
fingers
calling
this,
pride,
poise, act of
again, will re-
them and looking
preliminaries to the marriage
The
bridegroom 1 and [marital] union
are
by two Arala hands moving around each other

meeting
form of a Svastika.
in the
hands should be represented
objects, great
And
states.
of hairs or scattering
carefully over their entire body,
by bride's going round the
represented courage,
be
heavenly |objeets],
crowd
of
And
circumambulation,
men, objects arninged on the ground
any one, asking any one not
to
come
in,
with
round
8
.
In
uprooting anything,
ki(H.G..ia).
4S-+5 US
'J.
pimam
'
43-45).
for
'
ptnam
hyastam khedam
(Ag.).
(B.G.),
Mss. rend lidapatra (tail.apatra) meaning a kind of ear-ornament
(tailaitka or
lulaiika).
it
is
different
kuiiijala
from which
is
also
an
ear-ornament.
46-52 (IS.40-52, (i 46-51, 53).
vad/ttwaravor aairali anlarvmihali
Jt'or
kautukamvivakiU
vivfiliahagnau sitkdni panigrahawm (Ag.).
Objects sneli as Alpanh and ilowers
Alpana
see
Ealpana by Andre
piirvabhavl
(A?..).
at
arranged
on the ground.
Suzaune Karpellea, Paris, 1930
* 0. reads after this a couplet defining the
Arida hand.
(?)
DHB
.IX. 61
saying too
many
QfiSWJBBS OF HANDS
wiping
tilings,
off
sweat and enjoying sweet smell,
abuse, censure the Tripataka hands have been
women
me, but
53-54
Arala hand
finger) of the
(Uses) with
not
is)
I',
farewell,
Musti
(fist:
(Uses)
ing
IJ
in
as
'(It
be done; invocation,
not to
(It is)
contempt.
fingers have their ends [bent]
the
into
upon them.
[is set]
used to represent beating, exercise 1 exit, press-
is
shampooing
-(third
be represented words such
and saying 'Fie (upon you)'
55-50.
by
bent
is
not you,
'(It is)
prescribed before
to represent these.
beak)- the ring-finger
(parrot's
should
this
palm and the thumb
hand
are to use the Arala
Sukatunda
175
grasping sword and holding clubs and spears.
Sikhara (peak) in this very hand (mudj) the thumb
57-58.
raised.
(Uses)
It
lips
and
feet
used
is
to represent
(tinnum)
throwing a javelin
and raising up
Kapittha
59-00.
reins,
or a spike
whip,
bow,
goad,
two
painting the
(sa/,//),
hairs.
(elephant-apple) the
of
forefinger
the
Hikhara hand to be bent and pressed by the thumb.

(Uses)
It
is
thunderbolt and
arrows,
spear
true
Katakfimukha
1-04.
weapons such as sword,
to represent
(tmiuirn),
javelin
discus,
(Inmtii),
mace,
spike
bow,
(ivkti),
and wholesome deeds.
the
ring-finger
and the
little
finger
Kapittha hand to be raised and bent.
of this
(Uses)
umbrella,
It
is
drawing
used
up
to
reins,
represent
sacrifice
holding
fan.
1',
oblation 2
mirror, drawing
.13-64 (B.53-54, G.54-55).
.15-56
yuddha
2
(B. 55-56,
Or. 56-
7).
Vyayivma
'
according
to
Asr-
moans
(light or duel).
'Pressing' of tlio teats
of cows and buffaloes while
milking'tlicm
tfanaphlancmahisyudidohaiie (Ag).
3
Samvahana according
to Ag.
57-58 (R.57-58, G.58-59).

61-64
2
(|>.4l,
59-60 (B.59-60. G.60-61 ).
B.60-63,. G.53-65).
havyamujyadyamukhem
means mrtphlana.
'
hotramsrugudi-ttttanena, A.
(Ag.).
THE NATIASASTRA
176
[patterns]
3
,
VII. 65-
powdering, taking np big sticks, arranging a pearl neck-
taking up garlands, gathering the ends of clothes, churning,
lace,
drawing out arrows, plucking flowers, wielding a goad, drawing out

a goad, string and looking at a woman.
65-71.
Suciinukha
the
fore finger
Katakamukha
the
of
hand to be streehed.
(Uses)
forefinger [in
moving
By
up
it]
you
shall tell
down,
and
moving the
and
movement, a cry of approbation 2

incense, lamp, creepers
And
stick.
mouth
of this
[the
rest.
to
And
should
again
and
by
the
circular
this
hand should be
same should be
And
represent a sentence.
finger should be stretched,
72-75.
perspiration,
moved up and down near
curved,
to indicate
This
hand should be shaken
hair,
ear-ring, armlet
khamlanam drawing
khamlantr (draws the
alakii-iilaku
See ed. Haraprasiid
65-71 (B.64-71a, 0.66-72).

s
Saying
The
'welldone.',
text uses
to
to
the fore-
represent
and decoration
anger,
of the cheeks.
Calcutta,
SSiistri,
'
Cf. alaka-tilaka patravaliiii
and patriwali)
in E.
two words
the Kirtilata
UiiM.)
pp.
Bengal dialect of Tippers.
valli
follows
pallava but B. halymm.
and lath meaning

:
'creeper'.
alavu-pmbhrlayo
drbkm/prabkrtayo latah
h'k/imiilafotmiirakamtm khkafnhah (Ag.).
72-75 (B.71b-75a. 0.73-76).
in
BS. 1831
karniuidiktt-karnapura (Ag.).
'how beautiful' etc
distinguishes between the two as
'speak'
decorative patterns or designs on anything.
and the root khw] (to draw)
13-14,
or
And
face
shaken and moved up.
Ag's explanation of this seems to be wrong.
Vidyiipati.
'no'
the
[a
alter-
nately raised and lowered to represent long study and long day.
the
be
bent should meet the
teeth,
iri
',
number] one, club and
forefinger]
the forefinger
down, curve and round-
hand one should represent the taking away
man's] every thing.
be
zigzag
young sprout
serpent,
[hand]
this
with
are
blossoms, (tarring 1
falling
nose,
represent a being
to
movement
raised
stars,
hand with the
[this
hand]
this
young
Sikhanda
ness and with the forefinger
used in [representing]
up without any
[in
lightning, banners,
various uses as the
its
moving
upwards
forefinger
represented discus,
of
briefly
and bent, moving sideways, shaking,
raised
is
vallyali
Ag.
and
-IX. 83
And
to
represent pride,
scratching of the ear
am,' enemy,
'I
177
'Who
is
and
this',
should be held near the forehead. [And

two Suclmukha hands] should be united to represent the union
[of men], and be separated to indicate separation, and to represent
it
a quarrel the two hands should be crossed, and to show bondage

they are to press each other.
The two Suciraukha
hands]
facing each other and held separately on the left side
will
|
represent the close of the
day, and
on the right side they
held
will indicate the close of the night.
form,
hand
This
76.
moved
to represent the serving
To
77.
to
hand
is
to
be raised
By two
78.
is
[to the forehead]
banner)
pointing
the
and held across
rising
downwards
indicate
to
of
Indra
this
it.
moon
full
Indra
is
to
raising
(i.e.
should be held close to the forehead.
moved
[This hand]
79.
of the
it
and
such hands the orb of the
be represented, and to indicate

his
hand
this
the forehead
to
indicate [any]
required.
Siva
represent
be held close
will
a hill, and
up of meals the same movement of the
hand pointing downwards
is
front
mechanical contrivance and
whirlpool,
stone",
the
in
moon, and
all
around
will
to indicate Siva's [third] eye,
on the forehead and
[in
ease
of]
Tndra's
represent the orb

it
should
[eyes
it
be held
should
be]
raised obliquely.
Padmakosa (lotus-bud) the
80.
to
fingers including the
thumb
be separated and their ends to bend, but not to meet one
another.
81.
(Uses)
apple) fruits
To
represent
But to represent accepting [these

be slightly bent at
82.
Bilva
and the breasts of women
[This
its
fruits]
[this
or
hand
is
flesh, this
to
be used].
hand should
end.
hand] should bo
76 (B.77b-78a, G.77).
81 (B.80b-8la, G.82).
held
[to
77 (B.78b-79a, G.78).
79 (B.76b-77a, Q.80).
82 (B.82, G.83).
and Kapittha (elephant-
represent] offering
78 (B75b-76a, G.79).
80 (B79b-80a, G.81).
'
B. adds one hemistich after this.
"8
THE NATIASASTBA
Puja
to a deity, carrying tribute, casket, offering
cake 1 ,
and a number of
ix. 83.
flowers, are also to
the
first
funeral
be indicated by the
Padmakosa hand.
The two
83.
'
and
lotus
Sarpa&rah
(Uses)
85.
meeting at
the
full-blown
fingers
including the
Tt
is
used to represent the offering of water,

water [on anything], challenging
motion of the elephant's
frontal globes
(himbha)
like.
'80.
its
(snake-head) the
of serpents, pouring
a duel],
and the
fingers
represent
will
be close to one another and the palm to be hollowed.
t-i
movement
[for
backwards
water-lilly.
84.
thumb
hands with moving
sucli
the wrist and turning
Mrgasiisa (deer-head) the Sarpasirah" hand with
downwards,
pointing
fingers
but the
thumb and
the
all
little
finger raised up.
(Uses)
87.
It is
to-day, possible, splendour
moved
to represent here,
now, "Tt
(nllamiw), throw of dice, wiping
is",
off'
perspiration and pretended anger.
KangulaThe
88.
thumb
to be separated
middle
and
and the ring
the fore-fingers
and
the
finger to be bent but the little
finger raised.
(Uses)
89.
By
fruits of various kfnds
91.
words
like
(Uses)
"Who
be represented
(Alapadmaka) all
its
It
to
immature
and angry words of women.
Alapallava
90.
the palm, standing on
are
this
side
is
arc you,"
fingers
turned towards
and separated from one another.
to
be
used
for indicating prevention,
"It is not", "nonsense"
and a woman's
allusion to herself.
agrapintla-dtmanandimukhd&raddha
83 (B.8.% G.84).
84 (B.84, G.85).
G .87).
87 (B.87, G.88).
86 (B 86,
88 (B.88, G.89).
89 (B.89, G.90).
98 (B.91, G.91).
'
{kg.).
85 (B.85, G.86).
trertagnisamsthitah=viralali (Ag.).
B. reads one additional couplc*(9.90) after this,
91 (B.92, G.92).
IX. 103
92.
Caturathe
four fingers
stretched
179
and the thumb bent
near the middle finger.

93.
(Uses)
It is
be applied in
to
discipline, penance, cleverness,
a young
representing
a sick
girl,
policy,
person,
spirit,
proper words, welfare, truth and tranquility.
deceit,
94.
By
one or two such hands moved
round should be
represented openness, deliberation, moving, conjecture

and shame.
95.
lotus-petals
By
96-98.
love,
the combined Catura hands are
compared with
eyes,
and ears of
Besides these, the Catura hand
brilliance,
memory,
intelligence,
nutrition, consciousness, hope, affection,
be represented
to
deer.
to indicate sports,
is
judgement, forgiveness,
reasoning, union,
cleverness, favourableness, softness, happiness", character,

livelihood, propriety, dress, soft
defeat, sexual
intercourse,
grass,
purity,
question,
small quantity,
merit and demerit, youth,
wealth,
home, wife
and various colours.
[To represent] white
99.
held
up
(the
it
red and yellow are indicated
Catura hand) should be
by moving
it
round, and
blue by pressing [one such hand with another].
100.
Bhramara (bee) the middle
crossing each
other,
finger
and the thumb
the forefinger bent, the remaining
two
fingers
separated and raised.

101.
(Uses)
used to indicate the plucking of flowers
It is
with long stems such as lotus and water-lily, and ear-ring.
102.
It should fall
down with a sound
pride of power, quickness, beating time
103.
Hamsasya (swan-mouth)
to represent
rebuke,
and producing confidence.
the
forefinger,
middle finger
and the thumb close 1 to one another and the remaining
fingers
stretched.
92
"
93 (B.94, G.94).
(13.93, G.93).
95 (B.96, G.96).
96-98 (B.97-99, G.97-99).
100 (R101, d.101).

103 (B.104, G.104).
M)l(B.102,G.102).
'
94 (B.95, 0.95).
99 (B.100, G.100).
102 (B.103, G.103).
nirantarh iti viralalvam nuedhati (Ag.).
THE NATYASASTBA
1>D
(Uses)
104.
,.
It with the slightly throbbing
indicate .specially, fine, small, loose, lightness, exit,
Hamsapaksa (swan-wings) the
10!).
^he
little finger
106-108.
water,
and
thumb
raised and the
(Uses)
end
and
is
used to
softness.
threefingers stretched,
bent.
It is used to indicate pouring libation
of
should be held near the cheek to represent acceptance
it
Acamana and taking meals
of a gift,
IX. 104-
by Brahmins, embrace,
excessive stupor, horripilation, touch, unguent and gentle massage.
may
It
again
be used to indicate according to the [prevailing]
Sentiment, amorous action of

their breasts, their sorrow
110.
the
States,
relating to the region between
Sandamsa (pincers) the
109,
hollowed.
little
The Sandamsa (hand) according

is
of three kinds, viz.
mouth and
that
111-115.
on one
(Uses)
making garlands
and the thumb
forefinger
hand crossed and the palm a
of the Arala
and
women
and touching of their chin.
to the
that [held] in
Sentiments
front,
that near
side.
In representing the plucking of flowers,
of them, taking
up grass,
leaves,
hairs or
thread
and holding or pulling out an arrow or thorn the Sandamsa should

be held in one's front.
-.Us.
And
stem, the wick [of a
vessel with
any
to represent taking off a
thing], in saying
should be held near the mouth.
[upon
'fie
To
piercing a hole [in pearls
and similar
arrow, and objects aimed
at,
hand held on one fide and
you'],
present softness, abuse and envy.
anger, this
sbjects], bow-string,
yoga, meditation
slightly
and
It
is
colouring one's eyes, deliberation,
thread,
fineness,
and small quantity
This shown by the
turning
from
up [any
represent the sacred
[two] such hands should be combined.
ting,
flower
lamp], [collyriumj stick, filling
its tip is
left
used to re-
used also to indicate painstem,
drawing Patralekha
and squeezing of lac-dye by women.

116.
Mukula (bud) -the fingers bent and close to one
another and their tips meeting together in the
Halnsasya hand.
104 (B.105, G.105).
105 (B.106, 6-106).
106-108 (B.107-109, G.lll).
rw(B.lll,Glll).
109 (1.110, Q.110)
1U-1I5 (B.112-U6 G).

.-'.,
il6(B.117,G.117).
-IX. 126
THE GESTOSES OP HANDS
117-118.
It
is
worshipping a
in
offerings
(Uses)
used to
taking meals, counting of gold
coins,
of
a water-lily,
lotus or
narrowing of the mouth,
away [anything], quickness and buds

Urnanabha(spider) the
119-120.
hand
making
(vUa-enmhana), contempt, miscellaneous things,
throwing a kiss
giving
the
represent
bud of a
deity,
181
of flowers,
fingers of the
Padmkosa
[further] bent.
(Uses)
receiving
It
lions, tigers
used
is
represent
to
scratching
goods,
stolen
head,
Tamracuda
(lit.
copper-crest
and the thumb crossed, the
i.e.
hair,
skin disease,
and such other animals, and taking up [touch]
121-122.
finger
combing of
the
one's
cock)
stone.
the middle
the remaining
fore-finger bent,
[two fingers] at the palm.

(Uses)
It
should
fall
down with
a sound
represent
to
and making
rebuke, beating time, inspiring confidence, quickness,

signs.
This hand
123.
time such as
to a
young
bent and the
and inviting
When
small fractions of
to be used to indicate
Kala, Kastha, Niinesa and Ksana
girl
124.
is
her.
the fingers in a hand are close
thumb
is set
talking
as well as
on them, the same
is
to one
[also]
another,
called
the
Tamracuda hand.
125.
By
and lac of gold

to
move
this
lingers in
it
the best of Brahmins, these are
described by me.
am
hundred, thousand
to be indicated
and when the
are suddenly
made
freely it will represent sparks or drops.
120.
hand are
coins,
Now
the
single
hands
hear about the combined hands which
going to describe.
vilacumbanam svahhiprayam avf117-118 (B.U8-U2, G.118-U9).

skartum svahastatn, eva mukulitam vitas cumbant'xti vitacumbanam (Ag.).
"'
119-120 (B.120-121, G.120-121).
Cf. Ag's explanation
of caurya-
graha.
121-123 (B. 122-124, G.12^-123).
124 (B.125. G.125).
'
125 (B.126, G.126).
123 (B.124, G-124).

126 (B.127, G.127).
THE NATYASASTBA
182
Afijali Putting
127.
(IX. 127-
together of the two
Pataka hands
is
called Afijali.
(Uses)
and friend 1
used to greet gods,
It is
venerable persons
(guru)
In greeting gods
128.
of venerable persons
greeting the friends
it
it is
it is
to be held
be held
to
is
to be placed
the remaining persons there
is
no
on the
make
will
breast,
A iijali)
Kapota hand.
the
face,
ease
in
and
for
and in case of
fixed rule.
Kapota (pigeon) The two
1 29.
one of their sides
on the head,
near one's
uses.
hands meeting on
Listen about
its
130.
(Uses)
be used to indicate an approach with
It is to
inimical attitude, bowing and

indicate cold
and
fear,
women
talking to a
venerable person.
To
are to hold this hand on their breasts.
'The hands [showing the Kapota gesture] released after
131.
the meeting of fingers
indicate
will
anxious words, or 'This much
can be done' or 'Nothing more can be done.'
Karkata (crab) When the fingers of the hands are
132.
interlocked the Karkata
(Uses)
133.
of the limbs,
hand
It is
yawning
is
produced.
used to indicate the bees-wax, 'niassagin<*
just after
awakening from
sleep,
a big body,
supporting the chin and holding a conch-shell [for blowing

134.
together at
it].'
Svastika The two Arala hands upturned and held

the wrists will form the Svastika.
It is to be used by
women.
135.
(Uses)
Svastika position,
When
it
the hands are
separated
from
the
will indicate directions, clouds, the sky, forests,
seas, seasons, the earth
and similar
[other] extensive things.
127 (B.128, G.128).
128(B.129b-30a,G.129).
this.
B. adds one additional hemistich
129(B.l30b-131a,G.13O).
130(B.131b-132n,G.131).
,132 (B.l33b-184a, G.133).
134 (B.l85b-I36a, G.135).
131 (B.132b-132a, G.132).
133 (B.134b-135a, G.134).

136 (B,l*6M37a, G.136).
after
-IX. 144
Katakavardhamanaka
136.
hand
When
183
one Kataka (mukha)
placed on [the wrist ofj another Kataka [mukha] hand the
is
Katakavardhamanaka hand
(Uses)
It
be used in movements
to
is
love-making and in bowing
Utsanga
137.
will be produced.
connected
with
a person J*
[to
When
Arala
the
hands
contrarily
are
placed and are held upturned and bent, the Uts-anga hand will
he
the result.
(Uses)
It is used to indicate the feeling of touch.
It is also
138.
used to indicate anything
anger and
great effort, acts, of
indignation,
to
be done
with
squeezing [anything]
and women's acts of jealousy.
NisadhaThe
139-140.
above the elbow and the

with a clenched
fist
(Uses)
141.
hand
holding the [right] arm
a Nisadha hand.
valour,
arrogance
left
arm
intoxication, pride,
indicate patience,
It is to
eagerness,
elegance,
make
will
:
left
hand similarly touching the
right
self-conceit, haughtiness
motionlessncss, steadiness and the like.

142.
DolaWhen
the
two shoulders
Karana and the two Pataka hands

hand
are
ease
at
down
are hanging
the
in
Dola
produced.
is
(Uses)
143.
fainting,
fit
It is to
be used in indicating hurry, sadness,
of intoxication, excitement, state of
illness
and wound
hands
with their
by a weapon.
1
lingers
14.
The
Puspaputa
Sarpasirah
two
close to one another meeting on one side very closely
give rise to the Puspaputa hand.
139-140
(B
144-145).
'
G. omits
differently, but in the footnote to lines
uses too.
in
137 (B.13U, G.138).
(B.137b-138.., G.137).
will
this passage
1-16
138 (B 140, G.139).
and 141, and read them
the definition occurs, and the
B. also gives an additional definition and uses of the Nisadha
B.141 143.
141 (B.146).
'
See note
142(B.148,G.142).
144 (B.150, G.144)..
'
'
to 139-140.
143 (B.149, G.143).

- "145 (B.151, G-145).
THE NATJASASTBA
184
145.
carrying of
(Uses)
It is to be used to
rice, fruits,
indicate the
IX. 146
receiving
or
flowers and foods of various kinds and the
carrying and removing of water.

146.
thumbs
Makara When
raised
Makara hand
147.
are turned
two
the
down
Pataka hands with
and. placed
produced.
is
(Uses)
It is
crocodile, shark (mal-ara)
used
and
indicate
to
fish
lion,
elephant,
tiger,
and other carnivorous animals.
Gajadanti The two Sarpasirah
148
their
on each other the
hands, 'touching
the
opposite arms between the shoulder and the elbow will give rise
to
the Gajadanta hand.
149.
(Uses)
uprooting a
150.
hill
It is to be used to indicate the carrying of the
bridegroom and the
bride, excessive weight, clasping a
or a block of
and
pillar
stone.
Avahittha When
two
the
6ukatundi hands
m.ut
each other on the breast and are bent and then slowly lowered, the
Avahittha hands
151.
be the result.
will
(Uses)
be used in indicating
It is to
showing one's body, thinness
[of the
weakness, sigh,
body] and longing [for a be-
loved person"!.
152.
Vardhamana When
the Kapittha the result will be the

153.
(Uses)
By
Mukula hand
the
154.
the
known
Or
clasped by
pressing one hand with the other
to indicate grasping, receiving, preserving, convention
truthfulness and
is
Vardhamana hand.
it is
(or
used
doctrine)
abridgement.
the two
Hamsapaksa hands turned down
as the Vardhamana. (Uses)
It is to
will
be
be used to represent
the opening of objects like latticed windows.
155.
The two
kinds of
hands
(single
146 (B.152, 0.146).
147 (B.153, 0.147).
148 (B.154, G.148).
H9
150 (B.156, G.150).
151 (B.157, 0.151).
and combined)
(B.155, 0.149).
152-153.
Ms. 67. of 0. and (la of B. road tho passages
as we do
but B. and 0. reject this and read thorn differently.
154 (B 158, G.152).
155 (B.160, G.153).
IX. 166
THE GESTOSES OF HANDS
described briefly
the rules laid
may be
down
186
used elsewhere also in conformity with
here.
General rules regarding the use of hand gestures
In acting, hand [gestures] should be selected for their
156.
form, movement, significance, and class according to the personal
judgement
[of the actor].
There
157.
is
no gesture
indicating [some] idea.

(lit.
usually
gestures) are
hand^that cannot be used in
(lit.
I have profusely described whatever forms
seen
be associated with
[to
different
ideas].
There are besides other popular gestures
158.
(lit.
hand)
connected with other ideas, and they also are to be freely used along
with the movements inspired by the Sentiments and the States.
159.
These gestures should be used by males as
females with proper regard to place, occasion, the play
and a
as
suitability of their meaning.

Different
160.
[different]
(lit
movements of hand gestures

describe
hands)
the
varied
have
[should]
in
movements which
connexion with
th,
Sentiments and States.
161-163.
[These movements are]
drawing out,
together,
now
I shall
these gestures
ing,
well
undertaken
accepting,
killing,
drawing upwards, dragg-
releasing,
protecting,
separating,
beckoning, urging, bringing

throwing, shaking,
giving away, threatening, cutting, piercing, squeezing and beating.

164.
Hand
gestures according
to the theory
of Histrionic
Representation are to have three kinds of general movements,
viz*
upwards, sideways and downwards.

165.
These movements of hands should
use, be embellishad
eyes, the
by means of
eyebrows and the
at the time of their
[suitable] expressions
in
face.
157 (B.162, B.G.155).
156 (B.161, G.154).

158 (B 163, G.156).
159 (B.164, G.157).
160 (B.165, G.158).
161-163 (B.166-168, G.159 161),
164 (B.169, G.173).
165 (B.l 70, G.162).
the
THE NATXABASTBA
186
:{
IX: 169-
Spheres of hand gestures
The experts
160.
to
the
are to use
hand gestures according
the
popular practice and, [in this matter] they should have an
eye to their movement,
quantity, appropriateness
sphere,
object,
and mode.
Hand
167.
move near
at about
their breasts while
hand gestures
their
in regions]
The
In
168.
type should
gestures of persons of the superior
inferior
the
below
ersons
move
this.
quantity of gestures
superior acting,
the
persons [should
middling type of
their forehead, that of the
hand gestures should have
medium sort
scanty movement, in the middling acting
while the ordinary acting should have profuse
of
movement,
movements
hand
of
gestures.
To
169.
of
and ideas the hand gestures
indicate different objects
the superior and the middling types [in such
persons of
cases]
should conform the definitions given [in the Sastra] while gestures
of the persons of inferior type should
and
their
But when
170.
present
the
hand
popular practice
follow the
[own] natural habit.
themselves,
[specially]
wise people
different
should
occasions
make
or times
different
uses
of
gestures.
171-174.
fainting,
While a person
terrified,
overcome
asleep, handless, inactive,
is
with
drowsy,
himself as sad,
represent
to
disgust
or sorrow,
inert, sick, attacked
seized with panic, attacked with cold, intoxicated,
weak,
with fever,
bewildered, mad,
thoughtful, practising austerities, residing in a cold region, prisoner
under
arrest,
running very swiftly, speaking in dream, suddenly
moving away and cutting
nails
he
is
not to use hand gestures,
but he should resort to the Representation of the

well as to
the change
Temperament as
of voice suitable to the different States
Sentiments.
166 (B.171, G.163).
167 (B 172, 0.164).
168 (B.173, G.166).
169 (B.174, G.166).
170 (B.175, G.167).
171-174 (B.176-179, G.168-171).
and
-IX. 183
f HE GESTUBES OP HANDS
At
175.
the time of verbal acting
187
when
{i.e.
the actor
will
enunciate his part) the eyes and the look are to be directed to points
at
which the hand gestures are moving, and there should be proper
meaning may be
stops so that the
The movements
17G.
be of
hands
and acting
will
These are the hand gestures connected with the various
177.
(i e.
seen) 1
upwards or downwards.
kinds of Histrionic Representations.
hands
in dancing
(lit.
palms kept upwards, downwards or oblique,
five kinds, viz.
fingers pointing
of
[clearly] expressed
I shall
now speak
Dance-
of
gestures to be used in dance).
The Dance-hands
]
Caturasra
78.
two
Katakamukha hands
forward
held
Angulls apart [from each other] on one's breast, the two
eight
shoulders and elbows on the same

1
the two
Udvrtta
79.
Its alternative
palm-leaf (fan).
Talamukha the
180.
level.
Hamsapaksa hands waved like a

name is the Talavrnta (palm-leaf).
two
hands
from
Caturasra
the
position to be held obliquely facing each other.
Svastika
181.
wrists
the
Talamukha
hands
crossed
the
at
but released after this they are called Vipraklrna.
Aralakatakamukha the
182.
(Alapad-
Alapallava
two
maka) hands with palms upwards changed into Padmakosa hands.

Its
another
name
Aralakataka-
AviddhavaktrakaThe
183.
two hands
are
to
have a
the
oppo-
shoulder, elbow and hands, and the palms [of the hands]
moved
graceful (leutila)
site
is
movement
after touching [successively]
are to turn towards the back.
175 (B.180, G.172).
'
B. repeats hero 164 (B.169)

77 (B.183, G.176).
176 (B.182, G.175).
178 (B 184, G.177).
179 (B.185, G.178).

181 (B.187, G.180).
180 (B.186, G.179).
182 (B.188, G.181).

definition.
B.G. read
after
this
183 (B.190, G.183).
variant
of
this
THB NATYA8A8TRA
SudmukhaThe
184.
thumbs touching middle

185.
Recita
[IX.lSt-
two' S&rptîr&h
hands with
their
fingers are to stretch their tips obliquely.
- the
two Hamsapaksa hands swiftly moving
with the palms facing upward
This
is like
the ordinary Recita [of
the hands].
Ardharecita-The
186.
left
hand
should
be as in the
Caturasra and the right hand as in the Recita.

187.
UttSnavancitaThe two Tripataka hands are
slightly
bent obliquely and the shoulders and the&lbows are

moved.
Pallava the two Pataka hand joined
188.
Nitamba the two Pataka hands
at the wrist.
taken out from the shoulder
[to the hip].
Kesabandha the two hands moved out from
1K9.
hair-knot
(kwbnmUm) and
Lata the
190.
the
held on the sides.
two
hands to
be
obliquely
stretched
sideways.
191.
side to side
192.
Karihasta the Lata hand held up and swung

and the Tripataka hand held on the
ear.
Paksavaiicitaka-ono Tripataka
hand
placet!
from
on the
waist and another on the head.
193.
ing places
Paksapradyotaka-the Paksavancitaka 'hands

changthe hands placed on
the waist to be put on the
(/.,.
head and vice versa).

194.
alternately
Dandapaksa-the
and then held out
two Harnsapaksa
like
hands
moved
staff.
195.
Ordhvamandall-the two hands
movement near the upper region
{i.,. the
to
have
circling
upper part of the body).
mflâ"*
185(B.193,G.186).
187(B.195,G.188X
189(B.197,G.190).
1^.199,0.192).
11.0.19A
'
M- *-"
a
186 (B.1
^definition.
H G.187)
188(B.196,G.189)
190 (B.198,G.I91)
192(B.200,G.198).
IMflUeW-Mft
'
195(8.203,0.196)-
IX.
mi
QE8TUR& OP BAUDS
J&>
Partivamandall the same movement made on one
Uromandall
1 96.
up and the other
be raised
affer
circling
side.
movements one hand
hang down, and movements
to
to
to
take
place near the breast.
197.. Urahparsvardhamandala
the
Alapallava
(Alapad-
maka) and Argla hands moved by turns above the breast and on
the sides.
Mustikasvastika
198.
at the wrists
the
two Katakamukha hands bent
and moved round.

Nalinipadmako&i the hands to be moved by turns
199.
with Vyavartita and Parivartita Karana.

Allapallava
200.
Karana
in their
the
two hand to
have the Udvestita
movements.
Ulbanathe two hands
to be stretched
up and waved.
two [Ala]-pallava (Alapadmaka)
201.
Lalita
moved above the
head.
Valita the two Lata hands crossed
The Dance-hands
202.
at their elbows.
in forming
are to be used
such as the Pataka should be
and hands
hands to be
Karanas
used in representing
the meaning [of words],
[But] sometimes, out of necessity their uses are inter-
203.
changed, and the names given are due to their predominant use
in
drama and dance.
204
bined.
The Dance-hands are

now speak of hands
I shall
The
205-206.
two kinds
single
and com1
in relation to the Karanas.
four Karanas of the hand
Instructors of hand
the four classes into which

classes are
of
all
gestures are to note carefully
such gestures are grouped.
A"vestita, Udvestita,
The
four
Vyavarita and Parivartita.
196 (B.204, G.197).
197 (B.205, 0.198).
198 (B.206, G.199).
199 (B.207, G.200).
200 (B.208, G.201).
201 (B.209, G.202).
202 (B.210).
G. omits
this.
-
204 (B.212, G.203).
K. mentoned in
H& IV.
'
62ff.
203 (B.211).
This Karana
G. omits
is evidently differently
N
this.
from the
205-206 (B.213-214, G.204-2W).
THRNATYASASTBA
190
Avestita
207.
When
[Si. 207-
beginning with the
the fingers
first
one (the forefinger) are gradually pointing inwards
at the time [the
hand] moves round, the Karana [thus produced]
called Avestita.
Udvestita
208.
one
When
are gradually
[forefingers]
outwards
pointing
moves round, the Karana thus
[the hand]
is
the fingers beginning with

at
produced
the
first
the time
is
called
Udvestita.
209.
one (the
[the
Vyavartita
When
beginning
with the last
gradually pointing inwards at the time
are
little finger)
fingers
hand] moves round
Karana thus
the
produced
is
called
Vyavartita.
210
one (tho
Parivartita
little
finger) are
When
the
fingers beginning with the last
gradually
pointing
outwards at
time [the hand] moves round, the Karana thus produced,
is
the
called
Parivartita.
211.
applied in
Hand
gestures
[various]
their
in
movements when
drama and dance should be followed by Karanas having
[appropriate expression of] the face, the eyebrows and the eyes.
The movements
212-213.
of
arms
Persons dealing in drama and dance have pres-
cribed ten [movements] of
arms
Tiryak, Drdhvagata,
Adhomukha,
Mandala, Svastika, Aiicita, Kuncita
Aviddha, Apaviddha,
and
Prsthaga.
214.
Brahmins, I have
of rules regarding the
now
Karanas and
finished the brief description
shall
speak afterwards about
the movements of the breast, the belly and the sides.
Here ends Chapter
IX of
Bharata's Natyas'astra
which treats of the Gestures of Hands.
207 (B.215, G.206).
208 (B.216, G.207).
209 (B.217, G.208).
210 (B.218, G.209).
211 (B.219, G.210).
212 (B.220, G.211).
213 (B.221, G.212).
214 (B.222, G.213).
CHAPTER TEN
THE GESTURES OP OTHER LJMBS
The
The
1.
(slightly bent),
breast
(slightly
high, shoulders slightly bent
(Uses)
3.
bo
to
five kinds
of
Abhugna
(natural).
Abhugna
2.
known
Nirbhugna (unbent), Prakampita (shaking), Udvahita
and Sama
(raised)
is
breast
bent) (the
and
lowered,
bratst)
back
at times loose (not stiff).
in hurry, despair, fainting, sorrow, fear, sickness,-
broken heart, touching of cold objects, rains and being ashamed

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

5.
assertion
(Uses)
of
having resentment, look of surprise,
in paralysis,
truth,
mentioning oneself haughtily, and excess of
pride.
6.
Prakampita (shaken)
the breast
incessantly heaved
up
[and down].
7.
(Uses)
in laughter, weeping,
weariness,
panic,
[fit
ofj
asthma, hiccough, and misery.

8.
Udvahita (raised) the breast raised up.
(Uses)
in (representing)
deep breathing, viewing some lofty
[object], and yawning.

9.
Sama
(natural) All the limbs
and with Saustlmva the breast
being in the Caturasra
be called
Sama
(natural).
2 (B.IX.224, G.2).
1 (B.IX.223, G.l).
4 (B.JX226, G.4).
3 (B.IX.225, G.3).
5 (B.IX.227, G.5).
will
B.G. read after this an additionafeouplet-
6 (B.IX.229, 0.1).
7 (B.IX.280, G.8).
8 (B.IX.281, G.9).
9 (B.IX.232, G.10).
TEE NATYA8ASTBA
IM
The
UK
And
movements.
The
11.
(raised),
I shall now
of the breast
variety
define here the two sides.
sides are of five kinds, viz.,
Prasarita
X. 10-
aides
described the
I have properly
Nata
(turned
Virvartita
(extended),
Samunnata
(bent),
round)
and
Apasrta (drawn away).

12-15.
Nata (bent) the waist
bent,
one shoulder drawn away
Nata
position] will
Unnata (raised)The other
Unnata
be
the waist, the side, the
slightly bent,
one side slightly
slightly.
side [on the assumption of
arm and
the
[because in relation of
(raised),
it]
the shoulder will be raised.
Prasarita (stretched)- the stretching
of
the sides
in
their
(respective) directions.
Vivartita
round) the Trika (sacrum)
(turned
is
to
be
turned round.
Prasrta (drawn
away) the
position from the Vivartita
These are the
side
movement
restored
to
its
original
[described above].
definition of the various kinds of sides.
Uses of the sides

16-17.
Nata (bent) in approaching any body.
Unnata (raised) in going backwards.

Prasarita (stretched)in joy and the like.
Vivartita (turned round) -in turning about.
Apasrta (drawn
away)in
These are the uses of
returning.
Now
sides.
listen
about those of
the belly
The
The
18.
(depressed),
the bent
is
and
belly
is
Puma
of
three
(full).
Khalva and the
full
Of
kinds
10(B.IX.233,G.ll).
16-17 (B.1X. 239-240, 0.17-10.
Ksama
(thin),
Khalva
these, the thin (belly) is
Ksama,
belly
12-15 (B.IX.235-238, G.13-16).
belly
is
Purna.
ll(B.IX.284,G.12).
-
B roads
1
nmrtita.
8 (B.IX.241, 0.19).
-X. 25
THE GESTUBES OF OTHEB LIMBS
]
'
199*
Uses of the belly
19-20.
JCfama, (thin)
in laughter, weeping, inhalation
and
yawning.
Khalva
(depressed)
penance (tapas), weariness
in sickness,
and hunger.
Purna
eating
(full)
and the
fatness, disease, too
breath,
in emitting
much
like.
the
of
These are the uses
Now
belly.
listen
about that
of the waist.
The
21-24.
The
Chinna (turned
about),
waist
drama
waist in dance and
aside), Nivrtta,
of five kinds,
is
(turned round),
Recita (moved
(shaken) and Udvahita (raised).
Prakampita =Kampita
Chinna (turned aside) in turning the middle

Nivrtta (turned
viz.
round) in turning
to
of the waist.
the front from the
reverse position.
Recita (moved about)
in
moving
in all directions.
Prakampita (shaken) in obliquely moving up and down.

Udvahita (raised) in raising the two sides of
the waist
slowly.
These are the movements of the
Now
waist.
listen
about
their uses.
Uses of the waist
25-26.
Chinna (turned
aside)
exercising [the limbsl
in
hurry and looking round.

in turning round.
Nivrtta (turned round)
Recita (moved about)
in
Prakampita (shaken)
in
movements
[of the general type].
the walking
of
hunch-backs and

19-20 (BJX,242-243a, 244a, G.20-21).
B.G. read an additional ho-
mistieh between 20a and 20b.
21-24 (BJX.244b-248a, G.22-25).

25-26 (B.IX.248b-250a, G.26-27X
25
>
B.G. read
differentiy.
THE NATYASASTBA
194
Udvahita
(raised)
[movement
in the
[X.
27-
of] corpulent [persons]
and the amorous movements of women.
The
The
27-30.
thigh
have
thighs
five
conditions, viz.
Kampana
Stambhana (motionlessness), Udvartana
(shaking) Valana (turning),
(springing up) and Vivartana (turning round).

31,
Kampana
(shaking) raising
and lowering
of heels
repeatedly.
Valana (turning) drawing the knees inwards [while
Stambhana (motionlessness) suspension

Udvartana (springing
and moving
up) drawing
of
going].
movement.
the knee inwards (valita)
it.
Vivartana (turning rould) drawing the heels inwards.

Uses of the thigh
Kampana
32.
(shaking)
movement
the frightened
in
of
Valana (turning)
movement
in the
Stambhana (motionlessness)
Udvartana (springing up)
of
women
in perturbation
at ease.
and despair.
in exercising [the limbs] and the
Class Dance.
Vivartana (turning round)
in
going round due to causes
like hurry.
33.
Similar other [conditions of
found in popular practice,

description of the thigh.
may
Now
the
thigh]
as they are
be assumed. So much about the
listen
about the shank.
The shank
The shank
34-37.
Nata
(bent),
is
of
five
kinds,
viz
Xvartita
(turned)
Ksipta (throwwout), Udvahita (raised) and Parivrtta
(turned back).
27-30 (B.IX.250b-253, G.28-31a).

.
30-32 (B.IX.254-256a, G.31b-33).
33 (B.IX.256b-257a, 0.34).
34-37 (BJX.257b-258a, G.35),
THE GESTURES OF OTHEB LIMBS
-X. 41
Avartita (turned) the

right [one] to the left.
Nata
(bent)
195
foot turning to the right
left
and the
the knee
bent.
Ksipta (thrown out) shank thrown
out.
Udvahita (raised) raising [a shank] up.

Parivrtta (turned back)
the turning back [of a shank].
Uses of the shank
38-40.
Nata
(sitting)
Avartita (turned)
(bent)
in
in the Jester's walking.
Sthana
assuming
and Asaiia
(standing)
postures,
Ksipta (thrown out)
the exercise [of limbs]
in
".
and the
Class Dance.
Udvahita
(raised)
movements
in
like quick (avidtlha)
walking.
Parivrtta (turned back)
in Class
Dance and the
These are the movements of the shank.

the
movement
listen
about
of the feet.
The
The
41-50.
Now
like.
feet are
feet
and
of
five
Agratalasancara, Ancita and
Udghattita
their uses
kinds,
viz.
Udghattita, Sama,
Kuiicita.
standing on
the fore part of the feet and
then
touching the ground with the heels.

(Use)
and
this
In
practice this
is
to
follow
the Udghattita
should be applied once or more in the high or
Karana
medium
speed.
Sama
(natural)
[feet] naturally placed
on an even ground.
It relates to representing a natural posture.
(Use)
It
should be kept
still
in
representing
the
natural
88-40 (BJX.262b-263a, G.39).
41-50 (B.IX.265b-270a, 273b-278a, G.42-45, 47-52).
B. adds three
additional couplets after 45, and G. adds one additional couplet after 44.
9
B. reads si At/a for ksa/a meaning 'wound'.
THE NAT*ASASTBA
196
body
position of the
in connexion
Becaka movement
in the
with the various
of the feet
X. 51.
Kansas, but
should be moved.
it
Agratalasaucara the heels thrown up, the big toe put forward
and the other toes bent.

This
to
be used] in urging, breaking, standing
posture (stli&naha), kicking,
striking the ground, walking, throwing
(Uses)
[is
away [something], various Recaka movements and walking on the
wound
forepart [of the foot] due to an
Anclta the
and
raised
all
(Uses)
wound
heels
at the heel.
on the ground, the forepart
of the feet
the toes spread.

It is to
be applied in representing a movement with
at the forepart of the foot, turning
round
being struck [by something] and in various
KuScita the
thrown up,
heels
in every
Bhramarl
toes
all
way, foot
movements.
down and
bent
the middle of the feet too bent.

(Uses)
51.
It is to be used in aristocratic
and
turning round to the right
vice versa
(iidatta)
and the Atikranta
going,
Cart,
The Carls
Persons practising [the Carts] should take up
52.
taneously the
[For] in the
movements
movement
of
the
feet^
the
of feet are included
simul-
shanks and the thighs.

all
the
movements
of
the shanks and the thighs.

53.
The
thighs follow the
way
in
which the
feet are
and these two [limbs] constitute together the Carl of the

54.
limbs.
moved,
feet.
These are the descriptions and uses of the [various]
I shall
now
describe the
Here ends Chapter X.
System of the
[different] Caris.
of Bharata's Natya&stra,
which treats of the Gestures of other Limbs
61 (BJX.278-279a, G.53).
' B.
reads after this three
additional
hemistichs wich define the Sari foot
as follows : The [right foot with its]
heel raised resting on the big toe
and the left foot in the natural position
constitute the Sue! feet. It is used in
dance and playing the Napura.
52 (B.IX.281, G.56).
53 (B.IX.282, G.57).
54 (B.IX.283, G.58).
CHAPTER ELEVEN
THE CIRI MOVEMENTS
Definitions
1.
As
[different]
the
Girls
prescribed
limbs
relate
to
by
and connected with
rules
(vyayacchante from
out to) one another they constitute
vya-yam, stretch
arc called)
(lit
vyayama
(System) 1 .
2.
Cart
The movement [mainly] with a
single
foot,
is
called the Carl'.
Karana 1
3.
the
The two
Khanda
feet
moving
[together]
is
called the
combination of the [three] Karanas
Karana.
is
called
Khanda.
Mandala
Throe
or
four
Khandas combine
make up
to
tho Mandala.
Uses of the Carl
4.
[in
From
release
general] should be
5.
Caris proceed
the
general] and
made
of missiles
dance as well as movements

;
and [the stage]
fighting [in
with the Carls.
Whatever has been described as Histrionic Representa-
tion (nlklya)
is
included
in
the Carts,
and no part of
it
can take
place without the same.

6.
Hence I
shall described the rules of the Carts
to be used in dance, ordinary
The
7-9.
The
movements and
fights
which are
[on the stage].
thirtytwo Caris
following sixteen are the earthly (bhaunii) Carts
Samapada, Sthitavarta, âkatasya, Adhyardhika, Casagati, Vicyava,
1 (B.X.2, G.2).
i (B.X.S,
mentioned in
G 3).
N& IV.
4 (B.X.5, G.5).
B.G. road one additional couplet before
this.
This karana should be distinguished from that
80, 34-75, 63ff.
5 (B.X.6/G.6).
7*9 (B.X.8-10, G.8-10).
3 (B.X.4, G.4).
6 (B.X.7, G.7).
THE NATYASASTRA
198
Baddha, Urudvrtta, Addita, Utsyandita, 1
Edakakridita,
Syandita
2
,
The
TJrdhvajanu,
aerial
follows
as
are
Carls are sixteen in number.
(afcastfo)
Apakranta,
Atikranta,
Nupurapadika, Dolapada,
Suei,
Vidyudbhriinta,
UdvrttS,
Janita,
Apasyandita 8 , Sainotsarita-matalli and Matalli.
10-12.
They
[XI.lO
Parsvakranta,
Bhujaugatrasita,
Alata,
Aviddha,
Aksipta,
Harirtapluta,
Dandii and Bhramaii.
The
Samapada
13.
toes] meeting,
the two feet close together, the nails [of the
and standing on the spot 1 .
Sthit&varta
14.
cross the
earthly Carls
remaing
foot
one
and
Agratalasaiicara
drawn up to
foot
movement repealed with another
this
foot after separating the two.

15.
Sakatasyii-the body held upright, one Agratalasaiicara
foot put forward
1C.
and the breast being Udvahita.
Adhyardhika the
the right one, the latter to be

17.
Casagati the
foot
left
on the back
drawn away
right
back aud at the same time
foot
left
[a Tala
heel)
(i.e.
and half a
of
part].
put forward and then drawn
drawn back and put forward
foot
afterwards.
1
tion
8.
Vicyava
seperating the
feet
from the Samapada posi-
and striking the ground with their fore part.

19.
jumping
Edakakridita
up and down with the Tala-
saiicara feet.
G. reads
the.se
names as Ulspandita, Apaspandita and Spandita
and B. as Ulspandita, Syandita, and Apasyandita.

the root
syand as
and spand.
I have been taken
the basis of all these names. Mas. erratically give

'>
sec note 1 above.
syand
Hid.
10-12 (B.X.11-13, G.ll-13).
13 (B.X.14,
writes
wra<t
ii
wn?r
*Mi* iterant
'
14).
On
aiq^lftft
14(8X16,0.15).
16 (B.X.17, G.17).
17 (B.X.18, G.18).
the
^(fa,, _
appropriateness of this
name
^^ft m vm^ mmm
Ag.
i^ft ma
WW.
15(B.X.16,G.l6).
The exact measure (1 tola)

18
(BX19, G.19).
is
given by Ag,
19 (B.X.20, G.20).
-XI. 31
THE CABI MOVEMBMTS
Baddha
20.
The sideways
movement
199
of the thighs
when
the two shanks are crossed.
Urudvrtta
21.
the
of a
heel
one of the shanks to be
outwards,
Talasaiicara
slightly bent
foot
placed
and the thigh
turned up.
22.
Addita
one
Agratalasancara
rubbing
foot
against
the fore part or the back of another foot.

23.
ways
(lit.
24.
Utsyandita
in
and out)
Janita
another hand
25.
the
two
Musti
to
move
gradually
side-
of the Recaka.
hand
movod round, and
Syanditaone
feet
manner
in the
held
on
the
breast
and
the feet to be Talasaiicara.
forward
put
foot
five
TiilaS
away
from the other.
Apasyandita
the reverse of the
away from the
foot being put forward five Talas
26-
Samotsarita-matalli
ment and the

27.
Can
Syandita
(i.e.
another
other).
going back with a circular move-
feet being of the Talasaiicara kind.
Mattali going
back with a circular
movement and
hands being Udvestita and motionless.

28.
These arc the Caris used
in the Karanas.
I shall
now
The
29.
fall
combat as
foot
thrown
up,
put
forward
on the ground.
Apakranta the Valana posture of

Kuncita foot raised and thrown down sideways.
HO.
31.
well as
aerial Carls
Atikranta a Kuficita
and caused to
in pesonal
describe the aerial Carls.
ParSvakranta one
foot
Kuncita and
the two thighs,
another thrown
up. and brought near the side.
20 (B.X.21, G.21),
21 (B.X.22, 0.22).
22 (B.X.23, 0.23).
23 (B.X.24, 0.24).
24 (B.X.25, 0.25).
25 (B.X.26, G.26).
26 (B.X.27, G.27).
27 (BX.28, 0.28).
28 (B.X.29, G.29).
29 (B.X.30, G.30).
30 (RX.31,
31 (B.X.32, G.32).
0.31).
THE NATYASASTBA
200
TJrdhvajanu--throwing up a Kufieita foot and
32.
XL 32knee
its
knee withbrought up to the level of the breast, and the remaining

out
of the
first,
and the
33.
Sucia
first
thrown up in the manner
this second foot
movement and then
foot kept motionless.
Kuiicita foot
thrown up and
the knee of the remaining foot and then to let
brought above
on
fall
it
fore
its
part.
Nupurapadikaone
34.
Dolapadaone
35.
from
side to
side
Kuiicita foot
and then caused
te
up and taken
raised
Aficita foot
behind another foot and then quickly caused to
on the ground.
fall
thrown up and moved
on the
fall
ground as an
Aficita foot,
Sksipta one
36.
placing
foot
Kuiicita
thrown
remaining
leg.
Kuiicita foot from
Aviddha one
37.
tion stretching and
falling
Udvrtta the
38.
then caused to
fall
(Kufieita)
of
foot
its
40.
Aficita foot.
Aviddha
Alataone
foot turned to the back
foot stretched
and
fall
the
after
circle.
backward^ and then put
in
in its heel.
Bhujangatrasita one Kuiicita
the waist and
Carl
and thrown up and
top part to be stretched and the head moved in a
and afterwards caused to

41.
the
posi-
Svjistika
[on the ground].
Vidyudbhranta one
39.
the
on the ground quickly as an
taken round [the thigh of the remaining leg]
touching
and then
off
quickly on an Ancita foot by crossing the shank of the
it
foot
thrown
up
and
knee being turned round and the thigh [of the
remaining foot] to be turned round too.

42.
caused to
Harinapluta
fall
the
on the ground
foot
in
after a
the
Atikranta Cart to be
jump and
the shank of an
Aficita foot to be put in the
Ksipta posture.
32 (B.X.33, G.33).
33 (B.X.34, G.84).
34 (B.X.35, G.35).
G 36).
36 (B.X 37, G.37).
37 (B
38 (B.X.39, G.39).
39 (B.X.40, G.40).
40 (B.X41, G.41).
41 (B.X.42, G.42).
42 (B.X.43, G.43).
35 (B.X.36,
X 38,
G.38).
XI.
THE CAM MOVEMENTS
5?]
Dandapada
43.
201
Nupura [padika]
the foot in the
Cari to
be stretched and quickly to turn.
44
Bhramari
up and the
and then the second
the foot in the Atikranta Cari to be tlirown
foot to be
These are the
45.
movements
weapons
body turned round
entire
46.
aerial
the Trika turned round)
its sole.
Cari?,
These are
of the limbs.
like
(lit.
moved on
to
consisting
O, Brahmins,
with or follow the
in all these
cases the
two hands should,
Where
48.
all
the foot [moves], there the hand [should

entire
the minor limbs should be
When
simultaneously
feet.
and where the hand [moves], there the

taking a step,
graceful
an arrow and the thunderbolt (vajra).
according to the circumstances, either precede, go
47.
of
be applied in the release of
in course of a Cari a foot,
ground the [corresponding]
body.
made use
follow]
[Hence] after
of.
comes to
rest
on the
hand should bo moved round and
brought on the waist.

49.
ful
I have fiinished describing the Caris consisting of grace-
movements
of the
I shall
limbs.
now speak
of
the Sthanas
(standing posture) to be used in the release of missiles of
all
kinds.
The Sthanas
50.
The
Sthanas
six
(standing
postured
men
for
are
Vaisnava, Sampada, Vaisakba, Mandaln, A~lidha, and Pratyaltdha.

51-52.
Vaisnava
the
foot in the natural posture
pointing
feet
two Tolas and a half
apart,
one
and another obliquely placed with toes
sideways and the shank bent (ahcita) and limbs with
Visnu
the Sausthava.
53. (Uses)
the middling
is
From
types
the presiding deity of this Sthana.

this
Sthana persons of the superior and

carry on
should
their ordinary
(lit.
natural)
conversation in connexion with the various duties.
43 (B.X.44, 0.44)
44 (B.
X 43, G.45).
45 (B.X.46, 0.46).
46(B.X.47,0.47).
47 (B.X.48, G.4S).
48 (B.X.49, 0.49).
49(B.X.50,G.50).
50(B.X.51,G.51).
51-52 (B.X.52-53, G.52-53).
26
53 (B.X.54, G.54).
[XI.64-
THE NATYASASTBA
202
54.
a bow, in
patient and
55*57.
And
assumed in throwing a
It should also be
On
movement
stately
being reversed
it is
of the limbs
apprehension, envy, cruelty, assurance,
in anger.
to be used in anger
similarly in the administration of rebuke,
and
holding
disc,
and
and in
of
love.
love, distress,
be
recollection, it is to
assumed when the Erotic, the Marvellous, the Odious and the
Heroic Sentiments are prominently introduced.
Samapada
57-58.
the
feet in the natural posture
and kept
one Tala apart and the body with the natural Sausthava. Brahman
presiding deity.
is its
(Uses)
58-CO.
from the Brahmins
It
should be assumed in accepting blessings
and
mimicking
in
The bridegroom
birds.
the marriage ceremony, persons in the sky, chariot and
(vimana), persons 2 of marked sects
aerial
and persons
(liiigastlia)
at
car
practis-
ing vows are also to assumethis.
Vaisakha
00-62.
the two
and the thighs without motion

obliquely
sideways.
pointing
placed
feet three
[besides
Talas and a half apart
this]
the two feet to be
Kartikeya (Skanda)
its
is
presiding deity.
62-64.
and
horses,
practice
birds,
the
(Uses)
This Sthana should be assumed in riding
in exercise, exit
of bending
[from any place],

the
bow and
in
mimicking large
the
Re&ikas
[of
feet].
64^65.
deity
is
Mandala
Indra).
obliquely placed
In
it
relates
It
to
Indra
the feet are four Talas
(i.e.
apart
its
presiding
and they are
and turned sideways, the waist and the knee are
in the natural position.
54 (B.X. 55, G.55).
55-57 (B.X.56-58,
56-57).
57-58 (B.X.58-59, 0.58).

58-60 (B.X.59-61, G.59-60).
'
vipramahgalavipraih yatt mahga-
lasirvacanadi (Ag.).
2
UhgasthanUivHyah
vratastha urdhvakayadi trajhahgah
(Ag.).
60- 62 (B.X.61-63, G.61-62).
64-65 (B.X.65-66, G.65).
62-64 (B.X.63-65, G.63-64),
(?)
-XI. 74
65-66.
the use
(Uses)
five
Slldha
67-69.
birds.
right
foot
in
Mandala Sthana
the
make
the Alidha
presiding deity.
is its
(Uses)
relating to the
and
The
Talus apart [from the other foot] will
Rudra
Sthana.
like the
and mimicking large
60-67.
90S
The Mandala Sthana should be assumed in

bow and the thunderbolt, riding of
weapons
of
elephants,
drawn
THE OABI MOVEMENTS
This Sthana should bo
assumed in
all acts
Heroic and the Furious Sentiments, duel of wrestlers
in the representation
of
an attack [on them], and
enemies,
release of missiles.
69-70.
left
foot
Sthana
is
will
Pratyalidha
put
When
forward in
the right foot
(Uses)
The
missiles
made ready
for throwing
the Alidha Sthana arc to be [actually] thrown from
The
four Nyayas iu using weapons
There are four Nyayas (ways) of using weapons
71-72.
from
the Pratyalidha
actor should use various weapons from this Sthana-
The
releasing
bent and the
be produced.
70-71.
Sthana.
is
Alidha Sthana the Pratyalidha
the
missiles),
viz.
Bharata,
Varsaganya,
Sattvata,
(lit.
and
Kaislka.
In the Bhiirata [Nyaya the weapon]
72-7;5.
(lit.
should strike
cut) at the waist, in the Sattvatta at the foot, in the
at the breast
and
73-74.
in the
In these
Varsaganya
Kaislka at the head.
Nyayas
arising out
the actors should walk about [on the stage]
of
at
the various Carts,

[the time of]
using
weapons.
74-75.
The Nyayas (way)
the stage] are nlyante

to the Nyiiyas
(carried
and arising out
are so called 1 because fights [on
on)
with
the
Angaharas
66-66 (B.X.66-67, G.66).
66-67 (B.X.67-68, G.67).
67-69 (B.X.68-70, G.68-69).
69-70 (B.X.70-71, G.70).
70-71 (B.X.71-72, G.71).
71-72 (B.X.72-73, G.72),
72-73 (B.X.73-74, G.73).

74-75 (B.X.75-76 G.75).
relating
of them.
'
73-74 (B.X.74-75, G.74).
prakirliiah B. reads pravartitah.
THE NATFAMSnU
fxr.75.
SOI
the shield with the left
Bharata: Putting forward
actor should walk
weapon)*
(lit.
and taking the sword
fully and then
forward
Stretching the hand
75.79
tad
about on the
stage.
back from side to

back he should move the shieldat his
drawing
his head, and it
side and flourish the swovd (lit. weapon) around
It
should also
And
round [about the wrist] near the cheek.
be turned
again the hands holding the sword and
the shield
should be
of walking
about in
flourished gracefully around the head.
80-81.
Sattvata
tbc Sattvata Nyaya.
I shall
In
the
it
now speak
same
flourishing
of the sword and the shield holds good,
(/..
as in Bharata)
but this (the flourishing of
the weapon) should take place at one's back.
81-82.
Nyaya
will
Varsaganya
The walking about
be similar to that in the
Sattvata,
in the
Varsaganya
and the sword
(lit,
weapon) and the shield also should be flourished similarly, but

these should go round the head.
83-84.
near the
Kaisika
breast or
Bharata [Nyaya]
will
The
the
hold
the latter] the sword
flourishing
(lit.
good
of the
which
shoulder
in case
is
of
sword
to take
weapon)
(lit.
place in the
But
the KaWika.
weapon) should be made
to strike
[in
only
after being flourished over the head.
84-85.
weapons
With
like the
these graceful
bow,
the
movements
thunderbolt and
the
the
of
sword are
limbs
to
be
flourished at the time of their use.
85-87.
In the stage-fight there should be no [actual]
cing, cutting or flow of
weapons
(lit.
blood and the actual
release of missiles) should
or the cutting off [of any
one's
The
striking.
be done with
limb] should
its
pier-
use of
mimicry,
be represented,
according rules, by the use of gestures and postures only.

78-88.
The
cxerciso should be performed
Angaharas
76-79 (B.X.76-80, G.76-80).
80-81 (B.X.81-82, G.80-81).
81-82 (B.X.82-83, G.82-83)
83-84 (B.X.84-85, G.83-84).
84-85 (B.X.85-86, G.85).

87-88 (B.X.88-89.G.88).
this.
in the
85-87 (B.X.76-88, G.76-87).

'
B.G. road ono additional couplet after
-XI.
THE" CAKI
MOVEMENTS
206
embellished with*
[proper]
Bausthava and accompanied by music with
flic
tempo and Tala.

The Sausthava
should tote care of the

(Saustlmva)
dance.
no
create
the exercises [in Angnhnr.is]
performing
Those
8S-01-
The Sausthava
Saustlmva, for the limbs
beauty
(lit.
of limbs
is
do not shine)
to be presented
much
not very upright and not
unbent, at ease,
in
without
drama or
by being
still,
When
bent.
it
the
waist and the ears as well as the elbow, the shoulder and the head
are in
it
will
their
(mma) and
position
natural
breast
the
raised
is
1
be the Saustlmva [of the body].
The Caturasra
91-92.
Calurasara
The Vaisnava Stbana
with
the breast raised,
four acts relating to the
bow
There are four acts relating to the bow,
92-93.
with
called the Caturasra of the limbs.
is
The
ing
two
the
hands moving about at the waist and the navel together
(parimarjana),
taking an
arrow
(adam),
viz.
taking
prepar-
an aim
(mndhana) and shooting (Wi *iina).
The preparing (pai-imarymn) 1
93-94.
is
bow], taking (ijralutna) is the pulling out of [the
aim (sandhana)
(molcmnd)
is
is
to
Caris]
on the
arrow], taking
an
put the arrow to the bow, and shooting
the release [of the arrow].
The method
9 4-95.
the bending [of the
'.
One
of exercise
should perform exercise [in
floor as well as [high
up] in the
beforehand get one's body massaged
the Angaharas and
air
and should have
with the [sesamum]
oil
or
barely gruel.
88-91 (B.X.89b, 91-93, G.89b 90-92).
B.G. read one additional
couplet after this.
92-93 (B.X.95-96, G.95).
91-92 (B.X.94-95, G.94).
93-94 (B.X.96-97, G.96).

94-95 (B.X.97-98, G.97).
G. reads samtnarjana.
'
THE NATYASASTBA
206
The
95-90.
floor
is
oneself over
proper place
the
Hence one should
exercise.
resort to
the
mother)
(lit.
floor,
XI. 95for
and stretching
one should take exercise.
it
Health and nourishment of persons taking exercise
For the strength
96-99.
ing the abdomen], take
For
vitality is
dependent on
tired,
hungry,
agreeable
in
thirsty,
the
body
with
is
not
is
has drunk too
to
rule regard-
the
[meat-] juice and drink.
who
and one
is
[water], eaten too
wise
is
about one's
careful
cleansed
much
The
to his pupil
exercise
square breast and

100.
resort
food,
Hence one should be
one shonld not take exercise.

training
body one should take [proper]
[lit.
dependent on one's nourishment and the exercise

vitality.
When
nourishment.
of
oneself purged
and get
snuff
very
much,
should give
[teacher]
has a graceful body and
not covered with [much] garment.
These are the rules regarding the Cans
the exercise of
[the limbs].
I shall hereafter
in
connexion
speak of the
different Mandates.
Here ends Chapter XI

which
of Bharata's Niityasastra
treats of the
Rule of Caris.
95-96 (B.X.98-99, G.98).
96-99 (B.X.99-102, G.99-102).
100 (B.X.103, G.103).
CHAPTER TWELVE
THE MANDALA MOVEMENTS
Tho Mandates
I have
1.
with
the use of
now
the Caris in connexion
properly described
weapons
(lit.
of
release
[Now]
missiles).
about the Mandalas arising out of a combination of the
The
2-3.
aerial
Mandalas are
Dandapada, Vihrta,
Sucividdba,
saiicara,
Lalita and
The
Mandalas
earthly
The
Atikranta
in the Janita
Udvahita,
Vamaviddha,
Bhramara,
are
Ad jitn, Sakatasya,
Askandita 1
aerial
the
Can and
Mandalas
be moved
right foot [to
[the Sakatasya Cari
in
successively]
which tho breast
is]
Alata Cari and the right foot in the
the left foot in the
Parsvakranta Cari. (next) the
left
foot in the Suci
Cari and the
right foot in the
Apakranta Can, [again] the
in the Suci Cari
and [the Bhramari Cari by] turning the Trika 1
(then) the right
foot in the
again this
left foot in
the
Dandapada Can.
in
the Janita Cari
10-13.
Vicitra
the Alata
the
and
left
foot [successively]
Udvritta Cari and the
Alata Cari which should be changed

Cart,
and Casagata.
about their description. 2
listen
6-9.
Alata,
Avarta, Samotsarita, Edakakridita,
[Now]
Caris.
Vicitra, Lalita-
Kranta
3-5.
Atikranta,
learn
in
(lit.
divided)
Cari
to the
and the
the
left foot in
Bhramari
right foot
in
right foot [successively to be
moved]
the Talasancara 1 (Nikuttana),
manner
MB.XI. 1,0.1).
2-3 (B.XJ.2-3, 0.2-3).
3-5 (B.XI.4-6, G.3-5).
'
B. adds one additional hemistich after
dita which seems to bo a corruption for askandita.
name
XL
s
See the Cari olthis
7-9.
B. roads
this.
Mss. sometimes gives this name as aspan-
5b. differently.
6-9 (B.XI.7, 8b-ll, G.6-2).
'
Sec Ag.
10-13 (B,XI,llb-l2a, 13a, 13-15, G.10-13).
'
Sec Ag.
THE NATYASASTRA
208
(then) the left foot in the Syandita Carl, the
vakranta Cari
the right
right foot in the Parl-
(again) the left foot in the Bhujangatrasita Cart
[successively]
foot
foot in the
the Yiksitpa
foot in
Apakranta Carl.
Lalitasancara the right foot with the knee raised
11-17.
move]
left
in the Suci
Can, (next) the
foot
left
the Apakranta
in
Cari and the right one in the Parsvakranta Cari (again) the
[successively] in the Suci
and the Bhramarl Casis
turning round the Trika]
and the right foot
and the
Cari
left
Sucividdha
18-19.
Sue! and
the
round], the right foot in the
by
Parsvakranta
foot
left
be moved]
[to
the
in
in
the
by turning the Trika
latter
Parsvakranta Cari the
Atikranta Carl, next the right foot
Suci,
Apakranta Crai and the right foot again
the
in the
Bhramari Carls [the
the
left foot
[this latter
Carl which to be changed
foot in the Atikranta
divided) into the Bhramari Cari
(lit.
and
the Atikriina and Udvftta Carta,
in
(next) the left foot in the Suci Cari, the right
(Aksipta) Cari and the
[to
XII. 14-
in
foot in the
left
the left
foot
in
Parsvakranta
the
Cari.
Dandapada the
20-22.
Dandapada
Janita and the
Bhramari Caris
foot
in
(again)
the
the
latter
[the
right
foot
meet the right
in
in
the
and the
by turning the Trika], (next) the right
the
foot in
left
the Alata Cari,
Parsvakranta Cari
and
the left
Bhujangatrasta and the Atikranta Caris
foot in the
[successively] in the
moved
to be
foot
Urudvrtta Cari and the
foot [successively] in the

to
right
Calls, the left foot in the Suci
Dandapada Cari and the
Suci and the
Bhramari Caris [the
left
foot
latter
by
turning the Trika].
Vihrta the
23-26.
Can
(then)
its
Nikuttana,
right foot [to be
(next) the
left
moved]
foot
in
in the
Cari and the right foot in the Urudvrtta Cari, (then) the
the Alata Cari
and the right foot
in
left foot in
the Suci Cari, again the
B. reads one additional hemistich after

14-17 (B.XI.16-17, 19, G.14-16, 18).
Janita
the Syandita
10.
B.G. reads ono additional
couplet after 16.

.
18-19 (B.XJ.20-21, G.19-20).
23-26 (B.XI.25-28,
G .24-27).
left
20-22 (B.XL22-24, G.21-23).
-XII. 88
the Parsvakranta Cari and the right
in
foot
and the Bhramari
[this
latter
in the
left foot
in the
left
Vamaviddha
in the
left
foot in the
the
Bhramari
[this
right foot
Apakranta
foot in the
Dandapada Cari and
and the Bhramari
be moved] in the
[to
Cari, (then) the right foot
the left foot in the Suci Cari
[successively] in the Suci, the
Bhramari
34-37.
Cari and the

in the
right
[this
by turning the Trika]

the
in
Prfws'vakranta
foot in the Atikranta Cari.
the
Lalita
left
and the
Caris, (then) the left foot
and the Alata Caris, (next) the right foot

left
and right
by turning the Trika] and the Parsva-
Dandapada and the Urudvrtta
Cari and the
foot
left
Caris.
kranta, Carls, (next) the left foot in the Aksipta Cari

foot in the
moving
with graceful
the Aprkranta Cari and the
steps, again the right foot in
30-33.
foot in the
right
in the Alata Cari, after
foot
these [two] Caris six or seven times
[successively] in the Atikranta
Suci Cari, the
the Bhujanga-
moved] in the Sue! Cari
right foot [to be
Apakranta Cari, then the
ParsVakranta Cari and the
by turn
right foot in
foot in the Atikranta Cari.
Alata the
27-29.
and the
left
Dandapada
and the Bhramari Caris [the
by turning the Trika] again the

and the
Aksipta
foot in the
by turning the Trika] and the
Caris, (then) the left foot in the Suci
trasita Cari
209
right foot
be moved] in the Suci
[to
Apakranta Cari, (then) the right foot
foot in the
Parsvakranta and the Bhujangatrasita Caris, (then) the
foot in the Atikranta Cari
and the Urudvrtta Caris the
left
foot
left
and
the Alata Cari, and the right foot in the Pars'vakranta Cari, next the
left
foot in the Atikranta Cari with graceful steps.
38-40.
Cari and the
Kranta
left
the right
foot in the
the Parsvakranta Cari
foot
Apakranta
and the
left
[to
be moved]
foot in
the
Suci
Suci
Cari, then the right foot
foot too in the
Cari and
the
in
same Cart (Pars-
vakrama), moving round alternately in these Caris in

again the left
in the
all
right
directions,
foot
in
the
27-29 (B.XU9-30, 31b-32a, G.28-30).

30-33 (B.XJ.32b-36a, G.81-34).
34-37 (B.XI 36b-37a, 38-40a, G.85-37).
38-40 (B.XI.40b-43a, G.38-40).

27
'
'
G. omits 35a and 36b.
" " THE NATYA8A8TBA
210
Apakranta
"Cari.
Hence
willed
it is
This Mandala
Kranta
XII. 41-
prescribed for the natural gait.
is
(V. going.
These are the
41.
Now
Mandalas.
aerial
shall describe
those on the earth.
Tho
earthly
Bhramara the
42-44.
Janita Carl and the
Mandalas
foot
right
the right foot in the Sakatasya Carl and the
left foot in
foot in the
the
left foot to
be stretched,
Bhramari Cart [by turning the Trika],
(next) the right loot in the
again the
be moved] in
[to
the Skandita (Askandita) Carl, then
left foot in
Can and
(Askandita)
the Skandita
Sakatasya Cart, then the
right
the
the Apakrantii
in
foot
left
(Apasarpi) Cari and the Bhramari Cari by turning about the back.
Askandita
15-17.
Bhramari Cari and the
right
the
left
foot
in
foot
the
be
[to
Addita
the
left
Bhramari Caris [the
anil the
in
the
Bhramari
in
the
foot in the Apakrantii (Apasarpit.)
and
Carts [the latter by turning the Trika], then the
Urudvrtta Cari and the
moved]
latter
right foot
by turning the Trika then] the right
foot in the Skandita Cari, (next) the left foot in the Pakatiisya and
the
same
foot to violently strike the ground.
Avarta the
48-50.
Cart and the
left
light foot in the
foot in
right foot [to be
moved]
in the
Janita
the Talasaiicara (Nikuttaka) Cari, then the
Sakatasya and the Urudvrtta Cari, (next) the right
backwards and the
foot foot the Atikranta (Apasarpi) Cari turning
Ciisagati Cari, then the right foot in the Skandita (Askandita) Cari
and the
left
foot in the Sakatiisyi'. Cari, again the right foot
Bhramari Cari with the Trika turned round, and the
left
in
the
foot in the
Apakianta (Apsarpi) Cari.

51-53.
Samotsarita
assuming
Sthana, then stretching the two
first
of
hands with
all
their
the
Samapada
palms turned
upwards, (next) their intermittant Avestana and Udvestana movements, [then
moved
putting
in the Avartita
the left
hand] on
manner [next
the
tiie waist,
right
hand
the right hand

to
be put on
41 (B.XI.43b-44a, G.41).
'
43-44 (B.XI.44b-47a, G.42-44).
45-47 (B.XI.47b-50a, G.45-47).
48-50 (B.X150b-53a, G.48-50).'
51-58 (B.XI.53b-56a, G.51-53).
XII. 63
on the waist] and the
moving round
rita
hand moved
left
the Avartita manner,
in
Samotsa-
this Cari will rise to the
with
alternately
2ll
Mandala.
54-55.
moved
Edakakridita
the
two
on
feet
the ground
the swift moving Bhraraari Cari by turning the Trika, (then)
round alternately
ing [the feet]
This
Addita
56-58.
be moved]
in the Suci
the
right
manner and then

in the
foot
be moved]
[to
moved
[simply]
Apakriinta (Apasarpl) and the
the
in
next [to
round,
Syandita (Asyandita) Cari and the
the
left foot in
moved backwards
Sakatasya Cari, next the right foot to be
in the
mov-
and the Aviddha Cans.
Khanda-mandala named Edakakridita.
will give rise to the
Udghattita
be
[to
and the Edakakridita Cari?, (next)
successively] in the Siici
Casagati Caris, (then) the
in
the
left
foot
Addita Call and the right foot in the Apakranta (Apasarpita)
Cari. (next, the left foot in the
Bhramari Cari and the right
foot in
the Syandita (Asyandita) Carl and to violently strike the ground. 1
Sakatasya
59-GO.
Janita Cari and
next
The
to
it
right foot
move;
bo moved]
[to
manner, the same foot in the Sakatasya Cari and the

Syandita (Asyandita) Cari, moving round
left foot in
manner
the
alternately
This Cari Mandala named the Sakatasya
with the Sakatasya Cari.

is
in this
the
in
(Nikuttaka)
in the Talasaiieara
to be used in fight.
Adhyardba
61-62.
sively] in the Janita
the
right fooot
and Syandita
Caris,
Apakranta (Apasarpita) Cari and the
Moving around
Cari.
Mandala named
63-64.
the
alternately in
Adhyardha
Pistakutta
Suci Cari and the
left
name
be
then the
moved
succes-
left foot in
right foot
in the
these Caris,
will
the
Sakatasy.'-
be the
Can
to be used in personal combat.
The
foot in the
54-55 (B.XI.56b-58a,
another
[to
right
foot [to
bo moved] in
Apakranta [then] the
Ot. 54-55).
the
right foot in
This khanrlamaiid.ala seems to be
for eclakakfitli ta.
56-58 (B.XI.58b-6la,
G.56-58).
asphotanapadatalena
bJnmi-
tatjana (Ag.).
59-60 (B.XI.61b-63a, G.59-60).

63-64 (B.XI.65b-67a, G.63-64).'
"
61-62
B.XI.63b-65a, G.6U62).
(XII. 66-
THE NATYA8A8TBA
the Bhujangatrasita
Cart
Thus going round
in
Cari Mandala
named
and the
left
foot too
the Bhujangatrasita Cart
the Pisfcakutta
known
in the
is
same
known
to be used in
Cari.
as the
personal
combat.
Casagata
65.
the
is called
Going round with
Can Mandala named
feet in the Casagatai
Casagata.
It to
be
Cari
used in per-
sonal combat.
66.
Here
I have described in brief the
of the various Cans.
67.
las.
[An
The use
actor]
Now
of the
Mandalas arising out
I shall describe the Saina
Sama
using them
is
Carls are
to
follow
be
used
known
as
Cans.
Sama Manda-
the instruction
of the
master actor (acaryabuddhi).

68-
These Mandalas
to
in
fight
aud personal
combat, are to be performed with sportiveness and graceful
ments of limbs, and should be accompanied by

tal
music.
Here ends Chapter XII
move-
[suitable] instrumen-
of Bharata's Natyas'astra,
which treats of the Rules about the Mandalas.
65 (B.XI.67b-68a, G.65).
66 (B.XI.68b-69a, G-.66).
67 (B.XI.69b-70a, G.67).
68 (B.X1.79b-"la, G.68).
CHAPTER THIRTEEN
THE DIFFERENT GAITS
So much about
1.
the
formation
Mandalas by
of the
combination of the Systems of Cari (cari-vyayama).

describe
after
the
Gaits suitable for
here-
I shall
existing in) different
(lit.
characters [in a play].

Entrance- of dramatis personae
After the Upavahana in accompaniment of drums
2-3.
suitable to the
Marga [adopted
at the entrance
curtain
dramatis
of
in it],
and the Dhruvas
personae, have
[to
be sung]
commenced and the
been drawn away, the actors who arc to develop the
has
Sentiments in the various items [of a
made
and
observing Kalas
other musical instruments has been performed by
play] should
enter
(lit.
be
to enter) the stage.
Posture for superior and middling characters at the entrance
In case of characters of the superior and the middling
4-7.
Vaisnava Sthana,
types [the actor] should assume the
being raised,
raised very
Sama and
shoulders
Caturasra,
much, the neck as graceful as that
shoulders eight Angulas apart from the

apart from the breast, and
respectively at the navel
two
'
a peacock, the
Angulas
left)
waist.
interval of their feet
feet [of the actor]
1 (B.X1I.1, G.l).
breast
and not
ears, the chin four
left
should be two Talas and a
On the
between
above] the interval
[In the posture described
8-9.
of
his
rest
two hands (the right and the
and at the
The
the
the
at
Gait Ag.
says
"The Gait
half.
Steps
is to
be pres-
cribed with a view to the person, Sentimout, situation, place and occasion".
2-3 (B.XII.2-3, G.2-3).
'-It seems that
upo/iana(Pkt) which afterwards was adopted in

see Ntf.
(Ch)
XXXI.
samasa-vyasaiah
lathoktam
235ff,
It is defined
upavahana gave rise to

its place
for upohana
;
by Ag. as follows
padakalatalasamabhihitali
svara
(I.p.186).
4-7 (B.XH.4-7, G.4-7).
upohyante
yasminn ahge
8-9 (B.XH.8-9.G.8-9).
tat
THE NATYASASTRA
'
2U
that he will take should according to his
own measure
XIII. 9-
[of the
hand]
be four or two Talas or one Tala wide.
ters]
two T.Jas, and
one
wide.
Till a
of
women and
The timo
10-11.
[And
of the
and kings the
as] gods
In case of [characters such
9-10.
steps should be four Talas wide,
middling [type of charac-
persons of the
inferior
type
for their steps
the time required for the steps should be] four
or two Kalas or one Kalfi only. [Steps] of the superior [characters]
should take four Kalas, those of the middling type two Kalas
and
those of the inferior type one Kala only.
The tempo
An
12.
expert
tempos
kinds of
the
in
slow,
of their
Gait
art
theatrical
medium and quick
apply three
should
the
Gait [of
should
be] slow,
to
different characters] according to their nature.
The Gait
13.
[characters
of the superior
the middling [characters should have] the
that of
while the Gait of]
the
[characters should
inferior
medium [tempo,
quick and
be]
[Thus] should be applied the three tempos according
copious.
to the spirit [of the different characters].

1-1.
tempo
So much about
the
[of the steps],
manner
the
regarding
rules
ones,
sinless
listen
timing and
the
now about
the
of taking steps [suitable to different characters].
The
15.
natural
Gait
In his natural [Gait] a superior [character]
knee up to the height of the waist and

fighting the
same
is to raise
in case of Ciiris to
(ie, the knee) is to be
raised
his
be used in
up to the height
of
the breast.
16-19.
With
the graceful steps of the Parsvakriinta Carl and
9-10 (B.XII.9-10, G.9-10).

12 (B.X1I.12, G.12).
13 (B.X11.13, G.13).
J4 (B.XII14,
G.1.4).
'
10-U (B.XII.10-11, G.10-11).
B. reads
layam budhah
sattvam-cittavHtih (Ag.).
15
16-19 (BJQI.16-19, G.16-19).
(B.XII.l^ G.15|
XIII. 24
in
THE DIFFERENT GAITS
215
accompaniment of instrumental music he should go
steps, towards the corner of
in
foot
right
similar
move
Then
afterwards.
towards
steps]
turning
foot
left
first
and the
he should go
round
[five
corner of [of stage] and then
second
the
his
Cari by putting forward his
in the Suci
uniform
five
and then he should move
stage
by putting forward
Suci Carl
the
the
left
foot first
and the
right foot afterwards.
Next time he should [again turn round and]
go
towards the
[five similar steps]
move
again
in the Suci Cari by
and the right foot
musical instruments and
forward bis
putting
Thus
afterwards.
left
movement
his
then
foot first
will
consist
of twentyonc steps.
In an oblong
20.
elaborate foot
the
stage
movements
actor
coming and going by
(lit.
make
(hhnrata) should
foot-steps), but
and triangular stages such movements should respectively
in square
be of the Caturasra and the Tryasra types.

2 1.
the
tempo
When
[a character]
his
[of
Gait]
is
will
along with
walking
his
be [according to his own
equals,
rank in
terms] of four or two Kalas or of one Kala.

22.
when
But
any
one
persons of the middling and the
Gait of the group]
will
is
walking accompanied
inferior types [the
tempo
by
of the
be in terms of four and two Kalas and
one Kala.
23.
The
wise actors should
make
the
steps four Talas
Danavas Pannagas (Naga), Yaksas,
of gods,
in case
kings,
wide
and
Raksasas.
medium
!.
All [other] dwellers of the heaven
But those among them who
[width].
will
have steps of
2
are haughty should
have Gait similar to that of the gods.
'
SceV.
70-7
vedhahr-parxmkaetre sticipadanipata/i (Ag.).
21 (B.XII.21, G.21).
20 (B.X1I.20, G.20).
22 (B.XII.22, G.22).
23 (BX1I.23, G.23).
'
B.G. reads here
daitya
iustead of deva
(god).
24 (B.XII.24, G.24).
'
'
By
inataliprabhrfayah (Ag.).
sucfi dwellers
.
devadulas are meant
(Ag.).
THE NATYASASTBA
216
X. 25-
Gait of kings
The
sages -question
25-28.
'ill
the kings are
human
"Why
should not the kings have Gait suitable for these
divine
that of
divine,
known
is
described
made up
(lit.
the
kings
to the people as
the
in
Of
and human.
divine-human)
(lit.
is
others
should
viz.]
(i.e.
parts
gods)
divine,
these, the
serai-
nature of
semi-divine and that of the
is
human.
For'the kings have been
Vedas and the Vedanta (Upanisad) 1
born) of the
they
It is said [in reply].
In drama the characters [are of three kinds,
gods
why
beings
have a Gait similar to that of the gods ?"
gods.
of [different]
as being
Hence
there
cannot be any fault in kings imitating the gods."
This
29.
Gaits in cases
measure
will
the rule of the Gait in ordinary walking, but for
is
of
hurry,
and anger the
insanity
rule about
its
not apply.
Gait under special conditions
[In those cases] the producers of plays are to apply to
30.
all
the different characters,
as modified
31.
by
middling and inferior, Gaits
superior,
their peculiar condition.
should be of the duration of half of four
Their Gaits
Kalas or half of that (i
two Kalas) on attaining conditions other
c.
than the normal ones.

32.
[The
relative
of
position
regards the timing of their Gaits
is
the different
as follows]
characters
While a
as
superior
[character] will have a Gait of four Kalas, a middling [character] is

to have that of
33.
an
two Kalas
When
inferior
a.id
an inferior [character] of one KalS.
a middling character will have a Gait of a Kala,
character
is
t% have
that
of
one should make [in different Gaits under

redaction
half a
special
Kala.
Thus
conditions)
of Kalas.
25-28 (B.XII.25-28,
G.25-28).
vedadhyatmasu=vedem
adhyatnmastresu vedantem (Ag.).

29(B.XII.29,G.29).
30 (B.XII.30, G.30).
31,(B.Xn.31, G.31).
32 lB.XII.32, G.32).
33 (B.XII.33, G.33).
'
G. read 33 a
differently.
,
*
tatha
XIII. 46
THE DIFFERENT GAITS
The Gait
34.
of superior persons
is
not to
is
that of the middling type, and the Gait of
2L7
be applied to
the middling
characters
not to be applied to that of the inferior type. 1
Tempo
35-37.
austerities,
of Gaits under special conditions
In case of an attack of fever, hunger,
[excessive]
separation], sorrow
terror,
and
dissimulation,
in the sick persons'
due to
fatigue,
uneasiness,
love [in
walking the Gait'should
be of slow tempo lasting more, than four Kalas.
But
in case of
anxiety the Gait should be of four Kalas' [duration J. 2

37-40.
In case of concealed
uneasy) love,
(lit.
agitation, joy, hurried action, hearing of
ness or insult, sight of
porentuous
panic,
fright,
unwelcome news, haughtiurgent work,
objects,
distress,
search for enemies, pursuit of an offender and pursuit by a ferocious

animal, the wise [actor] should have Gaits with steps of two Kalas'
[duration].
Gait
41-44.
[The lover]
is
in the Erotic Sentiment
The Gait
He
showing the way.
love-making should be graceful.
in ordinary
to enter the stage
with the play) by means of the Siica 1
sweet-scenting
the
Atikranta Cari,
and ho
He
flowers.
should
and
move
with
should always follow the
limbs
45-48.
After
fall (lit.
Now
in
should have the Sausthava,

Tftla.
The former should be
His hands
raised along
of the latter the
the raising
vice versa)*.
listen
dismissing his
and garlands of various
proper tempo and
feet.
with the falling of the latter and with
former should
meaning connected
should be adorned with
walk with graceful steps
should
his
(lit.
He
ornaments 2
lovely garments, perfumes,
female Messenger {dull]
the
part
act his
to
is
with
about the Gait
servants
in case of
men)
(lit.
the
concealed love.
lover
is
to
walk
34 (BXII.39b-40a, G.34).
35-36 (B.XII-34-35, G.35-36).
'
vismaye G.
37 (B.XII.34-36a, G.35-36).
41-44 (B.XII.40b-44, G.49b-44a).
viksate.
"
G. omits i#a.
37-40 (B.XlI.26b-39., G-37-S9).

."
Sec
XX1V.43.
Ni5.
Itoad hrdyair gandhair tatka vaslmir alamkaraib ca.
G. omits 44b,
'
45-48 (B.XIJ.45-48(i G.44b-47),
[XIII. 48-
THE NATIASA8TRA
218
tat night] along with the female
Ho
put out the lamp.

the time
day and
is
is to
make
to not
love secretly a person
is
is to
In making
his toilet elaborately.
slow and silent steps, and
walk with
to
He
Messenger as his guide.
be dressed in [simple] clothes suited to
from [any] sounds [heard at the time] he
is
constantly, to look
around and tremble in his body and to have a faltering Gait.

Gait in the Terrible Sentiment
48-54.
shall
[In
the Terrible Sentiment
the Gait] in
treating
speak only with regard to
Brahmins, the Terrible Sentiment only
And
case.
in
Sentiment
this Terrible
is
dominant
of three kinds,
is
of] the Terrible in
dripping in blood,
flesh in
tall
make-up
mouth moistened with
An
the hands.
example
and
it
[An
ex-
having pieces of
the Terrible in limb
of
their
Raksasa] with his body
[a
is
in
Terrible
viz.
make-up, Terrible in limbs and Terrible by nature.
ample
Raksasas and Nagas.
Daityas,
is
very
many heads, and

And an example
kinds.
[Raksasa] with a prodigious physical frame,
many hands
holding weapons of various
of the Terrible
by
nature,
a person with red eyes,
is
tawny
complexion and rough voice and a person who
black
scolding [others]
and who stands with

This
take steps four Tiilas wide.
is
Gait
hair,
always
four Tiilas apart
feet
the
is
and
which [characters]
resembling them are to have.

Gait in the Odious Sentiment
54-50.
is
The Gait
[of
a person walking] on the ground which
either a place of cremation or a place
battle
[having
taken place
there]
connexion with the Odious Sentiment.

Cari falling in quick
gruesome on account of a
be used
should
The
feet in the
in acting
in
EdakakriditS
succession sometimes close to and sometimes
wide apart from each other, with the hands following them, will
constitute the Gait in the
Odious Sentiment.
Gait in the Heroic Sentiment

57.
The Gait
in
the
Heroic Sentiment should consist of
swift footsteps in the various Caris.
48-54 (B.XII.48b-54, G.48-53).

54-56 (B.XII.55-57a, G.54-55).
'
57 (B.X1I 57b-57a, pl45, G.56).
'
THE DIFFERENT GAITS
61]
.XIII.
219
In case of mental excitement the Gait should consist of
58.
Kala and Tala
of proper
footsteps
{halo)
Parsvakranta,
the
in
Aviddha and Sucl Cans.

Gait in the Marvellous and the Comic Sentiments
59-00.
These are the Gaits
now
characters.
the inferior
characters.
shall
and
take swift
prescribed for the
superior
middling and
the Gait for the
describe
In their astonishment and joy they are to
short steps in
directions,
all
and
laughter
in their
too they are to take to this,and similar foot movements.
Gait in the Pathetic Sentiment
61-63.
The Gait
Sentiment should be in
Pathetic
the
in
should be connected
with] eyes full
of
tears,
slow tempo [and
it
drooping limbs,
arms thrown up and down, and loud weeping.

also to contain one and a half times more Kalas
Ai.d this Gait
and
to
is
[Gait]
is
have repeated foot-movements
same
[of the
This
kind].
also to be used in case of women and persons of the
is
inferior type.
63-66.
connexion
[In
and looking upwards and

tions] is to be of
Sausthava
be patient,
should
superior characters
no
with the
[of the body].
the
heaving deep sighs
Gait in conformity with these condi-
[their
[regular]
Sentiment]
Pathetic
tearful,
measure and [they are] not
to
have the
In case of death of their beloved persons
and
and relatives they are to bend down on their breast in dejection
not
feet
the
with
walk
and
to
grief,
to become senseless due to
raised very high.
are to be
steady
made drooping and
(lit
the
[entire]
body
moved round) and walking [should
67-69.
[special]
Gait
overtaken by a torrential
to
is
persons of the inferior type when
be]
is
to be
made
by measured
be assigned to
un-
steps.
women and
they are attacked with cold or are

[In
shower.
58 (B.XH.57b-58a, G.57).
61-63
beaten the shoulder and the arms
When too much
such
a case] they are to
89-60 (B.XII.58b-6(Ja, G.58-59).
(B.XH 60b-62, G.60-62a).
63-66 (B.XH.63-66, G.62D-65).after 64.
67-69 (B.XI1.67-69,G.66-68)-
B. reads one
additional hemistich
THE NATTASASTBA
920
draw
all
their limbs
clatter
and
two
their
and their teeth are to
their body,
throb and the chin
lips are to
put
to shiver greatly, to
together,
hands on the breast, to bend
IX. 70.
to
is
and
quiver,
in
representing an attack of cold the Gait should be slow.
Gait in the Terrible Sentiment
In
70-75.
make
the Gait of
[Sentiment]
Terrible
the
women, and men
(lit.
they
Terrible Sentiment]
the
the
should
experts
the inferior
of
lacking in spirits, suitable to their nature

[In
in that
who
type
open
to have wide
are
are
manner}.
and moving eyes, the Vidhuta head and the look awe-stricken and
to walk
are
and holding the Kapota hand they
sides,
to
turned alternately
body and
trembling
with quick steps,
faltering Gait.
This [kind of movement] should be resorted to when a person

pursued
[by an enemy],
[And
same
the
threatened
rule will apply]
for
falling in
of
movement
of
the
see
(lit.
feet
quick succession sometimes
is
[by any one],
anything dreadful
terrified state the
wowen, and men who are cowards
will consist
frightened
when they
In the
or hear any dreadful sound.
or
Gait suitable
have renounced prowess)

Edakiikridita
the
in
close
to
Can
and sometimes
at
a distance from each other, and the hands are to follow them.
Gait of merchants and ministers
The Gait
70-78.
of merchants
They should walk
made
natural.
steps
two Talas wide.
Their
[left
in
and
the
ministers
showing the upturned
[from the
left
be
with
[lit.
the
first
AriMa should be on one side away 1
They should not make
one].
to
hand] showing the upturned
Katakfunukha should be on the nave), and the right

hand
is
Cari
Atikiv.nt".
their limbs
drooping,
motionless or excessively moving.
Gait of ascetics and sectarians

79-86.
Yatis,
those observing the
Sramanas,
vow
of
those practising austerities
Brahmacarya are to have a
and
[special]
70-75 (B.XII.70-75, G.69-74).

76-78 (B.XII.76-78, G.75-77).
'
R. reads stananiare for tadantare

'
(G. Utthuntare).
79-86 (B.XIL79-86, G.78-85).
PitUum
(B. lidhaya).
XIII. 88
Gait
THE DIFFERENT GAITS
[In acting their part] a wise [actor]
eyes looking only four cubits [in the

entire
body
and he
steadiness
in
assume the marks belonging to

generally dyed in dark
red,
and to assume the Sthana
and
a serene appearance
immobile
have
a ready memory, the
keep the mind at
and
to
The
stand with the Samapada feet
same name. Then he should make
is
And assuming
to be stretched.
(Atikrama) Cart
with
best ascetics of the great
natural
vow
according to
As
for the
by
[enjoined
Pasupata sect they should
in case of the ascetics of the
in the
vow
their
or stately or sober or mild.
have a Gait confused
sects] are to
And
the
not
(lit.
are to be con-
nected with these qualities or others contrary to them.

rest of the ascetices they
own
rest, to
have modest clothes
conformity with the performance he should
in
perform the Atikiv.nf.

drooping) limbs.
to
is
to
of the
two Catura hands one of which
should
front],
his sect
221
walk
Sakatasya and Atikrant'. Cans with haughty steps.

Gait of a person in darkness or of a blind man
The Gait
87.
blind
[of a person]
in darkness
[man] should consist of the
and the hands groping
for the
feet
The Gait
to
make
movement
the
From
is
to
the
i.e.
And
The Gait
like that
*lihgam
other
(posture) he
(lit.
is
with
And
vehicle] should be
celestial car (rimaiia)
a chariot.
his
the reins, and the
quick and simple steps he
of one in a
of one riding
the
go the
to take up]
the pole [of the chariot].
according to the class [of
enter the stage.
Samapada Sthana
remaian busy with the whip and
represented differently.
made
the
and with the one [hand he
of a chariot),
draught animals
be
cliariot
a mimicry of the being carried in a chariot
bow and with
charioteer
drawn over the ground
of a person riding a chariot should consist
of simple (curnn) steps.

is
the Gait of a
way.
Gait of one riding a

88-d2.
or
One who
is
is
to
should
about
to
japabhasmakaupimdi (Ag.).
Gacchedatikramad
(B.
gacched vyatikratnad,
G.
yatikramad).
87 (B.X1I.87, G.86).
'
andha-yane (B.G. read atha yane).
88-92 (B.X1I.88-92, G.87-91).
gaeched
[motion] one
is
to
to
move
also to be of this
and wide or high and
The Gait
one who desends from the sky
of
This Gait
kind.
is
of steps straight
consist
to
is
low, or irregular
and round about.
from
of a person falling
the
sky
is to
and eyes
scattered ends of clothes
Apaviddha arms,
in
from the Samapada Sthana (posture)
[first]
The Gait
with simple steps.
sky
the
looking downwards, and [besides
and
to include the aerial Caris

is
opposite of
while moving in the sky
The Gait of a character moving through
02-95.
one
up and with
themj.
one's discent [from
make
Oak
this]
hold his body
to
is
in0 unt [these vehicles]

this
[XHI.92-
THE NATYASA8TBA
333
include the
on
set
the
ground [below].
Gait in ascending any lofty palace
sometimes] there
[In a play
06-98.
ding stairs of] a palace, tree or
up from
region and getting

palace a
down
In
it.
move
should
person
slightly bent
of
ascen-
any other high object and

or
into a river
ascending
[the
some lower
stairs
of]
the feet in the Atikriinta Carl, and
with the body held up he should

flight of] stairs.
or
hill
descending from them or getting
necessity
is
put forward
steps
his
In descending from the same, the body
and one foot should be
in
[the
should be
in the Atikranta Carl
and the
other in the Aficita movement.
98-100.
palace should
hills
This Gait
be applied
suited
in
to
climbing
steps
in
hills.
But
stairs of]
in the case
of
The climbing
of trees [should
the Atikranta, Sutf,
Apakranta and
the limbs are to be thrown up.
be represented] by
ascending [the
Parsvakrantfi Carls.
Gait in getting down into lower places
coming
down
[from the trees] and the same should apply in case of getting
down
101-104.
into a river.
This should also be the
Gait
in
92-95 (B.XII.92-95, G.91b-94).

96-98 (B.XII.96-98a,
G.95-97).
'
gatram
asyaiva).
'99-100 (B.XU.103-104, G.103 104).
101-104 (B.XlI105a, 98b-101, G.98-101).
anamya
(B.
gatram
THE DIFFEBNET GAI1S
-XIII. 109]
228
'
The Gait
coming down from the top
of
in [case
apply only in crossing [a
will
The Gait
river].
moving
of a person
of] a palace
to the depth (lit measure) of the
in the river will
In
water.
be according
shallow water,
the tuckiug up of one's clothes, and in the deep [water] with
throwing oat of hands one
body
by the current
to
And
slightly bent.
push
forward
limbs
all his
(lit.
to
move
with the
in case of a person's
water) he
and
away
arms one by one
during this
busily engaged 'and
the
fore port of one's
being carried
to stretch out his
is
water repeatedly
are to be
[with water].
is
with
movement
mouth
the
filled
up
Gait in travelling by boat

105.
made up
The Gait
of a
of quick steps.
person travelling by a boat should be
According to these rules
this
(lit.
rule)
one should observe the various Gaits and movements.

106-107.
All these [conveyances] are to represented
made) by [suggestive] tokens (namjna) only.
The
[to
(lit
you ask] "why",
be the question], "Will the actors
[the reply will
have to die when the character

dead ?"
[If
producers)
(lit.
be represented]
is
to be
said
elephant will be represented by taking up a goad, the
horse by a bit and the other conveyances by a whip.
Gait in riding a horso

108.
The Gait
of a person riding a horse will consist of the
Vais'akha Sthana and simple
foot steps of the various kinds.
Gait of serpents
09,
represent
it
The Gait
the actor]
make a Recaka
of serpents will be by the Svastika

to
is
move
of the Svastika
in the Parsvakriinta.
feet,
Can
[To
and then
feet.
105 (B.XH.l02a, 105b, G.102b, 105a).

106-107 (B.XII.106-107,
G.105-106).
'
nrtta itiprokte kirn kartavyam. prayoktrbhih.
G. reads
106b as lasman
This passage shows that
use of
painted scenery was not indispensible in the ancient Indian stage
On this
point Ag. Bays
Z* PnrcfaWffisfi KJiwiKjfwra'i 1(1)3*1
108 (B.XII.108, G.107).
109 (B.XII.109, G.108).
AMI'S
THE NAT! ASASTBA
324
[XIII. 110
Gait of a Parasite
The Gait
110.
[An
actor]
of a Parasite {oiia) should be
to represent
is
{lit.
forward Akuficita (Kuiicita)
made
go) the Gait of a Parasite
graceful.
by putting
one Tala and holding the
feet within
Katakavardhamana hands with the proper Sausthava and

[these]
hands follow the
letting
feet
Gait of the Kaiicukiya
112-113.
made
should be
he
[The Gait]
Kiificukiya
the
of
[suitable] to his particular age
not old* his Gait should be as follows
is
a Tala high
half
limbs like one
114
and condition.
With the
feet
When
raised
and simple steps he should walk carrying his
who
But
(armour-bearer)
is
treading
(lit.
touching)
in case of his being
upon mud.
[thoroughly]
walk with the trembling body and raise the
old
he
feet slowly
should
and with
[every] step he is to take his breadth.
110 (RXII.110, G.109).
(B.XII.UO.G.llO).
Ill
11M1SCRX1L112-113, G. II
1-1 12).
Tho word kancuhya (Mir-
'
cukin) should bo translated as 'armour-bearer' and not as 'chamberlain'
which term should he used for sannidhiitr
BhP.
(2. 4. 23).
(Passiouless
(p.
see Kautilya's
292) defines the Khltcukiya as follows
Arthasastra
Brahmins who have knowledge and wisdom being
in charge
of (the king's) armour and crown, and holding the cane-stick (as symbol
of their authority), aro called KaTicukiyas
2
a-wddhasya.
This
following (probably
very
4*raftf "<*:
<*staTfatJta?l
adjective
of
by the wise).
the
dolinition
late)
kaiieukiya
sRSwugSiT ft9? iiii wfift
contradicts the
w^'ffl ?^
fitft
îiwPw
This passage has been wrongly ascribed to Bharata in Rucipati's commentary to the Anargharaghava (cd. in
in
tho
plays
ascribed
to
Kavyamala,
Bhasa
(i.e.
p. 109).
The
kaiicukiya
Svapna, Pratima, Abhi. Paiica.
Duta. and Bala.) does not show any trace of old age. Tho kaiicukin in the
Sak. deplores that the cane-stick which he hail taken up as the symbol
of his
could
office,
has become in old age the
move with
difficulty
was appointed before

144(B.XII.
MudrS, IL
etc,
old
144,
nd
a:;o
(V.3.).
it
may be assumed
that he
came upon him.
G113).
111. 1.
support of his body which he
From this
'
For an old kanekin
see Sak.
loc.. cit
-Xtfl. 138
THE DIFFERENT GAITS
226
Gait of emaciated, sick and fatigued persons
The Gait of an emaciated person

And in case of an attack of fever or
115-117.
of slow steps.
due to
of fatigue
austerities, or
and depressed
lean
eyes, slow
hunger, a person
belly, feeble
movement
voice,
of the hands
and with [every] step he
of the limbs
is
feet,
walk with
to
is
depressed
and the
should consist
other illness, or
cheek,
tremor and
lusterless
affliction
to emit breath.
Gait of a person walking a long distance
The Gait
118.
of a person
walking a long distance
consist of slow steps, narrowing of limbs
to
is
and the rubbing of the
knees.
Gait of a corpulent person
119.
slowly and he
1
20.
breathing,
corpulent person
is
to drag
on
his
to
is
walk with the
body with great
feet
raised
effort.
person going with [hurried] steps should be copiously
and be covered with perspiration due to fatigue and his
steps should be simple.
Gait of intoxicated persons
12
The Gait
of persons with light
intoxication will be reeling, with
the
two
(lit.
young) and medium
feet
[sometimes going]
backwards.
The Gait
122.
will consist of
unsteady
persons
of
feet,
heavily
reeling
(lit.
worst)
intoxicated
body and staggering
steps.
Gait of a lunatic
123-130.
steps,
many
The Gait
of
lunatic
will consist
Caris in imitation of [various types of]
unpolished and dishevelled hair and

talks without
of
men.
irregular
He
body covered with dust
any reason and talks too much
in
has
;
he
an unnatural
115-117 (B.XII.115-117, G.114-116).
118 (B.XII.118, G.U7).

