/-

THE NATYASASTRA
A Treatise on Hindu Dramaturgy and Histrionics
Ascribed to
B Ii A RAT A - )\ (' X (
Vol. I. (Chapters I-XXVII)
translated for the jm! tulte from the ori gl11 a I
11th \lit Introduction <lltd VaTious
111/
M A :.;; 0 M 0 H A X (j H () "II )\.A., PII. 1>. (CAt.)
:"/'
._-
UALCf7TTA
THE RaUL -'.SlA;r[oC SOOIETY OF
, t\ l n
1 Jediwf ed
to
the memol'!I of
II! lise rl'l'enf of India .. ((1/(7 the J
wit" uy Iheir lind i'll!lenions intel'prefl/,tio1/.
of' he/' nrdiyiol/;, Philosoph!!, Litemtu.'/'/J ItoA Arts, hlt'ee demon-
stmted the high IXllltP of Iuilitt's to the WodlZ at llll'!l1J 1//1.1/
Ita, /Je helped hill' ((. 11,'1/17 politir,al lihrmtf-io'/l.,
a'wl
who by theil' (lisCOVIlI'!I of the aspect of this
hane made patent India's spil'itlwl kinship with the other ancie-nt
nations of the Worlll and It/we paved the lOll!! fill' lin nltimnte
uf
PREFACE
The preparation'of an annotated English translation of the
entrusted to me as early as 1944, by the Royal Asiatic
Society, has been delayed fOL' various reasons which need not
be recounted here-in detair, But mention must be made of one
important facto)' of this delay, viz" the inherent difficulty of this
very old text which is not yet available in acomplete critical edition,
From my first serious acquaintance with it in 1025 in connection
with the editing of the Abhinayadarpal}a (Calcutta, 1934) this work
has always engaged my attention in the intet'valR of other duties,
But it was only a few years ago, that I came to believe that the
'entire work could be translated into English, It was, however, only
after making some actual progress in translation that I realised the
difficulty ,,{ the task and understood to some extent at least why
no complele tt'anslation of this very important text had flO far not
been madG.
However, I considered it a duty to make strenUOUR effortR
and PJ'oceeded patiently with the work Ilnd finiflhed at laRt translat-
ing the major portion of the I am now genuinely
happy to place it before the scholarly public, not because it could
he done in an ideal fashion, but because it could be finished at all,
In handling a difficult old text like this it it natural that one
has to offer conclusions and interpretations, here and there, which
due to the abRcnce of better materials cannot be placed on suret'
gL'ounds. But whatever tentative aRsel'tions I have made, have
been made aftm' the most careful consideration with the expectation
that they may pL'Ove helpful to othel'S working in this field, and it
may be hoped that their number has not been too many, and in a
few cases where I myself had any doubt about the interpretation
offered, the same has been expl'essly mentioned in the footnote,
The chapters on music covering a little more than one fourth
of the Natyaastra still remain to be done, These when completed
will be published in the second volume, As the work on it, is
progressing veL'y Rlowly and it cannot be said definitely when it will
be finiRhed, it was thought advisable to publish the portion of
t!'anslation ah'eady prepared. Though the musical terms occur-
1'Illg III thn pL'esent volume remain undefined, the absen<:e of chap-
on music whel'o they havc been discllRsed, will not, it is hoped,
interfel'e with the nnderAtanding of the dramahll'gy and
hlstrlOlllcs treated here,
For information regarding the plan and scope of the present
work, the reader is referred to the Intl'oduction, section T,
For the purpose of this volume, works of variolls scholars
have been helpful to the translator and they have been mentioned
.
VIII
in proper places. But among them all, the American Sanskritist
Dr. G. C. O. Hllas deserves to be specially mentioned i fOt, his
plan of the translation of the Dai!al'iipa, has been ndoptpd in a
slightly modified mannel' in the present work,
I am indebted to Dr. S. K. De, due to whose kindness I
could utilise the unpublished portion of the Abinavabharatt. It is
also a great pleasure to acknowledge the uniform courtesy of
different officers of the Society from 1947.1950, especially Dr. K.N.
Bagchi, and Dr. Niharanjan Ray, the General SeCl'etal'ies and
Mr. S. K. Saraswati, the Librarian and Mr. Rakhahari Chatterji,
the Superintendent of the office, whose patience I had to tax on
different occasions in course of the publication. ,
I am grateful to my father-inlaw Sri Kali Charan Mitra
who read the original draft of the first fourteen charters of the
present work and made rmggestionR regarding the language, and to
my esteemed fdend nl. S. N. Ray, M.A.,PII.D. (London) formerly
Head of the Department of English in the University of Dacca,
for reading the proof of the first twelve formeR lind also for going
through in the J ntroduction and for making welcome
suggestions.
I wish to mention here very gratefully the debt lowe to
Dr. Kalidas Nag in connexion with the prepamtion and the publi.
cation of this work. Bnt for his to undertake this work
it might not have reached at all the stage of publication.
Last but not the least it bocomes my most cheerful duty to
express my gratitude to Prof. Suniti Kumal' Chatterji, who has
also helped me othel'Wise in connexion with this work. This
help and his constant encouragement have rendered this work lesR
arduous than it might otherwise have been.
. I should here apologise to the readerR for the many mil'!-
that have crept mto volUl,ne. They arc requested to make
kmdly, the lleccssat'Y COl'I'CctIOIlS pomted out in the corrigenda.
25th NIJV1lInlllll', 1950
'I'he '/Imn.lato/'
a.
Abhi.
AD.
A.dy.
Ag., Abhinava
AMg.
Avi.
AS."
AS. notes.
B.
b.
Bala.
Bhimaha.
BhNC.
BhP.
C.
e.
Caru.
CSS.

def.
De'aMs.
DR.
Diitaltha.
Diitavi.
Ex.
Foundation.
G.
GOS.
Haas.
tAnto
IRQ.
ID., Ind. Dr.
Itihisa.
JDL.
JK.
n

ABBREVIATIONS AND SYMBOLS
... The first hemistieh of a verse.
... Bhiisa's
... Abhinayadarpal}a.
... Arthadyotaniki, Righavabhatta's commentary
on the Sakuntali. ..
... Abhinavagupta or his commentary of the

... Ardhamigadhi.
... Bhasa's Avimiraka.
... Jolly).
... Kautilya's ArthMistra (E!d. Jolly). Vol. II .
... Baroda ed. of the
... The seeond hemistieh of a verse.
... Bhisa's Bilaearita.
... Bhimaha's Kiivyalal!lkara.
... Bhisa-nitaka-eakra ed. by C. R. Devadhar
...
... Chowkhamaba (Benares) edition of the

... The third hemistich in a stanza.
... Bhiisa's Cirudatta.
... Chandal).-sira-sBl!lgralla.
... Kavyidada.
... Definition or definitions.
... The Ms. of the Abhinavagupta's commentary
(Abhinavabharati) belonging to Dr. S. K. De.
... Dhanaitiaya's
... Bhasa's Dutaghatotkaea.
.. Bhisa's Dutavikya.
... Example or examples.
... Nobel's Foundation of Indian Poetry.
... J. Grosset's edition of the
.. Gaikwar's Oriental Series.
... Haas's translation of the Dasariipa.
... Indian Antiquary.
... Indian Historical Quarterly.
... Sten Konow's Indische Drama.
... Hildiir's Itihisa.
... Journal of the Dept. of Letters,
Calcutta University.
. , .. Vidyilal1lkiirs's
x
K.
KA.
Karl}a.
Kavi.
KS.
Kumara.

Levi,
Madhyama.
Malati.
Malavi.
MG.
Mfeeh.
Mudra.
}
NL.,
ND.
NIA.
Nitti-Dolei.
NS.
P.
Pafle.
Pal).
Piligala.
Pischel.
Pr.P.
Pro
Prak.
Pratima.
Pratijlia.
PS.
PSM.
R., Rim.
Ratna.

Sak.
SD.
SR.
Sf. Pro
Svapna.
tr., trans.
Uttara.
'" Kivyamila ed. of'the Niityaiistra.
,.. Hemaeandra's Kiivyiinuiisana.
... Ehisa's
... Ramakrishna Kavi or his to
the eh. XVII. of tha NS.
Viitsyiyana's Kiimiisiitra.
. .. Kiilidasa's Kumiirasambhava.
... Diimodaragupta's Kuttanimata.
. .. Sylavain Levi's Le Theatre indien.
... Bhiisa's Madhyamavyiiyoga.
... Bhavabhiiti's MiilatimiidhavA.
.,. Kiilidiisa's Miilvikiignimitra.
... Coomaraswamy's Mirror of
... Siidraka's
Viiikhadatta's M
... Siigaranandin's
... Ramacandrn and GUI.laeandra's
... New Indo-Aryan.
. .. Nitti-Dolci's I ... e Grammairiens Prakrit,
... Nii
... Puriil,la.
... Par caritra
... Pil,lini.
... Paligala's Chandai)stitra.
... Pischel's Grammatik del' Prakrit-spraehen.
.., Prakrta-PaiIigala.
...
... Prakarana.
... Ehiisa's Pratimii-niitaka.
... Ehiiea's Pratijtia-yaugandharaYRl)a.
...
.., Piiia-sadda-mahal)l)avo.
... Ramaya!)a.
... Ratniivali.
... Kalidisa's
... Kalidasa's Abhijlianaakuotala.
... Sahityadarpa!)a.
... Sal1lgitaratnakara.
... Bhoja's Sfligiiraprakasa.
... Bhaea'e Svapavasavadatta.
... translation or translated.
.., Uttarariima(lJlrita of Bhavabhuti
. '
Xl
Uru
Bhasa's Urubhanga.
: Vikram.
... Kalidasa's Vikramorvasiya.
Winternitz. ... Winternitz's History of Indian Literature.
N.B. (a) Numerals preceding the paragraphs of the translation relate
to the serial Dumber of couplets in the original. When the same number
is repeated in two consecutive paragraphs, in the first place it will indicate
the first hemistich and in the second the second hemistich. Roman figures
relate to the chapter of the NS.
(b) For the manner of referring to dramas, see under the Bhasa-
nataka-eakra in the' Bibliography (Original Texts).
. .
(c) In the footnote5 to the Introduction long vowels, cerebral
sounds n d ~ t h e hbial 'iibilant have been indicated by italics.
BIBLIOG RAPHY
1. General Works
M
... Inscriptions of Asoka, Vol. II, Calclltta 1943.
Barua, B. . B \'
Chatterji, S. K. ... Origin and Development of the enga I
Langllage, Calcutta, 1926
Coomaraswamy, A, K .... The Mirror of Gestlll'CS, New York, 1936.
De, S. K. ... Sanskrit Poetics: Vol. I and II,
London, 1903, 1926.
Ghosh, Chandramohan ... Chandal)sarasaqlgraha (CSS ),
Haldar, Gurupada ... Vyakaral!a-darsaner Itihasa (Itihasa). (An his-
torical account of the grammatical of the Hindus
in Bengali), Calcutta. 1350 H.E.
Jolly, J.
Keith, A. B.
Konow, Sten.
... Hindu Law and CliftOIllS, Calcutta, 1929.
. .. Sanskrit Drama, Oxford, 1924.
... Das Indische Drama. Berlin, 1920.
Levi, Sylvain ... Lo Theatre indim. Paris, 1890.
Mankad, D. R. ." Types of Sanskrit Drama, Karachi, 1936.
Nitti-Dolci, I,. . .. Les Grammairipns Prakrit, Paris. 1938.
J. Nobel. ... Foundation of Indian Poetry, Calcutta, 1925.
Pischel, R. . .. Grammatik del' Prakrit-sprachen,.
Strassburg, 1900.
Pusalker ... Bhasa. Lahore. 1940.
Raghavan, V. . .. llrngara-Prakasa, Bombay, 1940.
Seth, H. D. ... Piiiasaddamahal!J;lavo, Calcutta, 1928.
Sirear, D.C. ... Select Inscriptions bearing on Indian History
and Civilization, Calcutta, 1942.
Vidyalal11kiir, S. B. ... Jivanikosa (A dictionary of the Puranic mytho-
logy in Bengali), Calcutta.
2. Original TexIs
Abhinavabharati (Ag.) ... On chapters I-XX ed. Ramakrishna Kavi in B.
On chaptm XXI-XXVII and XXIX-XXXII the Ms. of
Dr. S. K. De. Reference to the Ms. are to its pages. Printed
portion of the commentary when referred to, relates to the
relevant text in B.
AbhinayadarpaJ;la of Nandikevara ( AD.). Ed. Manomohan GhOllh
Calcutta, 1934.
(AbhL). Ed. Devadhar in BhNC.
Arthadyotanika. Nirnayasagara ed.
Avimaraka. Ed. Devadhar in BhNC.
of (AS.). Ed. J. Joll;, Vola I and II, Lahore, 1928-24.
XIfI
[Jttararamacarita of Bhavabhrtti (Uttam.). Ed. Ratnam Aiyar, Bombay 1980.
VrubhaiJga ([fru.). Ed. Devadhar in BhNC.
Rtusarphara of:Kiilidasa. Ed. Jivananda Vidyasagar, Calcutta, 1898.,
KarlJabhara (Karl}a). Ed. Dcvadhar in BhNe.
Kavyadarsa o(Dandin. Ed. N. Sastri, Lahore, 1990, Sarllvat.
Kavyala1ilkara of Bhamaha. Ed. B. N. Sarma and B. Upadhyaya Chow-
khamba. Benares. 1928.
J{avyalarpkara:of!Vimana, Ed. K.P. Parab &; W. Pansikar, Bombay, 1926.
Kirtilata of Vidyapati, Ed. Harapl'asad Shastri.
KuHanimata, Ed. in BiIJliolheca Indica, Calcutta.
Ciil'udatta of :phnsa (Caru). Ed. Devadhar ill BhNC.
Dasarupa (DB). Ed. K. P. Parab, Bombay, 1897. Our references are to
thjs The cd. of. G.C.O. Haas with an English tran-
slation has also been referr('d to. Ii'. Hall's ed. (BiIJliolheca
Indtca) has also been used.
Dntaghatotkaca of Bhasa (Dutagha.) Ed. Devadhar in BhNC.
Bhasa (Dntavi.). Ed. Devadhar in BhNC
Madhayamavyiyoga of Bhasa (Madhyama.). Ed. Devadhar in BhNC.
Miilavikagnimitra of Kilidasa (Mnlavi.). Ed. S. P. Pandit.
( BomIJay Sanskrit Sert'es ), Bombay, 1889.
Mrcchakatika (Mtcch). Ed. K. P. Parab and W. L. S. Pansikar,
Bombay, 1926.
of Visikhadatta (Mudra). Ed. Kasinath Trimbak Telang
(Bom1Jay Ski. Series). Bombay, 1928
Meghaduta of Kiilidasa O\Iegha). Ed. S. Vidyaratna, Calcutta, 1821, Saka.
of Sagal'anandin NL). M.
Dillon, London, 1939. References are jy lines unless
otherwise mentioned.
NatyadarpaQa of Ramacandl'a and GUQacandra (ND.), Ed. in GOS.
NatYaSastra of Bharata (NS). Chapters I-XIV. Ed. J. Grosset, Paris,
Lyons, 1898; Chapters I-XX. ed. R. Kavi, Baroda, 1926,
1936. Numberina: of cQuplets in this work is often wrOUj&.
III oaae of chapters I-III this has been corrected, but in
case of other chapters wrong numbers have been retained
and in some cases where confusion may occur, pages have
also been referred to. The edition of Sivadatta and Parab
(Bombay, 18940), and the Chowkhamba edition (BenarP<l,
have almo been umed.
Paflcaratra of Bhasa (Pafiea). Ed. Devadhar in BhNC.
Paflcatantra of Chowkamba, Renares, 1980.
(PS.). F..d. Manomohan Ghosh. Calcutta, 1988.
Pratijiila-yau8andhariiyal}a of. Bhisa (Pratij,ii.), Ed. Devadhar.in BhNC.
Pratimiiniitaka of Bhiisa (Pratimii.) Ed. Devadhar in BhNC.
Biilaoarita'of Bhiisa (Biila.), Ed. Devadhar in BhNC.
Bhiivaprakasana of Saradiitanaya (BhP.) Ed. in GOS.
(Plays ascribed to Bhasa), critically cdited by C. R.
Devadhar, Poona, 1937. References are to acts, verse passages
and lines after them, !l.g. Svapna, 1. 12, 23 indicates the twenty-
third line afrer the twelfth verse in act I of Svapnaviisavadatta
Vikramorvasiya of Klilidlisa (Vikram.). Ed. ::I. P. Pandit. (Bom6t1y Sans-
Im1 Series), Bombay, 1898.
VeJ)isaqJ.hara of Bhattanarayal)a (VCI)i.). Ed. K. S. Parab and W. L. '0.
Pansikar, Bombay, 1930.
RaghuvaqJ.Sa of Kalidasa (Raghn.). Ed. K.P. Parab and W+.S. Pansikar,
Bombay, 1932.
Ratniivali of (Ratna.), Ed. M. K. Jogelkar, Bumba,)' 1925.
Sakuntala of Kalidasa (Sak.) Ed. Isvara chandra Vidyasagar, Calcutta.
SaqJ.gitaratnakara of Sarligadeva (SR.). Anandiisrama edition.
Sahityadarpal)a of Visvanatha Kaviraja (SD.) Ed. JivanandaVidyasagar.
Svapnaviisavadatta of Bhasa (Svapna.), Ed. Devadhar in BhNC.
of Bal)abhatta, Ed. P. V. Kane, Bombay, 1912.
CONTENTS
PREFACE
LIST OF ABBREVIATIONS AND SYMBOLS
BIBLIOGRAPHY
INTRODUCTION