119 (B.XII.U9, G.U8).
120 (B.XI1.120, G.119).
121 (B.XII.121, G.120).
]22 (B.X1T.122, G.121).
123-130 (B.XII.123-130, 0.122-129).
THE NATYASASTBA
226
manner
XIII. 131-
sometimes he sings and sometimes laughs and
ready to accompany [any one]
not
is
and he [sometimes] dances
joy
in
and [sometimes makes drumming [with any ohject he may

before him],
Or.ce he runs swiftly and at other times stands
[again] sometimes
is
to
he
wear rags of
different kinds
irregular dwelling place.

(lit.
His
this man).
and
make
to
Baddha Oari he
the
his
this Cari
holding the Lata
move with
to
is
js to
lie
and reach one corner of
the Trika gracefully and
hand with irregular movements he
cross his feet.
to
is
with
in all the four direction
Then turning
He
road
perform the Bhramara Mandala outwards

the stage.
the public
lunatic will be of the above description
gait will be as follows
After moving in
The i going round
still
and sometimes lying down.
seated
is
find
his feet.
Gait of lame men, cripples and dwarfs
The Gait
131-130.
lame persons, cripples and dwarfs
of
connexion with the display of physical
Comic Sentiment,
lame persons the
one
by the
foot,
remain
[And
stiff foot.
and to
rest
fool
has run a thorn in the sole of one's
foot.
go.
consist of the Agmtalasaficara
and the Nata shanks.

are to be narrowed
is
and the
to
body
and setting
will
to
Gait of
the second one, feet
the body
This
[the
Tn
stiff.
in the third] the
on another
lame men] are
In one kind of J
be of three kinds.
made Agratalasancara and
are to be
raised)
will
feet are to
feet
held
is
to
up
The Gait
of cripples
Aficita feet, the steady
During the Gait
order
in this
of dwarfs
neither
all
their
move
(lit.
move on
be one's Gait when
down and they .should
in
the sake of the
for
defects
one
will
body
limbs
[quickly
|
nor take [wide] steps.

Gait of tho Jester
137-140.
The
Jester
will
have the same Gait consisting of
simple laughable steps with feet raised high [and put forward].
his
Gait
will relate to
three
kinds of
131-136 (B.XII.131-136, G.13M35a).

oividha
and omits 133b.
'
'
For
And
laughter due to
trividha
G.
reads
.137-140 (B.XII.137-U0,. G.135b-138)-
kavyakrta.
laughter
For vnkyakrta B.G. read
-X.II1 146
THE DIPFBBKNT GAITS
limbs, due to words
and due
227
costume and makeup. Of these
to the
hunch on the back, lameness and,
the ugly and big teeth, baldness,
When
distorted lace will be objects of laughter due to limbs.
walks
strides, this too
becomes an object of laughter due
to limbs.
Talking incoherently, meaninglessly,
140-141.
one
and looking down and with wide
crane looking up
like a
and uttering obscene words arc
known
to be
unnaturally
as [objects of] laughter
due to words.
A. person covered
141-142,
or
smeared with ink
object
ol'l
laughter due
the [Jester]
after
to
(lit.
the
clothes or
(altered
yellow "Oeherc
costume and
the
considering
should carefully
frontingj
with
(or lamp-black), ashes or
[he
[an
Hence
make-up.
characters
skin,
is
will
be con
assume [one or more
essentially)
ofj these states.
The Gait
143-146.
of the
Jester
according to his different conditions.
Gait he
is
to carry
show the Catura
the Kutilaka (kulila) in
of his
proper tempo and Tula.
be abnormal
difficult to get, will
sides,
The Gait
be
distinguished
in his natural
his left
(gesture) with the right hand.
lower by turns one
will
should
For example J
hand and
Besides
head, hands and
feet
other than this which
this
he
to
is
observing
is
natural,
His Gait on having some food which was

be arrested.
Gait of the menials
The Gait
146-148.
follows
hand or a
in the
foot
walking of servants of
to represent the
lower order or other persons
of
inferior type should
the
be as
walking of servants, one of their sides or head or a

is
to be
lowered and
eyes
their
to
fire
move
to
[different] objects.
For vakavat G. reads khagavad,
140-141 (B.XII.140b-141a, G.139).
'
For vakyahasyam B.G. reads
kavyahasyam.
141-142 (B.XI1.141b-142, G.140-141a).
143-146 (B.XlI.143-146a,
alabhalabhad bhuktasya
G.141M44).
etc.
146-148 (B.XIL146b-147, G.146-146).
'
B.
reads
146a
as
THE NATYA8ASTRA
228
[XIII. 146-
Gait of the Sakara
The Gait
148-149.
of the Bakara
will consist of
proud but
ordinary steps, and while walking he will touch his clothes
and
ornaments and often look at them, and from the unnatural motion
of his
to
body his garlands, and suspended parts of the clothes are
move
to
and
fro.
Gait of lowly persons

150.
Persons of inferior birth are to walk with eyes looking
around, protecting their limbs from the contact of other people.

Gait of the Mleccha tribes
The Gait and movements
151.
Mleccha
such as the
tribes
made according
Pulindas
of
men
the
of
different
and the Sabaras should be
to the lands they inhabit.
Gait of birds
The Gait
152.
is
to be
of birds, beasts of pray
made according
Gait of
The Gait
153.
[like that]
and other animals
to the character natural to them.

lions,
bears and
monkeys
and monkeys
of lions, bears
is
to
made
be
which was assumed by the lord Visrtn incarnated as the
Man-lion.
[It is as described below].
151-155.
(posture) with
[In this Gait]
after
limbs conforming to
assuming the Alidha Sthiina

it,
knee and the other on the breast, one
that
is to
is,
one hand
look
all
on the
around
put one's chin on one's shoulder and to walk with feet placed
'
and
five
Talas apart.
156.
The Gait should be
applied
to [represent]
lions
and
such other animals at the time of personal combat as well as in

entering the stage.
148-149 (B.XII.149-150a, G.147)
'
G. omits 141a.
150 (B.XH.150b-15la, G.148).
151 (B.XII. 151b-152a, G.149).
152 (B.XII.152b-153a, G.150).
153 (B.XII. 153b-154a, G.151).
154-155 (B.XII.l54b-156a, G.152-153).

156 (B.XH.156b-157a, G.154).
the
mack
of these animals.
'
Lions etc here indicate actors with
-XIII. 166
THE DIFFERENT GAITS
As
157.
(posture) for
the
for
229
animals the Gait and the Sthana
rest of
them when entering the
any one or
stage or carrying
anything on the back should be made suitable to the occasion.
These
158.
[actors].
Gaits are thus
[different]
The Gaits
that have
be used by wise
to
been described by me, are to
not
be adopted from [the practice of] people.
Walking postures
159-160.
Sama, the
161-164 (Uses)
dismissal,
first
the
left
f he
appearance on
other
This Sthana
the
stage,
profundity,
pride,
the side)
to be
is
foot Tryasra
used in invocation,
thinking and
twisting
love,
silence,
dissimulation.
And
handfuls of flowers on
scattering
anger due to jealous
prohibition,
at-
waist raised.
observing carefully,
stage,
movements
Tn the Ayata Sthana (posture) the right
left (lit.
and the
(obliquely placed)
and
the Gaits
of
be Ayata, Avahittha and Asvakranta.
will
Ayata
160-161.
women
Sthana (posture) of women in walking and
speaking [to others]
foot will be
now speak
I shall
The
women.
of
of
fit
the
forefinger,
of resentment
(mana)
and looking to the horizon are also to be represented from
Sthana 1
161-165.
right
(lit.
and the
the
left
Avahittha
other at
Tho>Jeft
the side)
will be
foot
Sama and
the
Tryasra (obliquely placed)
foot
waist raised up.
165-167.
(Uses)
bered) as natural for

in
this
determination,
This Sthana
women
is
known
(lit.
remem-
during conversation [with anyone],
satisfaction
and conjecture
157 (B.XII.157b-158a, G.155).
In
representing
58 (B.XII.158b-159a, G.156).
159-160 (B.XII.159b-160, G.156c-157).
'
B.
reads
five
additional
hemistichs after this^
160-161
(B.Xn
163b-164a, G.158).
161-164 (B.XII.164b-167a, G.159-161).

164-165 (B.XI1.167b-168a, G.162)
'
B.G. read two additional coup-
lets after this.
165-1^7 (B.XU.171b-172a, 170b 171a, G.165-166).
THE NAT1ASA8TRA
280
way
[Sentiments] and looking towards the
167-168.
raised
Sue! or the Aviddha Cari
168-169.
(Uses)
hold of the branch of a
The Sthana
resting
is
on
its
women's Gait
for]
is
the
to be
is
assumed
in taking
plucking a cluster [of flowers] or in
will
women
for
any purposes.
be [maintained by a dancer]
has begun (litis present).
women and
the Sthana for
which one toot
and [ready
For during a dance the Sthana
begins.
end when the Carl
in
fore-part
This Sthana
tree,
The Sthana
169-171.
the like
someone [coming
AsVakranta 1 .
called
is
the taking of rest by goddesses or
any movement
of
to be used.
is
Asvakrsinta
and the other
XIII. 167-
the Erotic and
anxiety, amorousness, sportiveness, grace,
or going] this Sthana
for
men
as well.
This
T shall
is
is
at
till
an
the rule of
now
describe
in relation to their nature.
Gait of young women
171-176.
[Such
Sthana and movements]
Gait
will
serially include
The Avahittha Sthana,
the following
the left
hand
pointing downwards, the right hand with the Katakiimukha gesture

placed
on the
thrown on the
navel, the right foot raised gracefully

hilt
one and simultaneously
with the Lata gesture placed on the

placing the right hand on the
with
Udvestita
of the left Land, then the left foot put forward, the right
the Lata gesture,
they arc
to
walk
[After assuming
five
steps
with
this
and
hand
movement
hand with
Sthana and movements]
body
the
Tiila
and the right side bent,
navel
and the
hip
up one
that the left
slightly
bent and the
head gracefully held in the Udvahita posture.

1
76-177.
The
been prescribed for
.,
rules for going about
men
will
on the stage which have
apply also for women.
167-168 lB.XlJ.172b-173a, G-167).
'
B. reads two additional coup-
lets after this.
168-169 (B.XU.175b-l76a, G.168).

169-171 (B.XI1. 176b-) 78a, G.169-170).
171-176 (B.XII.178b-183a, G.17L-175).
176-177 (B.XlI.l83b-184a, G.176).
THE DIFFERENT GAITS
-XIII. 184
231
Gait of young women
The
177-179.
women
steps of
Such a step
eight Kalas duration.
should not be
made
women in their youth. I shall

women who are aged {nlhttvi ijina). 1
This
speak [now]
will be the Gait of
about the Gait of
of six or
he irksome for them.
will
Gait of aged women
After assuming the Avahittha Sthiina and putting
179-181.
the
loft
hand on
waist and
the
upturned, placed
gesture
right
hand with the Arala
between the navel
and the breasts, they
the
are to walk gradually with their body neither relaxed
nor
nor
stiff
[much] moved about.

Gait of handmaids
The Gait
181-183.
dered
(nilliluaiita).
They
and flourishing arms,

the
left
of
hand-maids should be made bewil-
are to walk
with
slightly
hand pointing downwards and the
the Katakamukha hand held on the
right
body
raised
assuming the Avahittn
after
Sthiina with
hand showing
navel.
Gait of lialf-womeu
183-184.
that
of
The Gait
men and
movement
of limbs
184-180.
of
of
woman
half-women, an
the
The time
of stately but
will consist
and playful steps

required
women and
>
for the
Gait which has been
will
teps
superior,
apply in ease of
which
And
the inferior types of men.
for persons] of the
will
women
the
halved
case
in
the Gait [prescribed
middling and the inferior
types
[of those types] except for the foots-
be graceful [for the
latter].
177-179 (B.XlT.184b-186a, G.177-178).

striyas
of
graceful
(lit. feet).
prescribed for persons of the superior type will be

of
admixture
tasam for sthaviyasinam eiasam.
'
B.G.
read
stkaniya ya
The word sthaviyas may
bo a comparative degree form of sthavim.
Cf. daviyas for dura.
179-181 (B,XIU86b-188a, G.179-180).
181-183 (B.XII.188b-190a, G.181-182).
183 184 (B.XlI.190b-191a, G.188).

184-188 (B.XII.191b-193a, G.184-185).
*>
well
THE NATYASASTBA
232
[XIII. 186-
Gait of children
186-187.
will
The Gait
and no Sausthava and
according to their
of children will he
[fixed] measreuient
will
be required.
Gait cf hermaphrodites
187-188.
in
The
third (ype of person?
whose case women's Gait
he hermaphrodites
will
to the exclusion of their [partial] male
character, should be applied.
Gait in the change of role
188-189.
change
[of their role]
by men, women and
hermaphrodites should be represented by assumption on their part

of Gaits suitable to those [new roles] to the exclusion of
their
own
[original] character.
Gait of persons in disguise
189-191.
For
disguise,
or deception
sports
[of others]
woman assumes the role of a man, and a man that of a woman. [In
such cases] the woman should play the role of a man with patient
and
liberal spirit
and
intelligence,
and with
acts as
well as dress,
words and movement suitable to that [character].

191-192.
clothes,
To
play the role of a
woman
man
is
to wear her
speak like her and look at things and abstain from looking
and
at these as she does,

"
192-193.
is
assume a
to
Gait of the
Women
tribal
delicate
and slow Gait.
women
of inferior birth
and of the Pulinda and
the Sahara tribes are to have Gaits natural to their community.
Gait of
193-194.
women
asocctios
In case of observing a
or bearing the
the
Samapada Cart
mark
ties
is to
[of
religious
vow
sects.]
or practising
or staying
be used [as their Gait].
186-187 (B.XII.193b-191a. 0.186).

187-188 (B.XII.l94b-l95a,
187).
188-189 (B.XU.195b-196n, G.188).

189-192 (B.XII.196b-199u. G.189-191).
1'92-193 (B.XII.199b-200;i, G.192).
193-194 (B.Xll.a00b-20la, G-193).
austeri-
in the
sky
-XIII. 199
THE DIFFBBENT GAITS
An
194-195.
expert in
energetic Angaharas, Carls and
dramatic art should
Mandalas
Sitting postures for
195-199-
made conforming
should be
States
which they are
in,
"to
not assign the
women.
to
men and women

(sthana)
posture*
Sitting
233
men and women
for
combined with) the
(lit.
and similar
should
different
be their postures
while in bed.
Sitting at case
196-197.
bhita)
In sitting at ease the two feet are at rest (vnkam-
and kept doubled up (ahcita), the Trika
slightly
is
and the two hands are put on the thighs on the two
mood
Sitting in a thinking
197-198.
When
person
his feet,
is
to
and the other foot
bend on one
is
assume [deep] thinking,
to
is
he
[from the easy sitting posture]
is
to rest
raised,
sides.
to
stretch
slightly
one of
on the seat and the head
side.
Sitting in sorrow
19H-199.
When
easy sitting posture] he

chilli
or his head
is
a person
is
to put
to rest
in
is
up
his
sorrow,
[deep]
[from
the
hands for supporting the
on the shoulder, and he
is
one whose mind and the sense-organs are not working
[to look like]

(lit.
lost).
Sitting in fainting and intoxication
199-200.
weakened or sad,
his
When
ifr-oni
arms loosely and
a person
is
to sit depending
194-185 (B.XII.201b-202a, G.194).
195-196 (B.XI1.202b-203a, G.195).

196-197 (B.XlI.203b-204a, G196).
197-198 (B.XII.204b-205a, G.197).
198-199 (B.XTT205b-206a,
01 98).
199.200 (B.XII.206b-207a, 0.199).
30
fainting or
is
'he easy sitting posture]
intoxicated, tired,
he
is
on [some] support.
to
stretch
THE NATYASASTBA
234
Sitting in
When
200-201.
meditation
he
person
lump
to
is
shame and
is
sleep etc.
ill,
his
together
XIII. 200.
ashamed,
asleep or
in
limbs between legs and
knees.
Sitting on ceremonial occasions
In offering a libation of water
201-202.
to
diseased parents, muttering of Mantras, saying the
and making Aeamana, one
hump
raised, in
is
to
assume the
person
sitting posture
of
sitting posture with the
woman
woman and
In appeasing [the anger of] a beloved
202-20H.
pouring ghee into the

to put
spirits
which the hip and the heels come together.

Sitting in pacifying a beloved
is
the
Sandhya prayers
and doing similar other
sacrificial fire
acts,
one of his stretched knees on the ground [from the
mentioned above].
Sitting in worshipping a deity
203-206.
Downcast
two knees on the ground
face and the sitting
(i.<:
kneeling down)
adoring a diety, pacifying the angry

sorrow, seeing a
the
attendance during
the
Homa
and the
sacrificial
are |also] to
the
spirits,
servants,
work.
assume
in
crying for
superiors], bitterly
lowly persons and
(mini!) while practising austerities

(lit,
with
assumed
dead body, the fear of persons of low
begging of something by
posture
posture
to be
is
and,
Ascetics
this sitting
rule about sitting).

Seats for different characters
200-207.
Now
males and females in

private
(aJilijiaiit'irii).
to the royalty
(lit.
the seats
(lit.
a drama,
are
rules regarding the
twofold
public
seats) for
(I'ahi/a)
and
[These two terms] public and private relate
the king).
200-201 (B.XII.207b-208a, 0.200).

201-202 (B.X11.208b-209a, G.201).
202-201 (B XII.209b-210u, G.202).

203-206 (B.XIJ.201b-213a, G.203-205).
206-207 (B.XU.213b-214a, Or.206).
-XIII. 216
THE DIFFEBENT GAITS
235
Scats for male characters
208-210.
Lion-seat
tlie
Brahmins, gods and kings are to be given
(i.e.
priests and the ministers

army and the crown-prince
the
throne),
commander
cane-seat, the
the
of
Munda-seat, the Brahmins the wooden seat

the
carpet-seat.
This ride of
seats
the
the
and the other princes
should he
observed in
the
royal court.
Scats for female characters
210-214.
The
I shall
now speak
queen should be
chief
Munda-seat,
the
wives
priests
of
the concubines [of the king] the seat
Lion-seat,
(p<itt<t)> t' 10
remaining
for the
much about
in public
wives of
consisting
the
women
ground
the
While residing
female
the cane-seat,
cloth,
of
will
pillow
be
the
skin
or
made
of
(cushion*,
seat.
So
appartments as well as
inner
in
of
ascetics the seat
Vaisyas the seat
the rule of seats in the
places,
and ministers
and female
carpet, the wives of Bralnnins
and
the
and wives of the king other than the chief queen the
relatives
wood
women.
of the rule of seats for
given
one's
own house one can
take any seat according to one's liking.

Seats for ascetics and sectarians
The
215.
rules [of
the
different
sects
seats for the ascetics should
order]
with
special
marks
the
pouring
ghee
into
be according to the
For the members
they are observing.
seats
will
be
of
according
to their vows.
While
216.
doing the
sacrificial
the
duty in general or
water to the departed parents one
is
to sit
sacrificial
offering
fire
or
a libation of
1
on a VrSi Munda-seat
,
or cane-seat.
208-210 (B.XH.214b-217a, G.207-210a).

2
muijjasana
is
'
cane-chair.
probably nothing other than Bengali mala.
210-214 (B.XII.2l7b-221, G.210b-214).
215 (B.X1I.222, G.215).
>
For- example,
some have tiger-skin
some deer-skin or a piece of woolen blanket

a seat made of kusa grass
216 (B.XII.223, G.216).
their seat,
'
(Apto).
as
THE NATIASA8TBA
Xiu.
217
236
General rules about goats
Other
217
(tf*yw) who arc of [high]
local people
^posmslgmt^vnw^honldyhononrecl
/aij
b>' tk
'
r,
|,j
ki "%
ofe 0/ su/'toWeJ stats.

*/&
To
the king) the is to offer seats
his equals he 0>-
importance,
equal in height to that of his own, to perxon* of medium
the seats
of middling height,
who
and to persons
are superior
the
lowly
Before the preceptor, the king or the spiritual
guide
a more elevated
should be given
to him,
while
seat,
persons are to be seated on the ground.
219.
(guru) wise persons are to
sit
on the ground or on
wooden
an
seat-
220.
or
(lit.
preceptor
Sitting together with the spiritual guide, the
king in a boat, on an elephant or in a chariot,
the
not to be objected
allowed
is
to).
Lying-down postures
221.
Postures in the bed
are
known
(lit.
proclaimed) as
Skuncita, Sama, Prasiirita, Vivartita, Udvahita and Nabi.

222.
Akuncita
Lying down with limbs narrowed down and
the two knees sticking to the bed
223.
Sama
called
Lying down with the
hands free and turning downwards

is
is
the Skuncita posture.
be used in representing persons attacked with cold.
It is to
is
called
upwards
face
Sama
the
and the
posture.
Tt
the posture in deep sleep.
224.
Prasarita
and the knees
Lying down with one arm as the
stretched, is called the Prasiirita posturc.
pillow
ft is to
be
used to represent one enjoying a sleep of happiness.

225.
Vivartita
Lying down with the
called the Vivartita posture.
217 (B.XII.224, G.217).
face
be assumed
in
downwards
218 (B.XII.225, G.218).

220 (B.XU.227, G.220).
221 (B.XM.228, G.221).
222 (B.XD..229, G.222).
(B.XH 230, G.22H).
224 (B.XH.821, G224).
225 (B.XII.832, G.225).
is
[representing
219 (B.XU.226, G.219).
223
'
It is to
''.>'
-XIII. 228
THE DIFFERENT GAITS
wound from any
237
weapon, death, vomitting,
and
intoxication
lunacy.
Udvahita
226.
the
Lying down with the head
hand and making a movement
Udvahita
posture.
It is to
he
used
of the
knee,
sports
in
is
resting
on
called
the
on
iind
entrance
of the muster.
Nata
227.
slightly stretched
Nata
posture.
228.
tell
Lying down
and the two hands
It is to
This
is
he used
the
with
tlw
lugs
loosely resting
in laziness, fatigue
[rule
of]
(lit.
is
and
shanks)
called
the
distress.
Gait and movements J was to
Whatever remains unsaid should he devised accordthe

demand of circumstances. I shall lira rafter ,peak
you.
ing to
about the division of the stage into Zones

about on
Here ends Chapter XII

which
treats of the Gaits
220 (B.X 1J.::W, G.22'.).
228
in
connexion
with going
it.
RXJJ.235, G.228).
and other Movements.
227 (B.XH.2
.'-J,
0.527).
CHAPTER FOURTEEN
THE ZONES AND THE LOCAL USAGES
One
1.
should
ETC.
the Zones [of the stage]
fix
after
knowing
the division of the three [kinds ofj playhouse, that have been
men-
tioned before by me.
The arrangement
The producer
2.
between
two
the
[of a
of
should
play]
doors of
the
drums
arrange the drums
room,
tiling
which
have
described before.
The Zonal
The Zonal
3.
will
division
[When one
the stages
change
[lit.
is in
division
to
is
lie
indicated by going about on
Zone
particular]
[of the
be another] with his walking out of
stage,
it]
it.
Utility of the Zonal division

[It is]
l-(i.
one
is
is
to
from the [convention
know [whether
a house, a
city,
Zonal division that
of] the
the place in which the scene has been laid]
a garden, a pleasure
resort, a
a forest, the earth, the sea, Lany part of]
river,
one of the Seven great divisions of (he earth
any of the
different mountains, the
the] earth or the nether world
or palaces of the Daityas 1
laid
(lit.
or
continents,
its
light), the
[surface ot
(raoW), the places of
fixed
as a city, a forest, a continent or
have been
(lit.
rest, cities
The Zones should be
7.
sky
a hermitage,
Three worlds, any
the
with reference to places such
a mountain
in
which the scenes
the event occurs).
(B.XHI.1, G.l).
See NW.
II. 63ff.
2 (B.XUI.2, G2).
3 (B.XIII.3, G3).
As modern devise of the change of scenes was
absent in the ancient Hindu theatre, the convention of the Zonal division
indicated the locality in which different characters
,4-6
aiayas.
(B.XIH.4-6, G-4-6),
'
B. reads
met
daityamgalayas
7 (B.XIIJ.7, G.7).
for
daityamam
THH ZONKS
XIV. 16]
THE LOCAL USAGES
&
239
Indicating relative location

8.
[The Zonal]
9.
who have
and
relate to
location
inside,
to a place far or near.
According to the convention of the Zonal division those

entered
[the
inside [a house], while
remaining outside
stage]
should be taken
earlier,
those entering
enters the
with the
stage
those entering earlier) should
(/. r.
being
as
known
are to be
later
it
as
it.
He who
10.
them
should
division
outside or in the middle
seeing
intention of
report himself turning
to
the right.
The
11.
tiring
room
The
If
[who enter
rule of exit
will
go out
on any
when entering
going out
]
he
from the place

he
business
neeeseary
|if
is
to
make
(lit.
his
there is.
exit
by the
1
.
lore-enter
is
that
by the door through
house he
which
the
will
men
came.
later]
14-15.
The
any person
Tf after
his exit
of the
course
the east in
performance.
very door he used
make
drums and the two doors
should always be considered as
inside the house)
li!.
on the stage
direction which the
face,
of the dramatic
12.
east
If
out of necessity he
enters the house with the latter, or
goes
along
with
latter, [re-]
by himself alone, another Zone
should be prescribed for the two. This other Zone will be indicated
by
their [order in] walking.

Indication of rank in group walking
10.
With the
one's inferiors one
is
equals, one
is
to
walk side by side and
to walk surrounded [by
with
the latter], and hand-
maids are to be known by their walking before [the master].
8 (B.X11I.8, G.8).
9(B.XIII.9,G.9).
10 (B.XIII.10, GfHO).
ll(B.XIIl.U,G.ll).
12 (B.X1JI.12, G.12).
13(B.XJU.13,G.1S).
B. reads the couplet differently.

14-15 (B.XJ11 14.G.14),
THE NATYASASTBA
240
And
a distant land.
place
much walked over
if
17-
medium
Indicating distance great, small and
The same
17.
XIV.
be taken
will
medium
near by lands or lands ot
as
distance
are to be indicated likewise (in the same principle) 1 .
Movement
18-20.
and demigods
of gods
According to the various needs of the plot
gods and demigods are to move to
by an
through the sky,
aerial
But while
different other acts.
car,
by
in
disguise
play)
(lit.
seas or mountains
cities, forests,
their occult
in a
power or by
play they
(/.
gods and demigods) are to move on the ground, so that they
human
be visible like
beings
Movement
men
move
are to
human
causes)
1
.
Bharatavarsa
in
at
their will
the Jambudvipa], but
of [the nine] divisions [of
men
of
through
The gods and demigods can
21.
that
(lit.
may
move
is
it
any
to
prescribed
in Bh'.rata [varsa] (India) alone.
Departure for a distance place

22.
is
a person departs on business to a
If
by closing the
to be indicated
mentioning again
To
23.
matter
(lit.
indicate
this
and
Act
for the events of an
object one
attainment of an
the
But
measure of distance.
distant place
his departing]
an Introductory Scene (yxwiM'a).
this fact in
Time allowed
traverse
Act [with
in non-attainment
of
the
in ease of
(he
object)
failure
is
in
Act should
to
this
be
brought to an end.
24.
Yama
of the
[Incidents in a play occurring for] a
and
Germ
25.
after,
day are
to be
accommodated
in
Ksana, a Muhnrta,
an Act
in
pursuance
(rijn) [of the play].
But a month or a year
with the end

year
of
an
Act
should not be
[to
is
be
considered] finished
and events occurring more than one
put. in
an Act.
16 (B.XII116. G.16).
17 (B.XJII.17, G.17).
'
For an oxample of this see Uttara
18-20 (B.XIII.18-20, 0,18-20).' B.G. add one couplet after
21 (B.X1II.21, 0.22).
22 (B.XUJ.23, 0.23).
'
24 (B.XIII.25, 0.25).
I.
this.
23 (B.X1II.24, 0.24
25 (B.X1 1126, 0.26).
't
-XiV. 86
THE ZONES
The Zones
THE LOCAL USAGES
&
of
the
cerning the movements of
men
26.
stage [and allied conventions] con-
be observed in a play
are thus to
Now
with Bharatavarsa (India).
in connexion
241
about that
listen
of gods and demigods.
Yaksas, Guhyakas, the follow ers of Kuvera,
27-32.
Bhutas and Pisacas who
giver of wealth), Riiksasas,

best
mountain KailFuui included
as dwellers
Ganas
all
are
the
of
known
on
Biahmarsis
the abode of Daityas
tains
Zonal
division
full
of lapis
lazuli
and Danavas, while
These are the best moun-
Pit re resort to the Srftgavat [mountain].
With
demigods dwell.
where gods and
The
on the great Meru, and Siddhas
Blue [Mountain]
the
is
the Nisadha live
Vasuki and Taksaka.
Resa,
as
thirty-three groups of gods dwell
The White Mountain
On
on the Hemakuta.
the Niigas (serpents) such
and
Gandharvas, Apsarasas and
mountain.
latter
to live
on the
Himalayas, are known
the
in
the
(lit.
live
reference
the
ot
they should be [placed] in Jambudvlpa [where
these mountains exist].
Movements
Their
32-35.
of gods
be represented
should
exploits
(lit.
made)
according to their habits and powers, but their costumes and make-
up should be
are to
be
like that of
made human.
human
made) as winkless [which they

and the
States are
Sentiments
[first]
[in
indicated
gestures and postures
beings.
All the conditions of gods
Hence they should not be represented

traditional!
play]
are].
(lit.
For the States
And
depend on Glances.
by Glances and then represented

This
(lit.
by
The
four Local Usages
limbs).
is
all
the
by
about the Zonal
division.
36.
(prarrtti)
shall
now resume
the description of the Local Usages
which according to the experts in drama are four
1
Daksinatyi^, Pancal! and Odhra-Magadhi
Avanli
27-32 (B.XIU.28-33a, G.28-33).
26 (B.XI1I.27, G.27).
32-35 (B.XlII.33b-36r, G.35-37a).
'
For tu iaiyam B.
reads
na
karyam.
36 (B.XIII.36b-38, G.^7b-38).
beginning of 37
31
is
in prose.
'
The passage following
this
till
tl.e
[Now comes
question]
the
pmvrtti
because
so called
is
Why
manners and professions
Usages regarding costumes, languages,
is'
"How
asked,
it
common
is
characteristics;
which
performance
hive
these
[In reply]
different
native
have prescribed
performance which
dramatic
is
according to the preference
such as the Verbal
Styles
the
to
Graceful
(sattmtli), the
And
(arabluiti).
Violent
four
all
observance has [some]
their
people
Styles
relate
Grand
the
{bharati)
characteristics."
and manners,
the
the
[Hence] countries are connected with the
people.
[different]
as
different
four
to
attached
that
of
classification
a fourfold
true
but
(('..
an observance of
common
languages
costumes,
countries,
of
said, "It
been
has
And
[some]
possess
pravrttis
Hence
this world.
in
a fourfold division of these
be] proper
pravrttis) [can
and pmvrtti mean
Vrtti
world.
the
There arc many countries
'information',
it
of
countries
different
said that
it is
about the Local
informs [one]
it
pravrtii
called]
[it
is
[In answer to this]
(report) [of the Local Usages] ?
in
[XIV. 37-
THE NATYASASTKA
242-
from
these
four pravrttis (Local Usages) and
also
(kai&iki)
[countries]
and the
the
arise
performance
the [entire]
including them.
The Daksinatya Local Usage
Now
[it
is
that
in
said]
Southern [countries] favour

instrumental music, an
abundance
and clever and graceful gestures.
37
connexion
Countries adjacent
to
(lit.
there)
that
the
kind of dances, songs and
various
the Graceful
of
They
(kaisiki) Style
are as follows
mountains named the Mahendra,
1
Malaya, the Sahya, the Mekala and the Kalapanjara are
the
known
as the Daksinapatha (Deccan).
38-39
1
[But] Kosala, Tosal.i, Kalinga
3
countries like Dramida, Andhra, Malrrastra
37 (B.X1II.39, G.39)'
Kalirjara
(=Kalapi
jara)
Kalapa
'
Yavana, Khasa, and
jara seems to
pinjara
is
Vainna and Vana-
be same as modern
variant
of
paltjara
see
Paia-saddamaliannavo, sui voce.
38-39 (B.xilI.40-41, G.40-41).
'
Andhra-Maharatra may
Andhra empire (maha-rasira).
also be
See note
to 43-45.
taken 'as the name of the great
-XIV. 46
THE ZONES
vasika which
THE LOCAL USAGES
&
between the Southern
lie
243
OceaD and
the
Vindhya
8
[mountain] are always to take to the Daksinatysi Local Usages .
The Avanti Local Usage

Avanti, Vidisa, Saurastra, Malava, Sindhu, Sauvira,
40-41.
Arvudeya
Dasarna, Tripura, and
Avanti Local Usage 2
The performance
42.
should depend on
tries]
[of a play]
Grand
the
and [such a
Styles
[kaisilci]
Mrttikavat always take to the
by [people
(s&ttvati)
of] these [coun-
and the Graceful
procedure] should
be adopted by
the producers.
The Odhra-Magadhi Local Usage

Eastern 1 [countries such as] Anga, Vanga, Kalinga*,
43-45.
Odhra
Vatsa,
Magadha, Pundra, Nepala, Amtargira, Bahi-
Plavamgama, Malada 3
rgira,
gava,
(Odra),
Margava, 7
known
adopt the Local Usage
In
46.
Puranas as
Usage
is
Mallavartaka,* Brahmottara," Bhar-
as the
to
to
the
Odhra-Magadhi.
countries
other
relation
belonging
and Tamralipta,
Pulinda, Videha
Pragjyotisa,
East the
too
known
in
Odhra-Magadhi
the
Local
applied.
Geographical names mentioned in this passage and the passages
that follow, arc mostly to be
variant
readings).
met with in the Puranas (sometimes with
For a discussion on the same
Sircar, 'Text of the Puranic Lists of Peoples'
see
Dines Chandra
(IHQ. Vol. XXI. 1945
pp. 297-314).
40-41 (B.XIH.42-43, G.42-43).
putana
is
42
(B.XKL44,
Arvuda or modern Ibu
The twofold mention
possible that the
two
different
'
B. prahga pravrttayah.
of Kalinga requires an explanation.
Usages were current in this region.
Malada be may modern Maldah
'
Mallavartaka may be modern Mallabhum (Bankura
For Brahmottara
Bhargava remains unidentified,

Margava remains unidentified.
'
in Raj-
G.44).
43-45 (B.Xni.45-47, G.45-47).

2
'
probably meant by this name.
District of Bengal.
see Visvabharati Patrika, Vol.
46 (B.XIIL48, G.48).
in
Bengal.
IV. pp,
250ff.
It
is
THE NATYASASTBA
244
XIV.
47-
The Paiicala-Madhyaina local Usage

47-48.
Hastinapura,
Countries such
Vfilhika,
PancJa,
as
Si'kala
Madra
the Himalayas
contiguous either to
or
Kasmira,
Surasena,
and
Uslnara which are
Northern bank of
to the
the Ganges, take to the Paficala-madhyma Local Usage. I

49.
In
Usage the Grand
this
(ardbhati) Styles are

these
[means]
known
paucity
and
of song
and the Violent
(sattvatj)
The
[to predominate].
application of
movement and
excessive
extraordinary Gaits and steps.
The twofold
50.
will
Going about on the stage
be in two ways,
entering from the

51.
entrance in observing Local Usages
in [observing] Local
by entering from the
viz.
Usages,
and
right
Avanti and the
In the
Local Usage the
Daksiniitya
going about [on the stage] will be from the right, and in the
and the Odhra-Magadhi

52.
In
by
left.
ease
it
be from the
will
of the Avanti
Piiiieali
left.
and the
Daksinatya
Local
Usages the door to be used in
entering should be the Northern
one, while in case of the Paficali
and Odhra-Magadhi Local Usages
the Southern door should be used.

oI3.
But
and
made
view of the special assembly, place, occasion
in
expression of
meaning these rules may be combined
(lit.
be
into one).
54.
Experts
should
apply
to
plays
the
Local Usages
which have been prescribed before for different countries.

55.
simplified.
In musical plays (ganakadi)
One
should produce them
(lit.
these
shold
be
those acts)
in
rules
practice
disregard of the multiplicity of Local Usages.
47-48 (B.XITI.49-50, G.50-51).
be a variant of Salvaka.
may
ialval} iakalavasinah is
the
name
'
The reading Salyaka
in
the Puranas an
of
some mss.
expression
like
met with, Salvas or Salvukas might have been
of a tribe residing in the ancient Sakala region.
49 (B.XIU.51, G.49).
,
As
51 (B.Xin.53, G.53).
53 (B.XIIL55, G.55).
50 (B.XHI.52, G.52).
52 (B.Xm.54, G.54).
54 (B XZII.56, G.56).
55 (B.XIII.57, G.58).
THE ZONES
XIV. 63]
&
THE LOCAL USAGES
The two general
The production
56.
of dramatic practice
types of plays
in conformity with the
of a play
two types
of
is'
245
rales
and
delicate (sukwniaru)
violent (avbldhii).
The
and movements
challenging!
violent types
The play which requires
57-58.
{aivjaliaiv)
represent, cutting,
to
women [among
its
and make-up, and
ilmimiti*
lias
its
and
Vyayog;i
less
production J
of the violent type.
is
According to the [expert] producers, [plays
Samavakara, the
known
more men and
and applies [in
/*/.'ivsu/n/]
mostly the Grand and the Violent Styles,

59.
and
piercing
and contains the use of magic and occult powers as
well as artificial objects
the.
(arihlha) gestures
violent
otj the l)ima.
Iliamrgu
the
[classes]
are
to be of the violent type.
Production
60.
[an impersonation of]
plays
of
of
The
plays of
The Nataka,
the
delicate type,
delicate type
and they depend
human
now
define
[for
Anka
the
their
are
production]
beings only.
The two
I shall
made by
are majestic
strength.
the Prnkarana, Vltlii and
[on an impersonation of]
62/
be
gods/Danavas and Rakaasas who
and haughty, and have herorism, energy and
61.
should
this type
Practices
relate
(lit.
the
characteristcs ol) the
two Practices (dlurnni) which have been mentioned before.
The
63-64.
characters]
and
a play depends on
If
simple and
is
56 (B.XI1I5 9
realistic Practice
not
natural
articial,
behaviour
and has
[in
its
its
[plot]
57 (B.XIH.60-61, G.60-61).
G.59)
60 (B.XI1I 63, G.63X
59 (B.XI11.62, G.62).
61 (B.XII1.64, G.64).
'
B. adds
62 (B.XI1I.70, G.65).
'
For a discussion on Dharmis
van, Niitya
in
Dharmi and Loka Dharral
see
(Idealism and Realism of
Stage), Journal of (Oriental Researches.
68-64 (B.XU1.71-72, G.66-67).
five additional couplets after this.
'
V. RaghaBharata's
Madras, Vol. VII. pp. 359-375.

See note 1 to IX. 1-3.
THE NATYASAKTRA
246
66-
and has [simple aeting and]
of the people
professions and activities
XIV.
no playful flourish of limbs and depend* on men and

1
different types, it is called realistic (l-iMhtmuj) .
women
of
The conventional Practice

65-IJ6
and
limbs
of
flourish
and requires acting with playful
earned parsons
[iiaijadkarm'i)
07.
(lit.
characters
known
as conventional
play
in
speech 2
by
used
anything
and
to be
is
it
and
dependent on emotionally
is
If
set foot)
from
(lit.)
and
dance,
of
characteristics
possesses
requires couventiona! enunciation,
and
beings
speech, activity,
contains
play
Tf
states of the extraordinary kind,
practice
the
among)
(lit.
is
appears
people,
endowed with a corporal
as
here)
(lit
conventional
called
[a]so|
(naJtijadhannl) 3 .
practice in a play according
[The
U8.
to
which persons
in proximity, or to hear
supposed] not to hear words
uttered
has not been uttered at
[also] called conventional.
all, is
If objects like
69.
conveyance,
hill,
aerial
arc
what
shield,
car,
armour, weapon or banner-staff are made to appear on the stage

(lit.
are used) in
[human] form,
it
is
in
known
as an
the
[instance of]
conventional Practice.
If after
70.
same
role [in the
both the
cases
of
65-67
being
is
for
whom
forbidden by the
sole
actor
being
available
employed
H.XI1I.75, G.70).
'
marital
(lit.
for
both
made
in
the
padant
G. reads bhadram.
to
Au
is
in
the
appear in the
is
'
of this
being)
Sastras,
mitrtimai sabhibhasam (B. murtimat sabhilasam).

instance
different
an expert
connexion with a particular
Miiyapupaka
the personification of the Bhrama&apa in
(Ag.).
68 (B.XIII.76, G.7I).
69 (B.XIII.77, G.72).
this.
the
one assumes a
of his
to be an instance of the conventional Practice.
woman
character
role,
on account
If after a person has been
71role
or
known
roles, it is
appearing
play],
'
''
70 (B.XIII.78)
For amnnoktam, G. reads atroktam caiva.

G. omits two couplets (70 and 71)
71 (B.XIII.79).
after
-XIV. 78
THE ZONES
role of another
woman
becomes an instance
be the result
if
73.
such
of conventional
connexion
steps
Tf the
combined with)
is
movement
known
it
will
reversed.
human
essence
its
as
well
which
nature
soul)
(lit.
gestures
[special]
limbs
the
of
as
with
as conventional Practice.
[ordinary]
joys and sorrows as
permitted,
is
The same
practice.
is
247
a play instead of simple walking] one dances
graceful
made
similarly
whom
with
the situation in the above case
That, [in
72.
or goes with
THE LOCAL USAGES
&
it
has acts of
by
represented
is
(lit.
becomes [an instance
of]
the conventional Practice.
The Zonal
74.
many
division
which
includes
depends on)
(lit.
rules, is also [an instance of] the conventional Practice
75.
movement
tional
always be produced
play should
[of limbs], for without
the
with the conven-
[use of]
Gestures [by
the actors] no pleasure occurs [to the spectators].

All the States are natural to all
7C.
gestures
(arthnlah)
a play]
connexion
[in
;
with
[hence] a decorative
has been considered
as
[persons]
them are
movements
[an
and
all
the
from
necessity
of limbs [in
producing
used]
instance
of]
the conventional
Practice.
77.
and
So much about the Zonal
the [four]
should
know
78.
Local
these
Usages.
Division, [the two] Practices
Experts
in
and put them properly into
dramatic
production
practice.
have described here the Histrionic Representation by
means'of the Sakha and the Angaharaabout such Representation
depending on
shall
afterwards speak
Words which
consist of
vowel and consonantal sounds.
Here ends Chapter
XIV
which treats of the Local Usages and the Practices.
72 (B.XIII.80, G.73).
73 (B.XIII.81, G.74).
74 (B.XIII.82, G.75).
rends one additional couplet after this.
B. reads one additional couplet after this.
75 (B.XHI.84, G.76).
76 (B.X1II.35, G.77).
77 (B.XIII.86, G.78).
78 (B.X1H.87, G.79),
CHAPTER FIFTEEN
RULES OF PROSODY
The
O the
1.
nature
best of Brahmin?, I
characteristics
(lit
actor's speech
has been mentioned before 1
shall
now speak about
Verbal
of) the
and which
the
Representation which
relates to
arises
(lit.
from)
vowels and consonants.

Importance of speech in drama
One
2.
as the
and
body
Makeup and
In
3.
rest
this
world
(lit.
The Verbal
4.
tion
{ii)MHtirtja),
is
vibhakti
nominal
5.
made up
words
of
related
is
(aklu/ta),
to
particle
combination
[a
knowledge
(niâtu),
(tahlkHu)
suffix
preposi-
compound
(xnn<lhi)
and
words
c.ise-eiidim's
).
The two kinds
of
acting [merely
nothing beyond words, and words
representation
verbs
euphonic
(mimasn),
Costumes
lestures,
here) the Sastras are
there
1
are at the source of everything
nouns (nama),
<
(*al'vil;n)
of words.
on words; hence
of]
For these are known
And
(/<///).
Temparamental
the
meaning
clarify the
and
should take care of words 1
of the dramatic art
The
two kinds
difference in
Recitation Qiathja)
Sanskritic
and
of recitation
[in
play]
Prokritic.
I shall
is
known
speak
to
of
be
their
due order.
1 (C.lj B.XIV.l).
>
For the four kinds of Histrionic Representation

see N8. VI. 23.
which includes the Verbal one

2 (C.1;B.XIV.2),
the play-wright.
On
"This rule applies to the actors as well as to

Ag. says : vfa
*a*i ifit Mifon frtf<ii<in%
nw
this
are* n*<rarrtt.
3 (C.3; B.X1V.3).
'
Tiiis
view
is
also
held
600 A.'C.) in his Vakyapadiya (XgamakandaXSee B.

4. (C.4;
B.X1 V.4).
5 (0.5; B.X1V.5).
hy Bhatrhari
p. 224, foot note.
(circa
-XV. 9
BULBS OF PBOSODY
249
Different aspects of Recitation
[They consist
0-7.
nominal
The
suffixes.
due regard
prepositions,
verbs,
Sanskritic Recitation
to] these aspects
and
Now
listen
1
various verbal roots
euphonic combi-
of] vowels, consonants,
nouns,
case-endings,
nation,
,.
is
compound words, and

about
its
and
particles
characterised
by
[a
includes
application.
The speech-sounds
The
known
as
ka and ending
in
au, are
Vowles
c, ai,
vowels, and the
group of sounds beginning with
number 1
are fourteen in
known
o and au are to be
The group
jha,
ja,
Consonants
9.
The
A,
a,
of letters beginning with ka,

mi,
group of consonants 3
consonants] are
ta,
u,
da, dha,
ra, la, va,
r, I. ],
r,
sa
(5a,
ta
n.a,
sa
tha
and ha 2
their articulation
as unvoiced (<ujlw*n)
[of
and the
the
stop
[of the
rest
(ijhoMt).
group] are called voiced
6-7 (0.6-7; B.XIV.6-7).
8 (C.8; B,X1V.8).
u,
consonants. Ka,
are
tha,
two sounds of each group
first
known
vowels differently.
i,
i,
as the vowels.
dha, na, pa, pha, ba, bha, ma, ya,
[constitute] the
in
ha are known as consonants.
kha, ga, gha, na, ca, cha,

da,
and ending
fourteen founds beginning with a
R-ad mmadhatu-sammrayam, C.
'
Different aiksfis and
'
According
to the
Priitisakhyas enumerate
PS. they are 22 in number, while the
Atharva, Taittirlya, and Vajasaneyi, Prutifcikhyas and the Rktantra

Vyakarana (Samavcda Pr.) give their number respectively as 13, 13, 16,
23 and 23.
3
See VS.
PS.
among consonants.
8
(ed.
Manomohan Ghosh)
p.51.
counts anusvara, visarga, jihvamvliya
Sec
ed.
Ghosh,
and
B. reads after this a couplet (B.10) from PS. see
occurring in most of the
tnss.
this
may be taken
ibid,
is our view about the couplet B.ll which follow

The substance of tMs couplet (B.ll) occurs in 9 below-
9 (C.9
B.XIV.12).
'
the prose passage that follows
p.
as spurious.
followed in B. by a prose passage which also seems to be
same
upadhtmnlya
p. 50.
this
59.
Not
This
spurious.
is
The
prose passage.
In C. this couplet occurs after 8 and before

it.
THE NATYASASTBA
280
These 1 [consonants] are to be
10.
as)
and unvoiced,
voiced
nasal, sibilant, palatal

'11
n,
velar,
classified into
da, dha, na, da,
(jihvya)*,
and Visarjanlya.
In these groups [of consonants]
while ka, kha,
10-
known
(lit.
lingual
dental,
labial,
XV.
dha na, ba bha, ma, ya,
ga,
ra, la
gha,
na,
ja,
jha,
and va are voiced,
pha, sa, sa, sa and ha are
ca, cha, ta, tha, ta, tha, pa,
unvoiced.
Ka, kha,
12-14.
ca, cha, ja, jha, Fia,

ra,
and
i, i,
ya and
(murdhawja),
sa cacuminal
(kardhoxtha),
xthana) 2 , e and
o and
au
are
ma
duction of
The
is
na,
la,
r,
and
ha are from the
a and
(kanthyostlia,-
throat-labial
from the throat, and ka and [kha]
The
place of articulation
be for the
will
for
pa
closet! (arivrta)
beginning with ka and
sounds]
are called stops (sparsa),
'
Read the
sa sa, and ha are open
sa,
hemistich as
first
^nwfor,
<tf
any well-known grammatical
to occur in
perhaps synonymous with murdhanya; for in the pro-
murdhanya sounds jihva
Taittiriya. Pr. describes the
(tongue) plays the most important part,
manner
of their production
Jihvagrena prativeslya murdhani ta-vargasya

this
dha,
Thejihvya docs not seem

This
and the same
10 (CIO; B.XIV.13).
work.
is
[The group of
15-16.
ending in
(kanihastlia) 1
da,
throat-palatal {kntaha-talavya).
ai,
lips,
vowels u and u
ta,
labial;
1
are from the root of the tongue
and pha are
velar
tha,
tha, da, dha, na,
ma
The Visarjanlya
14-15.
are
na,
sa palatal, ta,
sa dental, pa, pha, ba, bha, and

throat
and
ga, gha,
term has never again been used
(11.37),
as
follows
Curiously enough
in the Ntt.
11 CC.11; B.X1V.14).
12-14 (C.l2-14a; B.X1V.15, 15 of p.230 and

tional views about the places of
Read lib
*
8
1
as follows
articulation
qre^f zstrnTO-siw
'
For
different tradi-
qSmta:.
Read 12a as follows : wmî: ^WIWJIWII fltriw tnsatwn:.

Read 13b as follows : -nrasir i^mr: ro^'zw $f farat itai:.
Read 14a
as follows
"ft *raili!ft
14-15 (C.l4b-15a, B.XIV.16b-17a).

8
tftr
16).
of consonants see P8. p. 62.
Read
14b-15a,
as follows
1
'
qrtft
^ wwwft.
See noto I to 12-14 above.
ro) fw&SWt fcrnqjIi'SftiwSl:
15-16 (C15b-16a, B.XIV.17b-18a).
liffit-
C. sarnvrtali for samvrtajah.
-XV. 21
BULBS OP PBOS,ODY
while semivowels
(vivrta)
iia,
9a, na and
16-17.
are nasal [sounds].
Sa,
sa,
va
arc
and
ya, ra, la
(airfahitha)
ma
and sa and ha are

semivowels
hka from the root of the tongue
Upadhma
281
are erosed (samvrta),
sibilants (imiim-h,
(aiUiihithii,
lit.
lit.
na,
hot)
intermediate),
and hpa from the
(jihnamidltja)
(nparfhmaniya).
17-18.
Ka,
ca, ta, ta
and "pa are [simply] uttered (nmrite),
and kha, cha, tha, tha and pha are uttered [markedly] from the
and
throat,
ga, gha, ja, jha, da, dha, da,
dha, and
throat as well as the breast (kanihuiasya) 1
The Visarjaniya should
18-19.
[the root of] the tongue 1 .
be
ba, bha from the
known
as a sound
These are the consonants
been briefly defined by me.
1 shall
now
discuss the
from
which have
vowels
with
reference to their use in words.
Vowels
1
20.
Of
homogenous
their quantity
the above mentioned fourteen* vowels ten constitute
pairs (winaiw),
of which the
ones are short and
first
the second ones long.
The four kinds

Constituted with
21.
above] the
(tihatu),
affixes
of
word
vowels and
consonants [described
words include verbs (skhyata), nouns (nclma), roots
prepositions
(npaxarya) and
(nandhi)
combinations
euphonic
(taihUuta),
particles (niyafa),
nominal
and case-
terminations (vibhakti).
16-17 (C.16b-17a;
B.XIV.18b
19a).
17-18 (C.17b-18a, B.XIV.19b-20a).
18-19 (C.18b-19
Read 18b as follows
B.XIV.20b-2l).
'
Read
'.See
this couplet as follows
note
tat fafl^Wt fsiIT5rftf ^:.
to
12-14
above.
See the foot-note in B.
under B. 20b.
20 (C.20; B.XIV.22b-23a).
(B 22a), before
3
'
B.
reads one
additional
this.
About the number
of vowels see 8 note 1 above.
21 (C.21j B. foot note 4 in
p. 231).
hemistich
THft NATtASASTBA
262
The
22.
will arise
in
those charac-
shall again discuss
when an occasion
teristics briefly
have been mentioned
characteristics of vocables
by the ancient masters. I
detail
[XV/S8-
1
.
The noun
The noun 1 has
28.
endings such as
therefrom 2
and
it
of
is
determined by
functions
its
and the
'su'
like,
five
the case-
and by special meanings derived
kinds and has
meaning
a basic
(pratipntlikartha) and gender*.

24.
noun)
It (the
known
is
has six cases, and [sometimes]
it is
to
1
be of seven
well-established
and
classes
([irathittt)
and
22 (C.22; B. foot-note 5 in p. 231).
B X1V.28).
23 (C.25;
in 0. as well as
B.
Begin
'
it
This couplet has evidently boon misplaced
as svadyudya"
'
The second hemistich should be emended
The
five
K?4 * ftfjTW
There
is
nfinnfiwitfef-
kinds of noun have been enumerated as follows
wmn
stîijsw
Haldar,
tasara-vivarana (Rrf.
*
follows
as
mi mq lliw
wtffl
number
of basic meanings
is
gender (likga).
ancient authority took their

:
chareteris-
a species (jitti) and object (dmvya). Katyayana adds one more to the
number which
arc
3"rai
Itihiisa, p. 174).
a difference of opinion about the
(pridipadikartha) of a word. According to Panini they are-two

tics of
Goylcandra, Samksip-
il
characteristics
Pataiijali
of a
But Vyighrapit a rather
number
species,
object,
however considered them
of a species,
object,
to
less
kuown
According to him they
bo four.
gender and number (samkhyu).
to be live in
number,
e.g. characteristics
gender, number and case [karaka).
(Haldsir, Itihiisa
p. 447-48.
24 (C.23; B.XIV.25b-26a).
The seven
classes
probably relate to
the seven groups of case-endings.

*
The
words
scarcely well-known.
as a whole,
Prathita
built
It
may be
in
as
grammatical terms an-
relate
this connexion
affixes
etc.
the well-known words

into
component
parts.
be considered as the most
in contrast to these that the
up from the verbal roots and
be.madc).
sudhya
which cannot be conveniently analysed
(Unadi derivation should

artificial).
and
Prathita seems to
are
words which can be
known
as
sadhya
These two terms may therefore be taken as synonymous with
rGjAa and yaugika respectively.
_,
-XV. 27
BOLES OF PBOSODY
[sometimes]
with
is
different
be constituted (sa/lhya)*
to
case-endings]
it
may
258
when combined
[and
(nirdega) 3 ,
imply* indication
giving to (sampradana), taking away (ai>Wlantt) and the

1
25.
The
the past time

(l>rathita)
lik*.
verbs relate to actions occurring in the present and
and the
like
they are sometimes
and sometimes
to be
well-established
constituted (sailhya)*, are distin-
guished and divided according to number and person.
The verb
26.
[A
collection of] five
five classes are to
the
be known
hundred roots divided into twenty-
Recitation, and they add to the

27.
Those that
verbal roots in
iipaxtjnnti
called
Nirdesa seems
<mii
meaning of the nouns 1

(modify)
the
meaning
of
the
it/nutti nja-
(preposition)
in the science of
(xttmskara-iastra).
relate 'nominatives
to to
meanings of the case-endings.
ftw.
connexion with
in
connexion with the meaning of basic words 1 are for
that [very] reason
grammer
(akhyata)
as verbs
%A
R?T"5m$iif(
for
it
is
one of
the
Enumerating these some grammarian says

i
^rarafsqfaîi
ftwwttf:
R^tfflJU:
.-
(Haldar,
Itihasa, p. 170).
25 (C.24; B.XIV.26b and
cf.
29b).
'
Read the couplet
as follows
B. 27a seems to be corrupt and redundant.

2
prmya
In case of verbs prathita seems to relate to irregular froms like

in place
of drg,
and sadhya
to
regularly constructed ones.
Sec
also note 1 to 24 above.
26(C.26a;B.XlV. 27b, 29a).

C. omits 26a and gives only 26b
There are different number of roots in lists (DhatupStha)
l
as C. 26a.
attached to different grammatical works.

their
number as
to Jaina
five
It is not known which give

Dhanapala (970 A.C.). in his commentary
Dhatupatha says on the subject as follows
hundred.
Sakatiiyana's
*3*jJWr*rf'Mri<.'i*
toj:
Sferiw* vnfli ^f<u
wn:
'
ll
(Ref.
Haldar,
Verbal roots are divided according to Panini into ten classes

Their division into twentyftve classes does not seem to occur in any
well-known work.
Itihasa, p. 44).
(gatta).
' This
27 (C.26, B.XIV.30).
definition of the ufiasarga follows
Sakatayana's view on the subject as expressed in the Nirukta 0,. 1.3-4).
According to this authority upascrgas have no independant meaning and
THE NATYA8A8TRA
361
The
XV.
28-
particle
together) with declined words
*As they nipatmti (come
28.
meaning, root, metre" or etymo-
(pada) to strengthen their basic
logy*, they are called nipatas (particles).
The
1
29,
meaning
As
[of
it
distinguishes ideas {pratyaya)
by intensifying
root]
another] or [pointing out]
pratyaya
affixes
or
it
essential quality
its
and
the
develops
combining
{mitva),
with
[it
it is
called
by an
elision
(affix).
The nominal
x As
30[of
some of
it
affix
develops the meanings
a seperation of
its parts],
[of a word]
and
root
its
combination and by pointing out the abstract notion

it], it is
or their
by
called taddldia (nominal affix).
they are merely auxiliary words modifying
On
roots.
affix,
[indicated
the different
one grammarian says
ways
wati finmj*4*
sfcfillffl
the meaning of the verbal
such modification takes place
which
in
fafitlfe ?lm$>!<re9'iiftlfcroT.
Haldar, Itihasa, p. 346).
28(C27;B.XIV.3l).
'
According to Panini indecliuables (avyaya)
of the ca-group
See
(nipaia).
are particles
I.
Patanjali nipiitas do the function of case-endings

accent).
pitch
The author
2
here.-
He
says
farffatswfTOwra
Kasika too accepts
of the
not clear
now
nipatas,
Probably the reading here
not not appear to
is
wftfit rinra^r:...(on P.II1.4.2).
view in his comments on
P.I. 4.57.
of the definition
is
not quite clear.
etymology
the
definition of the
given
pratyaya
any exant grammatical work.
the Aindra school
to
tation the
strengthen
Such an elaborate
'
it
to
corrupt.
occur in
seems to trace
root
According
Ca, vat, tu, and hi are instances of such nipatas.

It is
29 (C.28; B.XIV.32).
doer!
this
5.57.
and intonation (svara=
of grammarians.
Ag.
The meaning
According to the common interpre-
pratyaya means that which helps to develop a meaning from
3tre: q?fta^
stt:
).
30 (C.29; B.XIV.33).
'
This definition
of the
taddhita does not
seem to occur in any well-known grammatical work.

processes through
which the taddhita
suffix will
It
describes the
transform a word.
XV. 34
BULBS OP PBOSODY
255
The case-ending
As
31.
of
they vibliajanti (distinguish
between) the meanings
an inflected word or words with reference to their roots or gender,
they are called vihhahti (case-endings).
The euphonic combination
Where
32-
separated
vowels
consonants sandhtyate
or
(combine) 1 by coining together 2 (i/ogatah) in a word or words
As due
33.
to the
meeting of two sounds
two words, their sequence (krama)*- sandhlyate

nation),
it is
called
it
is
sandhi (euphonic combination).
called [an instance of]
mndhi
letters)
(lit.
(result in a
or of
combi-
(euphonic combination).
The compound wordB

34.
words
The Samasa (compound word) which combine 1 many
to express
a single meaning an.l suppresses
described by the experts to be of six kinds
affixes,
has been
such as Tatpurusa and
the like.
31 (C.30; B.XIV.34).
sense of the term
This definition
of
word
(i*!"!
fmitl?
sandhi in
See Halclar, Itihasa,
fffl%).
32 (B.XIV.35) C.
omits
strictly speaking, not
or consonants), in a great
constitutes
sandhi.
the
says
p. 169).
vtsltsta
for
vitista.
'
The
merely a combination of two sounds (vowels
number
This
Road
this.
etymological
Kalapa school
giving distinctive moaning
the case-endings are so called because of their

to a
the
follows
Diu-gasimha
{vibhakii).
of cases their mutual

of live
is
and
kinds,
phonetic influence,
relate to savara-s,
vyanjana-s, prakrli-s, anusvara-s, and visarga-s.

'
This 'coming together' depends on the shortness of duration which
Roparate
two
the utterance of the
authorities
than half a
sounds.
sandhi will take place when
maim.
It is for
this
this
According to the ancient

duration will
not be moro
reason that the two hemistichs in a
couplet are never combined.
jfa:
(USldar, Itihasa p. 166).
*WRrf(<"s*wq^fl^rat^^flSl!i !.
,
33 (C.31; B.XIV.36).
34 (C.S2; B.XIV.37).
rand samkej>at (C-).
"
'
C. reads 33a, as
^m *w
<rJ*ifrihimM|irrt.
Reads somharat samato'fli (B.)
for
sfimha*
[*?%
THE NATIA8A8TBA
2S6
one
Observing such rules of grammar (iabda-vidhfflia)
35.
([>ada) combined in verse

should compose series of inflected words
or in prose, which have the quality of suggesting extensive meaning

(lit.
extensiveness
l
.
Two
Padas are
36
kinds of word
inflected
words 1 and are of two kinds,
Now
those used in verse, and those in prose,
listen
viz.
about
[first]
the characteristics of words used in prose.
Words
Words
37.
not the
many
number
in prose
used in prose are not schematically combined, have

syllables
their
of
syllables as are required to express the
Words
Words used
38
syllables
meaning
[in view]
1
.
in verse
combined,
in verse consist of schematically
and stops 1
which have caesura
number regulated
and they contain as
regulated,
and which have
their
2
.
Syllabic metres
39.
(
syllablic
ideas
Thus
metre
arises
)
Rhythm-type
made up
four
of
and consists of [short and long]
Rhythm
40.
Rliythni-lypcs
(''lunulas)
1
called
Vrtta
which expresses different
syllables.
typos
feet
in
feet
are
twenty-six
number.
in
Rhythm-types are of three kinds,
Syllabic metres with these
viz.
even (mma), semi-oven (unlhu-muwi) and uneven (cixitum).

35 (C.3:*; B.X1V.38).
fawarairaigs?:
q^wt:
Read
'
the couplet as follows
iâit: wrflmrtw *,ii
36 (C.34; IS.XIV.39?.
0.
'
: nfir.
sreflrapt
'.
vibhajykapadam
for
vibhaktyantam
('.
bahir-bodhala for samvibodhala.
37 (C.35i.B.XIV.40).
dhapadavrnda
G.
B.
'
anibaddhapadam .chandas
arthopekmkmrayutam
and
TV
for
anibad-
syntam
for
arthapcksyakmraytitam.
38 (C.36; B.X1V.41)
39 (C.37; B.XIV.42).
V, padaccheia for yaltcihcda.
B. pramuna-niyatuttmkam
niyatakmram; Read phdair-vamair for pmfoirvarnair,
40 (C.38
B.X1V.43).
'
for
pramaya-
RULES OF PBOSODY
.XV. 51 5
41-42.
metres
syllabic
different
Mylhm-type
This
which assumes the
body of words.
the
is
257
word, without rhythm and no rhythm without word.

with each other they are
known
to illuminate the
form
There
of
no
is
Combined
drama.
Twentysis Rhythm-types
43-49.
[The Rhythm-type] with one
Ukta, with two syllables
palled
Madhya, with four
with six syllables Gayatri, with
tisthii.,
[in a foot] is
with five syllables Supra-
Pratistha,
syllables
syllable
Atyukta, with three syllables
is
seven syllables Usnik, with
eight syllables Anustup, with nine syllables Brhati, with ten syllables
with twelve syllables JagatI,
Pankti, with eleven syllables Tristup,
with thirteen syllables
Atijagati,
with fourteen
syllables Atisakkari, with sixteen
with fifteen
seventeen
syllables
nineteen
syllables
eighteen
with
Atyasti,
with
syllables Dhrti, with
twenty syllables
with
Atidhrti,
syllables Hakkart,
syllables Asti,
with
Krti,
twentyone syllables Prakrti, with twentytwo syllables Akrti, with

twentythree
syllables
twontyfive
with
twentyfour syllables Samkrti,
Vikrti, with
syllables
Atikrti
and with twentysix
syllables
Utkrti.
Possible metrical patterns
49-51.
known
as
Malfi-vrttas.
different varieties, metrical
innumerable.
The
And
syllables
the Rhythm-types
tban these
patterns according to the
experts
But
all
of
them are not
[Possible] metrical patterns
the
are
many
being of
extent of these such as Gayatri and
being given [below]

51-76.
more
Those containing
like,
are
is
in use.
of
the
Gayatri [type]
are sixtyfour, of the Usnik one hundred and twenty-eight, of the
Anustup two hundred and
fiftysix,
of the Brhati
five
hundred
and twelve, of the Pankti one thousand and twentyfour, of the

Tristup two thousand and
forty-eight, of the Jagati four
thousand
41-42 (C.39b-40 B.>aV.44b-45).

;
43-49 (C.41-47a B.XIV.46-52a).

s
'
also called abhikrti.
49-51 (0.47b, 58b-59a, B.XlV.52b-54a).

maticians like Bhaskaraearya.
'
These experts are mathe-
Sec Litavati, section 84, (ed Jiviinanda,
51-76 (G,59b-80a; B.XlV.54b-79),
P. 50).
33
THE NATYASA8TBA
238
XV.
77-
and ninetytwo, of the Sakkari sixteen thousand three hundred

and eighty-four, of the Ati&kkari thirtytwo thousand seven hundred
and
sixty-eight,
and
thirty-six, of
of the
the
Asti
Atyasti
seventy-two, of the Dhrti two
and
two hundred and

thousand
lacs sixty-two
thousand one hundred

thousand
twenty-four
lacs
five
the Krti
eighty-eight, of
forty-eight
lacs
ten
hundred and seventy-six, of of the Prakrti twenty
five
and
thousand one hundred
ninety-seven
lacs
hundred
fiive
one lac thirty one thousand and
Atidhrti
of the
fortyfour,
thousand
sixtyfive
of
fifty-two,
the
Akrti 1 forty-one lacs ninety-four thousand three hundred and four,
thousand
two
hundred' and
three crores thirty-five
thousand six hundred and
one crore sixty-seven
the Sainkrti
of
eight,
lacs eighty
eighty-three
of the Vikrti
thirty-two, of the Utkrti six crores seventy-one lacs
eight hundred
77-79.
metrical
eight thousand
and sixty-four.
Adding
patterns
laes seventeen
(Atikrti)
thousand four hundred and
fifty-lour
hies
lacs seventy-seven
Abhikrti
of the
sixteen,
we
together
find their
numbers
these
all
as
total
thirteen
of
different
crores forty-two
1
thousand seven hundred and twenty-six.
Another method of defining metres

79-81.
I have told
[their numbers].
make up
the
You
syllabic
you about the even metres by counting
should also
metres.
thousand or a crore, this
is
know how
W hether
these
the
the rule for
the
triads
are
one,
formation of
which
twenty,
all
the
syllabic metres or metres in general.
81-82.
Triads are eight
in
number and have
definitions.
Three syllables heavy or
make up a
triad
which
is
light,
considered
or
part
their
heavy and
of each
own
light
metrical
pattern.
ttlokas giving the
numbers of metres of the
akrti, vikrti, samkrti,
a&hikrli (atikrti) and utkrti classes seems to be corrupt in C.
77-79 (C.80b-82a;B.XlV.80-82a).
>
Readings of B. and C.do not
literally agree.
79-81 (C.82-84a; B. foot note 4 in p. 241).

'
81-82 (C.84b-85; B.XIV.83b-84).
'
C. omits 79b,
XV. 90
BDLES OF PBOSODY
83-84.
syllables
\j
),
syllable (<j
two
ja
light
syllables
separated
ra two heavy syllables
heavy syllables preceded by a
by a
light
one
one and
light
(kj
),
),
ya two
na three
their
of
origin
in
metre they
on prosody, with or without [inherent] vowels
y
86-87
single
such a light syllable as
heavy syllable should be known as ga and

la.
Separation of two words [in speaking a

rules
( u
>),
v/ v/).
are used in works
light
heavy
by a heavy
separated by a light one
85-80. ^ These are the eight triads having

Brahman. For the sake of brevity or for the sake
(i. e.
three
sa two light syllables followed by a heavy syllable
,_,),
two
contains
w <J), ma
ta two heavy syllables followed
light syllables
bha
by a heavy one
preceded
syllables
(v
[Of these eight triads]
259
[of metre]
87-88.
prolated
(pluta)
is
verse]
required
by
called caesura (yati).
heavy syllable
is
that the which ends in a long or
vowel, Anusvara,
Visarga or comes after a con-
junct consonant or sometimes occurs at the end [of a hemistich].
88-89.
Eules
regarding the
metre,
to
relate
a regular
couplet (mmpat), stop, foot, deities, location, syllables, colour, pitch
and hyper-metric pattern.

The
89-90.
in excess
A couplet
nor wanting
in
regular couplet
which the number of syllables
is called
The
90-91.
The
stop
is
neither
a regular one (sampat).

stop
(virama) occurs when the meaning has
been finally expressed.

83-84 (C.86-87; B.X1V.85-86).
85-86 (C.88-89a;
B.X1V.87,
88b).
'
B.
roads
one
additional
hemistich between 85b and 86a.

86-87 (C.89b-90a
B.X1V.89).
87-88 (C.90b-91a; B.XIV.90).

88-89 (0.48; B.XTV.102).
90-91 (C.50; B.XIV.104).
89-90 (C.49, B.XIV.103).
THE NATYASASTRA
260
XV.
91-
The Foot
The
foot (pmla) arises
from the root jnd, and
means one
it
quarter [of a .couplet].
The
presiding deities of luetics
Agni and the
91-92.
like presiding over different
metres are
their deities.
Location
Location
is
of
two kinds,
viz, that relating
to
body and
the
that to a [particular] region.
Quantity of syllables
93.
Syllables
and prolated
are
of
the
three
kinds,
viz.
long
short,
{pinto).
Colours of metres
Metres have colours
like white
and the
like.
Pitch of vowels
The
94-95.
and medium.
pitch of vowels
I shall
is
of
with the rules of Dhruvas
high, low
three kinds, viz-
speak about their character
in
connexion
Rules [about their use] relate to
the
occasion and the meaning [of thing sung or recited]

TJiree kinds of syllabic meters
95-97.
Syllablic metres are of three kinds, viz. even
(mma),
semi-even (ardha-sama) and uneven vwama).

If the
number
of syllables in a foot of
or in excess
by one,
it is
deficiency or excess is of
any metre
is
diffident
respectively called Nivrt or Bhurik.
two
syllables,
then such a metre
is
If the
respec-
tively called either Svaiftt or Viriit.
91-92 (C.51; B.XJV.105).
93 0.53b-54a, B.XJV. (107b-10Sa). This couplet
is
preceded by in B.
three hemistich* which do not occur in some versions, and which seem to be
irrelevant.
94-95 (C.53b-54a, B,XIV.108b-109).
95-97 (C.54b-58a, B.XIV.110-llfl).
-XV. 102
BULBS OF PBOSODt
All the syllabic metres
98.
divine,
human and
into
fall
three
classes such as
semi-divine.
Usruk,
Gayatri,
91).
261
Anustup,
Briiati,
Tristup and JagatI
belong to the first or the divine (divi/a) class.

100.
AtijagatI, Hakkari, Atisakkari, Asti, Atyasti, Dhrti
Atidhrti belong to the next

101-
Kyti,
(i.e.
Prakrti,
human)
Vyakrti
(Akrti),
Vikrti,
Sainkrti,
Abhikrti (Atikrti) and Utkrti belong to the semi-divine class

102.
patterns which are
the
now
the best of Brahmins,

to
Here ends Chapter

which
listen
be used in plays and
Rhythm-types described by me
and
class.
1
.
about the metrical
which are included
in
1
.
XV of Bharata's Natyalastra
treats of the
Rules of Prosody.
98 (C.91b-92a, B..XIV.112b-113a).
99 (C.92b-93a, B.XIV.113b-114a).
100 (93b-94a, B.XIV.114b-115a).
l
101 (C.94b-95a, B.XIV.115b-116a).

this (C.101a-118a
B.XIV, Il6b-l32a) seem
The seventeen
to be spurious.
couplets after
For a
discus-
sion on this point see the Introduction.
102 (0.118-119, B.X1V.13 :-134).
'
Some
this couplet as the beginning of the next chapter.
versions
of the
NS. read
GHAPTER SIXTEEN
METRICAL PATTERNS
'Janu-madhya
1
1.
Tanu-mdhya
[In each of
class.
are heavy
is
variety [of
the first two
its feet]
Gayatri
metres] of the
and the
two
last
syllables
3
.
Example
santyakta-vibhusa bhrastaiijana-netra
2.
fair
lady
slim-waisted
(lit.
tvam tanu-madhya
hastArpitaganda kiin
one),
why
II
have you cast off
your ornaments, why are your eyes without collyrium and why are
you
on the palm of your hand
resting the cheek
Makaraka-snra
3.
each of
[Of the same class

the
its feet]
first
is]
four
which has [in
Makaraka-s'irsa
syllables
and the
light
two
last
Example:
4.
svayam upayantam bhajasi na kantam
bhayakari kim tvam makaraka-slrsa
You
you
of his
are
own
not'
the
greeting
accord
1(C.2,'B.XV.2).
terrible
This
'
is
one,
II
one who has .come
beloved
why 1
you so
are
preceded in B. and
by a couplet
which rightly belongs to the Chapter XV. (XIV. in B.)

a
Scheme (- - u, u - -). The definition of this metre
example though an independent example also follows.
to
dull-
Such
is
is
also its
the
east'
with many other metres defined in the MS.

2 (C.3, B.XV.3).
>
akaranam eva dar&anam

3 (C.4, B.XV.4).
'
Km
rat aye
Scheme
hamwhy
na
diyate,
are
Kumar.
(uuo.u- -).
you...?
Cp.
Km
IV. 7.
This
is
called Sasivadana
by Pr. P. Vr. R. and Srv.

.
4 (C.5, B.XV.5).
'
See above 2 note
Makarakaiiiirahaving a head
('..
1.
brain) like that of a makara.
-XVI. 9
MBTBICAL PATTEBNS
268
Malati
[The metre with] the
5.
and the
second
Malati 1
filth
feet of six
and
are light
the
which the
syllables of
rest
heavy,
is
called
Example
sobhate baddhaya satpadaviddhaya
6.
manini
lnalatlmalaya
The
woman
offended
lilaya
II
wearing the Malati
garland
which
in
the bees are clinging looks charming.
Malinl
7.
second one
Example
is
vyaktam evaisa tvam malinl prakhyata
By
called Malinl.
snana-gandha-srngbhir vastra-bhiisayogaih
8.
which the
feet of six syllables of
[and the rest heavy]
is light
your perfumed bath, [wearing
II
[good]
of] garlands,
dress
and ornaments you are clearly recognised as the wife of a garlandmaker.

Uddhata
9.
the second, the fourth

is
called
The
Piiiicatantra,
seven
feet of
fifth
syllables
are light [and the
of
rest
which
heavy]
allusion is perhaps to the foolish
in the
its
Uddhata 1
and the
mokara
in the
Vanara-makara-katha
IV. which really believed that the monkey had
Hence I
on the river-bank.
heart behind in the tree
left
translate the
word as "dull-headed one."

5-6.
(B.XY.9-10).
7 (C.&, B.XV.6-7).
'
Scheme
Scheme
from the metre Malyai defined by

calls this
u -, - v -)
(- u -,
(-
).
Pii'igala
C. omits this metre.
This
is
second Malini (with 15 syllables in each pada)
See below 73-74.

8 (C.7, B.XV.8).
9 (C.8,
B XV.11-12).
10 (C.9, B.XV.13).
'
Scheme
(-
quite different
and his followers.
u-,uu -, -).
The N8.
Nandimukhi.
THE NATYASASTRA
264-
danta-kunta-krtankam vyakulAlaka-sobham
10.
XVI.10-
<
samsativa tavasyam nirdaynyam rata-yuddhara
Your
face
and
beloved]
is
which bears the marks of spear-like teeth
II
the
[of
strewn over with your dishevelled hair, indicates
indeed an unrelenting fight of love.
Bhramara-malika
[The metre with J the
11.
the
first
called
two and the
Bhramara-malika 1
Example
feet of
seven
syllables of
two are heavy [and the
last
which
light]
is
Caitra which
is
nana-kusuma-citre prapte sural ihi-mase
12.
rest
esa bhramati inatta kiinte bhramara-mala
beloved one, this
month
being the
varigated with different flowers,
of
cluster
of
bees
are
II
flying
about
intoxicated [with their smell].

Simha-lekhii
13.
the
first,
the third, the
fifth,
feet of eight syllables
and the
the seventh
are heavy [and the rest light]
is
called
Simha-lekha r
of
which
[the eighth]
last
.
Example :
14.
yat tvaya by nneka-bhiivais cestitain rahah sugatri

tan
mano mama pravistam vrttam
That you have planned the
love's
embrace in various ways,
fair-limbed one, has been inscribed in

of a lion's claws
atra simha-lekham
my mind with
the scratch
1
.
Matta-cestita
15.
feet of eight syllables of
1
11 (CIO, B.XV.14-15). Scheme
(--v,vv
-,-
(- j -, v, -
u, -
which the
).
12 (Oil, B.XV.16).
13 (C.12, B.XV.19).
name
'
14 (C.13, B.XV.17-18).
,
is
Scheme
-) C. gives the
as Sirnhalila.
15 (C.14, B.XV.20, 21).
named as Pramanika
in
The
'
Pr P.
translation follows Ag.
Scheme
(v;
- u, -
-,
U -).
Tnis-metre
: ::
MEfcBIOAL PATTERNS
-Xtl.20]
265-
second, the fourth, the sixth and the eighth are heavy [and the
rest
light] is called Matta-cestita. 1
Example
carjlvaghumit^ksanani vilambitsikulalakam
16.
asamsthitaih padaih priya karoti matta-cestitam
The
beloved one with her eyes restless and
hanging down dishevelled, and footsteps unsteady,

a person
who
is
is
II
rolling, hairs
behaving like
intoxicated.
Vidyul-lokhil
17.
are heavy,
is
syllables of which all
feet of eight
called Vidyul-Ickha. 1
Example
18.
silmbho-bharair anardadbhih syiimambhodair vyapte vyoinni
adityamsu-spardhiny esa diksu bhranta vidyul-lekha
The sky
being overcast with dark clouds
and are laden with masses of water, a
sun-beam
rivals the
is
flash
II
which are roaring

of lightning
which
running in [different] directions.

Citta-vilasita
19.
the
is
fifth,
and the
the seventh
called Citta-vilasita.
feet
last
of eight syllables of which
Example
smita-vasa-viprakasair dasana-padair amibhih
20.
varatanu purna-candram tava

fair lady
(lit.
fair
mukham
avraoti i
limbed one) ', your face with the teeth
16 (C.15, B.XV.22).
17 (C.16, B.XV.23, 24).
the
name
as Vjdyun-mala.
This
'
is
Scheme
the
name
in Pingala
and
-).
Sr.
B. gives
B.
18 (C.17, B.XV.25).
19 (B.XV.26).
'
20 (B.XV.27).
as the
Scheme (u
v u, u - u,
-).
C. omits this metre.
This mode of addressing a beloved woman
is
as old
time of Pataiijali who quotes the fragment of a poem as follows
varatanu sampravadqnti kukkufih (Ref Apte's Guide to Skt.

.
34
319).
::
THE NATTASASTRA
266
revealed on account of your smile,
[XVI.
outshines
21-
covers) the full
(lit.
moon.
Madhukari
[The metre which has] the
21.
nine syllables of which
feet of
the last three are heavy [and the rest light]
Madhukari. 1
called
is
Example
kusumitam abhipasyanti
22.
vivid ha-taruganais'
channam
vanam ati&iya-gnndhitdhyam
bhramati madhukari hrsta
Seeing the
and
flowers
bee
is
woodland
covered
in exuberance
rich
with
II
various
trees
odour,
of [pleasent]
full
the
of
female
flying about in delight.
Kuvalaya-malii
23.
the
first
[The metre which has] the
and the
Kuvalaya-malii
last three are
feet of ten syllables of
heavy [and the
rest light]
is
which
called
1
.
Example
24.
asinims te
tada kSnte
s"irasi
vaiduraya-sphatika-suvarnadhye
sobham svani na vahati

baddha
dear one, this
suslista
tSra
kuvalaya-maleyam
II
well-made garland of Kuvalaya 1 flowers
fastened at that time on your head which has been richly decorated
with lapis lazuli, quartz and gold,

naturalbeau
does not bear [any more]
its
ty.
Mayurasarini
25.
[The metre which has]
21 iC.18, B.XV.28, 29).
metre
is
the
feet
of ten
syllables
u u U, u u u,
Scheme
).
of
This
called BhujagaSiiinbhttii ("yuta, vrtii) by Pingala and his followers.
22(C.19,B.XV.80).
2) (C.20, B.XV.31, 32).

is called
.
>
Panava by Pingala and
24 (C.21, B.XV.33).
of the lotus class.
Scheme
(-
-,
V U u, w - -,
-).
This
his followers.
Kuvalaya
25 (C.22,
is
a blue aquatic flower of tho
B,XV.H
35).
XVI. 29
MfiTBIOAL PATtERtfS
26?
which the second, the fourth, the sixth and the eighth are
[and the rest heavy]
is called
Mayurasarim 1
light
Example
26.
samgamo
naiveute'sti
nasti
m'Snusair
kamabhoga-cihnain anyat
garbhiniva drsyase hy anarye
kim mayura-sarini tvam evam
O ignoble
you any sign of
You
enceinte.
II
you have no union with men,
one,
love's enjoyment.
you look
Still
neither have
like
one who
is
indeed behave like a pea-hen. 1
Dodhaka
27the
the fourth,
first,
[and the rest light]
Example
28.
is
eleven syllables
feet of
seventh the tenth and
the
Dodhaka. 1
called
praskhalititgrapada-pravicaram
matta-vighurnita-gatra-vilasam
kunjaram etam
vilasini
dodhaka-vrttam ayam prakaroti
merry lady, look at

steps of the front
this elephant
II
which with
faltering
its
and with the body playfully moved about
legs,
in] intoxication,
if
which
pasya
[as
of
the last are heavy
is
imitating the
manner
of a calf
1
(?)
Motaka
29.
the
first

two,
rest light] is called
Scheme
Mayurasa and
feet of eleven
the eighth,
fifth,
and the
syllables
of
which
are heavy [and the
last
Motaka.
(- *J -, \j so does
kj,
\j -, -),
'
Piiigala
gives the
name
as
Vr. R.
26 (0.23, B.XV.36).
'
This
relates the belief that the
pea-fowls'
sexual union take place in complete seclusion.
27 (C.24, B.XV.37,
38).
28 (C.25, B.XV.39).
dodhaka.
as
Scheme
(-
v, -
\j vj,
Wo are not sure of the
u u, - -).
meaning of
theft word
Ag. writes dodhakena giyatnanam vrltam dodhaka-vrttam.
29 (C.26, B.XV.40).
named
*'
'
Schcmfi. (- - v, kj - U,
Motanaka by Gangadasa in'Ch. M.
- U,
U -).
This
is
tXVL36.
28BNAI1TA8AST8A
jgg
Example
eso'inbuda-nisvana-tulya-ravah
BO.
ksibah skhalatnana-vilamba-gatih
srotva ghana-garjitam adri-tate
vrksan prati motayati dviradah
trumpeting
valley, is
and
clouds roaring
the
This elephant hearing
II
in the
mountain
excitement as loudly as the [rain] clouds
in
trees.
rushing with faltering steps to the
is
Indra-vajra
[The metre with]
31.
the third, the
sixth,
the rest heavy]
Example
32.
is
the feet of eleven syllables of which
and the ninth
the seventh
1
called Indra-vajra
are
light,
[and
tvatp durniriksya duratiprasada
duhkhaika-sadbya kathinaika-bhava
sarvasv avasthasu ca kama-tantre'
yogyasi kim va bahunendravajra
You
over,
are hard to be looked
and you have an unmixed
practice of love,
you are
you are
[like] the
lit,
one
II
be pleased and
at, difficult to
hard
feeling,
unfit (ajioijija) at every stage
and
in
won
the
in short
thunder-bolt of Indra.
Upcndravajra
33.
the
first,
the third, the sixth,
the rest heavy]
is
called
feet of eleven syllables of
the seventh, the ninth are
which
light
[and
Upendravajra 1 .
Example
34.
priye sriya varna-visesanena
smitena kantya sukumar-bhavat
ami guna rupa-gunanurupa

bhavanti tc kim tvam upendravajra
II
30 (C.27, B.XV.41).
31 (C.28, B.XV..2).
'
Scheme (- - U, - - u,
'
Scheme (u - u, - - u,
U - U, - -).
3-(C.29,B.XV._3).
.33 (G.30, B.XV.-W).
3.(0.31, B.XV..5).
o - u,
- -).
UmSHChb PATTERNS
.*%!?}
beloved
[of
your dress}
due to your beauty,
one,
smile, grace
and
delicate
ol yours have matched the qualities
you the bow of Indra
<m
of
the
colours
special
bearing,
these
the [beautiful]
qualities
Are
form.
Rathoddhata
35.
the
the
first,
heavy [and
third,
feet of
seventh,
the
eleven syllables of which
ninth and
Rathoddhata
the rest light] is called
Example
tvnyFi subliafca dura-var/itaui
yat paJayanaparayanasya
yati dliulir
good
You
friends,
tc
adhuna rathoddhata
why have you
soldier,
left
II
the
com-
battle-field
have done neither any good to yourself nor to your
away [from the
for while runing
your road]
last are
natrnana na suhridSm pn'yam krtam
pletely.
the
kim
30.
the
rises
now
[as
by
scattered
if]
battle field]
chariot.
the dust [in
Svagata
37.
the
first,
which
feet of eleven syllables of
the third, the seventh and the tenth and the last are heavy
[and the rest light]
is
Svagata 1
called
Example
38.
adya
me
saphalam ayata-netre
jivitam madana-samsraya-bhavam
agatasi bhavanain
mama
svagatam tava varoru nislda
Today
and so has
my
fair lady,
the two large eyes of

life
and
love,
II
mine have attained
because you have come to
you are welcome, please be
Scheme
>
36 (C.33, B.XV.47).
'
(-
B. gives au
their object
my
-,
'
Schema
(-
vu
etc. (Ag.).
u, -
additional
u -, u -\
example
metre (B.XV.48).
37 (C.34, B.XV.ly).
house
seated.
Upendm-vajmmlu indra-dhanum upamitam
35 (C.32, B.XV.46).
yasmat
v -, kj u U, - o u, - -).
of
this
THE NATXASASTRA
270
XVI.
89-
Salini
39.
feet of eleven
the sixth and ninth are light [and the rest heavy]
Example
40.
which
called Salini.
is
1
.
duh&lam va nirgunam papakam va

loke dhairyad apriyam na bravisi
aryani
Slam sadhvi he
not, utter a harsh word to any one
without any
is
Salini
with
account of your patience
merit or
te'nuvrttam
niadhuryadhya sarvatha
On
of
syllables
tvam
you
people
the
who has bad manners
good lady, you
wicked.
II
a noble manner, you are a housewife
full
or
do
is
have followed
sweetness in every
of
respect.
Totaka
41.
the third,
feet
and the
rest light] is called Totaka.
42.
of which
syllables
of twelve

the sixth, the ninth
heavy [and the
last. are
kim idam kapatasraya-durvisaham

bahu-sathyatii athdlbana-ruksa-katham
svajana-priy a- saj j ana-bhedakaram
nanu totaka-vrttam idam kuruse
Why is
this
and unambiguous
dear ones and
like
II
crooked and insufferable conduct

(lit.
direct)
[other]
full of villainy,
and harsh words hurting the
good people
You
are
relations,
indeed behaving
cutter.
Kumudanibha
43.
feet of twelve
syllables
of
which
38 (0.35, B.XV.50).
39 (C.36, B.XV.51).
'
Scheme
- - u, - - U, -
-).
40 (0.37, B.XV.52).
41 (0.38, B.XV.53, 54).
42 (C.39, B.XV.55).
43 (C.40, B.XV.59),
'
Scheme (u
-,
u u -, u u -, u kj -).
-XVI. 47
the
METRICAL PATTERNS
is
and the tenth are
the. eighth
first four,
heavy]
called
271
KumudanibhaT
[and the rest
light
Example
kumudanibha tvam kama-brina-viddha
44.
kirn asi-natabhruh s"ita-vata-dagdha
mrdu-nalinivApandu-vaktra-Kobha
katham
api jata agratah sakhinani
been struck
flower why have

why do you appear
pale
before
your friends
a delicate
Nalini
like
with cupid's
like
Kumuda
arrow and
fair-eyed damsel, being
you
II
blasted by the
cold wind.
Candra-lekhii
45.
the-ftrst-five,
heavy] and the caesura
Candra-lekha 1
Example
46.
feet of twelve
the seventh and the tenth

the
falls after
syllables
fiivt
five
which
of
as are light [and
the rest
syllables, is
called
vaktram saumyam
padma-patrayat&ksam
tc
kamasyitvasam svabhruvos c&vabhasam
kamasyjlpidam katnam ahartukarnam

kantya tvam
kiinte candra-IekhSva bhasi
beloved one, your sweet face with eyes

petals
II
as large as
lotus-
and the splendour of your eyebrows, are the abode of
and they are ready to bring love even to the god of love
shine as
it
love,
;
you
were like a phase of the moon.

Pramitilksara
47.
this
Scheme
(wuu,u,-
name with a
different
feet of
twelve syllables of
v -, v; kj).
scheme (-
\> -,
.;
B. gives another metre of
uuu,u
example of this (B.XV.56-58).
44 (C.41, B.XV.60).
45 (C.42, B.XV.61).
46 (C.43, B.XV.62).
'
Scheme
which
u - -, u - -),
47;(C44, B.XV.63).
and an
THE NATYASASTBA
the third, the

rest light]
Pramitakarsa
called
is
ninth and
the
fifth,
the
[XVI. 48-
last
are-
heavy [and the
1
.
Example
hy acapaMparus".
smita-bhasini
4S.
nibhrtapavada-vimukhi satatam
yadi kasya eid yuvatir asti snkha

prainitaksara sa hi pivmaii jayati
If
who
any one has a pleasing young wife with restrained speech,
always smiling and averse to speaking
is
secretly,
II
and
him [even]
of
ill
never fickle or harsh, that person verily thrives.
is
Vamiiasthii
49.
the second, the fourth, the
fifth,
Example
twelve
feet of
syllables
na
me
priyii
tatha ca
yad bhumiina-varjita
I
pasyamy aham adya vigraham
dhruvam
hi vamsastha-gatih karisyati
are not dear to me, for you are wanting in esteem
me] and your harsh words [also] have
So
last
called Vamsasthii. 1
is
krtapriya te parusabhiblrsanaih
me].
which
50.
You
of
and the
the eighth, the tenth
I see that the
made you
habit will
natural
[for
displeasing [to
bring a quarrel
surely
today.
Harina-pIutS
51.
[The metre with]
fourth, the seventh,

Scheme (o
feet of twelve syllables
and the
tenth
the
Harina-pluta 1
<j -,
u-
k>,
last are
of
which the
heavy [and the
\j -,
u u -).
48 (C.45, B.XV.64).
49 (C.46, B.XV.65, 66).
'
Scheme (u - w, - -
v>,
u - v, - u -).
50 (C.47, B.XV.67).
51
This
(C.48, B.XV.68).
is called
'Scheme
(w u v, - u v, - u u, -u-).
Mowers.
Druta-vilambita by Pingala and his
-XVI. 66
METRICAL PATTEBNS
373
Example
52.
parusa-vakya-kaafabhihata tvaya
bhaya-vilokana-pars'va-nuiksaâ
varatanuh pratata-pluta-sarpanair
anukaroti gatair harina-plutam'H
The
fair lady
fair-limbed one) 1 ,
(lit.
smitten by the whip of
your harsh words, and looking
in fear to her sides
continously with quick steps
imitating by her
is
and riming away
movements a
deer's
gallop.
Kamadatta
[A metre
53.
with] the feet of twelve syllables of which
seventh, the ninth, the eleventh and
Kamadatta 1
Example
the
last
karaja-pada: vibhusita yatha tvani
54.
sudati dasana-viksatadhara ea
gatir api
your
faltering
mrga-samaksi kamadatta
asi
lady 1 , you
fair
lips
caranavalagna-manda
tvam
nails,
the
are heavy [and the
ll
have been adorned with the marks of
have been bitten by teeth and your gait also
and slow.
given [yourself up
seems,
It
] to [the
deer-eyed one, that you
enjoyment
is
have
of] love.
Aprameya"
55.
the
first,
rest
heavy]

the
is
called
Aprameya 1
53 (C.50, B.XV.70).
'
of
which
[and the
Scheme
I.
(uuu,uuu,-U-,u-
-).
C.
Kama-matta.
(C.51, B.XV.71).
Sudati- O
fail-toothed one.
Scheme (v - -, U - -, \J Bliujanga-prayata by Pingala and his.foUowers.
55 (C.52, B.XV.72).
called
light
See above 20 note
54,
syllables
and tenth are
52 (C49, B.XV.69).
calls this
is
feet of twelve
seventh
fourth, the
35
'
-,
- -). This
::
THE NATYASA8TBA
274
XVI. 66.
Example
na
56.
k8
te
cid
anya samS drsyate
strt
nr-loke vislsta gunair advittyaih
trilokyam gunigryan samahrtya aarvan

jagaty aprameyasi srsta vidhatra
Nowhere amongst
woman who
seen a
mortals
the
your equal, and
is
in
(lit.
is
II
world)
this
distinguished
to be
is
by. singular
accomplishments. The creator has made you matchless by putting

together [in you]
the best virtues of the three worlds.
all
PadminI
57.
the second, the
heavy]
rest
fifth,
is called
the eighth
PadminI 1
feet of twelve
syllables
and the eleventh are
of
light
which
[and the
Example
deha-toyasaya vaktra-padmojjvalii
netra-bhrngakula danta-harasaih smita
kesa-patrac-chad;":. cakravaka-stani
padminiva priye bhasi
for
me
sarvada
dear lady, you always appear to
58.
your body
is a
pool
and your eyes arc the

swan-like teeth
of water
like a lotus-lake,
which shines by the lotus-face,
restless bees [there]
and you smile with the
and your hairs are [the
breasts are like the Cakra-vakas 1
me
[swimming
and the
lotus] leaves,
there].
Patuvrtta
59.
first six
and the tenth are
Patuvrtta
feet twelve syllables of
light [and
the rest
which the
heavy]
is
called
56(C.53,B.XV.73).
57
This
(CM, B.XV.74,
is called
75).
58 (C.55, BXV.76).
seems to be a variant of
.
This
59 (C.56,
is
'
Scheme
(-
u-
u-
u-
-).
Sragvini by Pingala and his followers.
B.XV
oalled Puta
'
B. giveg a second example (B.XV.77)

which
this.
78, 79).
'
Scheme, (u
by Pingala and
u u, U u kj,
his followers.
--
-,
u - -).
METRICAL PATTERNS
XVI. 68]
275
Example
upavana-salilanara bala-padmair
60.
bhramara-parabhytanam kantha-nadaih
samada-gati-vilasaih kaminlnara
kathayati patuvrttani
The month
movements
Oaitra
of
garden-lakes,
in the
bees
women,
of intoxicated
II
honey-month) with lotus-buds
(lit.
songs of
madhu-masah
is
and cuckoos and the playful

anouncing
smart manners 1
its
PrabhSvati
61.
the second,
the
fourth
Example
feet of twelve
syllables
of
which
and the ninth the eleventh and the

called Prabhavati.
is
last
katham nv idam kaniala-visala-loeane
62.
gi'hani
ghanaih pihita-kare nisakare
acintayanty abhinava-varsa-vidyutas
tvam agata sutanu yatha prabhavati

fair
come
like
of the
eyes
one, with
as
large
impending
(lit.
how have you
as a lotus,
house [of mine] when the rays
a radiant being to this
moon have been covered by
for the
II
and you have not cared
clouds
new) rains and the lightning
Praharsini
63.
feet of thirteen syllables of
[The metre with the]
the first three, the eighth, the tenth

are heavy [and
the rest light] is called Praharsini
60 (C.57, B.XV.80).
of the
'
am
not certain
term fnfavrtta. One ma. gives

61 (C.58, B.XV.81 ).
it
which
and the twelfth and the
last
1
.
about the exact meaniDg
as pa\uvrtta (see B.) which I adopt.
'
Scheme (u - o, -
'
8cheme.(
<j k>,
u \j -, u, - -).
62 (C.59, B-XV.82).
63 (C.60, B.XV.83).
>
uuu,u-u,-u-,-).
::
[tVl
THE NAfYASABTRA
276
Si-
Example
bhavasthair madhura-kathaih subhasitais tvam
64.
satopa-skhalita-vilambita-gatais" ca
mangmsi kamukanam
s'obhadhyair harasi
suvyaktara hy atijagati praharsinl ca
[0
vate the
one],
fair
sayings,
beautiful,
mind
by >your
majestic,
of lovers.
beyond [anything
and
loving
It is
sweet
and slow
faltering
apparent
II
words,
witty
you
steps,
capti-
you are enrapturing
that
else in] this world.
Matta-mayura
65.
the sixth,
seventh,
the
the rest heavy]
is
called
thirteen syllables of which
feet of
and the eleventh are
the. tenth
light
[and
Matta-mayura 1 .
Example
66.
vidyun-naddha sendra-dhanur-dyotita-deha"
vatoddhutah sveta-balaka-krta-sobhah
ete meglia garjita-nadojjvala-cihnah
pravrt-kalam matta-mayuram kathayati
These clouds
[characterised]
brilliant signs containing lightning
the wind,
by
II
thundering noife and
and rainbow,
moved about by
and adorned with white cranes speaks of the
of the] rainy season which
[arrival
maddens the peacocks.

Vasanta-tilaka
67.
the
first
thirteenth

two, the
and
Vasanta-tilaka
fourth,
the
the
last are
which
feet of fourteen syllables of
eighth
and the
heavy [and the
eleventh
rest light]
and the
is
called
1
.
64 (C.61, B.XV.84).
65 (C.62, B.XV.85).
Scheme
- - v,
- -,
u u -,
-).
66 (C.68, B.XV.86).
67 (0.64, B.XV.87).
8oaeme.(- - u, -
v,
o - u, u - v,
-).
XVl.4i
MfiTSlCAL PATTBBN8
Example
68.
2??
citrair
vasanta-kusumaih krta-kesa-hasta
srag-dama-malya-racana-suvibhiisitangi
nanavatamsaka-vibhusita-karnapasa
saksad vasanta-tilakeva vibhati nan

This
woman who
well-dressed
hairs with the many-coloured
vernal
has adorned her braid

flowers,
and the
of
her
of
rest
body with various types of flower-garlands 1 and her ears with

various ornaments, looks indeed
like the decoration (tilaka)
on the
forehead [of the goddess] of spring.
Asambadha
69.
the
and the
first five
called
feet of thirteen syllable,
heavy, [and
three are
last
the
of
which
light]
re.-t
is
Asambadha. 1
Example
mani lokajnah sruta-bala-kula-siladhyo
70.
yasmin sammanam na sadrsam anupasyed dhi

gaccet tarn tyaktva druta-gatir aparam
kirna nanarthair avanir iyain asambadha
proud person who knows the world and
of high birth
does
not find
country
and
and character, must
adequate honour, and
for this world
offers
is
quickly
no obstruction
[to
which
he
goes to a different
scattered over with wealth of
is
II
learned, strong,
country] in
leave [a
desam
many kinds
such a person],
Sarabha
71.
the
last
first
four,
the
tenth,
the
feet of fourteen syllables of
eleventh
68 (C.65, B.XV.88).
indicate
two
is
the
called
thirteenth
Sarabha 1
which
and the
Srak and malya are used here probably
'
to
different kinds of garlands.

1
69 (C.66, B.XV.89).
70 (C.67,
Scheme
- - u,
- \j
uU
\j kj,
&-,
-).
B.XV.90).
71 (C.68, B.XV.91).
Scheme
kj,
u, - - u," -
-).
THE NATYASASTBA
278
XVI.
72-
Example
ess kanta vrajati lalitam vepamana
72.
gulmac-channam vanam uru-nagaih sainpraviddham

ha ha kastam kim idara
iti
no vedmi rmidho
vyaktaip krodbac-charabha-lalitam kartu-kama
II
This beloved lady goes trembling in a graceful manner to

the forest covered with shrubs and interspersed with high
what a
pity,
the
due to anger she
is
fool that
am,
could
not
openly playing the graceful
hills.
Ah,
understand that
role
an young
of
elephar.t.
Nandimukhi
73-
the
heavy]
feet of fifteen
the tenth, and the thirteenth
first six,
is called
are
syllables
which
of
[and
light
the
rest
Nandimukhi. 1
;
Example
74.
na khalu tava kadacit krodha-tanmtyataksam
bhrukuti-valita-bhangam drsta-purvam
kim iha bahubhir

tvam
asi
Never before have
Are you
heart and
is
like
mayasyam
I seen
your face with
frowning
in
eyes
lady,
the [same] sweet-tongued one
Nandimukhi
ya mamaisa hrdistha
madhura-vakya devi nandimukhiva
and with eyebrows curved

say
uktair
II
red
in
what more
who
resides
anger
shall I
in
my
Gaja-vilasita
75.
the
first,
the fourth,
the sixth
feet of sixteen syllables
and the
last
are
of which
heavy [and the
rest light] is called Gaja-vilasita.
72(C.69,B.XV.92).
73 (C.70, B.XV.93).
-).
This is called
x Scheme
Malim by
Piftgala
(uuu,uuu,
o - -, u
and his followers.
74 (C.71, B.XV.94).
75 (C.72, B.XV.95, 96).
UUv,
-).
followers.
This
is
Scheme
(-
u U, - u -, u V V, u u u,
called Rsabha-gaja-vilasita
by
Pingala
and
Ms
.XVI. 79
METRICAL PATTERNS
279
Example
toy&dhariah sudhira-ghana-patu-pataha-ravaih
70.
sarja-kadaraba-nlpa-kutaja-kusuma-surabhim
kandala-sendragopaka-racitam avanitalam
viksya karoty asau vrsabha-gaja-vilasitakam
On
seeing the surface of the earth adorned with the Kandala
and
Indragopa,
the
rind
II
Kadamba T Nipa 2 and

,
drum-like peals of
thunder
imitates the sportful
perfumed
with
the
flowers
of Pal,
Kutaja, which open at the loud and clear
sounds of the clouds)
(lit.
movement
[man]
this
of a bull-elephant.
Pravara-lalita
77.
feet of sixteen syllables of
of the second, third, the fourth, the fifth, the sixth, the
and the
thirteenth, the fifteeth

.is called Pravara-lalita,
Example
which
twelfth
the
last
nnkhitlidham giitram da&ma-khacitam costlui gandam
78.
pusponmisYam pravilulita-ke&ilaka'ntam
sirah
gatih khinnfi
alio
ceyam vadanam
api
slaghyam vrttam pravara-lalitam kama-cestam
Her body has been

chocks are bitten
by
by
scratched
teeth,
head
the
Ah, a very
in a praisworthy
und
nails,
set
is
have their ends dishevelled, and her gait

are restless.
sambhranta-netram
with
lips
and
flowers,
languid, and
is
the
the
hairs
eyes
has taken place
graceful exploit of love,
manner.
Sikharini
7!).
feet of
seventeen syllables of which
the second, the third, the fourth, the fifth,
78 (C.73, B,XV.97).
synonymous.
these
It
is just
two names and
may be very
slight.
It
Kadamba and
and sixth, the twelfth,

nijki
possible that there are
are usually considered
two
different trees with
writers have ignored the difference which

be- noted here that the Concise Oxford Diction-
later
may
ary defines nipa as a "kind of E. Indian palm'.