VIl
IX
xn
XXXVII
1. The Present Work, p. XXXVII; 1. General History of the
Study, p. xJe,xvn j 2 Basic Text, p. XL; S Translation, p. XLI j
4. Notes to the Translation, p. XLI

II. The Ancient Indian Theory of Drama, p. XLII; 1. The
Meaning of Niitya, p. XLII; 2. The Dramatic Conventions, p. XLIV;
3. The Time and Place of Drama, p. XLV ; 4. The Unity of Imperession,
p. XLV j 5. Criticism of Drama, p. XLV; 6. The Four Aspects of
Drama. p. XLVIII.
III. Literary Structure of the Ancient Indian Drama, p.
XLIX; The Ten Types of Play. The Niitaka, p. XLIX; (a) Subject-
matter and the division into Acts, p. XLIX; (b) Explanatory Devices.
p. LI; (i) Introductory Scene, p. LI ; (ii) The Intimating Speeeh. p.
LI; (iii) The Supporting Scene, p. LI i (iv) The Transitional Scene, p.
LI ; (v) The Anticipatory Scene, p. LI i (e) The Plot and its Develop-
ment, po LI; The PrakaraJ}a, LIl; The Samavakiira, p. LII; The
Ihiimrga, p. LIlI; The I)ima, p. LIlI; The Vyiiyoga, p. LIII i The
p. LIII; The Prahasana, p. LIII ; The Bhiil}a, p. UV;; ;
The Vithi, p. LIV. 2. Diction of Play, p. L1V ; (a) The Use of Metre,
p. LIV; (b) Euphony, p. LIV; (e) Suggestive or Significant Names,
p. LV; (d) Variety of Languages Dialeets, p. LV.
IV. The Ancient Indian Drama in Practice, p. LV ; 1. Occa-
sions for Dramatic Performance, p. LV; 2. The Time for Performance,
p. LVI; 3. The Playhouse, p. LVII; 4. The Representation, p. LVIII.
(a) The Physical Representation, p. LVIII; (b) The Vocal Representatioll,
p. LXI; (c) The Costumes and Make-up, p. LXI; (d) The Temperament,
p. LXlII.
V. Literature on the Ancient Indian Drama, p. LXIV j I."-The
Early Writers: Siliilin and K:rsiisva, p.LXIV j 2. The Socalled Sons of
Bharata (a) Kohala, (b) Dattila, (c) Siitakarl}.i (SatakarJ.la, Cd)
and Nakhakutta, {e> Biidariiyal}a (Biidari), p. LXIV ; 3.
XVI
Kt'ahakiira, p. LXV; 4. The Text of tne p. LXV; Ii.
Medieval Writers on Drama, (a) Nandi Tumburu, Viii
khila and (b) Sadiisiva, Padmabhii, Vyiisa, and Allia.
neya, (0) Kiityayana, Riihula and Garga, (d) Sakaligarbha and
(e) (f) Miitrgupta, (g) Subandhu, (h) Compilers
of the AllnipuriiJ,la and the pp. LXV.LXVII; (6) Late
Literature on Drama. (a) Daariipa, (b) (e)
Niityadarpal}a, (d) Ruyyaka's Natakamimiiqlsii, (e) Bhiivaprakiiana, (0
SiihityadarpaJ.la and pp. LXVII-LXX.

VI. Tlte. Natyasastra : Tlte Text and ils Commentaries, p.
LXXI; 1. Its Author, p. LXXI i 2. The two Recensio,:!s, p. LXXI i
3. Unity of the Niityaiistra, p. LXXII i 4. Its Seape anu Importance,
p. LXXIV j 5. Its Style and Method of Treatment, V. Ll.XIV; 6. The
Early Commentators: Aciirya Kirtidhara, and Niinyadeva
(b) Bhatt;a Udbhata, (0) Bhatta Lollata, Cd) Sri Sankuka, (e) Bhatta
Niiyaka, (fl Bhatta Yantra, p. LXXV; 7. Bhatta Abhinavagupta,
p. LXXVI.
VII. Data of India's Cultural History in tlte Natyasastra,
p. LXXVIII; :1. Language, p. LXVlII i 2. Literature, p. LXXVllI ;
3. Art, p. LXXVm; 4. Metrics, p. LXXIX; 5. Poetics, p. LXXIX;
6. Costumes and Ornaments, p. LXXIX; 7. Mythology, p. LXXIX;
8. Geography, p. LXXX; 9. Ethnological Data, p. LXXX i 10.
Ars Amatoria, p. LXXX; 11. p. LXXX i 12. Psychology,
p. LXXXI.
VIII. Tlte Date of lite Natyasaslra, p. LXXXIl i 1.' The Geo-
graphical Data, p. LXXXII i 2. The Niityasiistra earlier than Kiilidiisa,
po LXXXII; 3. The Mythological p. LXXXIII; 4. The Ethno.
logical Data, p. LXXXIII; 5. The Epigraphical Data, p. LXXXIII;
6. The earlier than Bhiisa, p. LXXXIV.
THE NA,TYASASTRA (Translation)
xvn
CHAPTER ONE
THE ORIGIN OF DRAMA, Pages 117
1. Salutation, p. 1; 25: Sages question, p. 1 j 623. Bharata
answers, pp. 25 j 24-25. and Bharata's one hundred 80ns,
pp. 5-6 j 26-40. Names of Bharata's one hundred sons, pp. 67 j 41. Per-
formance begins with three Styles, p. 7 ; 42-45. Nerd of the Kaisiki Style,
p. 7-8; 46-47. Creation of Apsarasas for practiBing the Kaisiki Style,
p. 8 ; 47-50. Names of Apsarasas, p. 8 ; 50-53. Svati and Narada engaged
to help Brahman, pp. 8-9; 53-58. The Banner Festival of Indra and the

first production of a play, p. 9 ; 58-63. The pleased gods reward Bharata's
party, pp. 9-10 j 64-66. Vighnas attack the actors, pp. 1011; 6768.
Indra comes to "their protection, p. 11 ; 69-75. The Origin of the Jarjara,
p. 11 ; 75-81. The Origin of the first playhouse, pp. 11-12 ; 82-97. Differ-
ent gods askel to protect different parts of the playhouse as well as tJlC
actors, pp. 1213 j 98-105. Brahm'ln pacifies the Vighnae, pp. 13-14; 106-
121. Characteristics of a drama, pp. 14-16; 122-129. Offering Plijii to
the gods of the stage, pp. 1617.
CHAPTER Two
DESCRIPTION OF 'l'HE PLAYHOUSE, Pages 18-32
1-3. Introduction, p. 18 j 4-8. Three types of playhouse, pp. 1819 ;
8-11. Three sizes of the playhouse, pp. 19 ; 1216. The table of measure
ment, p. 20 j 17. The playhouse for mortals, p. 20 j 18-23. Disadvan-
tage of a too big playhouse, pp. 20-21 ; 24-26. Selection of a suitable
site, p. 21 j 2728. Measurement of a site, pp. 21-22; 28-33. Taking up
the string for measurement, p. 22 ; 33-35. The ground plan of the play-
house, p. 22; 35-43. The ceremony of laying the foundation, pp. 23-24 j
43-63. Raising pillars of the playhouse, pp. 2426 ; 63-67. The Matta-
vara'.li, pp. 26-27 ; 6874. The stage, pp. 27-28; 75-85. Decorative work
in the stage, pp. 28-30; 86-100. Deecription of a square playhonse,
pp. 30-32 ; 101-104. Description of a triangular playhonse, p. 32.
CHAPTER THRE E
PuJA TO THE GODS THE STAGE, Pages 33-44
1-10. Consecration of the playhouse, pp. 3334: 11-16, Offering
Plijii to the Jariara, pp. 34-35 ; 17-20. Installation of gods, p. 35; 20-32.
The Ma'.lQ.ala for installing the gods, pp. 35-36 ; 33-39. Offering Puja to
the gods, p. 37; 4073. Consecration of the Mattavara'.li, pp. 37-40;
73-81. Consecration of tho Jarjara, p. 41 j 81-87. Homa or pouring ghlte
into sacrificial fire, pp. 4142; 87-89. Breaking the jar, p. 42 ; 8993.
Illumination of the stafle, pp. 42-4') j 9397. Good results of consroratinl'
C
xvm
tqe stage, p. 48 ; 98-101. Evils following non-consecration of the stag!',
pp.43-44o
CHAPTER FOUR
THE CLASS DANCE, Pages 45-75
1-14. Brahman writes the first play and gets it performed, pp. 45-46 ;
14-16. Two kinds of Preliminaries, pp. 46-47 ; 16-27. The Aligaharas,
p. 47 ; 28-29. Uses of Aligahiiras, p. 47 ; 29-61. The Karal.las, pp, 47-49;
62-169. Definition of 108 the Karal}as, pp. 49-60 ; 170-245. Definition, of
the Aligahiiras, pp. 60-65 ; 246-252. The Recakas, pp. 65-66 ; 253264.
The Pindibandhas. pp. 66-68 ; 265-272 The Sages speak on the use of
dance, ;;.68-69 ; 278274. The Vardhamanaka, p. 69 ; 27js. The Asarita,
p. 69; 276. The Upohana, p. 69 ; 277294. Entry of. female dancers and
the four kinds of Pil,lg,is, pp. 69-72 ; 295-308. The Cliandakas, pp. 72-78;
809.810. The gentle dance, p.73 ; 311-314. Occasions suited to dance,
pp. 73.74 ; 315-320. Occasions when dances are prohibited; p. 74 ; 321
824. Playing of drums, pp. 747b ; 325-328. When drums are not to be
played, p. 75
CHAPTER FIVE
THE PRELIMINARIES OF A PLAY, Pages 76-99
14. The sages question, 76 ; p. 56. Bhamta answers, p. 76; 7. Preli-
minaries defined, p. 76; 8-16. Parts of the Preliminaries, pp. 76-77. 17.
Pratyiihiira, and Avataral,la, pp. 78 ; 18. Arambha, and Araval}a, pp. 78 ;
19. Vaktrapal,li, Parighattanii, p. 78 i 20. Samghotana, Margasiirita, p. 79.
21. Asarita and the Application of Songs) p. 79 ; 2223. Utthiipllna, p 79 ;
2324. The Walking-round, p. 79; 24-25. The Benediction, 79 ; 25-26.
Dhruva, pp. 80 ; 2627. Raligadviira, p. 80 ; 27-28. The Cari
and the Mllhaeari, p. 80 ; 28-29. Three Men's Talk, p. 89 i 29-30. The
Laudation, p. 80 i 30-32. Origin of Bahirgita and its justification, pp.
80-81; 33-36. Daityas and provoked to jealousy, p. 81 ; 37-38.
Th} v,ods approach Narada to stop the Nirllita, p. 81; 38-44. Harada
pacifies the gods, p. 82 ; 44-59. The gods are pleased with the Nirgita
(Bahirgita), pp. 8283; 60-64. Songs in pure Preliminaries, p. 84;
6566. The first Walking-ronnd, p. 84 j 67-76. The second Walking.round,
PIl 84-86 j 77-84. 'fhe third Walking-round, pp. 86-87; 84-89. The
fourth Walking. round, p. 87 j 89-101. The Parivartani Dhruvii, pp. 87.89 ;
'fhe Fourth Man enters . p. 89 ; 104-107. Singing of the
Dhruva, pp. 8990 ; Examples of the Benediction, pp. 90'91 j 113.
116. An example of Dhruva, p. 91 ; 116-119. Ratigadvara,
p. 91; 119127. Ciiri, pp. 92-93 ; 127137. Mahiical'i, pp. 93-94 j 137.
141.. The Men's Talk, p. 94 j The Laudation, pp. 94.95 j
XIX
143-194. The Tryasra Preliminaries, pp. 9596; 155.166. The Mixed
Preliminaries, pp. 96-97 ; 167-179. Introduction of a play, pp. 97-99.
C H A'P T E R S I x
THE SENTIMENTS, pages 100117
13. The sages qnestion, p. 100 ; 4-8. Bharata answers, pp. 100101 ;
8-14. Digest, Memorial Verse and Etymology defined, pp. 101 ; 15-16. The
eight Sentiments, p. 102 j 17-21. The Dominant States, p. 102 j 22. The
eight Temperamental States. pp. 102-103 ; 23. The four kinds of Histrio-
nic Representation, p. 103 ; 24. The two Practices and the four Styles, p.
103 j 25-26. The four Local Usages, and the Success, p.104 j 2729. The
notes, and the f"ur kinds of musical instrument. p. 104 j 29-3l. The five
kinds of pp. 104-105 j 31-33. The Sentiments explained, pp. 105-
136; 33-38. between the Sentiment and the States, p. 106-107 j
38-43. The eight Sentiments from the four original ones, p. 107-108 ; 4445.
'fhe presiding deities of the Sentiments, p. 108 ; 45-48. The Erotic Senti-
ment, pp. 108-110 j 48-55. The Comic Sentiment, pp.nO111; 56-57.
Of persons of the middling type, p. III j 58-61. Of persons of the inferior
type, pp. 111-112; 61-63. The Pathetic Sentiment, p. 112 j 6366. The
]i'urious Sentiment, pp. 112-113; 66-68. The Hp-roie Sentiment, p. 114;
08-72. The Terrible Sentiment. pp. 114-115 ; 72-74. The Odious Sentiment,
pp. 115 ; 74-76. The Marvellous Sentiment, p. lI6 j 77. The three kinds
of the Erotic, the Comic and the Terrible Sentiments, p. 116 j 78. The
three kinds of the Pathetic Sentiment, p. 116 j 79. The three kinds of the
Heroic Sentiment, pp. 116-117, 80. The three kinds of the Terrible Senti
ment, 117. 81. The three kinds of the Odious Sentiment, p. 117 j 82-83.
The three kinds of the Marvellous Sentiment, p. 117 .
CHAPTER SEVEN
THE EMOTIONAL AND OTHER STATES, Pages 118-147.
1-3. i3ka'Oas (States) explained, p. 118; 3-4. Vi6kavas (Determi-
nants) explained, pp. 118119 j 4-6 explained,
p.119 j 6-7. The three kinds of State; Dominant, Transitory and Tem
peramantal, pp. 119-120 ; 7-8. Ditrerence between the Dominant and the
other States pp. 120-121 ; 8-9. Love, p. ]21 ; 9-10. Laughter, p. 121 j 10-
14. Sorrow, p. 122; 14-20. Anger, pp. 122123 j 20-21. Energy, pp. 123-
124 j 2125. Fear, p. 124 j 25-26. Disgust, p. 125 j 26-27. Astonishment
p. 125 j 2729. The Transitory States, pp. 125126 ; 2730. Discourage
ment, p. 126; 80-32. Weakness, pp. 126127 j 32-35. Apprehension,
pp. 127 j 3537. Envy, pp. 127128 ; 37-46. Intoncation, pp. 128-129;
Ill-47 . Weariness, p. 129 j 47-48. Indolence, pp. 129-130; 484.9. Depression,
I) 130 ; 4951. Anxiety, p. 130 ; 51-53: Distraction, pp. 130-131; 5855.
xx
Recollection. p. 131 ; 55-57. Contentment, pp. 131-132; 57.59. Sham!',
p. 132 ; 59-60. Inconstancy, p. 132-133 ; 60-62. Joy, p. 133 ; 82-60. Agita-
tion, pp. 133-134 ; 65-66. Stupor, p. 134.t35; 66-67. Arrogano!', p. 185 j
67-69. De.qpair, p. 135-136 j 69-70. Impatipnor, p. 136 j 7\1-72. Sleeping,
p. 136 ; 72-74. Epilepsy, p. 137 j 74-76. Dreaming, pp. 1:\7-138; 76-77.
AwakeniniJ p. 138 j 77-79. Indignation. p. 138; 79-80. Dissimulation,
pp. 138-139 j 80-81. Cruelty, p. 139 j 81-82, Assuranoe, p. 139 ; 82-83. Siok-
ness, pp. 139-140 j 83-85. Insanity. pp. 140-141 ; 85-90. Death. lIP. 141-
142 j 90-91. Fright. p. 142 j 91-93. Deliberation, pp. 142-143; 93.
Temperament,al States, p. 143; 95. Perspiration. p. H4; 96.
and Trembling, p. 144 i 97. W ('('ping. p. 144; 98. Chnllgr of C0101l!'
and Horripilation. p. 144; 99. Chaugo of Voice and p. 144 j
100-10'6. Representation of the TC'lllperalllental State" pp. 144-145; 107
124. Applieation of the StatC's to the ditl'erent SNltim!>ntq, ,11'. 145147.
C II APT ERE J (; II T
THE GESTURES OJ<' MINOR LIMBS, Pago.; H8-167
1-3. Sages question, p. U8 j 4-6 Bharata I'll. 148149 ; 7.
The meaning of abJltnaya, p. 1.J.9 ; 8\). The four kind!! of abkitlaya, p.
149 j 1116. The Gesture: its thrl'e pp. H9150 j 17:l7. Gestures
of the head and their IlSes, pp. 150152; :1842. Thr thirtysix G lanoes,
pp 152153; 4:351. The Glances to express the Jlp. 153154 j
5260. The Glances to express the Dominant States, pp. 154155 ; 6184.
The Glanoes to express the Transitory pp. 155-158 ; 8595. Uses of
Glanoes to express the Transitory States. pp. 158159 j 9598. The eye-
balls, pp. 159-160; 99102. Uses of thl! <I}'ebaIlR, p. 160 j 1O:l-107. The
additional Glances, pp. 160161; l08lll. 'l'hr. eyelids, p. 161 ; 112115.
Uses of the eyelids. p. 162 ; 116120. The pycbrow8, pp. 162163. 121.125.
Uses of the eyebrows, p. 163; 126-128. The nose, pp. 163164 ; 129132.
Uses of the nosr, p. 164 ; 132-134. Thc oheeks j p. 164 ; 135137. Uses of
the checktl, pp. 164165 ; 137-139. The lower lip, p. 165 ; BO-142. Uses of
the lower lip, p. 165 j H3146. The chin, p. 166; 146-14\). Uses of the
chin, p. 166 ; 14\)157. The mouth, pp. 166167; 157158. The colour of
the faoe, p. 167 ; I.J!i-165. Uscs of tho colou1' of the face, 11p. 167.168 j
166167. The nook, p. 168 j I67-ln. Description and U808 of the neck
gestures, pp. 168169.
CHAPTER
THE GESTURES Ol" HANDS, PagPR 170-1\)0
13. Bharata speaks, p. 170 ; Six:tysevon geAtures of the hand,
pp. 170171; 17126. Gr.stures of single hands, pp. 17l-l8l j 126.155.
of combined pp. 182185 j 156159. General rules regard.
ing the lise of hand gestures, p.185 j .160165. Different movementl of
.
XXI
. hand gestures, p. 185 j 166-167. Spheres of hand gestures, po 186 ; 168-177.
The quantity of gestures, pp. 186-187 j 178204. Tho Danee-hands, pp. 187-
189; 205-211. The four KaraJ;las of the hands, pp. 189-190 ; 212-214. The
movements of arms. p. 190.
CHAPTER TEN
THE GESTURES OF OTHER LIMBS, Pages 191-196.
1-9. The breast, pp. 191 ; 10-15. The sides, p. 192 j 16-17. Uses of the
sides, p. 192 ; 18. The belly. p. 192; ; 9-20. Uses of the beliy, pp. 192-193 j
The waist, p. 193 j 25-26. Uses ofthe waist, pp. 193-194: 27-31.
The p. 194; 32-33 Uses of the thigh, p. i 34-37. The
shank. pp. 194'195 j 28-40. Uses of the shank, p. 165 . 11-51. The feet and
their pp. i95-196 i 52-54. The Caris, p. 196. '
C 'C HAP T ERE LEV EN
'fHE CART MOVEMENTS, Pages 197-206
1-:3. Definitions, p. 197; H. Uses of the p. 197 j 7-12. The
thil'tytwo Caris, pp. 197198 j 1328. The parthly Jlll. 198-199 j
2949. 'l'he aerial Caris, pp. 199-201 j 50-71. The Sthanas, pp. 201-203 ;
71-88. The four Ny:"iyas in using weapous, pp. 203-205; 88-91. The
Sau$thava, p. 205 j 91-92. The Caturtlsfa, p. 205 i 92-94. The four acts
relating to the bow, p. 205 ; 9496. The method of exercise, pp. 205206;
96100 Health and nourishment of persons taking exercise i p. 206.
CHAPTER TWELVE
THE MOVEl\1ENTS, Pages 207-212
15. The MlIIJ9alas, p. 207 ; 6-41. The aerial Mal.l(Jalas, pp. 207-210 i
42-68. The earthly pp. 210-212.
CHAPTER THIRTEEN
THE GAITS, Pages 213-237
1. Gaits for different p. 213 j 2-3. Entrance of dramatis
personae, p. 213 j 47. Posture for SlIl)('rior and middling characters at the
entrance, p. 213 ; 8-10. 'l'he interval of their feet, pp. 213214 ; 10-11. The
time for their steps, p. 214 j 12-14. The tempo of their Gait, p.2H i 1524.
The natural Gait, pp 214-215; 2529 Gait of kings, p, 216; 30-34.
Gait under special conditions, p. 216; 35-40. Tempo of Gaits under
spllCial eonditions, pp. 217; 411.8. Gait in the Erotic Sentiment, pp.
217-218 j 48-54. Gait in the Terrible Sentiment, p. 218 i 54-56. Gait in
the Odions. Sentiment, p. 218 ; 5758. Gait ill the Heroic SelltinlPllt. pp.
218-219 ; 59-60. Gait in tho Marvellolls and thtJ Comic t;r'ntimollts, p.
219 ; 61-69. Gait in the Pathetie ScntilllPnt, PI'. 219220 j 7075. Gait
(of inferior characters) in the Te:rible Sentiment, p. 220; 76.78; Gait of
,
nu
merchants and ministers, p. 220 ; 79-86. Gait' of aaceties and sectarians,
pp. 220.991; 87. Gait of a person in darkness, p. 921 i 88-92. Gait
of one riding a chariot, ppo 291-229;. 92-96. Gait while moving in
the sky, p. 222 i 96-100. Gait in asoending a lofty palace, po 222;
101-104. Gait in ietUq down into a lower place, pp. 922-223 ; 106-107.
Gait in travellinlr by boat, p. 228; 108. Gait -in riding a horse, po 223 ;
109. Gait of serpents, p. 293; 110. Gait of a Parasite, p. 224; 112-
114. Gait of the Kilicukiya, p. 224 ; 115-117. Gait of emaciated, sick
and fatigued persons, p. 225; 118. Gait of a person walking a long
distance, p. 225; 119-120. Gait of a corpulent person p. 225; 121-)22.
Gait of intoxicated persons, p. 226; 123-130. Gait of a lunatit\, p. 225;
181-186. Gait of lame men, cripples and dwarfs, p. 226 ;.137-146. Gait
of the Jester, pp. 226-227; 146-148. Gait of manials, p: 227 ; 148-149.
Gait of Sakara. p. 228 ; 150. Gait of lowly persons, .p. 2i8 j 151. Gait
of the Mleecha tribes, p. 228; 152. Gait of birds j 153-158. Gait of lions,
bears and monkeys, pp. 228-229; 159-171. Walking postures of women,
pp. 230-229 j 171-177. Gait of women, p. 230 ; 177-179. Gait of young
women, p. 231; 179-181. Gnit of aged women, p. 231 j 181-183. Gait
of handmaids, p. 231 ; 183-186. Gait of half-women, p. 231 ; 186-187. Gait
of children, p. 242 ; 187-181. Gait of hl.'rmaphrodite, p. 232; 188-189.
Gait in the change of a roll.', p. 232 ; 189-191. Gait of persons in
p. 232 ; 192-193. Gait of the tribal women, p. 232; 193-195. Gait of
women ascetics; PP. 232-233 j 195-199. Sittini postures for men and
women, p. 233; 196-197. Sitting at case, P. 233; 197-198. Sitting in a
thinking mood, Po 233 ; 198-199. Sitting in Borrow, p. 233; 199-200. Sitting
in fainting and intoxication, p. 233; 200-201. Sitting in shame and sloop,
po 234; 201-202. Sitting on ceremonial occasions, p. 234; 202-203. Sitting
in pacifying a beloved woman, p. 234 ; 203-206. Sitting in worshipping a
diety, p. 234; 206-207. Seats for different characters, p. 234; 208-210.
Scats for male characters, p. 235; 210-214. Smlts for female characters, p.
235; 215-216. Scats for ascetics and sectarians, p. 235; 217-220. General
rules about soots, p. 286; 221-228. Lying-down P?8tures, pp. 236-237.
CHAPTER FOURTEEN
THE ZONES AND THE LOCAL USAGES, Pages 238-247
1. The Zones, p. 238; 2. The arrangement of drums, p. 238; 3. The
division, p. 238 ; 4,,7. Utility of the Zonal division, p. 238 ; 8-10.
[Ddieating relative location on the stage, p. 239; 11. The east on the
Itap, po 239; 12-]5. The ride of exit, p. 282; 16. Indication of rank in
l1'oup walking, p. 289 j 17. Indicating distance KI'eat, small and medium,
Po 18-20. Movements of gods and demigods Po 240 i 21. Movement
men in Bhiirata\l'aqR, Po 240; 22. Departare for a distant place,
.
XXlD
p. 2400 J 98-81. Time for the events of an Act, pp. 2400-240 1 ;
32-35. Movements of gods, p. 241; 36. The four Local Usalr&l, pp.
24:1-2402; 37-39. The Local Usages, pp. 242-243; 40-42.
The Avanti Local Usage, p. 243; 43-46. The Oqra-Miigadhi Local
Usage, 243 j 417-49. The pail.cii)a-Madhyamii Local Usage, p. 244 ; 50-55.
The two-fold entrance in observing Local Usage, p. 244; 50. The two
General types of plays, p. 245. 57-60. The violent type, p. 245 J 61. The
delicate type, p. 2405; 62. The two Practices, p. 245; 63-64. The realistic
Practice, pp. 245-246; 65-78. The conventional P:actice, pp.246-247.
CHAPTER FIFTEEN
RULES OF PROSODY, Pages 248-261
1. The actor's speech, p. 248; 2-4. Importance of speech in drama,
p. 248; 5. The ;wo of recitation, p. 248; 6-7. Different aspects of
Recitation, p. 249; 8. The speech-sounds, p. 249; 9-19. Consonants; their
articulation, pp.249-251 ; 20. Vowels; their quantity, p. 25] ; 21-22. The
fOllr kinds of word, p. 252; 23-25. The noun, pp. 252-253; 26-27. The
verb, p. 253; 28. Tho particle, p. 254, 29. The affixes, p. 254; 30. The
nominal affil:, p. 254 j 31. Tho case-ending, p. 255; 32-33. The euphonic
combination, p. 255; 34-35. The compound words, pp. 255-256; 36. The
two kinds of word, p. 256; 37. Words in prose, p. 256 ; 38. Words ill
verse, p. 256; 39. Syllabic metres, p. 256; 40-42. Rhythm-types,
pp. 256-257; 43-49. Twenty-gil: Rhythm-types, p. 257; 49-79. Possible
metrical patterns, pp. 257-258; 79-89. Another method of defining metres,
pp. 258-259; 89-90. The regular cOllplet, p. 259 ; 90-91. The stoll and
the foot, pp. 259-260; 93. Quality of syllables, colours of metros, p. 260 ;
94-95. Pitch of vowels, p. 260; 95-97, Three kinds of syllabic metres,
11. 260; 98-102. Classes of metres, p. 261.
CHAPTER 8rXTEE N
METRICAL PATTERNS, Pages
1-2. Tanllmadhya, p. 262; 3-4 p. 262; 5-6. Miilati.
p. 263; 7-8. Miililli, p. 263; 9-10. Uddhatii, pp. 263-264; 11-12. Bhrama-
ramalikii, p. 264; 13-14. Siqlha\ekhii, p. 264; 15-16. pp. 264-
265; 17-18. Vidyullekhii, p. 265; 19-20. Cittavilasita, pp. 265-266; 21-22.
Madhukari, p. 266; 23-24. KuvalaYBmiilii, p. 266; 25-26. MByUrasiirh.li,
pp. 266-267 , 27-28. DodhakB, p. 267 ; 29-30. MotBka, pp. 267-268; 31-32.
Indravajrii. p. 268; 33-34. Upendmvajra, pp. 268269; 35-36. Rathod-
dhatii, p. 269; 37-38. Sviigat:i, pp. 269; 39-40. Salini, p. 270; 41-42.
Totaka, p. 270; 43-44 Kumudanibhii, pp. 270-271 ; 45-46. Candralekhii,
p. 271; 47-48. pp. 371-272 J 4950. Valjlsasthii, p. 272.
51-52. Hari1}ap\uta. pp. 272-273; 53-54. KiimadBttii, p. 273 j 55-56.
Aprameyii, p. 273-274 i 57-58,. Padmin'i, p. 275 i 59-60. Plituvrtta,
U1V .
PPO 27"'275; 61-62. Prabhiiv$ti j p. 275; 68-64. pp. 275-276 j
65-66. Mattamaynra, Po 276 j 67-68. Vasantatilaka, pp. 276-277 j 69-70.
Asal!lbadha, p. 277 j 71-72. Sarabha. pp. 277-278 j 7374. Niindimukhi,
. p. 278; 75-74. Gajavilasite pp. 278-279; 77-78. Pravaralalita, Po 279 ;
79-80. Sikharivi, pp. 279-280; 81-82. p. 280 j 83-84.
Sridharii, pp. 280-281; 85-86. Vamsapatrapatita, p. 281; 87-88. ViJam-
bitagati, pp. 281-282; 89-90. p. 282; 91-93. Sardillavikridita.
p. 283; 94-96. Suvadana, pp. 283-284; 97-99. Sragdhara, p. 284 ; 100-102.
Madraka, pp. 284-285; 103-105. p. 286; 106-108. Meghamala,
p. 286; 109-111. Kraufioapadi. pp. 286-287; 112-114. Bhujailga-viirm-
bhita, pp. 287-288 ; 115118. The uneven and the semi-even metres j p. 288.
119-120. Even metres, p. 288; 121-122. Pathyii. p.288 j 123-124. Uneven
Pathya, p. 289; 125-126. Inverted Pathyii, p. 290; 127-128. Capa!a,
p. 290; 129136. Vipulii, pp. 290-292; 137-138. p. 292;
139-140. Ketumati. p.292 t 141-142. Apar.lVaktra, p. 93; 143144. PUl/pi-
tagra, 293 ! 14H46. Udgati, PI). 293-294; 147-151. Lalita, pp. 294-295 j
152-159. Arya metres, pp. 295296; 160. Piithyii Arya and Vipula Aryii,
p. 296 ; 161. Pathya Aryii, p. 296; 162. Vipula Arya, p. 296 j 163-164
Capalii Arya, pp. 296'297 ; 165. Muklia-oapala and Jaghana-oapalii Arya,
p. 297; 166. Mukha-eapala Arya, p. 297; 167-170. Jaghana-eapala
Arya, p. 298.
CHAPTER SEVENTEEN
DICTION OF A PLAY, Pages 299-322.
1-5. Thirtysix marks of a good play, pp. 299-300; 6. Ornateness,
p. 30 ; 7. Compactness, p. 300; 8. Brilliance, p. 301; 9. Parallelism, p.
301; 10. Causation, p. 301; 11. Hesitation, p. 301; 12. Favourable
Precedent, p. :301; 13. Discovefy, p. 302; 14. Faney, p. 302; )5.
Unfavourable Precedent, p. 302; 16. Convineing Explanation, p. 302; 17.
Perdllation, p. 303; 18. Distinction, p. :303; 19. Accusation of Virtues.
p. 3n; 21. Etcollnc1. p. 303; 21. Inference from Similitude, pp. 303-
304; 22. Multi pies: Predication, p. 304 j 23. DJscri ption, p. 304; 24.
Pointed Utteranee, p. 304; 25. Deliberation, p 304; 26. Inversion,
p. 305. 27. Slip of Tongue, p. 305; 28. Mediation, p. 305; 29. Series
of Offers, P. 3%; n Clever Manncra, p. 306; 31. Ceosure. p. 306;
32. Presumption, p. 306 i 33. Celebrity, p. 306 j 34. Interrogation;
35. Identity, p. 307 j 36. Indirect of Desire, p. 307; 37.
Wit. p. 307; 38. Concealment. p. 307 j 39. of Merits,
p. 308 j 40. Semi-uUercd p. 41-42. Compliment,
p.' 308 j 33. Four figurC\d of p. i 44. Simile, p. 309 i 45-49.
Number of objeeti compared, p. 3)9 j 5). of simile, p. 309 j
51. Simile of praise. p, 309 i 52. Simils of censure, p. 309 i 53. Sirolle
of conceit, po 309 j 24. Simile of uniqueness, p. 310 i 55-56. Simile of
XXV
Partial likeness, p. 310; '57-58. Condensed Expression, p. :no ; 59-60.
Metaphor, Pp. 310; 61. Yamaka, P. 311; 62-64. Ten kinds of
Yamaka, p. 311 ; 65-66. Piiilant. a Yamaka, p. 311 ; 67-68. Kiifioi Yamaka,
pp. 311-312; 69-70. Samudga Yamaka, p. 312; 71-72. Vikriinta Yamaka,
p. 312; 73-71t. Cakraviila Yamaka, p 313; 75-76. Yamaka
p. 313; 77-78. Padiidi Yamaka, pp. 313-314; Amre?tta Yamaka:
p. C:lturvyavasita Y:mah, P. 314; 83-87. Mala Yamaka
pp. 314-315; 88. Ten pp. 315316; 89. Circlilocution and super:
fluous ExpresRion, P. 316; 90-91. Want of Significance and Defective
Rigwlificance, p. 316; 92. Tautolo!;ty and Want of Synthe3iR, pP. 316-317 i
93. Logical Defect and Metrical Defect, p. 317 ; 94. HiatuB and Slane,
P. 317; 95. P. 317; 96. Ten GUI}aS, PP. 317-318; 97. Synthesis,
p. 318; 98. PCltpieuity, p. 318; 99. p. 318; 100. Coneentra-
tion, p. :n8; '.ijll. Sweetness, p. 319; 102. Grandeur, p. 319; 103 Agree-
ableness, p. 319; 104. Dir('etncss of Elrpression, P. 319; 105-106. Exalted.
noss, pp. 319-320; 107. Alal11karas and Glll)aS, p. 320; 108-110.
and Iigure3 of according to Sentiments, Metres according to Senti-
ments, Tn the Erotic Spntiment, p. 32'); 111-112. Metres the Heroie
Sentiment, and in the Pathetic Sentiment, p. 321; 113. In the Heroie and
the Furions Sentiments, P. 321; 114<15. Vowel length in different
Sentiments and States, p. 321; 116-122. Uses of prolated and
euphony, pP. 331-322.
CHAPTER EIGHTEEN
RULES ON THE USE OF IJANGUAGES, Pages 323-334
1-2. The Prakritic Recitation, p. 323, 3-5. Three kinds of Prakritie
Recitation, p. 323; 6-17 . Vowels and simple consonants, pp. 324-325 ;
18-25. Conjunct pp. 325-326; 26. Four types of language,
p. 226 ; 27. The Snp('rhnman alld the Noble p. 327 ; 30. The
two kindR of Recitation, p. 327; :ll. OccaHion for Skt. Recitation, p. 328;
32-35. Oecasion for Pkt Recitation, pp. 328-329 ; 36-46. Exeeption to
the rule for Pkt. recitation, pp. 329-331; 47-48. Seyen major dialects,
p. 331 j 49-51. Uses of major pp. 331-332; 52-55. UseH of minor
dialeots, pp. 332-333; 56-61. Distinguishing features of various local
dialeets, pp. 333-334.
CHAPTER NINETEEN
MODES OI!' ADDRESS AND INTONATION, Pages 335-354
1-2. Different modes addreAs, p. 335; 3. Modes of addrt1Ssing
males, p. 335 ; 4. Addressing gods, sectarian teachers and learned men,
p. 335; 5. Addressing Brahmins, the kinl(, the teachl'r and an old man,
p. 336; 6. Brahmins addressing the king, p. 336; 7. Brahmins address-
ing ministers, p. 336; 8. the" equals, {lreviledged, inferiors
D
XXVI
addressing pp. 336387 j 9. AddreRsing employecA, II1'tisans
and arti8ts, p. 337; to. AddrC8sing persons, of rcslle(',t, pel'
sons of equal status p. 837; 11. The charioteer addressing the chariot-rider,
Addressing an ascetic or a person witli beatitude, pp. 337-338; 111.
Addressing prinees, Addressing inferior persons, p. 338; 13. Addressing
persons by their occupation or birth, p, 339; 14. Addre8sing a son or a
disciple p. 339; J 5. Addressing and Juin monks, Addressing
per80qs of other sects, p. 339; 16. People addressing the king, pp. 339-
340 j 1718. SagC!\ addreRsing the king, 'rhe Jrst('r addressing the king, The
Jester addressing the queen, her maids, alld the king addressing the Jester,
p. 340; 19. Women addressing their husband, p. 341 j 20. Addressing the
elder and the younger brothers, p 341; 21. Modes of addressing women and
female ascetics and goddesses, p. 3,U ; 22. Addressing ",lives of senior
persons, and elderly ladies, Addressing an accessible woman and an old
lady, PI>. 341-342; Addressiug wives, p. 342; 25. Address-
ing unmarried princesses and a sister, pp 26. Addressing a
Brahmin lady, a nun or a feillale ascetic, addressing one'H wifE', p. 343; 27.
Women addressing their equals, addressing a hand-mand, p. 343; 28,
Addressing a conrtezan, p. 343 ; 29. Addressing the wife in love-making,
p. 344 j 30. Giving names to ditferPl1t characters in a play, p. 344; 31.
Names of Brahmins and p. 344 ; 32. Naming merchants and
warriors, p. 344; 33. Naming king's wives and courtezans, p. 345; 3,1.
Naming handmaids and menials, p. 345 ; 45. Naminf! p. 345 j
37-37a. Naming other persons, p. :H5 j 37-38. Qualities of Recitation,
p. 346 j 38-40. Seven not('s to suit different Sentinwnts, p. 346; 40-43.
Uses of the three voice registers, p. 346; 43. Uscs of the four accents,
p. 347 j 43-440. 'fwo ways of intonation, p. 347; 45. The Six: Alal11-
kiiras, p. 348 j 45 57. Uses of the six Alal11karas, pp. 348-350 j 5859.
Intonation in ditferent Sentiments, Six limbs of enunciation, pp. 350-351 j
59-60. Pause defined, pp. 351-352 j 60-61. Uses of Pause, p. 352 j 62-67.
Hands in connexion with Alan.lkiiras and Pause, p. 352 ; 6878. Drawn-
out syllables ahd their usc, pp. 353354.
CUAPTEIt TWENTY
TEN KINDS m' PLAY, Pages 355-379
1-9. Tenfold division of plays and their structure, p. 355 j 10-12.
The p. 356; 13-18. The Act, pp. 356-357; 19-26. Incidents not
directly presentable in an Act, pp. 358-359; 27-.35. The Introductory Scene,
pp. 359-360 j 36-38. The Supporting Scene, PI>. 360-361; 39-40. Numher
of tlramatis personae, p. 36t; 4t-42. Introdneing chariots and palaces
on the stage, PJ. 861362; 43-47. Intl'oducing an army on the stllge
p. 362 j 48-50. ,The Prakaral,la, pp. 262-364; 59-63. The pp
. 364-365 i 64-66. Th(' Sllrnavakiira, pp. 67. The first act of tho
XXVII
Samavakiira, p. 366 i 68-69. Th!' second aed the third acts of the Sama-
vakal'a, pp. 366-367; 70. 'rile three kinds of Excitrment, p. 367'j 71.
Thrcc kinds of Dcception, p. 367 j 72. Three kinds of Love. p. 367; 73.
Love together with duty, pp. 367; 74. Love together with material gain,
p. 368; 75. Love due to passion, p. 368; 76-77. not allowed in
the Samavakiirll, p. 368; 78-83. The Thiimrga, pp. 368-369; 84-89. Th('
l)ima, p. 370; !-IO-93. 'fhe Vyiiyoga, p. 370; 94-96. The
kiiilka, p. 371 ; 97-101. Scenes with celestial Heroes, pp-372. 371 ; 102.
The Prahasana, p, 372; 103-104. The pure Prahasana, p. 372; 105-107. The
mi:ed Prahasana, pp. 372-373; 107-111. The BhiiJ.ll1, p. 373; 112-113.
'rhe Vithi, pp. 373-374 i 114-116. 'rhirteen types of the Vithi, p. 374 ;
117. Accidentl\! Interpretation, p. 374; 118. Transference, p. 374 j 119.
Ominous Significance, p. 374 j 120-121. Incoherent Chatter, p_ 375; 122.
Compliment, p.-37:) ; 123. Enigma and Rapartec, p. 375 ; 124. Outvy-
ing, p. 375; 125. Deception, 375; 126. Declaration, p. 376; 127.
Crushing, p. 376; 128. TlJJ'('p 'l'alk, p. 376; 129-131. Undue
Combination of Words, p. 376 ; 132-133. Till' LiiRya, p. 377 ; 134-135. The
twelve types of the Liisya, p. 377; 136-137. Geyapalla, p. 377; 188,
Sthitapiithya p, 378; 139. Asina, p. 378; 140. PU1lpagaJ]<.!ikii, p. 378 ;
141. Pracchedaka, p. 378 ; 142 Trinlii!;lhaka, p. 378 ; 143. Saindhavaka,
p. 378; 144. Dvimi1<,lhaka, p. 379; 145. Uttamottaka, p. 379; 146.
Vicitrnpada, p. 379 j 147. Uktapratyukta, p. 379, 148-150. Bhiivita, p. 379.
CHAPTER TWENTYONE
THE LIMBS 011' THE JUNCTURES, Pages 380-400
1. The five Junctures of the Plot, p. 380 ; 2. The two kinds of
Plot i 308; 3-5. Their definition, p. 380 I 6-8. The five stages of the
nction ; pp. 380381; 9. Beginning, p. 38l; 10. Effort, p. 381; 11.
Possibility of Attainment, p, 381; 12. Certainty of Attainment, p. 381 ;
13-15. Attainment of pp. 381-382 ; 16-17. Play to begin with
the Princi pa1 Plot. p. 382; 18-19. Rules about tlll'l omission of Junctures,
p. 382 ; 20-21. The five clements of the Plot, p. 382; 22. The Germ,
p. 383; 23. The Prominent Point, p. :>83; 24. The Episode, p. 383 i
25. The Episodicnl Incident, p. :183 ; 26-27. The Denouemeut, p. 383 j
28. Secoudal'y Junctures in the Episode, p. 384 ; 29. Limit of the Epi-
sode, p. 384 ; 30. The Episode Indication, p. 384 ; in. The Finlt Episode
Indication, p. 384. ; 32. Thi'l Second Episode Indication, p. 384; 33. The
Third Episode Indication, p, 384 ; 34-35. The Fourth Episode Indication.
p. 385 ; 36-37. The five Junctures, p. 385; 38. The Opening, p. 385 ;
39. The Progression. p. 385; 40. The Development, p. 38lS ; 41. Tht
Pause, pp. 385-386; 42-43. The Conclusion, p. 386; 440-47. Junctures
vary in different types of Drama, p. 386-; 4850. Subjllnctllrl', p. 387 ;
5l. Alternative J anctures, p. 52-53. The sixfold needs of the Limbs
of the Junctures, p. 387 j 64-1)7. Uses of the Limbs of the Junctures,
pp. 387-888 j 5868. The sixtyfour limbs of the Junctures, pp. 388-389 ;
69. Limbs of the Opening, Suggestion, p. 389 j 70. Enlargement, Establish-
ment, p. 389; 71. Allurement, Decision, pp. 389-390 j 72. Aeeession,
Settling, p. 390 ; 73. Conflict of FeeIiniS, Surprise, p. 390 j 74. Dis-
closure, Activity, p. 390 j 75. Incitement, Limbs of the Progression,
p. j 76. Amorousness, Pursuit, p. 391 j 77. Refusal, Pessimism, p. 391 j
78. Joke, Flash of Joke, I'. 391 ; 79. Moviug Forward, Hiudrance, p. 891 ;