'
See note 1 above,
77 (0.74, B.XV.98, 99)/ Scheme

-,
).
78 (C.75, B.XV.100).
'
(u -
-,
o u yj,Kj\}
79 (C.76, B.XV.101,
-,'
102).
[XVI.
THE NATYASASTBA
'the thirteenth
is called
heavy [and the rest light]
and the hut are
80-
Sikharigl.
mahanadydbhoge pulinam
80.
iva te bhati
jaghanam
tathasyam netrabhyam bhramara-sahitam pankajam iva
stanabhyittn tungabhyiim sikhari-nibha bhasi dayite
Your
hip
your face together with the eyes,

touch of your body
is
with your
with [two] peaks,
hill
river,
like a lotus with the bees, the
and not rough
is soft
breasts you look like a
II
sand-bank at the margin of a
the
like
is
diyam sutanu sukumaro na parusah
tanu-spars'as'
two elevated
dear one.
Vrsabka-ce$tita
81.
feet of
seventeen syllables of which
the first five, the eleventh, the thirteenth, the

sixteenth are light [and the rest heavy]
fourteenth
and the
called Vrsabha-eestita. 1
is
Example
jalada-ninadam srutva giirjan madoccaya-darpitah
82.
vilikhati
malum smgaksepair
vrsah pratimmlya ca
sva-yuvati-vrto gosthad gostham prayati on nirbhayo
vrsabhalalitam eitram vrttaui kuroti ca sadvale
On
hearing
thundering
the
maddened with an excess

horns and
is
females of
of
bellowing in reply.
its
class
it
of
noise
clouds
the
rut, is striking the
And
the
bull
with
earth
its
by young
then, surrounded
goes fearlessly from one
II
cow-pen to another
and has the various sportive exploits on the giwn
[pasture].
Hridharii
83.
which the
'
[The metre
first
four,
Scheme (u -
with] the
the
-,
tenth,
feet
the
u u u, v; u -,
seventeen
of
eleventh,
the
syllables
of
thirteenth,
u v, u -)
80(C.77,B.XV.1(I3).
81 (C.78, 15.XV.104, 105).
;
U-,
u -).
This
is
called
82 (.79, B.XV.106).
'
Scheme (u
U u, vv-,
Harim by Pingala and
- -
his followers.
83 (C.80, B.XV.107-108, 109).
-,
u -,
XVI87]
METRICAL PATTERNS
and the
the fourteenth
.Sridhara.
last are
281
heavy [and the rest
light]
called
is
Example
84.
snanais curnaih sukha-surabhibhir ganda-lepais

ca dhupaih
puspais' canyaih slrasi-racitair vastra-yogais" ca tais
taih
nana-ratnaih kanaka-racitair anga-sambhoga-samsthair
vyakam
kiinte kamala-nilaya sndharev&ti bhasi
beloved one, by your batliing, powders, pleasently fragrant
paste smeared on your cheek,
on the hair
set
II
(lit.
[hair- perfuming] incense, flowers
tlio
head), various
bined with gold worn on the

like the lotus-dwelling [one]
who
is
and many jewels com-
clothes
limbs,
you shine indeed very much
the goddess of beauty.
Vamsa-patra-patita
[The metre
85.
which the
the rest light]
Example
with] the
of
feet
seventeen
the fourth, the tenth and the
first,
is
syllables
of
heavy [and
are
last
called the Vamsa-patra-patita. 1
esa gajo'dri-mastaka-tate kalabha-parivrtah
86.
kridati vt'ksa-gulma-gahane
kusuma-bhara-nate
megha-ravam nisamya muditah pavana-java-samah

sundari vamsa-patra-pntitam punar api kurute
O
ones
is
fair
lady,
playing near the peak of the
and shrubs bent with

clouds and
to
fall
which surrounded
elephant
this
is
flowers,
is
moreover causing,
hill in
young
the thick forest of
delighted to hear, the
like
II
by
the wind,
the
trees
roaring of
bamboo
leaves
[on the ground],

Vilambita-gati
87.
[The metre
which the second, the

1
Scheme
with
the]
feet
sixth, the eighth,
u,
ow
of
seventeen
syllables
of
the twelfth, the fourteenth,
u, - - v, - - w, -
-).
This
is
called
Mandiikriinta by Pingala and his followers.
84(G.81,B.XV.110).
85 (C.82, B.XV.111).
uuu,u-),
36
86(0.83,
J-
Scheme
B.XV.U8).
(-
u, -
-,
wu
u, -
v,,
87 (C.84, B.XV.113-114, ll5),
::
THE NATYASASTBA
282
the fifteenth and the last are
XVI
heavy [and the rest
light]
88-
called
is
Vilambitagati. 1
Example
88.
vighurnita-vilocanii prthu-vikirna-hara
punah
pralamba-rasana calat-skhalita-pada-manda-krama
na
me priyam idam
madena vivaâ
displaced, the girdle is
faltering
vilambita-gatih krita
your eyes are
beloved one,
is
I indeed like
hanging
this
overwhelming pride due to
janasya bahumana-ragena yan
tvam priye
rolling, the
loose,
II
necklace
large
and your slow steps are
your slow gait that you assume out of

man's love and respect [for you],
this
Citra-lekha
89.
the
the
first five,
feet of eighteen syllables
of which
the eleventh, the twelfth, the fourteenth, the
fifteenth,
seventeenth and
called Citra-lekha
are heavy [and
the last
the
rest
light]
is
1
.
Example
90.
nana-ratnadhyair bahubhir adhikam bhusanair anga-samsthah
nana-gandhadhyair madana-jananair anga-ragais' ca hrdyaih
kesaih snan&rdraih kusuma-racitair vastra-ragais ca tais taih
kante samksepat kim iha bahuna citra-lekhS va bhasi
O beloved one,
'jewelled ornaments
you shine very much
worn
in
witli
the
with flowers, and varied colours of your clothes.

?
To
be
Scheme
brief,
(<j
you appear
- u,
be-
your limbs, various pleasant cosmetics
rich in passion-inspiring scents, hairs clean after bath
more
II
many
u u -.
and decorated
What
shall I
say
like a painted picture.
- w,
u-
-,
<-,
This
is
u - -, o -
-.
<j -).
called Prithvi by Pingala and his followers.
88 (C.85, B.XV.116).
89 CC16, B.XV.117).
O - -).
This
is
>
lit.
Is it not dear to
Scheme
--
me
<J, <J \j <j,
called Kusumita-lata-vellitS- by Pingala and his followers.
90(C.87,B.XV.118).
XVI. 96
MBTBIOAL PATTEENS
288
Sarditla-vikrldita
91-92.
which the
first
three, the
sixteenth, the
Example
is
nineteen
the eighth,
sixth,
teenth, the fourteenth, the
of
feet
the
of
syllables
twelfth, the
thir-
and the
seventeenth
last
called Sflrdulavikridita 1
93.
nana-siistra-sataghni-tomara-hatah prabhrastn-sarvayudliah
nirbhinnodara-padn-bahu-vadana nirbhartsitah 6atravah

dhairyotsaha-parakrama-prabhrtibhis
vrttam te ripu-ghati bhati samare sardulavikriditani
The enemies have been
repelled
after
Tomara and [some
have] their bellies, arms, feet and face pierced and [some
their weapons.
to the tiger's
Your
sports
II
[some of them have
been] killed with various weapons, Sataghni and
all
tais tair vicitra-gunaih
have] lost
enemy-killing exploits in battle comparable
and characterised by
virtues such as, patience,
energy and valour, are splendid. 1
Suvadana
94-95.
which the
fifteenth,
is
called
[The metre with/
first
four,
the]
feet
the sixth, the
of
twenty
syllables of
seventh, the fourteenth,
the sixteenth and the last are
heavy [and the
the
rest light]
Suvadana. 1
Example
96.
netre lil&las&nte
kamala-dala-nibhe bhrfl-capa-rucire
gandostham pina-madhyam sama-sahita-ghanah
snigdhiis'
ca
d.is'analt
karnav amsa-pralambau cibukam api natam ghona surucira

vyaktanx tvam martya-loke varatanu vihitasygka suvadana
91-92 (C.88-89. B.XV.119, 120, 121
U,Uu-,"U,--U,
l
.
Scheme
v;
II
i*-,\u -
-).
93 (C.90, BXV.122).
'
B.
gives an
additional example
of this
(B.XV.123).
94-95 (C.91-92, B.XV.124-125, 128).
U\J\j,
-,
V KJ, u -).
96 (C.98, B.XV.127).
'
Scheme
- v/
-,*r
u,
THE NATYASASTRA
284
Your
eyes are like lotus-patals, beautiful with
eyebrows and their ends are playfully lazy
plump
set
and shining, the ears are hanging down as

bent and the
is
nose
lips
thickly
shoulders,
far as the
lady, in
fair
is beautiful,
this
woman whose
mortal world you are indeed the only fair-faced
97-
bow-like
the
equal, in a line,
in their middle, the teeth are all
XVI.
the cheeks and
are
the chin
face
has been [carefully] fashioned.

Sragdhara
[The metro with] the
97-98.
which the
four, the
first
sixth,
feet of
the
twentyone syllables of
the fourteenth, the
seventh,
fifteenth, the seventeenth, the eighteenth, the twentieth
is
called Srcigdhra.
and the
last
Example
99.
cut&sokaravindaih kuruvaka-tilakaih karnikaraih sirisaih
punnagaih
kjmsukaih sittimuktoih
parijatair vakula-kuvalayaih
etair niina-prataraih
kusuma-surabhibhir viprakirnais ca
tais tail*
vasantaih pnspa-vrndair naravara vasudhii sragdharevadya bhati
king
best
(lit.
among men), due
sweet smelling vernal flowers such
Kuravaka,
Pilaka,
which the
sixteenth,
this earth
first,
the
liglitpis called
feet of
the fourth, the sixth, the
eighteeenth,
Madraka 1
and the
last
various
Aravinda,
looks
today like a
uuO,u.-,u-u-
twenty two
syllables
tenth, the twelfth,
the
are heavy [and the rest
97-98 (C.94-95, B.XV.128-129, 130).
u -, u u w, - kj -, u u
v,
-).
Soliome (-
>
99 (C.96,
-).
100-101 (C.97-98, B.XV.182-133, 134).
v, -
Asoka,
wearing [many] garlands of flowers.
100-101.
of
Cuta,
Karnikara, Sirisa, Punnaga, Parijata, Vakula,
Kuvalaya, Kimsuka and Atimukta,
woman
many and
the
to
as,
u -,
- v w,
B.XV.M).
l
Schema (-
O U, - u -, u u
-XVI. 105
METBIOAL PATTERNS
Example
285
102.
udyatam eka-hasta-cai'anam dvitiya-kara-recitam suvinatam

vamsa-mrdanga vadya- madhuram vicitra-kararutnvitam bahu vidham
madrakam
etad adya subhagair vidagdha-gati-cesitiah su-lalitnir
nrtyasi \ibhramakula-pndam vivikta-rasa-bhavitam ,<asi-mukhi
lady
fair
day
the
in
MadrakaT dance
making happy,
many and
of
of
with
another bent, and your

are
moon-faced one),
(lit.
accompaniment
you are dancing
sounds
of
flutes
restless
and graceful movements
Karanas, ;md
dance
this
is
up and
And you
a hurry-
in
to-
and drums
one of your hands raised
feet are
clever
various
sweet
II
pursuance
in
imbued with
a distinct Sentiment {rami).

Asyalalita
108-104.
which
of
the
the

fifth,
the
seventeenth, the
the rest light]
Example
is
seventh,
nineteenth
twentythree syllables
feet of
the
and
eleventh,
the
the
are
last
thirteenth,
heavy [and
called Asvalalita. 1
10f>.
vividha-turaaga-naga-ratha-yaudha-
samkulam alam
balain
samuditam
sara-sata-sakti-kimta-parighiWyasti-vitatam bahu-praharanam
ripu-sata-mukta-sastra-rava-bhita-
samkita-bhatara bhayakulam idain
krtam abhiviksya samyuga-mukhe

samipsita-gimam tvayas'valalitam
[Even
of
many
after] seeing this completely
horses,
assaults spread
elephants,
chariots
II
assembled army consisting
and
lighters,
by hundreds of arrows, darts,
the
javelins,
manifold
club's
swords, and the foot-soldiers terrified and afraid on account of
102 (C.99, B.XV.135).

103-1 04 (C.100-101,
'
Sec NS. IV.
B.XV.136-137,
138).
-uv,u-u, -uu, u-u, -yy,u-),

105 (C.102, B.XV.139).
find
the
*
'
Scheme (u
O v, u - u,
I,
THE kiTYABASTRA
286
noise of released missiles,
and the
terror-stricken
have practised in the forefront of the

of a horse, the merit of which
is
[XIII. 106-
much
very
you
directions,
battle the sportful
movements
desired [by people].
Meglia-mala
106-107.
of which the
seventeenth,
first six,
the rest heavy]
is
and
twentieth
the
twentyfour syllables
feet of
the eighth, the eleventh,

the
called Megha-miila.
fourteenth
the
twentythird
are
the
[and
light
Example
108.
pavana vala-sam&hata livra-ganibhiranadii balakavali-mekhala
ksUidlmra-sadrsocca-rupii mahanila-
dhumafijan&bhambu-garbhodvaha
sura-pati-dhanur-ujjvala-baddha-kaksya
tadit-dyota-sannaha-pattojjvalagagana-tala-visarini pravrsenyii
drdham megha-mala 'dhikam sobhate
The sky-covering mass
of clouds of the rainy season, having
deep and piercing sounds, wearing a

carrying in their
womb
smoke and
that of
II
flight of
water of deep
collyrium, girding the
cranes as their
waist
as the belt, having their armour-plates illumined
girdle,
comparable to
colour
blue
with
the
rainbow
by
the
flash
of
lighting looks indeed vciy beautiful.
Kraunea-padi
109-110.
feet of
of which the first, the fourth, the fifth,

tenth,
and the
last
are
the
heavy [and the
twentyfive
the
sixth,
rest
light]
syllables
ninth,
is
the
called
Karunca-padi. 1
106-107 (C.103-104, B.XV.140-141, 142).
- \J
-,
u -,
o -, - u -
-,
'
Scheme
(uuu.UuU,
\J -).
108(C.105,B.XV.143).
109-110 (C.106-107, B-XV.144-145,
146).
'
Scheme (-
U O'-j -uw,uuu,uuu,uuu, u u u, -).
u kj,
-XVI. 114
MET?BICAL PATTEBNS
Example
287
yah
111.
kila daksaip vidruta-somani
kratuvaram
a-camasam apagata-kalas"am
patita-yupam ksipta-casalam vicayanam
a-samidham a-pas*ukam acarukam
karmuka-muktenas'u cakiira vyapagatasuragana-pitr-ganam isuiia
nityam asau
te daitya-ganilrih
makham
Let Siva
(lit
charged from his
the foe of the demons)
bow quickly
the Camasa, broke the

Casala, put out the
Fit-Is
to
Kalasa,
flight in
Daksa's great
enemies like the same
who by arrows
felled
the Yupa,
destroyed the fuel,
fire,
spilled the Soma-juice,
animals, spilled the Caru
[sacrificial]
pradahatu
iva ripu-gan.am akhilam
(sacrifice).
dis-
threw away
dislodged
the
away the
scared
and put the gods and the

always destroy
sacrifice,
all
your
Bhujanga-vijrmbhita
112-113.
of which the
and the
first
are
last
the
eight,
feet
nineteenth,
heavy [and the
rest
of
twentysix syllables
twentyfirst,
twentyfourth
Bhujanga-
light] is called
vijrmbhita. 1
Example
11-1.
rupopetam devaih srstam samada-gajavilasita-gatim niiiksya tilottamam
priidaksinyat praptam drastum
bahu-vadanam
aculu-nayanam firah krta-van harah
dlrgham nihsVasyantar-gudham stana-vadanajaghana-rucirain niriksya tatha punah
prsthe nyastaip devGndrena pravaramani
kaijaka-valayam bhujanga-vijrmbhitam
111 (C.108,
B.XV.147)
'
B. gives one additional example (B.XV.148)
which occurs in Halayadha's commentary to Pingala.

A Scheme
112-113 (C.109-I10, B.XV.149-150).
o \j \j, v u u, v yj u,
u -, u u -, \j -),
114 (C.lll, B.XV.151).
,---?--
u,
THE AATIASAOTBA
288
bulate
&va
him,
fixed
all
to
circumam.
her
and
And-
then
tne
lord
on
kept
his
of gods
account of her
and put away on
silently
115
by the gods with
came
on,
was beautiful
and the hip, sighed
face
breasts,
afce.
eyes
the
on seeing -her who
(Siva)
'while
rat,
motionless.
mouths
and
heads
in
an elephant
of
the gait
TilottamS created
the- beautiful
Seeing
RVI.
'
his
which snakes
jewels in
back the golden bangles set with the best of
were yawning.
The uneven and

These
115-
the semi-even metres
metres
the best of Brahmins, the evn
are,
Novv
I mentioned [before].
about
listen
the
uneven and the
semi-even metres.
The
116.
which the
metres of
belong to
feet
different,
metrical types and are dissimilar, are called uneven (v'mmn),
The metres
117-118.
are similar while
the feet
is
And
the
dissimilar
are
have
to
such
feet
semi-even (ardluisanw).
called
its
even
groups of
or one
of
feet
them
and odd
may
may be
and
all
The semievcn metre
be shorter or
longer
are
similar,
metre in which
and the
dissimilar
feet
feet
[alternate]
not
are
uneven.
called
is
two
which the
in
the two [contiguous]
longer than
other
the
first
the
shorter
of
rest
than
the rest.
Even metres
119.
An
even metre
defined by defining one of
is
while uneven metre requires the definition
from a definition of the two

This
is
feet the
of
all
semi-even
its
ils
feet.
metre
is
feet
And
known.
the division of feet [in different semi-even metres].
120.
have described the even metres with reference to
their divisions of feet.
Now
describe
shall
of the uneven metres in terms of triads,
114a, (C.112, B.XV.153).
'
{i.e.
According to B.
114b (C.118, B.XV.154).
the
characteristics
yams).
it is spurious.
115 (C.U4, B.XV.155).
116(C.U5,B.XV.156).
11-118 (C.116-U7, B.XV.157 158).
119 (C.118, B.XV.159).
120(C.U9,B.XV.160)
-XVI. 124
"
METRICAL PATTBBNS
289
Pathya
If [in Anustup], the
121.
second sa, ra,
and the
even and odd
feet
it is
foot contains sa,
first
ga and such
la,
ga,
sa,
ga,
be the remaining
will
called Pathya*.
Example
priya-tlaivata-mitrilsi
122.
You
priya-sambandhi-bandhav^ 1
3
priya-dana-rata pathya dayite tvam
respect the gods
and the
friends,
monial relations and the kinsmen, you
and you
gifts
affectionate
>
you lore the matri-
are disposed
beloved
agreeable,
are
priyM me
make
to
you
one,
are dear to me.
Uneven Pathya
[The Anustup metre of which] the
123.
ma,
ra, ga, ga,
the second ya, sa,
and the fourth

Pathya]
la,
ja, sa,
ga
[is
ga,
la,
called
first
foot contains
the third ra, bha,
an all-uneven (sarva-vimma,)
124.
naivacaro, na te mitram
na sambandhi-guna-kriya 1
sarvatha sarva-visama pathya na bhavasi priye
way very rough
so
(I
& III)
kj y>
0. gived the correct reading
'
uu-
C. vara for rath.
C. yadyapilov dayite.
123 (C.I33, B.XV.164).

(III)
kj -,
- - and
u u, u
'
in
every
yugmau-
'
(II
A IV) u
- -
yj -,
^-
Cdaivalafov sambandhi,
(1)
- (IV)
124 (0.134, B.XV.165).

37
and are
(feet).
122(0.121, B.XV.163).
relatives
you are not agreeable.
121 (O.120, B.XV.162).
jakau 'even and odd'
ll
you have no [good] conduct, no friend and
dear one,
you have no good action towards the
w -,
ga
Example
la,
-,
-,
--u,ou-,u-.
B. priya for kriya-
(II)
w - -, u u -,
THE NATYASASTRA
290
XVI.
125-
Inverted Pathya
These are the
125.
1
feet
They
and the third
characteristics of the first
second
being" inverted ie. the
and the fourth being
of this description, the metre will be called the inverted Pathya.
viparita
What
[It
is
the fourth, the

called
shown
the use of this anger
fifth
Anustup
pyarthain
II
your beloved one
have been deluded by some-
eight syllable
of
feet
and the sixth
Capalii.
to
you are not agreeable.
upset, [so]
[The metre with the
127.
te'
na patbyasi tvam jade kena mobita
seems that] you are foolish and
body and have been
is
kim sakhi rosena
krtena ramanasya
126.
[in
of which]
the heinistictis] are short,
Examples
128.
-
na khalv asyah priyatamah srotavyam vyahrtam sakhyS

nSradasya pratikrtih kathyate capala hiyam
[He]
is
not this
dearest
girl's
This [information] to
one.
be heard [privately] was proclaimed loudly by the female

This
fickle
woman
II
friend.
an image of
Narada
a metre with the feet of eight syllables
has] the
is
indeed [to be]
called
(the deity of quarrel).
VipulS
129.
[If
seventh, syllable
125 (C.122,
short
in
second
its
BXV.166).
'
feet,
it
passage before this seems to be
C. reads yugmayoroi the two even
odd
and the fourth
(feet).
B.
lias
is
lost.
ayujoroi the two
(feet).
126(C.123,"
u u -,
B.XV.r67).
\j -, (II) \j
u -,
'
KJ -,
127(C.124,B.XV.168).
128 (0.125, B.XV,169).
We
-,
udopt B's reading. (I)

- v -, - u -, u -, (IV)
(III)
C v&ula
for capala.
129 (C.126, B.XV.170).
v-v,
v v -i
-XVI. 186
METRICAL PATTERNS
According to some 1 the seventh syllable
[Anustup] Vipula.
called
Ml
in all the feet will be short in [such] Vipula.
Example
130.
sainksipta vajravan-madhya heraa-kumbha-nibha-stani

vipulasi priye
sYonyam purna-chandra-nibhanane
dear one, you are thin [in bodyl your waist
II
slender
is
the middle like a Vajra, your breasts are like golden pitchers,
in
your hips are large and your face
like the full
is
moon.
gangeva tvam meghagame aplfivita-vasundhar^
131.
kula-vrksan arujati sravanti vipulacalat 1
You
the
arc like the
Ganges
destroying the
earth,
advent
at the
of the rains, flooding
the bank
on
trees
II
arid
flowing
down
from a highsnountain
1
The
32.
feet
Pathya are thus
of
of various types
remaining [types of AnustupJ even <ind odd
may
feet
be
in the
made up
with other triads (irikay.
In this metre a triad ending in
133.
ma,
ra, ya, sa) or consisting
to occur
light
heavy syllable
syllables
desired) after the first syllable while
(lit.
syllable a short syllable
134.
in the
It
syllables at the
Example
of
end
must occur
of
feet
it is
called
(lit. is
{i.e.
na)
after
the
(i.e.
never
fourth
prescribed).
Pathya there are
is
three heavy
[Anustup] Vaktra.
135.
danta-ksatadharam subhru jagara-glana-netrantam
rati-sambhoga-khinnam
fair
lady,
the
being
lips
te
darsaniya-taram vaktram
bitten
by
teeth,
eyes
II
being
languid due to keeping awake, your face has become more charming,
enjoyment.
after its exhaustion in lore's
Saitava mentioned in Pingala and Agni P. See CSS.
p. 38.
130 (C.127, B.XV-171).

181 (C.128, B.XV.172).
132 (C.129,
B.XV.
174).
184 (C.131, B.XV.176).
B. C. vattat for calai.
'
We follow B.
133 (C.130, B.XV.1 75).
135 (C.132, B.XV.177).
authorities differ
ment
XVI.
These are all-uneven metres of the Anustup
136.
The
NAM ASASTEA
UHB
292
class.
from one another as regards [the arrange-
and
of] the triads
1S6-
syllables.
Vanavasika
The metre which
137.
Matras as parts of Gatha

of triads
and the part of a
Example
has
consisting
feet
its
to be divided into
triad, is called
of
sixteen
four sections in terms

x
Vanavasika.
138.
asarathita-pada suvihvalangi
mada-skhalita-cestita-manojna
kva yasyasi varoru surata-kale

visama kim vanavasika tvam
your gait
fair lady,
unsteady, limbs
is
are agitated,
and
your faltering movements due to ardent passion are charming.
Where
are you going at the time of love's
perverse
woman
Vanavasi
of
enjoyment
Are you a
KetumatI
The metre
139.
of sa, ja, sa,
ga and the second and
called KetumatI.
Example
of which the
first
and the third
the
fourth bhn,
feet
consist
ra, na, ga,
is
sphuritadbaram cakita-netram
140.
rakta-kapolam ambuja-dal&ksam
kim idam rusapahrta-Sobham

ketumatt-samam vada
Yonr lips
mukham
are throbbing, the eyes which are
te
II
like
me why
lotus-petals
are trembling
and the cheeks are
robbed of
beauty by anger, become like KetumatI (flame)
its
136 (B.XV.178).
is
has your face

?
C. omits thin.
137 (0.146, B.XV.179).
Vanavasika
Tell
red.
'
Pingala
simply a variety of
this.
Matrasamaka.
calls this
His
See 088. p. 21.
188 (C.U7, B.XV.180).

139 (O.140, BXV.181).
-, (II
4 IV)
'
u u, - u -, \j u
U0(C.Ul,B.XV.182).
Scheme
--
<j,
(I
&
III)
-,
o - U, u v -,
-XVI. 145
METRICAL PATTERNS
29S
Apaarvaktra
141.
fourth of na, ja,
Example
metre called
In* the
third feet consist
of na,
ja, ra.
na, ra,
Aparavaktra the
first
sutanu jala-parlta locanam
jalada-niruddham ivendu-mandalam
idam apara-vaktram eva
kirn
lady
fair
te
mnkhatn paran-mukham
sasi-vadane'dya
tears
the
142.
and the
and the second and
ga
la,
II
moon-faced one) why are your eyes
(lit.
and why do you look
like like the orb of the
by the clouds and why has your
moon
full
of
obscured
turned today like some one
face
else's face ?
Puspit&gra
143.
na, ja,
In
of na,
consist
na,
ga.
ja, ra,
Puspitagra metre
the
and the
first
third
feet
and the second and the fourth of
ya,
ra,
Example
pavana-raya-vid huta-caru-sakham
1 44.
pramudita-kokila-kantha-nada-ramyam
madhukara-parigiyam^na-sabdam
varatanu pasya vanam supuspitSgram
fair
look at
lady,
which the wind
is
II
top of the blossoming forest in
the
shaking the beautiful branches of
trees,
the
gladdened cuckoos are singing with sweet voice and the bees arc
humming
all
around.
Udgata
145.
In Udgata metre the
141 (C.142, B.XV.183, 184).
u -, (II &
IV)
uw, yj-u, \j-kj
foot consists of sa,
first
Scheme
,
v-
(I
& III)
u - -, (II & IV) u u
\j,
v u U, u u U,
'
- u,
144 (C.146, B.XV.187).
sa,
142 (C.132, B.XV.177).
143 (C.144, B.XV.186).
ja,
Scheme
~
(I
- u, .'
&
II)
uu
v,,
u\J\j,-v~.
- -
146 (C.135,
B.XV. 188).
THE NATtASASTEA
294
la,
the second of na, sa,
the fourth of sa,
the third of
ja, ga,
ja, sa, ja, ga.
bha,
na,
XVI. 150-
ja, la,
ga and
Example
tava roma-rajir
146.
atibhftfi
sutanu madanasya manjarim
nabhi-kainala-vivarotpatita-
bhramar&vultva kusumat samudgata

one,
fair
lotus-like navel are
of flowers
the hairs which rise
comparablo
and they exceed
II
the hollow of your
from
swarm of bees coming out
with a
in beauty Cupid's blossoms.

LalitS
The metre
147.
Lalita
the second foot of na,
ja, sa. la
and the fourth foot of
sa, sa,
Example
has
sa, ja,
its
first
foot consisting of sa,
ga, the third foot
sa, ja, sa, ja, ga.
of na, na,
148.
kula-bhramita caru-vasana-kara-caru-pallava
lalita
pravikasitakamala-kantiraukhipravibhilsi-devisurata-iSramaturiiil
hurriedly
lady,
clothes
face
and the
delicate
you look charming

149.
gracefully
moving
the
beautiful
hands and having a blooming lotus-like

after the fatigue of love's sports.
These are the syllabic metres of the even and uneven
types, to be used in
150.
but
dramas and poems.
There are besides many other syllabic metres which
have been mentioned here
collectively.
They
are
not to be used
because they do not embellish [a composition].
-, (111)
Scfieme (I) \j
yj
U,
u -, <j - u, \j kj -, V, (11) uyu,yu-,u-u,

v - \j, v -, (IV) o vj -, \j - v, o u -, \j - V, -
<j j \j,
146 (C.136, B.XV.189).

147 (C.137, B.XV.190).
uuu, uuu,.uu-,
* Scheme (1
\jKt-, (IV)
& II) same
as in
Udgata. (Ill)
uu-,u J 0, u u
Piiigala's Laliia has the fourth foot similar to that of
-,
u - u,
Udgata
148 (C.133, B.XV.191).

1*49
(C148, B.XV.IS2).
150 (C.149 B.XV.193).
XVI. 158
METBIOAL PATTERNS
The
151.
used in songs.
metres forbidden
syllabic
shall
296
describe
their
here
may
after
be
varieties while treating the
Dhruvas.
Irya metres
This
152briefly
is
the
definition
by me.
treated
Next
various
of
give
shall
metres
syllabic
the definition of the
Aryas.
The Aryas
153.
Capalii,
of
are
five
types,
Pathya,
viz,
Vipuli,
Mukha-capala, and Jaghana-capala.
154.
Matras and
shall
speak about their caesura and division of
their varieties
on Ganas which have been
depending
prescribed as characteristics of these.
the
metres the
In these
155.
feet];
Gana
(lit.
the last) feet are the even
(lit.
the rest) odd ones.
an
[In
156.
caesura
marks the division

second and
consists of four Matras, the
Arya]
Matras should have no
ja
ones,
and the
first
odd Ganas
the
and
the even
[of
the fourth
and the
consisting
Ganas maybe
third
of
four
of
any
type according to the choice [of the poet].
156
half a
The
a.
Gana
{i.e.
157.
The
and the eighth
eighth
Gana
in
every Arya
is
sixth
Gana may be
will consist of
one
two
of
[syllable].
The
1
second hemistich will consist of one Matr3 only
158.
In one alternative
(u - v.) mid in the other

{o^jKjyj) and these
known
be
it
is
that the
will
types
Gana
in the
Gana
will
sixth
consist
alternative
of four short
be
ja,
syllable,
relate to the caesura (yati).
BXV.194).
152 (C.151, B.XV.195).
154 (C.153, B.XV.197).
155 ("C.154, BXV.198).

157 (C.156,
as
sixth
153 (C.152, B.XV.196).
151 (C.150,
to
two Matras).
B.XV.200, 208b-209a).
158 (C.157, B.XV.201, 209b-210a).
196 (C.155, B.XV.199, 211, 2f8a).
'Read 157b
(with
C) as
<njra
THE NATIASASTEA
296
The
159.
caesura
may
occur when the second la
Gana has been completed
fifth
completed].
or
may
it
or after
syllable [of the sixth Gana],
[XV.
the
Gana
fifth
after the
from the
occur
169-
first
[has been
Pathya-Irya and Vipula-5ryi
The Arya metre
160-
three
Ganas
(lit feet
The Vipula Arya

no caesura
is
are
of which the caesura occurs
made up
different
of three Ganas)
from
this,
any kind [within
(yaii) of
is
only because
its hemistichs].
after the
called Pathya.
it
observes
Examples
Pathya Arya
161.
rakta-mrdu-padma-netrasita-dirgha-bahula-mrdu-[kutila]-kesll
kasya tu pithumrdu-jaghana tanu-bahvamsodari [na] pathya
To whom
not
is
lotus-like soft eyes, copious
and
soft hip, slim
agreeable
long,
woman
and
black
arms and abdomen
with
and
lovely
[curled] hairs,
II
large
Vipula Arya
vipula-jaghana-vadana-stana-nayanais
1G2.
tamradharostha-kara-caranaihl
fiyata-nasa-gandair
laliita-
caranaih s"ubhii kanyii
maiden
eyes arc large,
is
auspicious
lips,
palm and
when
II
her
feet are
hip,
red
face,
breasts
and
and nose, cheeks,
forehead and ears are prominent.

Capala Srya
In the Capala (Arya) the second and the
163.
159 (C.158, B.XV.202, 210b).
160 (C.159, B.XV.203).

q
*ir
m *i*i
Read 159 a B
ftSfeif*
Bead the couplet as *j
$ta wn
<tf
fits q[?: <aiq
vm
^m fow* 3 fiswrtfiww.
161 (C.160,
'
B.XV.
162 (BJCV.2H).
fourth
213).
163 (B.XV.215, 204).
-XVI. 16?
Gagas
METRICAL PATTERNS
each hemistich
in
are
297
to consist of a ja (lit
Gana
with a
heavy syllable in the middle).

Example
^dbhartr-ggmini parusa-bhasini kama-cihna-krta-vesa
164.
*ya nati-mamsa-yukta sura-priya sarvatas capala
The woman who goes
defying her husband, speaks
has erotic signs in her dress,

is
is
not very fleshy and
is
II
harshly,
fond of meat,
inconstant in every respect.
Mukha-capala and Jaghana-capala Arya
When
165.
when
same
the
a Capala applies to
the definition of
hemistich [onlyj of an A~rya
is
it
the
first
And
Mukha-capala.
second hemistich [only]
to the
applies
called the
it is
called
Jaghana-capala.
Examples
Mukha-capala 5rya
mukhe
arya
166.
tu capala tathapi earya na
daksii grha-krtyesu tatha
My
bad, for
lady
is talkative,
she
is
an expert
but
still
my
in
me
yatah sa tu
duhkhe bhavati duhkharta
her conduct [in general]
household work, and
in
my
is
II
not
misery
she feels miserable.

Jaghana-capala 5rya
167.
vara-mrga-nayane capalasi
varoru sasanka-darpana-nibhasye
kamasya sarabhutena
purna-mada-caru-jaghanena
fair
like the
moon
lady
with
best prize of love

swelling passion,
eyes
by
of the
best
deer,
and
a face
your hips which constitute the
and which are charming on account of your
you
164 (B.XV.216).
4
the
or the mirror,
II
are
'
[marked as]
faithless
(lit.
inconstant).
B. reads udbhata.
B. reads janati, for ya
nTtti.
Prof. S. P. Bhattacharya suggested this
emendation
165 (B.XV.2I7).
38
166 (B.X.V.218).
167 (B.XV.219).
THE NATYASASTBA
398
168.
When
characteristics
169.
it is
the two hemistiehs of a CttpalS
170.
(lit.
This metre
is
known have
Following these rules

composition)
poetical
diffeient metrical patterns
thirty
168-
have (he same
thus)
(lit.
to
Mate's
in
its
first
utilising
belonging to
Rhythm-types, and such plays are

istic
XVI.
called the all-round Capala.
hemistich and twenty-seven in the second 1
plays
(lit.
one should compose

(lit.
having)
therein
arising from) different
have the thirtysix character-
marks (lakmiyi).
Here ends Chapter XVI.
which
168 (B.XV.220
of Bharata's Niityasastra
treats of the Metrical Patterns.
0.162b- 163a).
169 (B.XV.205, 201
0.163b-164a,).
'
The
five couplets
(B.XV.222-226) are corrupt and appear to be spurious.

discussed in the Introduction.
170(C.186b-189,B.XV,227).
after this
These will be
OH A PTER SEVENTEEN
DICTION OF A PLAY
Thirtysix marks of a good play
The
1-5.
{laksawi) 1
marks
characteristic
thirtysix
2
(a good] dramatic composition (kavtja) arc as follows
Parallelism (wiaharana), Causation
Favourable
Precedent
Explanation
(uinil;ln),
Persuation,
Ho.-itation
Discovery
(siiltlhi),
(soliha),
(nommjnX
Fancy
(prapti),
(uhlariana),
Precedent
Unfavourable
(abhipraijii),
{k>-tn\
(tlrafauta),
of
Onateness
(aksam-ximtili&tn), Brilliance
Compactness
(lihnsann),
Convincing
Distinction (vfo'Mwi),
About the significance of the

1-5 (C.l-5, B. p.348-350, XVI.1-5).
are not at all unanimous.
NS.
of
the
commentators
laksana,
the
term
the
Ag. mentions no less than ten different views on the subject. Evidently
some
these are
of
mark.
far-fetched and off the
seems that laknana
It
word occurring in the compound word makapurusa-laksana (characteristic marks of a superman).

Accordiug to one view this laksana differs from the alamkara (ornament)
in this connexion is comparable to the same
and the guna
(qualities) of a person as figures
excellences (guna) of a composition
(laksana).
The composition
of
from
differ
in this connexion
speech (alamkara)
characteristic
its
evidently a dramatic
is
For a discussion
one though some of the commentators think otherwise.

of
on the position of laksanas in the history
K. De,
see 8.
Skt.
(B.II.pp. 348 349) and
Oriental
Poetics, II. pp. 4-5
writers
Research, Vol. VI.
the
One
like
pp.
receasion
enumeration of
late writers like
laksanas
The
been followed by
see also
71, 81, 82.
70,
the.
by
followed
Visvanatha, and
our translation.
the
Alamkara literature
Ramakrishna Kavi,
V. Jtaghavau's paper on Laksanas
into two distinct recensions as regards
laksanas.
Dhanajaya and
laksanas) in common, and
older
commentators, and late

uses
Anustnp verses
for
which seems to be later, has

Abhinavagupta and
like Kirtidhara,
commentators
it
fall
have adopted this as the basis of
second recension
other recension with which
in the Journal of
Mas. of the NS.
text treating the thirty-six
Singabhftpala,
We
and
marks
others.
This greatly varies from the
has not more than seventeen names (of
among
these,
definitions
of
eight
only are
similar in both the recensions.

3
Kavya
composition.
in this
connexion
means the drsya-kavya or dramatic
THE NATTASASTSA
300
Accusation
(gmaiipata),
Virtue
of
from Similitude
Inference
(padoccaya),
Description
Deliberation
Multiplex
Pointed
Utterance
(viparyaya),
Inversion
(ricara).
(bhramia), Mediation (annnaya), Series
Manner (dahinya), Censure
Semi-uttered
s
,
Slip
Identity (sarupyn),
Desire
(Ma),
Wit
(manoratha),
Enumeration of Merits (ynna-kirtana),

(aunkta-xiddhi) and
Expression
(upadida),
of .Tongue
Presumption (arth&patti),
(garliana)
one's
of
Concealment (ib/iii)
Predication
Offers {mala), Clever
of
Celebrity (pnwiddhi), Interrogation (prccha),

Indirect Expression
6-
(gun&tifaya),
Excellence
(tulyartarka),
(dista),
XVII.
Compliment
(/>-
yavacam = prioldi),
Ornateness
1
G.
To adorn
Gunas
speech (alamkara) and
manifold
ing
ornament) 8
composition
the
meanings
as
many
figures
of
ornaments, for creat-
with
if
(lifrumm,
Ornateness
called
is
with
lit.
Compactness
1
7.
small
When
number
an wonderful sense
of
expressed by means of a
is
double
with
syllables
entendre,
themark named Compactness (ahara-sanujhata,
it
called
is
assemblage
lit.
of syllables) 2 .
Emood samhobho
6 (C.6; B.p 350,
to samksepo.
XVJ.6)
'
passages dealing with lakmnas
See below 38 note
is liable
1.
study of Ag's. commentary on
close
one an impression that
to give
the exact meaning of some of the terms at least relating to this
has
been to some extent
partly based
to
depend
laksanas
But
on guess.
on
them
in the
though
are mostly not
and various
lost,
very
at all
clear
been very liberally given by Ag.

quoting them here.
ed.
NS. (Vol.
of the
Kavi.
As any old
laksanas,
Interested
II
To
persons
294ff,).
Definitions
of
may
sec
wo
them
For an example
refrain
in
of
down
to
us,
M. Ramakrishna Kavi.
we
7(C.7;B,p.350,XV1.7).
'
See. Kavi.
have
from
the Baroda
bkvsana. Sec
with
used in this connexion the
See B. II pp.
to as Kavi).
are
various
without examples which

avoid prolixity
been
we
commentary to these (NS.) passages dealing
has not come
one prepared by
pp.
absence of anything better

cautiously.
subject,
have
explanations
348ff. (Referred
-XVII. 12
DICTION OF A PLA*
301
Brilliance
1
8.
known
Ii
a charrhing and novel
object
is
referred
and a wonderful sense

is
lit-
it
when a
[arises]
less
to a well-known one,
through double entendre 2
expressed
is
called Brilliance (sobka,
meaning
by likening
to
it
beauty)
Parallelism
9.
words expressing similar circumstances 1
When by
suggestion
is
cleverly
made
Parallelism (wlaharana,
lit.
an
to accomplish
example) 1
object,
it
called
is
Causation
When
10.
and pleasing words by the
brief
[tactful] use achieve the desired object,
force of
their
called [an instance
it is
of]
Causation (hetu) 1
Hesitation
When
11.
due to many
an end without
brought to
considerations
communicating the
fully
[in view], it is [an instance of] Hesitation
{mma.ua>
sentence
essential
is
theme
doubt). 1
lit.
Favourable Precedent
That which suppoiting the case
12.
of
its
and
reason
pleasing
is
to
Favourable to the speaker (drstanta,
8 (0.8; B.p 350, XV1.8).
yatra
sh'st/i
0.
is
an example
a Precedent
is
example). 2
yatra
slMam
vixidyarlham
for
See Kavi.
vicilrartha.
(C.9-, r>.i>.51,
'
hand 1
people,
all
lit.
in
XV1.9).
'
0. tvalphrlha for tulyartha. Cf. SD.438
When from the occurrence (lit.

word good many unmentioned ones can be inferred (lit.
is called Sample (udaharana).
Ag'a dclinition in trans,
as follows.
is
sight) of a single
accomplished) it
lO(C.lO;B.p352, XVI.10). ' Cf. SD.

nition as follow* **it smwi! iJwirafliMwi
:
(B.XVI.14).
convincing.
Its
11(011;
is
Cf.
B. p.352,
SD.
Ag.
reads this
defi-
faatawrw Wwfwnfinwi
not clear, Ag.'s explanation does not seem to be
is
textual corruption in this.
B.p.352, XVI.ll).
12 (C.12;
aksartpha.
meaning
Possibly there
139.
i
'
XVI.12).
Cf.
'
SD.
440.
C.
paksapaksartha
341. Ag.'s text in translation is as
for
follows
yastu
That a
THE NATYASAStfBA
302
XVII. 13-
Discovery
When
13.
something
the existence
indications,
of
becomes [an instance of] Discovery
it
attainment) 1
(\>rajif), lit.
of
on seeing some
assumed
is
which
among
included
is
the
marks
[good J drama.
:i
Fancy
is
When
1.
existent,
an idea interesting to people [but] hitherto non-
conceived on the basis of similarity [of two
is
[an instance of] Fancy (a^hijirwja,
belief)
lit.
objects],
it
Unfavourable Precedent
When
15.
the
well-known instance are mentioned for rejecting
view
contrary
it
is
[an
instance of] Unfavourable Precedent
example) 1
(niilav'saita, lit
Convincing Explanation
Words
10.
some
that are spoken
Explanation (iiinikla,
lit
in
made
statement
faultless
support of the
before,
meaning
of
Convincing
constitute
etymology)'.
/earned person discovers similarity [of anything] with something perceived by
him
earlier, is called Illustration
of speech of this
1
3 (0. 1
name
B.p.353;
variant of yukti
meaning which
combining
XV!. l;i).
H.p.353,
1-KC.Uj
Of. the figure
Cf. SI). 446, Ag. similar (Ti.XVJ.32
'
XVI.14).
(B.XV1.3S)
'SI).
wliicli
Ag.
445,
in translation
reads
this
one
another,
is
called
Combination
).
as a
The
as follows:
is
made up only of many mutually compatible
is
with
(distanta).
in HI). 697.
objects
(yukti).
(If.
SI). 51)1.
1
iixih
(C.15; ]i.p.2o4.
(T5.XVI.-i8).
The
XVI.15).
See SD. 444. Ag. reads
meaning of thisdef.
is
explanation of this, but gives an example, which

fit
in with the definition. Cf.
SD.
as follows
factual.
known
[Of
(lit.
'
Cf.
these]
(lit.
is
two kinds
ihe factual {explanation]
accomplished before),
has not been so
Ag.
vory
is
SD. 453. Ag.'a text
Explanation (nirukta)
it
offers
difficult
no
to
471.
16 (0.16; B.p.254, XVI.16).

is
this as a variant
not clear.
and
not accomplished)'.
in translation
factual
is thai
the non-factual
which
is
and nonis
well-
that which
.XVII. 21
DICTION OF A PLAY
303
Pursuation
When name
17.
great* persons are mentioned
of
view to accomplish the object aimed

Persuation (dddhi,
success)
lit.
at,
[an
is
it
with
instance
a
of]
2
.
Distinction
When
IK.
something
is
after
a thing from
distinguishing
said
many well-known
mentioning
great
them,
objects
[an
is
it
instance of] Distinction (visemna) 1 .
Accusation of Virtues
When
19.
virtues are mentioned with sweet words of harsh
import 1 which carry the contrary implication,

Accusation of Virtues (gunatipata,
lit.
[an instance of]
it is
opposition of virtue) 2
Excellence
When
20.
enumerating the qualities available in
after
common men, one mentions
some
instance of] Excellence (atisaya) 1
special
qualities,
is
it
[an
Inference from Similitude
When
21.
an object
mataphor or simile applied
directly perceived is
an identical sense,
in
17 (C.17; B.p.354, B.XVI.17).

Of.
SD.
454.
'
[an
instance
C. pravaktanim for pradhananiim.
Ag. roads this with a slight variation.

l
18 (C.18; B.p.355, XVI.18).

variant of
from
inferred
it is
kxama (B XV1.IU) which
Of.
SI).
Ag. roads this as a
452.
translation
in
is
as
follows
When
one being hurt by harsh and provoking roirds uttcrred by a wicked person
in the presence of good people, remains without anger,
it is
[an instance
of] Forgiveness (ksania).

1
rair
(C.19; B.p.355,
niMurarthair.
XVI.19)
Cf.
0.
'
SD.
450.
madhuro nisthumrtho
Ag.
roads
this
as
for
madhu-
a variant of
Eulogy
gunaniwiida (B.XVI.13a) which in translation is as follows
(gimanuvada) relates to inferior subjects compared with superior ones.
:
20 (C.20; B.p.355, XV1.20).

in
to
translation is as
follows
the best thing [to which
Erce Hence
(atisaya).
it
'
Cf.
When
SD. 451 Ag.'s reading (B.XV.13)

anything compares favourably
can be compared]
it
is
[an instancfrof]
21 (0.21; B.p.356, XVI.21).
THE NATYASABTBA
304
from Similitude
of] Inference
comparables) 1
(tultja-tarka,
XVII.
22-
reasoning from the
lit.
Multiplex Predication
When
22.
of other
words
a number of words are used along with a number
form different groups for the same purpose,
to
of]
Multiplex Predication (pmlormya) 1
it
Description
When
23.
harmony with
described in
it
any object or incident
1
of] Description (ilistu)
or not,
seen
directly
time or from
locality,
related
to
is
it
Pointed Utterance
When
24.
one says something of his own on the basis
of Sastras
and thereby pleases the
(upadida,
lit.
learned,
it is
a Pointed Utterance
utterance)
Deliberation
That which establishes something not
25.
and
is
harmony with
in
SD.
Cf.
Exhortation
something
442.
it
directly perceived
expressed earlier 1
as a variant of
is
in translation is
through
the definition
as follows
suggesting
and
one's
own
of
To say
idea by
to others' actions, is called E-eltortation (iikrauda).
SD. 472.
22 (C.22
tion
which
pointedly
very
means of likening
Cf.
Ag. reads this
B.XVI.19
meaning
the
is
a?
B.p.356, XVI.22).
Cf.
SD. 443 Ag.'s reading
When anything is described as

means of many words of similar import,
follows
ent aspects by
it
of] Multiplex Predication (padoccaya) which puts together

23 (C.23; B.p. 356, XVT.23).
'
BC.
Bp.357,
XVI.24).
'
Cf.
When
follows:
otherwise
it
is
drama. Cf. SD.
[an instance
many
objects.
is
different
SD.449; Ag. reads this
a variant of Argumentation {upapatti, B.XVI.35).

is as
is
from
follows
is as
24(C.24
transla-
drsla for dista Cf. SD. 448. Ag.
reads this" as a variant of sarupya (B.XVJ.15) which
XVI.35 and
in
possessing differ-
The
is
as
def.in translation
faults discovered are explained away as being
called
Argumentation
(upapatti)
in connexion with
fmrvadeW
for pnrvaZaya; B.
482.
25 (C.25; B.p. 357, XVI-25).

anekopiidhi for anekapoha.
C.
Cf. SD. 447. Ag.'s reading of the definition in
-XVII. 29
includes
DICTION OP A PLAT
much
elimination of errors (apoha),
306
called Deliberation
is
(vicara).
Inversion
26.
When
due to
Deliberation, takes
on
place
Inversion (viparyayq,) 1
account of
a doubt,
it
is
of
called
Tongue
Slip of
27.
an alteration
[something]
seeing
Manifold deviation of proud and similar other persons
from the intended words to something
Tongue (bhramsa,
lapse)
lit.
else
Slip
called
is
of
1
.
Mediation
28.
[Words] which please the two persons with
opposed resolution and [are aimed

constitute Mediation (anunaya,
at]
lit
mutually
accomplishing some object,
imploring) 1
Series of Offers
29.
When
(lit.
learned
may
be
lit.
for the purpose of accomplishing
men)
fulfilled],
garland) 1
suggests to a person
is
it
[an
instance
of]
his
an object one
many needs [which
Series
of
Offers (mala,
translation as follows
Deliberation (vicara)
is
the critical examination
of many things (under B.XVI.33).

26 (C.26;
Cf.
SD.
456.
B.i>.
B.XVI,16)
(mithyadhyavasaya
When
XV126).
357,
'
B. dntopadhtayoh for drsiopayogatah
Ag. reads this as a variant of the def of
which
in
Wrong
translation
Perception
as follows
is
in place of a non-existent object one takes for certain some-
thing similar
to
it,
it
[becomes an instance of ]
Wrong
Perception
(mithyadhyavasaya).
27 (C.27; B.p.358,
Cf.
XVI.27)-
Emend
'
drptddinam
drstiidibhir to
drptadinam hhaved bhramgo vacyud anyalarad
SD. 455. Ag.
vocal).
reads this as a variant of the def. of Witty Compliment (priyavacand)
which in
trans, is a3 follows
That which
is
apparently liable
anger but brings joy in the end and includes a
blessing,
to
provoke
is called
Witty Campliment (priyavacana=priokti) B.XVL29.

28 (C.28, B.p.358, XVI.28).
variant of the dof.
of.
'
Cf.
SD. 458 Ag. reads
Subservience (anuvrtti) which in trans,
this as
is as
follows
To follow with a purpose another person as a matter of courtesy,

or favour, is called Subservience (anuvriti)
differently.
29 (C.29; B.p.359, XVI.29).

89
B.XV1
Cf.SD.494.
,'
Cf.
SD.
459-
34.
a
:
love
Ag. reads %his
THE NATTASASTRA
306
[XVII, 80-
Clever Manners
When
30.
one attends another person with a happy and

speech and [agreable] movements,
pleased face, [sweet]

instance of]
an
[is
it
Clever Manners (dahinya). x

Censure
31.
If
any one mentions [someone's]
them as merits, or decries
and
merits
his
.faults
and explain
them
calls
faults,
it
becomes [an instance of] Censure {yarhana) 1 .

Presumption
When
32.
some other
from a sweetly- worded mention of
object
to be
is
understood,
[an
is
it
something,
instance of]
Presumption {athapatti). 1
Celebrity
33-
That which
is
expressed with excellent words mentioning
exploits, gives rise to Celebrity {prasiddhi) 1 .
many well-known
Interrogation
34.
When
by courteous
from courtesy) 1
proceeding
(lit.
words one questions oneself or another [imaginary person]
[an
it is
instance of] Interrogation (jirccM).
30 (C.30; B.p.359, XVI.30).

variant of the
follows
def. of Clover
'
Words which are apparently
joy in the end'
SD. 457.
Cf.
Ag. reads this as a
Request (yacTia) which in translation

liable to
and turn favourable are
is as
provoke anger, but bring
called. Clever
Request
(yaciia)
SceB.XVL22Cf.SD.496.
31 (C.31; B.p. 359, XVI.31).
variant of
the dof. of
translation is as follows
Cf.
SD.
Ag. reads this as a
461,
in
Application of some stratagem for the decep-
tion or defeat of others,

{stratagems) are
'
(kapatasamgfuda) (B.XVL30) which
Deceit
is called
When
Deceit (kapata).
applied together
it
becomes
two or three
Multiplex
Deceit
(kapata-satnghata) Cf. SD. 473.
32 (C.32; B.p.360, XVI.37),
follows
When
defects of
are derivedfrom
t/ie
an
defects it
Cf. SD.460. Ag. reads as a variant of
'
the def. of Embellishment {karya,
B.XVI.37) which
is
of
the
def.
one after forgiving
'
Cf.
Submission
of
:
translation is as
[an instance of] Embellishment (karya).
33 (C.33; B.p.360, XVI.33).

variant
in
object are explained as merits or merits
SD.
463-
{anunili,
Ag. reads
this as
B.XVI.38) which
a
in
Sweet words which are uttered, to please
one's singular offence
submission (anuniti). Sec also under
34 (C.34; Bp.361, XVI.34).
B.XVL
>
due
to
anger,
is
called
21.
Emend okrod {akarod C)
to
wand
-XVII. 38
OF A PLAY
-DICTION
307
Identity
When
35.
is
confused by
its
from seeing or hearing something [suddenly] one

suspected identity [with another
of] Identity (sarupya)
it is
an instance
1
.
Indirect Expression of Desire
Expressing one's secret desire
36.
somebody
pretence of referring to
of
heart 1
the
by a
else's condition, is called Indirect
Expression of Desire (manoratka,
object of the mind).
lit.
Wit
Words which
37.
expert disputants and

objects
constitute
addressed
are
which
Wit
in
a [clever] manner by
accomplishment of similar
to
relate
(leia).*
Concealment
When
38.
being
(samlcsepa,
Of.
one declares
faultless
oneself various faults of another,
it [is
to be taking
an instance
of]
upon
Concealment
taking away)-1
lit.
abhyarlhanaparair
Ag. (B. XVI.24) reads
vakyair, SD. 462.
this
identically.
35 (0.35
variant
of
B.p.361,
the
XVI.35).
of
def.
which
in translation is as follows
one
consoled by
is
'
Wounded
36
Self-respect
When
one
means of many words and
Wounded Self-respect (abhimana).

for
SD. 464.
Of.
(C.36; B.p. 362, XVI.36).
hrdayasthasya Ag. reads
SD.
Cf.
'
as a
this
not pacified even when
acts,
it
is
[an instance of]
493.
Cf.
in
this
is
Ag. reads
(abhimana, B-XVI.8)
SD. 468.
substantially
C. hrdayarthasya
manner
identical
(B.XVL20).
37 (C.37; B.362, XV1.37).
patya, Cf. SD. 467,
truction
When
is
(pralisedha
'
C. sadrmrtha-vinispannah for "bhinis-
Ag. reads this as a variant of the def. of Obs-
B.XVI.23) which
in
translation
one sets out to do something contrary
opposed by clever persons
those
{lit.
to
is
as
follows
another's desire
who knoiv the
businecs)
and
it
is
called Obstruction (pratisedha).
38 (C.38; B.p.363, XVI38).
'
Emend
tu ksobha to samhsepa.
C. tu
SD. 465, samksepo yat tu samksepad atmanyarthe .prayujyale.

Ag. reads this as a variant of the def. of paridevanam (parivudanam
doKd) Cf,
of
Bhoja, parivada of SSradatanaya,
B.XVX39
foot note ().
The meaning
parivedana of Sarvesavara) See
of its def. is pot clear.
THE NATYASASTBA
308
XVI7. 39-
Enumeration of Merita
When
39.
this
men who
merits of
excel [others] in qualities in
world, arc ascribed to one single person
1
Enumeration of Merits {qiina-kirtana)
it [is
and instance
of]
Semi-uttered Expression
When
40.
rest of
words
is
it
it
siihlhi, lit.
[is
from the mere commencement of a subject the
comprehended without being actually expressed

an instance
in
Semi-uttered Expression (annleta-
of]
unuttered achievement)
2
.
Compliment
When
41.
words are uttered
honourable person and
an
These
in
a play
to
honour
it [is
an
the
marks
object
dramatic
of a
in
view
composition) 1
(lit.
(lit.
(i.e.
writing
and
[hence
be properly used according to the .Sentiment 2 [intro-
they] should
duced
conducing to
beautify
will
mood
pleasing utterance) 8 .
lit.
tliirtysix characteristic
poetical) composition
plays)
in a pleasant
express joy [for his acts]
Compliment (priyoHi,
instance of]
42.
to.
itj.
Pour
43.
(npama,)
Four
Metaphor
figures of speech
speech available
figures of
drama 1 are
in
Simile
Condensed Expression {dlpahi,
(lupalca),
lit.
lamp) and Yamaka.
39 (C.39
B.p.363, XVI.39).
in translation as follows
When
Cf. SD.466.
Ag.
of a person takes place, but his faults are not given
an instance
of]
Enumeration of Merits
40 (C.40; B.pp.
Cf SD.
.
(see
469. Ag.
363-64,
(guna-kirtana).
XVI.40).
reads this as a
reads this
def.
a proclamation of various qualities
'
0.
out,
vijanatu
variant of the def.
it
See B.
for
is {called
XVI.
9.
vimnukta.
paridevana
etc.
38 note above).
41 (C.41; B.p.364, XVI.41).
differently, see
above 27 note
'
Cf.
SD.
470.
Ag.
reads
this
1.
42(C.42;B.p,364,XVI.42).
'
rupam
,
ete
C. kavyesu
sodaharatiani for prabandhaiobhakarani, C. balimu-
(rasanurufiam), C. for yaiharasani.
43 (C.43; B.XV1.40).
hyalainkarm catvaralp
'
B. reads the second hemistich as kuvyasy
parikirlitafo.
MOTION OP A PLAY
-XVII. 53]
309
Simile
When
44.
on the
basis of
in
some
poetical composition
similarity
Number
many
may
many
with one, or of
are as follows): your face
is
one) 1 ,
the
stars
compared
is
(upama)
of objects compared
This comparison
45-49.
anything
[an instance of] Simile
and form.
It relates to quality
or of
it is
shine
like
be of one with one or many,
many.
with
like
(Examples of these
moon
the
(one compared
moon (many compared
with
with
one),
having an 'eye like 1 that of a hawk, a peacock and a vulture (one
compared with many)
and elephants are
like
clouds
.(mny com-
pared with many).

Five kinds of simile
[that
50.
Simile
of]
censure
uniqueness
is
of five kinds, viz. [that of]
(nimla),
,-(</*.
lit.
[that
similar
praise (praiamHci),
conceit
of]
looking)
{kalpita), [that
and
[that
of]
of]
partial
likeness (Idmcit xadtii).
Simile of praise
51.
The king was
as the sages are pleased
pleased to see
to see
that largt.-eyed
the success
lady just
incarnate after
it
has
been achieved with austerity.

Simile of censure
52.
of
all
tree
The woman clung
good
qualities just
which has been
to that rough-looking
as
[partially] burnt
by the
person
devoid
round a thorny 1
a creeper clings
forest-fire.
Simile of conceit
i)ii.
The Elephants exuding
ichor
and moving slowly with
gracefulness look like mobile mountains.
44 (C.44j B.XVI.41).
45-49 (C.45-49;
B.XVI.42-45).
.'
ekasyanekavisaya
should
emended to anekasy ckavisaya (47b).

2
tulyukm
(ins.
na
in B.) for tulyartha (B.
50 (C50iB.XVI.46).
52 (C.52; B.XVI.48).
53 (C.53; B.XVI.49).
C).
51 (C.51; B.XVJ.47).
*
Read kantakinam
for
kanthagatam,
C.
be
THE NATtASASTBA
SIO
[XVlLfc.
Simile of uniqueness
What you
54.
someone
have done today to satisfy
comparable only to your [other] superhuman
desire, is
else's
deeds.
Simile of partial likeness
Here
55.
full
is like
my
come
is
moon, eyes are
like
lady friend whose face

a
petals of
the
the
like
is
blue lotus
and the
gait
that of an elephant in rut.
These
56.
briefly are the
described here are to
varieties of
Those not
similes.
be gathered from [different] poetical works
and from the popular speech
(lit.
the people).
Condensed Expression
When
57.
words agreeing with
different [sets of]
words are
combined into one sentence by way of illuminating them together

[an instance of] Condensed Expression (dijmka,
it is
Example
lit.
light)
In that region
58.
effected
was always
there) fuilness
(lit.
by swans
want of emptiness)
(lit.
by flowers
in the lakes,
in the trees,
intoxicated bees in the lotuses and by friendly groups [of
women]
in the parks
men and
and the gardens.

Metaphor
An
59.
[from objects] characterised by
indecision
Metaphor
which
image of slight likeness
(/ftjwfei)-
is
conceived due
similar limbs,
is
to
called
Example
The
60.
Kumuda- smiles,
pool of water and
women, with
and open
beautiful
their
Nilotpala-eyes
lotus-faces,
and
swans
cackling around, seem to be talking to one another.
54
(CM;
B.XVI.50).
Read atinmnusta
'
55 (C,55; B.XVJ.51).
57 (C.60; B.XVI.53).
'
58 (0.61 B.XVI.55).
;
full of swans,
and gardens
the. trees
which does not appear in
B. gives an additional
def.
that the lakes
60 (C.59; B.XVI.58).
plain meaning
is
(XV1.54).
flowers, lotuses full of bees,
were
and the.parks
groups of people.
59 (C.58j B.XVI.56).
def.
manusa. B.
B.XVI52).
Tho
full of
full of friendly
for iti
56 (C.56;
'
(B.XVI.57) and
all
mss.
(C.57)
give
second
DICTION OF A PLAY
XVII. 67]
.311
Yamaka
words at the beginning of the
Repetition of
61.
the other places

characteristics
constitute
which I
am
Yamaka
going to
Ten kinds
(lit.
tell
[you]
and
to their
1
.
Yamaka
of
Padanta Yamaka,
Yamakas are of the ten kinds
Yamaka,
Vikranta
Yamaka,
Cakravala
Samudga
Yamaka,
62-64
Kafici
feet
Listen
twin).
Yamaka,
Sandasta Yamaka,
and
Pfidadi
Yamaka, Araredita
Yamaka, Catur-vyavasita Yamaka and Mala Yamaka.

Padanta Yamaka
When
65.
syllables occur
similar
four feet they constitute Padanta
Example
66.
end of
the
at
dina-ksayat samhrta-rasmi-mandalaiu
diviva lagnam tapaniya-mandalam
tamram
surya-mandalam
divi
yatha tarunyah stana-bhara-mandalam

the reddish
the decline of the day,
orb of the sun shorn of
its
cluster of
Kafici
Two
(lit.
copper-coloured)
rays, shining
like a
golden
round breast of a maiden.-1
disc in the heavens, looks like a big
67.
the
vibhati
At
all
Yamaka.
Yamaka
similar words occuring at the beginning and at the
end of each foot constitute Kauci Yamaka.
B.XVI.59).
61 (C.62;
Bhamaha,
'
For an old
definition
of
Yamaka
see
II. 17.
62-64 (C.63-65;
division of
Yamaka
of the NS-,
and
is of
B.XVI.60-62).
See II.
'
Bhamaha
mentions
fivefold
He seems to have known the tenfold division
9.
opinion that his fivefold division includes at least
Sanda?ta and Samudga Yamakas.
See
II. 10.
65(C.66;B.XVI63).
66 (C.67; B.XVI64).
67 (C.68: B.XVI.66).
'
B. gives an additional def. (B.XVI.65).

'
THE NATXASASTBA
812
*
Example
XVII. 66-
yamayamas candravatinam dravatinam
68.
vyaktvyakti sara-janinam rajamnam
phulle phulle sa-bhramare va'bhramare va

1
r.mm'rama vismayate ca smayate ca
The
II
length of hours (yama) of the moon-lit. nights, passing
company
swiftly in the
of
young women are scarcely
perceived.
Flowers having blown whether with or without bees, the

lady looks
them admiringly, and the park smiles [with
at
fair
their
beauty].
Samudga Yamaka
When
69-
the verse
the
same hemistich by
[an instance of]
it is
completes
repetition
its
Samudga Yamaka.
Example
70.
kotakl-kusuma-piindura-dantah
&>bhate pravara-kiinana-hasti
ketaki-kusuma-pandura-dantah
sobhate pravara-kiinana-hasti
The
very big wild elephant with
Ketakl flowers, looks beautiful
Vikranta
71.
When
two alternate
II
tusks
as
pale-white
and the elephant-like large
looks beautiful with Ketaki flowers as
of]
its
its
as
forest
pale-white tusks.
Yamaka
feet are similar,
it
is
[an
instance
Vikranta Yamaka.
72.
sa
purvam varano bhutva
dvifraftga iva parvatah
abhavad danta-vaikalyad-vi^rnga iva parvatah
II
Formerly being an elephant comparable to a two-peaked

mountain, [now]
its
two tusks being broken
it
has become like a
for
yamam yamam{B)
mountain without any peak.
68(C.69;B.XVI.67).
69
(C.7.0;
B.XVI.68).
and maya muya
(C).
'
Road yama-yamus
This Yamaka
Dandin,IH.58-54.
71(C.72;B.XVI.70).
occurs in
Bhamaha,
70 (C.71; B.XVI.69).
.
72(C.73iRXV1.71).
II.
10^
and
XVII. 77
DICTION
A PLAY
Off
313
Cakravala Yamaka
When
73.
word
Yamaka 1
Cakravala
Example
word
the
end of a foot
at the
beginning of the next
the
at
foot
is
it
instance of]
sarais 1 tatha satrubhir ahata hata.

hatfis
ca bhuyas tv anupmnkhagaih khagaih
khagais ca sarvair yudhi
II
killed after being struck
enemies as well as by birds of prey

the
saficitas citas
citadhirudha nihatas talais talaih.
Thus they were
similar to the
74.
missiles
is
[an
flying
by arrows of the
closely
behind
such
was swamped with such birds by which
battle-field
dead bodies placed on the funeral
pyre were being pounced upon
with their [sharp] talons. 2
Yamaka
Sandasta
When
75.
similar,
it is
Example
two words at the beginning of a foot are
the
[an instance of] Sandasta
Yamaka. 1
me ramanasya gunan
pasya pasya
76.
mam
yena yena vas"agam karoti
yena yena hi mamaiti darsanam

tena tena vasagam karoti
Look
bow
at
comes to
the
qualities of
my
my
II
by which he makes
lover,
and he charms me by those
to him,
mam
qualities
with
me
which he
view.
PadSdi Yamaka
77toot, it is
When
the
same word occurs
[an instance of] Fadadi
73 (C.74; B.XVI.72.
of
at the
beginning of each
Yamaka.
B. has an additional definition (B.XVI.73) of
Cakravala Yamaka.
74 (C.75; B.XV1.74).
2
Emend
'
iailas to sarais.
C. reads citfuthirlitlha hi hata hata narah.
75 (C.76; B.XVI.75).
Dandin, 111.51-52.
But
76 (C.77; B.XVI.76).
40
'
This term occurs in BhSmaha,
the lattnr's def.
is different.
77 (C.77; B.XVI.77).
11.10,
ad
THE NATYASASTBA
314
XVII. 78.
Example
78.
visnuh
bhutani visnuh samharate prajah
srjati
visnuh prasute trailokyam visnur lokadhi-daivatam
Visnu
Visnu
creates all living beings
creates
(lit.
Visnu destroyes
II
all creatures;
Visnu
gives birth to) the three worlds and
the
is
over-lord of [all] the worlds.
Jmredita Yamaka
70.
When
the
words of a foot are reduplicated,
last
it
Amredita Yamaka.
of]
Example
80.
vijrmbhitam nihsvasitam muliur
mulmh
katham vidhcya-smaranam pade pade

yatha ca
tc
dhruvara gata tain
[You had] deep
repeated
rajani vina vina
sighs,
punah
dhy.'inam idam punah
II
[yon] remembered [her] as
you uttered her name frequently and thus as [you were]
in
tant meditation [of her] your [sad] night passed without her.
Yamaka
Catur-vayavasita
81.
When
all
the feet consist of similar syllables
82.
it is
[an
Yamaka.
instance of] Catur-vyavasita
Example
cons-
varan anam ayara eva kalo viirananain
ayam eva kalah
varananam ayam eva kalo vfi rananam ayam eva kalah

This
season
is
is
when
the time
of
the elephants
the
Varana
(Warn)
the time [for] the enemies
to
are
come
[Hovver]
free
;
this
is
from disease.
or this
is
the
II
the
This
time for
[going to] battle.
Mala Yamaka
83.
When
various words
it is
one consonant with
different vowels
[an instance of] Mala
Yamaka.
78 (C.78; B.XVI.78).
80 (C.80; B.XVI.80).
*
The
trans, is not
.81 (C.81;
79 (C.79; B.XV1.79).
very
RXVI.81).
occurs in
Emend ie to
tarn.
literal
32 (C.82; B.XVI.82).
83 (C.83; B.XV1.83).
-XVII. 88
DIClION OF A PLA
Example
84.
516
hall bali hali mali suli kheli
lali ja.ll
balo balocca-lol&kso musall tv abhiraksatu
II
Let the strong Balarama, the garlanded Balarama, who

holds a a spike,
sportive,
is
faltering
and
gait]
[in
is
of
full
in strength and who

Sentiment, and Balarama who is high
has his eyes rolling and who holds a club, protect you.
85.
asau hi r&raa rati-vigraha-priya

rahah-pragalbha
ramanam raho-gatam
ratena ratrau ramayet parena
vii
'
no ced udesyaty ariinah puro ripuh
woman who
This beautiful
unashamed
in
best embrace,
86.
it,
fond of love's
is
will secretly please her
till
II
lover
fight
night
at
and
with
is
the
the sun will rise in the east as her enemy.
sa puskaraksah ksatajdksitaksah
ksarat ksatebhyah ksatajam duriksam
ksatair gaviiksair iva samvrtangah
saksat sahasraksa ivavabhati
The
fall
li
lotus-eyed one having his eyes bathed
blood,
in
letting
from his wounds awful blood and [having his body] covered
with
window-like wounds looked like
the
thousand-eyed god
(lndra) in person.
87.
play
[introducing] these
objects
in
work)
poetical
(lit
characteristic]
and functions.
I shall
should
marks
after
composed by
be
considering
hereafter about
speak
their
faults (<losa)
such works.
88.
such
as,
Faults in a play
faults
(lit.
poetical work)
Circumlocution (ijufoartha),
(atlhaiitam),
ficance
Ten
Want
of Significance
(bhinnarthn),
Tautology
may
be'of ten kinds
Superfluous
(ekartha),
Want
84 (C.84: B.XVI.84).
85 (C.85; B.XVI.85).
86 (C.86; B.XVI.86).
87 (C.87; B.XVI.87).
88 (C.88j B.XVL88).
Expression
(arthahjua), Defective
of
Signi-
Synthesis
THE NATIASASTBA
816
visama), Hiatus
(mjaijadi/prta), Metrical Defect
Defect
Logical
(abhiplutavthi),
1
Slang {kbdaeijnta)
(mmdhi) and
XVII. 89
Circumlocution
Mentioning [anything] by means of a [manufactured]
89.
synonym,
{ijU4haHha,
Circumlocution
cause
to
is
hidden
lit.
meaning) 1
Superfluous Expression
When
anything not to be mentioned
described
is
it is
[a
case of] Superfluous Expression (adhantara)*
Want
An
90.
incomplete
is
of Significance
which
expression
[an instance of]
irrelevant
is
Want
or which remains
of Significance (arthahlna)*.
Defective Significance
Defective
{hhkmiihu,
Significance
includes an expression which
When the
91.
it is
intended sense
is
meaning)
broken
lit.
worthy of a
is not refined, or is
rustic.
changed into another sense
also called Defective Significance.
Tautology
Tautology
92.
[many] words
means [indiscriminating] use
(I'karllia),
for a single
For a discussion
purpose
the
of
of
1
.
in
faults
NS.
K. Do,
see S-
Skt. Poetics,
II, pp. 19.
89 (C.89j BXVI.89).
nava-vinuma
for
An
'
Doaamiha,
example of such a synonym
Cf. Bhiiinaha
gitt],haxa&:IMidhana in an identical sense.

lates
this
a
term as "use of
An
insensibility.
to
be
45-46-
K.
I)e trans-
Sen
1.
S.
using
difficult expressions" (Joe cit),
example of such an expression
'The beautiful lady's look injects
and
FJkadhika-
is
(1.37.) seems
(lit.
is
fiwi'it'Pi
Wl
,5f
"^ V*.
spreads) indeed love as well as anxiety
Here "anxiety and
arc superfluous, for
insensibility"
love includes these two states of the mind (Ag.).
90 (C.90; B.XVI.90).
*raifo
nfa (wfii)
mmn
xt")
An
'
example
g*Ji!iT
it
of
wsg'tfa.
say that
heroine can be sainara-calura (expert in love) as well,
The example
For mahatma bhiigyavdsid may be construed
va&ai and thereby
its
>;
is
mugdlm
incoherent. (Ag.).
is
as
mahiitma abhagya-
moaning may remain incomplete or undecided without
a reference to the context.
win wmw^ wqtn sqwr.
of suvaiexa is
an expression
such
To
92 (C.92; B.XVI.92).
91 (C.91;
'
An example
kundendu-hara-hara-hasa-sitam.
White
B.XVI.91).
of
like a
Tautology
Kuuda
(ekaHha)
flower,
the moon
DICTION
XVII. 96]
Want
[When
a sentence
an instance of]
it [is
of Synthesis
completed within [each] foot
is]
Want
A PLAY
<TR
of Synthesis (abhiplutartha) 2
[of
a verse]
Logical Defect
Anything devoid of reasoning
93.
is
an example of Logical
Defect (nyayad-apeta) 1
-.
Metrical Defect
Lapse
(vi&ama,
the
in
metrical
structure
Metrical
called
is
Defect
unevenness).
lit.
Hiatus
94.
separate
When
words [which should combine
in
Sandhi] are kept
[an instance of J Hiatus (rimndhi).
it is
Slang
When
(sabdacijida,
a sound or accent
dropped
is
lapse in a word) 1
lit.
it is
an instance of slang
Gunas
95.
These are
cribed by me.
Gunas
by sweetness and
tins faults
of a
poetical
(merit) are their negation
meaning 1
deptli of
work properly
des-
and are characterised
The ten Gunas

96.
The
ten
Gunas
and the laughter of
Each
simile
are
this is
all
jftfii
W.
c;
lit,
union),
Pers-
would have been enough.
simile
same purpose and hence Tautology has
See Bhamaha, IV.

Read samapyate (ms. na.
i *mr
Synthesis (slew,
(*t iiiata), Concentration (xamailhi),
Any one
Siva.
here serves the
occurred (Ag.).
s
Kmoothness
picuity (i>ra*adii),
12.
samasyate.
in B.) for
$g?sitfHnn
'
$fa a T *m*t^t
An
example of
nwfiwwur..
Here
the four feet contain four complete sentences which are not connected
with one another by sense.

93 (C93; B.XVI.93).
(A;;.)
'defying the
nyayvad-apetam=dettakala-viruddham
'
of
limitation
place
and
time'.
kala-lokanyayagaPM-virodhitu (lV.28ff ) seems to be included in

94 (0.94; B.XV1.94).
etc.
Bhamaha's deia-kulathis.
'
Such dropping occurred probably due to
Vainana holds the opposite view (funaand according to him Gunas are positive
the Prakritic habit in speech.
95 (0.95; B.XVI.95).
viparyayatmimo dosahAL
entities (kava-sobfutyali
1.1.)
kartaro dharmi, gunah,
96 (0.96; B.XVI.96).
Bhamaha, HI.
III, 1. 1).
1.
4.,
aud Dandia, '1.41-94.,
[XVII. 9?-
THE NATYA8ASTBA
Sl8
(mUhwya), Grandeur
Sweetness
marya,
lit.
(artha-vyakti,
(udara,
Exaltedness
meaning),
of
expression
Lovelines
Agreeableness (saaku-
(o/'as),
delicacy), Directness of Expression
lit
and
deep)
lit.
(frgjrfi).
Synthesis
Union
97.
is
words connected through meanings intended
of
(slesa)
called Synthesis
1
.
Perspicuity
Where
98.
word or sense
the unexpressed
words and
through a use of easily understood

instance ofj Perspiciuty {[nimvhi)
comprehended
is
sense,
[an
is
it
1
.
Smoothness
When
99.
compounded words,
understand
it is
not contain too
composition does
many
un-
expressions and words difficult to
redundant
[an instance of] Smoothness (xamatd)
1
.
Concentration
100.
can find out
(sama'IM) 1
in
which the
special sense
Possessing some
a composition
here)
(lit.
different. Of.
II. pp.l5ff.
De, Skt. Poetics,
97 (C.97; B.XVI.97).
its
nature
1 Cf. Vsimana, III.
Compact
is [very]
plain
their descriptions are
But
called
of genius
Concentration
Nobel, Foundations, pp. 104ff.
BC. Hive another description (C.98, B.XVI.98)

A [composition} which
from
men
have ten Gunas and name them similarly
hut
called
is
and
is
I.
11
of
is,
Dandin
I.
43-44.
Guna, which in
this
imbued with deep logic
very well-knit-together
is
(slista).
98 (C.99; B.XVI.99).
Cf.
VSmana
111.
1.
8;
Dandin L45.
1-47-50.
Dandin
99 (C 100; B.XVI.
(B.XVI.101) and C. (100) gives an additional description of this Gun a
When alamkaras and gunas match
which in translation is as follows
100).
'
Cf.
VSmana
ffl.
1.12;
and illuminate one another
it
is
called [an instance of] Smoothness
(samata).
100 (C.p.212
1.93-94.
f.n. 1.
B.XVI.102).
B.(XVI.103) and
samadhi, which in translation
>
is
as follows
meanings suggested by and derived from

(samadhi)*
Cf.
Vamaua,
III.
1.13;
Dandin
(101) gives an additional description of

:
Careful
condensation of
similes, is called Concentration
-XVII. toe
DICTION OF A PLAY
319
Sweetness
When
101.
not
tire
a sentence heard or uttered many times does
or disgust [anyone],
an instance of]
[is
it
Sweetness
(martharya) 1 .
Grandeur
When
102.
varied
it is
a composition consists of a use of
compound words exalted
[an instance of]
Grandeur
and agreable
[in sense]
(o/rts)
many and
[in sound],
1
.
Agreeableness
When
103.
a composition consists of words easy to pronounce,
euphonicaliy combined, and giving agreeable impression [even when

treating
some unpleasant
(sauhmavya) 1
topic],
[an instance of J Agreeableness
it is
Directness of Expression
104.
any subject
It
the world
events occurring in
known
predicates,
(artha-vijalcti)
(lit.
it
relating to the
action)
expressed
gets
[common]
by means of
of] Direct
well-
Expression
1
.
Exaltedness
105.
When
101 (C.102;
a composition superhuman characters are
in
RXVI.104).
'
Cf. VSniana III.
1.
11-21;
Dandin
I.
51-53.
102 (C.p.212,
1.80-85.
f. n.
2;
B.XVI.105).
'
Cf.
VSmana
111.1.5;
Dandin
gives a second definition of this
B. (XVI.106) and C. (103)
Guna which in translation is as follows If a [composition otherwise]

censured and deficient in quality reflects an exalted sense through
its words and is rich in sound and sense it becomes [an instance of]
Grandeur (ojah). Hemacandra utilised this definition (Ch. IV.)
:
103 (C.104; B.XVI.107).

this
'
Cf.
Vfimana
III.
1.
22;
Dandin
calls
sukumarata.
104 (C.p.212.
f.
n. 3;
B.XVI.108).
''
C.
suprasiddhadhntuna
for
suprasiddhabhidhana, (B.XVI.109) and C.(105). gives a second definition

of this
Guna, which in translation
is
as
follows
When
of a composition can be grasped by the penetrating

its
recital (lit. use)
(arthavyakti).
it
is
the
mind
meaning
just after
[an instance of] Directness of Expression
105 (C.p.2l2,
f.
n. 4;
B.XVI.101).
THE NATIASASTBA
3j0
States, it is [an instance ofj
That which
106.
movement of [a
sportive
moon
just as the
106-
Exaltedness (&*)*.
describing the
a composition] while
[in
XVII.
the Marvellous Sentiments
Erotic and
described in relation to the
and the various
character] delights the ear and the mind
[pleases us], is [an instance of] Loveliness (I'&at*)
'
Alamkaras, and Guuas according to Sentiments
These are the
107.
[available in a poetical
of speech,
figures
composition]
and Gunas
faults
now
shall
describe their
application in connexion with different Sentiments.
Sounds and Figures of Speech according to Seutiments
The
108.
connexion with the Heroic,
poetical composition in
the Furious and the
Marvellous Sentiments should consist mostly
of light syllables and should include similes and metaphors.
In the Odious and the Pathetic Sentiments
109-110.
composition) should be similar except that
it
it
(the
should consist mostly
of heavy syllables.
Metres according to Sentiments
in the
Heroic and
the Furious Sentiments
Whenever any
act
boldness
of
is
described
and Condensed Expression
it
(the
com-
Arya metre and should have metaphor
be in the
should
position)
occurs) in
(lit.
connexion with the Heroic and the Furious Sentiments,
in
it.
In the Erotic Sentiment
In the Erotic Sentiment the composition should be
in gentle
metres.
Cf.
Vamana,
III. 1.
23;
Daudin,
I.
C(106) give along
with this a definition
In translation
as follows
is
it
When the
many special
:
and
graceful words having
it is
[an instance of] Exaltedness (udatta).

106 (C.p.212
I.
85-88.
(107),
f. n.
B.XVI.112).
'
Cf.
R(XVI.
mind on
When
III.)
and
Gima named udara.
composition includes witty

senses which are marvellous,
Vamana,
III.
gives an additional definition of this
as well as to the
5;
76-78.
of the
1.
25; Dandin,
Guna, which
in
a composition gives delight to the ears
account of
its
well-put-togeiher words, it is [an
instance of] Loveliness (kanti).
107 (C.108; B.XVL113).

109-110 (C.110-111; B.XVI.115-116).
108 vC.109; B.XVI.1M).
-XVII. 1J7
DICTION OF A PLAY
321
In the Heroic Sentiment
In the Heroic Sentiment the poetical composition
111-112.
should have gradation [of sounds] and

Jagati, Atijagatl
and Bamkrti
it
should be in metres of the
In the description of battles
types.
and tumults Utkrti has been prescribed by the
experts.
In the Pathetic Sentiment.
Sakkari and Atidhrti would be the
proper metres in the
Pathetic Sentiment..
In the Heroic and the Furious Sentiments
The metres
113.
prescribed for the Horoic
be applied in the Furious Sentiment as well

(t.
made
meaning intended.
suitable to the
those
Sentiment
may
and as for metres
not mentioned)
the rest of the cases
e.
they
in
should be
Vowel-length in different Sentiments and States
In connexion
114.
short, long
with the drama the poets
and prolated (pluta) vowels
should use 1
representing different
for
Sentiments and States.

In the intonation
115.
one Matra
is
short, of
[in Eecitation]
two Matras
is
a vowel consisting of
long and of three Matras
is
prolated (pluta).
Uses of the prolated vowel

11<>.
tion
1
,
in
In remembering anything, in [expressing] indignareading of Brahmins the prolated
lamenting or in the
(pluta) vowels occur.
117.
for
[Syllables concerned
remembering,
for the reading of
'u'
for
in
these connexions] will be
indignation, 'ha' for lamentation
'a'
and 'om'
Brahmins.
111-112 (0.112-113; B.XVI.117-118).
113 (C.114; B.XVI.119).

l
114 (C.115; B.XVI.122).
C.
kavyam
vijUyam
for
karyam
havibhir.
115(C.U6;
B XVI 123).
116 (C.117-, B.XVI.124).
117 (C.ll8j B.XVL125).
41
C. smile castrayute for smrte casuyiie.
NATYASASTBA
TfiE
322
Besides these, other syllables in a play
118.
made
composition) should also be
XVII. 118-
short, long
poetical
(lit.
prolated {pluta)
or
according to the Sentiments and States [they are to'express].
The
119.
metres which have been
uneven and uneven
described before should also be used in composition with
and
soft
sounds according to the meaning [intended] 1
The playwright should make
120.
agreeable
to
efforts
use in
composition sweet and agreeable words which can be
women.
For, furnished with
much
appear very
these
(i.e.
his
recited
such words) a play
beautiful just as lotus-lake [will appear]
by
will
adorned
with swans.
121.
art does
With harsh words such
as cehifita 1 , delicate dramatic
not appear beautiful just as a public
appear well by the side of Brahmins
who
woman
does not
are clad in Ruru-skin,
and are annointed with ghee and who carry the skin of black
antelopes and have the Aksa-mala [in their hands].
122.
play abounding
in
containing no obscure and difficult
agreeable
words,
people 1 having a [good] construction,

(lit. fit
for) dances, developing
fit
to
Sentiments by
and having
suitable Junctures
becomes
for presentation to the spectators.
fit
Here ends chapter
(sandhi) and
XVII
sounds and
to
intelligible
senses,
country-
be interpreted with
many
[characters]
their [proper]
unions,
of Bharata's NstyaSSstra
which treats of the Characteristics of a good play in connexion

with the Verbal Representation.
118(C,119 B.XVI.126).
!
119 (C.120; B.XV1120).
B. reads 120a as yac chandah fiRrvam
'
evoktam visamardhasame samam.
B. sabdais tat karyam lu rasanugam
for karyas te'rthavaianugah.
120(C.121;BXVI.121).
AvL
'The word cekrifayalam
(in.18) ascribed to BliSsa. (See A.D. PuBalker,
occurs in the
Bhasa, Lahore,
1940, p.131).
121 (0.122; B.XVI.127).
122 (C.123; B.XVL128).

'
,
B.
bahttkrtamamrgam
'
C. budhajanaiukhayogyam yuktiman.
for
bahurasakrtamargam, C.
CHAPTER EIGHTEEN
RULES ON THE USE OF LANGUAGES
The
1 Thus
1.
Now
2
I have spoken in brief of the Sanskritic Recitation.
I shall speak of the characteristics of the Prakritie Recitation.
The former
2.
of polish,
quality
its
Prakritie Recitation
(lit this)
[when] changed and devoid of the
called the Prakritie Recitation,
is
chief feature changes
due to
different conditions.
and
it
has as
Three kindi of the Pkt, Recitation
In connexion with the dramatic representation,
3.
Pkt
Recitation)
is
of three
kinds, viz, that with the
4.
tarahga,
tion [in the

*
5.
or
sentence
Ma,
sustain
sa&tta
like are
same manner] as
renit,,
used in the Prakrit composi-
in Sanskrit. 1
Sounds which change

loss
words
(deii).
contaning words like kamala, amala,
and the
(the
same words
[as in Sanskrit] (samana-iabda), that with corrupt (vibhrastti)
and that with words of indigenous origin
it
combined form or vowels
their
and that often in the middle of a word* are
corrupt (vibhragta).*
1 (C.l,
notes) of
B.XVL1).
For an English
XVHL 1-24, seeM. Ghosh,
JDL. Vol.
XXV.
romanised text)
translation (with the text and
"Date of the Bharata Natyasastra",
For a French translation (together with tho
(1933).
of this chapter see
Nitti-Dolci,
Les Grammairiens
Prakrits, 1938, pp. 64-V6.

9
samasatah (C. dvijolt amah).
9 <C.2; B.XVII.8).
3 (C.3; B.XVII.3).
three classes of
Cf. Nitti-Dolci, p.70.
'
'
Later Prakrit Grammarian? called the above
words tatsama, tadbhava and deii respectively.
4 (C.4; B.XVH.4b-5a).
'
B.
reads one additional
hemistich (4a)
before this. Cf. Nitti-Dolci, p.20.
5 (C.5;
B.XVH6b-6a).
Cf. Nitti-Dolci, p.70.
C; yanty apadadau prayas, B. for gacchanti padanyasta, C.
'
B. reads one additional couplet
after
5.
THE NATTASA8TBA
S24
[XVIII. 6-
Vowels and simple consonants
Sounds following
6.
and o
and au) and the Anu-
(ie. ai
svara [in the alphabet] do not occur in Prakrit
sounds between va and sa
case with
sounds in the ha, ca and ta groups
Ka,
7.
the meaning
ga, ta, da, ya,
(i.e,
And
such
the
is
ia and sa) and the
final
1
ha, na).
m,
and va are dropped
[in Prakrit]
and bha become ha without giving up the meaning
tha, dlia
and
by the [remaining] vowels, and hha, gha,
carried
is
(i.e.
of
the word.
In Prakrit ra does neither precede nor follow [a conso-
8.
sound] except in cases of bhadra, vodra, hrada, candra
nantal
and the
like.
Klia, gha, tha,
9.
lea,
blia
always become ha in words
And
as
for
ya 2 and va, the vowel 8 following them always
da,
ga, ta,
dha and
hatha and vadhu prabhuta. 1
such as muhha, megha,
represents them.
Sa
10.
the
be known, always become
should
it
1
such as satpada.
The
final syllable of kila
6 (C. 6-8; B.XV11.7).
out
words
should be ra and the
word hhalu should become him.
not in
are written
to be
clia in
an interpolation.
The
the author's name)
Velankar
(Annals
This together with three following couplets
"
Skt. but in Prakrit.

first
Hence they seem very much
of these occurs as a quotation (with-
by M.H.D.
metrical
work
edited
of the Bhandarkar Inst.
XIV.
1932-33, pp. 1-38,
in a late
citation, Nitti-Dolei, p.71).
7 (C.6-8;
BXVII.8).
8 (C.6-8; B.XVII.9).
See chaya and Ag. and also
Nitti-Dolci and B.
PSM.
9 (C.6-8; B.XVU.10).
'
reads padra for draha.
for the Pkt. words.Of. Nitti-Dolci, p.71.
Evidently hard
words did not change. Ag's. example of
sucli
aspirates in case of other
words are kheta, parigha,
This speaks of the high antiquity of the Pkt. of the NS.
alia.
a
The
non-aspirate consonants mentioned here are to be understood
as devoid of the inherent vowel

'
The word son
V.
=svaralf) hero means "vowel" and not "sound".
Cf. Nitti-Dolei p.71.
10 (9;
B.XVH.U).
'
Ag.
is silent
about this satpadadi gana.
-XVIII. 18
11.
Ta becomes
12.
word
becomes
da. x X>a in words such as vad.a,va

13.
Tha
in
tola,
and samha {tonka).
sa, e.g. visa {visa}
In words such as itara and the
beginning of a
the
words such as bhata, tot and
<a in
and sa and sa always become
825
an
like ta standing not
and tagaga becomes
in
pronounced
indistinctly
la.
words such as satha, patha, pUhi and the
like
become dha, and na becomes na everywhere in pronunciation. 1

14.
Pa
[in it]
And
changing into va, apana becomes avana.
except in case of words like yatha and tatha tha becomes dha.
15.
[in
One
is
and mrga
it],
to
know parmi
as pharusa, for
be changed
will
mao
to
pa becomes pha
while mrta will also
be ma".
10.
o,
and
An employed
ca in
in
words
like
ausadha
change to
etc. will
words such as pracaya, acira and acala
etc.
will
when they
are
change into ya. 1

17.
Thus [change] the sounds
not mutually connected
Prakrit
in
they are simple).
(i.e.
Now
I shall describe
the change of conjunct sounds.
Conjunct consonants
Sea, psa, tsa and thya change
18.
dhya
and
into
hhya, hya
into (r)eha,
into ttha, sta into tiha,
(;j)jha, sta
sma
into
mha,
ksna and xna into nha, and hsa into {h)kha.

11 (O.10; B.VH.12).
12(C.ll; B.XVII.13).
a spirantiscd da.
13 (C.I 2;
itilft
{i.e.
'
This indistinctly pronounced da
Ag. thinks that
B.XVII.14
f.n.).
it is
somewhat
B. reads the
^ w^ v*miTsft sagwfa and C.
first
is
perhaps
cvtt $f ima
like a la.
hemistich as follows
too differently.
Dha
in
vardhana
in combination with ra) changes into (iha.
14 (C.12b-13a, B.XVII.15).
15 (C.13b 14a
as well as
mrga had
B.XV1I.16).
its
'
spirantiscd
Tlie
word maa (maya) from mrta
da reduced
to ya-sruti
which how-
over was not shown in writting during the early days of this phonetic
change (Sec IHQ. VIII. 1933, suppl.

16 (C.14b-15a; BXVII.17).
p. 14-15).
This ya-sruti for ca did not probably
at once lead to its graphic elimination.
17 (C.15b-16a; B.XVII.18).
18 (C.l6b-18a; B.XV1L19.)
tHE NATtASASfBA
326
19.
2icarya
will
[tVIlt.ld-
be accliariya and
niicaya
niccJiaya,
ntsaha ucchtiha and pathya, paccha. 1

20.
Tubhyam becomes
vimjlia, dasta dattha
21.
There
23.
Ka and
letter
pronunciation
usna unha 1 ;
Ima
occurring in
brhaspati [the group spa]
in
bhlma
bhimha.
similar other letters (sound) while
(sound)
have
will
to be
on the top
disjointed in
their
1
.
Thus
2i.
Sanskrit.
sanlia,
the group
in
and
etc.,
becomes pha, yajha becomes janm,
another
vindhya
pallamka.
metathesis
is
words such as brahman
of
mahyam majjham,
Gh'Uma becomes gimha, Uakma
jdkm jaJekha, paryanha

22.
tujjluim,
and hasta hattha.
are to be learnt the pronunciation of
shall
Prakrit and
the classification of regional
discuss hereafter
languages (desa-bhasa).
25.
in
The
[languages] to be used in
which Recitation
drama
are of four types
should be either of the refined (sanulcrta) or
of the vulgar (praJcrta) kind.
Four types of languages

-6.
The Super-human
Language (arya-bhasa) 1 the

the
Language
of
Language
(atibhasn),
Common Language
the
Noble
(j&ti-bhasa)
and
Other Animals (yonyantari blOsa)* are the [four]
languages occurring in plays.
19 (0.l8b-19ai B.XVII.20a-21a).
B. reads one additional hemistich
'
between 19a and 19b.

20 (O.l9b-20a; B.XVlL21b-22a).
31 (C.20b-21a; B.XVII.22b-23a).
C. reads irsnah kanhah.
'
22 (C.2lb-22 ai B.XVII.23b-24a).
23 (C.22b-23a; B.XV124b-25a).
bkakti (anaptyxis).
may bo examples
Kilesa
(klesd),
This probably relates to svara-
radana (ratna) and
duvara
(dv'ara)
of this.
24 (C.23b-24a; B.XVII.25b-26a).
Cf. Nitti-Dolei. p-73.
>
25 (C.24b-25a; B.XVII.26b-27a).
26 (C.25b-26a; B.XVlI.27b-28a).
'
Some commentators think
aryabhasa means a language in which Vedic words preponderate (Ag.).

s
-C.
reads jatyantari and yonyantari.
that
-XVIII. 80

the Noble Languages
The Superhuman and

27.
The Super-human Language

for the kings
Noble language
827
is
and the
for the gods,
These have the quality of
ment 1 {mmshara) and are current over the seven great
refine-
divisions*
(ihfipa) of the world.
The Common Language

28.
The Common Language

forms 1
stage] has various
{mleccha) origin and
is
prescribed
spoken
use [on
for
the
[many] words of Barbarian
It contains
in Bharata-varsa [only]
1
.
The Animal Language

29.
The Language
animals domestic or wild
of Other
and
Animals 1 have
their origin in
birds of various species, and
in
it
follows the Conventional Parctice {lialya-dharml).
Two
30.
The
kinds of Recitaticn
Recitation in the
to the four castes,
is
of
Common
two kinds,
language which
relates
vulgar (prakrta) and refined
viz,
(scmtihrta).
27 (C26b-27a; B.XVII.28b-29a).
'
The
that
ait'-,
is
absent here.
arya- and fiUi- bhiisas respectively as irauta (Vedic), ansa
See
(Puranic) and laukika (literary) speeches.

'
aryabhasa
It^hould be noted
"samskrta" (Sanskrit) as the naim of a language
Bhoja takes
and
alibhasa
arc possibly the dialects of the pure Indo- Aryan speech.
Read samskaraguna
Sr. IV. pp,191ff.
for samshara-pathya (the ms.
Read saptadvipa-pratiMita
for
bha in
B.).
samyahnyaya pratislhita
(the ms.
Read vividha-jatibhasa
vividha
bha in B).
28 (C.26b-27a; B.XVII.29b-30a).
(ca,
da
'
'
The common speech or the speech
of the
commoners
is
distinguished
hero from that of the priests and the nobility by describing

taining
in B.) for dvividha.
words of Barbarian (mleccha)
it
as con-
These words seem to have
origin.
been none other than vocables of the Dravidian and Austric languages. They
entered Indo-Aryan pretty early in
See S. K. Chatterji, Origin
its history.
and Development of the Bengali Language, Calcutta, 1926 pp. 42,178.
29 (C.27b-29a
extant
drama gives
lower animals, which
B.XVII.30b-81a).
us any specimen
is
Neither
to be used in the. stage.
30 (C.2b-29a; B.XYIL81b-32.).
the
N&
of the conventional
nor "any
language of
THE NATTASA8TBA
328
[XVIII.
31-
Occasion for Skt. Recitation

31.
Heroes of the
In case of the self-controlled {dlnra)
vehement (uddliata), the light-hearted (lalUa), the exalted (udatta),
and the calm
(pi'ioitf) types, the Recitation
should be in Sanskrit.
Occasion for Pkt. Recitation

32.
occasion
Heroes
demands
33.
that.
should be used.
To
34.
In case of even a superior preson intoxicated with the
(or wealth)
kingship
when the
of all these classes are to use Prakrit
overwhelmed with poverty no Sanaskrit
or
persons in disguise
Jain monks
ascetics
3
,
religious
mendicants* and jugglars should be assigned the Prakrit Recitation.
31 (C. 29b-30a; B.XVII.32b-33a).

32 (C80b-31a; B.XVI1.33b-34a).
No
drama seems
extant
As Arjuna disguised
'
33 (C.31b-32a; B.XVII.34b-35a).
'
Wc follow
34 (C.32b-33a; B.XVII.36).
'
this.
vynjalingapravistanam'Vîom
and religious mendicanta
disguise of different kinds of professional
An
See Kautilya's Arthasastra.
a Brahmin speaking Pkt.
of
this expression as
in
any illustration of this rule.
furnish
to
B. reads one additional hemistich before
example of this
This part of
the rule
is
But
etc..
it
need not be
relate to
seeim to
(Mudra
II.)
in
the
Pratiji>5,
Skt
assuming
And
an example of such characters.
Rumauvan
arc Yaugandhariiyana and
Indra in tho guise
is
speaking characters assuming disguise. Viradhagupta

the guise of a snake-charmer,
in
etc..
Karna. ascribed to Bhasa. Nitti-Dolci takes
an adjective of kramananam
construed like this.
as Brhannala.
C. tat.
so
(III) ascribed to
Bhasa.
8
Sramana
(Pkt. samana).
The word
is
to
be taken to mean here
a Jain monk. CLJadivattham avanemi samanao homi, Avi. (V.) ascribed
Bhasa
to
tramana was sometimes used
also
connexion
in
with the
Buddhists. See below 36.