80. Pacification, Sweet Words, pp. 391-392; 81. Thunderbolt, Reference,
po 892 i 82. Meeting of Castes, Limbs of the Development, p.
83. Mis-statement, Indication, p, 392; 84. Supposition, Exaggeration
p. 392 i 85. Progress, Propitiation, p. 393; 86. Deduction, Supplication,
p. 393; 87. Revelation, Quarrel, p. 393 i 88. Outwitting, Dismay, p. 393 j
89. Panicky Commotion, Limbs of the Pause, p. 393 i 90. eensure, Angry
Words, p. 394 i 91. Insolence, Placation. p. 394 i 92. Assertion, Rever
encc, p. 394; 93. Rebuke, Lassitude p. 394; 94. Opposition, Altel'-
cation, p. 894; 95. Summing Up, Humiliation, p. 39 ; 965. ]i'oresight,
Limbs in the Conclusion, p. 395; 97. Junction, Awakrning, p. 395 i 98,
.A&!embling. Ascertainment, p. 395; 99. Accusation, Confirmation. pp.
395-396; 100. Gratification, Joy, p. 396 i 101. Delivcrenee, Surprise,
p. 396; 102. Clever Speech, Retrospect, p. 396; 103-105. Termination,
Benediction, pp. 396-397; 106. Explanatory Devices, p. 397; 107-
108. The Supporting Scene, p. 397; 109. The Intimating Speech, p.
397; 110-111. The Introductory Scene, p. 398 ; 112. The Transitional
Scene, p. 398; 113. The Anticipatory Scene, p. 398; 114-130. An ideal
Niiaka, pp. 398-400.
CHAPTER TWENTYTWO
THE STYLES, Pages 401-409
1-5. The origin of the Styl(Jf;, p. 401 ; 6-1L The Ol'llm of the
Verbal Sty I!', pp. 401-402.; 12. 'l'he origin of the Grand Style, Po 402 ;
13. The origin of the Graceful Style. p. 402 ; 14-16. The origin of the
Energetic Style, p. 402; 17-25. The origin of thll NyiiYII. pp, 408-404 i
116. The four varieties of the Verbal Style, p 404 i 27. The Laudation, p.
404 ; 28-29. The Introduction, p. 404 ; 30-31. 'l'he five varieties of the
Introduction, p. 404 j 32. Opt'niog of the Story, p. 404 i 33. Particular
Presentation, p. 401).; 34-37. Personal Business, p. 405 i 38-40. The
Grand Style, pp. 406-406 i 41. The four varieties of the Grand Style, pp.
406 ; 42. The Challenge, p. 406 i 43 Chan2e of Action, p. 406 i 44 The
. Harsh Discoune, p. 306 i 45-*. Breach of Alliance, p. 406 i 47. The
Graceful Style, p. 407 i 48. The four varieties of the Graceful Style, p.
407 J 49-110. The three . kinds of Pleasantry, p. ; 51. Beginning of
Pleasantrs'. p. 407 ; 52. Unfoldment of Plflasantry, p. 407 j 68"04. Covert
.
PleaslU'6, p. 408; 511-56. The Energetic Style, 1'. 408 ; 57. The four
varieties of the Energetic Style, p. 408; 58. Compression, pp. 408-409 ;
49. Commotion, p. 409 ; 60. Raising the Theme. p. 409; 61-62. Conftict
p. 409 j 63-66. Styles acoording to Sentiments, p. 409 i
CHAPTER TWENTYTHREE
THE COSTUMES AND MAKE-UP, Pages 410-439
1-3. Neoessity of the Costumes and Make-up. 410; 4. Foul' kinds
of Costumes and Make-up, p. 410. 5-8 The foul' kinds of model-work,
pp.t<410-411 j 9. Decoration, p. 411 ; 10. Garlands, p. 411 i 11. Four
kinds of ornament, l'. 411 i 12. Piercing ornaments, Tied-up ornaments.
I). 411 i 13. WGrn ornaments, Put-round ornaments, p. 412; 14. Ornaments
according habitation and tribal origin, p. 412 i 15. Ornaments for males:
Head ornamenia, Ear ornaments, p. 412 i 16. Neck ornaments,
ornaments, Pl" 412-413 ; 17. of tltp fOrOIlI'II1, Wrist ornamentg,
p. 413 i 18. Orllam!'llts above the ('lbow, Brca8t ornaments, p 143 ;
19. for thc entire body, Waist ornamrnts, p. 413; 23-23.
OI'Jlament<; for females: Heatl ornalllentH,)I. 419 ; 2325. Ear ornaments,
pp. 414-415; 26-27. Neck ornaments. p. 4U; 28. Breast ol'llaments,
p. 415 ; 29. ornaments p. 416 ; 30. Finger ornaments, p. 416 ; SI-33.
Hip ornaments, pp. 416417; 3436. Ornaments of the ankle8, p. 417; 37-44.
Other rules about ornaments, Pl'. 417418; 45-51. Costunw pf cdrl!tial
women p. 418-419; 52. 8iddha women.p. 419; 53. Gandharva womcll
p. 419; 54. womcn, p. 419; 55. Goddesses, p. 419 ; 56-57. Monkey
females, pp. 419-420; 58. Human females aecording to their countril's, p.
420; 59. Women of Avanti and p. 420; 60 Abhira women, p. 420 ;
61. Women of the North-east, p. 420 ; 62-63. Womell of the South, p. 420 ;
64. Ornaments to be worn in the right plaee, pp. 420- 421; 65-67. DresSt's
to suit the condition of females, p. 420 ; 68. Painting the limbs, p. 421;
69. The four original colours, p. 421 ; 70. The derivative colours, p. 421 ;
71-74. The primary derivative colours, pp. 421-422; 75-80. The secon-
dary derivative colours, p. 422; 81. Living beings, p. 422 j 82. Lifeless
objects, p. 422; 83. Lif(>ll'Ss objects in human form, p. 422; 84. Painting
the limbs, p. 422 : 85-87. Colour for gods, p. 423 ; 88-89. Colours for
demigods. 90-92. Colours for human beiIl/lS in different regions, p. 424 ; 93.
Colours for Bhutas and Dwarfs, p. 424; 94-98. Colours of different
peoples of p. 424; 99101. Colours of different tribes, p. 425 ;
102. Colours of different castes, p. 426; 103109. Rules for the beard, p.
426-427 j 110-127. Rules for ditferent costumes, pp. 427429 ; 128. Use of
masks,p. 429: 129-]39. Three kinds of crown, pp. 430-431'; 139-145. Rul(s
of ditferent hairs, p. 431 : 146-148. The 8a jiVII, p. 432; 148-155. The use
of weapons, pp. 482-433; 156-158. UH(' of 'othrr objects, )J. 433 ; 159.
Indra's Banner-staff, p. 433; 169-167. Th!' Jarjal'l\, PI>. 433-434; 167170.
xxx
The .. p. 434; .170180. The making of masks, pp. 485.436 ;
180-187:' accessories, p. 486 ; 187-198. The realistic and eonven
tional objeets, p. 437 j 198-208. Making of ornaments, pp. 488-489 I
208-211. Use of weapons on the stage, p. 489.
CHAPTER TWENTYFOUR
THE BASIC REPRESENTATION, Pages 440-482
1-2. Importance of Temperament p. 440 ; 3. The deRnition of
Temperamcnt, p. 440 j 4-5. l'\'minine graces in the drama, pp. 440-441 ;
6. Physical graces of women, p. 441 ; 7. The origin of these Irraee4, p.
441 ; 8. Feeling, p. 441; 9-10. Emotion, p. 441 ; 11. Passion, p. 441 j
12-13. Naturlll Grllc('S of women, p. 442 ; 14. Sportive M1micry, p. 442 ;
15. Amorous p. 442 ; 16. Dishabille, p. 442; 17. Confusion,
p.442 ; 18. Hysterical Mood, p. 443; 19. Mani('station M Affection, p.
443 ; 20. Pretendi'd Anger, p. 443; 21. Affectrd Coldness. p. 443 ; 22,
Lolling, p. 443. 23. Want of Respollsr, p. 443 ; 2'i, Im'oluntary Graces
of women, p. 444; 25. Bl'anty, p. 4-1\ ; 26 Charm, Rndian('{', p.444 ; 27.
Delicacy p. H4; 28. Self-control, p. 444; 2!J30 Coura!1;l', Dignity, p.
444-445; 31. Eight aspects of the mal'1 Temperament, p. 445; 32. Brilli-
ant Character, p. 445 ; 33. Graceful Bearing, p. 31.. Self-posse-
asiou, p. 445; 35. Tenacity, pp. .145-446 i 36. Gravity, p. 446 ; 37. Spor
tiveness, p. 446 i 38. Nobility. p. 446; 39. Spirit, p. 446; 40-41. Hist-
rionic Representation through the body, p. 446 ; 42. Word, p. 447 ; 43.
SUc3, p. 147 ; 44. Ailkura, p. 447 i 45. p. 447 i 46-47. Natyayita,
p. 1017 i 48. NiYj'ltY,lllk.lla, p. 118; l. 'fweh'e forms of the verbal
p H8; 52. Acco3ting, Prattling, p. 448; 1i3. Lament,
Repeated Speaking. p. 448 j 54. Dialogue, Change of Words, pp. 448-449 ;
55. Message, Agreement, p. 449; 56. Command, Pretext, p. 449; 57.
Instruction, Statement, p. 449; 58-71. Another olassification of the Verbsl
ltepresentation, pp. 449461; 72-73. The basic p. 451;
74-75. Regular Historionic Repl'Psentation, p. 451; 7677. Irregular
Historionic Rrprp3entation, p. 4tl 1; 78. definoo, p. 452 i 79.
Practice preferred to p. 452; 80. Representation of the
sensual perception, p. 452; In. t:)ollnd, p. 452; li2. 'fouch, p. 452 j
83. Form. p. 452; 84-85. and Smell, pp. 452-453; 86.
of the mind, p. 453; 87. The three aspects of the of the mind p.
453; 8889. The favourable mind, p. 353; 90. The unfavourable
mind, p. 453; 91-92. The indifferent mind, p. 45a; 93. 'l'he meaninll
of "personal", and the meaning of u(xternal", PIJ. 453-454; 94.95.
Desire, p. 454; 95-96. Love, p. 454; 9798. Erotio Affair, p. 4U l
89-100. Variou8 types of women, 1'. 454; 101-102. The woman of
divine PI'. 454-45&; 103104. 'fho WOIll:ln of Asura type, p. 455 ;
105-106. Tlte womar of Gandharva type, tJ.,41i1i; 107.108. The woman of
type, p. 465; 109-110. The woman of Naga type. p. 455 j lll-
111l. The woman of bird type, p. 456 j 113-1]4. The woman of Piaea
type, p. 456; 115-116. The w?man of type, p. 456; 117. The
woman of tiger type, p. 456 i 118-119. The human female, pp. 456-457 ;
120-121. The woman of monkey type, p. 459; 122-123. The woman of
elephant type, p. 457 j 124-125. The woman of deer type, p. 457; 126.
The woman of fish typt', p. 457 j 127-128. The woman of camel type, p.
457; 129. The woman of Makara type, p. 458; 13'0-131. The Woman of
ass type, p. 458 i 132-133. The woman of swine type, p. 488 i 134-135.
Thccwoman of horse tV[ll', p. 458; 136-137. The womlln of buffalo type,
p. 458 i 188-139. The woman of goat type, p. 458-459 j 140-141. The
woman of horse type, p. 459; 142-143. The woman cow type, p. 459 i 144-
147. Etiquette tbwards women, pp. 459; 147-149. Two elassess of Eti-
quette, p. 460, 141).150. King'A Etiquette t.owards women, p. 460 j 150-155,
The three classes of women i pp. 460-461; /56-159. The beginning of love,
p. 461 i 160162. Signs of love, p. 462 j 163-165. Signs of a court.e-
zan's low", p. 462 j 166-167. Signs of love in a highborn lady, p. 462 i
168. Signs of a maiden's love, p. 462 ; 169-171. Various stages of her love,
172-173. Longing, pp. 462-463. 174-175. Anxiety, p. 463 j 176-177. Reo-
collection, p. 463; 17 B-179. Enumeration of pp. 463-464 j 180-
181. Distrcss, p. 4M i 182-183. p. 464; 184-185. Insanity,
p. 464 i 186-187. Sickn('As, pp. 464-465; 188189. Stupor, p. 465 i 190
191. Death, p. 465 j 192. Manifestation of men's love, p. 465 i 193.
Characteristics of lo\'e, p. 465; 194-196. Women seperated from
the beloved one, pp. 465466; 197. Relief ill lovesickness, p. 466 ;
198-200. The ft'male M('8slmger, p. 466 j 201-207. The king's Etiquetfu
to women, pp. 466-467 i 208-209. for Conjugal Union. p. 467;
210-211. Eight of p. 267; 212. The Heroine dl'essrd
up for Union, p. 268 ; 214. The H<>roine having hrr in subjl>e-
tion, p. 268 i 215. The Heroine by quarrrl, p. 268 i 216.
The ruragOO Hrroinr, p. 268 i 217. Till' decrivrd Heroine, p. 268 i
218. The Heroine with a sojourning husband, 11P. 268269; 219.
The Heroine moving to her lover, p. 269 i 220. Reprrsentation of the
different Hcroincs, p. 469; 221-223. Enraged, deceived and quarreling
Heroincs, p. 469 i 223. The Heroine with a sojourning husband. p. 469;
224. The Heroine having a husband in subjection, p. 469 i 225. Different
classes of Heroine moving t.o thrir lov<>l'. p. 469; 226. The eourtezan, p.
470 i 227. The woman of high family, p. 470 ; 228. The hand-maid. p. 470 j
229232. How to IDl'l't II sleeping 10\'er, p. 470 i 233285. The Coojugal
Union, p. 470 i 236. Behaviour at the Conjugnl Union, p. 470 i 237239.
Preparation for the Oonjugal Union, li 471 ; 240-244. AetR prohibited on
the stage, p, 245-252. Tho Hrroinr in elCpectaney. p. 472;
XXXII
Personal OlDellS, pp. 478-474; 258. JIt'rointl's reception of the beloved,
p. 474; 259-264. Rl'C('iving the guilty lover, liP. 474-475; 264. Causes
of po 475; 265-266. Depression, p. 475; 267-268. Mixed FeelinlU
p. 475; 269-270. Disgust, pp. 475-476 ; Anger, p 476; 973-292.
On tmting R lover at fRuIt, pp. 476-478; 293-298. Aets forbidden on the
stage, pp. 478-479 ; 299-300. Endeal'ing (Cl'ms for thp. bt>loved p. 479 ;
301. Angry terlDS of addrf'Ss for the beloved, p. 479 ; 302-309. Endearing
terms of Rddress explained, pp. 479; 310-g19. Angry terms of address
explRined, pp. 480-481; 320-328. Goddesses in human roles, pp.481-482.
CHAPTER TWENTYFIVE
DEALINGS WITH COURTEZANS, Pages 483-492
.
1-2. The definition of a Gallant, p. 483 j 3-8. Qualities of a Gallant,
pp.483-484 j 9-10. The female Mess('nger, p. 484 j 11-12. Qualities of a
Messenger, p. 484 j 13-18. Fnnctions of thl' female Messenger, p. 485 ; 19.
The woman overcome with love, p. 485 ; 20-23. The attaehed woman, pp.
j 24-27. The hostile woman, p. 486; 28-29. Winning back of
women's heart, p. 486 i 3031. Causes of hostility, p. 486 j 32-35. Aots
winning women's henrt, pp. 486-487 ; 36. The three types of womnn, p.
487 j 37-39. The superiol' woman, p.487 i 40-41. The middling woman,
p. 487 i 42. The inferior woman, p. 487 j 48. Tho fonr stages of
woman's youth, p. 488 j 44. The primary youth, p. 488; 45. The
secondary youth, p. 488 j 46. The tertiary youth, p. 488; 47-48.
The quarternary youth, p. 488; 49. Behaviour in the primary youth,
p. 488 j 50. B!'haviour in the secondary youth, pp. 488-489; 51.
Behavioill' in the tertiary youth, p. 429; 52. Behaviour in thl' quarternary
youth, p, 489; 53-54. Fh'e typeH of msn, p. 489; 55. The excellent man,
p' 489 j 56-37. The superior mao, p. 4t:l9; 68-59. The middling man,
I
J
490; 60-61. The inferior man, p. 490 j 62-6;}, Thfl too old man, p. 490 ;
64-66. Psychological approach to womell, pp.490-491; 67. Coneiliatioll,
p.491 ; 68. Gift. 11. 491 j 69. Dissention, ChaRtisement, p. 491; '10-72.
Application of Conciliation, Gift etc. p. 491; 73. Readfug a woman's
heart from her behaviour, p. 491; 74-80, A courtezan's mercenary
treatment of men, p. 492.
CHAPTER 'l'WENTYSIX
SPECIAL REPRESENTATION', Pag<'8 493-510
. 1. Spooial Rcprf:scntatiOD, p. 493 ; 2-4. Day, nieht, season etc. 6.
Objects on the ground, p. 493 j 6. Moonlight, happiDCIIS aod air eta, p.
; 7. The sun, dust, smeke pte. 8. Midday aUD, p. 494. ; 9. P1<'A81Ult
objects, p. 494; 10. Sharp objr.ets p 494 II D and IUd fool'
p. 494 i Necklace and C:e p' 49;. '18 <'4
T1
11
Won f
, .. , lC ea 0 ea"'''''"I'
XXXIII
p. 494 ; 14. Andiblp. or visiblil p. 494 ; 15. Lighting, shooting
etc. p. 495; 16. Repugnant objects, p. 495; 17. Hot wind and heat etc.
po 495 ; 18. Lions, bears etc. p. 494 ; 19. Worshipping sllP<'xiors, P. 495 ;
2022. Numerals, p. 495; 23. Umbrellas, Banners etc, p. 496; 24. Memory
and meditation etc, p. 496 ; 25. Height, p. 496 ; 26. Past and Crssation
etc, p. 496; 27. The autumn, p. 496; 28-30. The early wintrx, pp. 496-
497; 31. The wintrr, p. 477; 32. The spring, p. 497; 33. The summrr,
p. 34. The rains, p. 497; 35. The rainy night, p. 497; 36-37.
Seasons in general, pp, 497-498; 38. The States, p. 498; 39-40. The
Def1rminants, p. 498 ; 41-44. Thr eonseqnents, pp. 49S-499 ; 45-46. General
, directions for rrpresentation, p. 499 ; 47. Mrn's and womrn's !'fi'orts, p.
, 499; 48. WOf\lcn's mevem!'nts of limb3, p. 499; 49. Meaning of words,
p. 499; 50-51. Joy, p. 499-500; 52. Anger, p. 500; 53-54. Jealous Anger of
women, p. 500; .55. Men's sorrow, p. 500; 56-57. Women's sorrow, p.
500; 58. Men's fear, p. 500; 5960. Womrn's frar, pp. 500-501; 61-64-
Women's intoxieated eondition, pp. 501 ; 65. Parrorts and p. SOL
66. Big bird9, p. 501; 67. Asses and Camrls, p. 501 ; 6S-70. Bhfltns and
p. 502; 70-71. GreJlting an invisible person, p. 502 ; 71-73.
Greeting gods superiors, p. M2; 73-74. Great crowd, and friends etc,
p. 502; 74-75. Mountains and tall trers, p. 502; 75-78 Wide rxpanse
of water, pp. 502-503; 7S-79. A house and darkness etc, p. 503; 79-S0.
IJovesick, eursed and possessed prrsons. p' SO-83. A swing; p 503;
S3-85. Speaking to thr sky, pp. 503-504; S5-S6. SP<'aking aside, Concealed
speaking, 1). 504; 87-S8. Private P!'rsonal address, Thinking withiu
oneself, p.504 ; 9091. Mrntioning oineid('nts that oeeured already, pp.
504-505; 9192. Representing Concraled spcakihg, p' 505; 92-94. &peti-
tion of words, p. 505; 94-9;'). Suspension of Representation, p. 505;
95-97. Observing proper Stat<'H, p. 505506; 979S. No movement ill
the state of sl('eping. p. 506; 9S99. Deelamatioll of a person in
sleep, p. 506; 99100. of old people. Children's words,
p. 506; 100-102. Dying declamation, p. 506; 102-103. Repr('scntation of
death, p. 507 j 103104. D('ath from diseasr, p. 507; 104-105. D<.>ath from
drinking poison, p. 507; 105-107. The right in dmth from poison,
p. 507; 107-10S. Weaknes.'1, p. 507; 10S109. Tremor, p. 507; 109110.
Burning sensation, p. 508 i 11,Oll1. Hieeough, p. 508; 111-1 2.
Froth in the mouth. p. 50S; 112113. Breaking of the neck, Paralysis,
p. 50S; 11S ll5. D('ath, pp. 50S 509 ; 115-118. GCll<'ral directions, p. 509 ;
118122. The triple basis of drama, p. 509; 123129. Prople supplying
,
norm to the drama, pp. 509510.
GHAPTER TWENTYSEVEN
SUCCESS IN DRAMATIC PRODUCTlON, Pages 511526
1. The Suocess in dramatic production, p. 511; 2. The two kindll
E
XXXIV.
of Success, p. 511; S. The human Success, p. 511 ; 4. The vocal Success,
p. 511 j 5-15. The physical Success, p. 511-513 j 16-17. The divine
Success, p. 513; 18-19. Three kinds of Blemishl'S, pp. lil3614; 20.
Blemishes from gods, p. 514; 21-28. Blemishes from an enemy, p, 514 j
23-27. Selfmade Blemishes, pp. 514-515 ; 28. Blemishes without remedy,
p. 515; 29-36, Palpable sourees of Blemishes, pp. 516-517; 37-39.
Three grades of Blemishes, p. 517 j 40. Wrong Benediction, p. 517;
41-43. Interpolation is a Blemish, pp. 517-518 j 44.4,7. Limitation of
human eft'orts in a play, pp. 518-519; 48-57. Spcetators of a performance,
pp. 519-520; 50. Various Class('s of spectators, p .. 520 ; 59-62. Dis-
position of dift'er('nt spcetators, p. 520; 62-70. Ass<'Ssors in a perfor-
mance, pp. 520-521 ; 7 J. Controversy about a Performanc<', p. 522;
72. Procedure in deciding controversies, p. 522; 73. RIlOording of Ble-
mishes, p. 522; 74-75. Ideal positiou of Assessors in 1\ performance p.
522; 76. BlemisheR to be ignored, pp. 522-523; 77-82. Procedure of
awarding the Ranol'.!', pp 523-524; 83-84. Co-ordination, p. 554 ; 8587.
Charm of limbs, p. 524; 88-97. Soitable tim<'8 for l)('rformanc(', p. 525;
98-99, Emergency performanc<'S are indl'lX'nd('nt of time, p. 526 j 100-101.
Qualities of an Actor, p. 526 j 102 An ideal performance, p. 526 j
103. Brilliane(' of Pageant, p. 526 j 104-105. The best l)('rformaucC',
p.526.
CHAPTER THIRTYPOUR
TYPE OF CHARACTERS, Pages 527-587
1. Three types of character in a drama, p. 527 ; 23. A 8llperiol'
male character, p. 527 ; 3-4. A middling male character, p. 527 j 5-7.
An inferior male character, p. 527 ; 8-10. A superior f('male character,
pp.527-528 j 11. A middling female character, p. 528; 12. An inferior
female character, p. 528 ; 13-14. A mixed character, p. 528 ; 16-20. Thl'
four types of the Hero, pp. 528-529 ; 2023. The four types of Heroines,
p. 529 ; 24-25. 'rhe two classes of employment for characte..rs, pp. 529530 i
2629. Female inmates of the harem, p. 530; 30-32.Tho chief queen, p. 530 ;
33-34. The other queens, p. 530; 35-86. High-born wivl'S, p. 531; 37-39.
Ordinary wivC!l, p. 531 i 40. Concubines, p 531; 4142. Women artistes,
Po 531 j 43-44. Actresses, pp. 531-532 j 44-48. Dane<>rs, p. 532 ; 4849. Maids
in constant attendance, p. 532 j 4951. Maids of special work, p. 532 ;
51-53. Maids in coostant move, pp. 532-583 ; 5354. Errllnd girls, p.
533 j 54-55. Mahattaris, p. 533 j 55-56. Pratihiiries, 533 ; 56.07.
Maidens, p. 533 j 57-58. Old dames, p. 538 j 58-60. Iyuktikiis, pp. 533-
534 j 61-64 . Qualities ,of women to be employed by the kin(. p. 534 ;
6'70. Other inmates of the harem, p. 584; 71. The p.
535 j 72. The Nirmul)9as, p. 535 j The KaiiCllkios, p. 585 j 76-77,
. . .
xxxv
l!:xternal perS08n, pp. 535-536; 78-82 The king, p. 536; 82-83. The
leader of the army, p. 586; 84-85. Councillors, pp. 536-537; 85-87.
J udies, p. 537 ; 8790. CourtierS', p. 537.
OHAPTER THIRTYFIVE
DISTRIBU1'ION OF ROLES, Pages 538-552
1. Distribution of Roles, p. 538 ; 2-4. General principles of dist-
ribution, p. 538 ; 5-6. The role of gods, p. 538; 7-8. The role of
Bas, the Danavas ete, pp. 538-539 ; 9-11, The role of kings, p; 539; 12-13.
The role of army leadprs and coulIcil\orH, p, 5a9 ; 14, TIll' role of the
Kancukin and the p, 539; 15-17, The role of minor charactl'rs,
p. 539-540 ; 19, 'rhe role of fatigued persons, The role of persons
without dis(',IIs(" pp, 440 j 19-21. f:ipeeial cases of assigning roles,
p, 540 ; 22-23. rolrs of characters with extra or special limbs, pp.
540-541 ; 24. The first entry of a charaeter. p. 541 ; 25-26. The result of
proper iml)('rsollation, p, ;)41; 27. The psyehological preparation for
impersonation, p. 541 ; 28. The three kindK of impersonation, p. 541; 29.
The natural impersonation, p. 541 ; 30, The unnatural impersonation, P.
541 j al-33. Imitative repres('ntatioll. p. 542 ; 33-36. Suitability of women
in sume roles, 542; 37. Training for wom('u in diiferl.'nt roles, p. 524;
38. Result of proper assignlUl'nt of roles, pp 542-543; 89-41. Result of
('mploying women for acting, p. 543; 42. The two types of dramatic
production, p. 543 ; 43-47. The delicate type of produetion, pp. 543-544;
48-53. TIJ(' violent type of production, pp. 544-545; 53-59. The typical
impersonation of a king; p 545; 59-62. Impersonation of the attendants
of p. 546 ; 62-68. The characteristics of a Director, pp. 546-5407;
69-71. The natural qualities of a Direetor, p. 547; 7172. Characteris-
ties of an Assistant to the Director, p. 547 j 72-73. Characteristics
of an Aetor, p. 547; 73-44. Characteristics of the Parasite. p. 547 ;
75. Characteristics of the Sama. pp. 547-548; 76. Characterjsties of the
Jester, p. 548; 77. Characteristics of the servant, p. 548 j 78-81. Charae-
teristics of the courtezen, p. 548; 81-83, Characteristics of the typieal
Heroine, p. 548; 83-85. Womt'n disqualified to be Heroines, p. 549;
85-89. of the typical theatrical party. p. 549; 89-91. Charac-
teristics of the Jester, pp. 549-550; 91-92. Characterists of the master
musician, p. 550; 92-93. Meaninlt of the word Nat;a, p. 550; 93-95.
&nediction defined. p. 550 ; 96-97. Characteristics of the playwl'ight, p.
551 ; 97-98. Characteristics of the Actor. p. 551; 98-99. Characteristics
of the actn>as, p, 661; 99-100. The maker of headgears, p. 551; 100-101.
The maker of ornaments. p. 551 : 101-102. The maker of garlands, the
costumer, the painter and the dyer, P. 551 ; 103-1040. The Craftsmen, the
P, 5511; 10+-135. The. other members of the party, p. 552.
XXXVI
CHAPTER THIRTYBIX
THE DESCENT DRAMA ON 'rHE EARTH, Pages 558661
19. Saies question, pp. 5585540; 10. Bharata's reply, pp. 5540; 1128.
The Preliminaries and their uses, pp. 5540555 ; i40-26. The ablution of the
Direetor on the s1:.aie, p. 555; 2729. Bharata's SODS otl'ended tho sages by
carieaturo, p. 556; 8036. The sages curse Bharata's 80ns. pp, 556557:
3'138. Gods iutercede in favour of Bharata's SODS, p. 557; 89400. Bharata's
Bons approach their father, p. 557 ; 40145. Bharata pacifies them, pp, 557
558; 46-49. invites divine artistes to the earth, p. :;58;
5051. Gods rdeet the request, p. 558; 52-53. approaehps Bharata,
p. 559 ; 54057. Urva:li and the mundane drama. p. 559 j &8-61. Bharata
grants the requ('st and sends his to the earth, pp. 659-560; 62-63.
Kohala is the successor of Bharata, p. 560 j 6568, llhalolte's sons comr.
down to the rarth, p. 560 j 6270, Kohala und his p. 560 j
71-73 Value of the Natya.4iistra, p. 561; 74-77. Value of the dramatic
show, and the final Brnroietjon, p. 561.
ADDITIONS AND CORRECTIONS p. 562
INTRODUCTION
I. The Present Work
1. GeDerai 'Hlstory of the Study
Since the . West came to know of the Sanskrit literature through
William Jones's translation of the Sakuntali I, the nature and origin of the
ancient Indian theatre have always interested scholars, especially the
Sanskritists, allover the world. H. II. Wilson who published in 1826 the
first volume of his famous work on the subject! deplored that the Nitya-
sa:tra, mentioned and quoted in several commentaries and other works,
had been lost for ever a . F. Hall who published in 1865 his edition of the
Daaarupa', a djedieval work on tho Hindu dramaturgy, did not Bee any Ms.
of the Niityaaastra till hiB work had greatly advanced'. And for the time
being he printeft the relevant chapters of the as an appendix to
his Da.4arilpa. Later on he undertook to critically edit the Ms. of the
Nitya.4istra he acquired; but this venture was subsequently given up,
due' perhaps to an insufficiency of materials which consisted of one unique
Ms. full of numerous laCtmae.
6
But even if the work could not be brought
out by Hall, his very important discovery soon hel ped others to trace similar
Mss. elsewhere. And in 1874 Heymann, a German scholar, published on
the basis of Mss. discovered up till that date a valuable article
7
on the
contents of the This seems to have been instrumental
in attracting competent scholars to the study of this very important
ten. The French Sanskritist P. Regnaud published in 1880 chapter
XVII! and in 1884 chapter XV (in part) aud the chapter XVP of the
This was I!OOn followed by his publication of chapters VI
and VII in 1884.
10
And J. Grosset another French scholar and a pupil
of Regnaud, published later on (in 1888) chapter XXVIII I. of the
aastra which treated of the general theory of Hindu music.
I Sacontala. or Lbo Fatal Ring. Translated from Lba original Sanskrit and
Praorita, Caloutta 1789.
I H. H. Wilson, Solect Specimens of Lbo Theatre of the Hindus (3 vols),
Oalcutta. 1826-1827. Wilson, p. 37. Grosset, Introduction, p. iii
1'he D88arllpa by Dhananjllya (Bibliotlleca !lutical, Oalcutta, 18611865.
Groaaet, Introduction, v. iij. See note o above.
, Ueber Bbarata's Natyl\8astram III Naohrlchten von der Koeniglischan
der Wiasenachaften, Goetingen 1874, pp. 86 8'. Ref. Grosset, Introduction
p xdD. pp 2a.
I I.e dix*ptieme ohapitre du BharatiyanalYl\s Istra. Annales du 1IIU8te
Guimet I Tome, 1. 11180, pp. B5 8'.
I La metrique de Bharata, texte Sanserit de deux chapitres du N alya,astra
publio pour premier foie et suivi d'l1na, inwrpretation francaise, Annales duo Husea
Guimet, Tome, 1[, 1886, pp. 6Ii lr. 10 Rhetoriqua sau80rite, Paris, 1814.
t 1 O:>ntrlbution a I'etade de lIlusique hindoa, Lyons, 1888.
But the dift'erent chapters of the work and studies on them, WhICh
were published up till 1888, though very helpful f01 the understanding of
some aspects of the ancient Indian dramatic works cannot be said to have
thrown any considerable light on the exact nature of the ancient Hindu
plays, especially the manner of their production on the stage. Sylvain
Uvi's Theatre indillll (1890) in which he diseuBSed comprehensively
the eontribution of his predeeessors in the field and added to it greatly
by his own researches, made unfortllnately no great progress in this
specific direction. Though he had aecess to three more or less compl$
Mas. of the Levi does not seem to have made any
attempt to make a elose study of the entire work except its chapters
XVII-XX (XVIII-XXII of our text) and XXXIV. The,reason for his
relative inditrerence to the contents of the major portion (nesrly nine-tenths)
of the work, seem to be principally the corrupt nature of his Ms. materials,
Like his predeeessorB, Levi paid greater attention to the study of the
literary form of the ancient Hindu plays with the that he utilised
for the first time the relevant chapters of the to
the aeeuraey of the of later writers on the subject like
Dhanaiiiaya
13
and who professed their dependence on the
But whatever may be the drawback of Levi's magnificient
work, it did an e'l:cellcnt service to the history of ancient Indian
dl'llm& by focll!8ing the attention of scholars on the great importance of
the Almost simultaneously two Sanskritists in India as
well as one in the West were Ilianning its publication. In 1894 Pandits
Shivadatta and Kashillath Pandurang Parab published from Bombay the
ofilinal Sanskrit txlxt of the work.
1
j This was followed ill 1898 by
J. Gl'OIIfIet'sl e critical edition of its chapters I-XIV baaed on all the
Ma available up till that date.
Though nearly half a century has passed after tho publication of
Grosset's incomplete edi tion of the Niityasastra, it still relUains oDe of the
best specimens of modern Western sel;olarship, and though in the lia:ht of
the new maU!rials available, it is possible now-a-days to improve upon his
readings in a few places, Grosset's work will lIurely remain for a long
time a landmark io the history of the study of this important text. It is
a pity that this very excellent work remains unfinished. But a fset
equany deplorable is that it failed to attrset sufficient attention of scholars
U Ohaptarl xvn.xx. (XVlUxx.U of our text ).
" The I1lUlor of the Dasarupa. See aboYe note 4.
I. rllt thor ql the Sahityadarpena. below.
.. sa JlMla&amWli-pl&IJiWB, N4lyulltram, ( K"..,alluUlI, 42 ) Doabay, 1894.
.. dll BlwaLa'lll 10 Theatru. Toxte sanllClit, Edition critiftllt'l, Tome
1. I. (Alt1I4lcs lie f Univerdite de LIIOIU, "'&110. 40,1898)
. . .
interested in the subieot.. Incomplete though it was, it nevertheless'
contained a good portion of the rules regarding tile presentation of plays ou
the and included valuable data on the origin and nature of the
aneient Indian drama, but no one seems to have subjected it to the
searching study it deserved. Whoever wrote on Hindu plays after Levi
depended more on his work than on the Nafyuastra itself, even when
this was available (at least in a substantial part) in a critical edition. It
may very legitimately be assumed that the reasons which conspired to
render the Niityuastra rather unattractive included among other things,
the difficulty of this text which was not yet illuminated by a commentary

Discovery in the early years of the present century of a major por-
tion of a commentary of the Niifya.4iistra by the Kashmirian Abhinava-
gupta 11 seemeil to give, however, a now impetus to the study of the
work. And it appeared for the time being that the NiitYaSastra would
yield more secrlts treasured in the body of difficult text: But the first
'volume of the edition of the work (ch. I-VII)I B including Abhi-
nava's commentary, disillusioned the expectant scholars. Apart from
the question of the merit of this commentary and its relation to the
available versions of the NiityaAiistra, it suffered from a very faulty trans-
mission of the text. Not only did it contain numerous lacunae, but quite
a of ita were not liable to any definito interpretation due
to their obviously vitiated naturr. Of this latter condition the learned
rditor of the says, 'thr originals are so incorrect that a
Hcholar friend of mine is probably justified in saying that even if Abhi-
navagupta desc(mdt'd from the Heaven and seen the Mas. he would not
easily restore his original reading. It is in fact an impenetrable jungle
through which a rough path now has been traced', The textual condition
of Abhinava's commentary on chapters VIII-XVllI (VIII-XX of 0111'
text) published in 1934
19
was not appreciably better.
But whatever lllay bo the real value of the commentary, the two
volumes of the published from Baroda, which were avowedly
to aive the text supposed to have been taken by Abhinava as the basis of
his work, presented also considerable new and valuable materials in the
shape of variant readinlts collated from numerous Mss. of the text as well
as from the commentary. These sometimes throw new light on the con-
tents of NalyMiistl'a. A study of these together with a new and more or
" Dr. S. K. Do sooms to be the IIrst in announcing the existence of a more or
:Iess complete Ms, of Abhinava's commentary, and in recommending its publication.
r
Skt, Poetics, Vol I. pp. 120-121.
11 Nalyasastra with tho commentary of Abhinavagupta. Edited with a preface,
ppendix and Index. by Ramakrishna Kavi. Vol I, Baroda ,
.. Natyasastra with the commentary' 01 Abhinavagnpta. Edi&ed with 11\
ntroduction and by M. Ramakrishna Klvi. Vol. n, Baroda, 1934.
XL
181lS complete (though uncritical) teu of the \fork Jlublished from Benares
in 1929
10
would, it is hoped, be considered a desideratum by persons
interested in the ancient Indian drama. The present work has been the
result of such a study, and in it has been given for the first time a Com"'
plete annotated translation of the major portion of the based
on a text reconstrueted by the author. I I
2. The Balic Text
The text of tIle Niityasastra as we have seen is not available in a
complete critical edition, a;ld Joanny Grosset's text (Paris-Lyons, 1898)
does not go beyond ch. XIV. Henoe the translator had to prepare a cri-
tical edition of the remaining chapters before taking up the translation. t I
For this he depended prineipidly upon Ramakrishna Lvi's incomplete
edition (Baroda, 1926, 1934) running up to ch. XVilI (our XX) and
including Abhinava's commentary, as well as the Nirnayasagar and
Chowkhamba editions (the first, Bombay 1894. and the seeond, Benarcs,
As the text of the has bC<'n available in two distinct
recensions, selection of readings involved some difficulty. After the most
careful eonsideration, the translator has thought it prudent to adopt
readings from both the recensions, whenever such was felt necessary from
the context or for the sake of eoherence, and these have been mentioned
in the footnotes. But no serious objection may be made against this
rather unorthodox procedure, for A. A. Maedonell in his eritical text of
the Brhaddevatii (Cambridge, Mass. 1904) has actually worked in this
manner, and .T. Grosset too in his edition1doCR not give unqualified pre-
ference to any raeension and eonfesses that due to eonditions peculiar to
the Natyasastra his text has lun earaetere largement celectique' (lntrodue-
tion, p. nv) and he fUl,ther says Inous n'svions pas I'ambition ehimerique
de tendre a la reconstitution' dll Bharata pri",ilij ...... (Ioc. cit.). Condi-
tions do not seem to have ehaged mueh since then.
so Sri-Bbarltmuni-pranitam Nutuyasastram. (KtUki-Sall8kril &rier', Banare&,
1929.
'I This edition will be published later on. The following chapters of the N S. have
been translated into French: ch XIV and XV ( our XV aDd XVI) VlI!Jabhinaya by
P. Begnaud in his Mttrique du Bharata: see Dote 8 above. tho XVII ( our XVIII )
llluavidhana by ,Luigia Nitti-Doloi in her Lea Grammalrlens Prllkrit. This hu been
partially I. 1-24 J tl'llllsl.ted into English by the present writer in his Date of the Bbarata-
Naty88aBrra, See JDL, 1980, pp. 73. Chllpter XXVIlI by J. Grosset III hi' Qm&rlbUtiOD
a l' etude de la muslqlle hindou; see note 10 above. Besidee these, ch, XXVUI by B.
BreoIer in his Grund-eJemente der alt-indisohen MUlik nach dem Bhamiya-nalya-
,astra. Bonn. 1922, and ch.lV by B. V. N. Naidu, P. S. Naldnaod O. V. R. PaMlu in
the Tandllvalalrsanam, Madras, 1936 and chapters I-[[I translated into Bengali by
the late I'andlt Bhattacharyjta in tho V 88nmatl, 1362 B 8.
XLI
. Translation
'fhough the translation has been made literal 88 far as possible exoept
that the stook words and phr8ses introdueed to fill up ineomplete lines
have been mostly omitted, it has been found nceessary to add a number of
of explanatory words [enelosed in reetangular braekets] in order to bring
ont properly the exaet meaning of the condensed Sanskrit original.
'fechnieal terms have often bc('n r<,pcated (within curved brackets) in
the translation in their basie form. espeeially where they are explained
01' defined. In eases where the teehnical terms eould not be literally ren-
der&! into English they were treated in two different ways: (1) they were
given in romanised form with initial capital letters e.g. Bhiil}a and Vithi
(XX. 107-108, 112-113), Nyiiya (XXII. 17-18) ete. - (2) Words given as
translation have been adopted with a view to indioating as far as possible
the exaot signioanoe of the original, e.g. State (6kiiva) Sentiment (rasa),
VI. 33-34. Diseovery (prop/i), Persuasion (siddki), Parallelism (udaka-
ra'Y!4) (XVII. 1), Prominnnt Point (6indu), Plot (vastu) (XX.15) ete :
Lest these should be taken in their usual English sense they are distin-
guished by initial oapital letters. Constantly occuring optative verbal
forms have been mostly ignored. Sueh verbs as kuryii/ and bkavct etc,
have frequently been rendered by simple 'is' or a similar indicative form.
And nouns used in singular number for the sake of metre have been silently
rendered by those in plural number and vtee '/Jersa, when such was con-
Hidered neeessary from the eon text.
4. Noles 10 the Traslalion
Notes adiled to this volumes fall generally into three categories.
(a) Te:d-crt'l.eal. As the basic text is not going to be pnblisheil imme-
diately, it has boon considered neoessary to recoril variant readings.
For obviollS reasons variants which in the author's opinion are less
important have not been generally recorded. (b) Explanatory. These
include among other thiDgs references to dilferent works on allied
subieots and occasional short extracts from the same. Abhinavagnpta's
commentary naturally occupies a prominent plaeo among sueh works, and
it has very often been quoted and referred to. But this does not mean
that the worth of this work should be unduly I (c) Materials
for Study. A very old text like the Niityasiistra not
illuminated by anything like a complete and lucid commentary, should
naturally 'be studied in comparison with works treating similar topies
directly Or indireotly. Henee such materials have been carefully collated
as far as the resources at ille author's disposal permitted.
1. See H. Ghosh, "Tho NS. and tho Abhinavllbharati" in IRQ vol. X.1934,