*
term
tapasvin It appears
literature, the institution of

origin.
all
This seems to be
asceticism
find
bhiksu- religious
justification of assigning
mendicant
Buddhists alone.
the Bhiksu-sQtra.
Brahmin
The
ascetics
was most probably
the ascetics irrespective of their sectarian
tricted to
is
that the author of the MS. meant by this
Though we
ascetics in general.
of
in
ancient
non- Aryan
Prakritic Recitation to
affiliation.
in general.
alternative
It should
name
not be res-
of the Brshma-sutra
.XVIII. 85
BULBS ON THE USB OP LANGUAGES
Similarly
35.
persons
possessed
Prakrit
of spirits
829
should be assigned to children,
of lower order,
women
in feminine
character 2 persons of low birth, lunatics and phallus-worshippers 8
Exception to the rule for Pkt. Recitation
But to
36.
sages 2 , Buddhists 8 ,
recluses 1 ,
itinerant
pure
Srotriyas* and others
who have
and wear costumes
suitable to their position (liiigastha)* should
received
instruction [in the
Vedas]
be assigned Sanskritic Recitation.
35 (C.33b-34a; B.XVII.37
f.n. 9).
reading
R.'s
in
translation is
Similarly Pkt. should be assigned to &iiva teachers, lunatics,

children, persons possessed of spirits of lower order, women,
persons
as follows
of low
birth
The parivrajika
below.
3
and hermaphrodites (B.XVII.37).

woman may sometimes speak
In a queen's role a
See 38-39
Skt.
in the Malavi. speaks Skt.
salihga. This possibly means the member of a sect which like the
Lingayets wears a phallus suspended from their neck.
36 (C.34b-35a; B.XVII.38).
all
parivraja
'
person
of
the
fourth
A recluse belonging to the Vedic community.
mrama.
muni,
This
<!
likelihood
word, probably of non-Indo-Aryan origin meant in
wise man."
See NS.
wisdom was usually associated with
I.
23 note
religious
In the ancient world,
1.
and
elevation. This
spiritual
might have been the reason why the word was applied to persons like
Vasistha and Narada.
'
sakya.
a follower of the Buddha.
There
Asvaghosa,
Sanskritists,
Nagarjuna,
Sryadova, Vasubandhu
Sariputra-parakarana
Sanskrit (Keith, Skt.
Drama
for
like
great
possibly to separate
sisjfih
among the Buddhistsand -his
In
speak
disciples
the
see 34
f.n".
pure srolriya or a
The adjective "pure" icoksa) used with srotriya is

him from an apostate who might have entered Jain
or any other heterodox fold
and was at liberty to use Pkt.
lihgasthalii<s\\g\o\\%
instruction (in Vedas).
48
all
Asvaghosa assigns Skt to a sramana,
coksesu (caifaem, C.) srolriyesu
learned Brahman.
p.82).
Buddha
This sramana was possibly a Buddhist
as well (loc. cil).

*
were almost
This might have been the general
condition before the schism arose
Asvaghosa's
nothing very astonish-
and the Mahayiina literature was written in Sanskrit of
corrupt as well as of pure variety.

linguistic
is
Buddhist teachers
ing in Skt. being assigned to Buddhist monks.
mendicants
who have
received
THE NATYASASTBA
330
Sanskrit Recitation
87.
tezans
1
,
XVIII. 87-
to be assigned to queens, cour-
is
female artistes to suit special times and situations in which
may
they
speak.
As
38-39.
matters relating to peace and war, the auspicious
and inauspicious movements
and
of planets
and
stars
cries of
concern the well-being or distress of the king these are to be

this reason she is to
by the queen, and for
Recitation in connexion with these
40.
For the pleasure
nexion with the practice of
1
.
kinds of people, and in con-
of all
arts,
be assigned Sanskritic
in that time)
(lit.
birds
known
the courtezans are to be
assigned
Sanskritic Recitation which can be easily managed.
For learning the
41.
king the female

dramatic works
artiste
and
for
amusing the
1
.
The pure
42.
practice of arts
has been prescribed to use Sanskrit in
Apsarasas 1
speech of the
is
that
which has
been sanctioned by the tradition (i.e. Sanskrit), because of their association with the gods
43.
the popular usage conforms to this [rule].
One may however
tation to Apsarasas [while
Apsarasas in the role
not
be
assigned
Andhras and Dramidas 1
Skt
to
as,
Barbaras, Kiratas,
'
An
example of
this
is
VasantagenS
(Mrech. IV.).
by any extant drama.
41 (C.39b-40a ;
'
This rule cannot possibly be
40 (C.38b-39a; B.XV1I.42).
l
B.XVH43).
There
is
possibly no example of
any extant drama,
42 (C.40b-41aj B.XVII.44).
Skt
such
tribes
38-39 (C.36b-38a; B.XVII.40-41).
this in
[But to the
reasons and need) will occur 1 .
(lit.
B.XVII.39).
37 (C.35-36a;
illustrated
earth.
In the production of a play their [native] language
44.
speaking
on the
a mortal also [the same] should
of] wife of
be assigned when an occasion
should
at one's pleasure assign Prakritic Reci-
they move]
is available.
43 (C.41b-42a;
manusanam.
of a mortal.
'
No
All the Apsarasas in

l
B.XVH.45).
play with an Apsaras speaking
Vikram, speak Pkt
Read
manusimm
JJrvasi is an example of an Apsaras
(ca in
who became
(Vikram).
44(C.42b-43a;B.XVn.46).
'
Seo N8. XXIII. 99 notes.
B)
for
the wife
-XVIII. 49
BDLB8 ON THE USB OF LANGUAGES
To
4.
pure tribes of these names,
331
should
be assigned
dialects current in Saurasena,
The producer
46.
local dialects
may however
of plays
may
for plays
be
written in
at their option use
different
regions [for
local production].
Seven major dialects
The Seven [major]
47.
Magadhi,
Avanti
(bhasa) are as
dialacts
Pracya,
1
Biihlika,
Dakslnatya
Ardhamagadhi,
Sauraseni
[Avantija],
follows
(Surasenl),
In the dramatic composition there
48.
besides,
are,
many
1
less important dialects {vibhasa) such as the speeches of the Sakara,
Dramidas 2
Sabaras,
Abhiras, Candalas,
Odras* and the lowly
speech of the foresters
Uses of major dialects
[Of these] Magadhi
49.
of
royal
the
assigned to guards
is
harem 1 and Ardhamagadhi

,
45 (C.43b-44a; B.XVIL47).
magadhi
46 (C.44b-45a; B.XVII.48).
B.XVI1.49).
Magadhi/ Sauraseni
But any
are well-known.
and
leaders' of merchants' guilds
47 (C.45b-46a;
inmates)
(lit.
to menials, princes
old and authentic
and Ardhadescription of
5vanti, Pracya, Biihlika and Daksinatya Pkt. seems to be non-existent.
According to Prthvidliara a very
late
specimens of Svanti and Pracya only.
See
does not include Maharastri..

Sauraseni",
Mycch. contains the
authority,
It is to be noted that the present list
M. Ghosh.
''Maharastri a late phase of
JDL.
By
word vibhasa
Prthvidliara
understands vididha bhasa hinapatra-jrrayojyatvad hinuh.
See Pischel,
B.XVU.50).
48 (C.46b-47a;
No
'
the
old and authentic specimen of the vibhasas has
Grammatik,
3-5.
reached us.
According to Prthvidhara the Mrcch. contains Sakari and
Candali besides Dhakki which

'
It is
curious
Dramida (Dramila)
dialects that can
of this
in
last the
NS. does not know.

the use of languages like
that after forbidding
44 above, the author
is
be allowed in dramatic works.
including
One
anomaly may be that here we meet with a
it
possible
late
among the
explanation
interpolation,
and
passages from 48-61 belong to a later stratum of the text.

'
Read dravi4<4rajah
See 55 note
for
49 (C.47b~48a; B.XVH.51).
*
dramilandhrajah, B; draviiiodraja^, ^C.
1.
According
to
Pischel
'
For a
this
list
of such persons see
passage assigns
AMg.
to
DRJI.74.
servants.
THE NATIASASTBA
3g3
Pracya
50.
and AvmUi
their
any
of
is
fewde Mends
Jester
of the
the language
is
JXVIIl.so-
the
rogues
(//Afirfff)"-
are
also to
speak
1 and
the
like
The Heroines, and
Snaweni when
not
in
difficulty.
To
51.
soldiers, gamesters, police chief of the
Daksinatya1
be assigned
like should
who belong
speech of the Khasas
city
and Bahliki
and the
the
is
native
to the north,
Uses of minor dialects

Siikari should be assigned to the
52.
and other groups

and the
like.
to the Pulkasas
To
53.
Sakara and the Sakas
same nature 1 , and Candali
of the
who
charcoal-makers, hunters and those
earn
Rajputs (rajaputra) and leaders of merchants' gxa\&(.iresthi). See

tik
17.
Bat no extant
Candanadiisa
who
drama seems
to
illustrate
a srrsthl, does not speak
is
AMg.
this
their
GrammaFor
rule.
(Mudrii, 1) while
Indra in the disguise of a Brahmin speaks this dialect of
l'kt. (Kariia.
ascribed to Bhiisa).
50 (C.48b-49; B.XVJI.52).
0. yojy'a bharn for dhurtiinfim
the two
But according
man
and a
characteristic of
is
According
apij.
of
to the latter's
No
Kalnata.
available, see Pischel,
to
is
abun-
22.
Prthvidhara the
51 (O.49b-50a:
own admission he was a Southerner

and authentic
old
Grammatik
B.XVH.53).
specimen of Daksinatya.
contrary
description of this dialect is available. Of. Pischel,
mghosakadinam
Prthvidhara
Grammatik,
and
(B.),
Sakara
in
'
iakudimm
iakndinam (C).
speaks
Sakiiri
as a
old and authentic
Grammatik
iakaranum
iabarariam
Mrcch.
this
may be taken
No
See 50 note 2 above.
52 (C.50b-51a; B.XVII.54).
description of
26.
Oandanaka's language in Mrcch. in
'
spite of Prthvidhara's testimony to the
dialect.
24.
for
mkh-
According to
Of.
Pischel,
24.
A Prthvidhara
Candali
which
policemen Viraka and Candanaka in the Mrcch. (VI.) speak
Svanti.
dialect
sole
See Pischel, Grammatik, Grammatik,
dance of pleonastic ka.

2
According to Prthvidhara Vidusaka
'
Mrcch. speaks Pracya the
in the
thinks
dialect. Cf. Pischel,
that
Candalas
Grammatik,
53 (C.51b-52a; B.XVII.55).
'
B.
in
Mrcch (V.) speak
the
25.
iatura-itasa
for
iabam-bham.
This dialect seems to have been the parent of the modern Sora language.
.XVHI. 68
] K
livelihood
by
wood and
[collecting]
leaves
33$
should
be assigned
1
Sabari as well as the speech of forest-dwellers.
For those who
54.
live in
places
or Sabari
like,
been prescribed, and for forest-dwellers and the
has
Dravidl
the language].
[is
Odri
55.
is
be assigned to diggers
to
grooms
prison-warders,
passages,
others like
where elephants, horses,
kept [in large numbers] Sbhiri 1
goats, sheep, camels or cows are
them while
horses
for
are
in difficulty
subterranean
of
and Heroes and
use Magadhi for
also to
self-protection.
Distinguishing features of various local dialects
*To
56.
and the
sea,
57.
the regions [of India] that
lie
between the Ganges
should be applied a dialect abounding in e 2
To
the regions that
lie
between the
Vindhyas and the
na 1
sea should be assigned a language abounding in
Eegions
58.
or
and Avanti lying on the north of
like Surastra
1
the Vetravati one should assign a language abounding ca
See 54 note
any extant drama.
that
Dravidl dialect
is
Xbhiri
'
See 53 note
dialect is not
Middle
not available in any extant drama.
Lido-Aryan dialect
iniluence predominated
was meant by
55 (C-54b-55a; B.XVII.57).
B)
this.
Its habitat
into
o<\r\
PP. 120 f.n. 4
'
Emend
is
oijArt'kiirasaraksasam
na always
with
of
(tlAa
3.
and Nitti-Dolci,
B. again roads 44 after 55.
'
AMg.
This relates to a dialect of Pkt. which
'
Though
into -na.
always to change na into
the case
(AMg.
likeli-
perhaps termination of the nominative singular the
is
57 (C.53; B.XVI1.60).
changes
lexical
all
and i22.
This "a"
o-bases in
was in
odrikanaali ca rafoatam and B.
kara&varaksatam (C.
56 (C.55b-56a; B.XVII.59).
8
Possibly a
p. 120-122.
sandhikarasvarakmtam); for Odri Pkt. see 48 note
Pkt
It is possible
which Dravidian phonetic and
in
hood some region of North India. Of. Nitti-Dolici,
in
available in
1.
was not a pure Dravidian speech (See 44 above).
it
3.
54 (C.52b-54a; B.XVII.56).
ta).
all
its
dialects.
Hemacandra) has
58 (C.56b-57a;
i}a,
it
according
to
some grammarians
seems that such was not strictly
For example in the

and intervocal .
so-called Jain Pkt.
initial
B XVII.61).
It
seems
that
at the
time of the
THE NATTASASTBA
334
59.
To
people
who
live in
the Himalayas,
XVIII. 59-
Sindhu and
Sauvlra a language abounding in u should he assigned. 1

60.
To
those
who
live
on the bank
of the Carmanvati
and around the Arvuda mountain a language abounding

ta)
1
in o
river
(or
should be assigned.
61.
These are the rules regarding the assignment of dialects
Whatever has been omitted
in plays.
[here]
should be gathered
by the wise from the popular usage.
Here ends Chapter XVIII

which
treats of the
Rules regarding the Use of Languages.
author of the passage iutervocal ca in this particular region was yet
maintained or dental
ciHka for
sounds were mostly changed into c sound (as in
tisthd).
59 (C.57b-58a; B.XVU.62).
This u perhaps relates to a close
pronounciation of the o vowel.
60 (C. omits this
pronounciation of the
B.XVII.63).
vowel.
61 (C.53b-59; B.XVII.64).
This o perhaps relates to a open
CHAPTER NINETEEN
MODES OP ADDRESS AND INTONATION
Different modes of address
1-2.
These
are,
use of languages [in
the best
of
Brahmins, the rules on the
Now
a drama].
about the rules of
listen
popular modes of address 1 or the manner in which persons of

equal, superior or inferior status in a
those of the superior, the
Modes
As
3.
medium
play are to be addressed by

or the inferior class. 2
of addressing males
the great sages
addressing great sages
are adorable
(lit.
god) even
the
to
gods they are to be addressed as "holy one" (lhagamn) 1 and
their
wives are also to be similarly addressed. 2
men
Addressing gods, sectarian teachers and learned
Gods, 1 persons
4.
wearing sectarian
persons observing varied
one" {bhagavan)* by
1-2 (C.l-2,
persons
includes
referring
are to
to
be
dress 2 and
teacher's
addressed
as
"holy
women.
This manner of addressing different
them before
is
their
ownselves or before
referred to by his
addressed in the same term
is
charioteer as
Yathajnapayati
ayuman pasya paiyd).
Rules given hereafter do not cover
all
the numerous and different
dramatic literature in Skt. and
cases occurring in the cxant
Pkt
Ex. Kiisyapa (Kanva) addressed by his dis(Sak. IV.) Marica by Duyanta (ibid. VII.) and Ravana in ascetic's
3 (C.3; B.XVII.67).
ciple
Dnsyanta
(I),
uyusman and then he

aynsman.
vows
as well as
B.XVTI.65-66).
In Sak.
others e.g..
men
disguise
2
by
No
Rama
(Pratima. V).
ex. of this
seems to be available in any extant drama.
4 (C.4; BXVH.68).
2.
Ex.
Ex.
(Ravana disguised
as
Agni (Abhi. VI).
&
Varuna
an ascetic addressed by
Rama
{ibid.
IV).
(Pratima.
The Jester in Pratijfia (III) addressing the Jain monk (sratnanaka)

bhaavam {bhagavan) to create laughter bhadanta would have been
V.).
:<s
the proper
term in
this case.
See below
15.
8
Read here nanamratadhara (bha in B) for nanatruiadhara (B)
and narmrutidhara (C). Ascetics belonging to minor heterodox sects
THE NATYASA8TBA
336
XIX.
8-
Addressing the Brahmin
The Brahmin
5.
be addressed as "noble one" (arya), 1
is to
Addressing the king
And
the king
The
teacher
to be addressed as "great king" (maharaja).'*
[is
Addressing the teacher
be addressed] as "professor" (acari/a). 3
[is to
Addressing an old man
And an
old
man
[is
to be addressed] as "father" (t&ta).*
Brahmins addressing the king
Brahmins may address the kings
6.
their
at
pleasure,
by
This should be tolerated, for the Brahmins are to
names.
their
be adored by the kings.

Brahmins addressing ministers
7.
minister
(amatya)
cillor"
them
inferior to
{i.e.
by Brahmins as "Coun-
addressed
to be
is
or "minister"
(sariva), 1
Brahmins) he
and by other persons,
always [to be addressed]
[is]
as "sir" (arya)*
Addressing the equals
One
8-
they are styled
is
to accost
one's
seem to have been included in this term.

explains this as
name with which
equals by the
Ag. reads naruisruladharalt and
bahmrutah.
5 (C.5; B.XVII.69).
Brahmin (Kesavadisa)
'
in
Madhyama. addressed
by Bhima.
2
Ex. Sumantra addressing PaSaratha
addressing
Ravana (Abhisefca
II
Pratima,
II),
and Vibhlsana
).
'
Ex. Canakya addressed by
Ex, Bharata addressing Sumantra the old charioteer (Pratima, VI).
6 (C6; B.XVII70).
Karna
(Karna.), Cf.
'
his disciple
(Mudra,
Ex. Indra disguised
as a
I).
Brahmin addressing
Canakya addressing Candragupta mostly
as Vrsala
(or$udra)inMudra.
7 (C.7;
B.XVH.71).
available in any extent drama.

3
Ex.
The
( Pratijna, I.).
as 'Arya'
example of
this
rule
seems
to
be
See note 2 below.
door-keeper (.pratikari)
But
but as
No
addressing
Yaugandharayann
curiously enough Riiksasa has been addressed not
'Amatya'
(connciller)
by the door-keeper, and by
his
friend Viradhagupta too he is addressed likewise (Mudra, EQ.

.
8 (0.8; B.XVII.72).
versa (Mudra, VII.).
Ex. Canakya addressing Raksasa and
we
-XIX. 11
MODES OF ADDEBSS AND INTONATION
837
Privileged inferiors addressing superiors
A
to)
by name by
do so 3
person
superior
may however
inferior persons
be
when the
addressed
latter are
(or
referred
privileged
to
Addressing employees, artisans and artists
Men
9.
and
artists
and women
in one's
are to be addressed
employment 1
such
as
((. e.
and
artisans
according to
their
status)
Addressing persons of respect
10.
respected person
(bham), and a person
of
is to
bo addressed as 'honoured
slightly less so
as "comrade
sir'
(marxdka
or wiarsd). 1
Addressing persons of equal status
person of equal status should
(ro.ijafiya)
be addressed as 'brother"
and a low person as 'hey man' (ham-ho) 3

The
The
11.
charioteer addressing the chariot-rider
should always be addressed by the
chariot-rider
charioteer as "long-lived one" (aijusman) 1 .
B. saparivhram, so also Ag.
Ex. Hamsaka referring to Yaugandharayana
(Pratijna.
I.
13.14). See
above note
9 (C.9; B.XVII.73).
(Pratijiiil.
I. 2. 4)
UadanikS (Cam.
2
Ag.
'
before
the latter.
1.
Yaugandhariiyana addressing Salaka by name
and the hero
Carndatta
addressing the maid-servant
I. 21.15).
explains
karuka
and
*ilpi
as
follows
<*nnsi:
p*fiWi:
faf"itfin*Wi:, artisans are those that build stiipas and the like objects,
artists arc painters
3
and the
like.
Ex. The king addressing Haradatta one of the teachers of dramatic
art (MSlavi. II. 12.4).
10 (CIO; B.XV1I.74).
'
Ex. pliriparivika addressing sTttradkara as
bhava, and suira addressing paripufivika as mitrsa (Abhi.
1. 1.6,8).
once addressing vita as bhava and next time as malisa (marisa)

1.17.3; 26-3).
The word marsaka does
while marisa occurs very often.

2
Ex.
(Mudra. VI.
3
Ex.
(Mudra.
Siddharthaka
2. 14, 16).
Cam.
not seem to occur any extant drama
See Uttara.
and
Sakara
in
(I. 4.7)
and Malavi
(1. 1. 3).
Samiddhiirthaka addressing each other
Canakya's spy addressing his disciple as ham-ho bamhana,
I. 18.4).
11 (C.11; B.XVII.75).
43
Ex. Dusyanta's priest addressing the two
TEE NATYASASTEA
338
XIX.
12-
Addressing an ascetic or a person with beatitude
An
is
who has
ascetic or a person
attained beatitude (praSawta)
to be addressed as "blessed one" (iSilho)'.
Addressing princes
The
12.
crown-prince
to be addressed as "sire" (soamin),
is
and othar princes as "young master" (bhartr-daraka)
3
.
Addressing inferior persons

are
persons
Inferior
(sanrmja)",
terms should be preceded by '0'
of
disciples
3
addressed
to
one"
"pleasing
as
one" (bhrulra-muhha)* and such
"auspicious-looking
(/i)
6
.
Kasyapa (Kanva) and Gautami tapasvinah (Sak.V.
The word sadhu
as a form of address does
11. 6).
not seem to occur in
any extant drama.

12 (C.12; B.XVII.76).
No
'
available in any extant drama.
On
example
the other
of
this rule seems
hand svamin
is
to be
very often
used in addressing a king.
Ex. Yaugandhariiyana addressing the king
Udayana (Svapna. VI.
Kauiijayana and Bhntika addressing
Kuntibhoja (Avi.
see
On
1. 5.3; 8.5).
p. 163.
raassa ramassa (Pratima.
Pratima.
(loc. cit.
this
term.
I).
XIX.95ff.
9,
refers to the crown-prince
1. 2.9).
aud not
The word has been used with
word kumiira.
word svamin
the.
king
in inscriptions
I.
Ant. Vol.
maid addresses Rama as bhalla (Pratima.
Sita's
The door-keeper (pratihari)
the use of the
Journal Asiatiqne, Ser.
Sylvain Levi,
XXXIII.
17.1).
Rama
1. 9.2),
as bhailida-
samiassa mrnassa,
as
reference to the crown prince in
In referring to other princes play-wi'iglits use the
In Pratima. (III. 14.12) Bharata
In Mudrii. (JV.
12.5)
Avimaraka, the lover of Kurangi
lias
been addressed with
Malayaketu has been addressed

is
similarly.
addressed as bhallidaraa by her maid
(Avi. HI. 17 2).

a
This use of the term sautnya does not seem to occur in extant
drama, and bhadra appears to have taken
place, e.g.
its
tho messenger (bhata) in Pratimii (1II.4.2I
the
army (senapati)
4
IV.
similarly (Salt. II. 5.4).
Ex. Raksasa's spy {purmd) addressing
8.2).
In Abhi, (VI. 31.1) Agni (god of
mukka though
earlier, (VI. 36.7)
arhati deveiah.
(Mrceh. X.
* It
Bharata addressing
Dusyanta addresses his chief of
The
lie
Jester addresses
says
fire)
:
his door-keeper
addresses
Rama as
(Mudra.
bhadra-
me namaskuram kartum
tho carfilnlas as bho
bhaddamuha
23.3).
does not seem to occur before these terms in any extant drama.
-XIX. 16
MODES OF ADDBESS AND INTONATION
839
Addressing persons by their occupation or birth
In a play a person
13.
priate to his birth
or
the
to
to be addressed
is
vocation,
by a term appro-
art or learning
practised
by him. 1
Addressing a son or a disciple
14.
disciple or
a son
to be addressed
is
by the guru or
the father as "child" (vatsa) L "son" (jmtraka)', ''father" (lata) 3 or
by his own name or clan-narae (yotra)*.
Monks
Addressing Buddhist and Jain
Buddhist and Jain (ninjrantha) monk-
15.
addressed as "blessed sir" (hhadanta) 1
are
to
be
Addressing persons of other sects
Persons of other sects' are to addressed by terms enjoined
by
their
own
rules 3
People addressing the king
The king
10.
is
to be addressed
13 (C.13; B.XV1I.77).
be available in any extant
'
by
his servants as well as
Not many examples of
drama.
In
Mrcch. (X.
this
rule seem to
20.1) Carudatta's son
addressing the Candalas as are canijulu'vaay be an example of this.

14 (C.14;
B.XVH.78).
Ex. Sauvlra king addressing Avimaraka

Drona addressing Duryodhaua (Paiica. 1.22.3).
2
Ex.Thcform^^ra does not seem to occur in any extant play.
The from usually available form is putra. Drona addressing Duryodhana
as putra (Paiica I. 23.3). Duryodhana
addressing his son similarly
(Avi. VI. 17.4).
(Dru.
I.
'
Cf.
42.3).
No example
Ex. Vali addressing
of this seems to be available in
any extant drama.
Angada by name (Abhi. I

(Kanva) addressing Sarngarava by name (Sak. IV. 16.1).
25.2).
Kasyapa
Instances of a
son or a disciple addressed by clan-name (gotra) do not seem to occur ia
any oxtant drama.

15 (C.15jB.XVH.79).
Ex. Ksapanaka addressed by Raksasa and
Siddharthaka as bhadanta (Mudra IV. 18.2; V. 2.1). A Buddhist monk

is very rarely met with in extant dramas.
Asvaghosa's drama included
such
a character, but' one cannot say from the fragments
how he was
addressed. (See Keith, Skt. Dr. p. 82)

a
According to Ag. one
is
to understand
by
'other sects'
Pasupatag
and the like.

3
An
example of such a rule
is
a term like
sarvajfoa used in addressing Pasupata; teachers (Ag.).
16 (C.16;
B.XVH.80),
bhapusan
or
bha-
THE NATYASASTBA
340
his
other kings] he
(deea),
"lord"
as
subjects
1
,
but when
he
always [to be addressed] by
is
XIX.
17-
an overlord
[of
is
his servants as "sire"
{bhamy.
Sagos addressing the king
The king
17-18.
{rajan)
is
to be addressed
or by the patronymic term
The
And
Jester addressing the king
3
he should be addressed as "friend" {nujiwjn) or "king'
by the Jester (wtesa&a).
(rajan)*-
Jester addressing the queen
The queen
and her maids
and her maids are
(bhivati) 5
"lady"
The
Jester
The
to be addressed
is
6
"friend" (vaijasya)
Ex.
his
name
king (Mudiii-
the
king (Miilavi.
I.
See also 12 note
Ex.
or as
he
not yet
is
III. 10.3).
Viblusana refers to
12. 8).
king
same Viblusana addresses Havana as mahimja (Abhi.
this the
by the king by
addressing
Kailcukin
deva (Abhi. VI. 20.3) when
as
Jester
Ganadasa addressing the
Rama
by him as
to be addressed
The king addressing the
by sages (m) as "king"
besides
III. 15.1).
1.
Yamnika
addressing the king Dusyanta (Sak. VI. 24.10).
But
cowherds address Saiikarasana as ihatta, and Nauda-
in Bala. (III. 3.1) the
gopa too addresses Vasudeva likewise (Bala.

17-18 (0. 17-18; B.
XVII.
81-82).
'
1.
19. 30).
Ex.
Bhagavan
(Yudhisthira)
addressing the king Virata (l'aiica. II. 14.2).

8
No
Ex Tho Jester
Ratna
No example
(I.
in Sak. (II. 2.1)
of this
Bhavati in the
queen
(Malavi,
(Ratnii.
IV.
The
seems to
Avi (VI.
and Malavi. (V.

occur
in
20. 8, 12).
3.18).
any extant drama.
In
16.35) the Jester ouce addresses the king as bhaUa.

Jester's
addressing the queen's maid
Narada addresses
ex. of this seems to occur in extant dramas.
the two kings simply as Kuntibhoja and Sauviraraja in
IV.
4.23.)
in
speech would be bhodi.
Ex. Tho Jester
Svapna. (IV. 0.28) also addressing the
and addressing the queen's maid Snsamgatii
0.30).
Examples are
easily
available.
See Svapna, Sak.
Jester is addressed also as sakhe. See Malavi. (IV.
II. 18.11. etc.)
and
as
bhadra (Vikram.
II. 18.15).
1. 1
Vikram.
etc
and Vikram
-XIX. 22
MODES OP ADDBESS AND INTONATION
Women
By
19.
addressing their husband
wumen
all
341
youth the husband should be
their
in
1
addressed as a "noble one's son" (arya-pntra) , but in other cases,
the husband
be addressed simply as "noble one" (arya)*, and
to
is
a king he
in case of his being
(mahar&ja)
may
be addressed as "great king"
also.
Addressing the elder and the younger brothers
The
20.
(arya)
elder
brother
adi'ress to be
These are the modes of

in
should be addressed as "noble one"
and the younger brother like one's son
2
.
used to male characters
a play.
Modes
21.
now speak
shall
of addressing
of the
women
modes
used
of address to be
to female characters in a play.
female
Addressing
Female
ascetics
and goddesses
and goddesses arc
ascetics
to be addressed as "holy
lady" (bhagavati) 1 .
wives of
Addrcsiing
Wives
2-2.
of
senior persons, and elderly ladies
respectable seniors,
and other elderly
(thanlya) are to be addressed as 'lady'' (blmcati)
19 (C.19; B.XV1I83)-
Malavi, Svapna
2
'
Examples are
easily
ladies
1
.
Sak,
procurable; sec
etc.
Ex. Nati
in the prologue {prastavana)
addressing the sutradhara
her husband (Cam. and Mudra).

8
to the
Ex. Giindharl addressing Dlutaratra (Uru.
king likewise (Vikram. IV.
also
I.
Urvasi refers
Ex. Laksmana addressing

Sahadeva addressiug Blrima (Veni. 1.19.12).
20 (C.20; B.XV1I. 84a 85a).

(Pratima.
I. 38.2).
39.2).
21.2).
Usual from in such a case
is
'
vatsa; but the younger brother is
sometimes differently addressed,
Saumitre, (Pratima.
I.
81.1),
Rama
e.g.
Kaikeylmatah,
by name of the mother as

Sec above
{ibid. IV. 2.21).
14 and 4.
21(0.21; B.XVIL85a-86a).
(Malavi.
1.
14.2
'The
king addressing the privfajika
the Kaficukiu addressiug the female ascetic (tapast) in
Vikrani. (V. 9.2).
22. (C. 22; B.
widowed wives
of
XVII
86b-87a).
'
Ex.
Dasaratha as bhauatyaii
Sumantra
addressing
(Pratima. III.
Kaiicukiu addressing the Pratihari in Svapna. (VI.
0.6).
12.2
).
the
The
THE NATYASASTBA
343
women and an
Addressing an accessible
An
woman
accessible
woman" (bhadre)* and an
[XIX.
(gami/a)*
is
28-
old lady
to be addressed as "gentle-
old lady as "mother" (amba)*.
Addressing king's wives
23.
In a
and
servants
play
king's wives
attendants
are
by
to be addressed
"mistress"
as
(bhaUin)i,
their
"madam''
(iwamini) 1 and "lady" (dcvi)*.

24.
the
chief
[Of
these], the
{dm) 1
term "lady"
should be applied to
queen (roaftwl) by her servants as well as by the king.
Tho remaining
[wives of the king] are to bo addressed
."mistress" (bhallini)
and "madam" (nvamini) 3
[simply] as
Addressing unmarried princesses

25.
Unmarried princesses are to be addressed
by
their
handmaids as "young mistress" (hhartr-daril-aj1:
"
gamya
Ex. Avimaraka addressing Kuratigika (Avi.
not within the prohibited degree of soma! relationship.
addressing Priyamvada (Mak.
bhadramuhki (Vikram.
4
II. 15.9)
as well as bhadre (ibid. III. 15.0).
23 (C. 23; B. XVII. 87b-88a).
I.
(Vikram
18.11).
But
in
II.
Ex.
>
(i) bhat{ini.
Nipunika address-
1919); Kiiiicanamala addressing the queen
Pratimii
the maid
(I. 5,4)
not yet a queen, as bhallini.
is
ascetic.
12.3,5,18).
ing the queen
(Ratna
Busyanta
III. 19.0)-
addresses Citralekha as
Ex. The king, tftvaS and their son addressing the female
(Vikram. V.
who
But tho king
22.6).
I.
(ii)
Soamini
addresses Sita
{cetjD
as a
term of address
to
the queen docs not seem to occur in any extant drama.

*
Bx. The maid
(ceti)
addressing
the
queen Bhanumati
(Veni.
II. 2.14).
24 (C.24j"B. XVII. 88b-89a).
See above 23 note
2.
For an example
of king addressing the queen as devisee Pratijna. II. 10.12.

4
ment
The term bhogini meant
i.e.
those
who were
in religeous rites
8
who were
those
merely an object of enjoy-
not dharmarpatnis (wives
elligible to take part
No. oxample of svamini being used in addressing such a wife
seems to occur
in
any extant drama.
In
Malavi. IV. 17.8
Nipunika
addressing Iravati the second wife of Agnimitra uses the term bhaitini
the very term to be used rightly for the chief queen Dharini.
25 (C.25; B.
XVn.
Padmavati (Svapna.
89b-90a).
1. 15.11)
'
Ex.
The maid-
(celi)
and Kurangi (Avi. HI. 0.45).
addressing
XIX. 28
MODES OF ADDEES8 AND INTONATION
343
Addressing a sister
An
elder sister
an younger
(bhagini) 2
to be addressed as "sister"
is
(vatse) 9
sister as 'child"
and
Addressing a Brahmin lady, a nun or a female ascetic
26.
(vratim)
is
Brahmin
to
be addressed as "noble lady" {arye) 1
lady, a
nun (lihgastha) or a female
ascetic
Addressing one's wife
wife
is
to
be addressed as "noble lady" (arye)*
or by
referring to her father's 8 or son's 4 name.
Women
Women
27.
addressing their equals
among
friends
are to be
their equals
by one another with the word "hallo" (hcda) 1
accosted
Addressing a handmaid
By
a superior
woman
a handmaid
with the word "hey child" (ham-je) 2
be accosted
{i>rexya) is to
Addressing a courtezan
1
28.
A courtezan
Ajjuka 8 and when she

,
to
is
is
be addressed by her attcndents as
an old
woman
she
is
be addressed by
to
other charactors in a play as Atta 3 .

3
cf.
the
This mode of address does not seem to occur in any extant drama.
Karp.
I. p.
18.
Ex. Yaugandharayaaa
queen
who
is
(Pratij a. I. 9.11). C.
of au elder
in the role
playing the
rolo
brother
younger
of his
sister
addresses
as
vatse
om. 25a.
26 (C. 25b-26a; B. XVII. 90b-91a).

be available in any extant drama.
No
'
ex. of
this
rule
seems to
Parivrajika in Malavi (1) and the
female ascetic in Vikram. (V) could have been addresses as arye instead of
as bhagmiaii.
In Madhyama. Ghatokaca addresses the wife of the Brahmin
as bhavati.
"
3
Ex. Suiradk'tra addressing his wife

e.g.
Mrcch. I Malati. I)
No
Matharaputri (Mathara's daughter).
example
seems
to
occur in any extant drama.

1
e.g.
to occur in
Somasarma-janani (Somasarman's mother).
27 (C. 26b-27a; B. XVII. 91b-92a).

*
No
example seems
any extant drama.

l
For
Ex. Sita addressing her maid'(Pratimii.
Nipunika (Malavi.
ex. see
I. 4.21),
Sak. Vikram.
etc.
IravatI addressing
III. 14.1).
28 (C. 27b-28a; P. XVII. 92b-93a).
"
'
Read
the hemistich 28a as
THE NATYASASTBA
314
XIX.
29-
Addressing wife in love-making
(/Jtti/w)
may
In love-making the wife
29.
But
by all except the king.
"my
be accosted as
dear"
and merchants' wives
priests'
are always to be addressed as "noble lady" (ary)*.
Giving names to different characters in a play
The playwrights should always
30.
created [by them]
Brahmins and K$atriyas
of
Brahmins and Kaatriyas
these,
according to their clan
be given,
which have been
Name
Of
31.
names
assign significant
which are not well-known and
characters]
[to
1
sarman or varrnan
play should,
in
or profession, names ending in
Naming marehants
The names
32.
of merchants
should and in <htla?.
Naming warriors
To
2
warriors should be given
the
Ex.
as
in
OlA) "madam" afterwards came
("aryakii,
the
title
the
of
valour.
by her maid (Caru-
heterao (ganika) addressed
The word ajjuka

'heterae'
names indicating much
II. 0.6).
to
mean
by
Bhagavadajjukiyam
Prahasana
Baudhiiyana Kavi
*
No example
of
this
soems to be available in any extant drama.
But the word occurs in tho form
by Dusyanta (Sak. VII.
making (irhgara)
j>riye,
ha priya-iisyc
'
No
30.
20.6),
Micch.
of aitih in
29 (C.28b-59a, B. XVII. 93b 94a).
but the occasion
Udayana while lamenting

etc.
(Svapna.
1.
(IV..10).
Sakuntala
'
is
for
is
addressed as j>riyc
one of love-
strictly not
Viisavadatta says Htt
12.53).
example seems to be available in any extant drama.

(C.29b-30a:
B.XVII. 94b-95a).
seems to occur in any extant
No
example of
such
names
drama.
31 (C.30b-31a; B.XVII. 25b-96a).
'
No
example
such names
of
seems to occur in any extant drama.

32 (C.31b-32a;
B.XVII. 96b,
97b).
'.
Ex. Carudatta
the
hero
'of
Bhasa's play of the same name.

2
B. reads after this one additional hemistich which in translation
as follows:
The name
of Kapalikas should
end in ghatfta.
The
polator had evidently Bhavabhnti's Aghoraghanta (Malati) in mind.

8
Ex. Virasena in Malavi.
(1.8.1).
is
inter-
-XIX. 37
Naming
33.
The
345
king's wives
king's wives should
given names [which
be
are
connected] with the idea of victory (yijaya) 1 .
Naming courtezans
Names
SSMO 4
courtezans
of
should
end
in
mitm* and
datta?,
Naming hand-maids
34.
In a play hand-maids
various flowers
should
be given the names of
1
.
Naming menials
Names
of menials should hear the
Naming
35.
To
names 1
superior persons
persons should
superior
significance so that
meaning of auspiciousness*.
may
deeds
their
be given names of deep
be
in
harmony
with
such
Naming
3G.
The
to their birth
other persons
1
rest of persons should
be given names suitable to
and profession.
Names [that
are to be given] to
men and women
[in a
play]
have been properly described [by me].

37a.
Names
play
in
should
always be
made
in
this
manner by the playwright.
33 (0. 32b-33; B.XVII. 98).

in
'
No example
of
this
seems to occur
any extant drama.

-
No example
seems to occur
in
any old drama.
And
the name
Vasavadattii for the queen in several dramas seems to he a clear violation

of the rulo (See
Svapna. Ratna.
No example seems
Ex. Vasantasena in Bhasa's
to occur in any old drama.
34 (C.33b-34a; B.XVII.
in
etc.).
Svapna (V) seems
99).
Cam. and
'
Sudraka's Mrcch.
Nalinika in Avi. (II) and Padmiuika
to be rare examples of this.
Ex. Jayasena the servant (bhata) of the king (Avi. I).

35 (C34b-35a; B.XVII 100). ' No example seems to occur in any
*
extant play.
36 (C.35h-36a; B.XVJI. 101).
'
E.g.
Brahmacari (Svapna.
(Cam.) Devakulika, and Sudhakura (Pratima. IV.)

37a (C. 36b; B.
44
XVII
102a).
etc.
I),
Vila
THE NATXA8ASTBA
346
After knowing exhaustively
37-38.
rules of language
is
[XIX
everything
37-
about the
in a drama, one shonld practise Recitation which
have six Alamkaras.
to
Qualities of Recitation
2
shall
now
(svara),
there are seven notes
Varnas
(lit,
the
describe
manner
uttering
of
(kaku), six Alamkaras
and
In
Recitation.
qualities of
it
registers (sthana), four
voice
three
two ways of intonation
notes),
six limbs (anya).
I shall
now
explain
their characteristics.
The seven
(swra) are
notes
Madhyama, Paficama, Dhaivata and
Sadja, Rsabha,
Nisiida.
Gandhara,
These are to be made
suitable to different Sentiments.
Seven notes to suit differment Sentiments

38-40.
In the Comic and the Erotic Sentiments
made Madhyama and
should be
the Furious and the Marvellous

Sadja, and Rsabha.
Paficama.
the
notes
Similarly in the Heroic,
Sentiments they should be made
In the Pathetic Sentiment the notes should
be Gandhara and Nisada, and
in
the
Odious and the Terrible
Sentiments they should be Dhaivata.

Uses of the three voice registers
There are three voice
registers (sth&iut)
the throat (kantha) and the head
4041.
Tn
the
the breast (nnix)
(i'u-asi).
human body
as well as in the
and their pitches proceed from the three
registers
Vina
notes
the breast' the
throat and the head.
41-42.
from the head
In calling one who

register should
is
at a distance, notes proceeding
be used, but for calling one who
not at a great distance, notes from the throat register

while for a person
who
is
by
is to
is
be used,
one's side, notes from the breast
[will
be proper].
37-38 (C. and prose 37a B.XVH. 102b. 103a).

'
It will be apparent
from the notes given above that the rules regarding forms of address have
;
very often been overlooked in extant dramas.

2
The
text
from here
till
the beginning of 38-40
B.XVII. 103b, 104-105a).

40-41 (C.40. 41a B.XVII. 105b-106).
38-40 (0.38-39;
41-42 (C.41b-42a ; B.XV1I.107).
is
in prose.
XIX. 44
MODE OP ADDBESS AND INTONATION
At
42-43.
the time of Recitation, a
begun
sentence
notes from the breast should be raised to notes of the
and at
its
close
should be brought
it
down
347
with
head register
to notes of the throat.
Uses of the four accents
In Recitation the four accents
43.
be
will
acute
(iiddtta)
grave (auudatta), circumflex (svarlt,i) and quivering (kampita).

1
Recitation in circumflex and acute accents
Comic and the Erotic Sentiments, acute and
quivering accent
is
and the Marvellous Sentiments,
suitable to the Heroic, the Furious
circumflex and quivering accents
while grave,
suitable to the
is
are
appropriate to
the Pathetic, the Odious and the Terrible Sentiments.
Two ways
of intonation
There are two ways of intonation,

tion (*al<cl,hk&a)
These
e.g.
one entailing expacta-
and another entailing no expectation (nirakahktu).
relate to the sentence uttered.
44.
sentence which has not completely expressed
tended] meaning,
is
said to be entailing an
expectation
and a sentence which has completely expressed such a sense,

to be entailing
[in-
its
(mkahlcsa)
is
said
no expectation (uirakankta).
x Now, entailing an expectation relates to [the utterance of a

sentence] of which the
meaning has not been completely expressed
and which has notes from the throat and the breast, and begins with
a
high pitch (tara) and ends in a low pitch (maiuira) and has
not completed
And,
sentence] the
and
its
Varna or Alamkara.
entailing
no expectation
relates to [the
utterance of a
meaning of which has not been completely expressed
which has notes from the head and begins with a low pitch
(mandra) and ends with a high pitch (t&ra) and has completed
its
Varna and Alamkara.
42-43 (C42b-43a; B.XVH.408).
43 (C. 43b, 43c B. XVII. 109-110).
The
text
from here
till
the
beginning of 44 is in prose.
44 (C. 44; B. XVII. HI).

of
45
is
in prose.
The
text
from here
till
the beginning
THE NATYASASTttA
348
The
45.
may be
The
XIX.
45.
Alamkaras
six
Alamkaras
six
of the [note in] Recitation are that
it
high (ucca), excited (<Upta), grave (mandra), low (nica), fast
Now
(dnda), and slow (mlambita).
about their characteristics.
listen
Uses of the six Alamkaras

1
is
The high
of high
from the head
(ucca) note proceeds
pitch
(tcira)
it
is
a distance, in rejoinder, confusion,
at
The
and
quarrel,
and the
is
sharp and
intoxication,
speech,
defiance,
anger,
lamentation 2
rebuke,
words,
a very low
despondency,
sickness,
communicating
The low
deep wound from

secret
fast
breast
register
impatience,
weapons, fainting,
words 4 and the
pitch (numdra-tara) sound

5
,
weariness due
distance, panic, falling
The
the
weekness, anxiety,
like.
(jm.) note proceeds from the breast register but has
speaking, sickness
swift
abusive
harsh
register
to be used in reproach,
grave (mandra) note proceed from
to be used in
low-spiritedness,
is
from the head
it is
like.
like.
The
and
(tamtam)
indignation,
discussion,
pride,
valour,
and the
proceeds
excited (dlyta) note
of extra high pitch
is
and
anyone from a
in calling
distance, in terrifying anyone, in affliction
register
speaking to anyone
be used in
to
to
refusal of lover's
agitation, secret
be used in natural
to
austerities
down, fainting and the
(dnda) note proceeds
it is
it is
to
from the throat
be used in women's soothing

overture
emergent
(manmana)',
(atijaijika), act.
45 (C.45; B.XVII. 112-114).
'
and
walking a
like.
fear,
register
and
children (lalhua)
fever, panic
cold,
pain and the
the text from hove
7
,
like.
till
the begiiung
of 46 is in prose.
i.
Com. "krandita", "nirbhartsana?

B. inserts kritja after vyadhi.
C. om. guhyuranthavacana.
After vyadhi read tapa-pathesranta-trasla.
0. skhalita- vellana-madana for lallana-manmana.
manmana
who says wn<ft
iug of lalla (lallana) and
upidhyaya,
Ag's
mwtfiriftT'iiFtwwrel
'
there
is
On
no unanimity.
iift^wai
the meau-
Wo follow
iraM?si-spi|in&
gw
* (Ag)
After trus (trasta.C.) ieaAyasimtyayika(giulha)karyavedanadi)iu-
XIX. 55
The slow
and
of
is
from the throat
(vilambita) note preeeetls
low pitch (mandra)
slightly
it is
expressed
cannot be
and the
like.
couplets
register
in love
something
saying
anxiety,
bashfulness,
adequately,
prolonged sickness Xo , squeezing
censuring,
surprise,
threatening,
boused
to
deliberation, discrimination, jealous anger, envy,
which
349
[On
this
subject] there are
To
suit
various
the following traditional
46-48.
Sentiments the
(bakii)
intonation
should always be made high (aeca), excited (dljda), and fast (drata)
in
rejoinder,
harsh
confusion,
representing
reproach,
who
ness and roughness, agitation, weeping, challenging one

present
away from
(lit.
[anyone], calling one
is
and
threatening
view)
not
terrifying
and rebuking [anyone].
at a distance,
Intonation should be
49-50.
made grave (mandra) and low
in sickness, fever, grief, hunger, thirst, observation of a lessor
(it'tai)
vow
who
the
sharpis
(nli/ama), deliberation,
deep wound from a weapon, communi-
cating confidential words, anxiety and state of austerities.
made grave
Intonation should be
51.
(drula)
in
women's soothing children
(mandril)
(I alia)},
and
fast
to love's
refusal
3
panic and attack of cold.
overture (maiimiana)
,
52-55.
The
should
intonation
lost
after being seen, hearing
object or person,
be
(mandra)
excited (dqda) and of low pitch
made slow
anything untoward
communicating something
saying
beration, lunacy, envy, censure,
(rihvmhila),
following an
in
about
desired,
a,
object
desired
mental
deli-
something which cannot be
adequately expressed [by words], telling stories, rejoinder, confusion,

an action involving excess, wounded 1 and diseased limb, misery,
grief, surprise jealous
C.
mandra
for
anger, joy and lamentation.
tanumandra.
B. reads
karuna
after srhgara.
C. reads rosa for roga.
46-48 (C.46-48; B.XVII. 115-117).

49-50 (0 om.
B.XVIL
51 (C.49j
XVII.
B.
manmane.-
''
'
See note
0.
malic
ca
mardane
for
lalle
ca
1-
51-55(0. 50; 51a-53a, 51b, 53b,

vyudhite tvahge.
118-119).
12D).
B.XVIL 121-124).
'
Read viksate
THE NATX ASASTBA
350
XIX.
56-
Grave (mandra) and slow (vikmbtta) intonations have
56.
prescribed for words
been
pleasant sense and bringing
containing
in happiness 1 .
Exited (dipta) and high
57.
Thus the
(lit.
made
Recitation should be
shelter)
(iicca)
have been
intonations
which express sharpness and roughness.
words
prescribed for
to
have to
different intonations
by the producers 1 .
Intonation in different Sentiments
Slow intonation
58-50.
and the Pathetic Sentiments.
is
desired in the Comic,
the Erotic,
In the Heroic, the Furious and the
Marvellous Sentiments the excited intonation
is
Fast and
praised.
low intonations have been prescribed in the Terrible and the Odious
Sentiments.
Thus
made
he
intonation should
the
follow the
to
States (bhava) and the Sentiments.

Six limbs of enunciation
'Now
(viccheda),
there are six limbs [of enunciation] such as Separation
Presentation {arpana),
(iituibaiullw), Brilliance (dipana)
Of
these,
the
auditorium
(oisarya)
means
with graceful
means the
means the absence

or not
taking
{ebxhtda)
Separation
Presentation (".i'/mm)
due
is
to pause [viramn).
something by
reciting
modulation
of
voice
finishing of a sentence. Continuity
of separation between
breath
while
Continuity
(visarga),
Closure
and Calming (pra'samana).
uttering
up
filling
2
.
Closure
(anubandha)
words 8 [in a sense group]
them.
Brilliance
(dipana)
means the gradually augmented notes which proceed from the three
voice registers (stham),
and Calming (pnmmana) means lowering
the notes of high pitch {tara) without
Now
making them
discordant.
about their uses in connexion with different Sentiments.
56 (C.54; B.XV1I.126).
'
B. reads one additional couplet before
57 (C.55; B.XVn.127).
C. reads
three
additional
this.
hemistiehcB
after this.
58-59.
(C.57b, 58;
beginning of 60
B.XVII. 128-131).
'
The
text
is in prose.
B. lilayamanamadkuravalguna for lilavarna.
'
B. padantaresu viuhedah for "afesvavicehedah.
from here
till
the
-XIX. 60
Sentiments 4
In the Comic and the Erotic
351
enunciation"
the
should include Presentation, Separation Brilliancce and Calming.
In the Pathetic Sentiment
and
should include Brilliance
it
Calming.
In the Heroic the Furious and the Marvellous Sentiments
it
should abound in Separation, Calming, Brilliance and Continuity.
In the Odious and the Terrible Sentiments
should include
it
Closure and Seperation.

All these are to be applied through notes of high (tara), low
(mandra,) and
medium (madhya)
be
made
medium
one's
the
(madhya) from the
notes should be
(mandra)
low
The
high one.
be
the
distance
made
utilised
three
in
one,
to
the high
Sentiments the tempo should
one at
pitch
(tara)
low pitch to the
tempo (laya) of
Sentiments.
to
(mandni) from the
pitch
and from the
kinds of
diflerent
be made of
should
and to speak
throat,
of low
the person addressed
notes
But one should not proceed
breast.
to
a great
at
pitch
side
from
from the head
of high pitch (tara)
being not
proceeding [from the three
pitch
In addressing one at distance the notes should
voice registers].
these' notos are
In the Comic and Erotic
be medium,
Pathetic
the
in
should be slow and in the Heroic, the Furious, the Marvellous,
it
the
Odious and Terrible Sentiments quick.

Pause defined
6
in connexion with
completion of sense and
to the
(lit.
Now, Pause (drama)
practical),
and not on metre.
that there
practice
occurs
is
to
Why
enunciation
depend on
Because
is
due
the
situation
is
found in
it
pause even after one, two three or four
syllables, e.g.
60.
kim gaccha ma
visa sudurjana varito'si
karyam tvaya nama
What
[is
the matter] ?
Be
off.
ma
sarva-jan6pabhukta l
Don't
enter.
You
are
akahhayam after hasya-grhgarayor.

vakyam for pathyam.
* The text here is in prose.
60 (C. 59; B.XVII. 132). ' B. ihuktam C. ihukta/t.
*
B. adds
C.
II
prohibited
THE NATYASASTRA
352
[XIX. 61-
very wicked man, the enjoyed-by-all, I have nothing
[to enter],
to do with you*.
Use of Pause
Thus
a play
in
number
taining small
(lit.
composition) occur words con-
poetical
of syllables in cases
of Siica*
and Ankara*
[which are connected with Pause].
Hence, care should be taken about Pause.

[an
observation
Pause
of]
clears the
meaning.
Why
There
is
Because
a couplet
[on this subject]
In
61.
[Verbal]
the
{ahhinaya) the
Representation
ducers should always take care about
Pause
for,
on
it
pro-
depends
the meaning [of words uttered].
Hands
02.
in connexion with
Keeping the eyes
Alamkaras and Pause

the direction in which the
in
fixed
two hands move one should make the Verbal Representation by

observing proper Pauses for indicating the [intended] meaning.
63-64.
In the Heroic and the Furious [Sentiments] the
hands are mostly occupied with the weapons, in the Odious they
are bent due
to
contempt, in
[something],
in
the
Comic they
the
Pathetic they are
are to point
hang down and
to
to
in the
Marvellous they are to remain motionless due to surprise.

65.
be
made
On
clear
similar
other occasions 'too, the meaning should
by means of Alamkaras and Pauses.

Pauses which are prescribed
66-67.
Pause should bo observed
Alamkaras.
meaning or the breath (pram) requires

syllables are
combined into a
[big]
it.
should be observed
breath.
In
the
at
the end
of
verse
a word,
require
when
the
And when words and
compound
quick, or confusion about different meanings
in
after
is
or [the utterance
liable to arise,
is]
Pause
a foot or as required by the
remaining cases Pause should [depend
on
the
meaning.
2
These are the words of a vipralibdhh Heroine..
See Nil
XXIV.
48.
61 (C.60; B.XVII. 133).
See
63-64 (C.62-63; B.XVII. 135-136).

'66-67 (C.65-67;
N& XXIV.
44.
62 (C 61; B.XVII. 134).
B.XVTI. 138-14Qa).
5 (0.64; B.XVII.137)
-XIX. 75
MODES AND ADDRESS AND INTONATION
Here one should know about Drawn-out
353
Syllables (hrsya-
hsara) 2 in connexion with the States and the Sentiments.
The Drawn-out
or
au
is
Syllables and their use
The consonant ending
G8-G9.
known
in a long
pronounced
70.
in)
one Kala time.
As
for the rest of the syllables they
with Pause required by
their
vowel
like a,
ai,
e,
In sadness, argumenta-
Drawn-out Syllable.
as a
questioning or indignation such a syllable
tion,
e.g.
should take
may
be pronounced
and such a Pause
meaning,
be
(lit
may be
one, two, three, four, five or six Kalas' duration.
The Pause being
71.
pronounced
syllable
duration
of great
always
will
2
duration should not be more than six Kalas
the
but the
by the experts
75.
verse
to
may
The
directed
in
One
should
from
text hetc
is
for
qualities,
We
in prose.
composition
one
follow
kalanam.
B's
text.
C. yadu for sada.

'
72 (C. 71c-72a; B.XVlI. 144)
B.XVIL
75 (C. 75; B.XVII. 147).
146).
'
best
and in such a Recitation
70 (C.70; B.XVII1. 142).
140-141 ).
'
in
(kavya)
hsyahara."
B.XVIL
B.XVIL 143).
74 (C.73b, 74a;
above]
words (ajmiubtht)
defects (kavya-dom), possesses
[literary]
68-69 (C. 68-69;
padamm
a dramatic
recite
literary
and has
C. nikrdaksara for
71 (C.71;
[on the
words expressing] sorrow one
[uttering
1
the intonation excited (dlpta) .
free
is
bo varied
[of a passage].
make
characteristics
45
and one should not pause too long except

and
places of caesura,
should not
C.
meaning
pronounce) ungrammatical
(lit.
or spoil the metre,
these
position of
to suit the
But [while observing Pause as
74.
should not creat
in
Sentiment [involved].
In verse, Pauses arising from the foot-division [only] are
73
recognized
its
on one should observe Pause
act
suit the State or the
which
the
But
Or, taking account of the practice as required by some
72.
cause, or of
stage]
(vilamhita)
be [rendered] long.
73 (72b-?3a;
B.XVIL
C. repeats 77a before this.
145).
THE NATYASASTBA
354
XIX,
76-
one should observe proper rules relating to the utterance of notes
and
their
Alamkaras.
Alamkaras and Pauses that have been prescribed
76.
in
case of Sanskritic Recitation should all be observed in un-Sanskritic

(Prakritic) Recitation of
Thus
77.
women
as well.
in the representation of the ten kinds of
dramatic
works (nqm) producers should prepare Recitation subject

observance of proper notes, Kala, time (tola) and tempo
78.
to
an
(latja).
Rules of intonation have been described [by me] in
proper sequence.
describe hereafter the ten kinds of dra-
I shall
matic work.
Here ends Chapter

which
treats of the
Avith the
76 (C. 76;
XIX
Display of Intonation in Connexion
Verbal Representation.
B.XVII. 148).
77 (C. 77; B.XVII.149).

78 (C. 78 ; .B.-XVI1 150)
CHAPTER TWENTY
TEN KINDS OF PLAY
I
1.
shall
now
the
describe
tenfold 1
together with their names, functions and
For
2-3.
kinds
ten
(laham)
plays are
Anka
known
be of
to
(Utsrstikaftka)*,
Dima 3
Vyayoga, Bharia,
Samavakara, Vlthi, Prahasana,
Ihiimrga.
describe their characteristics in detail
I shall
plays
of
of production.
Prakarana,
their definition
such as Nataka, 1
division
modes
and
from
(lit.
the beginning).
4.
Styles {rrftl)]
dramatic works
all
known
are
poems).
(lit.
as the constituent elements of
Considering their
production
the ten kinds of play are considered to have proceeded from these.
5.
Just as the
Jsitis
and the Srutis 2
scale (ijrama) 3 , so varieties of Styles
of notes constitute a
make up
the dramatic com-
position {jcavija-landha).
6.
all
Just as
the Sadja
and the Madhyama 2
scales include
the notes, so these two [kinds of] dramatic compositions (Nataka
and Prakarana) are made up

7.
made up
The Nataka and

of all the Styles
of constructions
1 (C.l;
of all the Styles.
the Prakarana are
and they
known
be
to
as
the different methods
utilise all
1
.
B.XVIII.
tion additional types
Old writers on the
'
1).
Kohala men-
subject like
Rasaka
of play such as Sattaka, Totaka and
(Ag.).
Bhoja ignores the Totaka and recognises only twelve kinds of play includiug"the Nittika mentioned in the NS. (Sco, V. Raghavan, Sr. Pr. p. 27).
2-3 (6. 2-3; B.XVIII. 2-8).

as a
This word
is
sometimes loosely used
synonym of rupa or rupaka.

8
To
distinguish it
from ahka meaning "an Act",
it
it
also
called
Utsystikaiika.
a
non-Aryan word.
It is evidently a
4 (C,4; B.XVIII.
5 (C. 5;
4).
B.XVIII.
6 <C. 6; B.XVI1I. 6)
7 (C. 7; B.XVIII.7).
other's place.
>
See NS. XXII.
'
5).
See NS. (C.) XXVIII.
See NS. XXVIII.

'
22(T.
36ff.
9
ibid.
* ibid.
ibid.
It seems- that 6 and" 7 .have
taken each
THE NATYASASTBA
$66
Plays of the
8-9.
Vitlii,
[XX.
8-
the Saraavakara, the Ihainrga, the
Utsrstikanka (Aiika), the Vyayoga, the Bhgna, the Prahasana and

the
Dima
classes should be
made
devoid of the Graceful Style.
shall hereafter describe the different
methods of constructing plays.
The Nataka
[A
10-11.
known
story 1 ,
play]
which has for
Hero a
for its
subject-matter a well-
its
celebrated
person of exalted nature
(udaita)* or which describes the character of a person descending
from a royal
many
super-
divine protection
[for him], his
human powers* and
exploits such as,
success [in different under-
takings]
of
(lit,
seer
and amorous pastimes, and which has appropriate number

furnished
richly
Scenes (jiraveiaka),
many
s
Acts (a!ika)
Introductary
called a Nataka."
States
and Sentiments and arising from
joys and sorrows [when described
their
and
Character of kings, their acts and movements represent-
12-
ing
is
which)
in
made by)
(lit.
a play]
is
styled
Nataka.
The Act
After considering the denounment {banjo) suitable to
10.
the particular
stage
[of the plot]
expanding the Turning point

furnished with a group
an Act should be constructed by
(b'uuln) [of the play]
It
should be
(<jun) [of characters].
8-9 (C. 8-9; B.XVIII. 8-9).

10-11 (C. 10-11;
B.XV1II. 10-11).
a PurSna, Itihasa (Rim. and
Mbh)
'
It
must occur in some form in
or any other celebrated
work
(e.R-
Brhatkatha).
3
Rama, Kv?na and Udayana arc examples of such
persons. This
and the other conditions mentioned in the note above exclude living persons
as Heroes of the Natakap. Cf.
ND,
p. 27.
Janaka and Visvamitra arc examples of such persons.
Divine personages may bo introduced in a Nataka only as Heroes
of an Episode (flaluka) ox Episodical Incident (prakari).
ND.
See Ag. and
{loc cit).
*
For
the description of
Act [ahka)
see
below 13-15,23.
Kor a description of the Introductory Scene (prave&aka)

19-21; 27-35.
12 (0.12;
13 (C.13,
B.XVU1. 12).
BiXVUI. 13).
'
C. reads this couplet differently.
see below
-XX. 18
TEN KINDS. OP PLAY
The Anka
14.
means
(Act)
a rvtfhi 1 (traditional) word.
is
and the Sentiments
of the States
357
it
causes the meanings [of
some
plays] to niha (to grow) through [an adherence to]
an Anka (Act) 2
rules, it is called
15.
An
and no
be made
in
it.
And
to occur
posed
of,
itself to
is
(biiidu)'
should
of
always) be
(lit.
in)
(lit.
(blja)
(lit.
made
Germ
[particular]
not 1
(Oijo) is
meaning
finally dis-
always to be known as an Act which slightly attaches
the Turning Point (biiidu).
17.
persons
Germ
Point
That [part of the play] where a

expressed, but where the
fully
the
pervade) in the plot (vastu).
(lit.
16.
is
Turning
the
a close by
to
final disposal of
should again and again
arising from) a play
[technical]
Act should bo brought
division of the play,
As, by
An
relates
to
the
direct exploits
Heroes) mentioned [before] and
(lit.
made
should not bo
18.
Act which
the
too long
should also be known
It
of
various States,
their
that
the Act
is
to contain
1
the various Sentiments arising from [words and deeds ofj the queen
of the
Hero, his superiors,"
(xarlhacaha) 3
priest, minister
14 (C.14; B.XV11I. 14).

3
and leader of the army
Tliis is
'
the root
ruAto grow.
an instance folk-etymology and does not
hell) us at all to
understand the real miauing of the word.
15(C.15;B.XVIII.
attains rapid a
2
'Prom
15).
the
Turning
the
Points,
movement, and due to these tho dramatic situations
0. oni. kiirya after ahka-sanuiptih and reads karyacchedo
kavyaccedc na, C. kuvyacchedana,

far-fetched (See
NL, p
13.
plot
arise.
na
for
S.igaranandin's explanation of this
is
11).
16(C.16;B.XY1II.
'Emend
16).
Such an emendation
ca into na.
seems to be necessary from the special meaning of the word
bija. Cf.
sarvesam aiiklmam yo'rlho Ujalakaxanah (Ag).
(C17 ; B.XVIII. 17).
17
'
Siigaranaudin roads this differently.
See
NL.p.ll.
18 (C.18; B.XV11I.18).
'
Quoens include his
concubines and the
mahlidevl (chief queen) (Ag.).

*
Superiors include his parents and teachers (Ag).
SurthavaAo'lra
seldom appears.
seriapatih
(Ag)."
In
extant
dramas
setiapali
[XX.
TEE NATYASASTBA
358
Incidents not directly presentable in an

\\).
'Feats
favour,
of anger,
actual appearance, should not be
20.
Act 8
made
directly visible in an
an Act
in
visible
a curse,
some miracle and
of
and siege of a
battle, loss of a kingdom, death,
being not directly
Act
pronouncing
grief,
running away, marriage, commencement
19-
its
.
city
should be presented by
Introductory Scenes (pravmhi).

21.
In an" Act or in an Introductory Scene of the Nataka or
the Prakarana there should be no killing of a person

as the
Hero
22.
by means
His
of
special descriptions
poetical passages)
(lit.
An
and the
acts).
(lit.
Act should cover incidents that can take place

day
should relate to the
it
Germ
and should proceed without a hindrance of the routine
19 (C.20; B.XVIII.20).
couplet which in trans,
is
Prakarana should not be

para
known
or capture should always 1 be indicated
flight, treaty
course of a single
dasii
is
Introductory Scenes will refer to such incidents

23.
who
in the text)".
than
But
duties.
B. mid G. read before this one additional
'
"The number of Acts
less
in
of the play
view
in
in
the
Nataka and the
and more than ten (read pancapam
five
of the couplets
25 and 57 bclow>
this seems to be superfluous.

''
alike 'pratyakajuiii=aiiie+apralyaksajuni
See An. R. commentary (p.53) where
wc have
{ahka-pratyakm,
is<W!tfl# sift nW5ii t
G).
w see
also 20 below.
20 (C.21; B.XVIII.38).
This
clearly
were not prohibited on the ancient Indian

2
B. 'pratyakmni lu nalakc
shows
Ijhat
death scenes
stage. Sec; Nti> VII.85. note 1.
for
apratyakmkrthni.
Cf.
Sagara-
this
rule as
nandin's view on this point (NL. p.13).
21
(C.22-,
adopted in SD.
B.XVIIL39).
that the ancient Indian
22 (C.23; BXVIII.40).
it
'
DR.
stage.
p.93.
B. reads yojyah for nilyam, and kavya-
yathafasam nutya-iativajmik as 22b.
23 (C.24; B.XVI1I.21).
nandin reads
of
drama did not permit death-scenes on the
Sco Keith, Skt. Dr. p.293, 354; Haas,
slesair bahubhit
misunderstanding
(274) has given rise to the belief of modern scholars
'
B. apramitam for apramltak.
wjth a slight difference.
He quotes
the duration of incidents presented in an Act,
Sec
Sagara-
also'othcr views about
NL. (p,13).
XX. 30
TEN KINDS OF PLAY
24.
dents in a
wise playwright should not put in [too]
single
Act
And
incidents
without a hindrance of the routine duties
Persons who
25.
359
in
should be depicted
enter the stage in an Act
will
inci-
will
go out
the
meaning of the play, and [they are
after
it
many
performing things connected

to
there)
(lit.
Germ and
with the
the
create]
proper
Sentiments.
Knowing
26.
Ksanas
1
,
length of a day which
the
is
divided into
Yfunas 2 and Muhurtas 3 one should distribute
different incidents in
all
the
a play to different acts.
The Introductory Scene
When
27.
[single]
that
incidents
cannot
day,
to be finished in course of a
are
be accommodated in an Act they should be
presented in Introductory Scenes after closing the [same] Act.
Act 1
are
also
but [incidents
may
[Incidents] that
28.
or a year,
treated [in such
29.
it
in
course of a
month
more than a year should never be
covering]
a manner]. 2
When
distant land,
place
take
be presented [similarly] after closing the
to
in
an Act any person goes out on business to a
should be brought to a close [at that point] as
perscribed before.
00.
With an Act
bo
should
closely
of the Niitaka
associated.
and the Prakarana the Hero
And an
Introductory
Scene 1
2
should be made up of a conversation of attendants.
24 (C.25; B.XV1II.22).
The
(B.C.).
of
controversy
Read
over
ekahke
the
reading
na
is
instead
of
ekaiikcna
anterior to the time
Ag. (See Ag.).

*
Routine duties include prayers as well as taking meals,
(sandhya-
vandatiadi).
26 (C.27; B.XVIII 25).
25 (C.26; B.XVIII.23).
dam
Vikram, V.
B.XVIII.26).
'
Ex. Avi,
28 (C.29, B.XV1II.31).
'
C. reads a'ukaechedam kuryat for "cctic-
27
t.C.28;
krtva.
The meaning
II,
of this rule is that an
covering a month or a year.
But
Act will include events
this coutradict 23 above.
29 (C.30; B.XVIII.32).
30 (C.31; B.XVIII.28).
for
pravesako.
'
'
B. vijneyah for kartavyhh;. Q^pravemke
THE NATYA9ASTBA
360
An
31.
to relate 1
to the essentials
(bindu) and follow the preceding

32.
It
should be no exalted speech in
An
may
And
it.
of
consist
in practice
it
should adopt
people.
may have many
Scene
Introductory
it
Scene) should not
common
speeches and manners of the

33.
Points
Act
and the middling characters, and there
superior
[For example],
of the Turning
another)
(lit.
Introductory
(the
the
exploits of
31-
Introductory Scene in the Nataka and the Prakarana
made
should be
XX.
indicate the advent
or passage
change of the Sentiments or the beginning
[of
purposes.
of
time,
an Act] or the
denounraent (k&rya).
Incidents
34.
which depend on
compressed by means of Introductory

(saiidhi).
For a play containing
many
many
[too]
[persons] are to be
Scones or
prose
in
Junctures
passages 1
will
be tiresome [to the actors] at [the time of] the production [of the
play].
When
35.
in
an Act
lest it
a particular item connot be completely
presented
should be too large for [successful] production,
account should be
compressed
its
few words and put in an Intro-
in a
ductory Scene.
The Explanatory Scene

In the Nataka
30.
the Explanatory Scone
{mdmubhaka)
should always be made up with the middling characters 1 and
31 (C.32; BXVJII.33).
it
0. tiavati kftpyram for samvidhutavyfdi.
'
32 (C.33; B:XV1II.34).
33 (C.34; B.XVIU.35).
B.
reads the
first
Read 33a
"
hemistich
with
the
Ag. The passage in B. in trans, will be as follows
may have many
purposes.
For example,
it
sratawifBWqnwriwiini-
as
may
change
An
accepted
by
Introductory Scene
indicato the advent or
passage of time, or present some explanation or other aspects of planning

the denoument (karya).
34(0.35;
B.XVIII.36).
bahu-purna-padyavrtlam.
,36 (C.37j
do not appear
B.XVIII.54).
in an
For hahucurnafiadair yuktam.
35
>
(C.36-,
This
Explanatory Scene.
is
C. reads
B.XV11I.37).
meant that superior characters

See below 37 note.
-XX. 41
TEN KINDS OF
and follow the
should bo concise
PfiAY
861
polished
style
speaking
of
{Mmxhia-vacann). 3
37.
It
ters,
be of two kinds
should
(mmforna). Of
pure
these, the
and the mixed
is
pure (iiuhlha) and mixed
made up with
the middling charac-
and the middling characters.
with the inferior
In the Niitaka and the Prakarana an
38.
Explanatory
Scene between two Acts or at the beginning of an Act,

1
always include the middling and the inferior characters
Number
The
Niitaka
contain a great
number
attendants
men
3ft.
(lit.
most] be four or
40.
five
should
of dramatis fiersonae
and the Prakarana should not be made to
The Hero's
attendants [to the Hero].
of
of work)
in
such plays
there)
(lit.
should [at
1
.
Plays of the Vyayoga, the Ihamrga, the Sainavakara,
and the Dima classes should be made to have ten or twelve

characters ***.
Introducing chariots and palaces on the stage
41.
A chariot,
an elephant, a horse and a palace should not
be presented on the stage. These should be provided
means
of appearance
and costumes
[of
men
[in
a play] by
concerned] and [their]
Gaits 2 and movements (ijati-vkara)*
37 (C.38; B.XVUI.S5).
3
Ex. Pratimii.
38 (C.39).
II,
The
possibly mean* to say
Ex.
'
Vikram.
exact
Pr.itijfiii
significance
that plays other
Prakarana types, will not allow an
An
kind.
II.
Sale. III.
III.
of this
rule is not clear.
than of the Niitaka and
It
the
Explanatory Scene of the mixed
example, of such a scene probably occurs in the Paiica. of Bhiisa,
which docs not
fall into
any of the known types of drama.
See Pusalker,
Bhasa, pp. 209ff.
39 (C.40; B.XVIII.41).
This rule
the practical difficulty of producing a
40 (C.41).
'
C. gives
it
is
possibly meant for avoiding
drama with too many
in a mutilated
form.
Its
characters.
second hemistich
should be read as daiabhih dvadaxabfiir va kuryani.

41 (C.42).
a
This couplet should be read ns i
See NiJ. XXIII. 6-9.

46
See.
aw* *w
NS. XII.
*ir
wrat-
THE NATYASASTRA
362
But an
42.
elephant, a
a palace, a
horse,
who know
of model-work by these
If
due
persons are to
make
role (hatra)
[like]
number
and
it
(lit.
more
and
is
or
to
six
going).
made
to appear as con-
For
slowly.
of the actors, [actual] rules of polity
tail
army
four)
(lit.
men, representing mounts
of
should
In the composition of a play
the tip of the cow's
states)
stage
only five
appearance
their
a small
of
made)
rules [for their
a detatchment of an
here),
(lit.
tiro
{In a play an army] should be
travelling requisites,
45.
any reason
to
be introduced on the stage
sisting
any con-
(lit.
Introducing an army on
44.
the
42-
construction]
4;5.
or
hill
weapons may be presented
veyance as well as imitation
by means
[XX.
and
in the military
do not apply.
Denoument should be made

the exalted
all
situations
(lit.
should be put at the end.
At
46-47.
of
the conclusion
plays which contain
the
all
various States and Sentiments, experts should always
Marvellous Sentiment 1
Thus
about the characteristics of the Nataka.

the Prakarana by mentioning
its
introduce the
have briefly but properly spoken
I shall
hereafter
describe
characteristics.
The Prakarana
48.
(devises)
works up
The
by
its
play
own
his
where)
genius
43 (C-44).
'
is
Sec above 41 note
which the writer prakimUo
called the
into
Emend halena
45 (C.46; B.XVIII.42).
'
its
Hero, and
Prakarana.
2.
Emend karuvopapannh
'
Emend kartavyamaiitra
44 (C.45).
in
an original plot with
elaboration (mrlra),
42 (C.42).
(lit.
into k<tranopa.
karlavyam
atra,
into kxatrc na.
The
exact significance of this expression
as well as the implication of the entire rule is not clear.
Ag. however
quotes two different views on the subject but none of them seems to be
convincing,
46-47 (C.47-48; B.XVIII.43-44).
causing unexpected things to happen.

as Vasavadatta
in
'
This
is
The sudden
done by
mostly to be
revelation of Svantika
Bhasa's Svapna. (VI) and the dramatic re-union of
Sakuntalii with Dusjanta in Sak. (VII) are examples of this rule.
48 (C.49} B.XVIII.45).
there were Prakaranas in
'
From
this
it
may bo assumed
which the plot was not wholly
that once
original,
i.e.
the
-XX. 54
TEN KINDS OF PLAY
When
49.
(lit.
invented)
363
a playwright constructs a play with an original
Germ and
a plot which
not connected with Rsis'
is
works 1 and which that play has gathered from some other works
and has some marvellous
in
qualities
same
the
it,
is
also called
basis of
the Senti-
the Prakarana-
The
50.
ments,
plot
and
its
be applied with [the the
to
Prakarana
The
also
the
characteristics to
their
(mndhi) 2
Nataka are
varied exploits 1 of Brahmins, merchants, ministers,
and leaders of the army [when pre-
priests, officers [of the king]
sented in a play] are to be
known
The Prakarana
52.
case of the
in
of]
detail
in all its Junctures
51.
as the
elaboration
which bave been prescribed
an exalted Hero.
And
as the
should bo
Prakarana 2
known
made up
as not
with
does not contain the character of any god,
it
has no story of king's enjoyment, and
it is
men
connected with the
outside [the royal palace].
The play
53.
of the
Prakarana type should include
eases] servants, parasites (rita)

[as
of
and should contain
characters
conduct
of
and heads
courtezans
well
as
incidents
exploits
as
arising
guild,
from] the
depraved
of
some
[in
of the merchants'
women
good family.
[In an Act of the Prakarana] where a minister) head
5 1.
the merchants' guild, Brahmin, priest,
and
minister
leader of
of
the
playwright worked up materials from the source of the plot, such as
Mbh. Ram. and Brhatkatha.
49(0.50; B.XVI1I.46).
Ram
'
and Mbh.
1.
are'cxamples of such
works.
50 (C.51; B.XVIII.47).
a
51 (C.51;
to
'
C. rasairayopetain for ca vrttibhedas ca.
C. kevalam utpadyavastu syat for salaksanam sarva-sandhisu tu.
B.XVin.48).
'
understand that Prakarana
From
was
this
not
"varied
concerned
exploits"
one
exclusively
is
with
love-themes.
*
in
The
types of characters mentioned
the scanty
number
of extant
example of a Prak. having ministers as

52 (0.53; B.XV1II.49).
54 (C.55; B.XVI1I.51).
in the ride
plays of this type.

its
are mostly absent
The
Pratijaa.
Hero.
53 (C.51; B.XVIII.50).
is
an
THE NATYASASTBA
364
caravan stay in their family

in there
circle,
XX.
55.
no courtezan should be brought
1
.
[In the Prakarana]
55.
when a person
is
in the
company
of
a courtezan there should not be [at the same time] his meeting with
any respectable woman
woman
(lit.
of good family), and while he
is
with a person of high family no courtezan should meet him then.

56.
out of necessity (lit reason) there occurs a meeting 1
If
and respectable
of courtezans
their language
In
57.
1
;
and
number
this
of Acts as not less than five
should be furnished with
ments and the States 2
the
playwrights
and not more

various Senti-
need and action of
After considering the
58.
Prakarana
of] a
Nataka and the Prakarana the
the
should have the
than ten
[any scene
ladies in
and manners should be kept undistorted.
the
plot
one should place between two Acts the Introductory Scenes which
are to compress the events in the Junctures (sawlhi)
1
.
The Natika
In a play of the
59.
recognise
a more or
less
Natika
class
(Niiti)
well-known
variety
producers
are to
two (the
of these
Nataka and the Prakarana)'.
See 56 below.
55 (C.56; B.XVIII.52).
56(0.57; 13.XV1II.53).
Tim
'
nature of
the necessity, sind the
language which the author oE the NS. had in view in formulating this
rule, lias probably jbceu
nWwwii'W:
wwi
indicated in the following
wri fwi diftf
57 (0.58; B.XVIII.29).
2
'
Read
w*%fti!ii wfiratei
4îq
Haas, pp. 34-35) and SD. 302.

in the beginning of a play
59 (C.60a-61bj
Bead
'
and
dam para
fiwfasrofiw
for dasafiora.
this
1 sfconwj mw:,
couplet as follows
<Bf*rtnt nfrcnm:.
Cf.
DR.
wwra1.118
(ed.
The Introductory Scene cannot bo placed

it
must be
B.XVIIJ.57).
nuiflkayoge prakarane.
couplet,
Bh- P.p. 242
B. reads the second hemistich as iswflfa'i
59 (C.59; B.XVUI.58).
faf?a:
swnfaH
'
in 1'kt.
Read
Sec Avaloka on
DR.
nutisanjasrite
(ed.
kavye
for
Nirnayasagar) 111.43.
Description of the Natika given here (59-63) has been rightly suspected
as
an interpolation, though
Skt. Dr. p. 349.
Keith
is
for
rejecting this
suspicion.
See
TEN KINDS OF PLAY
-XX. 64]
60.
Different
from the
origin
in
the Nataka and the Prakarana,
Hero should be a king and

relating to
music or
And
61.
[two types of plays]

should be invented, the
plot
should be based on [an incident
it
harem 1 .
affairs of the
contains an abundance of female characters,
it
four Acts, graceful gestures as
many
its
365
dances, songs and
soul
its
well-arranged
and
recitations,
love's
has
constituents,
enjoyment are
its
chief features 1 .
The Natika should be known
62.
1
play of] royal manners ,
and
(dumbho),
deceit
Messenger and
have
to
the
the attendants [as
ir
Phe
63.
anger 2 ,
of]
[fit
its
have been briefly described by me.

characteristics of the
Hero 3
to
contain
[a dis-
and
[acts of]
his queen,
the female
dramatis personac].
Nataka and the Prakarana 2
of the
characteristics
also
its pacification,
now speak about
shall
the
Samavakara.
The Samavakara
61-65.
matter
[bljit)
It
should have the [exploits of] gods
as
its
60 (C.60b-61a; 1J.XVIII.58).
'
Keith seems to bo in error about the
nature oE the subject matter (plot) of the Prak. Sec Skt. Dr. p. 349.
fication tor calling
its
and
plot
it
is
subject
and an Asura as a well-known and exalted character
the Pratijfia.
Justi-
a Natika may be found in the fact that
based on musical lessons given by Udayana to Vasavadatta
has four Acts.
But according
to its Prologue it is a Prakarana. See
I'usalkor. Bluisa, pp. 271-272.
But for this feature of having four Acts

may be considered a Natika. See Keith. Skt. Dr. p. 350.
61 (C.62; B.XVI1I.59).
only, the Milavi.
llatua- is a
'
well-known example of the four Act Natika.
62 (0.63; B.XVIU.60).
'
C.
kumopacara for rajopacara.
B. krodhadamihisamyukta for krodhasamyula capt.
C, reads 62b as
1I95|i?<ft
63 (C.65; B.XVI1I.62).
B.XVJII.61)
ou the
basis
"wfa
'
of
fqtwfl
llfiran"
OTt.
B.C. read one additional
two
mss.
It
couplet (0.64;
does not give any
new
information.
2
C. Prakarananalaka-nuli-lakxanam
nam uktam
vipra.
uktam
Evidently the interpolator
the description of the Niiti (Natika)
for
who
'nataka-laksayais
responsible for
inserted ( in the reading of C.
See above 59 note.

64-65 (C.66-67; B.XVIII.63-64).
'
No
old specimen of this type
THE NATYASASTKA
366
as
Hero, and
its
it is
[XX. 66-
three Acts [presenting] the three
to consist of
kinds of deception, the three
kinds of excitements or the
kinds of love 2 .
it
[Besides this]
should have as
dramatis personae and a duration
now speak about
I shall
many
three
twelve
as
length) of eighteen Nadikas 3 .
(lit.
the rule regarding
the
number
of
Nadikas
to be alloted to the different Acts.
60.
which
Nadika 1 should be known as the
half of the
The Acts
a [well-known] measure of time.
is
Muhurta 2
Samava-
in a
be measured according to the directions given in terms
kiira should
of this Nadika.
The
07.
The
tion of twelve
act of the Samavakiira
first
Act
first
[of the Saroavakara]
Nadikas 1 and
it
to contain
is
should have a duraexcitement,
laughter,
deception or a Vithi.
The second and
it is
should
also
-.
will bring the
plot to a
close
will
Samavakara
be similar [except that]
have a duration of four Nadikas 7
to
which
the third acts of the
The second Act
08.
And
the third
Act.
have a duration of two
Nadikas 2 only.
of
drama
is available.
Samudramanthana by Vatsaraja (12th century)
very late work. Seo Keith, Skt. Dr. p. 267. Bhiisa's Paiiea.
Cf.
Mankad, Typos
* It
is
is
not a Samav-
of Skt. Dr. p. 58; Pusalker, Bhasa, pp. 202-210.
does not seem likely
that any ons
play of this
type will
include all three objects (deception, excitement and love) in their three
varieties.
8
As
the topics (and hence the Acts)
loosely related (seo 69
time
lest it
below)
this
in
the Samavakiira arc to bo
limitation has been placed on the
should bo made too long.
66 (C.72a, 68b, BXV11I.67).
'
tm]tM-2i
Sec
minutes.
below
67 note.
s
muhurta=:\ period
of 48 minutes.
See below 66 note
enough Saradatauaya thinks that nutjika

See BhP.
is
1.
p. 249.
67 (C.70;
B.XVHI.65).
'
12
wfirjWfo
(#)=4 hows
minutes.
68 (C.71; B.XVUI.66).
8
Curiously
one fourth of a mnhurta.
2 nadikas =48 minutes.
4 nu(]iias^
hour 36 minutes.
and
48
XX. 73
TEN KINDS OF PLAY
09.
made
to
In composing the Samvakara different Acts should
have different
one another
The
70.
fire,
And
topics.
to be loosely related to
as being
367
battle
Saniavakiira
bo
are
58
.
three kinds of Excitement
Excitement (rvhava)
due to
in the
topics
and
flood
is
known
to be of three kinds such
storm
water),
(lit.
(lit.
wind) and
or big elephant 1 at large, and siege to a city.
Three kinds
71.
(kapaU)
Deception
enemy,
Deception
kt;own
is
plan, 1
such as being due to a devised

ofj the
of
be of three kinds
to
or [the stratagem
accident
sorrow [to persons].
It creates joy or
Three kinds of Love

72.
In
this
connexion
(lit
here) three
actions
presented through different
are
that
kinds of love to bo
in
relation to
duty
(dharma), that actuated by material gain (artha) and that actuated
by passion (I'Snw) 1.
Love together with duty
73.
When
in [discharging]
[much] desired well-being 1

connexion
this
means
penance are adopted,
it
observing
like
is
duty
the
accomplished in
one
attains
one's
many ways and
vows 2 ,
austerities
in
and
be known as love in relation to duty
to
(ilkarmn-gp'iijani).
69 (C.72b,
73;
B.XVJJI.69).
'
Before this B. reads one additional
couplet (B.69)
which does not give any important information and has
the support of
two mss.
From this
it
only.
In C. this occurs after C. 68.
appears that Samav. was not a play of the regular
type and belonged to a very early stage of evolution of Indian drama.
70 (C74; B.XVIII.70).
sambhrama,
71 (C.75; B.XVI1I.71).
'
for
gajemlra-
C. yaslu gatikrama, for vaslngatakrama.
'
72 (C.76; B.XVIII.72).
G. Jalendm-sambhavo
'
C. reads
72b as fafMtffoinmt 1
73 (0.77; B.XVHI.73).
With
8
vrare*>
wraw:.
C. prati for vrata.
'
B. reads 73a as *U.\
^(tmirafa
wtfa
THE NATYASASTEA
368
Love
Love
74.
various ways
smgard) or
it
women
with
is called
is
Love
in
for the purpose of
seduction of a maiden
1
of a
man
some material
gain.
to passion
and
it
and
causes,
Metres not allowed in
of complex construction
In
77.
will
or
the
excited
the Samavakiira
Samavakara the
playwright should
proper use metres other than Usnik and Gayatii
which
includes
also secret
with a woman.
*In the
70.
(tivtha-
gain
be that love in which the enjoyment of pleasure
Lovo due
intercourse
74-
gain occurs in
material
relation to
Love actuated by passion (kama-hwjara)
75.
XX.
together with material gain
which attainment of material
in
may
make
which are
etc.
2
.
manner an expert should compose a Samavakara
this
be the source of various Sentiments 1
shall
hereafter
speak about the characteristics of the Ihamrga.
The Ihamrga
78.
who
It
(Ihamrga) has as
its
dramatis
are implicated in fights about
divine
constructed with a well-arranged plot and
74 (C.78; B.XVIII.74).
5ITC
wffl
v fwa: **w
nw..
wjfcsiTft
Tnift
should be convincing
bo
1
.
wnft Sftrevn nfo tfss-
Read 74a
as
Read 76a
wfw'M 5 mm iHmwI* ot' it
Road
'
am
this couplet as follows
Our
(battdhakutila).
nCtanfi.
: î^niTOThe reading
For Usnnik and Gayatri type
by any means be considered
metres cannot
struction
as
vwrft ifitw saw
accepted by Ag. seems to be corrupt.
cha. in
males
should
(mss. ya, na. pha, bhi in B.).
76 (C.80; B.XVIII.76).
Vtfii
divine
It
(ms. cha B.).
75 (C.79; B.XVIII.75).
'mi
pennme
females.
emendation
B. Udbhata (the noted commentator
of
as being
has
of
of
complex con-
the support of mss.
the NB.) too thinks that
the rule prescribes complex metres such as Sragdhara for the Samav.
See Ag.
8
Lengthy, sami-even and uneven types of metres.
77(C.81;B.XVlII.77).
C. sukhadulikhasammrayah imnunarasa-
'
sammrayah.
78(C.82jB.XVIII.78).
specimen
of
Vatsaraja
is
.this
an
type
artificial
of
'
C.
Vipralyaya for vifiratyaya.
drama
is
available.
No
old
Rukminiharana by
production of a very late period (12th century)-
-XX. 85
TEN KINDS OF PLAY
It is to
79.
have
its
rise to
abound
369
vehement (uddhata) Heroes and to
in
construction dependent on feminine anger which
is
give
to
commotion (samhobha), excitement (nidrava) and angiy
conflict {samyheta),
The Ihamrga should bo
80.
play with well-ordered cons-
to
be based on causing discord
truction in whicli the plot of love
is
among
and oppressing [the enemies].
them
females, carrying
off
All that are to be niado [available] in the
81.
male characters, Styles and Sentiments
Ihamrga
also,
except that the latter
with) the goddesses
to include
divine females) only
as
[In the Ihamrga] when persons
82.
on the point of
some
(lit
is
should be
(lit.
its
Vyayoga
its
brought in the
have connexion
female characters.
intent
on
killing
is
impending] battle should be avoided by
killing, [the
artifice.
Brahmins, the characteristics of the Ihamrga have
83.
been briefly mentioned by me.

shall
speak hereafter on the
Dima.
The Dima
The Dima should bo
81.
plot,
type.
and
its
constructed
Hero should be wellknown and
It is to contain the
with
a well-known
of the exalted (udciita)
Sentiments and to consist of four
fix
Acts only 1 .
85-80.
It
should
contain
all
the
Sentiments except the
Erotic and the Comic, a plot (kuvymjoui) with
and various States, and
(Sec Keith,
Skt Dr.
p.
it
exciting
Sentiments
[also] to include incidents such as
is
Two
266).
are Kysnamisra's Vira-vijaya and
an
other late specimens of this kind
Krsna Avadhtita's Sarva-viuoda-nataka.
(See Sten know, ID. p. 114).
79 (C.83; B.XVIII.79).
80 (C.84a, 85a; B.XVI1I.80).
81 (C.85b-86a; B.XVIII.81)
82 (0.84b, 86b; B.XV1II.82).
See below 90-93.

"
C.
vad/to'fiyudasrayo for vadho'-
pyiidagro.
83 (C.87; B.XVII1.83).
84 (C.88; B.XVIII.84).
'
No
old example of this typo of
available.
85-86 (C.89-90; B.XVIII.85-86).
47
drama
is
THE NATYASASTRA
370
earthquake
battle
1
,
fall
moon,
meteors, an eclipse of the sun or the
of
personal combat, challange, and angry conflict.
87-88.
The Dima should abound
among
may
themselves, and
[besides this] the play
is
to be
the Energetic Styles and
to
is
shall
and dissention
sixteen
characters
made
carefully
Grand and
the
in
have many States to support
The Dima has been

I
teristics.
persons,
to include
Nagas, Kiiksasas, Yaksas and Pisacas, and
be gods,
89.
it is
and jugglary and
in deceit
many
should have the energetic activity of

(bheda) 1
which
[XX. 87-
speak now
by
described
me
it
in all its
2
.
charac-
about the characteristics
of
the
Vyayoga.
The Vyayoga
90.
The Vyayoga
one well-known Hero as
number
should be
91.
it
is
Many
it
should include a small

in
be
will
itj
males are to take part in
not to have
by experts with
constructed
and
and [the events related
of female characters
of one day's duration only 1
but
basis,
its
the
latter's
it
as in the Samavakiira,
length, for
it is
to
have only
One Act (anka).

92-93.
It should
divine personage, and
it
have a royal sago as

should
Thus
challange and angry conflict.
with exciting Sentiments as
include
its
the
basis.
its
battle,
Hero and not a

personal
Vyayoga should
now speak
shall
combat,
be
made
of
the
characteristics of the Utsrstikttuka (Anka).
-'
0. reads 86a as MtW5<ijnVi>f tft^r'iRWflgiii:.
C. 'yuddhp-praharana for yuddh-ud/ianana.
87-88 (.91-92);
B. XV1II..87-88).
'
Kbalm-pustotthamyoga
for
bahupuruapllKma-bheda.
8
C. iajjitair-ntiniisraya-tiisesefia for nhmiraya-bJmvasampanna.
89(C.93;B.XVIII.89).
90 (C.94; B.XV1II.90).
Bhasa'sMadhyama.
men. Prahliidaiiadcva'a Partha-pariikrama (12th
is its solitary
cent.),
old speci-
Vatsariija's Kira-
tarjunlya (12th cent) and ViSvaniitha's Saugandhika-harana etc. are very

lato
specimens of this typo.
p. 203.
See Keith Skt. Dr.
p. 265.
Pnsalker, Bhasa.
Datava. Dtitagha. Pafica. and Urn. cannot be called
Cf. Pusalker, Bhasa, pp. 186,
187, 190,
209.
Vyiiyogas.
Mankad, Types of
Skt.
Dr. p. 59-61.
91 (C.95; B.XVI1I.91).
92-93 (C.96-97 ; B.XVII1.92-93).
XX. 99
TEN KINDS OB PLAY
371
Tho Ufsrstikanka
Tho Plot
94.
in
[usually to be] well-known, but
it is
sometimes be otherwise, and
who
characters other than those
it
will treat
ances at a time
when
male
1
.
The Utsystikanka should abound
95-96.
Sentiment
are divine
in
the Pathetic
women's lamentations and despondent
and
battle
violent
may
it
be furnished with
to
is
it
utter-
has ceased
fighting
should include bewildered movements [of mourners] and
it
devoid of the Grand, the Energetic and the Graceful Styles and
Plot should relate to one's
fall
(lit.
end of the
rise)
it
must be
its
x
.
Scenes with celestial Heroes
[Scenes
97.
and which
[treat]
of]
plays which have celestial Heroes,
tho
all
battle,
capture and
killing [of enemies], should
be laid in Bhiirata-varsa 1 .
Of
98.
gods why 1
all
the Varsas
(sub-continents)
proscribed
Bharata-varsa chosen [in this connexion]
is
the entire land
here
is
for the
Because
charming, sweet-smelling and of golden
colour.
99-100.
a
are always
[But scenes
sport, pastime
garden),
to
be laid
any sorrow nor any
of
in the other
grief
there.
place in the mountains which
the Pufiinic accounts,

(i. e.
(lit.
going to
are
Varsas
for
there
is
neither
Their enjoyments should
take
connected with those Varsas in
but their [other] deeds should begin here
in Bharata-varsa).
94 (C.91: B. XVIII.94).
when he
Bhasa's Uru.
'
is
a solitary example
See Pusalkcr, Bhasa, pp. 199, 200.
type of drama.
error
garden party
their]
and enjoying the company of females,
"this
Keith seems to be in
says that a play within'a play is often called an
Anka.
See
Skt. Dr. p. 268.
95-96 (C.99-100
tajhaili for
B. XV1II.95-96).
C. karirvyo
abhyudayantas
karyah kavyavidkijhaih
97 (C.101; B.XVI1I.97).
This and three following
100) seem to be more relevant after NS.
XIV.
topics.
98 (C.102; B.XVin.98).
C. tasMt for iasmat.
99-100 (C.103-I04;B.XVHI,90-100).
couplets (97-
26 which treats similar
M2
THE NATtASASTBA
The
101.
characteristics
ben exaustively explained
Prahasana with
XX.
101-
an Utsvstikanka (Anka) have
of
by me.
now speak
I shall
of the
its characteristics.
Tho Prahasana
The Prahasana should be known
302
pure and mixed.
to be
I shall separately treat their
of two kinds
characteristics
1
.
The pare Prahasana
The Prahasana
103-104,
it
is
known
comic disputations by
contains
Brahmins, abounds
(iMha) 1 when
as pure
and
Baiva gurus (bhagimit'f
remarks by persons of
in jocular
ill
repute,
and
gives uniformly to the Plot a realistic picture of the language and the
conduct of
all
these in passages describing their special States.
The mixed Prahasana
That Prahasana
105.
servants, eunuchs,
parasites
is
called
mixed 1 in which courtezans,
and unchaste women
rogues
(rite)
and movements.
appear with their immodest appearance, dress
101 (C.105; B.XVI1I.101).
102 (C.106;
century),
svara's
XVIH.102).
Hasyarnava (date
Skt. Dr. pp.
261-262).
(620 A.C.) and
the
uncertaiti), etc.
Bhagavad-ajjnkiya
103-104
ed.
of
Mahendra-vikrama-varman
ascribed
to
Baudhayana Kavi,
See Keith Skt. Dr. pp. 182.
P. Anujan Achan, Cochin, 1925.
(C.107-108;
B.XV1II.103-104).
relates primarily to a Saiva saint.

boon*
(12th
century) and Jagadl-
are very late works (See Keith
The Matta-vilasa
are fairly old specimens of the Prahasana,
Bhagavad-ajjukiya
Lataka-mola
Hankhadkara's
>
Dhlirta-samagami (15th
Jyotirisvara's
used in the Prahasana named
for the antiquity of this
'The word
ihagamt
It is in this sense that the
word has
Bhagavad-ajjukiya and this speaks
work (See above 102
note).
Baiva saint
appears in the Matta-vilasa, the Dhurta-nartaka and the Ha9ya-cudamani.
Both these Prahasanas one are however

262, 265.
For some
M. Ghosh,
pp.
late.
See Keith, Skt. Dr. pp. 182,
aspects of tho Saiva tenets see Karpuramanjari, ed
LXIII-LX1V.
C. reads 103a as rowrafirffifaqft!fowe*'3Wi.
Prahasanas named in note
above may be taken as specimens
'
Prahasanas like the Dlmrta-samagama
of
the pure variety.
105 (C.109; B.XVI1I.105).
and <h e Hasyarnava may be taken as specimens of the mixed

8ee Keith, Skt. Dr. pp. 260-266.
variety.
-XX. 112
TEN KINDS OP PLAY
Some
106-107.
378
popular topic [of scandal] or incident
of
hypocrisy should be introduced in the Prahasana through the disputations
The Prahasana should
of pretenders.
the types of the Vithi
may
it
properly require
include [any of]
1
.
The Bhana
The Bhana
two 1 kinds
now speak
I shall
107-108.
Bhana.
is
to
the characteristics
of
that [with one's] recounting
and that [with one's] describing someone

109.
[The Bhana which
to
is
own
of one's
else's acts
the
of
be acted by a single character, and
it is
of
experience
2
.
somebody
include]
else's
words addressed to oneself, should be acted by means of replies in

course of Conversations with Imaginary Persons (akasa-hhasila)
accompaniment of
110.
The Bhana should

and
parasites (oitu)
to consist of
111.
treat their
in
of the limbs.
and
include characters of rogues
and
different conditions,
it is
always
one Act and should include many movements which
are to be acted
cribed
movement
[suitable]
by a rogue (dhurta) or a
parasite.
Bhana have been des-
All the characteristics of the
by me according
the
to
tradition
(agama). I shall [now]
speak of the characteristics of the Vithi in due order.
The
112-113.
And
it is
The Vithi
is
Vithi
to be
acted
by two persons or one.
to include characters of the superior,
106-107
^lamfsfafc;
(CUlO-llla;
affair ftfim
B.XVI1L106-I07a).
2
lfinm.
middling or the
the
'
C.
reads
as
107a
See below 112-129.
107-108 (C.lllb-112; B.XVIII. 107b-108).
>
Emend
vividlia
into
dvividha (ms. cha in B.).

s
The four Bhaiias (Ubhayubhisarika, Padma-prabhrtaka,
vita-samvada
placed by
F.
and Piida-taditaka) published under the
W. Thomas
(F..W. Thomas, J
this type
F.W. Thomas, Centenary Supplement J R A

S.K.Dc, in J R A S. 1926, pp. 63-90, Hist of Skf. Lit.
pp. 262ff.
see Koith,
SkU Dr.
Dhiirta-
Caturbhani
between the 6 th and the 7th century arc the
oldest available specimens of
Bhanas
title
pp. 263-264.
110(C.114;B.XV1II.110).
S.
R A S.
1922,
1924 pp._129-136;
pp. 241ff.
For
later
109 (C.113; B.XVIH.109).
111 (C.115; B.XVIII.111).
112-113 (C.116-117; B.XVHI.112b-H3a, 112a and
its f. n. 2).
'
THE NATYASASTEA
874
may
[any of] the Sentiments, and
inferior type,
and
may
[any of J the thirteen types.
include
it
contain
XX. 114
I shall
it
now speak of the
characteristics of all these.
Thirteen types of the Vithi
The
114-115.
thirteen types
{xuhjhahjahi),
Interpretation
of the Vithi are
Accidental
Ominous
Transference (avalayita),
Significance (araxpandila), Incoherent Chatter {asatprdapa),
Enigma
{pntjiunra),
pliment
Outvying
(lulhicda),
{nail
Deception
Declaration {nyahara),
{chain),
Crushing (mrihra), Three Men's Talk
Com-
(rakkeli),
Repartee
ual'd'a)
{trijala},
and Undue Combi-
Words {yanfa)
nation of
[Any
11G.
the Vithi.
of these
thirteen types
now speak
I shall
is
always to be attached to
of their characteristics
due order.
in
Accidental Interpretation
117.
obscure meaning with vords

speaker]
it
them men
order to'explain
If, in
other
connect words of
than [those intended by the
becomes Accidental Interpretation {mhjhatijalca) 1
Transference
When
118.
will
be
made
[anything] occurring in [relation to] something,
to accomplish
something
ot] Transference {andutjito)
Ominous
1 19.
That one attaches
significance
(lit.
creates) out of misunderstanding
an auspicious or inauspicious meaning

ous
rise) to
the words
(lit.
else, it
auspicious or
(lit.
meaning) mentioned,
114-115(0.118-119, Of. B.XVHI.ll3bll4).

nexion has been translated as 'division'
seems to be a more suitable word.
117(C121,
DR.
BXVlII115b-ll6a).
Dialogue'
(III. 13-14)
(DK.
p.8l).
seems to define
nuance' (See p. 85).

.
,119(0.123;
For an
ex.
(Haas,
'
DR.
Ahga
in this con-
But
p. 84).
'types'
116 (C.120; B.XVIILllSa).
'Haas
translates the
For an example
see
word
SD. 228;
cf.
as
Ag.
it differently.
118 (C.132; BXVIII.U6b-117a).
inauspici-
instance of]
[an
1
Significance {aeaspandita) .
Ominous
'Abrupt
is
'
Haas
See 8D. 292
B.XVIII.817b-118a).
translates
it
as 'Conti-
Ag. Of. DR.I1I. 14b-15a.
'The
spelling
though accepted by SD. and DR. seems to be wrong (See
avasyandita
Ag.).
Haas
TEN KINDS OF PLAY
-XX. 125]
375
Incoherent Chatter
When
120.
an irrelevant question
by [an equally] irrelevant answer,

1
Chatter (asat-pralapa)
When
121.
Chatter
sentence)
followed
is
person a
to a foolish
man
learned
words are not listened
right words, but his
Incoherent
(lit.
[an instance of] Incoherent
it is
to, it is
speaks the
[an instance of]
1
.
Compliment
When
122.
of
tual praise
them]
it
comic and untrue words purporting to bo mu-
two persons, are uttered
is [an instance of]
in the
interest of
Compliment {yrapahca) 1
one [of
Enigma and Repartee
An
123.
enigmatical remark
that gives rise to laughter
(naltia1).
an Enigma
followed
by
ral;keli=*
vakl clilca) arises from a single or twofold
laughter)
is
called
reply.
(lit.
Reparteo
2
Outvying
When somebody
124.
self,
else's
words and those of one's own-
in course of a dialogue, lead to their
mutual modification,
it
is
1
[an instance of] Outvying (adhimh)' .
Deception
When
125.
site is
done
(lit.
word
see
120 (C.124).
(nnder
it is
as
the influence of the
For an example
'Re-interpretation'
SD.
(528).
DR.
'
We
probably under
87)
has a different definition.
accept the reading of mss.
119) which has the support of
122 (C.126;
84,
(pp.
(III. 19a)
Ag.
121 (C.125; B.XVIII.119).
DR
being con-
[an instance of] Deception (rhala) 1 .
DR.
'
III.
and da
<Ja
in B.
20 and SD. 530. Ag.
See Haas. p. 87.
and accepts tho reading of 121 below.
differs
something oppo-
replies,
takes place) through those very replies
sidered meaningless,
translates the
one by
after alluring
See 120 note and Ag.
B.XVHI.123b-121a).
'
See
Haas,
p.
85;
SD.
SD.
529.
5ii.
HI. 15b.
123 (C.127; B.XVIII.ll8a, 120a).
8
'
See Haas, pp. 87
See Haas, p.86, SD. 525.
124 (C.128; B,XVHI.122b-123a).