:r
Bot even when supplied with theBe bOtes, readers of this trallelation
may have some ditlieulty in reeonetructinr from the work written in
., tl.iIiHe JJMODIJI' tDe picture of tOe 8OciIJIJ/ J.ot1i8J1 drllOJll OJ ita theAtrical
.. well.. literary form. IJ8 it eziaeed iQ tlIe nOllrJ' 8J1tiquily. 2'b PF'e
them some help the theory and practice of the ancient Hindu drama has
been briefly dieeussed below together with other relevant mattera.
II, Tile Ancient Indian Tlleory of Drama
"
1. The Meaning of Natya
The word "Natya" has often been translated as (drama' and the
plays of ancient India have indeed some points of similarity with those of
the Greeks. But on a closer examination of the wchnt-que of their pro-
duction as described in the Natyaastra, th e Hindu dramas represented by
the available specimens, will appear to be considerably dift'erent. Unless
this important fact is borne in mind any discussion on the subiect is liable
to create a wrong impression. As early as 1890 Sylvain Levi (pp. 423-424)
noticed that Indian Niitya d ift'ered from the Greek drama from which
the Westerners derived their early conception of the art. Though it is
Dot possible to agree with Levi on ail points about the various a9pects
of this difference and the causes which he attributed to them, no one
can possibly have any serious obiection against his finding that, "La
"atakQ par se nature autant que par son nom se rapproache de,la dance
eeenique; Ie drame est l'aetion meme" (loc. cil). Levi however did not
for reasons stated above fuily utilize in this connection the
which contains ample materials for clarifying his conclusion.
The essential nature of the (Nitya) derived from its etymology
cannot by any means be called fanciful. For in the (c. 200 A.C)
we meet with an erpression like na!akQ'!I (they danced a play) and
the Karpilrarnnlijari
2
(e. 1000 A. C.) has an expression like SQ{(aa"!'l
naccitia-o'UQ"!'I (a Sattaka is to be daneed or acted).
The terms like ruprma or rupa (repl'eflentation) and (specta-
ele), all denoting dramatic works, aleo charaeterise the Hindu dramas
and show their dift'erenee from the drama of the Greeks who laid
emphasis on action and not on the spectacle, Of the six parts of the
tragedy, the most typical of the Greek dramatic productions, Aristotle
puts emphasis on the fable or the plot and considers decoration to be un-
important. On th,iIl point the philosopher says :
"Terror and pity may be raised by decoration-the mere speetaele; but
they may also arise from the circumstanec of the action itself, which is far
I VillnuPRrf-'l, Oh. 93. 131. 28, ,Eel. H. ()hOlh, p. 80.
I nnt

and shows a superiOr poet, For the fable should be 80 oo*uo-

. that without the assistanoe of the sight its incidents may excite horror
tl COmmiS881'1JtioD in those who hear them only;
. But to produ(,"e Mis efl'ect by m8lJJ18 of the decoratioD discoJl'OI11 WIlDt of
art in the poet; who must also be supplied with an erpensive apparatus"
(II. XIIT).8
But in ease of the Hindu dramas the decoration G. e. the costumes
and make-up) mostly plays an important part. Equally with five other
elements suoh as gestures and postures (ailgika), words (vacika), the
repfescutation of the Temperament (sativa), it gives the its oharac-
teristie form. But in the theatre of the Greeks, it was not the ease. In the
. performance of the tragedies, for example, they did not care much for the
spccteale, if the declamation was properly made. For Aristotle himself says
that, (the pOWEl' of tragedy is felt without representation and aotors"
(II. Ill).'
Another peouliarity of the Hindu dramas was their gener'll dependence
on dance (nrtya), song (rita), and instrumental musie (vadya). Though
the chorus of the Greek tragedy introduced in it some sort of dance and
songs, the function of these elements seem to have been oonsiderably dilfer-
cnt ill the Hindu drama. The anoient Indian play was produced throu!lh
words, gestures, postures, costumes, make-up, songs and dances of actorl,
and the instrumental music was played during the performance whenever
necessary. But these dilferent elements did not play an equal part in all the
plays or dilferent types of play. Aeeording as the emphasis was to be put
on words, music, or dance, a play or its individual part partook of the
nature of what the moderns would call 'drama', 'opera', 'ballet' or 'dramatic
Due to this nature the Hindu dramas which OOl1l1ooted them-
selves in many ways with sonil dance and instrumental music, had a literary
form whioh was to some extent different from that of the ancient Greeks.
But it was not so much dne to this literary form as to the technique of
theil' production on the stage that the Hindu dramas received their special
character.
After formine; a general idea of this Natya, frOIll the various terms
used to denote it, one should enquire what' the ancient Indian theorists
exactly meant by the term (Natya) or what they reaarded as being the
t:\Yenee of the art as to the arts of poetry, fiction or pain-
ting. To satiefy, our curiosity on this point the !lives us the
following passage whieh may pass for a definition of the
"A mimiory of the exploits of gods, the Asuras, kings as well as of
householders in this world. is ealled drama" (1. ISO).
Poetics (Everyman. Library l, p. 27. Ibid. p. 17.
D. Wi1aon, On the S)8tem of the Hindu., Caloutta, 1827, Jll'.l6,20.
This description BOOms to fall in a line with Cieero's view that "drama
is a eopy of life, a mirror of eustom, a refleetion of truth". In this Btaw-
ment Cicero evidently takes his eue from :Aristotle who eonsidered that the
art in general eonsisted of imitation (1m'mesis). But this does not help us
very mueh to 8seertain the nature of drama as an example of 'imitation'.
For the Greek philosopher nowhere defines this very essentially important
term. So when he deelares that "epie poetry, tragedy, eomedy, dythrambics
as also for the most part the music of the flute and of the lyre all these are
in the most general view of them imitations"8, one ean at best guess how
drama imitates. There seems to be no sueh diffieulty about understanding
the view of thl1 Hindu theorists. The NiityaS8stra lays down very elaborate
rules as to how the drama is to make mimicry of the exploi.ts of men and
their divine or semi-divine eounterparts. It is due to rule!! of repres<'nta-
tion that the Hindu drama has be<>n cal led by the later 'a poem to
be seen' (SD. 270-271). By this term epic or narrative poetry and fiction
ete. are at once distinguished from drama which is preminently a speetacle
including a mimicry of activities of mortals, gods or demigods. It may
now be asked what exactly was m"ant by the word mimicry (anukaray)a)
used by the Indian theorists. Did this mean a pOlfect reproduction of the
reality? For an answer to this qU0stion we arc to look into the eon-
ventions of the Hindu drama ..
2. The Dramalic Convenlions
That the Hindu theorists turned their attention very early to the
problem of dramatic representation and ('nquired about the elCact placo of
realism or its absence in connection with the production of a play, is to be
seen elearly from their very sensible division of the technical praetice into
"realistic" (lokadlzarami, lit. popular) and "con\'entional"
lit. theatrical". By the realistic practice, the (XIV. 62-76 j
XXIII. 187-188) means the reproduction of the natural behaviour of men
and women the stage as well 8S the eases of other natural presentation.
But fro!ll the very elaborate treatment of the various conventions regarding
the use of dance, songs, gestures and speeches etc. by diiferent characters
it is obvious that the tradition of the ancient Hindu theatre recognised very
early the simple truth that the real art to deserve the name, is bound to
allow to itself a certain degree of artificiality whieh receives its reeognition
through many conventions. One very patent example of this conventional
practice on the staKe, is speeches uttered 'aside' or as soliloquy. The
advocates of extreme realism may find fault with these as unnatural, and
the accusation cannot be denied, but on eloser examination of circumstances
connected with the construction of a vlay as well I1S its production on the
sta&e, it will be found that if the speetators are to demand realism very
, r.ue., p. rr
XLV
rigidly then nO theatrioal performence of any value, may be possible.
Neither the Hindus nor the Greeks ran after this kind of absurdity. Critics
of ancient Indian dramas will do well to remember this and to take care
to understand the seope and necessity of various conventions relating to
the production, so that they may better appreciate the art of great
play-wrights like Bhisa. Kilidisa, Sildrska and
3. Time and place in Drama
Hindu playwrights, unlike the maiority of Greek tragedians, did
never make any attempt to restrict the fictional action to a length of time
rol.!lhly 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 singlc day, and nothing eould be put in therc to interrupt
the routine d'lties 8uch as saying prayers or taking meals (XX 23), and
the lapse of time between two Acts, which might be a month or a year (but
never more than a year)1 was to be indicated by an Introductory Scene
(prafJ8stlka) preceding the last one (XX. 27-28).
Similarly there was almost no restriction about the locality to which
individual Actors, and gods in their human roles were to be assigned.
except that the human characters were always to be placed in Indhl i.e.
Bhiirata (XX. 97).
4. The Unity of Impression
In spite of having no rules restricting the time and place relating to
different incidents included in the plot of a drama, the playwright had to be
careful about the unity of impression which it was calculated to produce.
}i'or this purpose the NitYaSiistra seems to have the following devices:
The Ger m (lJija) of the playas wcll as its Prominent Point (bi1ldu)
was always to relate to every Act of the play and the Hero was sometimes
to appear in every Aot or to be mentioned there (XX, 15, 30).
An Aot was not to present too many incidents (XX.24), and such
subsidiary events as might affect the unity of impression on their being
directly presented, were merely to be rl'llOrted in an Introductory Scene.
Besides this, short Explanatory Scenes were sometimes put in before au
Act to clarify the events oeeuring in it (XXI). lOG-Ill. All these, not only
helped the play to produce an unity of impression but also imparted to its
plot a rapidity of movement whioh is essential for any kind of successful
dramatic presentation,
5. Criticism of Drama
Indians from very early time3 considered plays to be essentially
'speetaele' 01' 'thinis' to be visualised; heuce persons tltWlldiug
, Bhanbbuli boweTet notates the rule in his Uttara. in many
pall between Act. I and II.
XLVI
the perforlllllDc!' of a play were always refei'l'oo to (XXVII. 8Il
'spectators' or 'observers' aud nOVt'r lIS alldirDcr although
there was IIlwllYS the speech element in it) which Will! a t hinll to be bt>ard.
This disposes of the question of judging the valli/) of a drama rxcept in
connection with its production on the stage This importancr. of thr
representational RSJl('et of a play hill! possibly behind it an
Though in historical tillll'S we lind written prodtl<'tod on the stag!!,
this was probably not the case in very parly times, lint! the dialol!lIt'S
which contribute an important part of tlll1 dralUa weI'" oftt'lI impro-
vised on the stag!' by the actors, :Iud this prnctice srems to
continued in certain of folk-plays till tht' late m('!Iieval timps
1
".
Hence the drama naturally contintll'<i to be looktd UP' 'Il' by as
spectacles oven after great playwright creators likf'
Siidraka, and Bhavabhnti had wl'ittn thrir drama,.: wllieh in of
their traditional f01'1II wpre litt'rary
Now, bring thing.; to 1)(' tlwir judg,'m"nt
;.;hould PI'Opprly ]"("t with tit .. f'allr,d 11(1011 to them. This
not only tho lIucient Hindll vitw, (>\'('n tll(> lI\od(>l'Il ill
of tlt,ir enlisting service of prof''>l:olion!ll (dl'lIlIIatic) ('ritics, dl'ppnd
actually 011 the opinioll of the commoll pt'''pll1 who att,'ud tht'ir
performance.
Th,' judgf'nwnt of tli.. drama which is to d('pcnd on hilS
becn clearly in thl' thpory of the :';nccr':;s discu'l8rd ill tho NiitY!l<
Mi8tra (XXVI!). In this ("ollnl'ctioll 0110 mll,t rrlllcrnbrr tltr medley of
persons who \I.;lIally a!'isemblp to a dramatic JlPrformanee and what
varying tast's !lnd inclinations they 1"01', this may giVt' liS
some guidallcn M to what vahlll 00 Pllt 011 thrir iudg('m!'nt which
apl)(,aI' to have no chance of unity. In laying down tht' characteristics of a
drama th. has the fOllowing: "This (the Niitya) tl':lchcs duty to
those bent on doing tlH'ir duty, to who IIrc ('ager for ill!
fulfilmpnt, alld it clta,ti:;ro;; tho:i" who arc illiJrl'lld. or unruly, promoteR self-
r('Straint in tho;c who arc gives conrllgll to eowal'da, energy
to hrrlJie !'nlightr'IIS men of poor int{>lIpct and gives wiMdom to the
Irarncd. This givr'8 to kings, firmn!'ss [of mind] to'pcrsons atBictcd
with sorrow, and [hints of acquiring] wealth to thoS(! who are for earning
it, and it brings to agitated in mind.. Tho drama III! I
. l'reki;a 0c:curdog in N S. III. 9(J. Booms to bo the same as 'pekkb,l mentioned
10 Pall Seo Ll)vi. II. p. fJ4. Wi I r', V 1 I 101 1""
'0 Th K k' 0 8111 Z, 0 .. pp. "".
, e .'.81la lrtnuR, 1\ r-OUcctioll of Middle Bongali Bongs on K,,/Ja aDd
8 10ve-aUallS, to bave been tbe musical framework of a drama. We II"
ID our boyhood that oItempori!!Cd diBloguOil were B feature oj the old type
/longalJ Y NaH. The'lO have totally d' od
. IHappear now under tho in8uonee oj modern
theatre depend on thoroughly written
nvn
have dnvised, if! a mimicry ot actiOM and eonductR of people, which is rich
in various emotioDll and which dilfereut situations. This will relate
to actions of men good, bad and indifferent, and will give courage, amuse-
ment and happiness as well as to them all" 0.108-112).
It lJIay be objected against thr foregoing paRRage that no one play can
pOAAibly pleaAe all tho different typeH eyf people. Bnt .. to take this view of
a dramatic performance, is to deny i.tA principal charaoter as a Aocial
amusement. For, the love of spectacle is inherent ill all normal people and
this being so, everyone will enjoy a play whatever be itA theme, unless it
iR'to contain anything which is anti-social in chal'lteter. Tho remarks of
the author of the quoted above on the varied profits the specta.
tors will reap from witnessing a performauce, shows in what diverse
ways ditferent "types of plays have thrir special appeal to the multitu-
dinous spectators. And his very detailrd treatment of this point, is for the
sake of suggesting what various aspects a drama or performance may
have for the Rpoctators. This manysidedness of an ideal drama has been
very aptly summed up by Kiilidiisa who says, "The drama, is to provide
satisfaction in one [place] to peopln who may differ a great deal as regards
their tastes" (Miilavi. 1.4). It is by way of the tastes of such
perHons of different catl'gory that the NatyaMistra says:
"Young people are pleased to [the presentation of] love, the
learned a reference to 80mr [religious or philosophical] doctrine, the seekers
after money topics of wealth, and the passionless in topics of
Heroic persons arc always pleased in the Odious and the Terrible
Sentiments, personal combats and battles, and th./l old people in PuraJ.lic
legends, and tales of virtue. And common women, children and un('ultureu
persons are always delighted with thr Comic S<>ntiment and remarkable
CostumCi! and Milke-up" (XXV. 59-61).
These varying tast(\<J of individual spectators were taken into consi-
deration by the author of the whC'll he formulatrd his theory of
the Success. The Success in dramatic prrformance was in his opinion of two
kinds, divine (dat'fJiki) and human (XXVII. 2). Of these two,
the divine Success seems to be relatOO to the deeper asprcts of a play and
came from spectators of a superior order i.c. persons possl1Ssed of cultlll'e
and education (XXVII. 16-17), and the human Success related to its
superficial aspects and came from the average spc('tators who were ordinary
human beings. It is from these iattl'r, who arc liable to give expression to
their enjoymmt or disapproval in the clearl1St and the most energetic
'manner, that tumultuous applause and similar other acts proceeded
(XXVII. 3, 8-18, 13-14), while the spectators of the superior order gave
,