125 (C.129; B.XVII. 123b)
two def of
.
'
See
See Haas,
DR.
17a
p. 86;
Haas,
this including the present one; sec 524-525,
SD.
p.
96
526.
;
SD. gives
THE NATYASASTRA
376
[XX,
126-
Declaration
126.
If
presence of the
out any fear,
anything
Hero and
happen [there] with1

Declaration (vytiliara)
made
similarly
is
[an instance of]
it is
in the
[liable to occur] is described vividly
to
Crushing
That due to an
127.
is
one represents [another's]
altercation
demerits by [showing] cause [for
merits as
and
it]
vena,
rice
Crushing (mrdava) 1 .
called
Throe Men's Talk
When
128.
words with the Comic Sentiment are
exalted
shared by three [characters]
Three Men's
as
(tritjata) x .
Talk
Undue Combination
Undue
129.
combination
words 1
people's abusive
130-131
If in
Words
and States prescribed
for
characters
the
all
them by the Saslra
bo acted by one or two persons
agree with the def. given in

the tirm as
DR.
'Humourous Speech'. See
translates the term
reading
is
Haas
translates
'
DE.
III.
SD.
2la;
532.
Haas
>
and they agree with
DR
III.
16 and SD. 523
the reading of
Our
B.
supported by the pa ms. in B. Haas translates the term as
'Triple Explanation'.
Sec p. 84.
129 (C.133; B.XVIII.l25b-126a).
C. larambha for
C. bandhavivadam for vivadayuklam.
DR. HI. 18b and SD.
translates the
527
seem to
term as 'Abrupt Remark' see
130-131 (C.134-135).
XIX).
B.s reading seems to
see p. 88.
128 (C.132; B.XVIII. foot note to 124).

this differently
p. 88.
127 (0.131; B.XVII.12lb-122a).

as 'Mildness'
Vithi.
20b and SD. 531.
III.
Sentiments
called the
it is
126 (C.130; B.XVIII. foot notes to 125a).
define
according to
(,'/i'n#)
1
a play any of these thirteen types with clear
meanings, occur and they possess
may
of
words
of
occurs due to excitement, confusion, quarrel, reviling and
the wise,
many
It
known
be
should
it
def.
it
differently.
Haas
p. 87.
Ag. reads Lusyahgas in the next chapter
It is possible that these
were introduced
later in the
ms. bha of B. and some commentators using it ignoro
Saradatanaya and others reads liisyakgat differently.
B. pp. XI-XII. foot note.
samrambha
NS.
them
(his
For the
altogether.
Seo Kavi's
Intr. to
XX. 136
TEN KINDS OF PLAY
377
The Lasya
132.
limbs are attached to the Nntaka in
other
[Similar]
connexion with the performance of the Lasya, and they owe their
origin to this
and are
Nataka),
(i. e.
to
be acted
like the
Bhana by
a single person.
The Lasya has a form
133.
it is
be acted by one person 1
to
similar that of the

Its
theme
that of the Prakarana and should relate to
any
is
to
Bhana and
be inferred
like
intimacy [with
[loving]
one],
Tho twelve
The
131-135.
Lasya
typc3 of the
[twelve] types of the
Sthitapathya, Asina, Puspagandikg,
Lasya are:
Geyapada
Praechedaka, Trimudha, Sain-
Dvimudhiika, Uttamottamaka, Vicitrapada, Ukta-pratyukta
dhavn,
and Bhiivita (Bhava) 1
Geyapada
When
130.
ded with stringed

singing
[before
called the
[the Heroine]
is
seated 1 on her seat surroun-
instruments and drums near her, and singers are
her]
accompaniment of
without any
Geyapada (simple
these,
it is
"
song).
132 (C.136 K.XVIII. 169).
lasyahga
is
an oni act play which
requires lasya or a gentle form of dance for its representation; for this term
may be
its
interpreted as
principal element).
of tho Lasya.
lasyam ahgam yasyah
The
Tlie-ie
ten
are
salt (that
which has lasya as
lasyahgas seem to be ouly so many varieties

'elements' as
not
its
also
may be
some scholars are apt to
consider.
2
The word vilhyahga
to be nothing
similarly interpreted.
and vtthya'nga may therefore bo translated as

133 (C.137
this passage
their
K. XVII.
means merely
131-135
ten
(p.
182).
'a
play of the Vitlii type'.
See above 132 note
'
lasya used in
liisyaiiga.
K. XVIII. 17)171).
(C.138-139;
and BhP.
number
Vilhi seems
but a particular kind of one act play (defiued in 113 boavc)
245-246) eleven lasyahgas, but
81). (501) gives
DR.
only
(III. 52-53) gives
as ten but does not define them.
136 (0.141
K. XVIII.
172).
'
Sco SD. 505.
The
seating posture
included in this and some of the other varieties of thi lasya need nq|
appear to be
puzzling.
For tho Gentle Dance
in this connexion did
not imply tho movement of the entire body. See Gilbert Murray, Euripides
and His Ago, London, 1946,

48
p. 150.
THE NATYASASTRA
378
137.
woman
If
1
a standing
in
aings
XX.
137-
posture a song
dealing with the praise of hor heloved
and delineates the same with
the gestures of her different limbs,
called the
it is
Geyapada.
Sthitaplithj-a
138.
woman
a separated
If
burning with the
fire
1
anything in Prakrit while seated on her seat
recites
of love,
[an
it is
instance of J the Sthita-pHthya.
139.
When
one
sits
without making any
toilet
and
is
overcome with anxiety and sorrow, and looks with oblique glances
it is
[an instance of] the Asina.
Puspagandika
When
140.
a woman in the guise of a man
thing sweetly in Sanskrit

is
recites
some-
the pleasure of her female friends,
for
it
1
[an instance of] the Puspagandika.
Pracchcdaka
141.
When
prepares to go to
is
woman
a [separated]
her beloved even
1
[an instance of] the Praccbedaka
pained by the moon-light
he has done her wrong,
if
it
Trimiidhaka
142.
play
adorned
manly States and composed

large,
called the
is
even metres and abounding in
with
of
words which are neither harsh nor
Trimudhaka.
Saindhavaka
When
143.
and
his tryst
using Prakrit [to express
is
performed Karanas,
137
(CHI).
138 (C.U2
of 136. Of.
'
it is
See above 136 note
K. XVIII.
139 (C.143
173.
BhP.
K. XVIII.
bis grief]
keep
failed to
through well-
[an instance of] the Saindhavaka.
K. XVIIL 173
who has
[one represents] a lover
245,
p.
'
174).
1.
'
f.n.).
1.
Sc 81). 506
also note 1 above
17-18.
SD. 507
abovo 136 note
see
Tlio
1.
Gentle Dance (lasya) in this connexion will consist of slowly moving
BhP.
glances only. Cf.
140(0.144).
175,
BhP.
p.
p. 245, 1.19-20.
iCf.SD.
507
Road aprasadhita
see above
gatra.
136 note l.Cf.K. XVIII.
245,1.21-22.
141 (C.145
K. XVII. 176). x The
def.
SD. reads the term as Trigadhaka. Cf. BhP.

142 (C. 146
143 (C.147).
K. XVIII.
1
177).
Cf.SD.508.
>
given in SD. (507)

p.
See BhP.
246
1.
p. 246,
Cf.K. XVIII.
is different.
1-2.
1.
178,
3-4.
BhP.
p. 246.
1 5-6.
-XX. 160
TEN KINDS OF PLAY
379
Dvimiidhaka
Delineating h song of the Caturasra type
144.
an auspicious meaning and which treats

Sentiments, with the pretension of
(lit,
which has
efforts, is called
and
States
lias) clear
the Dvimiidhaka.
Uttamottamaka
The Uttamottamaka
145.
of Slokas
it
composed
is
various Sentiments and
includes
kinds
various
in
adorned with the
is
condition of Passion {hela).

Vicitrapada
146.
If
any woman burning with the
her mind by seeing the portrait [of her
lover]
of
fire
soothes
[an instance of]
is
it
love
the "Vicitrapada.
Ukta-pratyukta
The Ukta-prntyukta
147.
due to anger
counter-speeches
contains words of censure.
a combination of speeches and
is
or
It is to
and
pleasure,
it
[sometimes]
lire
of love after
be set to music.
Bhavita
1
woman who
If a
I'H.
burning with the
is
beloved in a dream, expresses [her] different States,
seeing her
it
is
[an instance of] the Bhavita.
These are the
1 19.
Lasya growing out of anger or pleasure, that

detail.
anything more has
Tf
the fact that nothing more

1
50.
The
and the Junctures with
Cf.
has
tell
you
in
been due to
I shall
their
now speak about
their characteristics.
XX of Bharata's Natyasatra,
treats of the
144(0.148).
it
to
regarding the ten kinds of play with
rules
Here ends chapter
K. XVIH.
not been said,
[different] types of
had
required in this context.
have been stated by me.
characteristics,
their bodies
is
Ten Kinds
which
of Play.
SD. (509) which reads the term as Dvigadha.
Cf.
BhP. p. 246, 1. 7-8.

145 (C.149 K. XVIII. 180). x Cf SD. (509). Cf. BhP. p. 246, 1. 9-10-.
146 (C.150 K. p. 207. r. u. 12).
SD. ami BhP. omit this.
147 (C.I51 K. XVHI. 181). x See BhP. p. 246. 1. 11-12. Cf. SD. 509.
179,
'
148 (C.152
1.
13-14
K.
p. 207.
149 (C.153
f.
K.
a. 12.).
183).
'
SD. omits
this.
150 (C.154
See Bhl'.
K.
184).
p. 246.
CHAFfER TWENTYONE
THE LIMBS OF THE JUNCTURES
The
The Plot
1.
(lit.
poem).
It is
five
Junctures of the Plot
known
The
Plot
is
of the
drama
to be divided into five Junctures (smulhi).
The two kinds

2.
body
(itkrtla) has heen called the
of two kinds
of Plot
Principal (wlhilwika) and
Subsidiary {pravaiujilca).
Their definition
The [assemblage
3.
to
(lit,
by reason
of) the
of] acts
which are fabricated with a view
attainment of [some particular] result,
be known as the Principal
is
to
[Acts] other than those consti-
Plot.
tute the Subsidiary Plot.
The attainment
4-5.
the ingenuity
associated characters
to rules),
resorting
(lit.
and
Heroes) acting
(lit.
And any
its
which
lnolms of the
a regular manner
in
Plot on account
incident
in
The
Action
the Subsi-
called
it, is
(lit,
of an
anything) men-
(lit.
any other [incident]
for helping
exaltation
plans by
poet)
constitute the Principal
attainment of the result

tioned
of the result
of the playwright
diary Plot.
6.
The
five stages of the
exertion
of the
the result to be attained, is
Hero
known
to
(lit.
one
have
who
five
strives)
towards
stages occurring in
due order.
1 (C.l
K. XIX.
'See DR.
I.
1).
22-23,
* Also called vastu. Cf.
kalpitah for vibkagah etc. See
2 (C.2
3 (C.3
*
%. XIX.
2).
K. XIX.
3).
See above note
4-5 (C.4-5
'
6 (C.7).
NL.
K.
55-56.
1
-
NL.
1. 11,
SD. 294-295.
See
216-217.
DR.
1. 11,
SD. 295 and NL. 218 219.
Cf. DR.1. 12-13,
SD. 296-297; NL. 223-224.
1.
XIX 4-5).
Sco above note
DE.
SD. 330 and NL. 458 read vibhagah sampra-
See above 3 note 1 and
NL.
228-229.
I-
C. reads one additional couplet (C. 6) before
this.
Cf.
-XXI. 14
THE LIMBS OF THE JONCTUBES
7.
These
381
Action are known to arise in the
five stages of the
Nataka and the Prakarana. [Their] Fruition (phala-yoga)
relates to
duty (dhirma), enjoyment of pleasure (k&mti) and wealth (artha). 1

8.
They
ment
are
Beginning
Qjrarambha), Effort (prayatna),
Attainment (prajjti-mmbhava), Certainty of Attain-
Possibility of
and
phala-prapli)
(niynta
Attainment
of
the
Result
(phala-prapti).
Beginning
9.
That part
records eagerness
play
(lit
final
attainment of the result
Germ
reference to the
composition) which merely
of the
about the
{blja), is called
with
the Beginning (arambha).
Effort
10.
[Heroc's]
when the same
is
towards an attainment of the Result
striving
not in view, and showing further eagerness [about
called the Efforts (pray/Una).
it], is
Possibility of Attainment
1 1
by an
When
idea,
it
the attainment of the object
known
be
to
is
as
is
slightly suggested
the Possibility of Attainment
(ludpU-aambku ra).
Certainty of Attainment
12.
When
result, it is called
one visualises
in
idea a sure attainment of the
Certainty of Attainment (mtyata phala-prapti).

Attainment of the Result
13.
When
the intended result appears in full at the end of
events [of a play] and corresponds to them,
it is
called Attainment
of the Result (phala-ijoya).

14.
These are the
five
begun by persons looking for
8 (C.10
K.
'
7 (0.8)
9 (C.ll
omits
K. XIX.
9).
10).
K. XIX.
(C.H K. XIX.
14 (C.15 K. XIX.
;
11).
12).
13).
11 (C.13
12 (C.14
13
results.
DR. I. 19; SD. 324; NL. 57-58.

DR. 20; SD. 325; NL. 59-60.
1
Cf. DR. I. 20; SD. 326; NL. 66.
x Cf. DR. I.
21; SD. 327; NL. 69-70.
A
Cf. DR I. 21; SD. 328; NL. 77.
A Cf. DR. 1.
22; SD. 329; NL. 89.
* Cf.
K. XIX.
10 (C.12
stages of every
this.
K. XIX.7).
K. XIX. 8).
successive
Cf.
action
THE NATYASASTBA
382
Putting
15.
together
all
naturally
these
XXI.
15-
stages
different
which come together [in a play] for the production of the result
conduces towards the
fruition.
Play to begin with the Principal Plot
The
16.
Plot which has been described before
Principal
should be taken up at the Beginning [of a play],
for it is to attain
fruition.
The Plot should
17.
some
or lack
Junctures
of
The
of thorn.
should occur in
them may be
out
left
either have all the Junctures (sanilhi)
[general]
rule
requires
that
all
the
but due to a [special] reason some
it,
absent).
(lit
Rules about the omission of Junctures
goes
one Juncture
If
18.
in case of
fourth are to be
omitted then the fourth one
to be
is
an omission of the two Junctures, the third and the
and
left out,
in case
of
the
omitted,
three to be
the second, the third and the fourth should be given up.
In case of the Subsidiary Plot this rule
19.
for
to serve the purpose of
it is
will
Any
another [Plot].
not apply
eveirt
can be
introduced in this [Subsidiary Plot] without violating the rule.
The
The
20.
(ammhha) 1
etc..
Elements of the Plot
five
have
the
of
stages
five
plot
such as the Beginning
corresponding Elements
live
of the Plot
(artha-pralyti)*
21.
Episode
The Germ
(k&ry)
Denouement
pralcrti),
15 (C. 16
NL.
Prominent Point (hiwlu), the
Episodical
are
the
five
16).
Emend yat-karyam
K. XIX. 17).
18 (C.19
442ff.
19 (C.20
K. XIX.
18).
K. XIX.
19)
'See DR.
1.
2i (C.22
K. XIX.
applied in proper
(artlia-
manner.
K. XIX. 14)
K.XIX.15).
(C18 K. XIX.
20 (C.21
and the
(prakarl)
Incident
Elements of the Plot
which should be reckoned and
16(C.17
17
the
(liija),
the
(i>ataka),
18
>
into tat karyam. See
Sec
DR.
1.
19
SD. 324 NL.
SD. 317; NL. 134-135.

20).
'
See above 20 note
2.
57-58.
XXI. 27
THE LIMBS OP THE JUNCTURES
383
The Germ
That which scattered
22.
in various
ways and ends
expands
in a small measure,
called
fruition, is
in
itself
Germ
the
(blja)
of the Plot.
The Prominent Point

That which sustains the continuity
23.
till
when the
the end of the play even
the time being] suspended,
called the
is
non-separation)
(lit.
chief object [of the play] is [for
Prominent Point (hhidn).
The Episode
24.
The event
Principal [Plot] and
which
introduced
is
treated like
is
The Episodical
2").
When
is
it,
in the interest
Incident
merely the result of such an event
for the purpose of another
Secondary Juncture
2
incident (iiiahn't)
(/. >.
the
the
of
an Episode {[Mtaka).
called
Plot) and
Principal
(iinnlhiii'lhiiy
presented
it
has no
Episodical
the
called
is
it
is
The Denouement
26.
The
made
efforts
for the
introduced [in play] by the experts,

27.
its
Among
support
(lit.
be
purpose of the
called the
[Elements] that
these
purpose)
should
subordinate,
is
and
to
which
which the
made prominent
Principal
Denouement
(lit.
has others
'for
taken
as
are
rest
Plot
(kanja).
chief)
and not the
remaining ones.
22 (C.23
23 (C.24
K. XIX. 21).
N.XIX. 22). x
'
DR.
DR. I.
Cf.
cf.
I.
17
17;
view about the meaning of the bindu says: 1^
rwt
nan qf*.*^ a
1'
sfastSnts'Siii
T**$:
Strait
m\
SD. 318; NL. 136-137.

qfs *ti3* iwi HiiftlipfflWT^f-
namg^flin
rftifnrfiw atf# ftnifafa
t<gf
^ *#t4%
n înw
view about the meaning of the palaka as follows
also a second
wifii'
There is a third view also see. NL. I83ff.

K. XIX. 23). x Cf. DR. I. 13; SD. 320; NL. gives
1\W[ nfofow: (159ff. 173ff.).
24(0.25
g,
ttsîw?^ t*atr:
*wk
SD. 319; NL. giving a second
wi.tawmrafctft* taarfyu^ffti
TO
(195ff.)
K. XIX. 24). x As opposed to this, the palaka possesses

Anubandho nairantaryena pravartanam (NL. 204).
8
SD. 321 NL. 199ff.
Cf. DR. 1. 13
26 (C.27 K. XIX. 25). x Cf. DR. I. 16; SD. 323; NL- 209ff. Read
yastu (vrtla, JC) as vastu, C. NL. reads karyatn for vastu.
37 (C.28 K. XIX. 26).
Cf. NL. 234ff.
25 (C.26
continuity-
'
THE NATYASASTEA
384
[XXI.
28-
Socondary Juncture ia the Episode
One
28.
or more Junctures should ho applied in an Episode
(patcJca)' "As these serve the purpose
Principal [Plot] they
oE the
Secondary Junctures (aimbundka).
called
Limit of the Episode
The Episode should come
29.
Develoment
(ijavbha) or at the
treatment
its
is
an end either at the
to
Why
Pause (vimaria).
purpose of something else (i
for the
Because
e.
the Prin-
cipal Plot).
The Episode
When some
30.
Indication
matter being taken in hand
thought about), another matter of similar nature

tics) is
(lit.
(lit.
already
characteris-
suggested through an accidental idea (wjniihih^bharn),
it
is
Episode Indication (pntalm-sthaiui).
called
The
31.
First Episode Indication
The sudden development
pntti) due to an
of a novel
suggestion,
indirect
is
meaning
(<irthtimni-
First
Episode
double meaning
and ex-
called the
Indication
Tbe Second Episode Indication

32.
Words completely
carrying
pressed in a poetic language, are called the Second
Episode Indi-
cation.
The Third Episode

33.
a subtle
in
Indication
That which suggests with courtesy the object
manner and
the
in
form of a dialogue,
is
[of
a play]
called the
Third Episode Indication.
28 (C.29
DR.
ly XIX.
29 (C.30
30 (C.31
ignores
K. XIX.
Some read anubandha

x
28).
K. XIX-
its varieties.
NL. 1000-1001.
last
'
27).
as
anusandhi
cf.
III. 26-27.
Emend tasmul
into
kasnM.
* DR.(I. 14) merely defines the term and
29).
But SD. (298-299) follows NS. and
defines them.
See
Sagaranandin says that these should not be applied to the
Juncture (nirvahaqa).
31 (C.32
3
SecSD.
32 (C.33
K. XIX. 30). * Emend gunamtyupa"

300; NL. 1007K. XIX.
31).
Emend vacasuliZaya"
into
guna-wtlyupa"
into vacah .tfitisaya".
See SD. 301 and NL. 101S.

'
33 (C34
K. XIX,
32).
x See SD.
302; NL. 1021-1022.
XXI. 41
THE LIMBS OF HE JUNCTUBES
The Fourth Episode
Words
34.
first
The
35.
thft five
Fourth Episode Indication.
sight] is called the
meant
poetical composition
to
be acted should have
Junctures (xandhi) and four Episode Indications (pataJea-
dhannhi) 1
I shall next speak of the Junctures.
The
30.
the
Indication
with a double meaning expressed in a well-knit
and having a reference to something [other than
poetic language
what appears at
385
Progression
Junctures
five
The five Junctures
a drama are the Opening (mnl-ha),
in
(pratimnkha),
Development (jarbhi),
the
the
Pause (vimaria) and the Conclusion (nirvahana) 1

37.
five
The
Principal
[Plot]
The
Junctures (nandhi).
known
is
to be consisting of the
Junctures are to be
remaining
1
supported by the Junctures of the Principal [Plot]
The Opening
38.
(I'i jo)
is
That part
as the
of
source of
a play,
many
and Sentiments takes
body the Opening (mnkhn,
The
it
which the creation of the
objects
called in consideration of its
39.
in
lit.
Germ
place,
face)
Progression
Germ
Uncovering of the
placed at the
has sometimes been perceptible and sometimes been
Opening
lost, is
after
called
the Progression (pratimukha).
The Development
40.
The
sprouting
attainment and search for
of
it, is
Germ,
the
called the
its
attainment or non-
Development
(i/arbha) 1 .
The Pause
41.
(Inja) that
One's pause (vimaria,

has sprouted
34 (C.35; K.XIX.33).
in
deliberation) over the
lit.
Germ
the Development (garbha) on account
x See SD. 303;
NL.
1033.
35 (C.36; K.XIX.84).
x See
36 (C.37; K.XIX.35),
38 (C.39; K.XIX.37).
39
(('.40;
K.X1X.38).
40 (C.41; K.XIX.39).
41 (C.42; K.XIX.40).
49
DR.
I.
23-24;
SD. 331-332; NL. 458.
x These relate to the Subsidiary Plot.
37 (C.38; K.XIX.36).
DR. 1 24-25; SD.333; NL. 536f. quotesNS.

DR. I. 30 r SD. 334; NL. 684f.
Cf. DR. I. 36; SD. 335; NL. 7l0f.
See
'
Cf.
l
THE NATYASASTBA
386
of
some temptation, anger or
name
(i.e,
Pause)
XXI. 42
Juncture of that
distress, is called the
1
.
The Conclusion
Bringing together the objects [of the Junctures] such as
42.
the Opening (mukha) etc.
have attained
along with the
Germ
These are Junctures of the Nataka
43.
They may occur
producers of a drama.
when they
[b\ja),
Conclusion {uirva liana) 1 .
fruition, is called the
known by
to be
the Prakarana
in
the
and
the other types of plays as well.

Junctures vary in different types of drama
and the Samavakara 2 are
Dima 1
The
44.
have four
to
make
and the playwright should never
Junctures,
the
Pause
(vimaria) in them.
The Vyayoga 1 and
45.
Junctures.
There
{avamaria
= vimaria)
also has
no place
The
46.
Bhana
are
to
no
be
should
Ihamrga 2 are to have three
the
in these two,
Development
and the Graceful
and
Pause
(kaffilfi)
Style
in them.
Prahasnna 1
Vithi 2 ,
the
the
Anka s and
the
have only two Junctures which should be the
Opening (mulcha) and the Conclusion {nirvahatui), and
their Style
should be the Verbal one (bhavaii).

47*
These are the Junctures to bo adopted by the proListen
ducers in the ten types of play,

of Junctures which also will as
'
DR.
I.
53
calls this
42 (C.43; K-XIX.41).
770ff, gives
as
two more
ffftsre^
*ifq
Emend the first hemistich as follows :

DR. I. 4849; SD. 337; NL. 554 f.
42).
'
45 (C.46; K.XIX.43a, 44b).

46 (04748; K.XIX.
Sec ibid
NL.
kinds
Cf.
44 (C.45; K.XIX-44a, 43b).
SI). 336;
different
limits.
Read the second hemistich
WIWH wM <jirant Mim.

K.XIX.
were mark their
avamaria.
definations of this Juncture.
43 (C.44;
it
now about
94ff.
'47(C.48;K.XIX.46).
45).
*
>
See NS.
See
N& XX.
See NS.
Sec ibid
XX.
XX.
107ff.
90ff.
84if.
102IK
Sec ibid
See
See ibid
78iT.
ibid. 64ff.
112ir.
THE LIMBS OF TBB JUNCTURES
-XXI. 65]
387
Subjunctive
The twentyone
48-50.
ciliation
Sub-junctures are as follows 1
Dissention
(soma),
Making
(hheda),
Gifts
Con-
(pradana),
Chastisement (dantfa), Killing (vadha), Presence of Mind {pratynt-
panmmatitoa), Blunder
in
Addressing (gotra-skhalita), Rashness
Anger
(sahasa). Terror (bhaya), Intelligence (dlu), Deceit (maya),
(krodha), Strength (o/ns), Concealment (mmvarawi), Error (hhanti),
(avadharawi) 2
Ascertainment
Dream
Messenger
Letter
{duta),
(lelcha),
(svapna), Portrait (citra) and Intoxication (mada).

Alternative Junctures
The
51
(pradesv)
their
The
essential
own
[of the Junctures]
qualities.
sixfold needs of the
Limbs
of the Junctures
Expressing 1 the desired
52-53.
any
duo order support those Limbs
will in
by means of
Junctures in their respective parts
the
events of
the Plot,
item in
non-omission of
object,
accession to feeling in production,
concealment of the objects to be concealed, telling tales of surprise 2
and disclosing things to be disclosed are the sixfold needs of the
Limbs described
3
in the Sastra .
Uses of the Limbs

54.
battle,
Just as a
man
so a play without the
Junctures
of the
without
all his
Limbs
limbs are unable to fight
be unfit for [successful]
will
production 1 .
55.
its
theme
A
(lit.
play
(lit,
a poem) though
meaning)
will,
it
may
be poor as regards
when furnished with
requisite
Limbs,
attain beauty because of the brilliance of its production.
48-50 (C.49-51:
KXIX.Mb,
103b).
passage more correctly with slight variation.
mm
sandhi) are to be distinguished
NL. 925ff. seems to

The Sub-junctures
from the
(anubandhaanusandhi. DR. 111.26 mentioned

8
Bead bhavah
Secondary
give this
(sandhi-
Junctures
in 28 before.
for vadhah.
51 (C.52; K.XIX.47).
'
Pradeia
seems
to
signify
Sub-juncture
NL. 923.
Read vacanam for racana.
52-53 (C.53-54; K.XIX.48-49).
3
Emend akaryavad abhikhyatam into mcaryavad abhikhyamm.
{sandhinam sandhi) discussed in 50 above.
See
'
Cf.DR.I.55;SD.407ff.
54 (C.55; K.XIX.49a, 60a).

55 (C.66; K.XIX.50a, 61a).
Cf.
SD.
407ff.
THE NATYASASTBA
838
And
56.
Limbs,
its
XXI.
66-
a play having lofty theme, but devoid of [requisite]
mind of the good
will never capture the
because of
[critics]
[possible] poor production.
57.
Hence
about about them
applying the Junctures [in
in
playwright should
give
them
sixtyfour
The Limbs
58-59.
a drama] the
Now
properly.
listen
[in detail].
The
tion (apulcsepa),
Limbs
their
of
Limbs
of the Junctures
Opening (mnlcha) are
the
Sugges-
Enlargement {pariham), Establishment (parinyasa),
Allurement (vilobhana), Decision
Accession (p'apti), Settl-
(ytikti),
ing {mnadhana), Conflict of Feeling (vidhaiia), Surprise (pariblia,'
mm),
Disclosure (mlbheda), Activity
(hheda).
Now
mism
{luuana), and
Incitement
about the Limbs in the Progression
The Limbs
60-61.
Amorousness
listen
of
1
.
the Progression (pro. timukha) are:
(vilwsa), Pursuit (parixarpa),
Refusal (eidhuta), Pessi-
(tqpana), Joke (narnui), Flash of Joke (narmndyuti),
Moving
Forward (pragamana), Pacification (parijupaxana), Sweet Words

1
(puspn), Thunderbolt (mjra) .
62-64.
The Limbs
of the
Development
(ijnrlha)
arc
Mis-
statement (alihutahamnn), Indication (marga), Supposition (mpn),
Exaggeration (ndaharam), Progress
(mam),
graha), Deduction
(alcsipta),
(knimn), Propitiation
Supplication
(nam-
(prdrtham), Revelation
Quarrel (Malcn), Outwitting (adhibala), Dismay (iiiheyu)

(n'ulrara) 1 .
and Consternation
64-66.
The Limbs
of
Pause (cimarsa = avcmria) are
the
Censure (apacada), Angry Words (sampkHa), Insolence {aMddram)

Placation
Rebuke
(iilcti),
Assertion (uyaoasaya),
(dyuti),
Lassitude
(Uiedix),
16 (C.57; K.XIX,5lb, 52n).
Reverence
(pramnga),
Opposition
(n'uedhaua),
57 (C.58;K.XIX.52b, 53a).
T
Sec DR. I. 25-26; SD. 338;
5S-5P (C.59-60; K.XlX.53b, 25a).
NL.
552ff.
69 61 (C.61-62; K.XIX.55b, 57).
tupana; SD. 351.
NL.
DR.
I.
31-32 reads
62-64 (C.63-65; K.XIX.58-59).
>
DR.
I.
for
37-38, omits prarthana and
vidrava, adds sambhrama, and gives aksipla as uksepa

724ff.
samana
645ff.
64-66 (C.65-67; K.XIX.60-6]).
SD. 365. See NL.
XX.
71
THE LIMBS OP THE UNOTUBES
Sumning up (adana), Concealment
Altercation (virodhana),
(prarocana)'1
dana), and Foresight
The Limbs
66-69.
dhi),
Awakening
389
(cha-
of the Conclusion are
Junction
(vibodha), Assembling {gralhana),
(san~
Ascertainment
(nirryiyd)t Conversation (paribli&sana), Confirmation {dhrti), Grati-
Joy
fication {pras&da),
Deliverance (samaya), Surprise
(aiianda),
(apaguhana), Clever Speech (bhatana), Retrospect (purvavakya),
Termination of the Play (kavya-samhara) and Benediction.(pras(tsh').
These are the sixtyfour Limbs of the Junctures

Limbs
now
I shall
C'J.
[in a play]
1
.
Opening
of the
give their definitions in due order
1
.
Suggestion
Suggestion (upalwpa)
the origin of the object of the play.
is
Enlargement
Enlargement (ijarikdra)
70.
originated
is
the amplification of the object
1
.
Establishment
Describing
it (i. e.
2
ment (panni/asa)
the object) thoroughly
is
called Establish-
Allurement
71.
The mentioning
ment (vilobhana) 1
1
good qualities
is
known
as
Allure-
Emend vidrava
DR.
into abhidrava.
nixedhana and
kheda,
of
1.
44-45. omits abhidrava,
adds vidrava, drava chalana and
sadana and
vicalana; SD. 378IF. follows NS. except that abhidrava. appears there as
drava; chadana should bo emended into sadana; see
66-68 (0.67-69; K.XIX.62-63).

krti as dhrti.
DR.
I.
'
49-50 gives dhrti as
upasatnhara as kavyasamhara. NL.

dhrti as dyuti, and instead of the
a
Or.
DR.
I.
40;
(i.e.
is
850ff.
first
SD. 374; NL.
69 (C.71;K.XIX.64b-95a).
which in trans,
Emend
as follows
krti,
NL.
798ff.
dyuti. See
SD. 391 reads
pfirvavakya as piirvabkava,
omits sandhi and vibodha, gives
two gives artha and anuyoga.
755.
C. reads before this
'
For the development
of the
another couplet
Germ,
all
these
64 limbs) should make up the Junctures properly and Lave clear
meanings.
"
This does not occur in K.
See NL. 556; SD. 338 Cf.
TO (C.73; K.XiX.65b-66a).
"
Soe
NL.
575;
SD.
341;
DR.
DR.
71 (C73; K.XIX.69b-67a).
I.
27.
See NL. 569; SD. 340
'
DR.
I.
27.
I. 27.
'
See
DR.
I.
27;
SD. 342; NL.
586.
THE NATYASASTRA
390
XXI.
72-
of
the
Decision
Settling the issues
is
called Decision (yuMi)*.
Accession
Accession (prapti)
72.
Opening (mukha) 1
summing up
is
the purpose
Settling;
(sam&'lhana)
Settling
Germ
is
summing up
purpose of the
the
(blja)*.
Feelings
Conflict of
Joys and sorrows occurring
73.
onftict of
a situation,
in
called
is
Feelings (v'ulltana)
Surprise
Surprise (paribhauana)
curiosity
an
is
giving
excitement
rise
to
2
.
Disclosure
7-1.
The
called Disclosure
purpose
sprouting of the
(lulbheda) 1
Germ
of the
(blja), is
Activity
Taking up the matter
in question
is
called Activity (luirana)
Incitement
75.
That which
1
Incitement (bheda)
meant
is
for disrupting
an union
called
is
These are the limbs of the Opening (nmlcha).

Limbs
I shall
now speak
See SD. 343;
NL. 593 seem
to
DR.
1.
of the Progression
of those of the Progression (pratimulcha).
Haas
28;
72 (C.74; K.X[X.67b-68a).
Sec
NL.
598-599.
DR.
I.
reading of the NS.
'
See
NL.
617; Cf.
Sec
DR.
I.
605
f.
See
DR.
SD.
347.
Cf.
I.
DR,
28;
1.
mukkartha'.
to
28;
to
SD.
BR
See
bo a wrong
345.
SD. 346; NL. 609-610.
See SD. 348; NL. 620. Cf.
See SD. 349; NL. 623. Cf.
75 (C.77; K.XDX.70W.
NL.
29;
74 (C.76; K.XIX.69b-70).
1
Emend sukkartka"
and SD. 344 follows what scans
28;
73 (C.75; K.XIX.68b-69a).
2
SD. 343 and
translates it differently,
misunderstand this definition.
DR.
I.
1. 29.
NL,
626; SD. 350. Cf.
DR.
I. 29.
29.
THE LIMBS OF THE JUNCTURES
-XXI. 80]
391
Amorousness
Amorousness
76.
love {rati)
(vilasa) is the
desire for
the
pleasure
of
1
.
Pursuit
2
Pursuit (parisarpa)
and then
the pursuing of
is
an object once seen
lost.
Refusal
1
Refusal (vidhuta)
77.
made [by any
not complying
is
with
the request
one].
Pessimism
Thinking about
Pessimism (tapctna)
(lit.
some danger
seeing)
[in future] is
called
2
.
Joke
The
78.
(narma) 1
laughter which
is
meant
sports
for
called
is
Joke
Plash of Joke
The
which
laughter
is
meant
Flash of Joke (ntmna-dynli) 2
called
concealing one's fault
for
is
Moving Forward
Speaking words which bring in other words
79.
is
called
Moving Forward
(jirotjamana) 1
after
them
Hindrance
Appearance of some calamity
Hindrance (nirodha) 2
called
is
Pacification
Conciliating
80.
{parijnpasana) 1
Sec SD. 353;
77 (C.79;
is
called
Pacification
76(C.78;K.XIX.7L).
2
an angry person
DR.
I.
K.XIX.7 I).
See SD. 352; NL.
32-33. Cf.
'
NL.
650ff. Of.
DR.
I. 32.
657.
Cf.-NL 663; DR.
I. 33;
SD. 354 has vidhrta
for vidhuta.
2
defines
See NL.
sama
669 Cf. SD. 355
instead of
thpana
78 (C.80: K.XIX.73).
s
Cf.
DR.
I.
33;
'
defines
it
as
DR.
upayadarsana.
(1.33).
Cf.
DR.
SD. 357; NL.
I.
33;
DR.
356;
NL.
1310CT.
672.
'Read utlaroltaram vakyam tu bhaveipraNL. 676; DR I. 34; SD- 358.

s
See NL. 683; DR. 1.34; SD. 359 reads virodha for nirodha.
> Sec NL. 687. Cf. DR 1. 34; SD. 360.
80 (C.82; K.XIX75).
79 (C.80; K.X1X.74).
gamanam.
Cf.
'
THE NATYASASTBA
892
[XXI.' 81-
Sweet Words
Mentioning some favourable
Words
(puspa,
peculiarity
called
is
Sweet
flower)
lit.
Thunderbolt
Harsh words
81.
(vajra) 1
on
uttered
one's face
is'
called Thunderbolt
Reference
Reference (npanyasa)
a remark based on reason.
is
Meeting of Castes
Coming
82.
together of the four
castes
Meeting
called
is
of Castes (varna-samhara) 1 .
These are the Limbs of the Progression Qyrntimnl-hi).

Limbs
of the Development
Now
listen
83.
[A speech] founded on
about those in the Development (gnrhha).

Mis-statement
(hipalaxrayn) 1
deceit
is
Mis-statement
called
Indication
Speaking out [one's]
real
intention
(lit.
reality)
is
called
Indication (maiyo) 2 .
Supposition
84.
is
hypotliesis with
which novel meanings are combined,
called Supposition (rupa) 1 .
Exaggeration
speech
(wlaharana) 2
2
with an
overstatement
Cf DR.
.
1.
34;
SD. 361 NL.

;
81 (C.83; K.XIX.76).
ruhsam, Cf. NL. 697;

s
SccNL.
refers to the
is
called
Exaggeration
into
praiyakm-
35 8D. 362.
I.
DR.
700; cf.
view of the
691.
Emend pratyaksa-nifiam
'
N$
35;
I.
SD.
363ff. defines
it
differently
and
as kecit tu etc.
l
82 (C.84; KN.XIX.77).
NL.
704ff. dofiucs it as
varnitasyarthasya
tiraskaro (concealing the matter expressed), and refers to the view of the
caturmm varnanam sammelanam apike'pimrnayanti.

DR. I. 36.
N8. as
364;
83 (C.85; K.XIX.78).
!
Cf. DR. I.
Cf.SD.366;NL730;DR.1.38.
84 (C.86; K.XIX.79).
3
Cf.
NL.
738;
DR.
I. 39;
Cf.
DR.
SD. 36K
I.
38;
39;
SD. 365; NL. 727.
SD.
367;
NL.
735.
Sec SD.
-XXI. 89
THE LIMBS OP TOE JDNOTDBES
393
Progress
Foreseeing of what
85.
1
Progress (krama)
coming afterwards,
is
called
is
Propitiation
Use
of sweet
words and
gift, is
called Propitiation (samgraha)*,
Deduction
Perceiving something by the
80.
it
in form,
is
name
1
Deduction (anumd/na)
called
of a thing similar to
Supplication
Request
the like,
enjoyment
for love's
(rati),
rejoicing,
and
festivity
called Supplication {pr or than a)*.
is
Revelation
The
87.
called Revelation
(ijni-hha), is
the
unfolding [of
Germ]
(aMpta) 1
the
in
Development
Quarrel
An
angry speech
is
2
called Quarrel (toiah) .
Outwitting
deceitful
Fear arising from the
king, an
Cheating of
88.
(inlhibal<i)
person
is
called
Outwitting
x
.
Dismay
Dismay (udvega)
enemy
or a robber
is
called
2
.
Panicky Commotion
by
Flurry caused
89.
Panicky Commotion (wlrava)
These are the Limbs
fear
listen
NL. 740;DR.
'86 (C.88;
2
Cf.
Development (garbha).
of the Pause
about those in the Pause {aramaria
'
85 (C.87; K.XIX.80).
;69;
I. 39.
K.XIX.81).
SD. 372; DR.
Emend bhavaktvo into bhavilatvo.

SD. 370; NL. 744; DR. 1. 40.
Cf. NL. 746; DR. I. 40; SD. 371.
'
NL. 749.
DR. I. 42
Cf.
Cf.
SD.
jr.
has
NL. 751 has ulksipta.

Cf. SD. 375; DR. 1.
88 (6.90s K.XIX. 83).
' Cf.
SD. 376; NL. 761; DR. I. 42.
l
Cf. DR. I. 42; SD.
89 (C.91; K.XIX. 84a).
aksepa;
'
SD|$73
Jf
iipti=aksipli;
50
= rimark).
Cf.
I. 40.
87(C.89;K.X1X.82).
fire is called
in the
Limbs
Now
from the king or
40;
NL. 7Jf
377. JT766.
has
THE NATYASABTBA
394
XXI.
90-
Censure
Proclaiming anyone's fault
90.
called Censure (apavada).
is
Angry Words
Words spoken
in anger are called
Angry Words (mmpheia) 2
Insolence
Trangression
91.
{abhi-drava) 1
the
of
superiors
Insolence
called
is
Placation
Allaying of disagreement [with anyone]
(i) a
is
called Placation
Assertion
92.
promise made on account of some reason
1
Assertion {vyavasaya)
called
is
Reverence
Mentioning one's superiors
is
called
Reverence {prasahga) 2 .
Rebuke
Words spoken
93.
contempt are called Rebuke (dyuti) 1
in
Lassitude
Fatigue arising from a mental effort
is
called Lassitude (kheda).
Opposition
Obstruction to one's desired
94.
object
is
Opposition
called
(nisedha) 1 .
Altercation
Speaking and
counter-speaking
in
excitement
called
is
Altercation (virodham)".
90 (C.92; K.XIX.84b-85a).
*
See
NL.
8\)7,
DR.
Cf.
45;
I.
91 (C.93; KXIX.86b-86a).
gNL.813.
1^
'
SD.381 and DC.
I.
'
See
NL.
801; Cf.
DR.
I.
45;
SD.
378.
SD. 379.
Emend vidrava
into abhidrava.
Sec
45, has drava in place of abhidrava.
Emend virodhopagamo
into
virodhopaiamo
cf.
NL,
819;
DR.
13.
3-94;
K.XIX.87a-86b).
SD. 380 DR.

Bj
SD. 384.
>.).
Emend pratimjdosa
into
pratijiMetu
1. 47.
'
NL. 826 defines differenely.

Cf. NL. 829; DR. I. 46, SD.382; SD.
g3 8, and SD. 386 has pratisedha in place of

s
CfTIH
385.
385.
^840; SD. -387.
this.
-XXI. 99
8#
THE LIMBS OF THE JUNCTUBES
Summing up
Bringing together
95.
Germ
and the action
(blja)
attaining)
(lit.
called
is
aspects]
[all
Summing up (adana) 1
the
of
Humiliation
some
words for
Putting in insulting
purpose is
called
Humiliation (sadana) 2 .
Foresight
That which
96.
advance]
is called
1
Foresight (prarocaiia)
These are the limbs

about
listen
[in
Pause (avairma - vimaria).
in
The Limbs
Now
(samhara)
the Conclusion
represents
in Conclusion
(nmhara -
Conclusion
the
those in
nirvahana).
Junction
The coming up
07.
is
Opening (mulchu) and the Germ
of the
1
called Junction {miulhi}
Awakening
Looking duly for
Awakening (vibodha)
Denouement
the
{karya)
called
is
3
.
Assembling
Intimation of [the various aspects] of the
98.
is
Assembling (gralliana)
called
Denouement
1
.
Ascertainment
Declaration of facts personally

(iiirnaya)1
known
is
Ascertainment
called
Accusation
99.
That which
said
is
to
blame some one,
called
is
Accusation (parilhasajiaY
K.XIX. 99).
Emend chadana into
1 See
95 (C.97;
a
chalana for sadina SD. 390 also
lias
96 (C.98; K.XIX.88a, 91a).

97 (C.99;
DR.
I.
a
K.XIX.
51jSD.
Cf.
DR.
91b-92a).
I. 51;
Cf. S. 895;
SD.
DR.
Emend
'
48;
SD. 389.
DR.
I.
46 has wrongl>
chadana wrongly,
See SD. 388;
'
I.
NL.
850.
DR. I
47.
sukhabijo into mukhaiijo
cf.
393.
DR.
I.
51
NL.
99 (C.101; K.XIX.93b-94a).
defines the
844,
See NL. 848.
392.
98 (C100; E.XXI.92b-93a).
3
NL.
sadana.
Limb
differently.
'
Cf.
DR.
I.
51,
SD. 394; NL. 864.
870.
'
Cf.
NL.
873;
SD.
-396,
DR.
I.
52
THE NATYASASTBA
396
[XXI.
100-
Confirmation
Turning to use
conquering) the object
(lit.
gained
is
called
Gratification
100.
Treating one with waiting upon or the
Gratification [prasada)
is
like,
called
1
.
Joy
Attaining objects [of one's desire]
Joy (ananda) 2
called
is
Dclivercnce
101.
Passing away of
misery,
all
Deliverance
called
is
(isamayaj
Surprise
Appearence of
(npaguhana) 3
something
wonderful
Surprise
is
called
gift
and the
Clever Speech
102.
Words mentioning
conciliation,
arc
like
Speech (bhasana) 1 .
called Clever
Retrospect
Retrospect dmrva-rakya) 2
to something
is
to be understood
as a reference
spoken before.
Termination
10:5.
Giving and receiving of a boon
Termination
called
is
(batya-samhara) 1 .
Benediction
[A prayer seeking
is called
perfect] peace to the king
101.
With a view
I Emend dyuli into dhtfi
to
introducing
Cf.
DR
1
100 (C.102; K.XIX.94b-95a),

'
Cf.
NL.
881; SD. 399;
DR
101 (Cl03;K.XIX.95b-96a).
Cf.
NL.
889;
SD. 401 DR.

;
I.
* Cf.
NL.
I.
Cf.
Sentiments
SD,
53;
NL.
and
(n*.i)
307.
SD.
879;
398;
DR;
I.
NL
883.
53.
NL.
52.
52.
* Cf.
DR.
SD. 400;
I. 52;
I. 53.
102 (C.104; KXIX.96b-97a).
'
Cf. SD.
'
Sec SD. 404;
402;
DR.
I.
891.
891; SD. 403.
103 (C.105; KXIX.97a-98a).

"
and the country
Benediction (praiasti)'.
Read nrpa-deia.
1.04 (C.106;
Cf.
SD. 405, NL. 895, DR.
K.XIX.88b-99a).
>
Cf.
cf.
I.
NL.
54.
SD. 406; NL.
906.
893,
DR.
I. 54.
-XXI. 109
THE LIMBS OB THE JUNCTUEES

an expert playwright
States
{bhava)
Limbs
into appropriate Junctures of his
should insert
work T
may sometimes
the
insert all
condition
its
Limbs or a combination
1
or three [of them] into the Junctures
these
all
Considering [the scope] of the Action or
105.
he
397
two
of
Five Explanatory Devices
The Supporting Scene (mlcambhalca),
IOC.
Intimating
the
Transi-
(pravesaka), the
Speech (culika), the Introductory Scene
Scene (ahkavatara), and the Anticipatory Scene (nhkaumkho)
tional
are five Explanatory Devices (arthopaksepaka)
1
.
The Supporting Scene (viskambhaka) 1 should employ
107.
the
middling 3 male characters, relate to the opening
(nuikhasandhi) 3 only of the Nataka, and

refined)
by a
Of
these the pure
two kinds
of
is
made up
is
(lit.
Kaucukin (armour-bearer).
108.
mixed.
priest, minister or
Juncture
[to be] graced
it is
of
pure and
the middling
characters
and the mixed of the inferior and the middling ones.
The Intimating Speech
When some
109.
points are explained by a
Intimating Speech (citlika) 1
See above 104 note
'
106 (C.108; K.X1X,1U4).
DB.
Cf.
SD.
I 58;
the
all
1.
NL.
308.
arthopahepaka as "Intermediate Scenes", sec
'Explanatory Devices' are
called
it is
105 (O.107; K.XIX.99b-100a).
translates
mid-
superior,
dling or inferior character from behind the curtain,
Haas
393.
But the
p. 33.
not complete scenes but parts of scenes,
vide infra.
107 (C.109;
K XIX.105).
vkkamllmkas lu samskrta
the view of
'
Cf.
SD. 308; DR. 338; DR.
into viskiimbhakah samskrtah
Carayana as follows:
iRflifti^
relates to the
Prakaraiia and the Nataka 'only).
the case
later
at a
stage
ftwff
It
I.
iffl.
Emend
59
NL. 362
quotes
{Viskambhaka
seems that such was
of the development of Indian drama.
First
it
related to the Niitakas only.

(
For a
According to this direction the
definition of the
middling character see NS.
108 (O.110; K-XlX.106).
Pauca. would be an ideal one.
109 (C.lll; K.X1X.107).
XXXIV.
viskambhaka at the beginning of
'
Cf.
NL. 414
f.,
438f.;
DR.
1.
61;
SD. 310.
[XXI. 110
THE NATXASASTBA
398
The Introductory Scene
The Introductory Scene (praveiaka)
110.
Nataka and the Prakarana,

Acts and
is
summary
to treat the
a place between two
occupy
to
of the
Prominent Point {bindu)*.
The Introductory Scene should be known
111.
superior
sisting of the exploits of the
con-
as not
and the middling characters
and there should be no exalted speech

should be Prakrit
(he
relation to
in
in
and
it,
language
its
1
.
The Transitional Scene
As
112.
in practice
it
between two Acts or within an
falls
purpose of the
Act, and relates to the
Germ
called the
(h'tjn), it is
Transitional Scene (ahkavatara).
The Anticipatory Scene
When
113.
the
detatched beginning of an Act
beforehand by a male or a female character,
rised
1
Anticipatory Scene [ahhmiukha)
114-117.
111 (C.113; K.XIX.109).
'
'
is
summa-
called
the
An ideal Nataka
The playwright should
110 (C.112; K.XIX.108).
it is
Cf.
DR.
See NS.
I.
a Nataka
write
60-61;
XX.
309. C. gives one additional couplet after this.
32-
But
having
SD
309;
NL.
Cf.
DR.
I.
307ff.
60-61.
SD.
(not occuring in
this
K.) seems to give no new information.

62.63;
SD. 311; NL. 398-399.
The ahkavatara seems
to furnish an indication
112 (C.115; K.XIX.110).
The def
is
not very clear.
'
Cf.
DR.
I.
An example
of the subject-matter of the next Act.
of this seems to bo
the dialogue of the Ccti and Vasavadattii at the end of the Act II. of
Svapna.
This relates
to
the making
by Vasavadattii.
of a garland
sW H^
$1*1Another example may be Avimaraka speaking <W W.

the
a
to
clue
5-6.
gives
This
1331'5'refa rcnrai:, II.
uJli **W<SU
I
subject-matter of the next Act
which
treats
AvimSraka's entry into tho
royal harem.
118(C.116;K.X1X111).
to plays other than of tho
'
The ankamukha seems
Nataka and the Prakarana
to
relate mostly
Examples
types.
this arc perhaps the speeches of the Bhata in the beginning of the
and of the Datagha.,

the
rules
pmveiakax
62;
SD.
'
prescribe
for
The
reason
viskantbhaka
assumption
for
the abovo
for
Natakas only
both Natakas and Prakaranas (see
312, 313;'NL. 408.
114-117 (0117-180! K.XIX.112-J15).
(seo
110).
of
Karna,
is
that
107), and
Cf.
DR. I
THE LIMB3 OF THE JUNCTURES
.XXI. 122]
and minor Limbs {^ratijahga) 1 Episode Indication
[different] Styles
(pataJca)
2
,
399
Explanatory Devices (athapratileriya)* arising from the
five stages
Junctures (sandlii) 6
(avastha)*, having five
Junctures
Alternative
lakmwis*, Gunas
many Sentiments
(excellence)
11
,
and
thirtysix
(alamkara) 10 ,
figures of speech
many
topics of
twentyone
(aitga) 1 ,
Limbs
sixtyfour
enjoyments, exalted speeches,
characters of great people, description of good conduct, and
be popular, wellknit in
composed with
stage],
118.
The
Junctures, easy for
its
it
should
production [on the
words and capable of giving pleasure.
soft
condition of the world arising from the
happiness
and misery and connected with the activity of various people should
find
1
a place in the Nataka
119.
There
no wise maxim, no
is
no device, no action that are not found

120.
And
human
the
depicted through
means
the
nature with
of
121.
122.
it is
and sorrows
joys
is
Gestures,
drama (naiya) 1
also called a
mimicry of the past exploits of gods,
and
sages,
As
[this] is represented
(nhhinvjate)
and interpreted
by the actors who after suppressing their own nature
[for this purpose] various
called the
its
craft,
beings should be also called a drama 1 .
{gamyate}
make
drama (natya) 1
representation such as
[Words, Costume and Temperament]
human
no art or
learning,
in the
Nataka
movements
of their
different limbs,
1
.
Praiijahga has not
boon defined
anywhere.
It
is
possible that
the reading is corrupt.

*
Palaku
hero stands for fiatuka-st/iutiaka just
"Bhlmaseua", sec above

3
"Bhinm"
as
for
30ff.
Arthapratikriya
See before
See NS. XVH.96ff.
48ff.
only
is
*
before 20ff.
'
synonym
See before
See before
'
6ff.
58ff.
of
5
8
See NS. XVII.43ff.
arthaprakaft.
See before
See NS. XVII.

'
>
Sec
35ff.
Iff.
So NS. VI.
K.XIX.U6). ' Cf. NS. 1.120

1 See NS. 1.116
119 (C122; K.XIX.U7).
118 (C. 121;
120 (C.123; K.XIX.118).

121 (C124; K.XIX.119).
122 (C.125;
K.XIX120).
character of drama.
f-
See NS. 1.121

See
N&
1120
x This very clearly defines
the
artistic
THE NATYASASTRA
400
The Nataka
123.
to be so
is
tions [of
men and
The
124.
may
One
human
of]
to include all
and the various condi-
human
various arts and crafts produced by
is
123-
be applied in the Nataka

125.
the
nature]
composed as
deeds,
States, Sentiments, inclination to all
XXI.
in their endless
to construct
forms
Nataka [onlyj
beings
1
.
after
observing
and weakness of men, their [mode
character, strength
enjoyment and reasoning 1 .

In succeeding ages
126.
hence those who
and
will
men
will
be born [after us]
be diffident in wisdom
will
have small learning
intellect.
127.
When
the world deteriorates, men's
intellect, activity,
[production of] crafts and skill in arts will dwindle.
Hence
123.
of
human
after observing
the
strength and the weakness
feeling, one should compose the Nataka with ptanent and
easily intelligible words.
120.
The plays
like ci'l-ii4'da
company
of a
is
poems) which contain
(lit.
repulsive
(lit.
harsh],
words
not shine) like a courtezan in the
do
Brahmin bearing a Kamandalu.

Brahmins, I have spoken about the Plot with
130.
its
I shall hereafter speak of the characteristics
Junctures and Limbs.

of the Styles.
Here ends chapter
XXI
of Bharata's Niityasiistra,
which treats of the Limbs of the Junctures.

x
123 (C.126; K.XIX.121).
124 (C.127; K.XIK.122).

125 (C.128;
ters in a
K.XIX.
123).
128
(C.131-,
Nli 1.113
into lokakarma.
x This puts emphasis on depicting charac-
in his Avi. (11L18.0).

)
127 (0.130; K.XIX.125).
K.XIX.126).
129 (C.132; K.XIX.127).
13
Cf.
Emend ekakama
drama.
126 (C.129; KXIX.124).
form
'
(C.133; K.XIX.128).
1 Bhiisa actually uses the root of this verb
CHAPTER TWENTYTWO
THE STYLES
The
now
I shall
1.
Styles
rise of the
When
2-P>.
and
the
by
(lit.
from the beginning) the
them] the origin and
[in relation to
Aeyuta (Visnn)
lord
single [vast] ocean
universe into a
[into a seed]
explain in detail
(vrtli)
dramas 1
the formation of
origin of the Styles
reducing
after
his supernatural power,
was lying on the couch of
Madhu and Kaitabha maddened
snake, the two Asuras
the
and compressing the creation
with the
1
pride of their strength challenged the god at once for battle .
These two,
4-5.
rubbing their arms)

bhavana,
knees),
lit.
the creator of
with
of
their
assailed
words and shook as
reviling speech
it
legs
(lit.
one another)
(lit.
were the ocean
with their
origin of the Verbal Style
[for the
of these
Druhina (Brahman) was
[Visnu],
mind and
words
(lit.
were threatening 1
turbed in
and
fists
him
Hearing the various [abusive] words
6-7.
challenge,
The
these
beings)
and while doing so they also
harsh
with
making gestures
after
fought the imperishable lord Visnu (lihuta-
said, "Is
it
fighters]
the
bhamli
two who
slightly per-
r?'/j that
start
and goes on increasing
with
sttige
by
stage ? Kill the two [at once]."
8-10.
Hearing
Madhusudana (Visnu)
1 (C.l;
K.XX.1).
words
these
said, "Yes,
'
of
I have
Pitamaha
made
this
(Ikalmum),
bhamll
rrtli
Sagaranandin explains the vriti as follows:
fwTOCTt I foftfo, NL. 1044ff.

2-3.
(C.2-3;
K.XX.2-3).
P. XIII.
'
story of Naruyana's
See JK. under Visnu (8) and Narayana
4-5 (C.4-5;
K.XX.4-5).
with the theft of the Vodas.

6-7 (C.6-7; K.XX.6-7).
'
Ram. VII.
VII.
72.
reducing the
72-
Kurma
(8).
Madhu and Kaitabha
Riira.
charged Narayana
Sec JK. under Kaitabha.
EtaenAgarjaloh into tarjatoh (farjatitm, K).
8-10 (C.8-10; K.XX.8-10).
51
The
ocean' occurs in the
three worlds into 'a singlo
THE NATYASASTBA
402
purpose of ray work.
for the
speaker, in which
words
and Angaharas*
preponderate.
will
fought
severely
method
At
11.
be the bh&raU
XXI.
11-
vrtti of
the
I shall kill these
two
his perfect gestures 1
So saying Hari (Visnu) with
Asuras today".
experts in the
It will
two Daityas who were
these
of battle.
time Hari's pacing with the Sthanakas 1 on the
that
ground created a great bhaiu (burden) on the earth (bhumi); the
was
bliaratl rrtti (Verbal Style)
The
And
12.
on that (bhara) 2 .
Grand
origin of the
at that [very] time,
named Sarnga which was
much
built
Stylo
by the rebounding
intensely
sattra (strength) the sfdlvatl vrtti (Grand Style) was
The
When
13.
vrtti (Graceful Style)
was made 1
The
the god
Whatever
different
made 1
moved
When
16.
entailed
Brahman
the god
acts
Styles
were
(rrtti),
was the subddupr

I
Brahman spoke
their
by him
meaning.
Kaitabha wore
killed
him (Narayana== Visnu) who
of foes (ariwlama).
ahgaih here means ahgikaih and ahgaharaih.
(Gil K. XX.11).
>
This
is
See NS\ XI.
a clear instance of
explain the origin of this Style.

tribe
observed as arising
associated
Madlm and
to
various Caris
SceNS.rV.19-27,170ff.
II
8
the two Asuras
(Visnri)
sportively
the kaisikl
?)
(Druhina = Brahman) with words suitable to
by Hari
personal combats which were
the various
the Energetic (arabhail vrtti) was

15.
of
energy and excitement, and which
of the
made 1
origin of the Energetic Style
Then from
14.
full of
bow
full
origin of the Graceeful Stylo
[in course of fighting]
with various Angaharas and tied up his siklia (krga
out
of the
steady and
brilliant,
see
NS.
I.
41
49ff.
folk-etymology and does not really
It possibly
comes from tho Bharata
f.n.
12 (C.12; K.XX.12).
T Sec above 11 note
13 (G13; K.XX.13).
'
2.
See above 11 note
2.
2.
14 (C.14;K.XX.14).
>
See abovfl 11 note
15 (G15; XX.K.15).
'
Emend pratyapujayat
16(C. 16;K.XX.16).
into pretty ayojayat.
-XXI. 25
TEN STYLES
The
17-18.
origin of the
Nyaya
thou hast killed the Danavas tvith various
god,
expressive and graceful Angaharas
clear,
combat [applicable]
personal
this world, will

1
kinds
all
the
Angaharas which arose
from the Nyayas and observed them (Nyayas)
Nyaya 1
called the
Then
20.
of missiles in
made with
this fight
hence this method of
throwing
in
Nyaya 1
be termed as
Even
9.
403
[in practice] will
be
Druhina (Brahman) gave over to
the high-souled
the gods this Style
States and
various
full of
Sentiments, [for
its
use] in the production of plays.
The name
21-22.
Style ('Hit) was
And
various States and the Sentiments.

in
made a
repository of the
whatever was
made and
whatever manner, the exploits of the god (Visnu) were utilised
by the sages
Words and
in fashioning
similar
the
Styles
from the
arising
the Gestures which have their origin in materials taken
from the four Vedas 1 , and which also have Words and Gestures as
their chief characteristics.
These Styles which were
23.
various
for the
Caris,
the
were again, taken by
purpose of making plays
The Verbal
24.
Grand
(xjjtflvatl)
Style (bkarati
wellborn and
at Druhina's
(arabhat'i)
from the Atharva [Veda] 1
vrtti)
the remaining one
Style which
is
to
full of
command,
was from the Kgveda,
from the Yajur-veda, the Graceful
Sama Veda and

The
me
poem) 1
(lit
from the
25.
desired,
(i.e.
(Icaisik't)
the Energetic or
be applied by the male characters
and not by females and which gives prominent place to speeches

17-18 (C.17-18;
19 (C.19;
K.XX.1M8).
K.XX.19).
'
See NS. XI.
'
See NS. IV.
74ff.
170ff.
20 (C.20; K.XX-20a, 21a).
Emend nalyavcda into caturveda.

Emend 23a as follows, gif^t gsirat
21-22 (C.21-22; K.XX.21b-23a).
23 (C23; K. XX.20b, 23b).
24 (C.24; K.XX.24).
tlio vrtiis.
See before 2-14.
25 (C.2i ; K.XX.25).
This
'
is
'
a different story about the origin of
THE NAMASASKBA
404
made
in Sanskrit,
used by the eponymous bharatas
is
26.
(actors) as
bltarall (Verbal)
The
20.
[XXI.
four varieties of the Verbal Style
has four varieties such as the Laudation (praro -ana),
It
and the
(amukha), the Vithl
the Introduction
these have became
component
its
parts (ahga)
Prahasana, and
1
.
The Laudation
27.
The Laudation (prarocana)
Preliminaries
in the
good luck, victory and removal of
attain success, prosperity,
is
to
all sins.
The Introduction
That
28-29.
where an actress 1 the Jester or
part of a play
the Assistant has a talk with the Director
and they use
interesting
any other way
in
speak in detail about
The
Introduction (amul-haY .
the
called
is
talk
The
its five varieties (lit.
the Introduction
five varieties of
(nvahjUa) are the
live varieties of the
Introduction (ainuhha) 1
these the characteristics
1
tation (ndijhati/iihi)
mentioned by me.
Presentation d'u'jo-
Business, (prarrttaka) and the Transferrence
gatwyd) the Personal
Of
elements).
Accidental Interpretation (whjhatyaka), the Open-
ing of the Story (kathoijhaln), the Particular
:U.
topic,
words or adopt any type of the Vithl or
shall
;>0.
on some relevent
of the Accidental
Interpre-
and the Transferrence (avalyUa)* have been
now speak
1 shall
in detail of the characteristics
ol the rest.
Opening
\)i.
of the Story
[That Introduction]
up a remark
stage] taking
in
which a character enters [the
Director or
of the
1
the Opening of the Story {hdtlwilijhahi)
NL.
ll)54ff.
DR.
II.
str'iyuldh pmhioktitit, Mass,
26 (C 26;
K.XX 26).
27 (C.27; K.XX.27).
'
'
SD. 274, AP. modifies
on DR. JII. 5
30 (C.30; K.XX.30).
31 (C 31; K.XX.31).
SD.
288.
'
32 (G.32;
See
Nil.
'
XX.
K.XX32).
>
this dcf.
DR.
Cf.
NL.
NL. 1070-7 Iff; DR.
Cf.
'
NL.
1008-69;
Ill,
Cf. NL.1178-81,
called
by adding
III.
DR.
SD.
285.
SD.
III. 7
286.
SD.
286.
11-88-89 DR.- HI. 8, SD. 287.
NL. 1189 DR. III.

NL. 1192, DR. III. 15; SD. 292.
NL, 1 196; DR. JII. 9; SD. 289.
See NS. XX.117 Cf.

118;
Cf.
is
(p.81).
Cf.
28-29 (C.28-29;K.XX.28-29).
meaning,
its
;.
14
XXI.
89
TEN STYLES
405
Particular Presentation
When,
33.
production [of the Introduction] the
over this
Director imposes another production and

it is
[the stage],
then a character jenters
called the Particular Presentation (prayogatisaya).
Personal Business
[The Introduction]
34.
some business
in
a character enters
(pravrttaka)
meaning to
tion
by
the
stage,
it
called
is
ent bases
(lit.
with
its
Personal
help)
Business
of these types
and
skilfully giving double
the wise [playwright] should construct the
it,
freely assembling different characters
The
36.
this
the
Taking up one
35.
which the Director speaks on
in
hand and taking cue from
The
know
wise are thus to
Introduc-
1
.
the Introduction with
characteristics of the Vithl
differ-
and the Prahasana"
have been mentioned before.

37.
These are the eight 1
the Verbal Style I spoke
Grand Style
(saltcali) with
different aspects
I shall
of.
the
The
Style which
Nyayas, metres, and
meanings) of
Style
endowed with the
is
sail cai' quality,
has exuberance of joy and an under-
current of the State of sorrow
by
(lit-
explain the rules of the
characteristics.
its
The Grand
38.
now
1
,
is
called
Grand (mttrati) 2
The Grand Style is known to consist of representation

30.
Words and Gestures, and of strength in speeches and acts
showing the
rise of spirit.
33 (0.33; K.XX.B5).
'
See
34 (0.31; K.XX.32).
'
Of.
35 (0.35; K.XX.35).
NL.
NL.
1201-1202;
actress,
i.e.
DB.
III. 11
1214-1215; SI). 201;
SD.
DR.
200.
III. 10.
Jester or the Assistant. See 28
above.
36(C.36;K.XX.36).
8
Sec NS.
XX.
37 (C.37; K.XX.37).
varieties of
Smukha.
38 (C.38;
'
lllff.
Emend vivbudhitsrayam into vivid'Afumyam.

See NS. XX. lOlff.
x PrarocanS,
Vitlii,
K XX.38).
'
and
five
This shows that no pathetic subject-matter
should find a place in this Style..

3
Prahasana
See before 26-30.
Sec NL. 1234ff. SD. 416.
39 (C.30; K.XX.39).
DR.
II. 53.
THE NATYASASTBA
406
40.
It is to contain the Sentiments
the Marvellous
The four
41.
such as Heroic {vlra),
and the Erotic
{irhgara),
and
should be mostly majestic and defying one another 1
it
It is
{utlhapaka),
40-
(adbhuta) and the Furious (raiidra) and to a small
extent (alpa) the Pathetic (htruna)

characters in
[XXI.
known
varieties of the
Grand
to have the four varieties
Change of Action
Style
such as challenge
Harsh Discourse
(parivartaJta),
(sandapaka) and Breach of Alliance (samghuta) 1
Challenge
One's rising up with a view to conflict after saying "I
42.
am
getting
up
[for
now] show me your own prowess"
battle,
is
called the Challenge (ntthapaka) 1 .
Change
If
43.
up, one
Change
after leaving
takes
to
of Action
the
which caused the
thing
things due to
other
some need,
it is
rising
called the
of Action {parivartaka) 1 .
Harsh Discourse
Various kinds of words containing abuse or
44.
insult
whether these arise from a challenge or not, are called Harsh

Discourse {sanilapaka) 1
Breach of Alliance
The stopping
45.
money or due to an
of Alliance
46.
of an alliance for the
accident or [one's]
own
fault, is called
These are the eight meanings 1 of the Grand Style that

shall
hereafter
Graceful Style (kaiiih
vilti)
40 (C.40; K.XX.40).
41 (C.41; K.XX.41).
42 (C.42;
KXX.42).
seems to be corrupt, also
cf.
describe
the characteristics
Cf.
DR. ll.
Cf.
NL.
DR.
'
II. 54;
Cf.
53 SD. 416,
1276, 4278.
SD. 416.
Cf.
'
Read mitrartha-karya.
46 (C.46; K.XX.46).
samlbpaka and the four kinds
1274ff.
text on this point
DR. II. 55; SD. 419; NL. 1279-1282.

DR. II. 54; SD. 418, NL. 1288.
DR.
NL.
The
45 (C.45; K.XX.45).
1298-1299;
the
44 (C44; K.XX.44):
NL.
of
See NL. 1271-1273).
>
43 (C.43; K.XX.43).
Cf.
Breach
(aamghatay.
I spoke of. I
sake of a friend, 1
II. 55;
SD.
417.
Utthapaka, parivarttaka, the two kinds of

of
samghata.
See before 41, 44, 45.
-XXI. 52
TEN STYLES
The Graceful
That
47.
Style
on account
interesting
specially
by [dramatis personae]
Style
charming
of
mostly women,
and
kinds of dancing and singing are included
enjoyment 1
such as
Pleasantry
The
49.
many
(lit.
arising
from)
Style
have the four varieties
said to
is
Pleasure
narma-sphnta)
and
Covert
1
.
three kiuds of Pleasantry
The Pleasantry (narma) which abounds

kinds
in jest, is of three
on
that based
in
remarks
love, that with
1
laughter and that having Sentiments other than the Heroic
oO.
acts
its
(narman), Beginning of Pleasure (narma'
Pleasure (narma- garbha)
made
which
in
the Graceful Style
varieties of
The Graceful
Unfoldment of
phnrja)
worn
The four
48-
is
costumes
and the themes acted
and arc connected with
are practices of love
which
(kauiH)
Graceful
called
is
407
The Pleasantry (narman)
of jealousy
is
known
as
with
concerned
self-reproach and
words of rebuke,
and anger,
pure
deception of others.
Beginning of Pleasantry
51.
known
The Beginning
as the
first
of Pleasantry
narma- sphurja)
is
meeting [of lovers] in which words and
exciting love [are in evidence] but
which ends in fear 1
to
be
dresses
Unfoldment of Pleasantry
52.
The Unfoldment
cause of the Sentiment

States (bhava) and not
of
Pleasantry (narma-sphola)
contributed
by small
1
by any State as a whole
47 (C.47; K.XX.47).
Cf.
SD. 411; DR.
48 (C.48; K.XX.48).
Cf.
DR.
49
narma
(C.49;
II. 48;
is
the
different
II. 47;
NL.
SD. 411; NL.
1304ff.
I308ff.'
Cf. DR. II. 48-50; SD. 412; NL. 1310 defines

<wmr: <jwsNN faifsrsi wwmifAri wotw(j
K.XX.49).
as follows:
fraction of
but the dcf. of the NS. as well has been referred
to.
50 (C.50; K.XX.50).
51 (C.51; K.XX.51).
Cf.
NL.
52 (C.52; K.XX.52).
Cf.
DR, H.
1342-1343;
51;
DR.
SD. 414
II. 51;
;
SD. 413.
NL. 1836
f.
THE NATYASASTRA
108
XXI. 53
Covert Pleasure
When
53.
the
Hero
through his qualities such

affection,
it is
These are the eight
51,
appearance and
intelligence, [good]
called Covert Pleasure
any necessity
out of
incognito
acts
as
{uarma-garbha) 1
meanings of the Graceful
different
Style that I was to speak about. I shall hereafter describe the Ener-
which
getic Style (ainhhat't)
is
concerned with haughty Sentiment. 1
The Energetic
The
55.
(uivhhalo)
person
such
bragging and falsehood,
The
50.
Style
down 1 jumping,
,
It.
as Energetic (ambhati) 2 .
known
which there
in
bold
deception,
a representation of falling
is
crossing over, deeds of magic and conjuration, and
The
57.
to be
is
many words 1
speaking
as
various kinds of fighting,
Commotion
Style
Style which includes mostly the qualities of a
called Knergetic (firahhuti)
is
2
.
four varieties of the Energetic Style
has
such as Compression
varieties
and Conflict (snw/'/wfa) 1
(wmZ'gi/ifriZ'u),
Various Feelings (rax1ultha[>nua)
(nra[iatn), liaising
.
Compression
Compression
5S.
ship (HI pa) in
the
sense
true
53 (C53;K.XX.53).
'
C. adds an additional
1:185.
The
words and
the
it
workman-
includes the
Siigaranandin Araihaii
DR.
Cf.
def. (0.5-i) of this,
54 (0.55; K.XX.5J,)
of
of
According to
ahga of the Gautli witi: NL.

f.
furnished with
(*iiml'xii>t<tka) is
but
11. 52;
wanting
it is
three kinds of
is
an
SD. 415; KL. 1338

in
K.
narma, the three kinds
manna- garHia and narma-phTirja and narma-sphola.

55 (C.56; K.XX.55).
verbal duel.
'
'Many words' probably
Cf.
but this
Emend
this to vasiva
See above 56 note

is
ff.
DR.
The reading prastif
58 (C.57; K.XX.56).
corrupt
NL. 1318
2.
II.
mean
56-57;
altercation or
SD. 420.
in prasiava" seems to be
C. adds one more def.
wanting in K. Iu trans,
it
will be as
(C.58) of arabhati
follows
That which
includes excitement due to an application of the sixfold policy (mjguna),
running away due to deception of the enemy, and that which
relates
to [material] gain or loss, is called the Energetic Style.
DR.
57 (C.59; K.XX.57).
'
Cf.
NL. 1356
f.
58 (C.60; K.XX.58).
'
Cf.
DR.
57-58,
gives another def. samksipalaka.
II.
II. 56-57.
SD.
432,
SD. 420.
NL. 1358
f.
XXII.
THE STYLES
Gfl ]
presentation of model works (pnsla)

relates to
some condensed
409
and dresses, and
drawings,
matter.
Commotion
59.
Commotion
(avapata)
and
jubilation,
occurrence of
speaking,
fear
is
quick entrance and exist 1

Raising the
60.
That deed which
is
known
panic,
to
called the Raising the
Theme
the
kinds of
Theme
represented as being connected with'
panic or no panic, and includes a combination of

is
to
relate
many
flurry,
all
(rastutthapnna) 1
the Sentiments
Conflict
01.
many
Conflict (samjilteta)
fights,
striking of
02.
weapons 1
is
combats,
personal
known
include
to
deception,
split
excitement,
and
[mutual]
These are the Styles
different Sentiments,
to be
Now
connexion with the drama.
listen
which T urn going to
reckoned
by the wise
about their application

tell
in
in.
you.
Styles according to Sentiments
03-64.
The
Style
and
be Graceful
should
Marvellous Sentiments
the Odious and
Energetic
the
Style,
the
in
Furious
while
Sentiments
Verbal Style
the
Furious and the
Heroic, the
should be Grand.
it
Comic Sentiments
Erotic and
the
in
And
in
the Terrible,
one should
is
use the
in the
applicable
Pathetic and the Marvellous Sentiments 1 .

05.
tation
Now
I have spoken properly about the
Histrionic Represen-
dependent on Words, Gestures, Temperament and the Styles.

I
shall treat of the
Costumes and the Make-up used
in the
production of plays.
Here ends Chapter

which
NXII
treats of the Styles.
59 (C.61; K.XX.59).
'
Cf.
60 (C.62; K.XX.60).
'
Cf.
61 (C.63; K.XX.61).
>
Cf.
DR. I. 59. SD. 423; NL. 1368f.

DR. II. 59, SD. 420; NL. I372f,
DR. II. 50; SD. 421; NL. 1380f.
62 (C.64; K.XX.62).
63-64 (C.65-66; K.XX.63-64).
SD. 410. C. repeats

65 (C.69;
52
after this
K.XX.65),
two
'
Cf.
NL.' 1059-1562. DR.
EL
couplets from the Ch. VII. (118-119).
62;
CHAPTER TWENTYTHREE
THE COSTUMES AND MAKE-UP
Necessity of the Costumes and
1.
shall
similarly
speak
about the Costumes and Make-up
depends on this 1
2.
with the
who
The Extraneous Representation (aharyabttmya) deals

2
Anyone
rules of the Costumes and Make-up (nâthja)
.
wishes
success
the
for
(lit.
swell-being)
1
.
Indicated
by their Costumes and Make-up they accomplish the repre-
much
sentation without
effort
Four kinds
4.
kinds
a dramatic
of
The dramatis perzonae are of different types 1
3.
first
Brahmins,
order,
for the production [of a play]
production should pay attention to these
Make-up
due
in
by means of Gestures and the
of the
Costumes and Make-up
The Costumes and Make-up (nepathya)

model
(pvsta) 1
work
like.
decoration
are of
(alamlara),
four
painting
the limbs (ahga-racana) and living creatures (mnjlva).
The four kinds

5.
various forms.
They
are
6.
is called
K-XXI.l).
3 (C.4; K.XXI.2).
hhutc&rayw ca (Ag.
K.
'
'
and
three kinds
of
is
made up
of mat, cloth, skin and

.
rcabs lb differently.
C. reads after this an additional couplet.
Nanavasthananaihitta
ya iokudya nana-
p. 429).
Read purvam {purva,
4 (C.5; K.XXI.4).
C.) nepalhya-sucitah (sveikah, C. sadkHali)
K. mukla
'
for fiusta.
K. natyahga-racana for talhahga-racana.
5 (C.6;
KXXI.5).
6 (C.7;
K.XXL6).
p. 429).
of
1
the Joined Object (sandh.ima)
2 (C.2; K.XXI.3).
is
the Joined Object (sandhima), the Indi-
The model work which
1 (C.l;
model-work
and the Wrapped Object (veslima) 1
cating Object (vyajima)
the like,
of
[Of these] the model-work
'
Ceslimah, C. for vestimah, K.
SandhimahsandKanatayu.
nirwUah
(Ag.
-tfXIII. 12]
7.
That which
of a
produced by wrapping,
called a
is
Hills, carriages,
Wrapped Object
device
is
(vestima)*.
lofty palaces, shields, armours,
and elephants 1 which are constructed
staffs
mechanical
an Indicating Object (vijajima) 1 and that which
((/antra) is called
8.
made by mean*
is
411
for use
in
banner-
a dramatic
performance are called model- works {pasta).

Decorations
!).
garlands,
(alamkant) are known to consist of flower-
Decorations
ornaments and drapery which are
different parts of the
used on
differently
[human] body.
Garlands
10.
up
Garlands are of
kinds
(aamghaya)
grouped
(vitata),
live
encircling (cestita) 1 , spread-
tied-round
(granthima), and
hung-down (pralambita).
Four kinds of ornament
11.
Ornaments of the body are known by the wise
the four kinds
up
that to be tied
that to be put
to
be of
that to be fixed by piercing the limbs (aoeiUiya) 1 ,

(liaibtlhamya),
round (aropya) 2
that to be
worn (praksepya), and
Piercing ornaments
12.
[Of
ornaments] to be fixed by piercing the
the
these,
limbs are ear-rings (Icaiufala) and other ear ornaments 1
Tied-up ornaments
And
those to be tied-up (bandhanaja) are the girdles
(srotu-
mtra) and the Angada (arm-band).

7 (C.8;
K.XXI7).
Vyajimahvyhjah
'
sutrasyakarsa\<adirTtPah
ksepas tena nirvrlto vyiijimah (Ag. p. 430).

2
Read
'7b ag
vestimah as follows
(C.9;
5* 95jt tfrt
tT?t
g 4fai\
Ag.
(p.
430) explains
upari jatu-sikstadina vestanena nirvrtto vestimah.
M.XXI.8).
'
Emend nagah
into nagah.
9 (CIO; K.XXI.9).
10 (C.ll; K.XXI.10).
2
K. tefiUam
11 (C.12;
*
for
C. eeditam.
'
samghatya.
K.XXI.
11).
Ag. with C.
C. avedya.
K. aropyaka, C. aropaka.
' The reading
12 (CIS; K.XXI.12).
corrupt
of 12b
seems to be slightly
'
THE NATYASA8TBA
4i2
XXIII.
18-
Worn ornaments
The ornaments
13.
(mpura) as
worn (praksepya) are the anklets
to be
well as the wearing apparels.
Put-round ornaments
And
those [ornaments]
golden neck-chain
round (amjiya) are the
to be put
(hemanutra) and
necklaces (hara) of different
kinds.
Ornaments according
I shall
14.
men and women
to habitation
now speak
of
and
tribal origin
the varieties
of
ornaments of
according to their habitation and tribal origin.
Ornaments
for males
Head ornaments
The
15.
{ruiamani) 1 and the crown (mukuta)*
crest-jewel
are called ornaments of the head.
Ear ornaments
And
the ear-ring
Mocaka
(kumfala)*,
(ear-pendant)
and
ear-top (klla) are ornaments of the ears.
Neck ornaments
The
16.
pearl-necklace (mnkt&vall) the
Harsaka 1 ami the
2
[gold] thread {nutra) are ornaments of the neck.
13 (C.14; K.XX1.13).
14 (C.15; K.XXI.14).
15 (C.16; KXXI.15).
Cnjamaifili iiromadhtje (Ag.

8
p.
be worn
on the
top
of
the
To
l.c).
be worn in the hole in
the middle of the
Mocakah
oar.
karnasaskulyu madhyacchidre ultara-kamiketi prasiddham (Ag.

16 (C.17; K.XXI.16).
'
kanaka &
gata-sarpadi ruPataya Prasiddham.

*
Kaiakah
I.C.).
snake-shaped ornament, samud-
(Ag.
I.e.).
Sutram golden neck-chain, sutrakam
prasiddham (Ag.
3
head-
430).
To be worn above the forehead. Mukulo laMordhve (Ag. I.e.).

To be worn in the lower lobe of the ear. Kuntfalam adhara-
palyam (Ag.
*
To
'
itiguccha-griva-sutraditay'a
/.).
(va{ika, K.).
Ag.
(l.c.)
reads the term differently.
He
says vetikeli suk.makataka-riipa.

'
.
Ahguli-mudraln
word, (akguliya and
later times the
mudra) gave
the object (ring) denoted by
it>
two members of
rise to
two
different
this
compound
synonyms for
-XXIII. 19
113
Finger ornaments
And
Kataka [Vatika]* and
the
miuira) are ornaments of the
the finger-ring
Ornament
of the forearm
The Hastavl 1 and the Valaya 2
17.
(ahgdv/a-
finger.
arc the ornaments of the
fore-arm {bahu-ndll).
Wrist ornaments
And
the bracelet {rucilca)* and
the Uccitika 4 are ornaments
of the wrist.
Ornaments above the elbow
The Keyura
18.
(armlet) 1 and the
Angada (arm-band) 2
are
ornaments to be worn above the elbow.

Breast ornaments
And
the
necklace (trusara) 3
three-stringed
the ornament
is
of the breast.
The suspended
19.
the like, are
pearl
ornaments for the
necklace, the
flower-garland
and
{mtra) 2
are
[entire] body.
Waist ornaments
And
the
Tarala
and the
golden
thread
ornaments of the waist.
17 (C.18).
This
'
is
seems
to
be very rarely mentioned in Skt.
literature.
*
This word
This seems to be a variant of the word rucaka.
is
the same as Bengali bala (bangle).
See note 4 below.
This word seems to be never met with elsewhere. Ag.'s fragmentary gloss on this word or rucaka is as follows
* cairn iti karagolake vitatam tata urdhve culiketi prasiddhau
niskuke agrabahu:
(f)
sthane etat [vMu]-sanam
(p. 430).
18 (C.19, K.XXI.17).
To be worn above the elbow- Keyure
karpara (kurpara)-syordAvatali (AgJ.c), but ke bahmirne yauti iti
keyuram, Ksjrasvamin on Amara II. 6,107.
'
tv
To be worn above
ahgadam
the keyura,
Tayor (keyurayor) urdhve
(Ag. l,c).
Tmaralrisaro muktalatatrayena (Ag. I.e.).

l
To be worn below the
Mher atah(Ag.U.)
19 (C.20; K.XXI.18).
3
To be worn below
the taralaka.
navel
ta[ra]lakmn
Tasyafiyadhah suirakam (Ag.
/.<;.).
THE NATYASASTRA
11*
These are the ornaments for males
20.
gods and the kings.
I shall
now speak about
case of
the
ornaments
for
in
the
XXItl. 20-
females.
Ornaments for females
Head ornaments
The SikhapasV,
21-22.
(Khandapatra),
Pindapatra
Jewel {cuiamani)*, the Makarika 6 the
the Crest
pearl-net (mv.ldarjalay
Sikhajala*, the
the
the
Gavaksa 1 and the
hair-net (ilrMJah)
are ornaments of the head.
The Tilaka on
22-23.
many
the forehead should be
and group
artistic touches,
produced by
above the eyebrows
design
of
should imitate flowers.
Ear ornaments
The ornaments
23-25.
of
the ear
are
the
Kikhipatra 1 (Khadgapatra), the braid [of hairs],

the Karnika*, the Karrtavalaya 5
Mocaka'
Karnamudra 7
that
entwines the ear, the
Kundala, the
the lotus 2 and the
the Fatrakarnika 6
the
Karnotkilaka (ear-top),
30 (C.21; KXXI.19).
21-22 (C.22-23a; K.XXI.20-21a).
mentioned in Megha,
2
Ag.
(p.
II.
This
'
same
as
cwlapasa
explains this as
nagagran-
is
2.
431) reads
it
as iikftavyala and
thibhir upanibaddho madhyekarnika-sthimiyam, and adds to explain
piifiji-
palra
(=pinilapatrd) as tasyaiva dalasandhanataya citraîacanani (?)

vartulani Patrani pintjipairani.
See note 2 above.
*
The same
Ag. reads this makarapatram.
This
'
No head ornament
is
as mentioned in 15 above.
the same word which occurs in Megha,
I. fi4.
with this name seems to occur anywhere
else.
22-23 (C.24; K.XXII.21b-22a).
23-25 (C.23b, 25-26;

1
Ag.
(I.e.)
K,XXII.
21a, 22b-24).
reads sikhapatra and explains this as sikhapalra
mayura-
picchakaro m'cttravar>ia-mai}i-racitah
2
guccha. K. for kahja. C.
This was never met with before.
This
is
Rocaka, C. and darakah K.
perhaps the sames as mod. Bengali kanbala<*kanbala<
kanmvalaa< karnavalaya.
6
'

This ornament
is still
in use
among women
of
backward
classes,
-XXIII. 27
the
the Dantapatras
vnrious kinds of
Kamapura
set
with
41.1
and the
jewels
The Tilaka and
Patralekha 10 are ornaments of the
the
11
cheeks
Neck ornaments
pearl-necklace, the snake-group (fiiaht-iJiiWi) 1 , the
The
20.
4
3
Manjari 8 the jewel-string the jewel-necklace and the neck-chain
,
(sutra)* are ornaments of the neck.
The
27.
a gold
chain
necklace with two, three or Four strings as
is
1
the ornament of the neck
well
as
These wove possibly made with ivory.
The well-known
"'The
same
ear ornament.
jxitrabhahga (drawing
as
decorative designs with
vented pigments).
1
'
C. reads after this four additional and somewhat corrupt couplets
(C.27b-3la)
which may
the triveni
is
be
tentatively translated
be known as the
to
eyes are to be touched with collyrium,
The four front
varying colours as well
women
tender
of
26 (C.31b-32a; KXXI.25).
;'
And
leaves.
6 note
bo painted.
covered with
artificial
of beautiful
young
the colour of lotus petals
amorous
their
'
An
lips
look
will
will
ornament with the snake-motif
This was never mot with
1.
Manjari This was never met with
RalnamalikaT)m
which
note 4 below)
lower rows) are to have
teeth
with
also to
And
The two
charms
constitute their
above
follows
and when dyed with emerald colour the
they will be lovely,
see
When
Pearl-like
embellish their smile, and dyed
attain the beauty
lips are
and the
as whitness.
their beauty is enhanced.
colours
and the
(of the upper
teeth
as
ornament of the breast.
is
is
to be
before.
before.
distinguished from ralnaxati (see
a bigger necklace
for the
word malika means a
small mala.
4
Ratmtvali
Sutra
made of gold;
See note 3 above.
(lit.
cf.
thread) evidently means a thin thread-like necklace
kanakasutra in Paiicatantra
27 (C.S2b-33a).
(wrongly
caturasa)
dvirasa), trisara
mean
I.
K. omits this passage.

(wrongly
(vayasa-dampati-katka).
The terms
like dvisara
trirasd) and catu-sara
(wrongly
respectively necklaces with two, three and four strings.'
THE NATYASASTRA
41G
XXIII. 28
Breast ornaments
The
28.
necklaces with
ornaments of the
The
most
the
work 1 are
artistic
to be
breasts.
jewelled net
the ornament of
is
breasts
the
(or
the
back) 2 .
Arm
ornaments of upper
(lit.
ornaments
(angaria)1 and the bangles {mlayn) 2 are
The arm-band
29.
the root of the) arms.
The Varjnra' and
Svecchitika*
the
ornaments of the
are
fore-arm.
Finger ornaments
The Kataka 1
30.
KaksakhaVheHastapatra 3 theSupu-
the
rnka* and the ring {mmlrahyuliyal/a)* are ornaments of fingers.
Hip ornaments
The
,'il.
Kaiici
Kulaka, Mekhala,
with a net of pearls, the
the Itasana and the Kalapa are ornaments of the hip
The
32.
of
the
eight,
Kafici
Havana
is
of
of
girdle]
|'a
sixteen
and
(iront).
one
string,
the
Kalapa 1
the
Mekhala
of
twenty-
five strings.
28 (C. 83b-34a K.XXJ.26).
nana-ratnakrta
up of many
2
Pniha-vibTmna
29 (C.34b-35a
above 18 note
2
It
(Megha,
8
I.
(in K.)
meaning made
jewels'.
(in
K.) meaning 'ornaments of the back*.
K.XXI.28b,
'
28a).
K's
reading
is
corrupt.
See
2.
ananta
is
now-a-days
2)
had a kind of valaya
called
in his
in
Bengal.
prakoMa
This seems to connected with the taju
still
Kalidasa's
Yaksa
(foro-arm).
in use
among women
of rural areas in Bengal.

4
Svecckitika This was not heard of
30 (C.35b-36a K.XXI.27b, 27a).
'
katakam
of an
tat ha syat patrapiirakam.
ornament of the
3
,
Kataka
2
wrists.
(Apte).
l
31 (C.36bc; K.XXI.29).
is
as imxkha-kalafi.
usually met with in the sense
hasta-mra
before.
K. roads of 30a
1 here
is
however an ornament
This was not met with before.
K. reads 31a
differently.
ments except kulaka have been denned in 32 below.
All the orna-
Kulaka seems
to
be a girdle of the special kind.
32 (C.W; K.XXI.30).
'
Kalapa seems"
Kalidasa in the sense of a necklace (Kumara
I.
to
42).
have
been
used by
-XXIII. 40
THK COSTUMES ANP MAEKE-UP
33.
The
necklace of the goddesses and the queens are
pearl
of thirtytwo, sixtyfour or one hundred
Ornaments
34.
The Nupura,
Kataka
and the ringing

35.
417
and eight
strings.
of the ankles
the Kinkini,
the Jewel-net {ralwijala) 1
are the ornaments on the ankles.
The Pada-patra
the ornament of the shanks (iamgha)
is
and the toe-rings that of the
and the Tilaka on the big toe
toes,
are ornaments of the feet.

36.
Similarly [an
the lae-dye applied on

the natural colour of
37.
hair to
These
nails
[of
additional
them
decoration of the feet] will be

patterns to impart to
in various
them
Atoka blossoms.
are
the
decorations
the
feet]
women
of
Considering
the
from
States
the
and the
Sentiments these are to be applied [in different parts of the body].

38.
These ornaments
Yisvakarman a
the
tradition
are
to
(a<invi),
works) having their origin
(lit.
applied
after
also
consideration
measurements [of the
wearer]
in
of
and her
physical form.
39-
[in dramatic production]
one
is
not entitled to decorate
the limbs freely and at one's will, with gold, pearls and jewels.
40.
Utilised
on account
ments put on in proper places
of
wealth 1 , the jewelled
will lend
beauty to the limbs 2
orna.
33 (C.38, K.XXI31).
34 (C.39, K.XXI.32).
'
K. reads ghan\ika lalam eva
Hollow bangles within which small stone
35 (C.40; K.XXI.33).
a
'
ca.
bits are lodged.
C. reads jaiighayoh for padayoh.
Ag.
(p.
431) reads tilaka iti
oicitraracanakrta.
36 (C.41).
37 (C.42;
This passage
'
is
wanting in K.
K.XXI 34b. >34a).
Ag.
'
(l.c.)
a,nakhadalaktaka-maa~
paryantam.
58 (C.43; K.XXI.35).
ranam.
An
x Ag.
39 (C.44; K.XXI.37l)-38a).
40 (C.45).
S3
(I.e.)
explains
and crafts
authority of arts
agama
as
ufadanaka-
(silpa).
x K. reads tarhi saklyanusarena.
Read vibhavato.
'
,
K. omits
this passage.
THE NATYASASTBA
418
41.
use of too
But
by
for these
weighed down,
so
will
one
ornaments
Weighed down with heavy
move much, and one
movements
stiffening
cause fatigue [to actors and actresses]

42.
plays there should not be a
of
the production
in
mnny ornaments
[XXIII. 41-
is likely
to
cannot,
be exausted and
to be faintaing.
4?,.
Hence
should
[in a dramatic production] there
be not
used ornaments made of pure gold, but those made of lac and
the wearers
inlaid slightly with jewels, will not bring exaustion [to
in a play].
44.
celestial
The
rules
beings (gods and goddesses)
made
beings are to be
45.
own
roles
The
in case of the
but the decoration of
human
careful 1}'.
females
eelelstial
by means
optional
are
decoration
of
are to be distinguished for their
ornaments
of
and Costumes
suited to the
various States.
46.
Women
of the Vidyadharas,
and the Apsarasas, and the daughters

distinguished by
47.
the
their
The same
the
Yaksas, the Nagas,
of sages
and gods are
to be
Costumes.
rule applies also
to
women
of the Siddhas,
Gandharvas, the Raksasas, the Asuras, the godly monkeys,
and human females.

48.
(iifr/iS)
The Vidyadhara women should be made

top-knot
tied in
decorated
have hairs
the
'
42 (C.44).-
See above 41 note.
43 (C.48).
44 (C.49).
For gods are beautiful. by nature.

as H^'fa *&* IPIWSI WW?:.
Read 45a
46 (C.51, K.XXI.42).
47 (C52).
2
K. omits
x Road divya-mmara-mriq&m
cf.
57 below.
this passage.
1
48 (C.53, K.XXI.44). K. reads cilra for sudd/m, C.
4fr(C.54,K.XXI.43),
and
Apsarasas should have
A very sensible warning.
41 (C.46).
45 (C.50).
pearls
Yaksa women and
Tlfe
to
many
clothes [completely] white
49.
with string of
'
.XXIII. 56]
ornaments of jewels, and the same

except that the
the dresses of [all]
will
are to wear the simple Sikha 1
Yaksa women
The Naga women
50.
419
these,
are to wear like the goddesses
the
ornaments abounding in pearls and jewels, but they arc also have
hoods 2
Lin addition to these].
The daughters
51.
on
the hair
much
their
head, and
are to wear a single
sages
of
made
they should not be
Veni
of
to have too
decoration.
Siddha women
The Siddha women should have ornaments abound-
52.
ing in pearls and emeralds, and their dresses
should be of yellow
colour.
Gandharva women
Ornaments
53.
to
abound
in rubies.
the
of
And
Gandharva women should be made
they are to carry a Vina in
hands
the
and to have clothes of saffron colour.
Women
Raksasa
54.
The Raksasa women
are
have
to
sailires as
made white and
ornaments, and their teeth are to be
their
the
dresses
lazuli,
and the
of black colour.
Goddesses
55.
The
pearls as their
celestial
women
ornaments, and
are
their
to
have lapis
dresses are to be
made
green
like [the colour of] the parrot's tail.
Monkey
56.
The women
and [sometimes] lapis hiznli

are to be
made
monkeys
Read smuts
their ornaments,
as
tviisam. for
K.XXJ.39 and
satnastamm
K. omits
'
45).
1
-
their dresses
women
Megha
For
'
Road kuryut before Padnm-mant".
54 (C.59).
.1.1
liismi (K).
Read tusam vcio vanocitah (K).
(C.58).
the Siddha
tvasam (C.)
Head phantis
56 (C.61).
and
(K). and yas
50a.
52 (C.57).
.13
are to have topaz
of blue colour.
50 (C.55, K.XXI.38b).
51 (C.56,
females
of the [godly]
see
1.
14
(C.60).
Pitiparaga=pusparaja, NIA. pokh-raj.
THE NATYASASTBA
420
This should be the dress of
57.
But
love-making.
made
in
other
women
celestial
conditions
XXIII. 57
their dresses
in
are
their
to
be
white.
Human
Human
58.
females according to their countries
females
are
have dresses and ornaments
to
according to their places of origin. Listen properly about them.
Women
of Avanti and of G-audn
The young women
59.
and the women of Gauda
of Avanti arc to have
curling hairs,
are to have hairs mostly curled
and they
are to have the Sikhapas'a and the Veni.
Sbhira women
The Abhira women
60.
are to have
which should be covered with a [piece
Women
The women
61.
Sikhandas,
and
in
of the
of
of]
two Venis on
head
up
their
North East
North East are
the
their
deep blue cloth.
dressing themselves they
to hold
the body
cover
up
to their hair.
Women
The women
62.
of the South
South are to have Ullekhya with
of the
Kumbhlpadaka, and Avarta on the forehead

Thus, dresses, ornaments, and
G.-J.
hair-cutting
be regulated for the remaining characters according to

tion
and
etc.
should
their habita-
birth.
Ornaments
64.
An
to be
worn
ornament not put on
57 (C.62; K.XXI.40a, 46).
"
in the right place
in its proper place will
Read divyangam"
create
ca.
58 (C.6S; K.XXI.47, 40a).

59 (C.64; K.XXI.48).
'
Probably the district of Malda and neigh-
bouring regions in modern Bengal.

60 (C.65; K.XXI.48).
62 (C.67; K.XXI.51).
61 (C.66; K.XXI.50).
'
Ullekhya
is
probably
connected
with
Bengali tt'(tatto).
'
Possibly a special kind of tatto.
63 (C.68b-69a;
(C. 68a) before 62,
K.XXL52).
which in
trans,
K.
is
Some kind
follows
K.XXL53).
mark.
Courtezans are to have
the decoration [of the body] according to their choice.
'64(C.61>b-70a ;
oi circular
omits 82a C. adds one hemistich
XXIII. 72
no beauty
one
THE C08TUMES AND MAKE-DP
by
for
wearing a
Mekhala
121
on the
(girdle)
breast
will create laughter.
Drosses to suit the condition
of females
Similarly, the condition of females whose lover has gone
05.
abroad and who arc afflicted with misery are to not to have a clean
and they are
dress,
66.
The
wear their hair as a single VenI
to
women who
dresses of
and not to cleanse their body 1
Such should be
67.
habitation
from their
separated
are
many ornaments
should be white and they are not to wear
lovers,
of the head.
women
[the dresses] of
and the condition
[of
existence].
according to their
Now
shall
speak
about the proper dresses of men.

Painting the limbs
68.
should
first
But
in
their
to their habitation
The
yellow and rod
producers of plays
natural)
(lit.
colours
are black, blue,
the limbs should be painted with these.

derivative colours
There are besides these, the primary and the secondary
derivative colours.
producers are to
speak about
I shall
The
the
ways
in
which
the
make them.
The primary derivative
7t.
the
then Costumes according
four original colours
four original
The
70.
men's) case
limbs, and
should be provided.
The
69.
(i.e.
of all paint the
yellowish white {jiarufu)
colours
colour
is
made up of
the
white and the yellow 1 and the pegion (kapota) colour, of the white
,
and the blue 2 .

72.
the red,
The
(ymkna) colour
lotus
and the green
is
made up
of the
(liar it) colour, of the yellow
white
and the
and
blue.
65 (C.70b-71a, K.XXL54).
66 (C.71b-72a, K.XXI.5S).
'
67 (C.72b-73a, K.XXI.56).
68 (C.73, K.XXI.57).
>
navafii hi nrth(=mrja) yuta.QL).

'
Veia
Masamudbhaw (K).
C. omits 68b.
69 (K.XXI.58).
'
C. omits this passage."
70 (K.XXI.59).
'
C. omits this passage.
71 (C.74a, K.XXI.60a, 61a).
72 (C.74-75*, K.XXI.80b-fllb).
'
C. nlla for
0a.
C. omits. 71b.
THE NATYASASTBA
422
73,
The dark
red (k&s&ya) colour
is
XXI.
made up
73-
and
of the blue
the red, and the pale-red (<jaum) colour, of the red and the yellow.
These are the primary derivative
74.
colours.
there are [many] secondary derivative colours which
up
of three or four [original
the
parts
made
colours
should form
these, the strong colour
weak colour two
be
colours.
The secondary derivative
Of
7:3.
Besides these
may
one part and
but the blue colour should be taken as
directed below.
The
76
blue should form only
colours will form three
the blue
for
parts,
one part while the other
known
is
to
be
the
strongest of colour**.
Knowing
77.
these rules of colours
which
are to be
pre-
them variously 1 one should paint the body
pared by mixing
of
different characters.
The
78.
Costume
is
to.,
painted
be
body together
considered
with
(Iharma) affecting the dramatis iMinomin 1

79-80.
of another
renounces
of]
a-
man on
own
his
covered
entering
[a
different] colour
the
nature connected
body
with
person having
with)
(ualtja-
body and assumes another character 1 so
different
(lit.
Just as [the soul
being,
change of the
the
due to the convention
as
and Costume adopts
tin-
behaviour connected with the clothes he will wear.

Living beings
81.
As
they have
breath,
the
gods,
Danavas,
the
Gandharvas, the Yaksas, the Raksasas and the Pannagas

are called living beings {praniu) 1
the
(Niigas)
73 (C.75b-76a, Z.XXI.62).
74 (C.76b-77a, K.XXI.63).
75 (C.77b-78a, K.XXI.64).
77 (C.79b-80a, K.XXI.66).
78 (C.80b-81a, K.XXI.67).
76 (C.78b-79a, K.XXI.65).
nanusamyoga(C)
'
'
C.
reads
atter
for
mattasamyogaQQ'
this
an
additional
couplet.
79-80 (C.82b-83a, K.XXI.65).

.
this.
81 <C.84b-85a, K.XXI.70).
'
Read parabhavam
for parabhavam.
C. reads an additional couplet after
-XXIII. 89
423
Lifeless objects
Hills, palaces, mechanical contrivances
82.
armours,
banner-staff's
and
the
(;/.
weapons
various
Jm), shields,
are
known
as
objects (djiranii)) 1 .
lifeless
human form
Lifeless objects in
But whenever necessary
83.
assume a human form with
(lit.
due to
suitable] dress
may
reason) they
and speech according
to
the dramatic convention (iiTUiia-nilJiarina).
Painting the limbs
the rule of
After learning
8-1.
limbs [of the ilramnlix
paint the
habitation, birth
lie
Gods
painted
as well as the
reddish
yellow
for
Soma
(the
stars, the ocean, the
made white
87.
gods
Yaksas and
the.
Apsara<as should
and Rudra, Arka, (the
(i/nin-n),
Drnhina (Brahman) and Skanda are

80.
keeping with 'their
and ageColours
85.
making colours one should
p/'iviiua''] in
to
Moon), Brhaspati. Sukra, Varuna
Himalaya, and Gangs
and the
Ganges) are
(the
to be
in colour.
Angaraka [Mangala = Mars] should bo painted red and
Budha and Hutas'ana (Agni) yellow and Narayana and

well as
Run")
have the colour of gold.
VSsuki should be dark blue
Nam
as
(xi/ama).
Colour for demi-gods

88.
The
Daityas, the Diinavas, the Biiksasas, the Guhyakas,
the Pi&icas, gods of hills,
80.
(Nsgas),
The Yaksas,
the
and the sky are dark blue
in colour.
the Gandhavvas, (he Bhiitas, the Pannagas
Vidyadharas,
the
Pitrs
and the
monkeye
are of
various colours.
82 (C.86b-87a K.XXI.71).
Road %wfav.
84 (C.88b-89a, K.XXI.73).
83 (C.87b-88a; K.XXI.72).
85 (C.89b-90a K.XXT.74).
'
Ru-wl
rudmrkadrnhina
(K.)
for
rudrah sadruhinah (C).

87 (C.91b-92a, K.XXI.76).
86 (C.90b-91a; K.XXI.75).
88 (C.92b-93a; K.XXI.77).
89 (C.93b-64a K.XXI.78).
;
'
Presiding deity of
hills ( Ag.).
90 (C.94b-95a, K.XXI.79).
MR NATYA8A8TRA
424
Colours for
Human
90.
human
XXIII.
90-
beiugs in different regions
who
beings
on the Seven Continents
dwell
Unjitartlniya) are to be painted in the colour of burnished gold,
Jambudvipu where men
Rut among the inhabitants of
91.
of various colours
live,
one except those who dwell in the
every
North Kuru region should be given the colour of gold.

People of BhadrAsVn 1 should have the white colour of
92.
their body,
But those
and so should these of Ketumala.
of other
Continents should be made reddish yellow (gam-a) in colour.

Colours
They
colours.
and dwarfs
for Bhiitas
Bhiitas and the dwarfs
93.
possess odd faces
rams, buffaloes and deer as well 1
known
are
and
to
may have
be of various
of
boars,
colours of the
people
faces
Colours of different peoples of Bharala-varsa

!U.
Listen
now
about the difierent
Kings there should
of Rhiiratavarsa.
lie
of
dark
lotus colour, or
blue or reddish yellow [in complexion].
And
95-90.
reddish yellow
possessed of
perform
brown
the
(ijavra)
evil spirits,
sacrifices
((i-m'/k,
lit.
happy mortals there are
to be
Those who practice
colour.
made
of
diseased or engaged in penance and do
(yujna) and are of inferior birth, should be

not
And
fair).
not
made
the sages should always be given
And
the colour of plum (rmhra).
the
vile acts, are
such
should
be the colour of
sages observing penance (tapas).

97.
Rut out
of
any necessity and not according
pleasure, colours of persons

tion, birth
9tS.
after
and
to one's
be varied according to the habita-
age.
An
knowing
may
expert in [dramatic production should paint persons

|
their, place [of action]
the region of the earth they dwell
and time of
action,
birth
and
in.
91 (C.95b-96a; K.XXI.80).
92 (C.96b-97a ;K.XXL81).
>
Bead bkadrmval}.
93 (C.97b-98a ;K.XXI.82).
'
K. reads
94 (C.98b-99a; K.XXI.83).
'
95-96 (C.99b; K.XXI84-86a).
97 (C.100; K.XXI.86-87a).
this differently.
padmavarrfah for fiaucamrnah.

'
C. omits 95b-96.
98 (C.101; KXXI87b-88a).
-XXIII. 100
THE COSTUMES AND MAKE-DP
425
Colours of different tribes
Kiratas
99.
Kiisis
Kosalas
Pulindas 7
and the inhabitants
mostly known
are
((lafoinatya)*
Barbarians 2 (bailara), Andhras 3 , Dratnilas, 4
to
of
South
tlic
bo brown (luita
not
lit.
white).
&ikas x Ynviinns 2 Pahravas
100.
(Bfihlikas)
wlio
(Palliavas)
dwell
in
North
the
and Vahlikas
he made almost
should
reddish yellow (ijwuv).
09 (C. 102, K.XXI.88b-89a).

following passages probably
aiv
'Colours mentioned
show tint the groups
in
this
and
the.
colour
allotcd a specinl
approximately of the same complexion and not actually of the colour
mentioned.
These passages
seem to give a valuable
some ethnological features of ancient India.
(Andhras and Dramilas) were not
the Dravidians
The separate mention

(l)ravidas)
show
once living in the
Himalayan region
Barbara
literature
in
complexion.
taken along with some Northern tribes like the KaSis and
Kosalas, seem to
"'
fair
Andhras and Dramilas
the Southerners after
of
information about
Pro-Aryan people including
that the Nli. here records
Kirata a
North.
Mhh. XII.
see
Some
hill
the tradition of their
tribe probably living in the
207, 43.
none-Aryan tribe mentioned very rarely in Skt.
(Mbh. XII. 207.
This may be a synonym of Mlceeha
43).
as well.
3
4
Andhra This tribe is well-known in history and literature.

Known in Pali (Mahavamsa) as Damila (modern
Kasi The tribe after which the ancient kingdom of
Dramila
The tribe giving name to the ancient kingdom of Kosala.

An aboriginal people living probably in the Vindhya
"
Kosala
Pulinda
and
name was known.
the city of that
region.
Tamil).
KM
XVI.
See Mallinatha on Ragbii,
They may be members
of
32; also
Kol and other
Panha
1. 1.
and Niiya
1. 1.
tribes living in the South.
Saka Hoards of nomadio tribes

100 (C.103; K.XXI.19h-90a).
from Central Asia who descended on the Indian plains in about 200
'
B.C.
mentioned in
Manu
10, 44.
Probably
Yona
the same as
Yavana
in
Asoka's
edicts.
They
seem to have been Pcrso-Greeks and their descendants.

3
the
Pahrava (Pahlava)
Western Punjab
4
5
in
Vahlika (B.ihlika)
Road smt
<?fwt
tribes mentioned here
54
Usually taken
to
mean Parthians who annexed
about 140 A. C.
Inhabitants of the region known as Balkh.
fem fawf
came
to
K. wwt H fim fsm C).

home in the North- West,
ifait f?>m,
from
their
Thq
THE NATYASASTEA
426
101.
Paiiculas
1 Surasenas 2
,
and Kalingas
Vangas
Udhras 8
XXIII.
Magadbas 4
Angus s
made dark or deep blue
should be
101
(syawn)
in complexion,
Colours of differon castes
Brahmins and Ksatriyas should bo always made
102.
(or reddish yellow) 1

(iijamti) in
and Vaisyas and
complexion 2
red
Sudras dark or deep
blur-
Rules for the beard

103.
After
painting
the
and other limbs one should
face
provide beards to persons after considering their habitation,
and
activity
age.
The hoard according
104.
should he of four kinds
to (ho change of States of persons
shaven {gmlilliaY, black (hjama) 2 smartly
done (rifltra) 3 and bushy (I'omain,

101 (C.104;
2
gave
its
3
K.XXI.
name
to the principal
'
lias
Magadha Tho
Paiieala tribe
once
which
tribe after
a tribe
of
well-known in
Mbli.
around Mathura.
It
drama
(Saurascni)-
after
which the modern
See Mann.
been named.
is
settled
of the Indian
l'lct.
Udhra (Udra) The name
Orissa (Odrivisaya)
4
90b-91a).
Kiirascna The tribe
hairy)*.
lit.
II);
44.
whiuh the ancient country of Magadha
was named.
Align The
tribe after
which the ancient country
of
Anga
was
named.
a
Vanga The
which the ancient Vanga (South-Ea?t
tribe after
Bengal) was named.
102(0105;
colour
K.XXI
at one time
when
'Red
91b-92a).
(gaum, K) assigned
to
(rattai C) or reddisji yellow
Brahmins and Ksatriyas probably show
that
the various theatrical conventions cystalised, these two
sections of the society still retained their original
features one of which
was
certainly the
Indo-Iranian physical
colour of their skin.
colour of the Vaisyas and Siidras similarly shows in
all
these were not Aryans or Aryans of the pure type.
"
Tho dark
likelihood that
Sec note
1 above.
103 (C.106; K.XXI.92b-93a).
104 (C.107; K.XXI.93b-94a).
Huddha
{iitkla,
O-clean-shaven,
ksttrena sarvadA vast/am, always treated with razor (Ag.).
says
Syuma ordinarily
Victim cut
fifnfaMwwrif
black in colour
but see above.
or done in special fashion.
wir
giprsw**! ^
Ag.
(p.433) on this point
ifm'.i)
ftfvwfafr.
The
reading though evidently corrupt seems to give the moaning suggested.

4
Rovmabushy,
romaxant
tit
yathotpannam (Ag.
l.c-),
'bushy
XXIII. Ill
The beards
105.
of religious mendicants (liivjiu) 1 ministers,
and persons who are
priests
themselves
have consecrated
427
indifferent to
any
for
sensual
ritual*
pleasure
should
be
or
made
[clean] shaven.
The beards
106-107.
and the Vidyadharas

persons
who
of celestial males such as the Siddhas 1
kings,
foppish and
are
princes,
officers
proud of
their
made smartly done (victim) by the producers
The beard
108.
made black
with any calamity, should be
The beard
109.
of sages,
long-standing vow, and of those
l)e
made bushy
be
of plays.
could not
fulfil
their pro-
and miserable on that account or have been struck
mises, are sorry
;i
who
persons
of
the king and
of
youth 3 , should
(sytima).
and
ascetics
who
observing
persons
are bent on revenge
should
(fmnmsn).
Rules for different Costumes
Thus
110.
now speak
shall
of
white, red
means
made
of different kinds.
many kinds
to
different
but generally
ways
is
it
of costumes suited to different occasions
Drapery suited
111.
may be
the beard should be
of painting limbs
three varieties
of
and variegated (victim)*.
as they arc naturally
The
grown'.
lust
three classes
do not
seem to bo mutually exclusive.
105(0.108;
SWt %
fimt
K94b,96a).
wrfw mi;
Madhyasthawsm
It is even
now
Lihgimm mrfamwiitat
'
fa 5ninriraninn
the custom
*
3
A class of demigods.
Ag. says
is
that they shave
themselves for some special kind of
K.XXI
109 (C.112;
K.XXI.
w hich
class of demigods.
See Bhartrhari's Vair.
iftwlinfsil *miai-g^mlS'?rffl
108 (C.111;
ftiTO Wfeflt
(Ag. p.434).
rites.
106-107 (C.109-110; K.96b-98a).

1.5.
tow
among some Hindus
themselves clean before consecrating
daiva on&pailra
nw:
See KumSra.
Sat. 24.
(p. 434).
95).
98b-99a).
'
seems to be wrong.
C. reads 109b as
fWfcnmwt *
See above 106 where Siddhas
and Vidyadharas have been taken as clean shaven.

110 (C.113; K.99b-100a).
111(0.115).
ww't^
(Ag. p.433-434).
See above
'
C. repeats here 10.
85ff.
K. omits
this.
THE NATYASASTEA
428
Costumes are of three kinds
112.
soiled (malina).
auspicious
men and women
conjunction of some Tithis
at the
Costumes
Gandharvas,
1
should be variegated {citra
Costumes
116-117.
army,
leaders of
in
of
vicitra).
of Kaficukins (armour-bearer), minister.",
Brahmins.
should be
Costumes
of
and
Vaisyas
Ksatriyas,
made white
persons,
lunatics, intoxicated
soiled
Costumes and decorations of the sages,
(Nirgrantha) and the Buddhist (Sakya) monks,
Brahmins well-versed
in
Vedas
the
kinds'
in a dramatic production.
and persons struck with calamity should be made

119.
the
and people
kings,
Yaksas,
the
priests, the Siddhas, the Vidyiidhnras, merchants,
Sastras,
officers (xthSiU'nja)
118.
Danavas,
the
gods,
the
Nagas, the Raksasas,
the
foppish nature
of
sacra-
white costumes and
should have
the rule for a trader (prapanika)*
115.
adepts
vow or
or a
rite
rite,
is
according
(nalmtra) or at the time of marriage 1 or any other
stars
same
variegated and
difference
In going to the temple of gods, observing some
113-114.
mental
white,
their
by producers.
to their use
and
now
I shall
explain
u2
XXIII.
wayfarers
(malum). 1
Jain
the
the Tridandis
and
should be made
(irotriya)
according to their respective sectarian rules.
120.
Costumes of the wandering
112
1
.
(CUB; K.XXI.
lOOb-lOla).
K.XX1.
113-114(0.117-118;
(p.434) explain
'
iuddha
as
I01b-102a).
'
K.
Propanika (C. fimfatnikd, K. prayal", pr'ayaP)

'
Emend karkasa
116-117 (C.120-121; K.103b-105a).

to pradeiikas of Asoka. See
into
They were
'
see
Magh. IV.
11.
iamuka'.
possibly inferior in
Barua, Inscriptions of Aioka Pt.
K.XXI
105b-106a).
sannyimn who
'
II.
K. reads
carries three staves
and has control over his mind, speech and body.
12,40. (Ref. Apte).
(members
Ajr.
more hemistiehs (106b-107)-
119 (C.123; K.XX1.108).

tied together
KM.
118 (C122;
Calcutta, 1943, p.242.

after this three
omits. 113.
WSlfwra:.
US (C.119; K.102M 03a).

rank
witli
made, whenever necessary,
sages and other ascetics should be
dark red (Icasaya) cloth
([lariiraj), great
ascetics
of the
For
Pisupata
lridaiMli-srotriije.su,
sect.).
'
See
Mann
K. reads yalipmupatctu
120 (0.124).
'
K, omits
this-
-XXIII. 128]
To
121-122.
Pasupatas should be given a veriegated
the
and costumes of persons of high family should bo made
dress,
Besides this the ascetics are sometimes
according to their position.

to
429
have the bark of trees and the [animal] skin as their clothing,
To
122-123.
should be given
persons
engaged
armour and
clothes
The same should be the dresses
guarding the
in
of
harem
dark red {Iwatja) colour.
when thoy
of females
attain special
conditions.
Costumes of
124.
fighting
weapons, armours, quivers
Kings
125.
coloured dress
but
(nalizatmtijata)
the
should
warriors
and they are
battle,
be
be provided
to
suitable
with
for
brilliant
and bows
always
should
when due
he
made
to
have
ominous appearance
to
they arc engaged
any propitiatory
in
many-
of
any
rite
stai
their
costumes should be white.
Thus should
126.
men and women)
types
inferior
(lit.
made
be
of the
the
.superior,
classes according to their age,
persons
(lit.
middling and
the
of
dresses
the
birth
and other conditions
qualities).
rules of costumes in a dramatic produc-
These are the
127.
tion according as persons attain
different conditions,
and practice
good or bad deeds.

Use
Similarly
128.
for
gods and
of
different
men according
masks
masks
(i>viitiiir<t)'
arc to he
to their habitation, birth and
121-122 (C.125, 127a;
K-XXf
llUb,109).
122-123 (C.128, 127b:
K.XXI.
Iu9b-ll<'u, ilia).
124 (C.128; K.XXUllb-112a).

125 (C.129; K.XXJ.112b-ll3n).
C.
'
baddhatmm
=!<r<1fWWMli
'
used
age.
for baddltatiiua.
mt',
A)>. (p,
4'J-l).
126(C.130;K.XX1.113b-U4a).
127 (0.131;
K-XXI.lUb-llSn).
]28(C.132; K.XXMl5b-lI6a).
(Karp
I.).
used in
all
see.
It
is
not
laid
types of plays and for
the Introduction.
'
Pkt. fiailisisaa=Hkt
down anywhere
all
characters.
praimnaka
whether musks are to be
For a discassion on
tliis
THE NATYASASTBA
130
XXIII. 129
Three kinds of crown

1
[In
20.
of throe k'nds
masks] crowns for the gods and kings
(lie
Piirsvagata
For the gods
130.
the Pannngas
(Niigas)
= ParsVamauli), Mastaki and
[in general], the
are
Kirtti.
Gandharvas, the Yaksas,
and the Raksasas the crowns of the ParsVa-
mauli (Parsvagata) type have heen prescribed 1 .
And
131.
superior
Mauli
to
gods,
the
crown
Kirtti
been prescribed
lias
and the middling gods are
= Mastaki
common
type, while the
?)
for the
have crown of the
to
(lit.
inferior)
gods are
have crowns of the Parsvamauli 1 type.
13LM33.
type.
While
The kings should be given crowns
made up
provided with crowns
133-131.
leaders
bearer),
The
of
masks
131-13").
And
of locks of hairs (l-c'sa-mnhda).

of
ministers, Kaficukins
merchants' guild,
the
furnished with turbans
and
{iinlha-miikiil.ii,
135 13G.
lit.
masks
the
of the
army-leaders
130-137.
1
with
(nenapnti)
a small crown
half-crown).
As
for the
mask] should be treated

habitation, birth
(armour
priests should he
and the crown-prince should bo combined
Sikhanda
of the Mastaki
the Yidyiidharas, the Siddhas and Caranas 1 should he
and
rest
persons]
[of
the
head
[in
dramatic production in relation
in
the
to their
age.
The beads
and that
of
boys
should be adorned with the
of the sages should
have a crown of matted
hair (jala-mnkda).
129 (C.l33a; K,XXI.ll6b-117a).
WO
(K.XXI.U7b-l
18a).
'
'
131 (C.133b; K.XX1.118b-119a).
132-133
(C.134,
Ciiranas are demigods

after this live
133-134
135a,
who
C. omits 129b.
C. omits 130.
138;
'
C.
iirmmauh
K.XX1.119b-l20).
sing the
'
K. vamrmtnm.
praise of superior gods.
C. reads
more hemistich;.
(C.138b-139a;
ICK.XXL123).
paliani{G. vcslanam baddha-paWdi,
'
Bead
vestita-baddha-
K. vcstita-baddhabaddhani).
131-135 (C.139b-140; K.XXJ,122).

135-136
136-137
(CUljK.XXI.127).
(C.U2;
K.XXI.125).
'Read
Utah iikhanja-bhwitam
XXIII. 145
The masks
137-138.
Yaksas
of the Riiksasas, the
Danavas and the
should be furnished with brown hairs and twany beards.
The masks
1:58-139.
of the PisMcas,
lunatics,
the
Bhiitas,
and those who have not yet
ascetics
spiritual aspirants,
vows should have long
their
431
fulfilled
hairs.
Rules of different hairs
The head
l;i0-141.
grantha),
[in the
Vedie studies
(mkiju), experts in
mask
{irntrii/ii),
of the Buddhists
monks
monks
Jain
the
(Nir-
wandering ascetics and those who have consecrated them-
ceremony should be shaven
selves for a
their [respective] sectarian
doctrine
And
clean.
(rrltn) the
according to
remaining ascetics
should have their heads shaven or should have curling hairs or long
hanging down.
hairs loosely
Married women,
14l-14'J.
of the king
officers
men
and
of
foppish nature should have on their head curling hairs.
The menials should have
14--143.
head or
will
And
have the head clean shaven.
have a bald head or head with the Kiikapada

143-1
in different
by
means
Thus
the
(lit.
Jester
their
should
crow's foot) 1
after carefully distinguishing these [persons]
ways, their conditions and nature should be represented

ornaments,
of
for giving rise to

I
on
three Sikhiis
[proper]
different
Sentiments
costumes
at
the
and
garlands,
time of production
of a play].
r
14. >.
made
After
men and women have been
treated like this
(lit.
to attain these treatments), their limbs will have to be painted
to suit their different roles.
(K. iiras iruikha-bhnsilam; C.

of hair loft
on the
na Ukhamla").
Kzalriyas (vide Aptc

137-138 (C.143;
Nikliamja means
These are throe or
sides of the head.
looks
five in case of the
s.v.)
K.XXI.121).
'
'diinava-dailyanum, K. devadanava
Read rakso-dimava-yaMmm (C.
).
138-139 (C.144; K.XXI.124).

141-142 (0.147).
139-141 (C.145-146).
142-143 (C.148; KXXI.126).

143-144 (C.149, 150a).
'
For kakapada see Aptc

145 (C.150b-15
la).
s.v.
TBB NATTASASTBA
432
The
Now
140.
known
as
the stage]
is
called SaBjiva
with no
Of
foot (ii/mila).
The entrance
known
is
1
.
two-footed
fourfooted,
and
animals in the forest or human
different
be fourfooted.
to
Fse
148-140.
what
of animals [in
these, serpents are without foot, birds ami
are two-footed, and
settlements are
of
the characteristics
object).
The animals may be
147-1-18.
men
= living
146-
Saiijlva
I shall speak of
Saiijiva(
[XXIII.
of
weapons
In light, angry
(*implirt) or siege
conflict
in
play they (people) are to be furnished with different weapons.

140-1."ill.
to
the
Weapons and armours should be

men.
stalure of
shall
now
proportionate
desciibe them together with
the rules for (heir measurement.
150-151.
Kunta
(javelin)
The
lihindi
and the
ten
Tomn.ni and the Sakti eight

151-152.
measure twelve
u ilhi
Sataghni, the
should
Tiilas,
the
(spike),
the
1
,
The how should measure
Arrows, mace and
width should be two cubits.
Tfdas and
eight
its
the Vajra should
be four Tains long.

152-158.
disc
(''(i/i'/'a)
The sword should measure
twelve and the Prsisa the
K.XXI.128).
116 (C.151b-152a;
that sometimes living animals wero
however not the the general

'
1-17-148 (C.l52b-153;
rale.
See
forty
Angulis and the
latter's half.
This
'
brought
NsJ.
seems
to
on the
show
stage.
clearly
This was
XIII. 106-107.
K.XXI.l29-130a).
118-149 (C.151; K. 130b-l 31a).
'
lite
means the
different
types of
characters mentioned before.

*
<w ^
On
this point
iitrei ?i? sqfafit
Ag. (p.431) says
v*iiim ii
nwwiWiii
tfifcret cKisfaftanf?
*fa ajtisftftl
vi:
?wfn.
119-150 (C.155; K.XXI.131b-132a).
150-151(0.156;
T:>la sec
N& III. 21
K.XXI.132b-133a).
note.
151-152 (C.157; K.XXI.133b-l31a).
132-153 (C.158; K4XXI.l31b-135a).
For
the
measurement
of
-XXtn. 161
ThePattisa
153-154.
will measure like the Priisa,

and the
measure twenty Angulis while the
Kampana
rod (Jitrul*) should
(Kanapa)
be of the same measure.
will
The
15 1-155.
shield (carina) should
width and' two cubits in length, and
and
bells
attached to
thirty angulis in
The Khetaka
it.
The Jarjara 1
ehowris,
in
thing that
Dandakfistha 2
and water-jars
banner-staffs,
?)
should he
objects
the
Angulis in
(rider's shield)
width [and two cubits in length] 1
15G-157.
every other
be sixteen
should have Vfilyas (hairs
it
Use of other
brellas,
433
men make
use
masks,
um-
(hhnnjani) 3
and
are [also] to be utilised
of,
the production of a play.
The
15S.
characteristics of
these have been mentioned
all
by those to whose sphere they belong.
Now
I shall speak
and the Oandakastha 1
characteristics of the Jarjara
the
of
India's Banner-stair
Trees planted
150.
white
soil
have
Visvakarman 1
been
eligible for
160.
on the
astcrism,
Indra's
banner-staff by
The
Jarjara
Pusya
under the
made
Some
of these
by a carpenter.
Jarjara
trees
be [fashioned into]
should
The branch
of a tree
may
the
be
also
[fashioned into] the Jarjara 1 .
161.
But
kind of work] and
the
its
bamboo
length
most suitable
be
will
[for
this
be one hundred and eight
should
Angulis (4 cubit).
153-154 (C.159; K.XXI.135b-l3a).

154-155 (C.160; K.XXI.136D).
'
K. omits
156-157 (C.16lb-163a; K.XXI.137b-139a).

2
See NS.
I.
'
58-61 note 2.
158 (C,163b-l64a; K.XXI.139b).
See
154b.
'
N&
See NS.
I.
III. 73ff.
58-61.
Emend dantdkMha into
daru\a-
foistka.
159(C.164b-l65a ;
K.XXI.142).
'
Tvtm^ nW
n&wm wpn
*(Ag.p.434)..
160 (0.165b-166a; K.XXL140b-141a).
161 (C.l66b-l67a;
55
KXXLHlb, 143a).
'
1.
THE NATYASASTBA
434
162.
should have
It
joints should not
and four
five sections
be very prominent
joints.
and
thick),
(lit
XXIII.
it
102.
But
should
its
not
have any branch and should not be worm-eaten.
One
163-164.
of
bamboo which
smearing
after
should select
(lit.
not worm-eaten or inferior to any other
it
with
regularly with garlands
piece,
and worshipping
honey and ghee
it
and incense.
The ceremonies and
164-1 65.
take) as the Jarjara a piece
is
their order
which have been
prescribed for [the consecration ofJ Indra's
banner-staff should
observed also in case of the holy bamboo
for
converting
it
be
into
the Jarjara.
165-166.
And
if
holy
bamboo 1
of
the
(pnrm),
long and short sections

a ring [appears]
after each of these sections
it is called
the
1C6-167.
tics
may have
It
This
Jarjara.
is
the rule in connexion with the character! s.

shall
speak
hereafter
of
that
of
the
Dandakastha.
The Dandakastha
167-108.
The Dandakastha 1 should always be made

'
Bilva or the Kapittha
bamboo.
tree or the
and have three bents and should have [good]

168-169.
and has small
That which
(lit.
169-170.
is
neither
poor) branches,
He who
Dandakastha devoid
of
It
characteristics.
the Dandakastha.
fashioned
will
get
said
worm-eaten nor diseased
is called
the
of the
should be curved'
Jarjara and the
the
characteristics,
will
certainly
sustain a great loss.
162 (C.167b-168a; K.XXI.l43b-144a).
163-164 (C.l(i8b-169; K.XXI.144b-145).

164-165 (C.170; K.XXI.146).
165-166 (C17I
K.XXI.147).
Soo NS.
III. 73-75ff.
'
The reading
Seo NS.
of
K.
is
corrupt.
166-167 (C.172; K.XX1.148).
167-168 (C.173; K.XXI.149).

'
1.
58-61 note
2.
Vakram, K.
168-169 (C.174; K.XXI.150).
169-170 (C,175; K.XXI.151).
Uandaiukham, K, mandamhm,
XXIII. 178
THE COSTUMES AND MAKE-OP
The making
170-171
masks which
Similarly
will
Angulis
thirty two
on
masks
of
one should
their
special
prepare
the
measurements or
Pati
will
of the
measure
1
.
The
171-173.
paste
have
435
Pati
should
Masks should
cloth.
made by
be
made
be
with
using the Bilvaashes or
husks
paddy being mixed up with the Bilva-paste or some watery

form of it, after covering these with cloth smeared with the thick
of
Bilva-paste
1
.
The Pati made out
173-171.
Bilva-paste
should
neither should
it
174-175.
be made too
it
too
cloth smeared
with
the
thick nor too
thin
and
soft.
After getting
sun one should pierce holes in

a sharp instrument,
of
made
neither be
(the Pati) dried
it
it
up by
lire
or the
according to the rule, by means of
and these holes should be made
after dividing
two [equal] halves.
into
In the Pati so prepared an opening six Angulis long
176.
and an Anguli wide should be made

head, and
it
in the
form of the
fore-
should have [twoj angles [at the two end].
177.
Then [a pair of] openings two Angulis long and one
and a half a Anguli 1 wide should be made for the cheeks, and
after
[this
has
been done for] the
Angulis more [in length] are bo

178.
the
,_
The opening
the
same should be the length
170-171 (G.176; K.XXI.159).
*walvi]bkagartham
fs
for
cheeks
made
Wt
ifiTOit^
for
the
We
?m
v ftsifm:
follow C. Ag. scorns to read
<n
vmv
The
facts**
it
as rfHftWl
msfo
nfini(i)
(p. 435).
171-173 (C.177-178); K:XXI.153-154).
corrupt
long
opening of the mouth,
ilnavidk'Warikam and he explains
fidro mrtf< iw't

<ct iren:
opening] three
being three Angulis 1
ear
for
'
[another
for the ears.
This passage seems to be
trans, is tentative.
173-174 (C.179; K.XXI.155).

174-175 (C.180-181a; K.XXI.156-157a).
176 (C.181b-182; K.XXI157b-158a).

177 (C.182b-183a K.XX1.158b-159a).
'
178 (C.183b-184a; K.XXI. 150b- 160a).
Head adhyardham.
lryaiiguIam,\C. aitgulam,
K.
436
THE NATYASA8TBA
and the symmetrical neck- (atatu)*
[XXIII.
should
made
be
179-
twelve
Angulis long.
So much about the
179-180.
in the
rules for the cutting openings
Various forms of crowns
Pati for the mask.
different kinds of jewels are to be set
set
with
on them.
Other accessories
And
180-181.
at the production
play
of a
of accessories {apaharana)
Now,
181-182.
executed in this world

are to be
known
demanded by the
many
kinds
art of theatre.
manufactures or crafts that am
the
all
here) ouc
(lit.
should use differently in relation to dramatis persoiiae
moving and immobile objects
including
as the accessories in [a performance].
[And
182-183.
on whose
special
[obtaining]
such
to
obtain
knowledge
accessories
them] one
in
(lit.
in
is
whom)
a dramatic
to
go
they
to
person*
depend.
For
men
have
production
no other means.
183-184.
The measurement and
depend on a person who

it
through his [special]

184-185.
is
description
[professionally] to
of
make
it
an
object
or to devise
art.
Large objects which require much iron are not
favoured by us on
the
stage
for
their heaviness
creates
fatigue
[in actors].
185-180.
world
Imitation
of
any object which
full of living beings, in different varieties
may
exists
this
in
be included in
the accessories [to be used] in the performance of a drama.
180-187.
But
palaces, houses
and
vehicles though these are
accessories [for the performance] cannot be

realistically
'
(lit.
Tatas
in
produced for the stage
due manner).
caiwvatuh
C. talus ca vhyau,
for tatai ca vavaluh,
'
K.
179-180 (C.184b-185; K.XXI.160b-161).
180121 (C.186; K.XXI.162).
181-182 (C.187; KXXI.1'63).
182-183 (C.188; K.XXI.164).
183-184 (C.189; K.XXI.1C5).
K.XXI.166\
185-186 (C191jK.XXI.167).
184-185 (C190;
186-187 (C.192; K.XX1.168).
187-188 (0.193; K.XXI.169).
XXIII. 196]
The
Some
187-188.
437
and conventional objects
realistic
accessories
[however]
be
will
realistic
(lukadharmi), while others will be conventional (natjjadhannj).

following its
thing
same
deviation from the
188-189.
form
natural
known
be
will
called
is
well
as
the stage
should not be
and other metals,
iron
any
as conventional.
Accessories for use on
made with stone as
Any
while
realistic
for these
due
to their heaviness will create fatigue [in actors],
189-190.
Light objects should be made with
leather, cloth, leaves [of trees]
and
sliced
bamboo, for
wood,
lac,
their
use as
accessories in a dramatic production.
190-192.
hills,
Skeletou frames of armours, shields,
palaces, gods, caves, horses,
should
first
be made with pieces of
covering such frames with
baiinervlaft's,
elephants, aerial cars, and houses
painted
bamboo and then by
sliced
cloth, likenesses of
such objects
arc to be produced.
Bui
192-193.
lor
this
if it is
not found possible to use cloth suitably
purpose then palm-products 1
and mats (him}))*
may
also he used instead-
193-19 k
pieces
of
Similarly weapons are to be
sliced
bamboo, and with
lac
made with
grass and
and IShenda (Ulianda) 1
other objects should be represented.
194-195.
with grass,
heads and skin should be made
Imitation legs,
mat and Bhenda (Bbanda).
195-190.
Various
in imitation of their
19G-197.
should
articles
Various
hills
and
188-189 (C.W4; K.XXI.170).
190-192 (K.XXI.172-173
made
with earth
shields, armours, banner-stalls
180-190 (C 195; K.XXI.171).
192-193 (C.196; K.XXI.174).

p.435).
[thus] be
proper forms.
R?ad kilittjair
'
Taliyair
Hi
tUapatraih
(Ag.
Mm
(5<s)
for kilajair.
193-194 (C.197; K.XXI.175).
'
Bhem]a K,
Hiiii.ula
C.
ft<W3ips-<8'Miftfa; (Ag. p. 435).
194-195 (0.198; K.XXJ.176).

196-197 (C.200;
KK.XXl.178a).
195-196 (C.199; K.XXI.177).
THE NATYASABTRA
438
are
be made with
to
Bhenda (Bhanda),
XXIII.
cloth, bees-wax,
197.
lac and
sheets of mica.
And
197-108.
and
fruits
Making
Ornaments
98-200.
(Bhanda),
cloth,
in
various
lac.
of ornaments
should
made
be
with
Bhenda
bees-wax thin copper sheets and mica sheets
blue as well as other
copper
growing
flowers
and the various vessels should be made with
region-
and
colours,
their basis
should
of
be polished
(sheets).
The
200-201.
so that they
may
20 1-202.
kinds
different
made
before, should be
dazzlir.g
of
crowns of which
spoke
with pieces of mica [set on them
|,
shine like jewels.
In
eases of
[all]
these objects
in the Sastras [for their making] have
not
instructions given
been mentioned.
Here
one must act according to the directions of the Acarya and
lie
guided by relevant reasoning.
This
21)2-203.
is
the rule
of
action
regarding the future
mortals, (that should bo adopted in dramatic production).
want of
strength
sufficient
occur in
will
men
Because
the
[of
future
generation].
20:5-204.
Mortals of poor strength
[undue] physical exertion, and
hence
it is
should not
not
make any
desirable that their
crowns or ornaments should be made with gold and jewels.
For
204-205.
glances a persons
and may even
fainting
is
ger his
life
combat, dance and

will
feel
casting-
fatigue
faint.
205-20G.
or
in battle, personal
burdened with heavy weight
When
his
the actor
performance
is
overcome with pain or fatigue
is spoilt.
by making movements with
One may
even endan-
difficulty
under such
conditions.
197-198 (C.201; Cf. K.XXI.178b!.

198-200 (C.202-203;
K.XXJ. 179-180).
200-201 (C.204; K.XXI.181).
201-202 (C.204; K.XXL182).
202-203 (C.296; K.XXI.183).
203-204 (C.277; K.XX1.184).
204-205 (C.208; K.XXI.185a).
205-206 (C.209; K.XXI.185-186).
XXIII. 211
Hence ornaments
206-207.
of copper, coloured sheets of mica,
exercising one's
own
discretion one
made with
are to ba
thin sheets
Bhcnda (Bhanda) and bees-wax 1
Thus by following
207-208
439
popular
the
make
is to
practice
properly
or
theatrical
accessories.
Use of weapons on
No
208-209.
missile should be
the stage
released on
touch
a spot, and
gesture [of
to
should release missiles on
Any
[relevant]
the
regarding the present topic,
popular
usage
Representation
tli.it
was
of the Basic Representation
Here ends chapter

which
This
people).
to
tell
stage
is
is
to
all
you.
XXI II
from the
Extraneous
hereafter
shall
speak
of Bharata's Natyasastra,
'
We
follow
K.
KXXI.187b-l88a).
208-209 (C.112b-213a;KXXlI.189b.l89a).
209-210 (C.213b-214a
the
Extraneous Representation.
206-207 (O.210a 211a; K.XXI.l86b-l87a).

;
may have
be gathered
about
with
on the stage (samaiiiiaijahhkwjn)-
treats of the
207-208 (C.2llb-212a
which
instruction
omitted
(lit.
make a
be used only to
or with skill and cleverness [so that they do not hurt].
210-211.
and
One
209-210.
skill
weapons arc
the
an attack]
the stage
They should simply
no weapon should pierce or strike anyone.
K.XXL189b-190a).
hemistich after this.
210-211 (C.214C-215; K.XXJ190b-191).
'
'
We
O.
follow
reads
K.
additional
CHAPTER TWENTYFOUR.
THE BASIC REPRESENTATION
Importance of Temperament
The
1.
to
Basic. Representation
depend on the Words, Gestures
[Among
(xwuanybhvnmja) 1
and
these] one should take special care
known
is
Temperament
(mth-n),
about Temperament,'2
for the dramatic production has this as its basis.
The
2.
Histrionic Representation
perament (miUratirlda)
is
ment (wmasaltva)
middling,
Temperament
is
The
support
(lit.
and
in
(xtittnt)
tears
harmony with
(C
Of
explanation as to
from
gi\v<
in
of
proper
the Sentiments [to be produced]-
drama
in the
know
experts
the young women's Graee-
Sentiments
change of limbs (nwjaja) 2
firstly the
these,
'
Ag.
seeins
to
why samanyabhinaya was
different points of
Chapter as well as the
view
def.
436-430).
(pp.
in
it
(NS.XXVI.)
applies
and
no
so
called.
From
very
the
Ho
is of
convincing
discusses
it
the contexts of this
four kinds of
it
appears that
ahhinaya (NS.
should be distinguished from the citrabhinaya
VI. 23) and as such
which
have
given hero and in 72 below,
the expression means a totality of
particular objects
it
these consist of changes in respect of their faces and
K.XXII.1).
1;
invisible, but
ornament) to be the support of
lit.
drama 1 , and
other limbs.
ol'j
and the Sentiments by means
Feminine graces
(ahitnltard;
something
is
and similar other signs displayed
The dramatic
-1-5.
[exercise
Temperament
definition of
shelter) to the States
horripilation,
places
and that with no
is inferior.
Temperament
;!.
with an exuberant Tem-
superior, the one with the level Tempera-
only
to
the
'
ideas.
pictorial
See
N&VI.
representation
of
22 note.
2 (C2; K.XXII.2).
3 (C.3; K.XXII.3).
'
See
4-5 (C. 4-5; K.XXII.4-5).
mvu
a
Cf.
DR.
II. 30a;
BhP.
N& VI.22 note,

'
K. reads 4a as
p.6. 1.20
SeeDR.H.30b; ND.p.203.
ND.
p. 203.
liimw TOW
n WH>
XXIV. 11
a
natural {saliaja)
the
three kinds, next
441
change of ten kinds, and
involuntary (a-ijatnaja)* change, of seven kinds.
women
Physical Graces of
Feeling
0.
one another being
arising from
(.<rftw) [are
(hfla)
Temperament
of
origin of these Graces
Temperament partakes
7.
and Passion
different aspects
1
Graces] connected with the physical nature
The
feeling
Emotion (ham)
(bhara),
nature of the body,
of the
and
from Temperament, while Emotion (ham)
(bhara) arises
1
from Feeling, and Passion (hela) from Emotion
Feeling
t
See NS. VII.
8.
(bhnm)
2. Cf. [Feeling
is
the
touch of
first
DR.
emotion in a nature that was previously unaffected.
II. '.\$\
Emotion
Temperament with
9.
itself]
in relation
(ham) should be marked as
itself in
relating to
In the same connexion
10.
should he
excessive Feeling
known
changes of eyes
Passion
See
(lit.
itself
(Ma) by
DR. H.
32-33a;
Emotion (ham)
(citta)
and manifesting
of the neck,
as graceful movements (lalitahUimijn)

the wise.
ND.
p. 203.
'
See
Cf.
DR.
Cf.
DR.
8 (C.8;
K.XXII.8),
'
Cf.
DR. H.
33b;
'See
below
10.
'
9(C.9; K.XXII.9).
to'
^fflftm'
10 (C 10;
DR.
II. 31
ND.
p. 203.
II. 30b.
II.
33b-34b.
ND. p 204.
note
1.
Bid', p.8. 1.4-10.
K. reads 9a
as
1 *ft*
K.XXU.
10).
'
According to
slight manifestation of
gestures, while the
is
K.XXII J).
6 (C.6; K.XX1I.6).
relates to
there)
and eye-brows and the Recaka
7 (0.7;
HflwfitBi!
And Emotion
various conditions.
Everyone's Emotion which depends on the Erotic Senti-
11.
ment and expresses
its
as arising from the mind
indicative of the Erotic Sentiment.
called
(bha ra) [manifests
persons of the opposite sex.
to
hava
erotic
ND.
feelings
(p.204) the
bkasa
through words and
emotion
to a very clear expression of one's
through
various gestures.
lKC.lliKXXlI.il).
56
Cf.
DR.
II.
34bi BhP.p.8, 1.13-14.
According
THE NATYASASTBA
442
Mimicry
Sportivo
Grams
ten natural
(nlaml-ara) of
Amorous Gesture
(Na),
12-
women arc
{rilam),
Hood
Confusion (ribhrnwn), Hysterical
(rirrhitti),
XXIV.
women
Natural Graces of
The
12-13.
Dishabille
(kilnHnnln).
Manifestation of Affection (nxMaiiiln), Pretended Anger (bnUiiv)iln\
Want
Affected Coldness {hibbuka), Lolling (lalita) and

(rihrta)
of Response
1
.
Sportive Mimicry
Imitating
14.
which
(Ilia)
of
by means
lover
of
and make-up (idamkaratlit. ornament)
and inspired by
delightful
are
Mimicry
behaviour
the
words, gestures
relevent
affection, is
called Sportive
1
.
Amorous Gestures
1").
Relevant changes
of the special
kind
relating
standing and sitting postures as well as to gait and

of hands,
and
eye-brows
beloved] are called
to the
movement-
the
[which occur at the sight of
eyes,
Amorous Gestures (W/fiw) 1
tin-
Dishabille
10.
The
great beauty that results from the slightly
placing of garlands,
ornaments and unguents,
clothes,
carele^
is
called
1
Dishabille (vkchitti) .
Confusion
17.
dresses,
Inversion
various
and make-up
passion and joy,
to
of
and
items
one
another,
as
lor example the
words, gestures,
due to intoxication,
Confusion (vibhrama) 1
is called
ND.(pp.204-205) these three aspects
on
such
Temperament
women's Temperament depend
of
ham
depends on
the
bhim
and
tho hcla on the huva.
12-ia (C.12-13; K.XXII.12-13).
ND.
'DR.
37b;
II.
BhP.
p. 9.
1.
p. 205.
14(C.UiK.XXI1.14).
'
Gf.
DR.
II.
37b;
BhP.
p.
9.
1.
5;
ND.
BhP.
p.
9,
1.
6-7,
p. 205.
15(C.I5;
K.XXII.
15).
Of.
DR.
II. 38a,
p. 205.
16
(C.16;
K.XXII.16).
probabably from vihipti. Cf.

17 (C.17,
ND.
p. 205.
K.XXII.
'
DR.
17).
The word
II. 38b;
Cf.
DR.
is
BhP.
II.
Pkt. in form and comes

p. p.
9.
1.
8-9;
39a ; BhP. p.
ND, p 205
9.
1.
10-11.
XXIV. 23
Hysterical
Mood
Combination of isolated
18.
states
laughter, fear, sickness, fainting, sorrow
[excessive] joy, is called Hysterical
443
of
weeping,
smiling,
and fatigue on account of

(kilakinrila) 1
Mood
Manifestation of Affection
Manifestation of Affection
1!).
(moltaijitu) occurs
Sportive
Mimicry (Wa), Amorous Gesture
when
the mention of
at
thought of him
beloved, one
the
(oil am)
through
and the
like,
being absorbed
is
in
1
.
Pretended Anger
Pretended Anger (JnUUimita) arises on account of the joy
20.
and perplexity in [lover's] touching the hair, the breast, the
and
(he like,
it is
when
feigning distress
actually (here
is
and
lip
delight'.
Affected Coldness
The
21.
indifference which
women show
[to their lovers]
on
account of vanity and pride, after they have realised their cherished
desire
(/. .
conquering
the
lover's
is
heart),
called
Affected
Coldness (bibbuLv) 1 .
Lolling
Graceful movement of hands,
22.
made by women
is
known
Want
That due
23.
not
make any
words,
is
to bashfulness, pretence
Want
of
Response
18 (C.18;
K.XXII.
19 (CIO;
K.XXH.19).
'
18).
brows, eyes, lips
etc,
of Response
reply [to her lover] even
called
feet,
1
as Lolling (luliki)
Cf.
(nihrtu) 1
DR.
and nature women do
when they have heard
II.
his
3b; BliP. p.9, 1.12.
HD.
|).206.
ND.
p. 206.
ND.
p. 206.
20 (C.20;
21 (C.20;
ND.
p, 286-206.
ND.
p. 206.
ND.
p. 206.
22(C.22;
I Of.
K.XXJI.20).
'
K.XXH.21).
'
K.XXTT.22).
23(C23; K.XXII.23).
DR. H.
Cf.
DR.
Cf.
DR.
iCf.
'Of.
II.
II.
DR. U.
DR.
II.
40a,
BhP.
40b;
41b;
42a;
BhP.
BhP.
4la;
p.
9,
1.
1.15-16;
p.9,
p.
13-14;
b.17-18;
9.
BhP. p.9, 1.19-20;
BhP.
p.
9,
1.
21-22;
THE NATYASASTBA
444
[Graces] are
(madhwya),
Delicacy
(lianti),
24.
women
Involuntary Graces of
The Involuntary
24.
[XXIV.
Beauty (Mha), Charm
Radiance
{thpti),
Self-control
1
(dhairya), Courage (pragalbhya) and Dignity (andaryd) .
Beauty
25.
Decoration
limbs on
of
good
account of
physical
form, youth and loveliness being renderd manifest after the enjoy
nient [of love],
called
is
1
Beauty (sobha)
Charm
26.
Charm
Beauty which
(1/anti)
full
is
a lover's passion,
of
is
called
1
,
Radiance
high degree of charm,
Radiance
called
is
(dlpti)*.
Delicacy
27.
Moderation in the movement [of limbs] in
ditions, especially in
Radiance
called Delicacy [niadhuHja)
and
{ilipti)
con-
all
Lolling (hlito),
in
is
1
.
Self-control
28.
free
natural bent of
the
from rashness aud boasting,
is
mind which
in
all
matters
called Self-control (dhavnja)
is
1
.
Courage
29.
The
acting anything
(lit.
24 (C.24; K.XXH.24).
'
augmented after she
lias
called
Cf.
DR. U.
Cf.
DR.
had her
26 (C.26; K.XXII.26).
Cf-
is
1
Courage (praudhhtja)
31.
11 35a;
BhP.
p.
8.
1.
15-16;
This def. seems to mean that a young womau's loveliness
and this augmented loveliuess
becoming agitated in speaking, or
in practice),
25 (C.25; K.XXII.25).
Nl>. p. 207.
is
quality of not
DR.
II.
36a BhP.
;
27(C.27jK.XXn,27).
experience of love's enjoyment
lirst
is called ioblut.
Cf.
p. 8,
DR.
1.
II. 35b;
17-18;
'
Cf.DR.
'
Cf.
'
Cf.
ND.
II.
BhP.
p. 8,
1.
16.
p. 207.
BhP.
36a;
p. 8.
1.
19;
ND.
p. 207.
28(C.28;K.XXI1.28).
Dll
II. 37a;
BhP.
p.
8;
1-
21;
ND.
22;
ND.
p. 207.
29(C29; KXXII.29).
p.
207.
DR.
II.
36b;
BhP.
p.8,1.
XXIV. 35
THE BASIC BEPKESENTATION
415
Dignity
Courteous bearing in
all situation, is willed
Dignity (amlartia)'
by the wise.
These
30.
[Graces]
tender
but [in
Amorous Gesture
Graces) except
brilliant
are
nature,
formance of delicate
connexion with
in
other cases]
(r'data)
they
and Lolling
per-
(i.e.
the
(lalita)* are
(dqita) 3 .
Eight aspects
of the main
Temperament
Brilliant Character (s<il>ha),
31.
Graceful
Bearing
Self-possession (mcklhurya), Steadiness (sthainju),

lihVjin),
Sportiveness
(tujim) are
the difterent aspects of the male
(awlirya) and Spirit
Nobility
(lalita),
(vita*tt),
Gravity (ijw-
Temperament
1
.
Brilliant Character
32.
to
mean
Skill [in various things], heroism,
acts
and emulation of the
Character {iobha,
lit.
beauty)
and energy, aversion
best virtues
constitute
Brilliant
1
.
Graceful Bearing
Eyes moving
33.
hull,
graceful
gait
straight,
like
of a
that
and smiling words constitute Graceful Bearing (pUoho) 1
Self-possession
34.
due
If
to
[long]
practice
natural state have
occurred,
it is
[in
this
direction]
one's
even when great changes of the
retain their lirmness
sense-organs
lit.
Sclf-possesion (nid/lhwnja,
called
sweetness)
Tenacity
Not
35.
Cf.
DR.
30 (C.30;
1
II.
reliquishing
36b,
BhP.
p.8'
KXXII.30).
1.
undertaking
20-22
'
See above
'
Of.
See above 22.
31 (C.31; K.XXII.31).
ND.
any
ND.
207.
15.
See above
DB.
p.
to duty,
relating
26.
II. 10,
BhP.
p.
!),
1.24; p. 10. 1. 1;
p. 197.
32 (032; K.XXII.32).
'
Cf.
DR.
II.
11a;
BhP.
p. 10,
1.2-3;
ND.
p. 10,
1.4;
P. 197.
33 (C.33; K.XXH.33).
ND.
'
Cf.
'
Cf.
DR.
Ii.
lib;
lib;
BhP.
p. 197.
34 (C.34; K.XXII.34).
35 (C.35; K.XXII.3S).
DR.
II. 12a;
BhP.
p. 10,
1.
5.
THE NATYASASTRA
U6
wealth
is
enjoyment, in-espectivc of
iind
XXIV.
good or bad
its
3G
results,
called a Tenacity (sthairj/aY
Gravity
Gravity (ijamhlmija)
36.
of which [outward] changes
not occur 1
is
.something due
anger,
of
cases
in
an
to
influence
and
joy
tear
do
Sportiveness
37.
Erotic
movements and changes
of
which
features]
are
not deliberate and which grow out of a tender nature, constitute

Sportiveness (lalita) 1 .
Nobility
Making
38.
gifts,
words to others as well as

(awlarya)'1
bestowing
and speaking
favours
own men,
one's
to
is
sweet
Nobility
called
Spirit
That one does not
39.
life
any reproach or
insult
even
tolerate
made by
others,
at
is
the
risk
of
one's
called Spirit (kja*)
1
.
Histrionic Representation through the body
the best of Brahmins, I have spoken before about the
tO.
Histrionic
shall
the
now
explain in detail
body 3
through
Ilepresentation
the
(nutlw) 1
Temperament
Histrionic
Representation through
DB.
11.
1h
BhP.
p. 10,16
36 (C.36; K.XXII.36).
ND.
gives the twin as dhairya,
DR.
II.
Cf.DR
II.
Cf.
'
BhP.
12b;
p. 10,
|).
198.
7;
ND.
1.8;
ND.
1.
p. 198.
37 (C.37-, K.XXII.37).
'
BhP.
14a;
10,
p.
p. 198.
38(C.38;K.XXII.3S).
Cf.DR.
'
II.
14b;
BhP.
p. 10,
II.
13b,
BhP.
p. 10,1.
1.
10
ND.
p. 197.
39(C,39;K.XXII.39).
>
Cf.
DR.
10;
ND.
p. 197.
40 (O.40; K.XX1I.40).
'
See above 1-39.

(
It
ourtourt that the
in a different
author of the NS.
manner and reckons
its
iaiira and gives" their sub-divisions.
MiHaya sec BtA VL
23.
is
two broad
For a
classifying
classes
four-fold
ahhinaya
mttvika and
division of the
THE BASIC BEPKE8ENTATI0N
-XXIV. 47
This
41.
Is'iityavita
is
sixfold
Words
and Nivrttyankura 1
447
(rtikga), Sncn,
Ankura, Stikha,
Words
Recitatives in Sanskrit and Prakrit
I'].
uijmMMvlion they possess meanings giving
compo.-ed
verso
in
various Sentiments,
by Words'.
constitute the Histrionic Representation
Suca
When
13.
indicated
is
first
the meaning of a sentence or the sentence
hy Temperament and
made,
Vcrlial Representation is
[itself]
and then
tlie
Gestures in
the
(jestiiivs,
called Siica'.
it is
Ankara
When
If.
one
skilfully
represents
hy
manner of the Suca the words whidi one has

it
is
Ankara 1
called the Representation of
in
one's
heart.
.Siiklm
The
4.V
representation
head, the face, shanks, thighs,
known
Sakhii(?), is
as the
that
made
is
hands and
in
due order hy the
feet in the
Sakha Representation 1
manner
of the
Natyayita
40.
made
at
The
the
intimation of
Histrionic
enlivening the time, and which lasts

I'lrnmatis
47.
to
permute on
The
42(C.42
the stage]
Histrionic
the States and the
41 (C.41
Representation which
is
beginning of a drama by [different] practices,

for
is
till
the
coming together of the
called Natyayita'.
Representation of
Sentiments
K.XXII.41).
which are
Dhruvas
relating
made by means
of
Cf Kalidasa's palicahgabhinaya, Miilavi.
'
I.B.2.
'This
K.XXII.42).
seems
to
be
the
same
as
the
vticikfMinaya.
43 (C.43; 1CXXII.43).
'
Tliis
kind of representation
is
mainly to
iiceompany songs and dance.
44 (C.44; ICXXII.44).
'
This kind of representation
is
meant
to
be combined with dance.
45 (C.45; KXXII.45).
'
This kind of representation
'
Tliis is the
is
to
accom-
pany recitatives (patAya).
46 (C.46; K.XXII.46).
use of gestures in
connection
with songs and dance before the beginning of the dramatic performance
47 (C.47; K.XXII.47).
THE NATYASASTHA
448
and the
delineating joy, anger, grief

as Natyayita
like,
also
is
XXIV.
48.
be known
to
1
.
Nivrttyankura
When
4N.
Siie;i it is called
one represents words
Nivrtyankura 1
another person hy
of
Twelve forms of the Verbal Representation

49-51.
These
are
the
proper States and Sentiments
matter
The
plays.
of
following twelve forms
Lament
lapa),
Change
of
for
available
of
these,
Accosting (alapa),
Words
Command
(aivlcm),
ways connected
are
representation
to
is
with
the subject-
Prattling
take the
(pralai>ti).
Speaking (mitlapa), Dialogue (o-
Repeated
(rilapa),
[histrionic]
that,
Message (samteia), Agreement
{ii[ialapn),
Pretext
{aiirh-sa),
(n/riyWeiia),
Instruction
(upadem) and Statement (o/w/w) 1 .

Aecosting
Accosting (alapii)
52.
[any onej
sentence
is
used
in
addressing
1
.
Prattling
Irrelevant
(l>ralap<t)
words are
meaningless)
(lit.
called
Prattling
2
.
Lament
53.
Lament
Words
(ri/a/w)
originating in
a pathetic condition
are
called
1
.
Repeated Speaking
Speaking again and again on anything
is
called
Repeated
Speaking (nmilapa) 2 .
Dialogue
54.
Dialogue
counter-utterance
(mnlapa)
who
52 (C.52; K.XXU.52).
Cf.*Wp.ll,
'
This kind
of representation is used by
'SeetJjrfp.ll.
Cf.
'
'
BhP.
BhP.
p. 10,
p. 10,
24.
1.
1.1.
53 (C.53; K.XXII.53).
'
utterance and
interpreter other's speeches.
49-51 (0.49-51; K.XXH.49-51).
of
48 (C.48; K.XXII.48).
the dancer
made up
is
'
Cf.
BhP.
p. 11,
1.
2.
p. 11,
1.
4.
1.3).
54 (C.54; K.XXII54).
See BhP.
1.
20-23.
THE BASIC REPBESENTATION
XXIV. 59]
Change
449
Words
of
Change of words (apalapdj*
the alteration
is
words
of
spoken before.
"Speak
55.
(MllfMfl)
this
him",
to
[an
is
example
Message
of]
1
.
Agreement
Saying "You hare said what was uttered by me"
[an
is
Agreement (nthlm)*.
example] of
Command
(hW'w)
am
alone
"I
fiO.
speaking",
is
example] of
[an
Command
1
.
Pretext
To
speak with the purpose of deception,
called
is
Pretext
(riiaptvlria)*
Instruction
To
57.
"Do
say
Instruction (npadcsa)
this" or
"Take
[an example] of
this" is
1
.
Statement
*
Another
[an example of] Statement (apadm)*.
classification of the
These are the forms
58.
the
is
Verbal
Representation.
characteristics of the seven
[A sentence may contain
59.
See
Hid p.
or
SeoiW/p.
II,
1.
Cf.*Mj?p. 11,
57 (C.57 ai
8
(p- 11,
The
1.
10)
1.
is as
57
'
the def.
follows
58 (C.57bc K.XXII.57).
;
to
it
may
statement
create
the
of
have.
invisible (parofaa)
which] treats
it
may
relate
'
Cf.
BhP.
p. 11,
1.
6.
>
Cf.
BhP.
p. 11,
1.
8.
11.
K.XXn.56a).
texts omit
and
are
[hereafter]
7.
56 (C.56; K.XXII.55b-56b).
!
speak
11, 1.5.
55 (C.55; K.XX1I. 54c-55a).

*
that
sentences]
shall
forms which
an act visible (pratyakm)
[of
Verbal Representation
Cf.
BhP.
p. 11,
of apadeia,
1.
9.
which
is
given by BhP.
Wsw* H stsitl tft *r.

59 (C.58; K.XXII.58),
'
THE NATYASASTKA
450
to the present, past or
time
future
may
it
XXIV.
60-
one's ownself
affect
(Htmastha) or another (parastha).
"0
60.
is
speaking and I
this [person] is
statement
which
a visible
treats
act
am
not
speaking"
(pratyaksa), affects
1
another person (/w iwtha) and relates to the present time
CI.
which
"I
am
or going
doing,
or speaking"
affects one's ownself, relates to the present
is
a statement
time and treats
visible act-
02.
"I shall do, go or speak"
statement which
is
affects
one's ownself, treats an invisible act and relates to the future time.
"All
615.
ment which
my
affects
have been killed by me",
enemies
is
state-
ownself as well as others, and relates
one's
to the past time.
"[The enemies] have been
(it.
ment which
treats
an invisible
killed
by
affects others,
act,
thee", is a state-
and
relates
to
the past time.
05.
"This [person]
is
affects another, relates
visible act
06.
to the
"He
is
going or doing"
"They
you",
and
is
"That work
to
is
is
time and
state-
treats
a statement which
treats
a
is
visible act 1
affects
a statement
which
time and treats an invisible act 1
bo done today
by me together with
a statement which affects one's ownself as well as another
relates to the present time
09.
under the
Anything that
cover of
is
60 (C.59).
1
.
spoken on the stage
hand,
the.
something at one's heart or
x K.
omits this.
XXII.64ab).
'
in
drama)
an invisible ([jaroha)
act.
61 (C.60; K.XXII59).
63 (C.62; K.XXII61).
64 (C.63; K.XXII.62).
(K
(lit.
affect one's ownself, relate to
will
will relate to
62 (C.61; K.XXII.60).
66
is
and
go or speak",
will do,
affects others, relates to the future
08.
present
another, relates to the present time

07.
doing or going",
speaking,
ment which
65 (K.XXII.63).
omits
* C. omits
this.
1
67 (K.XXII.64e-65a).
C. omits this.
68 (CM). x K. omits this.
69 (C.65; KXXII.66b-67a).
-
this.
-XXIV. 77
BASIC EEPBESENTATION
The seven forms
70.
will
THE
have many more
of this
e.
(;'.
when they
who
persons
and
ing to time,
varieties
are
451
Verbal Representation)
be modified accord-
will
affected
of the
(lit.
self
and
others).
These are the ways of the Histrionic Representation,
71.
of
to producers
known
tions are to be
made
Different
a drama.
through these
kinds of representa-
1
.
The Basic Representation
The Basic Representation (wnaimbhiiuvja)
72.
which
is
made
simultaneously by the head, the face,
thighs, the shanks, the belly
are to
Experts in acting
73.
graceful
and the waist
movements
of
hands and
the
is
that
feet,
the
J
.
represent
character] by
[a
efforts
delicate
of limbs [in
Sentiments and the Suites.

general], which are to delineate the
Regular Histrionic Representation
74-75.
The
aeting
drama) which
(lit.
physical efforts which are not violent,

rest
on proper tempo (hya), time

and
Kaliis,
and hurry,
in
is
which words are
[performed] by
is
hurried or complex and which
(//.)
and the measurement of

without harshness
distinctly uttered
called "regular" {abhyantam).

Irregular Histrionic Representation
76.
When
movements and
is
it is
It is
is
lit outside)
(lit.
kind
and observes
free
called "irregular" (hahja).
called "regular"
conforms to the rule

{bahya,
it,
opposite
harmony with songs and instrumental
not in
music accompanying
77.
of the
{abhjaidam,
within the
when
it
is
hikmm
outside
lit.
inner)
when
[the prescription] of the
Sastra.
71 (C67).
70 (C.66; K.XXH.65b-66).
72 (C.68; K.XXn.67b-68a).
'
K. omits
this.
Cf. I above.
73(C.69iX.XXH.68b-69a).
74 (C.70; K.XXH.69b-70a).
75 (C.71; K.XXI1.70b-71a).
77 (C.73; K.XXII.72b-73a).
it
or rule) and 'irregular'
76 (C.72; K.XXII.71b-72a).
THE NATYASASTEA
452
Laksana
As a performance
78.
lahana
(characteristic mark).
[XXIV.
defined
marked,
laksyate or
is
78-
Hence
it is
called
of use in a drama.
it is
Practice preferred to the sastra
Those who have not received training from
76.
(w:arya) or
with) any master
the
to
resort
"irregular"
practices [of the stage]
who hove no
1
.
Representation of the
80.
wise
lived
depend on merely the
which
[ways],
(lit.
access to the Sastras,
sensual perception
should
[actor]
represent
sound, touch, form,
and smell by the sense-organs concerned, and by Gestures
taste
delineating their objects
1
.
Hound
By making a sidelong
81.
sideways and putting a hand near
bending the head
(w'~i) glance,
the
one should represent
ear,
the sound (mbda).
Touch
By
8'J.
brows
narrowing down the eyes, raising the eye-
slightly
in the like
mannar
as well as
by touching (he shoulder and
the cheek, the wise one should represent the touch (s/wrsa).
Form
By
83.
slightly
holding on the head the PatFika hand with
its
fingers
moving, and looking intently [at something] with eyes, the
wise one
is
to represent the
form (nqia).
Taste and Smell
By
84.
nostrils
in
slightly
the
like
narrowing down the eyes and expanding the
manner
something] the wise one
is
to
as
well
as
represent
by
the
intently
gazing [at
(mm)
taste
and the
smell {jandha),
78(C.74;K.XXII.73b74a).
79 (C.75; K.XXII.74b-75a).
5 * Jtrenfw m:
'
'
Read the couplet
fmm:
flu h g usfasi
mtirsrai;.
as
wwffem
%*
This shows that the
ancient India's artists did not follow the Sastras slavishly.
80 lC.76; K.XXII.75b-76a).
'
See also
NiS. Vlllff.
81 (C.77j K.XXI1.76b-77a).
82 (C.78; K.XXII.77b-78a).
83 (C.79; KXXlI.78b-79a).
84 (C.80; K.XXII.79b-80a).
-XXIV. 93
THE BASIC BEPBESENTATION
These are the gestures which
85.
arise
463
from the
activities
tongue and ears.
nose,
of the five sense-organs such as skin, eyes,
Importance of the mind
When
86.
mind
it
an object of a sense-organ
represented [outwardly].
gets
contemplated in
is
person out of his mind
cannot know the object of senses which come through

The. three aspects of the
With
87.
reference
to
the
five sources.
mind
mind has
the
representation,
(iVAi), unfavourable
three attitudes [towards objects], ek. favourable
((H*) and
indifferent (mailhijiuthi).
The favourable mind

Everything favourable
88.
happy movement
limbs,
of
be represented
should
horripilation
by the
and the opening of the
mouth.
In case of a favourable sound, form, touch, smell or
89.
son.es
one should show a happy face by concentrating the
taste,
[concerned] in mind
1
.
The unfavourable mind
By
90.
not
turning the head,
using
the eyes and
them
whatever
fixed to the nose, one should represent
is
keeping
unfavour-
able.
The
An
91.
indifferent
too
expressing not
much
indifferent
mind
attitude
should
delight or to
keeping oneself in the middling

92.
"It
his",
is
example
"He
does this"
represented
by
state.
representation of words like "[It
The
or
be
much abhorrence, and by
which
is
done] by him",
relate to invisible acts is [an
of] indifferent attitude.

of "personal"
The meaning
93.
The
object
which a person himself
feels
is
called
"personal" (atmastha).
86 (C.82; K.XXII.81b-82a).
85 j 8l7KXXII.80b-81a).
87 (C.83;
K.XXI1
88
82b-83a).
(C.84-,
K.XXII.83b-84a).
used
is
indriyair
89 (C85; K.XXII.84b-85a>.
together with the mind'.
coming
senses
of
means
manasa firufitair, 'by
91 (C87; K.XXII.86b-87a).
86XXU.85b-86a).
'
90 (C
The
expression
92(C.88!K.XXI1.87b-88a).
93 (C.89; K.XXI1.88b-89).
THE NAT1ASA8TBA
454
The meaning
And
anything which
94-
of "external"
by another
to be described
is
XXIV.
is called
"external" (parastha).
Desire
Almost
94-95.
combined with desire

as, desire for virtue
all
will
from passion which
the States proceed
be considered as having
(dhama-lcama), desire
many forms
such
for wealth (artha-k&ma)
and desire for liberation (moha-lcama).

Love
The union
95-9G.
(kama). This love which
mostly to be observed
man and
of a
may end
sorrow for
to happiness
leading
as
woman
in joy or
called love
is
all
people,
is
even in unpappy
situations.
Erotic Affair
97.
sexually
The union
united
is
benefits the two,
98.
In
men and
of
known
as
women which
finds
them
an Erotic Affair (srhyarn).
This
and brings them happiness 1
this
world
always
people
which women are indeed the source.

nature
desire
happiness of
These women are of various
1
.
Various types of women
Women
99-100.
Asuras,
tigers,
are
known
men,
monkeys,
elephants,
The woman
101-102.
A woman
deer,
cows and the
asses, horses, buffaloes, goats,
looks
to possess
the
Gandharvas, Raksasas, Nilgas, birds,
of
and
like
Yaksas,
camel,
Makara,
1
.
divine type
who has
delicate limbs, steady
from the corner of'her eyes,
lustre, munificence, truth
fish,
nature of gods,
Pisacas,
is free
and
simplicity, emits very little sweat,
94-95 (C.90-91a; K.XXH.89b-90a).

95-96 (C.91; K.XXII.91b-92a).
97 (C.92; K.XXII.92b-93a).
* C. omits 96.
98 (C.93; K.XXII.93b-94a).
99-100 (C.94-95;
K.XX1I
Cf.
94-96a).
101-102 (0.96-97; K.XXH.96b-98r).
BhP.
'
p. 109,
See BhP.
'
Cf.
soft
from any disease, has
1.
9-10.
p. 109, 1. 12-15.
BhP.
p. 109, 1.16-19.
has
-XXIV. 109
TBE BASIC REPRESENTATION
455
middling sexual passion, takes moderate food, loves sweet scent and
engaged in vocal and instrumental music,
is
nature of a goddess
Asura typo
of
A woman who
proud,
meat,
very
fickle-minded,
harsh, fond of quarrel, jealous and inconstant in affection,
covetous,
Asura 1
said to possess the nature of an
The woman
A woman
10.")-1lK5.
is
practices
fond of wine and
cruel,
very
always irascible [in temper],
laws and
transgresses
trickery, is confirmed in anger, very
is
to possess the
The woman
103-104.
known
is
adorned
with
of Grandharva type
who enjoys roaming
many
in
gardens,
good nails and teeth, speaks with a smile,
bodied, has a slow gait, loves sexual pleasure,
hear music (gitu and
is
and to witness dance,
f'S'/i/n)
slim-
is
careful
is
hairs
about the cleanliness [of the bodyl and has soft skin, glossy
and charming eyes,
is
known
to possess the nature of
The woman
107-108.
eyes,
hard
of
woman who
nails
and
roam
very
woman who
efforts,
beings),
is
irascible,
takes
and
the
anger,
at night, is said to possess
of
Naga type
has a pointed nose and sharp teeth,

of a blue
slender body, reddish eyes, complexion

sleep,
loudly, has
disposed to
teeth, is
The woman
109-1 10.
Rak?asa type
day time, speaks
jealousy and quarrel, and likes to

the nature of a Riiksasa
aGandharva 1
has large and broad limbs, red wide
hairs, loves to sleep in
habit of hurting [one] with
to
always pleased
has an oblique
pleasure in [the
Naga 1
fond of
persons
and similar other
loves sweet scent, garlands
said to possess the nature of a
many
of]
is
and unsteady
gait
(tiryal.)
company
lotus,
(lit.
objects,
103-104 (C.98-99; K.XXII.98b-100o).
'
Cf.
BhP.
1.20-22)
(p. 109,
here this type is called daityasila.
105-106 (C.100-101; KXXII.100b-102a).
'
Cf.
BhP.
107-108 (C.102-103; KXXII.102b-104a).
'
Cf.
BhP.
p.
Cf.
BhP.
p. 110, 1. 21 22,
109-110 (C.104-105; K.XXlI.104b-106o).

p. Ill, 1.1.
>
p. 108,
1
.1-4.
10, 18-1
THE NATTASASTBA
456
The woman
111-112.
character,
many
A woman
likes
who has a very
fruits,
The woman
13-114.
number
of fingers,
roaming
in
ous, speaks with
of Pisaca type
PisTica
has the habit of
acts,
sexual indulgence,
is
treacher-
behaves abominably during
entendre,
fond of
is
A woman
115-116.
bed or
Yaksa typo
of
who
sweats during
seat, is [very] intelligent, fearless
sweet smell and meat, takes
sleep, loves
is
on seeing the beloved one
delight
The woman
A woman
117.
same
Yaksa 1
said to have the nature of a
spirit,
who
of tiger type
honour snd dishonour
takes
untruth and haughty words and has
118-119.
[to her
virtuous,
tawny eyes,
of
human
loves uprightness,
disposed to worship
the
111-112 (C.106-107ai K.XXII. 106b-108a).
BhP.
115-116 (C.107b-108 ;
vini
bhayaUna etc.
Cf.
p.
,.
always clever
is
Emend
elders
Cf.
BhP.
grateful
is
and gods,
p. 1. 12-12.
Janaihikmigulih
into
15-18.
K.XX1I.
BhP.
have
female
has Tegular features (vibhaktahyl),
113-114 (K.XXH.108b-110a).
Cf.
said to
woman who
benefactors],
unadhikmgulih.
is
in the
wily, speaks
is
The type
and very
a long
has a rough skin and harsh voice,
the nature of a tiger (vyala)
quiet
and fond of wine,
after a long time, feels gratitude [to him], does not sleep for
time,
spiri-
have the nature of a
said to
is
The woman
rest in
than the usual
or less
sexual acts, has a hairy body and loud voice, and

tous liquor and
is
talkative,
and of terrifying children,
fields,
double
and
fickle
merciless during sexual
is
[very]
is
woman who has more
gardens and
energetic
and milk, has
liquor
always given to breathing and
is
said to possess the nature of a bird
large mouth,
spirituous
always fond of gardens and forests,

is
Ill-
type
of bird
loves streams, enjoys
offsprings,
[XXIV.
1101>-112a).
'
Read
115b. at
medha-
p. 110, 1.5-7.
117 (C. 109; K.XXII.112b-ll3a).
'
Cf.
118-119 (C.110-lllj.K.XXII.113b-115a).
BhP.
'
p. 110,
Cf.
BhP.
110
1.
19-22.
p. Ill, 1. 3-4.
XXIV. 127
TUB
BASIC BBPBESBNTATION
457
always careful about duty as well as material gain, ami

pride and fond of friend and has a
the nature of a
human
being.
A woman
120-121.
loves
energetic,
of
a compact and small
fond of
roam about
[to
monkey type
who has
hairs, is
fruits,
in]
talkative,
is
A woman
122-123.
fleshy
to
who has
forests,
forests,
is
violent
chin and forehead,
a large
eyes, hairy
and wine, has
garden,
is
and
of elephant type
and bulky, has tawny
scent, garlands
water,
and
her]
monkey 1
said to have the nature of a
The woman
body,
fickle,
gardens and
trees,
cherishes highly even a small kind act [done to

in sexual act,
from
is free
said to have
is
The woman
impudent, has tawny
good character,
body,
is
is
fond of sweet
irascible temper, steady energy, loves
sweet things and sexual intercourse,
said
is
have the nature of an elephant 1 .
The woman
thin shanks, large red eyes,

of taking fright,
irascible
in
of deer type
A woman who
124-125.
is
timid, fond of
temper,
nature of a deer 1
has a small
is fickle,
songs and instrumental
unsteady in her
fickle
A woman
A woman
a slightly
awkward
salt,
is
have the nature of
gait,
and
is
has her
tastes,
1
.
cruel words,
much
fond
waist
of
and
has a high and
have the nature of a camel 1 .
Cf. BI.P. p. Ill, 1. 5-7.
'
BhP.
122-123 (C.1U-115; K.XXII. 117b-ll9a).
'
Cf.
124-125 (C.116-117; K.XXII.I lb 121a).
'
BliP
126 (C.U8; K.XXII.l'Jlb-122a).
58
and
fish
too
lips,
abdomen,
slender
120-121 (C.112-113, K.XXII. 115b-117a).
127-128 (C.119-120;
breasts, is
servants
of camel type
sour and pungent
said to
and high
many
who has protruding
sides loosely bound, speaks harsh
rough neck,
is
the
type
fish
long, large
said to
is
The woman
flowers, fruits,
music,
said to have
efforts, is
in her eyes, has
offsprings, has liking for water,
127-128.
of
who has
and without any twinkle
sweat,
nose,
flat
The woman
126.
abdomen,
has the habit of quickly going,
'
Cf.
BhP.
K.XXII. 122b-124a).
'
HI,
p.
Cf.
p. Ill,
p. Ill,
BhP.
1.
I.
8-9.
10-13.
13-14.
p. Ill, 1. 15-16.
THE NATYASA8TBA
<58
[ZxlVm
The woman of Makara type
129.
cruel
is
to
have the nature of a Makara
The woman
A woman
130-131.
skin
of
and harsh words,
is
who
offsprings, is
steady
fish,
has a thick tongue and
lips,
rough
violent during sexual acts, impudent, fond
known
to
A woman
gait,
lover], jealous of her co-
angry by nature and has
have the nature of an ass 1
The woman
132-133.
habits of
of ass type
slow in her
fickle,
the"
and biting [from her
nail-scratches
wives, clever,
many
and has a large head, a
mouth wide open, very .loud voice and
neck, a
known
woman who
of swine type
who has a
large back, belly
hairy and strong body, a very narrow forehead,
is
and mouth,
fond of ordinary
and bulbous
roots,
has black teeth and ugly face, large thigh and
thick hairs,
mean
habits
1
the nature of a swine
and many
The woman
13 H3.">.
A woman who
and neck,
hips
thighs,
hairs,
130-137.
rough
broad
slightly
sides,
charming,
is
said to have
1
.
A woman
raised)
of buffalo type
who has broad

turbulent
hairs, is faithless,
(lit.
is
sharp-tongued, quickly
fickle-minded,
The woman
belly,
to have
has symmetrical
faithful,
and thick
moving, and disposed to anger and sexual passion,

the nature of a horse
said
is
of horse type
is
straight
mysterious,
munificent,
offsprings,
back, bones, teeth, sides,
and hater
of
men, has a
mouth, large forehead and hips and
fond of forests and sporting in water, has the nature of a buffalo
The woman
138-1 3!t.
[almost
A woman who
is thin,
has small arms and breasts,
129 (C.121 K.XX1I.1 24b-125a).

j
'
Cf.
BhP.
130-131 (0.122-123; K.XXII.125b-127).
(C.m-135 K.XXII.
;
of goat type
motionless red eyes, short hands and
132-133
is
127b-129a).
feet, is
covered with
p. Ill, 1. 17-18.
Cf.
BhP.
p. Ill, 1. 19-20.
'
Cf.
BhP.
p. Ill, 1. 21-22.
134-135 (C.126-827i
K XXlI.129b-131a).
'
Cf.
BhP.
p. 112, 1. 1-3.
136-137 (C.128-129;
K.XXH.131b
133a).
'
Cf.
BhP.
p. 112, 1. 4-6.
138-139 (G130-131; K.XX1I. I37b-139a).
'
Cf.
BhP.
p. 112, 1. 7-9.
XXIV. 146
fine
THE
and
hairs,
is
moving,
swiftly
nature of a goat
BASIC!
timid,
and
REPRESENTATION
many
yawning
is
and
talkative
is
hands and
low manners,
of horse type
A woman who is alert
[often],
short
loud
feet,
short hands and
and gods, always
has
knowing
large,
engaged
hips,
her
worshipping ancestors
in
and patient
women
while great
if
nature one should
woman's
For courteous
according to her nature, even

her,
plump and high
have the nature of a cow'.
approch her accordingly.
to
and
clean, respectful to superiors, faithful,
After
beaming
[tern per J,
irascible
kind to friends, firm in
is
Etiquette towards
144-14;").
cow type
of
feet,
children,
in her sufferings, is said to
pleasing
have the
grateful, has a small
voice,
woman who
favourable to
efforts,
to
and limbs, disposed
in eyes
said to have the nature of a horse
The woman
142-143.
thin shanks,
forests, restless,
said
is
140-141.
face,
offsprings,
The woman
to
mad, fond of
foolish,
has
459
these
many
done
acts
not
are
when
such acts
done with an ignorance of her nature
to a
many,
woman
he
will
they
are
otherwise), will not
(lit.
satisfy her [at all].
145-146.
has been courted
external love will arise in a
An
looked
(lit.
Etiquette (upacara)
for)
woman when
And
in a proper manner.
she
certain
man and woman
has been prescribed for
in
love [with each other].
146-147.
Austerities are
(dhamiaf, and the

happiness.
And
practiced for the
acquisition of]
happiness has
ment of whose company
is
its
desired [by
sake
of
virtue
the purpose of
women
source in
the enjoy-
people in general J.
140-141 (C.132-t83s K.XXII133b-135a).

spurious
for
is
virtue
'
This
'
Cf.
def.
seems to bo
see 134-135 above.
142-143 (C.134-135; KXXII.135b-137a).

144-145 (C.136-137a; K.XXII.139b-141u).
'
p. 112, 1. 10-12.
See BhP. p.112,
145-146 (C.137b-138a; K.XXII.141b-142a).

146-147 (C.138b-l:S9a; K.XXII.142b-143a).
BhP.
1.
14-16,
THE NATYASASTBA
460
Two
147-143.
In the
kinds
148-149.
to be observed
and
by courtezans
In
And
connexion
which have been drawn out from
The
of three classes
liaJaja,
lit.
inside).
outside)
(abhyairfarit)
152.
153.
(lit.
and a courtezan
A thoroughly
A maiden
women
is
high
lit.
tested
"public"
inside)
family
is
and
outside
lit.
"homely"
a "public" (baliyu) woman.
(Miwuctt) woman,
mixed
public
if
she
{lialujabhijantara) class
of high family
the king's Etiquette, and
love],
have the nature of various beings
of the
is
the
detail
women's
[of
have arisen from) the Aphor-
three classes of
belonging to a
maiden of high family,
be
[Etiquette]
describe in
shall
enjoyment
and "mixed" (bahtjabhiiantara,
A woman
to
women
"homely" (abhjmitara,
is
Women who
150-151.
of two
in the Prakarana.
rules of Etiquette for kings in their
isms of Erotics (kamasutm) 1
external
the
king's Etiquette towards

this
relating
is
internal (aibhyantara).
Nataka.
in the
The
140-150.
are
men and woman
[Of these two], the internal [Etiquette]
observed by kings
is
convention, Etiquette
theatrical
external (b&hya)
147.
classes of Etiquette
(kamopacara) of
to the [practice of] love
XXIV.
is
1
.
has no occasion to receive
woman
is
never desired by a
king and she does not receive his courtesies 1 .

154.
king's
Union takes place with a "homely" woman,
and a common man may unite with a "public" woman,

king
may have Union
while
the
with a heavenly courtezan [as well] 1 .
147-148 (C139b-140a; K.XXII.143b-144a).

148-149 (O.140a-141a; K.XXII.144b-145a).
149-150 (C.141b-142a).
This
work seems
the present siitra text ascribed to VStsyiiyana
On
to be
lost
151 (C.142b 143; K.XXII.145b-146).

.152 (C.144;
K.XXII.147).
153 (C.145).
'
154 (C.146).
'
The reason
As
in
'
is
K's reading
obvious.
is
fragmentary.
K. omits
Vikram. K. omits
and
is
not
this see the Introduction.
this.
this.
XXIV. 162
155.
women
THE BASIC BEPBBSENTATION
The conduct which
of high family will hold
love affairs]
[in
a courtezan too
approved by [married]
that) is
(lit.
good
461
maidens
in ease of
And
too.
behave generally] like a
[will
1
lady of high family .
The beginning
156.
arises in
various causes
[for a person] grows
Love
[him, hearing
sportive
kind
of the superior, the middling or the inferior
men and women, from
157.
seeing
sation
Love
of love
movements
about
of limbs
from hearing [about him],

beauty,
personal
his]
and [hearing
his]
his]
[seeing
charming conver-
1
.
158.
An
of
love
should then
matter
expert in this
various indications
observe
men and women who
in
desire
the
one
another's company.
15!).
A woman
becomes overpowered
young man who has personal beauty as

ties,
and has besides the knowledge
love on seeing
witli
other innate
well as
of various arts
and
crafts
quali1
.
Signs of love
lOd.
The
[the eyes are]
glance in which
drooping and eyelashes are throbbing,
and
it
should be used here

161.
The
Due
Kamya
(lit.
loving)
glance in which the corner of the eyes are moving
used in women's partial looks

162.
called
and having sportful expressions,

is
is
charming, tearful
is
called Lalita
(lit.
sportive).
It
to love, one's
voice becomes slightly impassioned,
and the face covered with sweat-drops, and hairs in the body stand
on
their
end 1
155 (C.147).
'
Cf.
'
156 (C.148).
iqm
nni*i
These three
later authors like Saradatanaya; sec
157 (C.149).
159 (C.151).
'
'
^mtawftAsit etc.
kinds of love
BhP.
p. 113,
1.
KS. IV.
2.1.
have been defined by

10-14.
K. omits
this.
158 (C.150; K.XXII.148a).
K. omits
this.
160 (C. 152).
See N8. VI1I.73.
161(0.153).
K. omits
this.
162 (C154).
'
K. omits
this. Cf.
BhP.
p.
'
K. omits
13, 1. 17-19.
this.
THE NATYASA8TBA
462
[XXIV.
163-
Signs of a courtezan's love
A courtezan
163-165.
to
is
be considered overpowered with
when she expresses her passion by
love
the
touching their ornaments, itching
side-long glances,
casting
ears, scratching the ground
with her toes, showing the breasts and the navel, cleansing the nails
and gathering her hairs 1
Signs of love in a highborn lady
166-167.
one should know that there are
Similarly
cations [of love] in a
woman
indi-
These are as follows
of high family,
she looks continuously with blooming eyes, conceals her smile, speaks
slowly and with a down-cast face, gives reply with a smile, conceals
her sweats and appearance, has throbbing lips and
is
trembling 1
Signs of a maiden's love
woman
not
yet having the experience of love's pleasure (rati) will express
her
These are the various signs with which a
168.
love which has ten stages
1
.
Various stages of her love
100-171.
Anxiety
First there
Enumer-
fourthly
of [the beloved one's] Merits (ijumJcliiana), fifthly
ation
(nilct'tjii),
sixthly
Lamentation
(iMmwln), eighthly Sickness

tenthly Death
men
bo a longing (Milwia), secondly
will
(ciuta), thirdly Recollection (anusmrti),
(mamna) 1
as well as of
women.
(vilapa),
seventhly
Stupor {jafala), and
{i;ifwlhi\ ninthly
These are the stages of love
Now
hear
Distress
Insanity
in case
of
about the characteristics of
all these.
Longing
Longing (abhilasa)
172.
and wish
[him] 1
arises
[for the beloved one],
from
and leads
born of desire
means
of meeting
163-165 C.155-157a;K.XXII.148b-150).
and
efforts
to the
p. 114,
1.
1-2.
'Cf.BhP.
1.3-9,
p. 113,
166-167 (C.U7b-158toi K.XXII.151-153a).
'
BhP.
Cf.
p. 113,
1.
17,
p. 114, 1.1-2.
168 (C.159; K.XXII.153b-154a).

'is
'
BhP.
gives the
(p.88)
numb
'ten or twelve'.
169-171 (C.160-162; K.XXII.154b-l57a).
Cf.
gives two more stages (iccha and utkanlhu). Also of.
172 (C.163; K.XXII.157bc).
(if,
NL.
2427;
BhP.
KS.
(p. 88, 1. 3-5)
V.l-5; NL.2421lf.
BhP.
p. 88, 1. 15:16.
-XXIV. 179
One
17;!.
or enters
the
first
it
463
goes out of the place [where the beloved one is]
or stays within his sight, and shows signs of
stage of his love
amour
in
1
.
Anxiety
Anxiety {cinia) should be indicated by speaking
174.
female Messenger (dTdi) words such
what manner
beloved
will there
be an Union
to the
"By what means and
as
with
obtaining
(lit.
in
of) the
?"
In the second
175.
Nivi, the navel
stage [of
and the thighs 1
one should look with
love]
and touch the Valaya
half-closed eyes
(bangles), the Rasanii,
the
Recollection
176.
(lit.
Sighing again and again, thinking deeply of the beloved

person and disliking other engagements,
desired)
Recollection {anasmrti) 1
177.
Being engrossed
in thinking
one docs not attain composure

remains
called
is
or
The
without doing one's duty.
should be expressed like this 1
him
of
sitting
in
(i. e.
lying
the
beloved)
stage
third
and
bed,
in
[of
love
|
Enumeration of Merits
17S.
smiles
To
express by means of sportful
and glance and [other
else like him', is called
179.
in the
The
efforts| the idea
movement
Enumeration of [the beloved
representation [of
love]
in the
174 (C.165; K.XXII.159).

2
sumanyah K).
Cf.
'
NL.
l
176 (C.167; K.XXII.161).
2436ff;
Cf.
BhP.
A
27)-289 (lino 3)
own
of the chapter
is
stage
fourth
BhP.
p.89,
1.
1.
(i.e.
horipillation
p. 88,
p. 88.
1.
17-20.
C;
21-27.
8-5.
BhP.
Cf. NL.2449;
C.'a reading of the portion of this chapter
same. C.'s.
BhP.
Cf. NL.2449;
K.XXIL162).
177 (C.XXXI.76;
2428ft-
no one
Read sampraptih (sambhrlmtih,
'
175 (C.166; K.XXJI.160).
NL.
Cf.
is
one's] Merits.
Enumeration of Merits) should bo made by
173 (C.164; K.XXII.158).
limbs,
of
that 'there
p. 89, 1. 7-8.
BhP.
(XXIV.) given
p. 89,
1 9-11.
in pp. 281 (lino
merely an unacknowledged copy of K-s reading of the
reading occurs in pp. 348 (line 14) 355 (line 8) as a part
XXXI.
178 (C.XXXI.77 K.XXII.163).

;
179(CXXXI.78;K.XX1I.164).
x Cf. NL.2456; BhP.

x Cf. BhP.
p. 89,
1.
p. 89,1. 12-1 4.
15-18.
THE NATTASASTRA
46 4
180
and talking confidentially to the female
wiping off tears, sweats,
to relieve the pangs of separation
Messenger
XXIV.
1
.
Distress
That one
180.
lying in bed and
is
eagerly expecting [the beloved one]
always
the stage of Distress (mlvrya) in love
By
181.
stage of Distress
is
1
.
and burning
lassitude
representing anxiety, sighs,
manner,, one should express the
heart in an exaggerated
of the
with sitting or
not satisfied or pleased
is
1
.
Lamentation
182.
(rilapn)
Lamentation
"He
sorrowfully words such as
he approached me, etc

183.
woman
lamenting
grief to
stood here
he
sat
and hero
here,
1 ."
another
distressed
is
by very eagerly exshe moves from
out of uneasiness
pecting [the beloved one], and
one place of
by speaking
represented
is
1
.
Insanity
When
184.
him
(/.
the
woman
always engaged in talking about
is
and hates
beloved)
[other]
all
males,
it is
a case of
Insanity {itnmwhi)18").
To
look with
represent Insanity one should sometime
a steadfast gaze, sometimes heave a deep
sigh,
sometimes be absor-
1
bed within oneself and sometimes weep while walking about .
Sickness
180.
Being devoid of
all
and of [any] ex-
pleasures of love
pectation [about them] one gets Sicklies* (nja/lhi)
CI
NL.2462fr Bhr\
180 (C.XXXI.79; ICXXII.165).
181 (C.XXXI.80; K.XX1I.166).
x See note of 180 above.
182 (C.XXX1.81; K.XXII.167).
* Cf. NL.2470; BhP.
An example
jfq?m
if air * tfara
1l * *ftwn etc
183
(O.XXXL
82;
m ?
(Svapna 1-15,
K.XX1I.
186
w **i *
1.
19-22.
p. 90,1.
"S^l"
1-3.
" "" "
''
BhP.
90,
1.
4-8.
Cf. NL.2484ff; BhP.p.90 1.9-15.
x See above 184 note.
(CXXXI.85; K.XX1I.171).
.X2476) has alaitka (disquietude)
p. 89,
2-4).
x Cf.
168).
185 (C.XXXI.84; XXII.170).
*ft"1
1S4 (C.XXXI.83; K.XXII. 169b).
HL
'
BhP.
p. 90. 1. 16-18.
which precedes unmada.
follows
K.
XXIV. 194
To
187.
represent Sickness
that the heart becomes
paralysed,
4fifl
tire
eighth stage, one
the
body
is
to
show
in fever, the
head
1
aches badly, and one does not have any tranquility
is
Stupor
In Stupor (iadata) one does not respond when ques-
188
and
tioned,
not hear or see [anything].
does
condition in which one's
To
189.
the
mind
deranged 1
represent Stupor one
wrong occasion, and
mouth given
is
is
to
It
is
pathetic
to utter response (hum)
is
on
have one's limbs relaxed and the
to excessive breathing
swallowed by breathing) 1
(lit.
Death
19(1.
Tf
even after adopting
means
the
all
purpose] the Union [with the beloved] does

in the fire of love one's
burnt
191.
Thus
[available for the
not take
in case of her
meeting
(lit.
getting) the beloved,
one should represent, according to the Science of Erotics

Iru), for the
Heroine
all
then
place,
Death (muram) takes place 1 .
(lamatw
the stages of love except the last one
1
.
Manifestation of men's love
19?,
make
Even
man
separated
States
from his beloved one
will thus
ways through
different
diverse
a manifestation of his love in

1
.
Characteristics of
193.
expressing
One
should represent
stages
these
of
We
characteristics [in particular stages]
Women
104-190.
diverse
ways by
187 (C
by
XXXI.86; K.XXII.
bringing in
their
(O.XXXI.
90;
are
common
1
.
love should
K.XXIL
172).
173).
189 (C XXX1.88, K.XXII.174).
be
represented
'
in
and
19-22.
P- 90, 1.
OL NLM99ffi BhP, p 91,
1. 1-6.
note.
HMBOBff. BhP. p. 91, 1. 7-8.

9-10.
Cf. NL.251W. BhP. p.91,1.
Cf.
'
'
BhP.
See above 188
'
193 (C.XXXI.92; K.XXII178).
Of.
'
'
K.XXII.176).
192 (C.XXXI.91 K.XXII.177).
Sec above. 182 note.
K.
reads
(XXII.179-180) couplets.
194-196 (C.XXXI.93-95;K.XXII.181-183).
59
women who
anxiety, sighs, lassitude, weariness of the body,
190 (C.XXXI.89; K.XXII.175).
tional
as well as
separated from the belov<*l one
All the stages of
188 (C.XXXI.87;
191
love.
men
after
this
two
addi-
TOE NATYA8ASTBA
166
him] or gazing [vacantly]
following [the beloved] or gazing [at

the
talking
sky,
touching [different
pathetically,
twisting [some objects]
or
V. 1(7.
clinging
some support and
to
other conditions and situation'! arising from an
at
ornaments],
similar
absence of
Union
(ciliralamblm).
Relief in love-sickness
When
197.
will
which have
The
its
with the
fire
ornaments, scents, rooms
of
love
one
and gardens
a cooling effect.
Messenger
Female,
Being over-powered with a burning love and affected
198.
through
much
burning very
use [special] clothes,
several stages one should send
a,
Messenger
female
[to
the beloved] to speak of one's conditions.
199.
One
message of love
with
should
[to the
ask
female
proper courtesy [and
Misscnger
She [should
beloved].
the
like]
after saying
carry
to
deliver
the same]
"This
is
her
condition".
2H0.
After the substance
meaning) of the mewage bus
(lit.
been communicated one should think of the

This
love.
is
the rule where love
The
2H1.
the practice of kings
to
be
king's Etiquette to
now speak
I shall
is
in
to
202.
Happy and unhappy
nexion with love]
in
the
secretly.
about the rules regarding
'-homely"
rales are taken out the Science of Erotics
of fulfilling
wom<u
in detail
relation
means
practised
women and
these
(kamatmilra)\
conditions
which occur [in con-
persons of various dispositions, and which

arc
assumed by kings, arc also followed by common people.

203.
means
Kings have no
for this,
is
at their
difficulty in obtaining
command.
And
women
because
the love that grows
out
of liberality becomes pleasing.
197 (C.XXXI.96; IC.XXII.18i).
198 (C.XXXf.97;
199 (C.XXXI.98; Iv.XXII.18fi).
200 (C.XXXI.99;
201 (CXXXl.tOlJ; K.XXII.188)
any imrticillnr
_
'
treatise.
202
(C.XXXLlOlj
203
(C.XXXUQ2; K.XXJ1.I90).
K.XX1I.18!)).
KXX1I.185)
K.XXII
187)
This does not seem to indicate
XX1Y.210]
20-1.
2t5.
queens and for fear of their
the
for
kings are .secretly to
Though
making
200.
respect
of
women,
favourite
love, the
Out
make
love to queen's maid--.
may have many ways
the kings
secretly will be [the mosl|
it
That a woman
467
all|.
that one
resorts to wily ways,
out from her and she become available only with
making
of
pleasing [of
is
shut
imparts
difficulty,
the supreme pleasure to her love.
207.
In ease of women
(tamblwga) with them

with external
in
women Union
Union
harem, the king's
the
of
in dealing
day time may be permitted, but

should take place at night
1
.
Reasons for Conjugal Union
208.
The
Union (rmtka)
following
scheduled
(l>Ma), newness of relation
order
reasons
are
six
G""''i#).
{nau dm),
the Conjugal
for
fm'l
(lesil-(3
birth of a
)ro en y
S
l
{[inmni),
child
time of sorrow (Miklw) and of joy ([iniiiwhf.

200.
When
the
Union (rcbuka)
Conjugal
should go to the bed-chamber of a queen even
if
she
due, kings
is
may
be in her
menses or may not be his favourite.

Kight kinds of Heroine
arc
In this connexion Heroines (uTvjika)
210-211.
up
dressed
to be of eight kinds suclfas, "one
known
Union" (tfwd-'.
for
(draholbidhila), "one having

wj/a), "one distressed by separation"
"one separated
her husband in subjection"
-'one enraged with
(kalahaaUnla),
Lfrom her lover] by a quarrel"
(wHftM-Ma'lM
her lover" (kkaadita), "one
"one with a sojourning
moves
deceived by
to her lover" (ahhitarika)
(c.xxxi.103; KXXIL191).
206 (C.XXX1.105; K.XX1I.193).

207 (C.XXXI.106; K.XXII.194).
208 (C.XXX1.107; lv.XXU.195).

passage quoted iu
-
This
KA.
nu>
related at the time.
(p.
307) where.
I,-
205 (C.XXXI.101 K.XXlI.t92).

;
Of.
'
'
KS. V.
(p.
(m*)
VHtsyayana. See KS.llI.
16.
W)
vrb.Unn.
<"""
l"
llilVH
i,OT
2. HI-H3.
..._
209(C.XXXI.108 K.XXI1.196).
;
210411 (C.XXXI.109-110;
1,
See llenrcu.dra'- ,,//f en t'u
cpies A.
of the Conjugal Union

<>[
(n^dalMa)
her lover"
'one who
husband" (îtnbkn-hh,) and
K XXIf.197-198)
'
See DR.U.33-17.
THE NATYASASTRA
468
212.
due,
expectation of
in eager
when
decorates herself joyfully
The Heroine
A woman
213.
account of his
lcanthita)
distressed
is
by separation
many
other engagements and
Heroine distressed by separation {vimhol.
1
.
The Heroine having her husband
214.
as well as
and who
is
whose beloved one does not turn up on
preoccupation with
makes her sad,
plenum;
love's
Conjugal Union (rasahi)
the
1
a Heroine dressed up for Union (rwikinajja)
is
212.
dressed up for Union
The Heroine
woman who
XXIV.
by
woman whose husband

from
love's pleasure (unratn)
has pleasing
by her
her, stays
side,
Heroine having the husband
qualities, is a
1
in subjection (neaJhniahhartrhi)
in subjection
captivated by her conduct
The Heroine separated by quarrel
215.
woman
quarrel (hdahantanta)
Heroine separated by
impatient for her lover
who has gone away due
or jealousy, and does not return
is
to a quarrel
1
.
The enraged Heroine
A woman
21<>.
ment
when
it is
due,
whose beloved one on account
is
of his attach-
not come for'the Conjugal
female does
for another
an enraged (khawHla) Heroine 1
Union
The deceived Heroine

217.
A woman
certain reason even
and a
tryst
whose lover does not come
when
was made,
is
a deceived Heroine
The Heroine with

218.
living abroad
to her
for
Messenger was sent to him
female
the
(//(/ <i7o''/tn)
1
,
a sojourning husband
woman whose husband
the
(lit.
beloved
one)
is
on account of various duties and who wears her
212 (C.XXXI.1U; K.XXII.199).
'
213 (C.XXXI.U2; K.XXII.200).
Cf.
2U
(C.XXXJ.IKS; K.XXI1.201).
215
(C.XXXI.U4; K.XXII.202).
NL.
'
Cf.
DR.
25251V;
HUMmi, DR.
Cf. NL.2550;
T
N L.2536ir
BhP.
II. 24;
DRII
Cf. NL.2530ff;
'
25;
BhP.
p. 99.
p. 100.
II. 24;
BhP.
p. 99.
DR.
DR.
II. 26;
BhP.
p. 99.
216 (C.XXXI.U5; K.XXII.203).
'
Cf.
II. 25;
BhP.
p. 98.
217 (C.XXXI.116; K.XX1I.204).
'
Cf. NL.2542ff;
DR.
II. 26;
BhP.
p. 99.
218 (C.XXXI.U7; K.XXII.205).
>
Cf. NL.2556ffj
DR.
II.
the the t.v u prosiiapriyo.
BhP.
p. 100.
27
which
uses
-XXIV. 226]
hanging loose,
hair
((lAwifdWioiWo) 1
its
called
a Heroine with a
169
sojourning husband
Heroine moving to her lover
A woman who
219.
to her lover
called a
due to love or infatuation
and gives up modesty
Heroine secretly moving
going out
for
attracted
is
meet him,
to
{nhhiw-ika) 1
to her lover
is
Representation of the different Heroines
Heroines
220.
I
them 1
in a
Niitaka should
speak of the manner
shall
in
he of
these
which the producers are
conditions.
to represent
Enraged, deceived and quarreling Heroines
Enraged
'221-223.
(khnylita),
and Quarreling (kalahaidnrild)
by anxiety,
sighs, lassitude,
(n>viMii//ia),
he
represented
burning of the heart, conversation with
female friends, looking to one's

sion, tears,
Deceived
Heroines should
own
weakness, depres-
condition,
appearance of anger, giving up of ornaments
and
toilet,
sorrow and weeping 1 .
The Heroine with a

223b.
sojouring husband
The Heroine with a
sojourning husband
bltartda) should also be represented with these states 1
The Heroine haviug the husband

221.
([itytitit-
in sujection
Heroine having the husband in her
subjection
should be represented with gaudy and brilliant dresses, face beam-
charm 1
ing with pleasure and having an excess of physical
moving
Different classes of Heroine
225.
Whether she may be a
to her lover
to her lover in the special
a lady of
courtezen,
family or a maid-servant, the producers should
move
make
'Cf. XL.2572ff;
high
the Heroine
1
manner described below
21tKU.XXXl.118iK.XXII.2U6).
DR.
IJ.
27. see
Mil*, p. 100.
220 (C.XXXI.11H; K.XXII.207).

for
'
Yathh yojyam proyoktifikih, C.
kamalantmm anekadha. K.
221-223 (C.XXXI.120-1 22a; K. XXI 1.208-21 0a).
cf.
BhP.
'
Cf.
DR.
11.28;
p. 08-100.
22:tb
(CXXXl.l22b; K.XX1L210M.
'
Cf. BhP. p. 100.
224 (C.XXXI.123; K.XXII.211).
'
Cf.
DR.
225 (C.XXX1.124; K.XXII.212).
'
Cf.
DR. II.
II. 28. Cf.
BhP.
p. 99.
28. Cf. BhP.' p. 100.
THE NATYASASTRA
XXIV.
227-
The Courtezan
her
down
[In going
220.
to her lover] the
courtezan
is
to have
body beautifully decorated with various ornaments and
to
walk slowly in the company of her attendants and with [a display
and joy 1
of] passion (sama/lana)
Tim woman
[And
227.
will
such
in
cover her face with
and
contracted,
of high Family
a situation] a
[very often] look back 1
will
woman
high family
of
and walk timidly with
veil,
her
limbs
The hand-maid
And
228.
uneven steps
(ari<hllia<jati)
How
him
If the
situation] a
hand-maid
am
sound
of]
and
joy,
(lit.
this one) is
in
and she
bed
awaken him
finds
in the
going to mention'.
230.
walk with
to meet a sleeping lover
beloved
manifestly (unvijulâm) asleep she [should]
manner
will
and eyes beaming with amorous
through intoxication {mtulad-liaUhi-Mmlai'cl). 1
will talk distortcdly
220.
same
in the
woman
high
of
family
is
to
awaken him by
her ornaments, the courtezan by the sweet
(lit.
[the
cool) scents
and the handmaid by fanning the beloved one with her clothes 1
231.
[In this connexion] the scolding words of
are to be strong but sweet,
232.
This
is
women
friends
and beautifully puctuated by sighs 1 .
the ride
making
of love
family and others, for the Nataka
for
women
of
high
to represent all the States [in a
is
Heroine]
226 (K.XXH.213).
NL.2580ff;
BhP.
Read 226
'
p. 101, 1. 4-W-.
SD.
227 (K.XXI1.2U). ''Read 227a.

NL.2.->76ff;
BhP.
p. 100, 1. 19-2'J.
samadanh prahrslaca
as
SD.
ete. Cf.
NL.2580ffj BhP, p. 101,
229 (C.XXX1.125be;
qjjri
9*
fi>l
W.
Cf.
BhP.
msamlim svem galresii
lost before this.
We
K.XX1U16).
'
1.
Cf.
Read 228a
as
madaskhalita-
as
mm
11-15.
'Read 229a
'
'
Cf.
It
flVu
j.i>
BhP.
p. 101,
1.
16-2J.
seems that one or two couplet, have been
give merely a tentative trans, of
232 (K.XXI1.218).
etc.
p. 101, 1. 16.
230 (CXXXII.217).
231 (CXXX1.126).
Cf.
117.
228 (C.XXXLl25a; K.XX1I.215).
saml&pa
ete.
117.
it.
XXIV.
23!) 1
Union
Tlic Conjugal
For
233.
when she
is
woman newly
not coming [of her
in love or for
own
accord],
[A woman] always enjoys
231.
with pleasure various orna-
and garlands which arc charming and are of
scents
the best kind
235,
Union
Conjugal
should he arranged through some means or oxciw 1
ments, dresses,
woman
nn enraged
the
Just as
when he has
man
does not conic under (he control of love
woman,
not [previously] met any
with the heloved
woman
[such a person
so
hcing united,
becomes doubly delighted
1
.
Behaviour at the Conjugal 1'ninn
At
230.
there
movements
(he time of Conjugal
be amorous
should
of the
I'liioii
feelings, gestures,
kind
sweetest
(lit.
union
Preparation for the Conjugal
woman on
When
her
the
part should
Conjugal Union which

238.
Hero
will
make some
give rise to pleasure
for
the
1
.
among
233 (C.XXXI.127; K.XX1I.219).
235 (C.XXX1129; K.XXII.221).
and
'
'
K.'s reading
C.
sapademr
Hire
'
again
.
should
not
these] the Hasana and the
to he preferred
sound are often
231 (C.XXXI.128; K.XX11.220).
again
1'nion one
Tn preparing for the Conjugal
Xiipun which have
to
is
1
.
very corrupt.
K.
for mtydde'sair,
some passage norms
to
lost before this couplet.
236 (C.XXXI.130; K.XXII.222).
have been
comes,
1
has become successful)
it (lit.
on too many ornaments,
have been
one)
After wearing simple clothes, pulling on garlands and
even when she had done with

239.
special preparation
using sweet scents she should take up the mirror
put
l'nioii
beloved
the
c.
(/.
love)
sportful
having a special quality or
(lit.
sweetness) and especially looking at each other with love
237.
of
words and
Hero also some passage seems
lost before this couplet.
237 (C.XXXI.131; K.XXII.223),
238 (C.XXXI.130 K.XXII.224).
239 (C.XXXI.133; K.XX1I.225).
'
K.
reads
K. reads
'
'
237a as W,
w5
ntf
23ab as wnffiaflWtf
Vtisopacurc
K. vhsopacart C.
THE NATYASASTBA
472
XXIV. 240
Acts prohibited on the stage
[In
240.
women]
of
various activities
representing
then;
no
bath,
no
use of unguents and collyrium, no decoration of the body
and
no
bod-stead,
should be on the stage no ascending of the
1
handling of their breasts or hair
And women
241.
of the
one
piece of
("/w/a) or wearing only

,
garment (fhivndra) and they should use no colour
for thoir lips
1
.
Such a
242.
the inferior
the midding types
superior and
should not be shown as poorly draped
because of
type,
their
But on
low nature.
occasions they loo are not to be represented like that
Men
243.
women
[of dresses] will suit only the
rule
and women of the courtezan
of
certain
1
.
class
in
should take up a flower after they have dressed themselves
play
up
(lit.
having taken ornaments).

244.
Tf
woman
with
she
the arrival of her beloved,
her body] awaits
[of
decoration
should cleverly
nothing contrary [to propriety] linds expression
finish
it
so
that
1
.
Tlio Heroine in expectancy
245.
After
the coming of the beloved

of striking the Niidikiis
24G.
the preparation
finishing
Union, the Heroine should
sit
(lit.
Hero) while
moment]
the
sound of
1
.
After hearing the sound of [the expected]
(C.XXXU34,
Conjugal
[every
listening
Heroine overcome [with joy) on [the chance

240
for the
down and expect
Cf.
K. XXII.225).
'
of]
the
Nadika the
beloved one's
This *hows the high moral
sense of the people of the time.

2-11
(C.XXXI.135; K.XXII.227).
242 (C.
XXXI. 136;
Sec above 240 note-
'
'That
K.XXII.228).
is,
they might appear on
have
the stage as poorly draped or with one piece of garment or might
their lips painted.
243
(C XXXI.137;
Cf.
K.XXII.229)
244 (C.XXXI.138; K.XXII.230).
ftynwn
ftrfin
uAî fninm
245 (C.XXXI.139
of
Bead
the couplet as follows
snwifai't M sstorc frcft.
K.XXII.231).
'
Naltka-K, naytka. 0.
246 (C.XXXT.140; K.XXII1.2 31b, 232a).
Szmna-hrdaya, C. (trasta-hrdayu, K).
Nalikh K.
myM
C.
-XXIV. 253
THK BASIC RKPUESENTATION
coming should run towards the gate
and with her heart about
ing [body]
And
247.
a
door-blade
473
[of the house] witli
to stop
(lit.
holding the door-frame with her
with
the right
trembl-
motionlees).
one, she should
hand, and
left
with straight eyes
look up for the arrival of the beloved.
Overcome with apprehension she should show
248.
able [signs of] tear
when
the beloved will
seeing the beloved), and should turn sad for
Then
249.
face)
(lit.
her limbs) on
(Jit.
motionless
heart
to
ponder over)
his
coming with causes
may be good
ministers
delay of
will
engaged in
detained by
the
beloved she
some
follows
think [as
up by duties
held
been
herself
(lit.
should connect
considerations)
which
"Could the beloved have
:]
by the
to his superiors,
affairs
woman
favourite
friends, or
of the slate, or could he
by the
have been
'!"
She should represent appearances connected with the
252-
various good or bad causes [mentioned above] by

like quivering or
omens
down
drop
or bad,
She
251.
not
moment.
a seat.
Due
250.
(lit.
heaving a deep sigh and lowering her look
alter
she should with a
(lit.
(he
reason-
appear
to
fail
means
of personal
throbbing [of a particular limb].

Personal omens
253.
women
will
Personal omens
occur to
their
indicating occurrence)
left,
[side]
while
undesireable happenings will take place on
247 (G.XXXI 111; K.XXH.232b, 233a).
1? wfa* ftstumn
favourable
omens
case of
in
to
all
their right.
'
247a
reads as
wn*i*
we with K.
248 (C.XXXI.142; K.XXII.233b-234a).
249(C.XXXI.143;K.XXlI.234b-235a).
'
K.'s reading
K.
K. reads 252
reads
is
corrupt.
nayammbu
'
for
asyaii caiva, C.
250 (C.XXX1.144; K.XXII.235l>-236a).

251 (C.XXXf.145; K.XXII 236b-237a).
252 (C.XXXI.146; K.XXH.237b-238a).
aif vtraHqgfamii
fifnt:
253(C.XXXt. 147; K. XXII. 238b-239a).
duruktem, K.
60
as
"S^mfifv
Msujwqi $f< Sftlw.

'
anu\em,
C.
for
THE NATYA8A8TBA
474
254.
If the left eye,
eyebrow, forehead,
coming
thigh throbs, this will indicate the
thing calamitous
(lit.
As
rest
arm, breast or
lip,
[of the beloved].
In case of perceiving such bad
not desired).
omens she should at once faint

256.
261-
throb differently 1 that will indicate some-
If these will
255.
XXIV.
8
,
long as the beloved
has not come, her hand
on her cheek, and being careless about her
will
should
she
toilet
go on weeping.
But afterwards on seeing
257.
cating
the
his arrival
one has drawn near by means of
On
proceed to
beaming
seeing
receive
tlie
beloved
him [come] she should
the
indi-
beloved
feeling'' his smell.
Heroine's reception of
258.
good omen
some
Heroine should represent-that the
beloved
joyfully
and look
get
him
at
up and
with eyes
in pleasure.
Receiving the guilty lover
But
259.
the signs
[of
[in case of] the
beloved one
who has come with
meeting another woman] and green wounds 1 [received
from her] she should point out [the man] after assuming the Ayata
posture (stltam) with her hand in the hand of her female friend 2
And
260.
the beloved one being
found guilty
lie
by means of [appropriate] gestures
given censure in due order
and reproachful words as well as by Jealous
Anger (mana),
Insult
(avamana), Fainting (sammolut) or Dissimulation (awhlttha)'1
Due
261-263.
and
calamity
to reasons like the application
of
acceding
to
situation
fun and
of
Dissimu-
words or of laughter, curiosity,
hidden
lation, the use of
should be
flurry,
to
his
254 (C.XXXI.148- K-XXII.239b-2.10n).

255
(CXXX1149;
and eyebrow
etc.
throb.
K.XXII.240b-241a). 'That
2
the
is, if
K. reads 255 a as iratsw
right ey
*icti% sfoi sfq>j
256 (C.XXXI.150; K.XXII.24lb-242a).

257 (C.XXX.151| K.XXIL242b-243a).
with gestures.
'
That
259 (CXXXI.153).
'
i.e.
260 (C.XXXI.154-155a,
of biting and scratching.
K.XXII
by representing
it
K. omits
this.
244-245a).
261-263 (C.XXXI.155a-157a; K.XXII.247-248).
Miha-kama-yoeesu.
is,
258 (C. XXXI.152; K.XXII.243b).
'
K. reads dharm-
-XXIV. 269
c:oncealing
even
any
Heroine
the
fault,
should
speak to the beloved
[his guilts require that] he should not be
if
Where
263-264.
where there
is
there
spoken
affection there
is
475
to.
And
fear also.
is
jealousy, there occurs love {matlana).
Causes of jealousy
The
causes of
(mimamsya),
Anger (mawjii).
(Is.
this
Mixed
jealousy) arc fourfold
Feeling (vi/aUka),
Disgust
Depression
and
(rqiritia)
Please listen about their description.

Depression
(raiuiamiKijn)
Depression
2G5.
beloved one walking
wounds [received from the
trembling
great
fresh
latter].
limbs due to anger, and
of
like "It is good", ''It is nice"
words
the
and
This should be represented with an intensely jealous
266.
face,
seeing
lassitude,
Union with another woman] and
his
[of
signs
discovering
from
arises
due to sleepiness and
lazily
and "It
is
utterance
of
beautiful."
Mixed Feeling
Mixed Feeling
267.
with joy
when
(njal'J/d) arises
beloved
one's
due
to
mixed
jealousy
[near by] even
stays
after
he
has been treated with insult.
268.
Mixed Feeling should be
firmly on legs with the
left
represented
by
standing
band on the breasts and the
right
one violently gesticulating.

Disgust
269.
Disgust
K. reads before
(ripiiiiii)
this three
will
arise
whin
the
beloved
hemistichs (>iob-2i6) as follows
fwwf wis
i&
inv m
one
if'aft * v-
1 firat-
^WtiSI (Women's outburst of speech should be in Giithii [in the
following.'
*Wfci:
cases]
and
tftat
irarercn
in confidence,
win
affection,
suspicion,
love,
satisfaction, joy,
infliction of abuse).
263-264 (C.XXXI.l57b-159a; K.XXII.2I9-2.MI).

265 (C.XXXL159bci K.XXIJ.25D.
206 (C.XXXI.160i KXXII.252).
967 (C.XXI.161; K.XXH.253).
268 (C.XXXI.162; K.XXH.254).

269 (C.XXXI.168;
K.XXIU55).
curtesy
THE NATY AS ASTRA
i%
says that "1 live while you
my
are
cold
Representation
treatment
am
XXIV.
270-
and "You
your slave"
behaves in a different manner.
love," but
270.
live,"
made by
be
female Messenger, disregard for the letters
the
to
Disgust should
of'
and indifference about giving reply to any question [made by

the beloved
and also by shaking the head.
Anger
Anger (mauyu)
271.
loved one comes
to
and boasts about
his
a woman] when
[in
arises
Union with a
her after his
good luck in this matter,
the be-
woman
rival
and discloses
the signs of such a Union.
Anger should be represented by giving up the Valayas
272.
and throwing up
and
the
a loose
in
manner and by timid
tearful eyes.
On
and
Ra&ina
273'
On
afraid
clue
with rebuke
treating a lover at fault
seeing the beloved one standing

his
to
made up
of
guilt,
him
words spoken in jealous [indignation}
But no very
274.
much ashamed,
Heroine] should harass
[the
cruel
words
should
very angry words should also be avoided.
[The
be
uttered,
and
Heroine] should
speak tearfully things referring to her ownself.

275-277.
This attitude should be represented by the middle
linger touching the
edge of the lower
lip
and a hand placed on the
breast and by looking with eyes upturned, or by a
a hand
is
moving the head and bending
it
to
see
the nails
Dissimulation or by beautiful finger gestures
270
Karana
placed on the hip and the fingers are separated
(CXXXI.lMj K.XX1I.256).
271 (C.XXI.165;
or by a
indicating
Or by the
in
(?),
which
or by
look
of
threat.
messenger.
K.XX1L257).
272(C.XXXI.166;K.XX1I.2!>8)273 IC.XXXI.167; K.XXI1.259).
274
(K XXI 1.260).
Emend na alsyatikrodhana"
iuto
na
c'apy-
a! ikrodhatia
'
.
1
275-277 CC.XXXI.168, 169a;
Road 275a
as
WOTir*w5
XXIV.
268b-29;
fiai^ qiftwi ircfafri
K.XXII.
for the rest
wo
261-263).
follow C.
XXIV.
237
278-279.
"You
After saying
your heart",
in
'-
are shining",
'Why are you tarrying", "Don't touch me", ''Go

is
477
"And go away", one
You
look well",
to the beloved
who
make
should turn back and
jokes with words which do not require any reply.
In case of being taken forcibly by the dress, the hand
280.
or the hair
(lit.
head) the
woman
should
be softened
even after
seeing the guilt [of the beloved].
When
281.
taken by
her hand, dress
or hair
the
woman
should slowly release herself from the beloved.
When
282.
should enjoy
(lit.
taken by her hair, hand
or
dress the
woman
touch in
way
that the
beloved
take)
one does not perceive
his
it.
The woman should
283.
such a
slowly release her hair [from
hands of the beloved] by standing
first
on her
toes with
the
limbs bent
and then taking to the Apakranta Carl.
Her
284.
beloved] the
woman
[my
hum,
let
lover
(lit.
talking to her on
any
angry words
the
[first]
like
"Go away"
go away and then come back
the
to start
pretext.
Then the woman should make movements
2(SC.
while uttering
"Hum
and "Go away".
hearing
man) should
[due to efforts of the
on his touch and say
should perspire
hairs] go",
After
285.
being not released
hair
"Hum
hum",
and during
these
of her
hand
movements she
should speak to him with an imprecation (sapatha).
In case of her
287.
beloved one] the

(i. e.
woman
clothes
being
taken away [by the
should either cover her eyes, or turn them
eyes) to her back and cover her Nivi.
278-279
8
The
C. 270-27
trans, of
279
K. XX1I.264-2B5).
is
'
noihase, K.
wbhana, C.
tentative
280 (O.J72; K.XXU.266).
281 (0.273; K.XXII.267).
282 (<'.274; K.XXII.268).
as (0.975;
XXXU.269).
284 (0;276; K.XXII.270;.

28fi
(C.278; K.XXJI.272).
'
!V
Nf4.
X 1.30
285 (C.2J7; K.XX1I.271).
287 (C.279; K.XXII.273).
THE NATYA8ASTBA
478
288.
till
he
will
woman
fall
to
should
her
feet
her [offending]
harass
but on
XXIV.
his
at
falling
288-
lover
her
feet
she should look to the female Messenger.
280-290.
Then
Heroine should embrace the beloved
the
enjoyment she should joyfully walk
and with the object of
love's
[with him] to the bed.
All these should
be represented [only] by
songs with a gentle dance.
290-291.
When
in
a play there
depending on other men's
any speaking
is
the
to
sky
speech, which relates to love's pleasures
and the Erotic Sentiment, then the same
line
of
representation
should be followed by a woman.
The same should be
292.
the
of
rule
representation in
whatever [else] relates in a play to the inner appartment
and
(harem)
connected with the Erotic Sentiment.
is
Acts forbidden on the stage
One knowing
293.
the dramatic
convention
should not represent sleeping on the stage.

ring for
it
one should bring the Act to a
294-295.
If out of
biting, scratching with
breasts
and
lips,
close.
any necessity anyone
with anyone, no kiss or embrace

nails,
loosening
Nivi, the
the
KXXH.274).
'
Bead
the
accept)
feet]
In trans,
it is
as follows
him
'
cakaia-bhasitm.
2
as
follows
mv[
K. reads 290 with some

will tolerate
(lit.
him up properly [from the
to the bed.
290-291 (C.282b-23;K.XXII.276b. 277).

into
of
water and doing any
Then the woman
the touch of the beloved and holding
lead
pressing
as
stage.
passage
289-290 (C.281-282a; K.XXII.276-276a).

variation.
alone, or
should be presented on the stage,
immodest act should not be presented on the
288 (.280;
sleeps
or any other private acts such
Eating [anything] or sporting in
296.
(iifyyartharma)
But some need occur-
The
Emend
cakaia-purusca*,
Read bhavei tovye (bhavd karya, C. nayet kavye.

K)
292 C. 284; K.XXII.278).
293 (C.285; K.XXII.279).
294-295 (0.285-287; K.XXII.280-281).

tone of the Indian theatrical
art.
>
This shows the high morl
296 (C.288; K.XX1I.282).
-XXIV. o04
TEE BASIC BEPBESENTATION
As
297.
Nataka
son, the mother-in-law
by the father and the
to be witnessed
is
479
and the daughter-in-law
together]
[all sitting
these acts should be avoided.
298.
Experts should
Natakas with pleasant and not
write
very harsh words giving rise to good counsel.
Endearing terms of address for the beloved
" 299.
Now
when the Union takes
Such terms are "dear"
300.
"affectionate"
(jlritn)
(vhitu),
women
which
hear about terms
to use to their beloved ones
"beloved"
(priija),
aw
(kanla),
(smmiii),
"master"
(vatha),
"lord"
love
in
place.
"life"
and "joy" (nandam).

Angry terms
301.
"hostile"
In
case
"tyrant"
(tlakSUa),
of
may
terms used
anger
(duraeara,
"indifferent"
(vamti),
for the beloved
of address
be "ill-natured"
(Hatha),
"deceitful"
ill-doing\
lit.
"shameless" (nirlajja)
(vimpa),
and "cruel" (nisthura).

Endearing terms of address
302.
He who
does
nothing
undesirable,
improper, and always conducts himself uprightly
nothing
speaks
is
called
"dear"
(priija).
303.
sign of
He
in
whose
Union with another
[other
or
lips
woman
is
parts
visible
is
of]
the
called
body no
"beloved"
(Icaiita).
304.
[with the
is
Ho who
woman
even in his anger does not cross
ho loves] and does not use any harsh
called "affectionate" (rinlta,
lit.
words
word
disciplined).
300 (C.292; K.XXII.286).
'
BhP.
(p. 107,
1.
7-9) has eleven terms.
301 (0.293; K.XXII.287).
'
BhP.
(p. 108,
1.
10-11) has eight terms.
297 (C.289; K.XXII.283).
299 (0.291; K.XXII.285).
298 (C.290; K.XX1I.284).
302 (C.294; K.XXII.288).

303 (C.295; K.XXII.289).
304 (C.296; K.XXII.290).
'
Of.
BhP.
p. 107, l.U-15.
THE NATYASA8TBA
4S0
He who
305.
lit.
enjoyment, caress and maintinancc,
He who
306.
able to protect her,
on eveiy occasion,
is
is
305-
woman by
providing,
called "lord" (uatha).
is
or jealous,
conceited
woman],
beloved
his
[of
a well-wisher
not
is
always
is
alert
called "master'' (urgm/n).
He who
307.
tactfully
is
XXIV.
{nrtha),
gifts
conciliation),
with
maintains an intercourse
words (sma,
sweet
the
to
takes
bed
please
to
by providing! enjoyments according
her
to
woman
the
and
wishes
desires, is called "life" (jirita).
He who
308.
words and
fit
is
among women
to be praised
master of
patient, clever, kind,
high-born,
friends,
is
called "joy"
(mnuhtna).
309.
enjoyment.
of love.
These words are used

1
to
now speak
shall
charm of
Lighten the
love's
of words which indicate an
want
Hear about them.

Angry terms
310.
He
who
i-<
of address explained
cruel,
bragging, given to crossing words
311.
movement
He
who
or beats
out
impatient,
shameless,
is called "ill-natured" (ilnhiila).
restrains
woman's
harsh words to her,
is
called
indiscretion
of
conceited,
her or uses
"tyrant" (ihracara).
312.
He who
for
own purpose speaks sweet words
his
but does not put them into practice
313.
He who
oven
is
called "deceitful (mtha).
being forbidden
do anything does
to
that very thing, is called "hostile" (ramn).
305 (C.297; K.XXII.291).
'
Cf.
BhP.
p. 107b.
1.
16-17.
306 C. 298; K.XX11.292).
Cf.
BhP;
p.
107b,
1.
18-19.
307 (C.299 K.XXII.293).
>
Cf.
BhP.
'
Cf.
BhP.
p. 108b,
310 (C.302; KXXII.296).
'
Cf.
BhP.
p. 108b,
311 (C.303; K.XXn.297).
'
Cf.
BhP.
p.l09b,
isjivitesa, 'lord of
103b,
p.
1.
4-5; the
term here
life'.
308 (C.300; K.XXII294).
1.
2-3.
309 (C.301; K.XXII.295).
312 (C.304; K.XXII298).
'
Cf.
BhP.
p. 108b,
813 (C.305; K.XX1I.299),
'
Cf.
BhP.
p.
108b,
1.
1.
1.
1.
14-15.
4-5.
20. p. 109b,
12-13.
1.
1.
-XXIV. 321
THE BASIC KEPBESENTATION
Ho who
314.
woman] and
is
Ho who
315.
ever even
when
of such a
guilt
bus green wounds [received from a another
proud of
"indifferent" (viiUpa)
and remains
it
[in conceit] is called
silent
1
.
approaches the
is
woman more
[towards her] and
guilty
lie is
and
481
forbidden to approach,
than
resolutely
bears
the
marks
"shameless"
is called
(lihiajja) 1 .
He who
16.
Pi
being guilty towards her
woman's embrace by
her, is called "cruel" (nittlmra)
is
1
.
These are the ways of using words to indicate whether
317.
a lover
enjoy a
to
tries
and does not think of concilating
force
dear or not
Tn different circumstances
so.
use the opposite [of these]
one should
These should bo the rules
3 IS.
a gentle dance as well as anything to bo
songs with
[of address] in
expressed in words for the
Erotic Sentiment*.
This
319.
relating to the
is
the rule about the representation
harem.
regarding the goddesses
I shall
(lit.
now
describe
celestial females)
in
of
detail
incidents
the rules
1
.
Goddesses in human roles
The
320.
is
always
and
full
dress of goddesses
of
joy and their
is
time
always
is
brilliant, their
mind
always passed happily
in sports.
321.
in life
Celestial males have
no
and they require no propitiation of
314 (C 306; K.XX1I.300).

315 (C.307;
'
KXXU.301).
316 (C.308; K.XXII.302).

317 (C.309; K.XXII.303).
'
their females.
Cf.
BhP.
p,
Cf.
BhP.
p. 108b.
Cf.
BhP.
p. 108b.
That
is,
and malice
jealousy, anger
108b,
1.
14-15.
18-19.
1.
1.
20-21.
in irony {sollunihana-blmita).
See SD. 107.

''
K- reads 317b
as Mtt#ffir
318 (C.310; K.XXII.304).
319 (C.311; K.XXII.307).

following
wrc
<wtT
320 (C.312;
61
smrawit
K.XXII 308).
wrf nfls^fa
n?t.
'
K.
'
K. repeats before
reads 318b as
wwie^n
this
n4>#m-
277a and the
wt f( and XXII. 278 afterwards.

321 (C.313; K.XXII.309).
THE NATTASASTBA
462
822.
When
they are to
assume
323.
When
unite
XXIV.
human
with
women
celestial
and should be approached
invisible,
sustain
325.
manner.
she should tempt them
1
she should disappear
32C.
Infatuation in
Love growing out
327.
is
Being
assume
all
with
and then
a play grows out on coming to have
ornaments, garlands [of Heroines] and
that [love] which
should
moment
the
human males
her voice and with [the scent of] flowers in her decoration
dresses,
beings
[from
fall
with
be united
to
lire
in a suitable
[Remaining]
revealing herself for a
822-
the States of a mortal.
heaven] due to a curse, they
1324.
women
celestial
all
infatuation
letters [sent
will
by them].
be pleasing, and
natural will bring about different enjoyments.
reduced
the
to
States
human
which
existence
are
celestial
proper
for
males
men and
should behave like them.

328.
This should be the practice in connexion with kingly
Etiquette in relation to
The
the harem.
Etiquette in
relation
to
the outsiders will be treated in rules regarding Courtezans (vaiiilca).
Here ends Chapter
XXIV
of Bharata's Natyasiistra
which treats of the Basic Representation
322 (C.314;
3-H (0.316;
lmf>iya bhavel,
325 (0.317;
K.XX1I
323 (C.315;
310).
KXX 11.312).
'
Rrad
fralobhayd
KXX1I.3U ).
(fain
bhavel,
(.'.}.
K.XX 11.31
',).
327 (0.319; K.XX1I.3I.-.).
320 (0.318;
K.XXIL3U).
328 (C.320; K.XXII.316).
K.
CHAPTER TWENTYFIVE
DEALINGS .WITH COURTEZANS
The
One
1.
definition of a
(viiemiiet)
excelling
a Gallant {misihi) or one
called
2.
adept in
man who
the
all
is
classes
(mhijii,
to
an
is
the
captivate
[besides]
[characteristic] .qualities
(ahari/a)
are
of
briefly
psychological
and
arts
well-formed, pleasant-looking, powerful, possessing
self-
in the
well-versed
is
desireable age, dress and
K.XXI1I.1).
This
'
to vaiiika.
pedigree,
is
the base of the participle
vaiiemka and not

8
(Ma) 1 and
Sastras, skilled in
(CI;
Vaiksa
arts
and can
extraneous
physical,
One who
crafts,
command,
is
natural).
lit.
4-7.
and
(luila)*
arts
Qualities of a Gallant
three
the
all
3
a Gallant
His thirtythree
3.
the
(iilpa)*
called
all
has learnt
crafts
women,
heart of
Gallant
in
so called because of his dealings
is
with the courtezans (vmjopncai'a)
an
is
friendly
instance
(mrahhi),
of folk-etymology.
have given
vimayet should
These are generally considered to be sixtyfour in number.
Viitsyayana.
KS.
3.
I.
But
34.
rise
See BliP. p. 106, 1-10.
the
Jains
have
their
See
number
as
Literature,"
seventytwo (Sec Amulya Chandra Sen, "Social Life in Jain
Calcutta, 1933. pp. 12-15).
8
zans)
This etymology
is
members
connected
is
rather sensible.
The word
the sixtyfour
crafts.
silpa
But
may be
3
1.4.16;
is
of courte-
available for
the
all
of the tribe or the settlement).

'
2 (C.2; K.XXIII.2).
2
For veia (residence
vdyu (woman who
with
See above 1 note
2.
kola is usually synonymous with silpa.
items
when
included by
the
two
words
taken in the sense of
Another
name
SD.8U and
also
for
NS.
Vfitsyayaua
(I.e.)
For the most
are
are used together
nothing
in a
sentenco
'craft' only.
vaiiika (Gallant) seems to be vita.
XXXV.74.
3 (C.3; K.XXI1I.3).
4-7 (C.4-7; K.XXIII.4-7).
of
but
A See BhP.
p. 106, 1.2-9.
See KS.
THE NATYA8ASTBA
484
[XXV.
sweet-tempered (mculkuta), munificent, patient, free from

fearlesss,
accustomed to use sweet words,
[in his habits], expert in the
and
suitably to time
practice of
a&
place, speaker of
love,
bragging,
prosperous,
clever,
8-
clean
honest!
able to act
words,
accustomed
pitiful
to speak smilingly, eloquent, careful, sweet-tongued,
greedless as
partner, full of faith, firm in resolve, without trust even in accessible
(gamya) women and has a sense of

8.
[According
qualities are
that he should be
self-respect, is called a Gallant.
another
to
[in his habits], self-possessed,
authority]
devoted [in
honest,
his
six
[special]
his love affairs], clean
intelligent
and able
to talk
on varied topics {citraUtidhafi) 1 .
The female Messenger
9-10.
woman
wise
of the stage
woman, female
1
,
an
intelligent
storyteller, a
female friend, a maid-servant, an unmarried
a foster-mother, a nun
as]
a Messenger
female ascetic or
woman, a female neighbour, a

girl,
a crafts-woman 2 ,
or a female fortune-teller [can be employed
(drill)*.
Qualities of the Messenger
11.
any persons
or diseased 1
wise
(lit.
person
never engage as
who
is
Messenger
foolish, beautiful,
wealthy
Any woman
12.
she knows
should
male or female)
the art
of
should he engaged
as a Messenger
encouraging [the beloved

J,
is
when
sweet in
her
words, honest, able to act suitably to the occasion, charming in her
behaviour and
is
able to keep secrets 1
8 (C.8; K.XX1II.8).
(HtfafSifimra),
'
Read
8b
as wiforifawft
ii'n
u<ot
m:
C; wf^snrqwIr.K. and Ag. have the correct reading).
9-10 (O.9-10;
K.XX1II.9).
'
Ag.
(p.480)
explains
rahgopafivlnl
as rajakaslri,
8
Cf.
DR.
II. 29; SI).
157 separate the words kiiru and iilpin.
A nun of the heretical sects like the

Cf.
KS. V.
Buddhists.
See note 4 below.
4. 23.
11 (0.11; K.XXIII.10).
'
K, reads
11a
differently.
p.94 (1.9-10).
.
2 (C.12|
K.XXM.1 1).
* Cf.
KS.
1.5.28;
SD.
158.
Cf.
BhP.
DEALINGS WITH COUBTEZANS
-XXV. 20
485
Functions of the female Messenger
She should encourage
13.
the
various ways
of
one] by mentioning
[the beloved
seeing [the
lover]
and should communicate
1
the exact words [of the latter] and describe his condition .
make an exaggerated
Besides this the Messenger should
14.
statement about his birth, wealth
and [capacity
enjoyment and say what [various]
acts should be
the Union]
love's
facilitate
The Messenger should
man an Union
with a
woman who
or a beloved
on a
[to
15.
the
for giving]
done
The
festive
occasion, during
a kinsman,
meeting of
empty house 1
18.
in love
men
pretext of
or
female,
first
for
time
a park,
in the
house of
dinner-party
in a
person, or in an
a sick
seeing
the
for
women] may be made
[with
night, in
foster-mother or a
(nimantrandj, on the
is
has been angry with him
16-17.
first
ways bring about
in various
woman who
After meeting a
woman
in one of these various
should ascertain from different marks whether she
is
ways one
friendly or not.
The woman overcome witk love

10.
The womon who from her nature
and does not conceal her amorous behaviour

beloved]
is
said to be "overcome with love"
smitten with
is
[at the
sight
love
of the
(iHiulaiialura).
The attached woman

20-23.
ties to
When
women
speaks of her lover's a [good] quali-
her friend, gives him her
own money, honours

with him, becomes
hates his enemies, seeks to unite
he
lias
friends,
pleased
about him, sleeps after he has
to see him, looks pleased after a talk

slept, kisses after
his
much
kissed her, rises [in
morning]
the
before
he gets up, puts up with suffering [for his sakej, remain the same
(CIS; K. XXHI.l 2).
'
Of.
KS.
1.5 28,
14 (0 14; K.XX1II.13),
>
Cf.
KS.
I.
Cf.
BhP.
15 (C.15;
K.XX11I.14).
'
16-17 (C.16-17;K.XX1II.15-16).
Siiww !t %tf:
2cf.
BhP.
p.
BhP.
5.28,
p. 91, 1.4-13.
BhP.
p. 94, 1.11-13.
p. 94, 1.14-15.
Ag.
(p.
480)
says
Wflnr* vm
94 1.16-19.
19 (C.19; K.XXI1I18).
18 (C.18; K.XX11I.17).
20-23 (C.20-23; K.XXIII.19-22).
'
in
See BhP.
p. 115, 1.2-8.
THE NATYASASTBA
486
angry, she
happiness and misery and never becomes

"attached" (anuralia)
These indicate her
The
The
24-27.
lows
when
characteristics of
words, becomes angry even

her, hates his
friends
off
him or
look at
said to
be
woman areas
a hostile
her mouth,
fol-.
unpleasant
speaks
when sweet words have been spoken
praises
enemies,
his
even after a great deal of honour [has been

suffering,
is
characteristics.
lies
with her back turned against him, goes to bed
up with
24-
woman
hostile
kissed she wipes
XXV.
down on
bed
the
never pleased
first, is
shown
to
puts
her], never
becomes angry without any provocation, does not
The woman who
greet him.
these signs
betrays
should bo marked as "hostile" (nndia).
Winning back of woman's heart
taking) back of women's heart
tion],
(lit.
wealth,
display of
money
15
may
[The following measures
28-29.
(lit.
lead to] the
constant effort [in
winning
direc-
this
showing of good-will, proposal of giving
money, giving up the
[actually] giving
intervention)
service of
Messenger
and tranforrenee of attachment {bhai-o^1
,l
')-'
'l
Onuses of hostility
;50-31.
due
man
woman becomes
or
to poverty, sickness, misery, harshness,
abroad,
offended self-e.steen,
good conduct], coming back

undesireable acts 1
excessive
late [at
hostile to the lover
learning, going
want of
transgression
greed,
[of
day or night] and resorting
to
Acts winning women's hearts

32.
In
connexion
of winning the heart
(lit.
with
acts should be capable
love, one's
Due
attachment) of women.
24-27 (0.24-27; K.XXW.23-2fia).
'
BhP.
p.
116.
to
4-5,
1.
such acts
13,
6,
also
7-12, 14-19.
28-29 (0.28-29; K.XXIII.26b-28a).
2
3
"*
Ag.
(p.
481) explain!! this a* follows
Read vuavadh'mam
Ag.
(i>.
for
as
ixwm
491) explains this as
Hgi wfaj^nrci ^ralft
(0.32; K.XXUJ.'30b-31a).
'
3<w
OOTlfllsfol 3!ltf ft Si"*!*!.
vyadhitiimm, 0. vyadhilo yah. K.
30-31 (O.30-31; K.XXlLI.08b-30a).

3.2
Read 28a
'
Of.
BhP.
p.
17.
1.
WW.
8-11.
DEALINGS WITH CODETEZANS
-XXV. 42]
it
woman may be
pacified
be
woman
covetous
woman by
sportfiilness,
woman who
should be
woman
money, a learned
her] a gift of
desire, a
may
angry she
if
33-35.
clever
kept out of anger and even
487
woman by
stories
woman by
noble lady by the practice of arts
The
arts,
of
acfing to
her
to her liking, a
girl
below sixteen (bala) by a present of playthings, a
by cheering her up, a proud
[making
over by
by knowledge
a sensitive
man by
hates
won
woman
terrified
and a
servile attendance
1
.
woman
three typos of
30.
Women,
middling and
are
by
three classes
of
superior,
inferior.
The
37-39.
nature
woman
superior
The woman who remains unperturbed when she has
been offended, does not use harsh words to her beloved, has a shortlived anger, possesses skill in arts
and
by men
crafts, is desired
her high birth, wealth, capacity for giving enjoyment and

is
an expert
in the acts of love
physical charm,
(kanwhwlrn),
{nthuua) 1
acts] is of the superior class
is
men and
desires
malice and has a short-lived anger,

is of
natured, very proud, fickle,

time,
is
inferior
The woman who
of the inferior class
Read 32b.
as
33-35 (C.33-35;
is
is
desired
rivals, is
[proper]
[for all
by men,
overcome with
proud, and can be pacified in
is
the middling class (mmJhijama)
The
42.
is
skilled in the acts of love, jealous of her
a moment,
there
woman
The, middling
The woman who
1
.
woman
angry without a suitable cause,

remains angry
harsh and
{mlhama) 1
for a
yem ca prlyate etc.

KXXIH.31b-33).
K.
'
omits. 54a.
36(C.36;K.XX11I.34).
37-39 (G.37-39; K.XX1II.35-37).
'
40-41 (C.40-41; K.XXIII.38-39).
42 (0.42; K.XXIII.40).
'
for
like,
honest, possesses
is
and knows the proper occasion
cause, speaks without malice
40- tl.
when
becomes angry only
the
Cf.
BhP.
Cf. Bl.P. p. 102,

'
Cf.
BhP.
p. 102,
1.
p. 102,
h 10-13.
1-5.
1.
6-9.
ill-
long-
THE NATYASASTEA
488
The
movements
their
asm
as well as [inner] qualities
sexual
acts,
lips and firm
hips,
tasted love's
and
dresses, limbs
1
.
(prat ham a.) youth which
has an enthusi-
by plump
characterised
is
breasts which are conducive
pleasures 1
in) love's
43-
The primary youth
The primary
for
they have
stages through
in four
41.
women when
of
manifested
is
XXV.
woman's youth
four stages of
The youth
43.
pleasures
cheeks,
thighs,
to
(lit.
charming
The secondary youth
The secondary (duly/a) youth which
45.
pleasure
of love
and slender waist 1
breasts
4li.
[in
desire
and
The
is
the best
is full
Youth
tertiary
youth which eroats the utmost
tertiary (hilya)
women]
affords
and round limbs, plump
full
The
liance
by
characterised
is
of
maddening and
kinds
all
bril-
of beauty, exciting sexual
rich in various qualities
1
.
The uuartenary youth

47-48.
The quarlcnary (ctititrtha) youth which
by reduced
terised
by
youths have gone
tertiary
the
is
enemey
comes when the primary, the secondary and the
of love's pleasure,
physical
[one after
charm due
hips, lips, breasts as well as lack of
another].
sunken
to
It is charac-
(lit.
pale) cheeks,
enthusiasm for sexual acts 1
Behaviour in the primary youth
40
A woman
cannot take much

rivals (females),
in
her
[tains, is
and
is
youth
first
is
to be
neither pleased
or
known
as one
displeased with
attached to persons of mild qualities 1
who
her
Behaviour in the secondary youth

f)0.
A woman
43
(C
4*1
(C.44;
in
her secondary youth takes offence lightly,
43; K.XXIII.41).
>
K.XXIIUJ).
'
45 (0.45; K.XXIII.43).
>
46 (C.46; K.XX1II.44).
'
4743
(0.47-48;
BhP.
p. 103,
BhP.
p. 103,
1.
11-16.
p. 104,
1.
2-11.
Of.
BhP.
Of.
BhP.
K. XXIII. 45-46).
49 (C.49; K.XX11I.47).
51)
Cf.
Cf.
(C.50; K.XXIIF.48).
'
Cf.
'
BhP.
p. 104,
Of.
1.
1.
BhP.
p. 104,
1.
10.
13-14.
105,
2-6.
1.
1-6.
-XXV. 36
DEALINGS WITH COUBTEZANS
and her anger and malice

1
remains silent
not great, and in her anger
also
is
489
she
Behaviour in the tertiary youth
51.
in her
malice
full of
pleasures,
is
woman
youth
tertiary
her
for
1
not secretive about her proud acts
is
an expert
many
has
rivals,
in love's
qualities
and
Behaviour in the quartenary youth
A woman
52.
her quartenary youth
in
in love's
capable of
is
vating a man, has no malice to her rivals even
if
she
is
capti-
an expert
enjoyments, and she always desires to remain unseparated
[from her beloved]
1
.
Five types of men
These are the four stages of youth for the Heroine
53-54.
in
a drama.
now
I shall
describe the types
(lit.
with regard to their love-affairs (kfimit antra) 1

their dealings
such
as
(ratnra,
(madhyama),
"middling"
woman
with
application)
(lit.
"excellent"
clover),
lit.
men
reference to
they are of
five types,
"superior"
(uttama),
(ailhama),
inferior"
of
qualities)
With
and
"too
old"
(mmi>rarrtldlia) 2 .
The
A man
55.
pathetic, able to
to
is
excellent
man
be known as "excellent" when he
nexion with love, expert in sexual acts and
A man
5G-57.
is
The
superior
to be
known
not do anything displeasing,

dignified,
(lit.
One who
love, but is not
is
Cf. BliP. p. 104,
is
1.
as "superior"
when he does
sweet [in manners], munificent
'
'
91.
1.
56-57 (C.56-57;
tions of Heroes. Cf.
hnown
Cf.
BhP.
p. 105,
BhP.
p. 105,
K. omits
K.XXHI.53).
II. 3-6a,
1.
1.
feels
woman
man.
BhP.
'
The term
p.
92
1.
1-4,
8-10.
53.
55 (C.55
20ff.
DR.
as] a "superior"
Cf.
53-54 (C.53-54; K.XXIII.51).
BhP.
and
13-18.
52 (C.52; K.XX1II.50).
62
man
overcome by passion, and when insulted by a
51 (C.51; K.XXIII.49).
Cf,
honest.
is
exalted (dhlrodatta) 1 , sweet-tongued,
gets disgusted with her, is [to be
sym-
and knows thoroughly the mysteries of [human] feelings
heart).
is
endure hardship, skilled in pacifying anger in con-
is
2-3.
K.XXIII.52).
used in later
classifica-
THE.NATYASA8TBA
490
[XXV;!
The middling man
58.
man who
with calmness and
of a
woman
any
fault of her, is to
insulted, but on discovering her act of
much anger even when he
is
a woman,
Tho
more strongly
spite
in
when he has come
to
to be
is
of a friend's
know
known
as "middling".'
man
inferior
woman
approaches a
shamelessly
when she has
a steadfast love even
discovering
proper time, does not have
gift in
desceit gets disgusted with
C0-C1.
on
as "middling".
makes a
man who
the [emotional] states
disgusted with her
is
known
be
A man who
59.
way
takes in every
him and
insulted
with
her
loves
advice to the contrary even
directly of her deceit,
is
to be
known
as "inferior".
The
02-03.
foolish,
acts
of
known
inclined
does
to
man
not
women 1
care
for
or anger,
fear
is
obdurate, shameless in
(?),
rough in love-quarrels [and] in striking connected
a laughing stock
therewith,
be
man who
naturally
love,
too old
play
(lit.
women,
thing) of
to
is
as "too old".
Psychological
04,
Women
of different nature 1
are
Hence
mysterious.
approach to women
wise
,man
and
their
hearts are
know them
should
properly
before approaching them.

05.
man
should
deal
with a
Science of Erotics {kamatantm) after he
through different
00.
Such
woman
according to the
has measured her feelings
acts.
acts are
Conciliation (sama)
1
,
Gift
(pradam =
58 (C58; K.XXm.54).
59 (C.59; K.XX1II.55).
K. reads
this as follows
wftwtf
m-
60-61 (C.60-61; K.XXIII. 56-57).
62-63 (C.62-63; K.XXIII. 58-59).

64 (C.64; K.XX1II.60).
RvAfirakrti-firasakta-bMivw
namulla, K.
mnalk,
BhP.
1.
ca.
C.
65 (C.65; K.XXIII.61).
,
66(C.66 K.XXIII.62).
i
been from the Arthafotra.
>
Of.
p. 214.
7.
These terms have
DEALINGS WITH OOUETBJZANS
.XXV. 3]
49J
Chastisement (danda) and Indifference
<fana), Dissention (bheda),
(upeha) to women.
Conciliation
am
Expressing one's attachment by saying "I
67.
"You are mine", "I am dear
to
you and you are dear
yours",
me"
to
is
called Conciliation (sama).
Gift
Giving wealth,
(58-
property
according
the measure of one's
to
same under some
as occasions arise, and concealing the
(yradana^dam) 1
pretext is called Gift
Dissention
Showing the
69.
faults of one's dear
one by some device
is
Dissention (bheda).
Chastisement
lies training one's
movement or
beating one
is
called Chastise-
ment (danda).
Application of Conciliation and Gift
An
70.
tion,
woman
indifferent
is to
be rc-united by Concilia-
woman
a covetous one by giving wealth, and a
another person should be
When
71.
behave
wickedly
won
from her
1
etc.
attached
to
over by Dissention.
woman
indifferent attitude a
she should
be chastised
with
begins to
slight
beating,
and restraint of her movement.

72.
If
after
an exaustive adoption
such as Conciliation
control then a clever
and the
man
like,
in
woman
due order of means
does not come under
should be indifferent to her.
Reading a woman's heart from her behaviour

73.
It is
or from the
a
woman
from the expression of her face or from her eyes
movement
hates a
man
limbs that one
of her
or loves
him or
is
is
to
know whether
indifferent to him.
67 (0.67; K.XXin.68).
68 (C 68; K.XXIII.64).
69 (C.69; K.XXIH.65).
71 (C.71; K.XXIII.67).
That
is,
in joys
and sorrows
(Ag.).
70 (C.70; K.XXIII.66).
'
Ag. explains
this as deianiara{i>d\laya-
yanarn puntsantara'gamanam.
1i (C.72; K.XXHI.68).
73 (C.73j K.XXIIL69).
f HE NATYASASTBA
432
when they belongs
except
XXV.
to
gods or the
man whether he
king arc always available for money to a
71
men
courtezan's mercenary treatment of
Courtezans
74.
is
dear to them or not.

7.V7G.
if
they hated
was dear
and
man
to them, appears to
seeing
him
good many
Hence
77.
women one
after
if
she already
if
if
he
wicked,
is
has none.
dance [in joy] and they smile as
simulation
of [proper]
feeling
their
colour.
understanding the
want
feeling or its
Love (Mmatautra) 1
in
methods men-
the
Passion arises in them after they
properly or they have been

tire
even
should approach them according to
tioned in the Science of

78.
qualities
their eyeballs
up a pleasant
money] becomes dear even
be well-behaved even
were with eyes, and due to
faces put
[giving
becomes dearer than ever
before,
to be possessed of
On
it
[To them] a
him
separated after the
have been treated

first
Union
just as
with
women
comes out of the wood.

79.
This
is
method of dealing
the traditional
so far as Gallants are concerned.

able measure in the
80.
This
followed by
the
is
This should be
utilised in
suit-
Nataka or the Prakararuv
method
the
of
Now
experts.
dealing
listen
with courtezans to be
about the
Special
Re-
presentation.
Here ends the Chapter

which
XXV
treats of the External
Manners.
74 (C.74; K.XX11I.70),
75-76 (0.75-76; K.XXIII.71-72).
77 (K.XX11I.743).
'
C.
omits
tltis
passage
which
is
varinnt of 65 (K.61).
78 (C.77; K.XXIII.74).
80 (C.79;
K.XXUI.76).
79 (C.78; K.XX1II.75).
merely a
CHAPTER TWENTYBIX
SPECIAL REPRESENTATION
Special Representation
L
to
The
peculiarity (mfasa)
which
yet been left unmentioncd
is
known
required]
[is
Words
time one in the use of Gestures and
as the
etc
1
,
Special
from
time
and which has

Representation
(citrahhimyay
Day, night aud season
To
24,
seasons
planets,
the
morning and
indicate
extreme darkness, wide
following
gestures
slightly fixed,
is
two hands raised
day and night,
expanse of water,
and anything that
stars,
etc.
evening,
with
one
directions,
is
to
make
Pataka 2 and
looking upwards with various
Svastika' gestures, Udvfihita head*

eyes [fitting each occasion].
Objects on the ground
With same
5.
gestures
of the
hands and of the head
looking downwards one
gether with the eyes

resting
Moonlight, happiness and air
To
one
is
1 (C.lj
syeha.
C).
Ag.
to use gestures for representing touch
KXXV.l).
(p.
Aiigudyabhinayasyaiva,
487) makes a scholastic
But
The term seems
the pictorial
to hint at
and
use of gestures
XXIV.
"
fa'ft
may bo
v%\\
K.XXV.2-4).
6 (C.6;
(Aiigubhinayana-
discussion on
the
justification
does not appear to bo convincing.
this
effect of the
explained
as
K. reads 3b
ww jw* ^("Oft*
3
See NS. IX.17-26
5 (C.5;
and
and horripiliation.
direct or
citralvam
indirect
abhinayasaya,
1 note.
2-4 (C.2-4;
and 4 as
etc.
indicate moonlight, happiness, air, flavour (rasa)
of the term citrahhinaya.
Sec NS.
to-
to indicate [objects]
on the ground.
(i.
smell,
is
K.XXV.5).
K.XXV.6).
'
;,
<i
See NS. IX.134
As described
as
^j *m\ -wrati
mrH<ih'') iJtf- [pnnsriji:.
above.
Sec NS. VIII.27
etc.
THE NATYASASTRA
494
Thc
To
7.
And
7-
and smoke etc
sun, dust
indicate the sun, dust,
one's face with clothes.
XXVI.
smoke and
one
fire
cover
is to
heat of the ground and heat [of any
other kind] are to be indicated by a desire for a shady place.
The midday sun
The mid-day sun
8.
is to
upward
be indicated by looking
sun by a represen-
with half-shut eyes, and the rising or the setting

tation of the idea of depth.
Pleasant objects
To
0.
indicate anything
the
gestures for representing
pleasant
touch
and happy, one
is
use
to
body together with
of one's
horripilation.
Sharp objects
111.
And
touch of
gestures for representing

to
of sharp
things
to indicate
one
nature
is
to use
and uneasiness and
ono's limbs
narrow down his mouth.
Deep and
11.
To
feelings
one
of pride
and
is
exalted feeling
indicate these in connexion

to
have the Sausthava
of
and exalted
with deep
limbs and a display
the
conceit.
Necklace and (lowers etc

12.
To
indicate a necklace
hold the two Ariila hands

held and then to
To
where the sacred
a
separate them from the Svastika
The
13.
and a {lower garland one
in the place
is
to
thread
is
position.
idea of entirety
indicate the sense
of "entirety" one
to
is
the index finger, look round and press the Alapallava hand
move on
1
.
Audible or visible objects

14.
lates to the
To
indicate anything
audible or
whether
visible
speaker or to the person spoken
to,
or
to
it
anyone
re-
else,
one should point to the ears and eyes respectively.
7 (C.7:
K.XXV.7).
'
Rajo-dhitmanalums
latlut,
C.
(rajadharma-
nilau tatha. K).

8 (C.8;
KXXV.8).
ll(C.ll;K.XXV.ll).
12 (C.12; K.XXV.12).
1
(C.13;
K.XXV.13).
14 (C.14; K.XXV.14).
(0.9;
!>
K.XXV.O).
10 (CIO;
K.XXV.10).
"SceNW. IX.88-91.
N. IX. 46-52.
See Ntf. IX.90.
Sec NS. IX.134.
-XXVI. 22
SPECIAL EEPRESENTATION
Lightning and shooting stars
Lightning, shooting
15.
stars,
495
etc.
thunder, sparks [of
fire]
and.
flame should be indicated by. relaxed limbs and vacant eyes.
Repugnant objects
To
1C.
anything repugnant to oneself, one
indicate
practice Udvcstita
andParavrtta(
Parivartita)
Karanas
of
is
to
hands
and to bend the head and to look obliquely, or to avoid contact.
Hot wind and heat
To
17.
of dust, rains, insects
etc.
heat from
indicate hot wind,
Lions and bears
sky, warding
should
be indicated by
in the
form of a Svastika.
off
face.
etc.
Lions, bears, monkeys, tigers
18.
the
and bees one should cover one's
and other beasts of prey
Padmakosa 1 hands downwards
holding
Worshipping superiors
To
19.
indicate worshipping the feet of the
superiors
(jit-nt)
one should hold TripatSka 1 and Svastika 2 hands, and taking up of

the goad or the whip should be indicated by
[muklia]
Svastika and Kataka
hands.
Numerals
Numerals from one
2H-21.
fingers
[of
equal
number].
should be indicated
to ten
Multiples
of
thousands are to be indicated by the two Patiika

'22.
and
Any number
general
with the
along
includes
above ten
hands.
should be indicated indirectly
meaning of the sentence which
it (?).
]5(C.15;K.XXV.15).
16 (C.16;
K.XXV.16).
'
See NS.
IX 208.
NS. IX.210.
17(C.17;K.XXV,17).
18 (CIS; K.XXV.18).
19 (C19; K.XXV.19).
3
Sec NS. IX.61-64.
21(C.21iK.XXV.21).
'
'
by
hundreds and
tens,
See Ns. IX.80.

See NS. IX.26-32.
See NH. IX.134.
20 (C.20; K.XXV.20).
22(C.22jKXXV.22).
THE NATYASASTBA
49G
Umbrella? and banners
Umbrellas
23.
1
,
XXVI.
23-
etc.
banners and banner-3taffs and the different
weapons should be indicated by representation of the holding of
any
staff.
Memory and
Memory and
24.
dicating
left
meditation etc.
should be represented by
meditation
downcast eyes,
attention,
bent head and
slightly
in-
the
hand with the Sandamsa 1 gesture 2 .

Height
Height
25.
Hamsapaksa 3 on
by the
should be indicated
making
through
offspring
the
head
representation
Udvahifa
of
and the hands
the right side.

Past and cessation etc.
The
2(i.
is
idea of past, cessation, destruction or
to be indicated
by carrying from the
left
words
listened,
the Arala 1 hand on
the
head.
The autumn
Autumn
27.
sure of
all
should be indicated by representing a compo-
the senses, tranquility of all
the
directions
and a view
of different flowers.
The
Early winter (hmwnta)
28.
superior
should
be indicated by the
and (he middling characters through
their limbs
20.
early winter
and seeking the sun,
The same should be
through groaning (fctjam)
fire
narrowing down
and [warm] clothing.
indicated
clicking
by the
inferior characters
and trembling
(sltkara)
of
the head and the lips and the chattering of teeth.
23 (C.23;
K.XXV.23).
>
chatra K.
24 (C.24;
KXXV.24).
>
K. reads 24b
as $fo
wwtf m tefo fct*.
See NS. IX. 109.
25 (C.25;'
[citra. C.)
K XXV.25).
'
SeeNS.VIlL27.
2G (C.26; K.XXV.26).
27 (C.27; K.XXV.27).
29 (C.29; K.XXV.29).
K. reads
'
this
couplet as 3tlfw fw; far
Sec NS. IX.105.
hutc, 0. {irante-K).
>
See
28 (C.28; K.XXV.28).
IX.46-52
-XXVI. 30
SPECIAL REPBESENTATION
The
;)0.
superior characters
manner
the winter in this
due
if
497
may sometimes
also
indicate
to accident they are in a miserable
condition.
The winter
One
31.
smelling
of
the
indicate
to
is
wine
drinking
flowers,
by the representation
the winter
1
and of
an un-
feeling
pleasant wind.
The spring
The
32.
spring (vnsanta)
is
to be indicated
enjoyments and
tation of acts of rejoicing,
by the represenand a display
festivities
of various flowers.
The summer
The summer
33.
heat of
of the
sentation
to
is
the
be indicated through
earth,
fans
wiping
the
repre-
and
off sweat
feeling the hot wind.
The
:)k
(lie
The
rains
rainy season (jiranrs)
representation
flowers, green grass,
Kadamba,
the
of
to
is
the
be indicated
Nimba and
through
the Kutaja
Indragopa insects and groups of peacocks
1
.
The rainy night
35.
night
in
the
rainy season
sound of the masses of clouds,
(he loud
should be indicated by
falling
showers of
rain,
as well as lightning and thunder.
Seasons in general
30.
activity
Each season should be Indicated by
or
scenery which
desired or avoided
(lit.
is
proper to
undesired) in
it
costume,
the sign,
or whatever
is
[specially]
it.
30(C.30;K.XXV.30).
31 (C.31;
see
33 (0.33;
K.XXV.33).
34 (C.34; K.XXV.34).
35 (C.35;
'
K.XXV.31).
RS. V. 5 and 10.
K.XXV.35).
36 (C.36; K.XXV.36).
Emend madhudattant
into
madhupamd;
32 (C.32; K.XXV.32).
^'javijanaUt,
'
'
K. (mvijamth,
K. reads 34b
as iftna:
varsMtram,
0.
C).
*%m:
etc.
(vanarambham K.)
THE NATYASASTKA
498
who
37--
These seasons according to the necessity should be indi-
37.
with proper Sentiments
cated
[XXVI.
as being
The
presentation
the
of
States are also
who
are afflicted.
States
1
States (hhava)
The
38.
of happiness for those
full
are happy, and full of distress for those
should
be indicated by
the re-
Determinants (vihhant) 2 and similarly the
indicated
accomplished) by the representation
(lit.
of Consequents (amihhara)".
The Determinants
Acts connected with the Determinants should be
39.
means the Consequents
presented by
the feeling of one's
own
and the States
and the Determinants
self,
re-
relate to
relate
to
an
exhibition of another person [in relation to the self] 1 .
10
a relation
preceptor, a friend, an affectionate
from the mother's or the
and be a announced 1 [properly]
is
father's
called a
companion [sakha),
side
who may come
Determinant 2
The Consequents
The honour shown
41.
him presents
offering
words,
is
called the
37 (C.37;
to
{anjluja)
him 1 by
rising
from the
seat,
by
and a seat and by using respectful
Consequents (anubhava).
KXXV.37).
yatharasam,
frajuiijitu
C.
(dariayed
viraAanuan'K).
38 (C.38; K.XXV.39).
g<3^M<j
Hfritf^r:
i\
with a state pleasant or
fapermcatcd with
wrajwft
frwm
NS. VII.
1-3.
it).
K. reads before
'
j^rfj
ivm:
WJWjipJI
this
the following
mi%
(He who
otherwise, looks under its influence
*fa îgurwrt r*tST9Tfo

-
See NS. VII.
in the t"xt
'
Ag.
(p.
n.
For
the def.
is
fr
imbued
everything
:
fwitwri
of bhava see
See NS. VII. 4-5.
491) reads
utmamibhamnam
and explains the same as tnimTWur
for
n tw-
fleift* Jiftf>ii raid wtfn.
40 (C.40;
2
<wf?t
Besides this K. reads 38 as follows
39 (C 39; K.XXV.-10).
'dnwhhinayanam
OT
This
is
K.XXV.41).
lead to one of the
41 (C.41;
Ag.
'
(l.c)
seems to read
only an example of one of the
many
imiya
for avedya-
many vibhavas which may
States.
K.XXV.42).
'
One
of the persons mentioned in 40 above.
-XXVI. 50
42.
SPECIAL REPRESENTATION
Similarly
in other
cases
also,
499
from an observation of
a play] one should find out the Determinants
different incidents [in
and the Consequents from actions [related to them].

43.
Reply to a message given to the Messenger
[also]
is
called a Consequent.
44.
In these ways the States, the Determinants and the
Consequents are to be represented by
men
as well as
women.
General directions for the representation

45.
In the representation of their own nature,,

1 and
(tsthaiia)
assume the Vaisnava posture

the Avahittha
40.
[also]
be introduced for the representation of different
(lit.
different) types of plays.
Men's and women's

Efforts of
well as sportive limbs,
men
efforts
be characterised by
should
patience as
and those of women by delicate Angaharas. 1
Women's movements
48.
should
Ayata 2 or
postures in relation to [appropriate] actions.
States in special
47.
the
[But] there occurring special need for the same, other
may
postures
woman
men
Women's movement
of
of limbs
hands, feet and other limbs
should be graceful (lalita) while men's
movement
of these
be restrained (dhlm) as well as vehement {addliata) 1
should
Meanings of words
49.
differently
Representation of the meaning of words are to be
by men and women.
I shall explain
them
made
detail in
in.
connexion with the States and the Consequents.

Joy
50.
One
[other's] body,
42 (C.42;
should indicate one's joy (harm) by embracing the
by smiling eyes as
KXXV.43).
43 (C.43; K.XXV.44).
45 (C.45; K.XXV.46).
44 (C.44; K.XXV.45).
2
See NS. XIH.157-170.
47 (C.46; K.XXV.48).
48(0.47;
hemistich.
KXXV.49).
well as by horripilation 1 .
Sec
'
1 K.
N& ibid.
N& lV.170ff.
See
adds
after
* See NS. XI.51-52.
46 (K.XXV.47).
this
one
additional
49 (C.48; K.XX.V.50b-51a).
50 (C.49; K.XXV.51b-52a).
x talAollukasam,
K. {tathalpakathw^h
NATtASASTBA
THfe
500
51.
An
[XXVI.
51-
(mrtaki) should indicate joy by sudden
actress
words and a loving attitude.
horripilation, tearful eyes, smiling
Anger
One should
52.
of lips, [deep] breathing
by upturned red
indicate anger
and trembling limbs.
women
Jealous Anger of
53-5 k
by
indicated
Jealous
Anger (irsyaJcmlha)
tearful
eyes,
shaking of the head,

curling
of the
touching of
knitting
fingers,
biting
eyes,
leaving
the
keeping
lips,
silent,
and ornaments and
garlands
of
should be
chin and
eye-brows,
of the
assuming the Ayata posture (slhana)'1
women
of
the
Men's sorrow
Men's sorrow should
55.
be
indicated
by much breathing
and sighing, thinking with a downcast face and looking up towards

the sky [in a pensive mood].
Women's sorrow
Women's sorrow
56.
beating
sighing,
[the
be
indicated
by weeping 1
on the ground and
falling
striking
body against] the ground.

57.
from
the breast,
should
tears
Crying 1 which
of
women and
has
been mentioned
joy and from jealousy should be
of the inferior
before as
arising
applied in case of
male characters.
Men's fear
58.
Men's fear should be indicated by acts of consternation
(mnlihriimii),
and
of
dismay (wheija),
their hands], loss of self-control
and the
Women's
59-(ii).
'
Women's
fear
((.'.54;
K.XXV.56b
mdilaih Uasanaih,
57 (C.56;
be
indicated
by eyes with
^ See
M.
XIII.] 57-170.
57a).
56(0.55; K.XXV57b-58a).
'his, G.
weapons [from
52 (C.51; KXXV.53b-54a).
53-54 (C.53-53; K.XXV.54b-56a).

55
of
fear
should
51 ((150; K.XXV.52b-5Sa).
fall
like.
mdilaih ivasitaih (ruditcm ca smi-
K.).
K.XXV.58b-59a).
'
ruditam, K. sahitam, O.
58(C.57;K.XXV.59b-60a).
59-60 (C.58-59; K.XXV.60b-62a).
-XXVI,
SPECIAL BEPBESENTATION
67.]
moving
eyeballs, throbbing
for fear
(lit.
and shaking limbs, glancing sideways
heart), looking
terrified
501
weeping loudly and putting
their
someone
for
them,
to rescue
arms round the man [staying
close by].
Women's
Intoxicated
61.
Intoxicated condition
conditions
Adoption of gestures
the inferior type.
which have
intoxication)
(lit.
been mentioned before should be applied
women, and men
to
form)
(lit.
of
such cases
in
should be delicate and graceful.
Women's
62.
uttering
eyes,
intoxication should be indicated by
of irrelevant
rolling of
words {vihtfa = pralapa) and shaking
of limbs.
These are the
&.\.
followed
rules to be
men's or
duction for the representation of
in
a theatrical pro-
women's States when
occasion for these will arise.
to
be
64.
In a theatrical production the States of
made
graceful (lalita)
control (dhairyu)
and that
women
men endowed
of
are
all
with Self-
and Equanimity {mwUmnjn).

Parrots and Sarikiis
Parrots, SarikSs and small
65.
indicated
by two moving
birds
these
like
are to
be
lingers in the Tripataka hand.
Big birds
But
66.
are
birds
naturally big
Angaharas
are
like
peacocks, cranes
to be
indicated
the
like
them] 1
which
1
.
Asses aud camels
67.
and swans
by proper Eccakas and
-Asses,
should
camels,
elephants,
be indicated by
etc.
tigers,
(J aits
cows,
buffaloes
and gestures
and
[suitable to
61 (C.60; K.XXV.62b-63a).
62 (C.6l
63 (C.62; K.XXV.64b-65a).
64 (C63; K.XXV.65b-66a).
K.XXV.63b-64a).
65 (C.64; K.XXV.66b-67a).
66 (C.65; K.XXV.67b-68a).
'
K. reads 66b
'
K. reads
as "rarsffeTwfafircfaiteT:
toWh:.
67 (C.66j K.XXV.68b-69a).
this as follows
wt?
Jftsro-
THE NATYASASTBA
502
[XXVI. 68:
Bliutas and Pisacas etc-
08-69.
when they
Bhiitas,
Yaksas, DSnavas and
Pisacas,
But when they are
and astonishment 1
When
70,
movements
they remain invisible, gods
are to
making obeisance
according to the necessity by
by [the repre-
should be indicated
visible they
sentation of] fear, dismay
Kaksasas
by the Angahiiras.
are not visible should be indicated
be indicated
them and by
to
suitable to the States.
Greeting an invisible person
70-71.
cated
man when
Greeting a
he
is
invisible is to be
by touching the head with the Aiala hand 1
indi-
raised from
the side.
Greeting gods and superiors
71-72,
be indicated
Greeting gods,- superiors
etc.
the Katakavardhamana 1 or
by
and ladies
(ytini),
is
to
Kapota baud 2
the
[touching the head similarly].

72-73.
Gods and honourable persons when they
physically should be indicated by
obeisance
appear
them and by the
to
deep influence [they have over the surroundings].
A
A
73-74.
indicated
crowd and
greet
by means
of the
trees are to
Mountains
in
be indicated by
rogues are to
be
trees etc,
tall
connexion with their height, and

lifting
tall
upwards the outstretched hands.
Wide expanse
75-76
and
Parimandala (Uromandala) 1 hand.
Mountains and
74-7,").
friends etc.
great crowd, friends, Vitas
of water
wide explanse of sea- water
is
to be
by
indicated
two Patska hands thrown out [side-ways], and heroism, haughtiness,
K.XXV.69b.
^68-69 (C.67-68a ;
*nr*fififiRHr *ra*<fliufo.
70-71 (C.69b-70a
71-72 (C70b-71aj
70b-7ia).
69-70 (C.68b-69a
K XXV.73).
'
K.XXV.74).
K. adds
;
after
68a the
KXXV.72).
See N8. IX. 46-52.

'NS. IX.136.
N. IX.129.
72-73 (C.71bc K.XXV.75).

;
73-74 (C.72; K.XXV.76).

74-75
(C.73-,
'
See NS. 1X.196.
K.XXV.77).
75-76 (C.74-57ab ; K.XXV.78-79).
sugammbhasam.
>
Emend
sogaramnatwm
into
XXVI.
pride,
SPECIAL BEPBESENTATION
83
503
magnanimity and growth upwards also should be indicated 2
by placing the Arala hand on the forehead.
The two Mrgaslrsa hands 1 turned away from
77-78.
and held out quickly
breasts
made open (npanin)'2
distance
indicate
will
the
anything
A
78-7!).
at a
house and darkness etc
house, darkness,
a hole or cave
by holding slightly stretched hands which have

and which point downwards 1
is
to be indicated
palms upturned
their
Lovesick, cursed and possessed persons
Persons who arc lovesick or under a curse, possessed
70-80.
of
some
sented by [suitable]
movements
80-82.
of
strings.
It
swing
will
their
seats
moving
by acting
is
after
[just
of the limbs
like
this
(lit.
representing
now speak
T shall
and
{iii>nrar!ttil,v)
appearing in
not close by,
(lie
holding of the
that
the
moving
will
be taken
as
of [the indication of]
"Concealed
''Private Personal address" (htnanllhi).
Addressing someone staying at a
distance
someone who
called
is
Read ^riSt
C,
"Speaking to
(a'nunjitttt),
person
or
omits
indirectly addressing to
Speaking to the Sky (al'asa-ljhantn) 1 .
or
not
is
This
fWs'sfci (K.) for sft farfai wiftift.
77-78 (K.XXV.80).
this,
'
NS.IX.8C.
but K's reading
slightly corrupt.
is
78-79 (0.75c; K.XXV.81a-82l>).
Head 78b
as
ûngtfiHwft wdl
mW, C. (fafaj a?H K.).

79-80 (C.76;
K.XXV.8J).
82-3:? (C.79;
K. reads 80a
as
li ftm
TO t * M\ mi
K.XXV.86b-87a).
83-85 (C.80-81
K.XXV.87b-89a).
s? wnqifo *raw
(Ag. p.
'
80-82 (C.77-78; K.XXV.84-85).
WKct:.
<?tSh
and
then)
a swing]
Speaking to the Sky

8.'! Si").
fafal
in a swing.
Speaking"
repre-
swing
Sky" (al<wira?ana), "Speaking Aside"
should be
and other limbs 1
be perceptible [to the spectators], and persons occupying
82-S;;.
the
fever,
of their face
swing should be indicated by the representation
movement, agitation
its
mind by
evil spirit or enfeebled in
-193).
f?
*wrawnft(&)fflft s^sfn
wrfw-
^TOtfi^sifara "Kiwi HfwraOTfaifaw'n'iiftii awftn
THE NATYASASTRA
504
mode
present [the
of speaking will
means
of
related
replies
causes) which
may
arise out of the play
85-
by
substance of] n dialogue
various [imagineryl
to
XXVI.
questions
(lit.
a
.
Speaking Aside
When overwhelmed
85-86.
madness,
fit
of passion
with excessive joy, intoxication,
repugnance,
astonishment, anger and
fear,
sorrow one speaks out words which are in one's mind

it is
called
(lit.
heart),
Speaking Aside (atnmyata).

Concealed Speaking
And Concealed Speaking
((ipararitaha)
related to secrecy.
is
Private Personal Address
87-88.
When
[supposed] not
out of necessity persons standing close by are
hear what
to
constitutes Private Personal
spoken to
is
someone
Address (janantihi) 1
this
else,
Thinking within oneself

It relates to
something within one's
matter of deliberation 2 and

of
self
heart) which
(lit.
and [which
feeling'
is
indeed a kind
is]
Speaking Aside (almuijutn).

88-00.
Words
in
a play, which are connected with secracy
should be spoken in one's ears preceded by "so, so".

Mentioning incidents that occurred already
00-01.
AVhen one
to speak
from necessity of something
K. reads rasMuzia".
8.1-86 (C.82a;
follows
is
KXXV.SOh-sKi).
ifasfas'tois'T'nTOqrfe'fi:
Rend the
'
lirst
three heiiiistichs as
rweftîstfavntilsfq
i*ft
wm'
vfi
Tn aspH!rafwJt.
87-88 (C. 82b-83;
tika
K.XXV.
01a-93).
'
It is
because both the janhn-
and the apavuritaka are supposed to bo inaudible to others on the
stage Ag.
sftra *<ft
And
(p.424)
quotes a view on
i to
swl^rcjt
a late writer says
jmiftim. NT). p.:U. But
all
their distinction
Bvwfwln ft^t
iit
qsrfl'faraN faf
this
savitarkam, C. (mvikalpam, K.).
bkavastham C.
90-91
{bhtivavrixhd,
KXXV.93-M).
(C86;K.XXV.95).
K).
,'
fit
follows:
warj
arftnfti gim.
ramfsTOH
in well
*lftrthin-
with the
extant dramas. Of. Levi. p.61.
in
88-90 (C.84 85;
ÎflHT'firar'
docs not seem to
"samples of the apavuritaila.tiynWnbh
as
'
reads 88b differently.
-XXVI. 95
SPECIAL KEPBESENTATION
which has occurred

[similarly]
avoiding repetition
earlier, for
spoken in one's
these] one should
resort, to
which
will
should
be
(lit.
mistake) [among
Speaking to the Sky (akaia-vacana),
and Speaking Aside (atma-
Private Personal Address (ianantika)

<jata)
this
ears.
Without making any contusion
90-91.
60S
sometimes] to a visible or an invisible
[relate
person and [sometimes] to one's ownself or others
1
.
Representing Concealed Speaking
and Private
(apavaritaka)
Speaking
Concealed
91-92.
Personal Address (janantilca) should be indicated by a Tripataka

1
hand covering [the speaker]
Repetition of words
Words which
92-93.
uttered due to fright,
are
anger and intense sorrow are to be repeated

93-94.
words such as
[In such cases]
"ah", "alas", "go away", "what",

should be repeated twice or thrice
me
"let
calamity,
done",
"well
"tell",
and "speak"
go", "no"
1
.
Suspension of representation
94-95.
or
Distorted
incomplete words used
should not be represented by gestures

the sake of definition)
[in
for explaining
a play]
them
(lit.
for
2
.
Observing proper States

95-96.
The
is
1
.
this passage as f ollows
The
qwfa
(0.
ill:,
SD. 425. Levi.
K.XXV.96).
^fr*ft* tfoffiir-niTfasrwinnroiii^
m>{
for
Cf.
DR.
1.
niq
C. *iw:, K.
mm
for
65b; BhP. p.
219,1. 21-22;
p. 61.
92-93 (C.88; K.XXV.114).
93-94 (C.89; K.XXV.115).
if%
K.
91-92 (C.87;
it
and similarly
(C86jK.XXV.95).
Road
Ramq^naTOegarii
VW(j.
proper to a superior
is
proper to a middling [character] should not be
applied to an inferior one
90-91
which
applied to a middling one
[character] should not be
the State which
(bltava)
State
'
K. reads punaruktam na tew
ilia.
pin^^ft
K.
K. reads pratyahgahinam, C. pratya-
reads
93b as v\wi\
*.
94-95 (C.90;
hgrhitam, K.
K.XXV.114).
'
laksanakrte, C. laksanakrtas,
95-96(081; K.XXV.118),
64
K.
THE NATYASASTBA
606
By means
90-97.
arise
[XXVI.
96.
and Sentiments which
of different States
from movements proper to the superior, the middling and the
inferior characters,
a play
will attain
No movement
wish for) attractiveness.
(lit.
in the state of sleeping
In the somnolent condition (wapnayita) the States
07-98.
should not be represented by any movement of hands.

representation
speech
(lit.
of
As
in the
the Temperament, this should be done through
the meaning of words) only
1
.
Declamation in sleep
Declamation (pathyri) in the somnolent condition
98-99.
should- proceed
wilth
slow voice
[sometimes] distinct and

senses should
their
on the
words
[sometimes]
indistinct
be repeated twice, and
it
in
should be
it
and sometimes
should [also] depend
recollection of the past [events].
Declamation of old people
Declamation of old people should bo made with a
99-100.
faltering voice
and dropping
of syllables
[now and then]
and
Children's words
that
of children
bo made with lisping (kalasmra)
should
will leave syllables unfinished 1 .
which
Dying declamation
100-101
should be
Indistinct declamation (ial;ii) at the time of dying
made with
produced by relaxed .and heavy
syllables
speech-organs (karana)
tho sound of [small]
should
it
and
bells
be a faltering voice resembling

should be accompanied by
it
hiccough, [hard] breathing and [tho action of] phlegm.
101-102.
Occurrence of a swoon when followed by hiccough
and [hard] breathing

it
is
considered similar to death.
To
indicate
the declamation should contain repetition 1 .
K.XXV).
Read bhwarasair atmacesVkamutthiiair
K. cestasamanvitah, C).
96-97 (C.92;
(.Uavacestair,
97-98 C.93;
follows:
'
K.XXV.97).
iifipt nTwfoaifiwft
'
K.'s reading seems
i i?f totok:
to have been as
TOrftnrcpHra 3
vmv:
etc.
98-99 (C.94;K.XXV.98).
99-100 (C.95j K.XXV.101).
nasimyuklam, Z.
'
asamapataharam, C. but
asfatrtavar-
100-101 (0.96; K.XXV.99).
101-10? (C.97j K.XXV.100),
Read
the
passage
as
Mow
XXVI.
108
SPEGIAA BEPBESBNTAWON
S07
Representation of death
102-103.
Kepresentation of death
conditions will
different
sometimes
it
by throwing out
indicated
is
and sometimes by
which
may
be of different nature.
a paralysis of
all
the
hands and
of all-the limbs 1
movement
from
arise
[For example]
feet,
Death from disease
Death from an attack
103-104.
represented
by an occurrence
imperceptible
movement
of
of hiccough,
of limbs
disease
[hard]
should be
breathing
which should be relaxed 1
and
Death from drinking poison
Death from drinking poison should be represented
104-105.
by throwing out of hands and

will lead
of the poison
the
to
feet
and other limbs, and the power
quivering
action of the
[different]
parts of the body.
The
general weakness
burning
eight stages in death from poison
The
105-107.
the body,
of
fourth
the
sensation,
stage of
first
the
action of poison
second
the
hiccough,
is
the
tremor, the third a
the
froth [in the
fifth
mouth], the sixth breaking of the neck, the seventh paralysis and
the eighth death
1
.
Weakness
Eyes with sunken eyeballs [depressed] cheeks,
107-108.
belly
lips,
[general]
and shoulder and feebleness
Weakness
of
arms
will
represent
1
.
Tremor
108-109.
Tremor
(oepatlm)
should be
represented
by
shaking simultaneously according to the situation the head, the
hands and the
^>W^f*fl
ijjfct
feet or
one of these limbs separately.
vvi nrfW
etc.
108-103 (C.97b-98a;
C.
K.XXV.102).
Read smiuis
'
tatha
fatraih
(sarvais tatka gtiraih, C. samtrais tatha karyah, K.).
103-104 (C98b-99ajK.XXV.103).
anftjSt
3 tro*
ftwim SnJJtol.
'
K.
reads
108-107 (Cji00b-102a; K.XXV.105-106).

107-108 (C.1028-103a;
dhMalake, E).
104a
as
Mows:
104-108 (C.99b-100a, K.XXV.104).
K.XXV.107).
Eesdiariya, SJJtarya.Q.)
faavistatarake, C.
108-109 (C.103bc;
K.XXV.108).
<j>rmd-
THE NATtASASTBA
508
XXVI.
109-
Burning sensation
Burning sensation (daha) should be represented
109-110.
by shaking violently the
body, scartching the [different]
entire
limbs and throwing out the hands and other limbs 1 .
Hiccough
Hiccough (hikha) should be represented by
110-111.
peated blinking of eyes, belching,
vomitting, convulsion
re-
(tilciepa),
and uttering of indistinct sounds.

Froth in the mouth
Froth (phena)
110-111.
mouth]
the
[in
presented together with belching, vomitting,

the mouth, senselessness and lack of
should be
licking
movement
re-
the corners of
of the eyes.
Breaking of the neck
Breaking of the neck (tirobhanja = <jvi,vahhahga)
111-112.
should be represented by the shoulder
touching the cheek and
the lowering of the head.

Paralysis
Paralysis (iaiata) should he represented

the sense-organs
by
inaction
of all
1
.
Death
113-1
of
disease
H.
or
Death (uiaram) whether

to
snake-bite
the dramatic convention
it is
due to a growth
should be represented, according to
(natyadharmtt) by the closing
down
of
the eyes.
114-115.
These particular representations
should be com-
bined with suitable Temperament (sattva) and States (bliava) 1 , and
109-110 (C.104; K.XXV.109).
'
K. reads sarvahga-vepamm vepa-
thus iu for sarvahgavepanod-vejanena, C).

110-111 (C.105;
K.XXV.110).
111-113 (C.106aj K.XXV.111).

as follows
>
K.XXV.U2).
C.
*wq'li<ra1fijw fwnwiWtamr.
112-113 (C.106bj
as follows!
C. omits 112a and reads the passage
<3w\wi$m: w^HhVifaifaw
'
<snTsffcw"l
fatatrasMlm
omits 112b which
K. reads
113-1U (Cl07iK.XXV.ll8).
114-115 (C.108; K.XXV.119).
sativdbhava, C. for sarvalMva, K.
-XXVI. 123
SPBOIAL BEPRESENTATION
[representation
of]
509
and
other popular [objects
should be
ideas]
from the people.
learnt (lit accomplished)
General directions
Just as the garland-makor makes garlands from
115416.
various kinds of flowers, the
drama should be produced

by Sentiments and
of different limbs, and
by gestures
Movements and Gaits
116-117.
similarly
States.
that have been
by the rules for a character which has entered the stage
prescribed
1
should be
maintained by the actor without giving up the [particular] Tempe-
rament
till
he makes an
Now
117-118.
tation to be
here by
me
exit.
I have finished speaking about the represen-
made through Words and
Things omitted
Gestures.
should be gathered from [the usage of] the people
The
The
118-119.
triple basis of
people,
the
1
.
drama
Vedas and the
mostly based on objects related to the
faculty
spiritual
The drama
(adhyatma) are known as the three authorities.
is
two (the Veda and
last
the adhjatma).
The drama which has
119-120.
and the
spiritual faculty
origin in
its
and metre, succeeds when
mimicry of the exploits of gods,
as of householders in this world, is called the
122.
When human
Hence
approved of by the people.
it is
the people are considered as the [ultimate] authority
121.
the Vedas,
(adhyatma) and includes [proper] words
character with
represented with [suitable] Gestures
it is
on the drama 1
sages, kings
drama 1
as well
all its different
States
is
called the drama.
People supplying norm to the drama
123.
Thus
the events
(mda)
relating
to the people
in all
11H16(C.109;K.XXV.120).
116-117 (C.110;
K.XXV.121).
'
rahgapramttuya, C.
for
rahga-
firavrttasya, K).
117-118
star npff
(CHI; KXXV.122).
wfort
119-120 (0.113; K.XXV.124).
121 (C114; K.XXV.125).
122 (0.115) K.XXV.126).
K. reads 117b
118-119 (C.112;
Bfii.
'
S<*
K. omits
N& 1.
as follows!
<n#S
K.XXV.128).
120b.
120
123 (C.li6j KXXV.127.).
TSE NATASA8IflA
510
different
their
play,
be
should be) included in a
(lit.
by those well-versed in the Canons of

124.
Whatever
connected with the

(lit.
may
conditions,
called) as
125.
laws,
Sastras,
human
Drama
{natyaveda).
and
arts
usage {lokadharma)
activities
may
are
be produced
a drama.
Rules regarding the
feelings
world moveable as weH as immoveable

ascertained) exhaustively
126.
[XXVI. 184*
by
drama
activities
of
the
(lit.
and on
their
the $astra.
The people have
dispositions the
and
cannot bo formulated
different
dispositions,
Hence playwrights and producers
rests.
should take the people as their authority [as regards the
(in-ayohtr)
rules of the art}
127.
feelings,
Thus they (prayoUr) should pay
of various characters [that
128.
appear in the drama] 1
may
The men who know
nic Representation
and applies
in this
it
drama (natyatattva) as
on the
stage,
[in his
receives
practice
the
Histrioin this*
the theory of
well as [the art of] acting (abhinayn) 1 .
These are to be known as the modes of representation
dependent on Words, Costumes, Make-up

expert
to
order the art of
world the highest honour for putting into
129.
attention
and the Temperament in representing the States
gestures
in dramatic
undertaking] 1
An
Here ends Chapter

which
and Gestures.
should adopt these for the Success
production
XXVI
treats of the Special Representation
124 (C.117; K.XXV.12S).
125 (0.118; K.XXV.129).
126 (0.119;.K.XXV.130).
127 (C.120).
128 (C.121;
'K.
omits
KXXV.131).
129(0-122).
K. omits
this.
-
C. reads after this an additional couplet.
this.
CHAPTER TWENTYSEVEN
SUCCESS
I shall
1.
m DRAMATIU PEODUTION
now describe
theJeaturesof the two kinds of Success
For the production of a drama
(xiddhi) relating to the drama.
wholly meant for
based on) attaining the Success in
(lit.
The two kinds
The Success
2.
is
1
.
of Success
the dramatic production] which arises
[in
Temperament and Gestures
from Words,
it
various States and Sentiments

J
and human {manw1)
and which
of two kinds
is
relates to
divine (daiviki),
The human Success

[Of these two]
3.
human
the
and the divine [Success] two
and they
[mostly] of various Temperaments
and physically
[Success] has
ten features,
such features) consist
(i. e.
expressed
vocally
(vahmayi)
(iarlr'i).
The vocal Success
sive
Laughter (aifea)
'how pathetic'
swelling
(l-atiam),
Smile {ardhaliZsa) 1 and Exces-
(smita) 2 ,
Slight Smile
4.
3
,
'well-done' (x&dhn), 'how wonderful' {ah),
and tumultuous applause {pravrddhanarla,
uproar) are the signs of the
Success
expressed
vocally
(rahmayt).
The physical Success

5.
Joy expressed
($aromancapulaka),
horripilation
in
1
the rising up from the seat (ahhyuttharn), and the giving away
1 (C.
K. same).
'
This chapter
discusses
the
appreciation
of
theatrical productions by spectators who include persons of various types
possessessing different psychological
2 (C. K.
same).
'
(C K.
The ardhaka>a seems
same).
5 (C.
K. same).
wealthy among the
traits.
These
three
3 (C.
constitute
the
K same).
Seo N8. VI. 52.
'
above.
XXIV.
Sec Nd.
Basic Representation.
and cultural
vak-satlvahga.
to be
See note
l
The
the same as kasita, Bmile; see note 1
above.
age-long
spectators on
custom
being very
in India*. was
highly pleased
dramatic performance did at once' take out from their
that the
with a
own body the
THE NATYASASTBA
512
of
clothes
XXVII.
G-
(cekdana) and of rings (ahgalilmj/a) are signs of the
Success expressed physically (iMri).

C.
When
actors
produce the Comic
Sentiment
dependent on words of double entendre the
slightly,
should
spectators
always receive the same with a Smile (smita).

7.
When
they
(i.e.
the actors)
have a laughter not very
or words which do not directly cause laughter the spectators are
clear,
always to receive the same with a Smile (ardhahasya).

8.
some
Laughter created by the bragging of the Jester or by
artifice (iilpa)
should always
be received
by the spectators
with an Excessive Laughter (atihasya).

9.
and
virtue
[Representation of deeds] which relate to the practice of

is
endowed with
should be greeted by the
excellence,
spectators with the word "well-done" (sadlm).

10.
"how wonderful" should be
Similarly,
spectators in connexton Avith
and in course of the
uttered
by the
States like Astonishment (vismaya)
Erotic,
Marvellous and the Heroic
the
Sentiments.
11.
with tears
But in the
"how
should always
Pathetic
pathetic".
And
be a tumultuous
Sentiment they
in cases
should
utter
Astonishment there
of
(pravrddhanada,
applause
lit.
swelling uproar).
12.
In cases of insulting words used in acting a play they
should be attentively received with horripilation

hairs)
by the spectators whose
costly shawls, other wearing
to the talented actors. Cf. also

6 (C.
9
K. same).
apparels or ornaments to give them
NL.
2289f.
See note
kmcic-chlida, C. kimicchisift,
way
above.
K.
This prescription simply points out what should actually happen.
7 (C.
K. same).
8 (C. K. same).
8
throbbing
(lit.
1
curiosity has been evoked
See above 2 note
'
'
2.
vidusakoccheka, K.
mdwakouheda,
For example, the art of comic make-up.
9 (C.
Z. same).
dharmapada", C. garvapada", K.
.10(C.K. same).
12 (C. E.
same).
11 (C.
'
The
K. same).
trans, is tentative,
C.
-XXVII. 19
SUCCESS IN DBAMATIC PRODUCTION
and piercing
cutting
[of
limbs!
fight,
portentuous calamity,
happening or minor personal combat,
it
spectators with tears and rising
clever
one with [a plot containing]
If the play is a brilliant
13-14.
013
should be received
up [from the
seat,
terrific
by
the
and with
shaking the shoulder and head].
This
15.
is
Now
expressed.
the manner in which the
human
about the divine Success
listen
gets
which I
am
Success
going to describe.
The
The Success
16.
[clearly]
When
17.
Temperament, and expresses the States
by the spectators as divine
to bo'taken
is
dramatic production] which includes an
[in
[display] of the
excessive
divine Success
there
is
no
(daivi).
no disturbance, no unusual
noise,
occurrence [during the production of a play] and the auditorium

full
[of spectators], the Success
is
called divine
is
1
.
Three kinds of Blemishes
These are the
18.
the spectators as
the Blemishes {ghata)

1
kinds
Blemishes
9.
[that
varieties of the
human and
divine.
coming from gods

[in the
speak
hereafter
of
(deva).
production of a play] are of three
from gods 1
coming]
known by
Success to be
I shall
from the actors themselves
13-14 (C. K. same).

15 (C. K. same).
common "human"
'
This ''human"
Success seems to relate to the
beings or average spectators, and they should be com-
pared with men occupying the gallery of a

gonerally
moved by outward and not deep
modem
aspects
theatre.
of
They
arc
a dramatic per-
See below 16 note.
formance.
16 (C.
K. same).
These are the deeper aspects of a dramatic
'
performance.
17 (C.
spectators
K. same).
who
The
"divine" Success seems to relate to cultured
generally take interest in deeper and more subtle aspects
of a dramatic performance
and as such arc above ordinary human beings
and may be called "divine".

18 (C. K. same).
19 (C.
accidents.
65
K. same).
See 20 below.
"Gods" here
means
the.
'
source
of various
THE NATYASASTBA
514
(atman) 2 and from an enemy {para) B

,
of
XXVII.
20-
Sometimes a fourth variety
what comes up due a portentuous calamity.
it is
Blemishes from gods
Blemishes from gods are
20.
fear
[strong] wind,
rains,
fire,
from an elephant or a serpent, stroke of lightning, appearance
of ants, insects, ferocious
and other animals.
Blemishes from an enemy
Blemishes
21.
created
by
enemy 1
an
are
round
all
screaming, buzzing (msphoiita), noisy clapping, throwing of cowdung,

clods of earth, grass
and stones
[in the place of performance].
Blemishes created by an enemy 1 are considered by the
22.
wise to be due to jealousy, hostility [to the party injured], or being

partial [to the party's
enemy]
or receiving
bribe
from the
latter
(arthabheda)'.
Blemishes resulting from portents (antpatih) arc those
23.
due to earthquake, storm, the
falling of
meteors and the like 1
Self-made Blemishes
now
shall
describe
Blemishes arising from
the
actors
themselves (atma-samnttha).
24-25.
Un-naturalness [in the acting], wrong movement [of
the actors], unsuitability of a role [to an actor] (vibhumiluitva) 1

, loss
s
Their
acts
of
ommission or commission arc these Blemishes.
See below 24-25.
gee below 21 . 22
20 (C. K. same).
21 (C.
' The
same).
rival groups of actors who contested
for
rewards from their patrons, became enemies to
one another ; soc below 72ff.
3
This kind of improper and dishonest acts
sometimes occurs also
now-a-days in meetings supporting candidates from
rival
political
parties.
Human
psychology has not much changed since the NS.

compiled more than sixteen hundred years ago.
22 (C. K. same).
a
See above 20 note
It soems that the leaders of
was
2.
actors did not scruple
even to bribe
individual spectators to gain their ends.
23 (C. K.
arising
from
same).
an
It is possible
appearance
of
that
due
these natural
to superstitious fear
phenomena
confusion
occurred during the performance.

24-25 (C.24,25b-26,K.24.25).
'
bffftmikocita-svatva-iri-ca (f) sviiara.
Ag.
(p.
509) explain this as anya-
SUCCESS IN DBAMATIC PBODUCTION
-XXVII. 28]
of
memory
speaking other words 2
[of the actors],
those not in the play),
[actor's] cry of
hand movements (vihastatva),

playing
ornaments, defects in
i.e.
want of proper
crown and other
off of the
drums (pmlcarwiosa), shyness
the
of speech (vagbhlti), laughing too
(anyaoacam
distress',
falling
515
much and
much
crying too
will
be taken as Blemishes to the Success*.
Attack of insects and ants
26.
wholly spoils the Success,
crown and other ornaments
while the falling off of the
will spoil
the tumultous applause [in appreciation of the production].
Blemishes in the shape of an appearance of animals 1
27.
But shy speech
should be disregarded.
[of
the
and the
actors]
wrong playing of the drums will [however] wholly spoil the Success
2
.
Blemishes without remedy
The two
28.
[kinds of] Blemishes which cannot be remedied
production of a play
in the
poem), are faults due to a natural
(lit.
Nadika 1
calamity, and the running out of water from the
Ag.
(I.e.)
twnim krtam anyena palhaffiyam anyah
explains this as
paihatiti anyavacanam.
'
Ag.
(1.
c.)
hi chadmana pradarsanad
explains this as arialvam
asiddhik.
'
C. reads one fragmentary hemistich before 25.
26 (C.26b-27a;
K.26b-28a).
Ag. (p. 509) probably read
'
in
his
text pipilikarnikscpa.
27 (C.27b-28b; K.28b).
comments on
wtaifti
winawr
2
ii <tf
509) reads
(p.
*ftonmnw
tjinronfl:
mumrhiifinpirq 5
*rclfa
it
as
pam-pravem and
sroitfirc'l'i
v?wnfa
Ag.
'
E. omits 27b.
wnfiwnn *ra w w%
m nfiWH, etc. Natlika (text
XX. 66 noto 1. The ancient
508) says on this
t i??fta
a measure of time.
See NS.
mfa*ii{ fawrafanfeiifcraT Si
is
(p.
fafafarara
fliJnratifaij<iiviflfa.
C. reads one additional hemistich between 27a and 27b.
28 (C.29; K.32).
nalika)
Ag.
'
as follows
it
Indian device for measuring time consisted of a water vessel of particular

size
with a well-defined tube (#&"') at
complete running out of water from
flwmmmaHsgâramt:
ilftwu
(See AS.
II.
troi
20
also
its
it,
bottom.
wns'irfaif * srarai
AS.
sense of the water-vessel used for
Time required
for the
a nwlika
(naili),
was known
notes, p. -27
).
as
m%v wfa
Here nwlika
measuring time.
On the
time-keeping see below 39 and NS. XX.23, 65-68. Ag's

not seem to be clear.
is
ra^ *i
used in the
necessity of
explanation does
THE NATYASASTBA
516
XXVII.
29-
Palpable sources of Blemishes

29-130.
are
Palpable
wrong use
(lit.
defective
repetition,
large)
use of
sources
of case-endings (cMaklibhala),
combination (ckandhi), use of
of
Blemish
in a play
(ammm),
compound words
want of proper euphonic

words (a/HA<t),
incoherent
faulty
use of three genders, confusion between direct and indirect happenings (in-atynlcm-parolm-sammoha), lapse in metre,
interchange
long and short vowels, and observing wrong caesura 1
Absence of [proper] notes
31.
(cisvara), of sweetness
notes (viyukta-ratja), and of wealth of notes,
(sthana) and of tempo (laya)
registers
[in the production of
a play]
the stopping
the music of
(mok&a,
Marga and Marjana,
drums 4
33-30-
release) will spoil
lit.
musical
rules
strokes 1 , and ignorance about the beginning
hard
(lit.
giving
2
taking)
and
beauty (rasa) 3 of
the
Omission due to
enunciation in the declamation,
loss
memory, and
of
putting
on ornaments
places, falling off of the crown, not putting
defective
wrong
in
on any ornament
1
,
want
hand-movements owing to an ignorance about mounting
of
of
of voice
Non-observance of Sama,
32.
and ignorance
will disturb
of
or
'
29-30 (C. 30-31, K.30-31).
Actors and actresses at the time of the
NS. usually being speakers of Middle Jndo-Aryan (Prakrit) and not trained
scholars, there occured all sorts of lapses in their Sanskritic recitation
declamation.
(actor) iu
P9W;
Hence
is to
bo
justified the
the following traditional
in trans, is as follows
Where would
for fear of hunter-like grammarians,

astrologers, actors, gallants, singers
31 (C.32; K.27).
see
couplet
^ftf zfafflraifimwppninft qf? t
'
humorous
WWifiromsTO'^W s
lift
w. (Haldar, Itihasa, p. 143). which
the vulgarly-used words

if
and
reference to the nala
have gone
there were no month caves of
and physicians
For the technical
terms
of music used here
N8. XXVIII.
32 (C.33; K.29).
bahulafirahara, K. {kulafiraharam ca. C).
graha, K. (grha, C).
Read rasam
fa&karagala, K. (jiuspagala, C).
used here see NS.

:i
1-3
for
marisam, C. and marsam, K.
For technical terms
of
music
XXXIII.
(C.31-37; K.33-36).
Read bkusanagmham
for bhusana".
-XXVII. 41
SUCCESS IN DBAMATIC PBODUCTION
517
dismounting chariots, elephants, horses, asses, camels, palanquins,

aerial cars
(v'mana) and vehicles
using weapons and
wrongly holding or
general],
[in
armours, entering the stage without the crown,
headgear or clothing, or entering too late
are the Blemishes which
should be marked in proper places by the clever experts,

should leave out of consideration the
Kusa
(cdyamt),
up of the fire-wood
(darbha),
grass
and other vessels (bh&iufa) [relating to a
but they
post (ijupn), taking
sacrificial
ladle
(iruc)
sacrifice].
Three grades of Blemishes

37.
An
expert
dramatic
in
Blemishes as "mixed" (miira),

(rkwki'ija), but should
not
"total"
record
production
should
record
(sarvagata) and "partial"
[merely]
the
Success or
the
Blemishes [without any detailed information about these].

38.
itself in
The
many
total
Success or an
all
But a matter
ways.
round Blemish expresses
affecting
merely one aspect [of
the production] should not be reckoned for lowering the order.

39.
in a
After the putting
down
of the Jarjara [by the Director]
dramatic production, the Assessors (jtraiuika) 1 should always
achieve in due
manner the accuracy
of timing
{nftfikasiddhi)'*
and
of recording (kkkyas'uldlu) [of all Blemishes as well as goods points].
Wrong
40.
When
Benediction
during a god's festival anyone
Benedictory Sloka in honour of the
wrong god
Interpolation
When
Read siddher
ghlilai ca for
K. reads 37b
38 (C.39).
a Blemish
is
the
composition of
one
K. {cirprayoga, C).
cirapraveio,
Read na
anyone interpolates
37 (C.38; K.37).
2
to be recorded
as his Blemish in the Preliminaries
41.
foolishly recites a
it is
for siddhair, C.
na ghatasya,
K.
differently.
Read ekadeiajato {ekade'sajatam,
'
and siddkya, t.
C. vidhano va,
C).
K.
gives 38a
in a mutilated form.
39 (C.40; K.39).
40 (C.41; K.40).
'
See below 62-69 notes.
Read
fro yiw wwntft ft*s: m.
40a, as
See above 28 note.
3\%m V* f tI#W
41 (C.42).
<!%
W8
THE NATIASASTRA
518
playwright into that of another

experts as his
Blemish 1
When
42.
interpolates
anyone knowingly
in
recorded by the
be
also to
is
42-
being
it
definite,
not out of ignorance)
(lit.
name
mixes) in [his J play the
(lit.
then his Blemish

order
it
[XXVII.
another author
of
should be recorded in due
1
.
When
-13.
anyone produces a play using costumes and
languages in violation of the rules
Limitation of
Who
14-
perly
(lit.
all
eager)
human
[them on the stage]
enough
mind
in
that have been said
Hence one should
45.
efforts in
laid
down
to
a play
able to observe properly the rules of
is
ting] plays or producing
or keen
same
[regarding the
Blemish about the same should be recorded 1
in the Siistra] then his
[construc-
Or who can
[claim to]
be bold
understand pro-
include in plays words
which have
deep significance, are appoved of by the Vedas as well as the people,
and are acceptable
And no
40.
to all persons
play
(lit.
1
.
nothing) can
be devoid of
any merit
This seems to show clearly that theatrical Directors did not hesitate
sometimes to insert passages taken from one play Wright's work into that
of another to
42
the
add to the
(C.43).
name
of
this it appears
K. omits
this passage.
practice of putting in
that the
author of a play in the Prologue (firastavanu) was
the
This seems to explain the absence of the authors
not a very old one.
name
effect of the latter.
From
'
in dramatic
works
the
K. does not
ascribed to Bhasa.
have
this passage.
43 (C.44; K.41).
From
a close study of avalahle plays it does not
appear that the rules laid down in the Sastra were very scrupulously
followed, or
it is
also likely that the
rules regarding the use
languages in a play, changed with the
linguistic
of different
development as well
as other conditions connected with the use of languages.
44 (C.45; K.47).
tively lay
precise, for
down
many
all
'
This seems to point out that no Sastra can exhaus-
the rules which can never be
things in theatre relate to so
45 (C.46; K.43).
One
should
mark
many
the stress put on the
the popular practice in connexion with the Natya.
'46(C.47;K44).
made very
clear
and
fluctuating factors.
See NS.
Vcdas and
XXVJ.
118-120.
SUCCESS IN DRAMATIC PEODUCTION
-XXVII. 54]
or totally free
from
made much
But the actor
47,
careless about
ance
States
2
,
1
.
reason] be
(twia) should not [for that
about
as well as
minor import-
of
Sentiments and
[minor]
and instrumental music and popular usages 3
dance, vocal
same kind
of the
production of a
in the
faults
of
Words, Gestures and Costumes 1
non-essential)
(lit.
Hence
faults.
a play should not be
519
[relating to the performance].

Spectators of a performance
These are [the
48.
Success.
shall
(prekmhi,) 3
of
advanced
in age, proficient in
by parsion
unaffected
musical
drama
in all its six
expert in
dialects,
limbs,
the four
playing
the
Costumes
the four kinds of
Histrionic
acquainted
instruments,
and Make-up, the rules of
with
Representation, grammar, prosody, and various [other] Sastras,
very virtuous, experts
in
different
arts
and
crafts,
sense of the Sentiments and the States, should be

in witnessing
53.
senses,
a drama
(lit.
expert in
the
detector of faults
and have
made
are
fine
spectators
Anyone who has

honest,
is
Those who are possessed of [good] character, high
honest,
kinds
spectator
behaviour and learning, are desirous of fame and virtue,
birth, quiet
alert,
describe that of [an ideal]
49-52.
impartial,
rules] defining the characteristics of the
hereafter
and appreciator
is
characterised by)
discussion of
unruffled
and cons,
pros
[of merits], is considered
fit
to be
a spectator in a drama.
He who
54.
attains gladness
sorrow on seeing him

miserable
is
This
sorry
considered
is
fit
and
on seeing a person glad, and
feels
miserable on
to be a spectator in
a drama
seeing
him
1
.
a very wise counsel for the hasty critics of a play.
47 (C.48; K.45).
'
nepathye, K.
nepathyaih, C).
fasabhmmnrltagUe, K. <nrtyagllaih, K).
lokayukte, K. {'yuktya, C).
48 (C 49; K.46).
'
prenkakwum {prehananam, Q.prmnikmam, K).

preksaka, C prainika, K.
49-52 (C.50-53; K.47-50).
'
53 (C.54; K.51).
54 (C.55; K.52),
'
Tlio critic must be a
man with sympathy.
THE NATIASASTRA
520
in
one single
And
spectator.
(lit.
men)
in
because objects of
of life is so brief
so numerous and the span
XXVE 55-
known
are not
All these various qualities
55-56.
the inferior
to exist
knowledge, are
common
an assembly which consists of the superior, the middl-
ing and the inferior
members cannot be expected
to
appeciate the
performance of the superior ones.
Hence an
57.
profession, speech and
dered
fit
individual
whom
to
particular
dress,
an act belong as his own, should be consi-
to appreciate the same.
Various
are
Different
58.
young and
who may
old
classes of spectators
of
dispositions
the
women and men,
be of superior, middling or inferior talents,
and on such dispositions [the Success
of]
a drama
rests.
Disposition of different spectators
59.
Young
love, the learned
doctrine
1
,
people are pleased to
reference
to
money
the seekers of
less in topics of liberation
some
presentation
[the
see
[topics of] wealth,
and the passion-
(moha).
Heroic persons arc always pleased
GO-61.
in the
and the Terrible Sentiments, the personal combats and

the old people in Puranic legends,
common] women,
of]
[religious or philosophical]
children and
and
the*
uncultured
always delighted with the Comic
and
And
[the
men (murkha)
are
of virtue.
tales
Sentiment
Odious
battles,
and
[remarkable]
Costumes and Make-up (nepathja) 1 .

C1-C2.
role
Thus
the
man who
by imitating the States
is
of the
fit
to
assume a particular
can be considered a
latter,
spectator possessing the [necessary] qualifications.

Assessors in a performance
62-61
These 'should be known as spectators
with a drama.
But there
being any
55-56 (C.56-57; lt.53-54).
'
57 (C.58j K.55).
(mmghana)
K. reads 55b as follows fWTOrtfwre
58 (C.59a, 60b; K.56).
59 (C.59b-60a; K.57).
60-61 (C.61; K.58).
in connexion
controversy
'
i
samayasrite, C. (samayawile,
K. omits 61a
62-64 (C.63-64;K. 60-61).
This
is
K).
61-62 (C.62j K.59).

a very elaborate arrangement
for juflging in every detail the Success of a performance.
SUCCESS IN DBAMATIO PBODUOTION
XXVII. 70]
521
about the performance of individual actors, the following are the

Assessors (profaUca)
an expert
an expert
(rajan),
{vdya),
courtezan
expert in sacrifice
[representation of]
in
tion
dealings with
in
is
and other
the
acts,
courtezan
the enjoyment of
(svara) and
officer
an actor
in general His-
complicated
in
harem and
the
metres,
royal
in
(lit.
the pose
at the root of
are
be an Assessor
will
love,
and ornaments, and of
wearing clothes
of
and a musician
Time
observance
[the matter of]
king in connexion with
a very suitable Assessor of movements for saluta-
Dresses and Make-up which

tion
a king's
the archer (uvasa) 1 in the Sausthava of
roles,
and a painter
prosodist
a lengthy declamation, a
[personal] dignity,
own)
a king
(citravU),
painter
be an Assessor in the
will
(yajntujoga),
sacrifice
Representation,
grammarian
(isvastramt),
(iabdavit).
(gandharva) and
musician
An
64-68.
trionic
grammarian
Hear about them.
{rajasevaha).
his
archery
in
an actor
sacrifice (yajnavit),
in
(nartaka), a prosodist (chandovit), a
relating
to
in the application of notes
and an
{tola),
dramatic produc-
in matters
of the king in
officer
These are the ten Assessors
showing courtesies.
of a dramatic performance.
When
69.
there
is
controversy
ignorant of the [Natya]-8astra they (i

are
pronounce justly
to
individual actors]
whom
1
.
the
among
the persons
the
persons
named above)
the
as well as
faults
Then they
e.
merits [of
be known as Assessors of
will
I have spoken to you.
When
70.
there occurs
any learned controversy about the

should
knowledge of the Sastra the decision

testimony of the books
64-C8 (C.65-68).
69 (C.69).
judging a
'
The
(lit.
Emend
down
in the
Sastra)
mentioned above are to be called

70 (C.70).
theatrical
'.
in.
(i. e.
fail
seems to be that when in
who
are not acquainted with
to decide, the specialist Assessors
This passage
is
wanting in K.
This rule seems to show that when the specialists in
practice differed, they were
traditionally
66
isiavak (C). into nvasa-.
significance of this rule
drama the common people
the rules laid
be made on the
Sastra).
handed down rules
to.
compiled
refer to
in
the Sastra or the
books.
K,
omits
thfo
THE NATTA8ASTBA
[XXVUn
Controversy about a performance
Controversy arises when the actors (bharata) have the
71.
of mutual contest at
desire
[winning]
money and
the instance of their
masters or for
the Banner (pataJca) [as rewards].
Procedure in deciding controversies
In
72.
course
deciding
of
a controversy
observe [the performance of the parties]
The
decision about [the
to the stipulation
award
of] the
made {pamm
without
one
any
should
partiality.
Banner 1 should be according
krlvn)* [beforehand}
Recording of Blemishes
Blemishes affecting the Success should be recorded with
73-
the help
who
is
(ganahi) by
of reckoners
are seated at ease, have
[generally] relied
persons
these
clean intention,
on [by the public] 1
{i.e.
and whose
Assessors)
intelligence
Ideal position of Assessors in a performance
74.
Assessors 1 should neither be too
too far [from

apart from
75.
it].
near [the stage] nor
Their seats should be twelve cubits
(six yards)
it.
They
are to notice the points of the Success mentioned
Blemishes 1 which
before, as well as the
may
occur during the pro-
duction of a drama.
Blemishes to be ignored
76.
Blemishes which
may
71 (C.71).
' An
example of
mtyacaryas in the Malavi.
be accidental
this
(lit.
caused by the
the contest between the two
is
The Indian literary tradition records the fact of Bhasa's winning

Banners, possibly on the occasion of dramatic
contests.
Seo Harsacarita,
Introduction, 15.
72 (C.72).
*
This
>
Read patakasamvyqvakaram (savyavaMratn, C).
may have the following forms: the Success in

producing any particular play, or any new play, or
a new play with a
particular do n mating Sentiment will Entitle one
group of actors or
stipulation
its
leader to the
award
of the Banner.
73(C.73 K.62a).
;
74 (C.74j K.62b-63a).
K. omits
K. omits
l
this passage.
73a.
Emend preksakaih
75 (C.76.77a; K6Sb-64a).
76(C.77b.78a; K.64b-65a),
'
ghatti ca,
K.
into
for
fimmkaik.
yah kas
ca,
0.
XXVII. 61
cods)
80OCESS IN DEAMAlTIC PBODUCTION
1 the portents or the

,
enemy
Blemishes arising from
as the
are not to be recorded by the wise
But the Blemishes
[observers].
523
relating
[the
the play
to
themselves
actors]
well
as
3
should
be recorded.
Proeedure of awarding the Banner

77.
After mentioning him to the king the Bannar should be
given to a person whoso

in
number but
78.
Blemishes, have been reckoned as few
points of the Success as many.
If expert actors
are found
work and quality)
in the production of
be awarded
to
first
of equal success
[of
be of equal
to
merit
(lit.
a drama, the Banner should
one
whose Success
the
two
greater, or
is
contestants] [the
in case
award should be
made] at the king's command*.

79.
If the king has similar admiration
the two rivals,
for
With an eye
then both of them should be awarded [the Banners].
one should provide [in the production of a play] for

and the Sentiments 1
to all these rules
the recitation, the [distribution of] roles
80.
Thus cultured persons who
with the rules [of theatrical production]

merits
should
with an
at ease
sit
proper judgement
81.
are
well-acquainted
with
and capable of appreciating
unruffled
mind" and see
to the
[in awarding the Banners].
The Assessors*
are to point out
daivotpatasamuttha. K.
ghata, K. (yasta, C).
(lit.
the [measure
take)
(daivolpannasamartha, C.
Blemishes relating to a play seems to be
its
defective
literary drawbacks. It is likely that in dramatic contests choice of
plays brought discredit on the contestants.
"
See above 24-25.
77 (C.75; K.65b-66a).
7
(C.78b-79a; K.66b).
'
Bead
bfarat'ah firayogesu ca.
Depending on the vocal applause as well as the

sammasiddhau, K.. {sanmiddha, C).
spectators.
3
silent
*
approbation of
vajnaya nrpateh,
*.
C.
K. omits 77a and reads 77b with some

79 (C.79b-80a ; K.67a).
80 (K.68).
>
K. omits 79b.
Bead svasthacittaih
Bead vyavakarah samanjasah

l
for gurjAdibhih,
Bead gunadadbhih
81(K.69).
variation.
for svasvacittaih
for
Emend pre/ssakaih
K.
K.
vyamharah.samanjasam, K.
into prasnikatl!.
THE NAfYASASTBA
524
of]
2
achievement as well as the slightest of faults
to the theory of theatrical production
Hence producers'
82.
(paiJiya),
should
know
[properly]
of
Limbs (ahgamadhurya),
roles (prakrti), the
Sentiments {ram), songs
and Make-
instrumental music [vadya), and the Costumes
(gana),
relate
Charm
about Co-ordination (sama),

Recitatives
may
which
plays]
[of
XXVII. 82
up {nepathya)*.
Co-ordination
Gestures (ahga) which are simultaneously
83.
harmony with the
play in
of dances 2
Dhruva songs and
of the
When
84.
with proper
it is
Co-ordination (sama).
Time
and tempo {hija) and by the playing of
(tala)
called Co-ordination.
The
position
of
Limbs
which
in
the
chest
two arms are Caturasra and spread out (ayata)
Charm
Aficita, gives rise to the
86.
mastered
And
by
the
The Success
should
lit.
arising
be
is
2
not bent
the
and the neck
is
Limbs (ahyamadhnrya).
actors
But they are
{vadya)*, the roles {pmkrti,

87.
of
the remaining subjects 1
as for
(ta/Ahija)*
discussed before.
Sentiments
in a
arts in course
in course of the performance [of a play] Gestures
Charm
85.
is called
made
limbs major and minor, are accompanied by songs
of different
drums
aspects of the
different
which are to be
(sadhaka) they
have been
to look after the instrumental
music
the origin) and the songs (gam).
from the Gestures and the various
expressed
out of joy through
all
the
signs (lit the places) of the same.
Bead dusanMafam
'
Read prayogasamaymritm for prayoga-samaya&rilaih.
82 (C.80b; K.70).
9
'
'
C. omits 82a).
dusanMasah, K.
prayoktrhhih C. (prayalnalah,
83 (C.81; K.71).
'
'
K.).
anirbhugnam, C. (saniMugnam,
"smyatau bhujau, C. "srabiaukarau,
86 (C.83; K.74).
K.).'
samantat'.K. satmrthah, C).
dhruvamfyaprayoge, C. (gitavaditratalena,
85 (C-82; K.73).
'
for
84 (K72).
K.).
These are pathya, rasa and nepathya
XIX., VI. and XXIH.

ItTtes&v'adyamprakrtayo
ganam
and vadyamprakrtayo'jmnam,K.
sec
NS.
sadhyam. C. (preksymi, K.).

for vadya-prakrjaye'hgamm, C.
87 (C.84; K.75).
XXVII. 97
SUCCESS IN DBAMATIC PRODUCTION
625
Suitable times for dramatic performance
Producers [of plays] should
88.
performance (vara), which depends

be [generally] day and night
1
.
know
the time (kah) for a
on various considerations
to
now when a performance may
Listen
take place during these two periods.
The performance
89.
dawn
the evening, the midnight
in
and the
belongs to the night'
The performance
90.
forenoon and the
in the
afternoon
belongs to the day.
Time
of performance according the subject and the Sentiment
91.
now speak how
shall
times
these
suited
are
to
Sentiments after mentioning the time (lain) to which
[different]
a performance belongs.
[The performance] which
92.
is
pleasant to the ear and
based on a tale of virtue (dharma), whether

or mixed
is
pure
(mddha)
music,
includes
is
should be held in the forenoon.
(vilcrta),
93.
it
That which
the story of strength
is
rich
instrumental
in
and energy, and
carries [a
chance of] abundant
success should be performed in the afternoon.
That
94.
Sentiment and
whicli
full
is
relates
of
to
vocal
the Graceful Style, the Erotic
1
and instrumental music should
be performed in the evening.

95.
The drama which
the Hero],
relates
be performed in the morning and

96.
basis
(plot)
it
will scare
magnanimity
away
The drama should not be performed

Sandhya
or at noon or at the time of the

97.
the
to
[of
and contains mostly the Pathetic Sentiment should
Thus
of
after
play
looking
one
into
should
89 (f\87; K.77).
correspondingly.
'
Read 88b
it
place
time,
the
bring
about
its
and the
production
contains.
as f*ra* *Tfr9 ?nfak
reads 89 as ftf*
the midnight
prayer or of taking meals.
according to the States and the Sentiments
88 (C.85; K.76)
sleep.
in
"raw*
fo^fafl.
nffl'i*
*m
^ and 89b
91 (C 88; K.79).
92 (C.89j K.80).
x gitasaditrabhuyistham C.
K.82).
9i (C.91;
90 (C86j K.78).
93 (C 90; K.2I).
nrtyavadilragitu(l,hyam. K.
97 (O.M; K.85).
'
95 (C.92; K.83)
96 (C.93; K.84).
prasamiksya sasamsrayam, C. but parnadam ca
samiksya tu, K. parifadam in K. may be a wrong reading for parsadam

(assembly).
SHE NAflrASASTBA
626
XXVII. 98
Emergency performances are independent of time
But when the patron
98.
place are not to be taken into
master) orders, the time and
(lit.
and the performance
consideration
should be held without any hesitation.
Proper
09.
Co-ordination
Brilliance [of Pageant] (samnhlhi),
(lit.
co-ordinated
and
actors
production)
capable
of [good]
production are the three [points of] merits [in a performance]. 1

Qualities of an actor
100-101.
of
Time
(tola)
Intelligence, strength, physical beauty
and tempo
the Sentiments, [proper]
and
arts],
and enthusiasm
music,
vocal
be
will
the
knowledge
and
of the States
acquisition [of
age. curiosity,
retention,
[their]
stage-fright,
appreciation
(laija),
dances,
knowledge
suppression of
an
of
requisite qualities
actor (paira).
An
That
102.
good songs, good

prescribed
by the
includes
called
is
an
instrumental
good
Co-ordination
as well as
recitatives
Sastra,
performance
idea]
which
of
music,
all
acts
clothes
and
[ideal] production.
Brilliance of Pageant
Use
103.
of proper ornaments, good garlands,
proper painting or the Make-up [for the characters] gives

Brilliance of
The
104.
ornament)
rise
to
(lit.
the
Pageant (samnldhi).
According
[of
the
to
best performance
the producers of plays the best
performance] occurs
when
all
these
factors
the
charac-
combine.
105.
Thus
teristics of the
different
you properly
I have spoken to
Now
Success.
branches of music (atvdya,
Here ends Chapter
XXVII
lit.
of
speak to you about the
shall
instrumental music)
of Bharata's
1
.
Natya&tra,
which treats of the Success in Dramatic Production.

98 (C.95; K.86).
99 (C.96; K.87).
100-101 (C-97-98; K.88-89).
102 (C.99; K.90).
105(G102 ;
treat of the theory
K.93).
'
'
103 (C.100; K.91).
'The
See below 103.
surupatvam, K. (svarupatvam
Chapters
and practice of the
XXVIII-XXXIII
different
ca,
C).
104 (C.101; .K92).
which
branches of music, will
be published iu the second part of the present work.
CHAPTER THIRTYFOUR
TYPES OP CHARACTERS
Three types of character
1.
types
[in a play] are of three
inferior
drama
in a
Whether male or female, characters (prdkrti) in general

the superior, the middling and
the
1
.
A
A man
2-3.
in various arts
superior male character
who has
and
crafts,
controlled
wise,
skilled
honest, expert in enjoyment 1,
brings
his senses,
is
consolation to the poor,
is
versed in different Bastras, grave, liberal,
and munificicnt,
is
to be
patient
character
an expert in dealing with people, well-
is
books on arts and
in
wisdom and sweetness
[of
(madhijama) character1
5-7.
is
inferior
anyone
for
man who
harsh in
is
cruelly, is treacherous,
expert in
women, fond
property,
is
well
to bo
words,
known
as
woman
I shall
who
1 (C.lb-2a ;
persons,
and
Cf.
K.
XXIV.
in
stealer of others'
due order of female characters.
a tender nature,
is
not
fickle
or cruel,
C. reads before this one additional couplet
Emend hhagalaha
into bhogadaksu.
86b-88a).
3-4 (C,4b-5a).
'
Cf.
K.XXIV.
88b-89.
5-7 (C.56-7a).
>
Cf.
K.XXIV.
89b-92a.
8-10 (C.8b-lla).
covetous
superior female character
K.XXIV.1).
'
low-
friend,
an "inferior" (adhama) character.
now speak
has
2-3 (C.2b-4a).
kill his
haughty in words, ungrate-
the honoured
insulting
ill-mannered,
1
Similarly female characters too are of three kinds
8-10.
as a "middling,
can
violent,
of quarrel, doer of evil deeds
to be
as in Sastras, has
known
male character
spirited, of small intelligence, irascible,
ful, indolent,
as
crafts
manners]
An
kill
(nttama)
middling male character
A man who
3-i
can
as a "superior"
versed
known
1 Read mitaihasinya?
THE NATYASA8TBA
528
speaks smilingly1
obedient to
is
her superiors (gum)*,
good-mannered, has physical charm as well as high

natural qualities, and
grave and patient,
is
XXXIV.
is
11
bashful,
and other
birth,
be known as a
to
"superior" (tUtama) character 8 .
11.
middling female character
woman who
great extent and always,
them,
to be
is
known
not possess these qualities to

a
as a "middling''
An
12.
does
and has some
slight
faults
(madhyama)
mixed with
character.
inferior female character
Description of the inferior male characters

will generally
apply in case of female characters of

that type.
A
13.
"mixed" (samkirw) and
The
is
to
known
be
inferior type.
are also characters of the

14.
mixed character
A hermaphrodite
mixed
type.
Sakara 1
Jester, the
play, are characters of the
and
mixed type 3
So much about the
as a character of the
Maid-servants and the like
characters
others like
all
them
in a
which
may
be male, female
and hermaphrodite.
The
15-16.
conduct.
to be of
I shall
Among
four
four types of the Hcroe
now
classes 1 according to their
describe their
these [characters],
Heroes (ntyoia) are known
and they belong
classes,
to the
superior and the
middling 8 types and have various

characteristics.
17.
controlled
The Hero
is
described as being of four kinds
and vehement (dkroddhata),
the
self-
the self-controlled
and
hght-hearted (dhlradalita), the

self-controlled and
datta) and the self-controlled
2
Read gumnam
exalted
and calm (dkm-praianta).

3
vaccine,
11 (llb-12a).
Cf.
K.XX1V.
109-110a.
12 (I2b-13a).
13(13b-14a;KXXIV.10b,10a).
14 (I4bc K.XXIV.ll).
;
KA iakaras caiva cetas ca.
Bead sambrna prakrtir for
samkma
nataie.
dbttamay m,Q.(tatrottamayam,K.)
a
17(C.17jK.XXIY.3).
{dhlro.
.XXXIV. 24
TYPES OP CHABACTEBS
Gods
18-20.
529
arc self-controlled and vehement (dhlroihlhata),
1
kings are self-controlled and light-hearted {dUralalita)
cillors
the
coun-
are the self-controlled and exalted (dhlrodatta), and Brahmins
and merchants arc the self-controlled and calm {dhirapramnta) classes
To
of Heroes.
these again belong the four classes of
The
20-2
These are always the Heroes
1 .
poetical composition).
of four
fi
classes
courtezan
These may, according
21-22.
tezans
and modest (nibhrla) 1
of high family
may
to
characteristics,
their
(lalit a),
possess
these
all
be exalted and
are
and
Two classes of employment

The characters [in a play]
and
internal
characteristics 8
be of
exalted
qualities,
(abhjantm-a) 1
and
modest, while the cour-
and the crafts-women light-hearted and exalted 1
{bahija)
(lit.
may
Goddesses
of high family
24.
who
Heroines
of the
woman
(dhiw), light-hearted
self-controlled,
222.'J.
women
now speak
I shall
goddess, a queen, a
works
in dramatic
lour types-:
iidatta)
.Testers.
four types of Heroines
for characters
two kinds
are of
I shall
now
external
describe
their
18-20 (C.18; K.XXIV.4).
-'
syur dhirlalita
nrfiah.
K.(folttas tu
nrpah sturtah, C).

20-21 (C.19;
tional
(corrupt)
as follows:
They are
They
to
separation
K.XXIV.5).
couplets
C. reads after this, three and a half addi-
(C.20-23a) which
(Jesters) are serially [of
two
may be
tentatively translated
types]:
lowborn and cultured.
be attached to gods, kings, ministers, and Brahmins.
And
in his
[from the belovodl a friendly maidservant clever in conversa-
who feels
Among many
tion,
distressed at his misfortune should be attached to the king.

(lit.
in
the
multiplicity of)
the chief one is called the Hero.
When
male characters in a play,
in a play
characters] than one meet the misfortune and get
(lit.
there)
more [male
back the prosperity, then
one whose conditions appear remarkable should be taken as the Hero.

21-22 (C.23b-24a; K.XXIV.6-8a).
as follows <$ g
itto
in "irinnffwait:.
22-23 (C.24b-25; K.XXIV.8b-9).
wn wn w$w "'fa
K. omits
67
24b.
We
with K.
X K. reads 22b as follows fair-
fir.
24 (C.26; K.XXIV.12W.
a
l C. omits 20b-21 and reads 20a
Read prakaro
dvividhaij
mrlah
THE NATXASASTBA
630
XXXIV.
28-
[The character] which has dealings with of the king
25.
and one who deals with the people outside
[only], is called internal
[the king's palace]
is
an external character.
called
Female inmates of the harem

26-29.
women who
They
now
I shall
are the
chief
describe
and
the classes
function of
harem and have dealings with the
in the
live
queen (maha-devl), other queens
king.
(devl), his
high-born wives (xramin't), ordinary wives (dliayim) 1 ,
concubines
crafts-women (tilpakarin)), actresses (italjiklya) 2 dancers
(hkxjui'i),
(mrtaki), maids in constant attendance (aimcarika), maids

special
work (pwicw'ka\ maids
in constant
movement
of
(lahcarika),
maids for running errands {prrsani-ca'iku), Mahattaris (matron),

01
d dames (xthavira) Ayuktikas and (overseer), Pratiharis (usher),
maidens {himw'ij.
The
The
30-32.
consecrated on her head,

of accomplishments,
chief queen
queen (mnha, lent}
chief
advanced
fully
rites
affectionate, patient,
the good
for
of
and benevolent
her
possessed
rivals,
free
understands the king's charac-
has sympathy in his joy and sorrow,
ter,
character,
in age, indifferent to
from anger and malice, and who
propitiatory
one who has been
is
of high birth and
is
the
always engaged
is
[royal]
in
husband, calm,
to the inmates of the
harem 1
Other queens
Those [wives
33-34.
except that they are
ties
being proud
of
spite
affection
splendid
[many
2
,
of the king]
who have
all
these
denied proper consecration 1 , and
of
<;ood fortune,
are
eager for
are always brilliantly dressed, jealous
quali-
who
in
enjoying
of their rivals
and
on account of their [young] age, physical charm and
other] qualities* are called queens {devij 3 .
25 (C.27i KXX1V.13).
26-29 (C.28-31; K.XXIV.14-17). *
p. 289,
1.
11-18.
stMyini C, UMfiita, C).
Cf.
BhP.
This shows that kings in aucicnt times had a large num-
ber of wives. According to the Ceylon tradition Bindusara had sixteen wives
(see
Barua, Inscriptions of Asoka, p.276). In Svapna. (VI.9) Udayana refers

8
to the sixteen wives of his father-in-law Maliasena.
Cf. Pali, naiakitthi.
x Cf. BhP. p. 290. 1. 15-18

33-34 (C.35-36; K.XX1V.21-22) i satsamskarais lu C.(la/iumana,K.)
30-32 (C32-34; K.XXlV.18-20).
K. reads 33b
as
ifar im$i\ i
tfireifatfTO.
'
Cf.
BhP.
p. 290,
19-21,
XXXIV.
43
TYPES OF CHABACrfEaS
631
High-born wives
35-36.
officers
Daughters of generals or of ministers or of any other
when they
(. e.
their daughters) are
by the king
elevated
through
the bestowal of affection
favourite
due to good manners and physical charm, and attain im-
own
portance through their

wives {svamini)
and honour, and become his
are
merits,
known
the highborn
as
1
.
Ordinary wives
37-39.
Ordinary wives (sthayinl) of the king
women who have
charm and young
physical
age,
is
are
the
violent [in
sexual acts], full of amorous gestures and movements, expert in the
enjoyment of love, jealous of
the wishes
"indolence
of
of the king always,
and
honest, and
rivals,
mind of the husband, are expert
writing and
in
and are
showing honour to persons according to
from anger,
free
and ready
cruelty, [always] alert
who know
the
painting, follow
their status
sleep,
and capable
[to act]
1
Concubines
Concubines (hhnginl) to a king are
40.
modest, affectionate
indifferent [to rivals],
known
very haughty, and
behaved, gentle [in manners], not
as well-
they are
but not held
in high
honour 1 .
Women
41-42.
skilled in various crafts,
perfume-making, and
know
all
artistes
Those women who are coversant with various
know
are
the
different
skilled in
branches
different
modes
arts,
of the art of
of
painting,
about the comforts of beds and seats, and are sweet in
manners, clever, honest, pleasant-looking, distinct [in their

honest and modest, are
known
words],
1
as women-artistes {iilpaharikd) .
Actresses
43-44.
beat (tufa)
Women who
and caesura
have knowledge of notes (svara), time-
(jhiti)
[in
a song],
are associated
with a
master of the art (Hctlrya), clever, skilled in acting (nalya), capable
35-36 (C.37-38;K.XXIV.23-24).
wftftft ft
'
K. reads 36b
as
wfiwUKWn
sfm. BhP.
has nothing analogous. See p. 290.

1
37-39 (C.39; K.XXIV.25-27).
C. omits 38-39. BhP. has nothing
Analogous, See p. 290.
40 (K.28).
41-42 (C.40b-41a, K.XXIV.29-30).
'
C. omits this.
C. omits 41.
43-44 (CUlb-42).
THE NATYASASTKA
632
of speaking according to the occasion, have

of form, are
known
XXXIV.
young
to be actresses (natahlya)
44-
and beauty
age,
1
.
Dancers
Women who
44-48.
expert in the
are
know
Passion (hela) and Feeling (bkava),
Temperament
of the
have sweetness [of manners], are
(sattva),
playing musical
skilled in
instruments,
have beautiful limbs, are
conversant with the sixtyfour arts and crafts,
from indolence, inured
bold, free
to
singing,
women
other
all
are clever and always
to hard work, capable of practising
various arts, and skilled in dancing and
young age superior
representation of
[well] the representation
and
due to
beauty of form and in the brilliance of appearance, are

dancers (nartakt) 1
Maids
king, are
maids
in
do not under any condition leave the
constant attendance (aimcarilca) 1
pooing,
the art of
making
preparing and
wine and
victuals,
to
known
be
in constant
move
Those women who [always] roam about
in different
K'.s slightly different reading in trans, will be as follows
followed in
to begin
it,
with
as maids of special
parts [of the palace], gardens, temples, pleasure pavilions,
who knows
and
sham-
applying perfumes, decorating one
Maids
5 1-53.
clever, skillful, regular,
bed, serving
ornaments and garlands, are
work (pariearika) 1
work
of special
Those women who are
49-51.
as
constant attendance
in
Maids
who know
known
Women who
48-49.
their
standing near by, in the
song]
[a
and
to stop
it,
and
strike
A woman
and the proper tempo to be
can represent the Sentiments and the States, understand
other people's intention and hints,
is
obedient to the teacher, clever, expert
in acting, skilled in discussion, conversant
with the playing of drums and
other musical instruments, is called an actress.
44-48(0.44-45; 47 ; ,K.38b, 33a, 34).

J
X K. reads
between 47a and
7b an additional couplet.
48-49 (C.48a; K.XXIV.35). T C. omits 40a.
49-51 (O.48b-50a). A K'.s reading which
in trans, be as follows
brella,
bed and
wearing
a AS.
o{
seat,
woman who
and looks
after the
ornaments and garlands
II. 27, 41.
is
his
is
is slightly different
will
in charge of the king's
um-
cooked food, shampooing,
toilet,
maid of special work (paricartka).
51-53 (C.50b-52a; K.XXTV.40-41).
-XXXIV. 58
TYPES
the Yania
indicating]
the [bell
CHARACTERS
Off
by the playwrights, are
and are prohibted intercourse
known
to be
583
maids in constant move
as
(sancarilca).
Errand
Women who
53-54.
commissions connected
be sent [in some
([jresanacarika)
girls
employed by
are
with his love-affairs
kings
secret
in
and are often to
such work] are to be known as errand
girls
1
.
Mahattarls
Women who
54-55.
[from
[singing]
are
and
evils]
hymns
known
for
immunity of the
for the
[the
king's]
prosperity
entire
takes
harem
pleasure
in
and in performing auspicious ceremony,
[to gods]
as Mahattaris (matrons).
Pratiharis
Women who
55-56.
lated to
various
affairs
lay before
[of the state]
the king
any business
re-
such as treaty (saidhi), war
(vigraha) and the like, are called Pratiharis (usher).

Maidens*
56-57.
Girls
(ratisami/oya)
ful
who have no
and are
[experience
quiet, devoid of rashness,
love's
union
modest and
bash-
of]
are said to be maidens {kim&ri).
Old dames
Women who know
57-58.
character of
all
manners
the
honoured by them
kings and have been
[members of the harem] 3 are
of
the
departed
and who know

said to
of the
be old dames
(orridlia).
Xyuktikas
Women who
58-60.
the
fruits,
roots and grains,
king] and are in charge of

1
yama= a
are in charge of the stores, the weapons,
who examine
the [cooked] food for [the
thinkers of)
(lit.
the
scent,
ornaments
period of three hours.
53-54 (C52boj K.XXIV.42).
1 Read the passage as follow*

iH<fcir
pujitah,
K).
in>raswgwT smsgfiw:
vdm
56-57 (K.XXIV.45).
55-56 (K.XX1V.44).
57-58 (C. 54;
5w
54-55 (C53; K.XXJV.43).
*n: 9mifi*T.
K.XXIV.
s
46).
'
jmrvarajlmvai pujiWi,
sarvarajasu
sarvanucaritajfia' C. {fvrvamjopacarajna, K.):
58-60 (C55-57a; K.XX1V.36-37).
',
The natyabastba
ss4
and garlands and clothes [he
is
[ixxiv.ei-
and who nave under them
to use],
persons and are clever, are said to be Ayuktikas or Yuktikgs
many
in general the
These are
(overseer).
women
Qualities of
The
61-0-1.
to be
women
employed by the kins
women
of those
qualities
of the froyalj harem.
employed [by the king] should be as follows
mind
rash, restless, covetous
forgiving, satisfied
free
from
and
free
cruel in
are
to
be
should not be
they are to be quiet,
they must have conquered anger and controlled
have no passion
they should
senses,
and very
who
they
they are to be respectable,
1
female diseases, attached and devoted" [to the king]
all
8
from womanly pride
Others inmates of the harem
The hermaphrodites who
04-09.
of characters, should be
about in
the
harem.
employed
constitute
Snarakas 1
But
the third
Kaficukins as
class
moving
a royal household for
in
as
well
Varsadharas, Aupasthayika-Nirmurtdas arc to be placed in different

parts
(kaha) of the harem. Persons who are eunuchs or have
made
given up sexual pleasures should always be
harem
a Nataka.
in
Aryan manners.
the inmates of the
The Snataka should be made
and
should be employed,
errands
in
to observe
the Kaueukin
In errands relating to the polity

relating
love-affairs
to
(I'amwaio) the Varsadharas are to be engaged. The Aupasthayika-
Kiiimmdas
women and
are to be engaged in sending out
in
any
place for the protection of maidens and girls 2 .

70.
And maids
by kings
in sending
versed in
all
in constant attendance
gifts
to
kinds of dance and
women
[they
in the
use
should be employed
love]
women
of different
dance and acting] should be placed in the [royalj theatre 3
61-61 ((C.57b-60
K.XX1V 47-48).
'Here
nampurkasamutlAiluh which cannot be
K. omits 64a and reads the rest with a slight variation.
vanita-madavarjita, K. Uarva-dosa-vwarjilah, C).
expression
* matakah
K.
(karatah, C).
C omits 66-68 and K. 69b.
70 (C.64ai
*
limbs [in
.
explained.
84-69 (C 6163a; K.XX1V.50-54).
...
an
occurs
well-
K.
K.XX1V.55).
Bead danakaryesu
reads between 70a and
70b
the
for
following
nwna'
(teste).
vn:<wfn(t
fir
.XXXIV. 76
TYPES OF OHABAOTEBS
536
Tho Varsadharas
Those women who have poor
71.
wha bave the nnture of
women and
are
vitality
and tho eunuchs

from
voiceless
birth
are
known as Varsadharas (sub-men) 1
Tho Nirmnnda9
Those eunuchs who look
72.
males and have nothing
like
feminine in their nature and have no knowledge of sexual acts are
Nirmundas 1
called
The Kaflcukins
Those who have
73-74.
known
[When
as the Kaflcukins.
and
clever, old
employ them
from
learning, truthfulness, are free
and have deep knowledge and wisdom, are
the sexual passion,
free
th<
Brahmins by
are]
birth,
from sexual passion, kings are always
to look after the needs of the queens
to
1
.
These are the eighteen classes of inmates of the [king's]
75.
harem.
now speak
I shall
of persons
who move about
in public-
External persona
They
76-77.
are
the king {rajan), the

(ptirodhas),
leader of the
army
(mantrin) 1 ,
(senapnti),
the chaplain
councillors
{mckn), judges (pradrivaha) and the wardens of princes
{humamlhikfta) 2
71 (C.64b-65
and
many
other
K. XXIV.56).
72 (K.XXIV.57).
'
members
The readiug
'
K. omits
ministers
the
the king's court
of
corrupt.
is
this.
1
73-74 (C.65b-66a; K.XXIV.58).
Though
the later
have
writers
opined that the Kaficukin should be a Brahmin, the author of tho NS. did
not recognize any such rule.
(I. 5,
infer that the
by
Bhasa
feet of
Duryodhana.
In Dutava
So we may
Kane, was not a Brahmin who could not degrade himself
falling at the feet of a Ksatriya.
XIII112-113
too seems to follow him.
the
9) 'the Kai'icukiya falls at
'
notes.
For
later def.
0. omits 73
of
the Kafic. see
Nd.
and K., 74.
% {C.66b-67a; K.XX1V.59).
76-77 (C67b-69aj K.XXIV.60-61).
betwoen amatya and minirtn.

the same
with sactva
(I
8 and 9) distinguishes
1)
als
<Jom
according this lat'er authority amity* seems tobcidMiit-iii

;
see
IV.
25, 30, 31.
taAam'ilya are three

'
'AS.
Kamandakiya N'tisara (VIII.
diff.
According to Sukranjti saciva, mart,'in
f unc ionarics. See II. 94, 95, 103.
Bead kumradhikrias tatha
for
kumarakrtas tatKa. K.
THE NATYASASTBA
588
(sabhastam) 3
XXXIV.
78-
their characteristics, please listen
I shall speak of
'
about them.
The king
78-82.
king should be [physically] strong,
intelligent,
truthful, master of the senses, clever, eloquent, high-minded, honest,

far-sighted, greatly energetic,
grateful,
sweeMongued,
skillful
he should take a vow of projecting his subjects and
how
to divide
[amongst his
duties
always ready to
act, alert,
officers]
and
must know
and he should be
advanced in age and be an adept in the
Smrti and the Arthasastra literature, expert in detecting enemy's
weakness and the must understand one's mind from his appearance,
he should be magnanimous, well-protected, capable of taking logical
view of anything, and a patron of various arts
and
crafts,
and an
expert in the Niti literature.
The
82-83.
is
One who
always active
(lit.
is
leader of the
has given
army
and possesses a good character,
truthful
up
idleness), sweot-tongued,
knows
the rules regarding the weakness of the enemy, and the proper time
for
marching against him, has a knowledge of the
everything about wealth,
and has a knowledge of the time and
society
the leader of the
Arthasastra and
devoted [to the king], honoured in the
is
army (seMpati) 1
place, should
be made
Councillors
81-85.
Those who are
intelligent, full of policy, heroic,
in speech,, well-versed in the Arthasastra, attached to

[of
the
king]
and are followers of
(dharma) should be
laws
1
appointed Councill ors (wmfitya) by the king
Road sabAastarah, K.
l
78-82 (C.69b-73a).
some
for
82-83 (C.XX1V.67-68).
"and in trans, it will

\
ministers (manlrin)
Cto read the passage witli
this se tho Introduction.

l
The
dot. of the
the minister (maulrin) expected here seems to be
84-85 (C.73b-74).
K. XXIV.62-66 seems
On
significant variation.
manya jneya,
sweet
the subjects
chaplain (purodfm) and

lost.
See above 76-77 note.
(K.XXlV.69-70a) reads tho passage
be as follows
The
councillors
differently
(amMya) and
tho
are to be characterised by the [following] qualities
they should besides being f ollow-oountrymen [of the king] and devoted [to
him], high-born, intelligent, honest, virtuous and well- versed in the Vedas
(jsruti) as well as in polity.
-XXXIV. 85
TYPES 01 CHABAOTEBS
Those who know
85-87.
[well]
followers of
able
laws,
about commerce and money,
many departments
are intelligent, conversant with
impartial,
537
knowledge,
of
good
discriminate between
to
and
and bad deeds, forbearing, self-eontrolled, overcome anger,

have the same respect for
(prainvaka) by kings1
all
people, are to be appointed as judges
Courtiers
The members
87-90.
be appointed after consulting
the
that the following are the
qualities
should
for
be always ready
undaunted
by
hard
of
alert,
Next
I shall
tell
thinks
they
modest,
forbearing,
and good manners, deeply con-'
agrumentation and
other
all
you about the
branches of
like.
rules regarding the distribution
drama.
Here ends Chapter

which
XXXIV
treats of the
85-87 (C.75-76;
Types of Different Characters.
K XXlV.70b-72a).
The
def.
of the
princes (kiimaradhikUa) expected here seems to bo lost.
87-90 (C.77-79;
*K:
from indolence,
free
knowledge, and not affected by sexual passion and the
roles in a
who
required for this office
affectionate,
should
(sabhastara)
views of Brhaspati
work,
work,
impartial, skillful, trained in polity
versant with the art
court
of the
wwft
9i*3Hi
K.XXIV.72b-73, 74b,
75a).
>
Read
warden of the
See above 76-77.

89a,
as ft*
'
*nfo
{capadhuryam- K. for <&pikarmsi'mi\, K.radikai-
t/iamm,-K, for 'ravikalpanam, C.
CHAPTER THIRTYFIVE
DISTRIBUTION OP ROLES
I shall [now] speak
1.
play or of the kinds of
the
of
of
distribution
men by which
in
roles
roles are to be
different
represented.
General principles of distribution

2.
After considering together from
movements
of the limbs
the experts
[in a play]
3.
are
the selection
their
1
of
After ascertaining
[if
Persons who have
5-C.
thick-set,
who
(lit
1 (G.
s
is
to
all
limbs
the
role of the Rakasas, the
the peal
K. same).
K. reads
he
role of gods
vivacity, pleasant voice
Persons who are
a voice like
will
followed].
intact,
well-formed
are full-grown (raijo'uvita) not fat or lean or tall
who have
The
is
aptitudes
natural
by
and good appearance,
should be employed to represent the role of gods 1
7-8.
the master)
such a procedure
their
The
or lazy,
roles
different
be preceded
should
actors
The Director
merits.
in the choice
distribute roles to different actors
and
and nature 1 ,
Hence
feel difficulty
employ 8 actors to represent
to
and
speech
their gait,
as their strength
well
an enquiry into
not
as
of
Danavas
etc.
and have a large body and
fat,
thunder
(lit.
j/Magam {vinyamm,
cloud),
furious
looking
K.).
with a slight variation.
lb.
2 (C.2a; K.2).
sathakhih, K. (sattvasik
Emend yusfad, K.
'
2b.
C.).
into yujyad.
and the following thirteen couplets have been omitted by C.
3(K.3).
'
Literally, 'this will not bring
of the Director.'
5-6 (K.S-6).
4 (K.4).
'
This
seems
to
conception of gods.
7-8(K.7.8).
>
weariness to tho intellect
This passage
Cf.Bhatti,II.30.
be
is slightly
comparable
to
corrupt.
the
Hellenic
-XXXV.
16
DISTRIBUTION OF BOLES
and
eyes
eye-brows
knit
naturally
Kaksasas
represent the role of the
1
,
589
should
the
employed
be
to
Danavas and the Daityasi
performance of male actors [should be] in conformity
for the
with their limbs and movements.
The
9-11.
limb
and every other
nor
and
should
employed
be
princes (kumara)
are
speech,
eloquent,
role of army-leaders
who
Persons
neither
have
nor
tall
fat
and not
ready-witted
the roles of the

of the Vedas)
role
well-formed
Kaficukin
like
and
of kings
limbs,
distinct
debate,
deficient [in anything]
of
(he
leaders
of
should be
the
army
and tho Srotriya
(armour-bearer),
role of minor characters

too, similar
Srotriya
(master
>
dramatic convention has
bo assigned
age and physical condition 8
16-17.
the
should
roles
who
employed to represent
other cases
fn
fat
heroic, skilled in
stature] should be
tall [in
and the
been prescribed
dwarfish,
neither
and steady by nature,

the
are
role of the Kaficukin
The
latter's
possessed
Persons who have brown eyes, long nose and
arc either short or
15.
are
neck
face,
tall,
and councillors
and the councillors (amatija) 2

The
14.
who have
employed to represent the role

(seniipati),
are
and
gait,
wise
reprepresent
to
kind,
cheeks,
The
12-13.
dignified
well-behaved,
are
best
lips,
who
and
beautiful,
pleasant appearance and

lean
the
of
eyebrows, forehead, nose,
beautiful eyes,
of
role of kings
(bharata)
Actors
after considering
the
[For example] persons who are slow-moving, very
hunch-backed,
9-1HK.9-11).
uncouth,
odd-faced and
'Kings, princes and army-loaders
fat,
etc.
who have
which the
author had in view seem to have been of Indo-Iranian origin.

12-13 (K.12-13).
above 9-11 note

14 (K.14).
This
Amalya
seems
to
mean a medium height
'
Read na\yadhanm prasasyate.
datavastftmurupena K.
16-17 (C.2b-4a; K.16-17).
See
hero seems to include mantrin (minister).
l See above 9-11 note 4.
15 (C.8; K.15).
8
'
"
1.
(desavesanu" C.).
THE NATYASASTBA
540
expressionless
motionless) eyes
(lit.
and low nose, ugly raiments,
1
,
[XXXV.
one eye
blind
18-
small chin
deformed body and are
evil nature,
born of slaves should be employed in the role of slaves (dam).
The
18.
a play
who
person
there)
(lit.
fat
is
naturally thin, should be employed in
to represent the tired characters.
The
role of fatigued persons
role of persons without disease
person should be employed to
without any disease
the
represent
persons
2
.
Special eases of assigning roles

1
(lit.
9.
however, such persons are not available the Director
If,
the master) should exercise discretion
a consideration of the
after
latter's
employ [some one]
to
nature and
movement
as
well
as the States [to be represented].
Such persons' natural movements whether good, bad
20.
or middling
(lit,
should be regulated
master)
the
the States
and then
by a contact with the Directof
In other cases too similar dramatic convention has
been prescribed, and
should be assigned to persons
roles
considering their native place (desn) and costume
The
22-23.
1
,
In case of characters which have
asses
2
,
horses and
Read vhlabdhaneiram
tanaksam, K. (karyariam, C).
hyarogem
fira",
'
for
arms,
many
like,
the Director
(lit.
the
nMaidhanelram, K. mminelaram'\Q-
tatra srantesu, C. tapa{h)frante K.
C. "mupayogesu,
20 (C.6b-7b; K.20ab.).
many
and faces of animals including beasts
camels,
18 (C.4b-5a ; K.18).
getia,
after
(iw).
role of characters with extra or special limbs
heads, and uncouth faces,
[all]
21.
of prey
represent
properly
they will
19 (C.5b-6a K. 19).
;
talha ciryayogena. K.
(tatka
canyayo-
C).
2
C. 6b and 7a seem
to be variant of
Which we accept.
21 (C. 8).
22-23 (C.9-10; K.XXVI.13b-l5a).
padasimhm
2
ca,
'
each other.
K. omits
Seo K. 20a
this.
x ivapadavaUrai
ca,
C.
kharostmvananai tatka
K khasostra varanas tatka,
.24(C.liiKXXTI.lSb-16a),
C,
K. iva-
XXXV. SO
DISTKIBUTION 01 ROLES
should, according
master)
his discretion,
to
541
have the masks
(lit.
them) made by means of clay, wood lac and leather.
The
entry of a character
first
After concealing
24.
his
identity
(lit.
own form) by
his
means of painting and make-up one should enter the stage

natural State (bhava)
assigned 1
a play a
If in the production of
man who
body, and
it
renounces
person
to
is
be
and physical form,
Gts in with his nature
naturally] represents
will be] like
with the
result of proper impersonation
a role which
then he [very
[He
his
The
25-20.
in
(lit.
renders his
States).
his
own nature
together
assumes another's nature by entering into
the latter's body.
The
psychological preparation for impersonation
Thus
27.
a wise actor
speech, gait,
thinking within
after
himself that "I
am
should represent the States of another person
movements and gestures 1
he"
by
Three kinds of impersonation
Human
28.
the
unnatural
characters according as they are represented on
[by actors]
stage
(riiTijia}
The
29.
into
fall
three classes
natural
(anuriijia),
and imitative (rii/'a'waWni).
When women
male characters, and
natural impersonation
impersonate female characters and
their ages are similar to that of
represented, the impersonation
is
men
the characters
called "natural" (timrupa)*-
The unnatural impersonation

30.
or an old
When
man
that
boy impersonates the

of
of
role
an old man,
a boy, and betrays his own nature in
acting, the representation is called "unnatural" (viriipa).
The
implication of this
is
not clear.
25-26 (C.12-13; K.XXVI.16b-18a).

Cf.
N&
XXIII.
27 (C.14;
'
firayojyam, K. firayiiktam, 0.
79.
KXXVI.18b
19a).
A very practical
instruction.
28(C.15jKXXVl.l).
29 (C17;
variation.
KXXVI.2).
'
C. reads
38 before this with a slipH
30 (C.18j K.XXVI.3).
THE HATYABASTBA
542
XXXV.
31-
Imitative impersonation
When
31-32.
the impersonation
man
by a woman.
represented
roles
(lit.
mutual
(lit.
character may,
But in
should
make them
women
Suitability of
iliat
represented by
women, and hence
gods
the
Urva& and
the
too
old or ugly).
[hence]
always 8 to be
are
such roles of gods and mortals
drama depends on [females
the like,
similarly
good
holds
rule
{acaryaY
teachers
among
like]
Rambha,
the mortals
(mwmse
harem
kings.
the
in
among
[For] just as
(nvarge)"
same
be
an inversion of
in some roles
mostly to be represented]* likewise.
[aro
option,
persons employed aro
Characters of delicate nature 1
33-35.
[Following
at one's
cases of such
one should see
efforts),
neither old nor ugly
(mpamsarini).
"imitative"
is called
very principle] a man's
this
a woman's character 1
impersonates
should instruct
of
women
lohe)
And
[in
acting]
in
women
according to the Sastras.
As
35-36.
they possess
amorousness
likewise
{v'dasa)
natural
is
limbs
naturally graceful
which are easily
But the men's Lolling
accessible to the Sausthava.
(lalitaf
should
depend on decorative movements (alatiJwa).

Training for
37.
good Director
(lit.
production depending on
in different roles
wise man) should not get women's
by himself
supervised
roles
women
But masculine
(syai/am).
men when
assigned
to
women
(lit.
should
be carefully directed [by him].

Result of proper assignment of roles
38.
Roles assigned to
persons of various nature, and age,
31-32 (C.19-20; K.XXVI.4-5).
Ag.
(p.
33-35 (C.21-23a
$i$lham, K.)
4
K.XXVL6-8.).
'
in
the Shakespearian
bkumikam sukumaram,
nityam, C. vrtlam, K,
manuslnam, C. prakrtinam, K.
The
As
'
stage.
502) explains buliw as virupa (ngly).
Of. Vikram.'lII.
(Vhkambhaka).
35-36 (C.24b-25;
KXXVI.12-13a).
37 (C.26a, 56e; K.XXVL10a-llb).
88 (C.16; 26biXXXVL10b-lla).
C. bhu-
atyarllmm C. ilyartham K.
Soo NS.
XL
88-91.
DISTBIÛXION 0? 9QLHS
-XXXV. 44]
who depend on
natural
dramatic performance
limbs
partly the sweetness
40.
for acting
and partly the strength due
woman who
of various
Director]
[a
[many]
its
For without such an exercise the
42.
The
is
a creeper
like
flowers.
dance and music].

Sentiments and the
in the least 1 .
drama which
of a
two kinds
of
dramatic production
types of
production
States and Sejitiinents
[in
States, the
Sausthava cannot be produced [by them]
The two
should always bestow undivided
[women's] exercise (yogya)
attention to the
attains
appears through
love-affairs
(nalyavila,na)
charms on account of
Hence
41.
to this
always
is
an adept in the practice of love
is
on the stage
acting
fatigue
women, and a dramatic production
an expert in [representing]
her graceful
full
women
Dance and music (samgita) without
39.
embellish a
[considered] a quality in
is
much
Result of employing
and
very
will
548
many
includes
(nukamam) and
delicate
violent (aviddha) 1 .
The
delicate typo of production
The Nataka,
43.
the Prakarana, the
and the Anka arc known

depend [for their
to be
of
Bhann, the Vithi,
the delicate
type 1
production on the impersonation
For they
of]
human
beings only.
1
Read
this
couplet as
39 (C.27; K.XXVI.9).
prayoge ca for
employment of boys
wit'u
'
gWTOifwîTt
K.
bhajatt;
mtyam proyogena,
40 (C.28).
handicap
follows
represent
the stage
Studios, Cambridge, 1946.

'
K. omits
Ki omits
this.
corrupt.
The
On
this seo
Companion to Shakespeare
this.
This passage seems
43 (C.30, K.XXVI.20, X1H.44).

.
is
actresses.
to
show the high
standard of acting in the ancient Hindu theatre.
43 (C.3lj K.XXV121,
was considerably a
Shakespeare in depicting female characters.
"Shakespeare's Dramatic Art" (p. 54) in
41 (C.29).
The passage
of engaging
women on
jrafosrai
Road na(yam
(bhavati, C).
C. K.
This shows the bonefit

to
<jft*r
XXH.#
See
'
N& XIV. 56.
See
S&
XIV.
61.
THB NATYASASTBA
544
This delicate type of production
44.
Hence plays
the Erotic
The play
44-
pleasing to kings.
is
are found to posses [chiefly]
Sentiment, should be produced by
the enjoyment of kings]
45.
when they
of this class
XXXV.
women
[only,
for
1
.
which there occurs violent
in
speed [of movement] and
much
fighting, great
excitement, should be enacted
not
by females but by males.

If a play includes
46-47.
dents and no hurried or violent
and
the eight Sentiments in their exuberence
women 2
be produced by
The
48-49.
hiiras
type
violent
then
may be made
all
to
Anga-
magic and occult powers as well as
number
small
(avitldha)
and challenging, and includes
and costumes, and has among
many males and
it
production
of
to represent cutting, piercing,
nature,
requires energetic
[a rcpresentatation of] the use of
zonae
and requires
regulated utterance of
The play which
artificial objects
not exalted) inci-
limbs,
words, and does not abound in
well-seperated
of
(lit.
of
Time and
the observance of proper tempo,

syllables
ordinary
movement
of
its
females
dramatis per-
who
are of quiet
and mostly the Grand and the Energetic Styles are applied
in its production, is of the violent (aviddha) type.

50.
By
the expert producers, the
plays of the Dima,
the
Samavakara, the Vyayoga and the Ihamrga classes are known

to be of the violent type
51.
1
.
Production of plays of this type should
[an impersonation of] gods, the
44 (C.26; K.XXVI.22).
UL
Priyadarsika, Act.
46-47 (C.33a ;
instance
K.XXVI. 24-25).
2
tu, C.
of such a play occurs in
EXXVI.23).
l
Read
anasiarasa-bahulam
for
C. omits these two couplets.
48-49 (C.33-34; K.XXII.45-46).
na cavidyahgabhavas
XIV.
tatra
'
Read yac caviddMgaharantu
viddhmgafmram tu,
See NS.
37-8.
50 (C.35; K.XIII.47).
See
An
'
45 (C.32;
Mislarasakahalam. K.;
'.
made by
endowed with heroism, energy and strength 1
are majestic, and
for
be
Danavas and the Raksasas who
N& XIV. 59.
'
Bead 50b
51 (C.36;
as
etanyaviddkwm/nani, E.
KXai.48).
See NS. XlV.'eO.
etc.
XXXV.
57
DISTBIBDTION OF ROLES
assign roles of different characters
Thus one should
.12.
Now
the production of a play.
545
speak how the drama
shall
in
is to
be produced with the help of the Costumes and Make-up.
,">:}-55,
ii
typical
How
are the kingly
number
limited
said
The
the people, the
{nip") of dresses
king
qualities to be
repiesented
Tu this connexion
drama furnished with
all
these,
by
has been
it
among
was devised by
hence the actor (nata) covered with paint and decorated
me.
And
with
ornaments
the signs
reveal
will
assume a grave and

be [as
of
conventions came into being
the dramatic
when
that
impersonation
dignified attitude
of
1
.
when he
kingship
And
thus a person
will
will
were] the refuge of the Seven Great Divisions (snpta-dripa)
it
of the earth.
Covered with paints
ofi-57.
[in
bavin" mild movement of the limbs

of the teacher should
the
role
a king and
of
the actor under instruction
assume the Sausthava
pose,
and then he
will
king also looks like an actor

look like a king, and [ordinarily] the
actor
Just as the
an actor
to be
king,
so the
king
is
to be like
by the both
The
States are to be represented
by
means
similar Sausthava
tion of
like a
58-59.
the
is
of limbs
stage, so
53-55 (C. 38-40;

,
K.XXIV,
'
76-78).
giimhhiryauictw'' K. gam-
C.
56-5V (C. 41-42;

us follows
the king too should
dress and demeanour].
K.XXVJ.26a).
52 (C.87;
bluryakarya
movements and
Just as an actor under instruc-
the teacher illuminates the
always be naturally brilliant [in his
accomplished)
(lit.
graceful
similar
of
K.XXIV.
79-80).
^"tffeîr sir HS-Wfectl
The 56a should be emended

Stf? *ti, ('.). mnaiah
(w#t
in K.)(santam) in place of kartavyam in the next hemistich

*
This
is
a very clever statement.
but an ordinary
human
being,
The king though
often assumes consciously

3
an extraodinary appearance.
58-59 (K,XXIV.81-82a).
69
'
See above note
samalilaiigasauMava'
lie
is
nothinp
or unconsciously
2.
(text,
V< for V).
THE NATYA8ASTBA
Mfi
XXXV.
59-
Impersonation of the attendants of gods
attendants of gods 1 should be
The
59-60.
made
like
those
and in the drama they are to be given the costume, the
of kings,
language 8 and movements suitable [to their character].

60-61.
The producer should
give to the
actor
the natural
appearance of a character by giving him [suitable costume] and by
him with
associating
suitable age through the
Thus one should make a
01-G2.
make-up 1
selection of
persons
for
representing kingly manners. I shall speak hereafter of the qualities

desirable in producers.
The
characteristics of a Director
In this connexion, I shall speak of the qualities of a Director.
An
enumeration of his qualities
they arc
will constitute these characteristics
complete refmnient of speech, knowledge about the
rules for timing of
and of the theory
songs,
notes and to the playing of musical instruments 1
03-68.
One who
is
an expert
musical instrument, well-trained in
playing the four kinds
in
rites prescribed in
conversant witli the practices of different religious
the
sects
of
Sastras,
and with
and the science of wealth, expert in the manners of courte-
polity
and in poetics 1
zans,
Tiila,
relating to musical
knows the various conventional Gaits 2 and

and the
movements, throughly appreciates
[all]
Sentiments (rann),
producing plays, acquainted with
is
an expert
in
various arts and crafts, conversant

the metrical
feet,
and
is
the States (hhava)
the rules of prosody
with
with the science of stars and
acquainted
and
studying the different Sastras,
clever in
planets
and with the
working of the human body, knows the extent and customs of the
earth,
its
continents
descendants
and
divisions,
of different
mountains and people, and the
3
royal lines
is
fit
to attend to the Sastras
relating to his works, capable of understanding
K.XXIV.
89-60 (C43;
I*
..
?*
- pftr.;A.Mo
r.0-01
83b-83a).
-ii^fl
and
prose;
dhyanam, K. dravy'anam, C).
'
This passage seems to be a variant o 25.
K.XXIV.84b and
prose).
'
K.
reads
the
differently.
ti:'.(M.(C.45-50;K.XXIV 93-98).
'
'
K. \d4abhma, C).
!.K.XXIV.83b-84a).
OJ-fc? (0.44
|iroo i>
them and of giving
''gatifiracura,
K. gitapracara,
C.),
'
kavya%astra.K.,kamimastra,C.
s
prasutivit,
K. prasutivan, O,
-XXXV. 75
DISTBIBUTION
01?
[on the subjects]; should
instruction
BOLES
517
be made a teacher {ac&nja)
and a Director (biikadham)*.
The
Now
69-71.
natural qualities of a Director
me
listen to
speaking about the natural
He
[which he should possess].
ties
should be possessed of
and judgement, be persevering, dignified,
manners J, forbearing,
sweet [in his
poetical, free
quali-
memory
from diseases,
self-possessed, speaking
sweet
words with a smile, free from anger and greed, truthful, impartial,
and resourceful
honest
These
(prat'uiianla).
natural
his
are
qualities.
Characteristics of an Assistant to the Director
71-72.
number
be
person of the middling type

the Director
of qualities than that
known
as an
Characteristics
actor {aula)
of
an actor
should be lively
good physique, acquainted with
sessed of
their uses, possessed of [good]

[of the theatre]
slightly less
possess, should
to
Assistant {pariim'wika) to the Director.
An
72-73.
who has
is
and an expert
[lit,
memory, conversant with the

in his
pos-
bright],
and
theatrical accessories
own work 1
rules
Characteristics of the Parasite
Possessing the qualities which the Director (niltm-
73-74.
ilhaiv) has with regard to the

(n'fi)
should be an expert in
tempered, impartial, poetic,

in
production
theatrical
dealing
the
Parasite
with courtezans, sweet-
capable of seeing
any argument and be eloquent and
the pros
and cons
clever.
Characteristics of the Sakara
75.
The
The Sakara'
who
is
to
change his nature often
will
position of the Director (suiradhara) seems to be comparable
to that of regisseur.
See Th. Komisarjesky, The Theatre, London. 1935,

69-71 (C.51-53a; K.XXlV.99-101a).
PP. 15, 18, 19.
71-72 (C.53b-54a; K,XXIV.I01b-102a).

72-73 (C.
The Theatre,
54b-55a
K.XX1V.
102b-103a).
'
Cf.
Komisarjevsky
p. 20.
73-74 (C.55bc; K.XXIV.103b-104).
Emend yuktah sarva
em
Proyogitiatiiatoyuktahsarvaevaproyogeca.
75 (C.56; K.XX1V.105).
see Keith, Skt.
Drama,
p. 69.
'
Sometimes
connected
with
tlin
StoknsJ
THE NATT A8ASTBA
518
gaudy
generally be dressed with
and he
speak the Magadhi
will
clothes
brilliant)
(lit.
ment?, and will be angry without any

wise,
reason and
XXXV.
76-
and orna-
be pacified
like-
dialect.
Characteristics of the Jester
The
76.
Jester (i<fe*a&<i) should be short in stature, hunch-
backed, twice-born 1 , bald-headed and twany-eyed.

Characteristics of the servant
The
77.
fond of crafts (Ws), gar-
servant (reta) should be
rulous, uncouth in
expert in
form, using scents,
distinguishing
between persons who are to be honoured or not to bo honoured

Characteristics of the courtezan
Thus
78-81.
The
now speak
shall
who have [many]
characters
qualities
courtezan
natural as well as acquired
and
in
always engaged
and be acquainted with the sixtyfour arts and

dealings with the king
2
,
free
acting
in
Feeling
(hava),
manners, and sweetness,
good
(sattva),
other
the application of the art,
Emotion
sportivencss,
Temperament
(lit.
be skilled in
she should be
attending teachers [for learning]
(Wia"(i),
should
(ganika)
and have the following qualities
and be endowed with
the nature of female
of
expert in
crafts,
from female diseases, and should have
sweet and endearing words, and bo
unreserved, clever
and
uiicon-,
quered by fatigue*.
Characteristics of the typical Heroine
81-83.
woman
made the Heroine
she
with the
following
qualities
should
should be endowed with a good
form, good qualities, character,
young
and
age, sweetness
be
physical
strength,
and she should be shining, tender, sweet, uttering charming words

a lovely voice,
with
1
(ij')ijija)
(tola)
<f
not,
unsteady
76 (0.57; K.XX1V.106).
in the exercise
'
ibijamiM, K. dviijhvo, C.
77 (C.58; K.XX1V.107).
78-81
(C.5il-6;2:i;
K.XXIV.108;
,;
rijopacarafot&ali'h C.
3
.'
perturbed)
and the Sentiments.
tyle}.
.
(lit.
and should be conversant with tempo (laya) and Time
K.
vi'suU
111-113).
C. omits 78
(K.XXlV.
niitopaMrakmah, K.
two additional couplets before
81-8! ((J.G!b(ila;K'.XXlV.lU-ll6).
'
79.
yoffyay<m,0.(.MMifi}aughau).
XXXV. 89
DISTRIBUTION OF BOLES
Women
disqualified for being Heroines
But women with the following
83-85.
made Heroines
not be
(yrabti,
on wrong occasions
smiling
manners], havi ;g
and scent
85-88.
of the typical theatrical party.
Director
[They are
different
:]
musician
the
members
the
of
Bharatas (actors) because
(tanr'nm),
(mtrwlhai'a),
playwright
of head-gears {lanhiitatam)
the
actor-dancer
{iiUijaltani),
the
the maker of ornaments* and
dyer [ntjaka), the painter (eitralwa) the craftsman
garlands, the
3
efforts,
Bharata (the author of the Canons of Drama) 1
the Jester (tn'lCmhi)
(li'ani)
and
kinds of diseases and lacking garlands
all
(bhanita).
of their following
maker
a play
in
haughty and unreserved and unruly 3
shall hereafter speak of
theatrical party
the
adorn their body].
[to
Members
(juit'i),
characteristics should
character)
lit.
having violent gaits
persistent anger, being always

[in their
549
(7^//i)
artistes
and Ku&lavas 7 who are
known,
to be
Brahmins, by their names.

88-89.
'
acting in
As he conducts 1
many
roles
the [performance of a]
drama by
by playing many musical instruments
and
and by providing many household accessories (itjiakamna) ho

called
is
Bharata or a member of the theatrical party.

Characteristics of the Jester
89-91.
shelter)
One who
connected with the
creates [thereby]
himself to
betakes
movement
pleasure for them
raiftj*.
3
tatha canibhrtodbhatjt K.
tathoiivrUodhhala
sadii,
85-88 (C.66b-69a;
f3p3t*Kta*Rt
p. 97.
% fn:
'
Bead 85a as
K. (astAana
ast/tana";
(f.
tadti
a-);
of.
XXXV.21-22).
2
wlfirel rc.
rt
fwt
"I
**siT
C).
tu
nibhrtodbhaKi,
C. reads 85a
'
Road mukutakiirakkah
Bead latMbAarai.ta for taihaharam, C.
*iw: (raiTO?*:, fafai: s^roît: in
for Autak'tniiah,
'
See note 5 above.
88-89 (C.69bc;
and
shelter
K.
K.XXXV.23).
'
K.XXXV.24-25).
as
follows
tauripo, K. (tauriko, K,),
"89-91 (C.70-71;
(lit.
0.
places
and sometimes takes
83-85 (C.64b-66a; K.XXIV.117-118).
raw
various
of all kinds of characters
('.
NttyacandrikS on AS. note,
kuntliavas ca, C.
Read uddkared for uAdfmro, K. C.

'
89-91 seem to be corrupt
THE NATYASASTBA
550
women
with
[for
a maker of
same purpose] and who
the
whoso speech
and.
funs,
XXXV.
ready-witted,
is
always connected
is
91-
adorned) with the disclosure of extremely numerous
(lit.
ideas,
is
called the Jester (mdusuka).

Characteristics of the master-musician
One who
91-92.
is
an expert in playing
instruments and has taken [specially] to Turya,
kinds of musical
all
is
called Turapati
1
,
Turyapati or Tauripa (master-musician).
Meaning
The meaning
92-93.
of the
of
its
word
'Nata'
root nala
As one
93-9.").
of blessing
in
is [called]
acts),
the Sentiments,
an Actor
(iiatn)
defined
addresses by
the people with sweet
it
it
is
and
1
.
words
the Benediction.
called
performance of a drama one speaks through
the
many ways
(lit.
The Benediction
and auspicious ceremonies,
Because in
to act
men with
hence, as he acts (represents) the affairs of

the States and the Temperament, he
is
the
of
welfare
people
of
it
by means of reading
2
prayers in Prakrit or Sanskrit,
it is
called Benediction'
Characteristics of the Director
95-90.
One who knows from
the principles (mini) of songs
and the Recitatives, [and
all
music
these] in conformity with
called the Director (sTUnulhara,
is
instrumental
Sastra
the
the instruction of
(gaita),
(vadija)
one another
holder of principles).
lit.
Characteristics of the playwright

9(5-97.
As one
[in
assigns
play]
the [different] States
together with the [different] Temperaments to different characters
one
is
called the play-wright {nctftjakwa)*
91-92 (C.72:
K.XXXV.26).
92-93 (C.73;
K.XXXV.27).
98-95 (C.74-75;
2
hw*
''
These two
the
def. see
96-97 (0.77;
K.XXXV.31).
His duty was

'poets'
For another
NS. V. 24-25
K.XXXV.30).
comparable to
turapati, C. for turapati,
to
dof. sec
K.
below 97-93.
nanyo, C. for mndyo, C.
Benediction {nirndi) seem to be out of place
195-96 (C.76;
'
K.XXXV.28-29).
def. of
For the other
'
'
107-113.
Bead bfmni-vilcalpatn
for "vikalpo, C.
compose a play on any given theme.
employed by Elizabethan theatrical companies.
Hejs
.XXXV. 97
DISTRIBUTION OF ROLES
551
Characteristics of the Actor.
Any one who
97-98.
can act
perform) a play according
(lit.
to the rules for the application of the four
kinds of music,
is
called
an Actor (wtta).
Characteristics of the Actress
98-99.
the tempo, the
woman who knows
Time and
made an
beautiful in all her limbs, should be
The maker
He
99-100.
dresses
together
who
about the playing of drums
able to create the Sentiments
is
is
1
.
of headgears
makes
masks
and
various
special
with head-gears (sinalia=j>ratitirafa) suited to
from) the various characters,
(lit arising
and
Actress (iidtalaija)
is
called
maker
the
of
headgears (mnfattakara).
The maker
rules
the
is
to the
maker
called the
makers the
name
of ornaments
One who makes ornaments
100-101.
different
ornaments]
of the material he uses
The maker
maker
is
to be
various
to
;
[each
of
according
designated
1
.
of garlands
He who makes
101-102.
the
according
ornaments (nhharanakH)
of
five
kinds of garland
called
is
of garlands (nfahjahi)-
The costumer
And
he who
designs
costumes
is
costumer
the
called
[enahi /<>).
The
One who knows
painter and the dyer
painting,
is
painter
{citraharct),
from his knowledge of dying (rahjava) a person

(rajaka)
97-98-(0.78;
iiqri
K.
K. omits
reads 98a us
'irsw
<"*!'<.
Wi?*
98-99(C.7'i;.
The word
this.
ttatjata
(-tiataZ-iy)
99-100 (C.80;
1.4.7.
100-101(0.80;
is
K.XXXV.32).
mRi.
1
and
a dyer
called
is
K.XXXV34).
'
<vw
K.X XX V.1!'!
The Bigmrw.""
of
in t'mfcima,
).
;iiis
<*i. !,><>;.
not apparent.
101-102 (C82-83a; K.XXXV.35-36a).
JSew Indo-Aryan in the
sens,e of
'washerman'.
"!!'.<
-,<l
oCsmi
-ii*.!
THE NATYASASTBA
55a
XXXV.
103-
ont
of
The craftsman
One
103-104.
lac, stone,
who
iron and wood,
fashions
different
objects
called a craftsman (kurti).
is
The Knsilava
He who
knows the
instrumental
brandies of
in playing them,
free
from
and who
(ah'lijn)
and
is
an
104-105.
The man who
of the party
takes to an art {sUpu),
a profession
or a practice and has himself acquired proficiency in
So much about
name.
its
in
sickness, is called the Kusilava*-.
The other members
by
expert
(armlalu),
clever, refined
[besides]
is
applying the different
of
principles
music
connexion with the rules
communities
the
various accessories [needed]
called
known
who
in
relate to
production of various
the
in
(ia'i)
the Natas 1
of theatre as
is
it,
types
of plays.
106.
about the
have spoken about the assignment of
producers of a drama according to
have delivered the Canons of Drama.
what more
is
to be said
now 1
Here ends Chapter
roles
their function,
Please mention,
and
and
sages,
XXXV of Bharata's NiityasSstrn,
which treats of the Distribution of Roles.
103-104 (C.83b-84; K.XXXV.36b-37).
The etymology
modern
of kuiilava
ha* very
scholars. See Keith, Skt.
Drama,
104-104 (C.85-86; K. XXXV.38-30)

the
Nata community play drams, make
pictures.
106"(C87).
'
'
much
p.
'
K. reads 104a
differently.
exercised the ingenuity
of
30
Even now-a-days
the people of
dolls flower-garlands
K. omits
this.
and paint
CHAPTER THIRTYSIX
THE DESCENT OP DRAMA ON THE EARTH
Sages question
Being pleased, the sages again spoke out of curiosity
1-2.
to
omniscient Bliarata as follows
the
"The ancient Natyaveda
which you have recounted, has been properly comprehended by us

listening
else
1
.
[But] you, revered
.".,
[further)
who
attentively
it
curiosity
sir,
doubt)
(lit.
should also satisfy
we may have
can speak definitely about the Natyaveda
We shall
4-5.
(lit.
explain) any
For
in this matter.
?
enquire from you [more] about the drama for
our enlightenment and not out of distrust or rivalry or jealousy.
We
did not speak earlier
So speak
(lit.
then) lest
Yon
0.
have said
drama
constitute the
things
(lit.
hidden).
tell
us about the character of the god
worshipped
Brahmin
the best
Why
is
(lit.
of the people
hence yon should speak definitely about
about the people,
rest of
naries.
should interrupt you then.
that exploits
[already")
the
7-9.
it
mystery of the drama 1
to us exhaustively about the
he
(lit.
the
bull of
who appears
the twice-born)
in the
Prelimi-
he do
Are gods pleased with
what do they do on being pleased

l
unknown
still
worshipped, and what does
meditated upon)
1-2 (C.6-7; K.l-2).
which arc
Why
does
the
when
it,
and
Director
C. roads before this five couplets, giving the
names of the sages as follows
Itrcy.i,
Vaistlm, Pulastya, Pulaha, Kratu,
Maim, lyue, Aruvat, Visvamitra,
Angiras, Gautama, Agastya,
Sthulasiras,
Samvarta, Pratimardana, U&mas, Brahaspati, Vatsa, Cyavana, Kasyapa,
Dhruva, Durvasas, Jamadagni, Markandcya, Giilava, Bharadvaja, Raivya,

Valmiki, Sthiilaksa,
Kama,
Medbatithi, Kusa, Narada, Parvata, Susar-
man, the two Ekadhanvins,
Nisthuti,
Bhavana, Dlwumya, Sataunnda,
Krtavrana, Jamadagnya Riima, and Jamadagni Viimana.
4-5 (C.9-10; K.4-5).
rtism.
7-9 (C12-14, K.7-9).
70
Theso
hov.'W
3 (C.8; K.3).
seem to be an interpolation.
'
K. reads 5b
6
as follows :-wnft
(0.11; K.6).
>
Slflwi
THE NATYASASTBA
XXXVI.
being himself clean, perforin ablution again on the stage ?*

lord, the
heaven
drama has come
dropped) down
(lit.
Bharata's
Bharata said, "I shall
10.
How,
from
to the earth
have your descendants been known as Sudras ?" a
Why
10.
the inner meaning of
(lit.
reply
tell
men
you,
of excellent vows,
confidential) the story about the Prelimi-
naries. Listen it properly.
The
The
11.
Preliminaries and their
uses
Preliminaries have been described by
me in
conti-
nuation of whatever I have said [earlier] about the destruction

obstacles
12-16.
Just as the body
warding off missiles
Homa 8
so the
covered
is
of
sins
with armours
kinds
by worshipping the gods with Japa, Homa, words
tion
and
blessing,
playing of
4
all
and songs about
deeds and attitude, the
their
[as well], they (the gods) being
of adora-
musical instruments and the [sweet] sound of [other]
the praise said,

of yours
for
are checked by
the obstacles and warded off
After I have thus destroyed
all
sins
songs
of
'We
pleased with
the
singing of
are exceedingly delighted with this performance
pleasing the gods and
as it pleases the people after
the
Asuras, this performance will be called the Benediction'.
The
17.
region which
is
resounded
with
music [vocal and
instrumental] and in which speech with charming intonation can be
heard
(lit.
arise) will destroy [all] evils
As
18.
instruments, so far there will
(vinayaka) of Vighna? 1
'
See NS. V. 80-83.
stay
all
12-16 (C 17-20; K.1S-17).
11(C.16;K.12).
'
gitasvanena
n wiwfa
ft
wtfo
fi
K. gltasvan&ni
'
Read 18b
? i fiwmv-
19 (C.23; K.20).'
'
leaders
is
lacking
'SeoN&V.
mrlravaranam, K. sariracaranam, C.
iastranam, K. (mstranam,C).
ca,
no Raksasas or
kinds 1 and the sacrifices performed
18(C.22j K.19).
there
sound of musical
K. omits lb but reads 9b which
10(C.15 K.ll).
JhiC.
will bring prosperity.
In marriages of
19.
and
far as the space is filled with the
as
ca,
17 (C.21 j K.18).
wmfa % wtfai* frofww
K, mwrt
avahe ca vivithe
hutenaiva, K. (smrtenaiva, C.
C).
w ftfaq i ^
ca,
ftuftirani:,
C.\
THE DESCENT OF DBAMA
.XXXVI. 251
for
the
prosperity
of
the king,
the
555
beings will
ferocious
make
themselves scarce on hearing the sound of the Benediction.
The
20.
instrumental
music,
or the
together with the instrumental music,

to the exposition of
the Vodic
hymns 3
I have heard from
21.
drama 1 or the songs
be equal [in importance]
will
.
the god of gods (Indra)
and
after-
wards from Samkara (&iva) that music [vocal and instrumental]

superior to a bath [in the Ganges] or Japan for a thousand times
The
22.
and dramatic
will
surely
places in which there
performance
and instrumental music,
of inauspicious happening.
Thus I have devised the Preliminaries as a ceremony
23.
worshipping the
verses
deities with laudatory
and
The
As
24.
stage, the rule
25.
ablution
of the Director on the stage
head 1
the
becomes fatigued by bowing on the
permits the Director to bathe
After the ablution
Jarjara with Mantras.

Preliminaries
is
'
with water
it
the Director should
2
.
worship
the
All this has been said in connexion of the
This
20 (C.24; K.21)
8
occur (he instrumental music
or the song
know any kind
never
of adoration for
Mantras 1
is
the reason for the ablution.
m\yam, K. (srulva,
<\).
This seems to show that in the beginning, the early Vcdic people
wore not favourably disposed to the dramatic performance.
For more
on this see the Introduction.
21 (C.25; K.22).
s
cared
'Cf. 20
little
for the
asceticism,
above.
but other religious sects as well, did not
favour the dramatic performance.

trieal
note.
This seems to indicate that not only the early Vcdic people who
This may be the reason to put the thea*
performances which included music above the religious practices of
such sects.
For more about
22(0.26;
alyasya,
K.
23 (C.27; K.24).
this see the Introduction.
'Bead
K.23).
'
iV YVmiMj.
~atodya-riaiyc& c <
Read niicayam
for niscayih,
This seems to show ttat
('
.v
drama wv-
connected with a particular religious cult!
24 (C.28a; K.25).
*
C omits 24b.
25 (K.26).
'
Read
iiras tu for iirastt
'
utant /<W, K.
See below 25 note.
C. omits this
this.
See
Nii.
0.
*M4, K-
V. lu-83-
also
THE NATYASASTBA
656
now
I shall
26.
'
tell
you
in detail
how
XXXVI.
the drama came
dropped down) to the earth from Heaven, for I

withholdanything from you 1 .
am
26
(lit.
unable to
Bharata's sons offended the sages by caricature
27-29.
knowledge
All these sons of mine 1
Natyaveda
ofj the
being intoxicated with [the
the entire people with the Pro-
tired
hasanas 2 connected with laughter. In course of time they devised

a
play
art)*
(lit.
which treated the indulgence in vulgar passions.
by them was produced
in the
poem) which was unacceptable,

vulgar passions
4
,
full of
unworthy
cruel,
caricatured the sages 5 by
And
assembly of the people a drama

wicked
any praise and
of
(lit.
deeds, inspirer
in
of
which they
means of buffoonery (hhan4a).
The sages curse Bharata's sons

30-31.
and
it
excited,
On hearing this, the sages were extremely angry

and spoke to them (sons of Bharata) burning them as
were [with their words], '0 Brahmins,
should be thus caricatured.

is
your intention
32.
What
it is
not proper that we
this insult [for]
is
and what
As 1 due
to
you have resorted
to
pride in
the
knowledge
[of the
arrogance (noinayo) your
evil
drama]
knowledge
will get destroyed.
26 (C.28; K.27).
reconstructed and
'
26b
which
is
emended as follows:
C. gives only the the second half of 26b. as
3
4
fireffrn
to
modem
times.
nrertfo*?^
indicate that the early Indian theatre

sometimes
sex-appeals
just like
r^mrn nyahgakaratfam, K.
the
for
cinainctographic
shows of the
rmnam ahgakaranam;
In this caricaturing there might have been

some
SS. XX. 103-104 and note. AH this may be
said to
i\;
K. should be
28b.
lh<
rafq
'
This seems to
resorted
its
mmnaile tamyah; C. for sarvametat tvaya, K.

Read sarvalokam prahasanair for sarvaloka-prahasanair,
C. K.
Read silpakarma sbmabhyadhuk for silpakarma
mamUhyadhat, C.
27-29 (K.28-30).
2
fragmentary in
justification.
show
una as an instrument public criticism was

recognised very
30-31 (0.32-33;
3J2(C.34;K.33).
K.3 1-32).
1
ya<tmt,K.(tast*at,V.)
C.
See
clearly that
early.
-XXXVI. 43
33.
IHB DESCENT OP DBAMA
In the community of the sages and Brahmins, or in
meeting them
Vcdas and
34.
you
appear as
will
will attain the
You
35.
no followers of the
become mere Sudras, and
will
Those
being
conduct of the Sudras.
mid those to be born in your
line will
367
line will be
actors (nurtaka)
who
attain their functions,
Sudras
are
[too]
1
.
already born
in
your
be Sudras, and so will be those together with their women,
boys and young men,

30.
who
The gods on
associate with them'.
learning the
origin
of the
curse on
my
sons became anxious and went to the sages.
Gods
37.
Then
(Indra)
as their leader said
with this misery the drama would perish 1
that, afflicted
38.
intercede in favour of Bharata's sons
the gods with Hakra
The
perish, but the
sages said
reply
in
that
the
drama would not
remaining portion only of their curse will take
effect in its entirety.
Bharata's sons approach their father
On
30-10.
my
hearing these words of the very spirited sages,
sons 1 became [veryj sad and with a desire to defend
selves they
approached
me
anger and
in
ruined by you, for the fault of the
said,
them-
'We have been
drama we have been endowed
with the character of Hudras'.
Bharata
4142.
it;
For
pacifies
them
their consolation I said,
'Do not
to be sorry for
the rule that words of the sages will never prove untrue, has in-
deed been made by Fate (htwita)

destruction [of the
43.
art].
Know
33 (C.35;
this
KM).
'These are
dramatic
words of consolation.
art
34 (C.36; K.35a).
87 (C.39; K.37b-38a).
that
has
been
K. omits
described
34a.
36 (0.38; K.36b-37a).
35 (C.37j K.35b-36a).
fwurft.
so you should not turn to the
my
>
Read 37b
as follows:
OTff 5:13*1* mftifr
38 (C. 40; K.38b-39a).
39-40 (C41-42; K.39b-41a).
41-42 (C43-44; K.41b-42).
'
Read
sulalt, for sun'h,
43 (0.48; 43).
C and tatoh, K.
"
558
by Brahman
through
its
its
and which includes great
origin in the
After
45.
your disciples and others
to
it
not destroy this drama which
difficulty
and has
and teach
[himself],
application.
Do
44.
great
[XXXV.44
1HE NAf YASABtRA
Apsarasas, you
the
undergo a purificatory ceremony ([ii-agnkilld} 1
Nahusa
kingdom of Heaven through
He
47.
And
desire.
Nahusa 1
his polity, intelligence
then governed
kingdom and
the
on seeing the musical
He
thought
within
mance by the gods* should take
Then
49.
Gods
said
him
to
2
.
a divine
felt
these].
the dramatic perfor3
[on the earth].
king said to the
the
drama [produced] by
the
Apsarasas be performed in our house
But
how
himself
place in his house
'Let
attained the
performance (ijraiulharva)
a performance
such
for
gods with folded palms
50.
to
are
and prowess
and the drama [of the gods] he became anxious [about

48.
all
invites divine artistes to the earth.
In course of time a king named
46.
performance according
dramatic
the
heard from
brings great merit
Angas and the Upangas of the Vcdas 1
holding
which
to the rules
been devised with
lias
things,
(i.
e.
on the
the
earth).'
rejected the request
gods with
in reply, the
The meeting
of
divine
Brhaspati as their
damsels and
leader
mortals has
not been prescribed [anywhere].

51.
As you
which
advice
dramatic
art]
is
are the
Heaven you should be given an
lord of
both good and pleasant.
go there
(ie. at
Let the master
44 (C.46; K.44).
T Cf.
above 20
46 (C.47; K.45).
'
Emend 45a
46 (C.48; K.XXXVII.lb-2a).
notes.
as follows: ^\ff(li
'
voce.
in
historical
AST
^n.
tho Rgvoda,
person.
K. reads one fragmentary hemistich before
Sco
this.
47 (C.49; K.XXXVII2b-3a).
,f
48 (C.50;
K.XXXVII.3b-4a).
leyitva, C. istaciniasu,
iti
*ih Wira
Nahusa mentioned
'
Ram., Mbh. and several' Puranas, was possibly an
iJL sub
[of the
your place) and please you.'
K.
'
'
Read so'cintayai tu
for sa cin-
Read bhaved devaganiah krtah
for
bhaved
sasambharmah, C. bhaved dim'demra eva san. K.

*
grhe mama, K. Cgre unmanah, C.)
6*0
(C.62;
K.XXXVlI.5b-6a).
49 (C.51 K.XXXVII.4b-5a).
61 (C.53;
K.XXXVU.6b-7a).
-XXXVI. 58
THE DESCENT OF DBAMA
669
Nahusa approaches Bharata
Then
52.
'0 revered
established
with
on the
1
fessional service (acan/nfai) .
got
the help
earlier
me,
to
your pro-
of
the best of Brahmins, I have
(njaklahhavairayom hrtva) 1
directly
it
said
earth.
I have been promised
53.
palms
folded
should like to see this dramatic performance
sir,
king
the
now
Urvafi and the mundane drama
In the house
54.
my
of
grandfather (Pururavas)
[drama] together with his work has
members
to the
from the
of the harem.
But when
55.
members
the
earth, this (dramatic art)
56.
many
the
harem
mad 1 due
was
on
produced on the earth,
different
may
be rendered auspicious and happy.
57.
Hence
(bamlha,
plays
characters produced in
ments of women,
will
add
to
my
were distressed
to her disappearance
lost.
I wish this again to be openly
so that the sacrifices to be done

(titlii)
of
king who turned
of the
by the death
this
been described by Urvaft
lit.
days of the moon
composition)
relating
to
house through the graceful move-
your fame'.
Bharata grants the request and sends his sons to the earth
of conciliation
'This
shall
there.
my
sons along
and said to them
king
may go down
drama
Nahusa begs us with
The
drama
of
spirit
that you
properly produced
being
there,
will
no longer be
So go down
to the earth to
K.XXXVII.7b-8ii).
'
Bead 53a
as
follows:
^fourf*
54 (C.56; K.XXXVII.9b-10a).
wfl ft qfanin.
55 (C.57;
folded palms
your curse and you
53 (C.55; K.XXXVII.8b-9.i).
56 (C.58;
Nahusa
to
be despised by Brahmins and kings-
(CM;
reply]
with the gods in
with your associates to the earth to produce the
make an end
52
then [in
'Let this be so' said I
58-61.
the king, and I called
K.XXXV]I.10b-lla).
K.XXXVII.
58-61 (C.60-63;
'
See Visnu P. IV.
lb-l2a).
K.XXXVn.l3b-17a),
57 (C.59,
6, 7
Eef,
JK.
K.XXXVH.l2b-13a).
<S
NATYASASTRA
660
produce dramas
not
there, [for] I shall
XXXVI,
G2
be able to disregard the
words of this earthly king.

Kohala
is
For us and
62-63.
the successor of Bharata

for
Nahusa, the self-born one (Brahman)
has spoken in brief on the dramatic art which depends on his
The
instruction.
mentary
rest will
be uttered by Kohala
in his
own
supple-
which consists of the application
treatise (iittara-tantra)
tion [of the rules], the
Memorial Verses {karika) and the Etymolo-
gies (nirnhta).
6k
This Sastra for the purpose of diversion
been established by
me
in
Heaven with the help
(lit.
toy) has
of the Apsarasas
and the sages Svati and Narada.
down
Bharata's sons come
to the earth
Brahmins, they went down
Then,
6">.
house of Nahusa and devised
the earth in the
to
due order the production of various
in
plays with the help of women.
Then
CG.
and devised
07.
for
they,
my
sons, begot progeny in
them more dramas
creation)
(lit.
After l>egctting sons and
women of the parti'
on various themes.
devising plays in
due order
they were permitted to return again to Heaven.

68.
Thus through a curse
brought down to the earth, and
the dramatic performance has been
generation of the dra-
the future
matic artists (hharafa) came into being.
Kohala and
69-70.
Kohala Vatsya
and others stayed

into practice
deals with
his associates
1
,
Sandilya
in the earth for
this
Hastra
the deeds of
which
2
,
Dhurtila
(Dattilaf)
sometime as mortals and pat

augments the
intellect of
Worlds and
the Three
is
men,
an epitomw
of all other Fastras.
62-63 (C.64-65; K.XXXVII.17b-19a).
W (C.66; KXXXVII.19b-20a).
66 (C.63; K.XXXVII.21b-22a).
>
Sec the Introduction.
65 (C.67; K.XXXVII.20b-2la).
67 (C.69;
KXXXVII.22b-23a).
68 (C.70; K.XXXVII.23b-24a).
69-70 (71-72; K.XXVII.24b-26a).
'
-8
See the Introduction.
XXXYI.
DESCENT OP DRAMA
77]
{81
Value of the Natya&irtra
He who
71-7;>.
which
very
is
always hears the reading of this
auspicious, sportful, originating
who puts
holy, pure, good, destructive of sins, and
performance [of a drama]
practice or witnesses the
same
[blessed] goal
masters of the Vedic
[Sftstra]
Brahman's mouth,
from
this
into
will attain
the
which the masters of the Vedic path and the

the performers of sacrifices or the givers
lore,
of gifts, will [in the end] attain.
Value of the dramatic show

7-1.
Of
all
the duties of the king, this has been proclaimed as
show
free gift of the [dramatic]
75.
the
with
The gods
of all kinds of gifts, a
has been most praised.
[to people]
never so pleased on
are
and garlands
scents
For
(mahaphah).
possessing the best result
as they
are
being worshipped
with
delighted
the
performance of dramas.
76.
The man who
properly attends the performance of music
gaiulharva) or dramas
[after
will
death]
his
attain the
happy
and meritorious path in the company of the Brahminic sages.
77.
The popular
practice supplements dramatic rules
Thus many
practices sanctioned
by (he Ssstra have been
described in connexion with the performance of dramas.
Whatever
practice
by experts
remains unmentioned should be included

."ram
an observation
(lit.
imitation) of people (*>. their usage).
The
What more
from diseases.
and
final Benediction
say
Let there
be
should
into
Let the earth
peace
to
for all time be free
cows and
to
Brahmins,
entire earth.
let the king give protection to this
Here the ends Chapter

treats of the
which
71-73 (C.78-75;
the half of 71a).
76 (C.78;
XXXVf
Descent of Drama on the Earth.
K.XXXVII.26b,
74 (0.76;
K.XXXVH-31 ).
27, 28).
XXVII.29).
K, omits 71b and gives
75 (C77,
K.XXXVII.80).
V (C.79; K.XXXVII.32).
ADDITIONS AND CORRECTIONS

Page
XLVI
Road
line last
'depends'
XLVIII
14
'XXVII.
LXIV
14
'Natyasastra'
LXXII
16
'corresponding"
3 (from the bottom)
'of for
LXXIII
Page
63-69'
Road
'about' aftor 'doubt',
and
'are'
3 Read 'summed'
1 line
13 Road 'Pitamaha' for 'Pitmaha'
'Brahmana' for 'Braiuana'
,,
26
14
3 (from the bottom)
2 Road 'Bhayiinaka' for 'Bhyanaka'
Omit the
fullstop. after 'ordered'
Read SD. (294)
15
'Need of the Graceful Style'
,,
,.
,,
'for practising the
-4
Graceful Style'
(from the bottom) Read 'case-endings' for 'nominal'
11
13
Read
14
20
16
,,
19
Read
19
12
19
,,
'said' for 'saids'

'of
the gods' for 'of the Daityas'
9 (from the bottom) Read 'reads one' for 'rcadsone'

architect' for 'architccht'
(avara) 1 for (avardj
23 Omit 'According' from here and put
it
beforo 'to
Ag.'s' in the next line.
19
27
Read 'medium'
25
29
12
81
17 Put
.,
34
aftor (iv)
2 (from the bottom) Carry 'and' aftor rahgapilha
3 (from the bottom)
10
Read
srafy for
^<fa
at the end of the line.
'
who
Read B. 102b
Read
Add
for 1026.
'rather' for 'very'
the following
Yajnavalkya
has been assigned to the 400 A.C. by Jolly,
mentions Ganesa, (See Hindu
Law and
Customs,
pp. 42-44)
35
35
4 (from the bottom) Read samprayujya
Read
17
'18-20' for '18'.
2 (from the bottom)

12
Put a comma
Omit
a See 'diagram
1.'
after 'sweet meats'
37
40
20
57
23 Omit '(Vaktra)' after 'Ividdha' (for 'aviddha')
'Then an' for 'Then
28 Put '(krama)'
after
nowhere in the N8.'
a'.
'Cart'
last.
Omit 'Denned
(B)
Page 58
line
3 (from the bottom) Read Talagra
'.
Read Harivamsa
67
,,
>,
73
12
Read (sukumara)
,,
76
Put
2(
also' before
82
86
,,
97
,,
105
,,108
111
Add
4 (from the bottom).

is
BhP. and
after 'drama' the following
6 (from the bottom) Put
before 'B. reads'.
7 Close the bracket after 'meaning*.
12 (from the bottom) Read family for 'family'.
,,
9 Road 'Excessive' for 'Violent'
Read
...
'traditional authority'.
middliug type'
17
118
,,
II
'bhavild for 'bfcmita'
US
j,
'Determinant' for 'Ditermiuant'
127
15
'Mouth' for 'Mouto'
,,128
18
'Intoxication' for 'Jotosication'
130
.,
'Sentiments'
5,6,12 Correct the misspelt 'Depression'
132
,,
18
Omit
134
14
Read prakrti-vyasana
140
141
142
,,
10
,.143
11 (from the bottom) read 'stage' for 'tage'
145
10
,,146
16
Road 'Sentiment'
17
'depend' for 'depends'
,,150
11
imm for 1^4*1
,,152
10
164
5 (from the bottom)
165
6, 18
168
the
comma
after 'biting'
9 (from the bottom) Insert 'and' after 'potsherd'

2 Read
10
'is'
Omit
for
'ie'
the fullstop after 'mounts' and insert 'and'
Omit
,,
'[slightly]'
Read
Add the
Insert 'and' after 'sleeping'
and
insert 'up' after 'raised'
Read
Tiiriia' (full)
for 'lips'
'lip'
following after
'will'
[enhance the charm
of the night]
Read 'With'
173
,,174
7 (from the bottom) shift 'from' before
i,
>
224
,,
.,
13
after the fullstop.
230
16
Read
240
17
,,
24 25 Read prayujya for prajujya
,,
'See
developed from the citra hiria).
113
i,
for [sukmora).
after
SR. and Read ifnittofor ffaflta.
Sitar probably
'(p.194)'
for Hraivainsa.
'gait of
Read 'Andre
Read wtfmftifa*
kancukin.
women'
'distant place'.
'Kwâld.
et'.
i
(C)
Page 248
akhyata.
line 17
wm9?
}>
19
wwwf"
255
14
'combines' for 'combine',
272
)>
17
'bahumana' foa 'bhumana'
,,277
>}
19
'gacchet for 'gaccet'.
,,253
for
284
j<
'shoulders'' for 'shoulders'.
4 (from the bottom) Bead before this as follows
For
long cars as signs of beauty see the Buddha images of
Mathura school belonging
the
,
287
294
?28
330
Bead
4 (from the bottom)
9 R<>ad
13
'fall
upon' for
to
100 B. C. onwards.
'Halayudha's'.
'rise
from'
'jugglers' for 'jugglar's
Add
at the bottom.
after notes the
See
following-
Introduction, section V1I1 para 4.
331
,333
335
,,
21
336
337
18
Bead
'leaders'
Read
5 (from the bottom)
'does not change' for 'changes'
Read (iyustnan hyuman.

'extant' for 'extent'
...
bottom) Read before 'Ex.' the following
(at the
Dusyanta's charioteer addressing him (8ak.
33$
fill [stop
Add
bottom)
2 (from the
the
following
prince
is
referred to as
the female ascetic in Svapna.
bhadramukha
tions, no. 72.

i
after
1.
bkaddamuha by
For the use
7. 20.
in inscriptions see Select Inscrip-
and Keith, Skt. Drama,
p. 69.
342
345
6 (from the bottom) Read 'Jayasena' for 'Jayaseni'.
351
6 (from the bottom) Read 'na mama' for 'nama ma'.
361
,,
11
Read 'may
12
Omit
Read
the
Magadhan
of
1.)
also' for 'are to'
'mistress (bhaiUni) and'.
'a
11 (from
Supporting' for an 'Explanatory'.

the bottom)
Read
'a
supporting' for
'an
Explanatory'.
362
366
4 Read 'those' for

21
Add
after
Pancaratra
is
13 Insert 'of after 'use'.
13 (from the bottom)
369
18
23
,i
,,
Read
Read
'are' for 'is' at
<basis'
for
P. 8).
following
"wiflc
Biioh'
'unless
the
(See ID. p. 52).
wrft Wfftwft
the end of the line.
Wis'.
7 (from the bottom)

'unless
the
to be taken as
368
370
.
'these'.
'available'
Karna' also
Insert after 'men' the

is
to
following
be taken ai such (Set ID.
(B)
up
line
m 'wrt
Page 389
397
,,
.,
404
'4-
fift:
diptakavyarasayonih.
imn Ag
Bead XXI. 71 for XX.
line (at the top)
12 (from the bottom)
XX.
bottom
to the
(<fiwii ^Wtsror:
Omit
71.
'but parts of scenes'.
Read viskambhakah samskrtah-
Add
the
following': 'Also cf.
N&
38.
19 Bead 'KathodghSta'.
408 line 18 Read 'the Theme' for for 'Various Feelings'.

411
14
'samghctfyaka'.
420
10
Gauda
Ullekhya
20
425
for
Gauda
21
Kumbhipadaka', Avarta*
,,
21
,,
non-Aryans
25
Add
'See
NS. XVIII 44 note
4 (from the bottom) Read B. C. for A. 0.
431
26 line the bottom at Read (J"i&muiu(af
431
7 (from the bottom)
The Usnlsa
Add
of the
as following
Buddha images may probably be
an imitation of tho crown of matted hair.
Bead
'their lover' for 'her lover'
489
,,
13
486
14
,,
women's
22
i.
'self-esteem' for 'self-esteen'
,,
,,
488
19,20
heart, for 'woman's heart'
'quaternary'
419
8 (from tho bottom) Read 'known' for 'hnown'
491
following
The
Add
after
the
fullstop
the
husband's conjugal right
of punishment such
as blows with a chord or rod, is often referred to in

the Smrti literature
etc.)
(Manu,
See Jolly, Hindu
8, 299f, Swiicha, 4.
Law and
also Kautilya, III. 3.
' 493
7 (from the bottom)
502
21 Read 'great' for
.,508
15
5*1
,,
after 'time'
Read
'abhinayasya'.
'greet'.
'111-112' for '110-111'.
112-118 for 111-112,
19 Put 'of before Time'.
16
Customs, p. 145, see

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TRANSLATED INTO ENGLISH BY

ON HINDU DRAMATURGY AND

on Hindu Dramaturgy and

Completely translated jor the

time from the original Sanskrit

and Various Notes

scholars of India. and the West

strated the high ealiie of India-

Literature and Arts, have demons

culture to the World at large and

helped her towa.nls a reawakening

aspect of this culture

India's spiritual kinship with the other ancient

paved the way for an ultimate

work could be translated into English. It was, however, only

this veiy important text

However, I considered it a duty to make strenuous efforts

happy to place it before the scholarly

public, not because

In handling a difficult old text like this it it natural that one

same has been expressly mentioned

The chapters on music covering

more than one fourth

the translation already prepared.

on music where they have been discussed, will not, it is hoped,

histrionics treated here.

For information regarding the plan and scope of the present

But among them all, the American Sanskritist

plan of the translation of the

due to whose kindness I

could utilise the unpublished portion of the AbinavabhSratl

a great pleasure to acknowledge

occasions in course of the publication.

work and made

father-in-law Sri Kali

fourteen chapters of the

esteemed friend Dr. S. N. Ray, M.A.,Ph.D. (London) formerly

here vciy gratefully the debt I owe to

Last but not the

my most cheerful duty to

also helped me otherwise in

might otherwise have been.

refers for the many mis-

ABBREVIATIONS AND SYMBOLS

Kautilya's Arthasastra (ed. Jolly).

Kautilya's Arthasastra (ed. Jolly). Vol.

The second hemistich

ed. of the Natyasastra.

(Abhinavabharati) belonging to Dr. S. K. De.

Nobel's Foundation of Indian Poetry.

J. Grosset's edition of the Natyasastra.

Haas's translation of the DaSarupa.

Indian Historical Quarterly.

Sten Konow's Indische Drama.

Haldar's Vyakarana-darsaner Itihasa.

Journal of the Dept. of Letters,

Coomaraswamy's Mirror of Gesturesi&draka's Mrcchakatika..

Ramacandra and Gunaeandra's Natyadarpana.

Grammatik der Prakrit-spraehen.

Winternitz's History of Indian Literature.

Numerals preceding the paragraphs of the

repeated in two consecutive paragraphs, in the