apprl'eiation of the deeper and the more subtle aspects of It play

. XXVII, 5, 6, 12, 16-17). During the medieval times the approval of the
pootators of the latter kind .came to be considered appreciation par
. -
XLVIII
"ce/lence and prooeeupied the rrperfs or lrarnoo crities. ThO}' analYH(I(}
its process in o\'<'ry detail with the Rreatest po!l8ible care ill their zealouH
adherenoe of Bharata's theory of Senti,ment (rasa) built upon what
may bo eallcd a psychological basis.
But in spite of this lat('J' devolol)ment of thill aspect of dramatic ('ri-
tieism it nrver becmno tho pr(,lK'r\'1' of or Critiel! nrV<'1'
forgot that the uralUlI a sooial 8111usmont and 88 d<'pl'lI-
ded a gr eat for ita !\UCcess on the average sPfctator, Evrn the Niitya-
mor(l than once very el(larly !!lIid that til(' ultimate eourt of apP<'al
concerning t1l<' dl'amatic practice was tho poopln (XX. 1:atH26). a
fixed 81't of rules. be it of the Niityavooa or th!1 Nii!yaMstra was nevI'\'
considered ('IIough for r<'gulating th(' criticism of a performanoe. This
!'<'t'ms to br the r<'ason why spooial appointed to judge thl'
dHferl'nt kinds of setion oCNlrring in a play (XXVl. 6&.69), decidrd in
oo-op<'ration with the Rpt'Ctators. who among the contestants d<'S('rv('(\
to be r('warded.
6. The Four Aspeds of Drama.
Though the Hindu plllYs are usually referroo to as 'drama' all the ten
yarieties of play (ntla) df'scribed in thr. are not Rtrictly Bpeak
ing dramas in m!Xi<-rn 8mse. Dut' to the peouliar tA'Chlliquo of their
construction and production thl'Y would partially Ilt least partako of the
nature of pure drama, opera, ballet or merely dramatic 8(X'CtaelO. To under-
stand this technique one must have knowledge of the Sty\<'8 (111;111) of dra
matic production deseribrd in the (XXII). These being four
in numbl'r arc as follows: the Verbal (Mara Ii), the Grand tho
Energetic (araMati) and the Graceful (kaigt'ki). The theatrical llr<'JlCnta-
tinn which is characterised by a Ilrl'pondcrating use of speech (in Skt.) and
in whioh male character!! arn excusi\'e)y to be employed, if! said to be in the
Verbal Style (XXII. 25fl'.). This is applicable mainly in the evocation of the
Pathetic and the :Morvellous Sentim('nts. The presentation whioh depend'!
for itl! efl'ect on various gestures and specche!!, display of Ijtrength as well as
acts showing the rise of tho spirita. is considered to be in tho Grand Style
(XXII. 38 if). This is applicable to the Heroio, the Marvellous and the
Furious Sentiments. The Style which includes the prORCntation of a bold
person spcakinll many practising deception, falsehood and brargiDl
and of fallinlZ dowa, jumping, crossing over. doing deeds of magic and
coniuration ete. is called the Energetic one. This is applicablo to tho Terri-
ble, the Odious and the SentilUents (XXII. Doll). The presenta-
tion which is specially interesting on account of charminK costumes worn
mostly by female characters and in whioh many kinds of danoing and sing-
ing are included, and the theme3 aoted tho \)raeticc of love and its
XLJX
enjoyment, is sai d 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 applici\tion. On analY3ing the description of different types of play
given in tho it will be found that the Nataka, the Prakarana.
the Samavakara and the Jhamrga may ineludp. all the Styles in their
tation, wil ile the J)ima, the Vyayoga, the Prahasana, the the
Bhiil.la anll tho Vithi, only some of these (XX. 88, 96). Hence one may call
iot. question the soundnc8s of the fourfold division of the Styles
of presentation. But logically defretive though this division may appear,
it helps one to understand the preyailing character of the perfor-
mance of a play liS it adopts one or more of the Styles, and gives prominence
. to uno or the It is R variation of emphasis on these, which is
. responsiblo for giving a play the character of a drama (including a dramatic
; speetaclp), an opera or a ballet. cx,nsidered from this standpoint, dramas or
[ dramatic spectaclos like the Nataka, the Prakarar.I8, the and
the Ihiimrga may, in their indi viduRI Acts, betrny the charact('ristics of an
opera or a baUpt. The Prahasnna, an .. one Act drmna to be presented with
attractivn and dancl', may however to some extent, partake of the
natlll'e of a ballpt. The l)ima, the Vithi, til(' Bhal,18, ihe Vyayoga and till>
arc simple dramRs dc\'oid of dance and colourful costumes.
III. Literary Structure of tlie Drama :
1. Ten Types of Play
The Niitaka. To nnderstand the literary Rtructure of the Hindu
drama, it will be convenipnt to take nil first of all the Niitaka whieh is the
most important of tho ten kindH of play df'soribed in the Niityasiistra 1
(a) Subject-matter and division into
The Niitaka is a play having for its subject-matter a well-known
and for Hero a celebrated persoll of exalted nature. It describes
the character of a prrson descrnding from a royal seer, the divine protec-
tion for him, and hiR many snperhuman powrrs and exploits, snch as
success in different undrrtakings and amorons pastimes; and this play
should havo an appropriate numbrr of Aets (XX. 10-12).
As the exploits of the Hero of the have bO('u restricted to his
success in different undertakings including love-matters, it is a sort of
'comedy', and as snch it can never p('rmit the of the Hero's
defeat, flight or capture by the enrmy or a tf('aty with him under compul-
'NS. ignore3 the UplIl'lIpakas, For theso seo SD. NL, and BhP, c\r,.
G
L
sion. Such 1\ l'eprl'S(,lItatioli WOl11<l Il<>glltive tIll' subjl'ct of til(' play
is the triumph or the Ilrosperity of tho H<>ro. nnt all t.hesc f'rcept hill (till'
Hero's) death. conld be rCl1ortl'd in nil IlItl'ouuct.OI'Y SCC'IIr. which ntal'
come befort' an Act. 'rho prosrntatio;1 of the HI'I'o's dmlth fo'r
obvious n'l\Sons iml'os. .. iblr in a comt.Jy.
The tirst thing thnt tht' ath'ntion of roader on op!'uing it
Niitaka, is its Pl'oJI)guC' (slkiJpafla or prastlwalliJ). Rut according to till'
NiitYaSastra this WIlS a part of tho Pr<,Jjllliual'ies am\
thl' seope of thC' pillY proper (V. 171). Thllt famollA playwright,
like BhaslI, find others wrotr it 1m! mack it th" f,)rmal
bt'ginning of th('il' dramas, to show that tlll'Y nndr in this Dlattr'r:\11
inno"lItion which as gt'l'at errlltivt they were flilly ('ntitlt'd to.
But uulike the Gl'ePk plays th(' Hindu N'iitakas 1\1'(' dh'itlru illt.,
Acts the numbrf of which mn"t not he 1('"" than I!\'(" or mOf(' than t"11
(XX. 57). These Acts, howP\'er, are lIot a of clMI'I)' diviurd SC(,lIes a-
they usually are in modern w('Stern compositions of cllt('gory. A II
Act of th(' Hinull drama consi"ts of II ecri(';; of mor,' or i('!<s loosely ('011-
nectt>d scenes' which due to its p(lculiar t('('hniquc cOllld not be 8<'l'ar(lt(',\
from one another. It has three important characteri,tic".
(i) Only the royal Il('ro, hi .. qurrn. mini<tC'r, lind other im-
portant personages lire to be mlldo IJl'omin!'ut ill it lIud 1I0t IIny millor
character. (XX. 18). ThiH rulr f;('C'm5 to lie meant for sI'curin8 the unity of
impreRsion which hIlS 1>CC'1I rd('rf('Il. to be')r('.
(ii) It is to include only those ineid(lnts which could take plsO(' ill
course of a single day (XX. 23). If it so hnpppns that all the incid('nts
occurring within a single day cannot be aceommooat('d in an Act
. surplus nrc to be reportrd in a elrarly srpul'ntoo part of it, calloo
the Introductory Scene (fJravesaka) where minor citaract('rs only ean
take part (XX. 27. 30). The HUmp. should be the mrthod of rf'porting
events that are to be shown as having oceurrro. in the interval bctwC('n two
Acts (XX. 31). Evidrutly thes!' lattrr should be of Sl'eondllry importancl'
for the action of play. Hilt accol'ding to thl' th(''!I! should
not cover more thnn a yrnr (XX. 28). This nl10wllncr of II rath('r Ions
period of time for I<\'lS important I'\'ronts occurring bl'twcl'n two Aets of a
N.itaka was thr by whir-h Hindu impartl,(} spt'eli to
the action of the play and comprl'SSoo th( ('ntire plot distributed through
many events over days, month'! and years within its narrow frame-work
suitable for representation within a few
(iii) An Aet sholllclnot inoillde the of c\'cnts relating
to feats of excessive anger, favour and gift, llronollneing a course, running
Soo noto 2 in IV. below.
LI
away, marriage. a mi1'acle, a' battle, losH of kingdom. death and the
of a city and the like (XX. 20, 21). The purpose of this prohibition was
probably that. when ('laborately. in an Act, these might divert
mlll)h of the spectator's interest from the line of the principal Sentiment
which the play was to evoke and might th"refore interfere width the unity
of impr<'8Hion which it was to make. -
(b) Explanatory Devices
(i) The Introductory Scene. It has been shown before how the
pl:\ywl'ights divided the entirc action of the Nataka into two HetB
of evonts ,, which the one was 'more important than the' othrl'. and how
thE'Y re presented in its Acts the important Ket, whereas the less
important ones were reported, whenever ncC!'ssary. in an Introductory
Scene giving the idea of the time that intervened between any two
Acts. This Scene is one of the five E1Cplanatory Devices (arthopak1epaka)
which wrre adopted by the playWright for clal'ifyin!!, the obscurities that
were liable to occur due to his extreme condensation of the subject-matter.
Tho other Explanatory Devic!:s arc as follows: The Intimating
Speech (eu/ika), the Supporting Scene the Transitional
Scene and the Anticipatory Scene (ai,kamukka).
(ii) The Intimating Speech. When some points [in the play) are
explained by 1\ superior, middling or inferior character from behind the
curtain, it iH called the Intimating Speech (XXI. 108).
(iii) The Supporit'ng jcene. The Supporting Scene relates to the
Opening Juncture only of the Nataka. It is meant 01' describing some
incident 01' oocurrence that is to come' immediately after (XXr. 106-107).
(iv) The Transit,onal Scene. When a scene which occurs between
two Acts or is a continuation of an Act and is ine1uded in it, relates to
the purpose of the Germ of tllO'play, it is called the Transitional Scene'
(XXI. 112).
(v) Tke AntIcipatory Scene. When the detached beginning of an
Act is summarised by a male or a female character, it is called the Anti-
cipatory Scene (XXI. 112).
(c) The Plot and its Development
The Plot or the subject-matter (flaslu) of a may be twofold:
"'fhe principal" Cadllikarika) and the "inoidental" (prasahgika). The
meaning of the principal Plot is obvious from its name, and an incidental
Plot is that in whioh the characters acting in their own interest incidentally
the purpose of the Hero of the pricipal Plot (XXI. 2-5).
The exertion of the Hero for the result to be attained, is to be
represented through the followini five stages (XXI. 8): Beginning
Eifort (jrayatna), Possibility of Attainment (Priipt,:sftt/l61Iava),
.
LII
Certainty of Attainmeut (m,a/dill') 'llud Attainment of the Result
(pllaiaftropli). Th('se fivo of tIt(' Plot have lin' eorr(,ijpondiug
Elem('nts of the Plot (XXI. 20-21) such 11$, the 0('1'111 (6ij;l), the Prominl'nt
Poiut (6indu) the Episode (palaka), tho Episodical J neid"ut (praRari) and
the Denouement (karya). Besidl'S thpsl' IIsprets of th,' action aud til'!
Plot of the Niitaka, thl' elllborutioll of tlw latter has \)(>I'n vil'wed it-
depending on division iuto the followiul( live J whieh lire a,
follows': the Opening (tm.kIN), the Progl'l'Silion (praHnwkha). the Dcv(lnp.
lIIent (KarMa), til!' PIIUse ('lJimarda) alld til" Conclu;ioll (n/, 'l'alral!a),
Aud thest' havp bt\'u furtlH'r subdivided ant! de':"l'ib .. '<i to giw
dt'tlliled hintl! as to how the playwright was to produc., II pia)'
includiug eveuts sUJl(losl'd to OCCUI' during II IOllg p"dod of 'l:illll'.
and fiha,a's 8\':lI'Il:\-vas:\\'I;,latt:i nro w,'ll-
knowll pxamples of the
The Praktlrtll.la. The spcond of Hindu play, i" tll'l Pl'lIka-
rana which the N:itaka in all "XC('pt that ('it tak"R a
rather les>! el!'\'atl'd range". it,. Plot i., to be original anel drawn frolll
real life and till' most appl'opriat< themp i" 10\'''. Till' I ["ro Illay b(\ II
Brahmin, nlf'rchant, mini4pr, (lril'"t, an offic,'1' of tit" or a lead"r of
the army (XX. 49-51). The ff'II\:\le characttr,; inelnd,' a <"'urU'l:t1l or II
woman of good family (XX. :J:l)". But thl! cllllrtp/,:111
not meet the Hero whclI he is in tIl!.' COmp;\IlY of II lady 01' :[pntleman of
high family, and if the conrtezall-l allli r(>;IIH.'ctllbl,' must IIIl'ct on any
account they arc to kc('p their amI manlll'rR (XX.
56). From thc,e and other features, tll') Pmkar:II.HI 1)('('11 called a
bourgeois comedy or eomedy of malJllel':; of a J'IInk b('low royalty.
Hudraka's lIrechakatika and Bhnvnbhiiti's Miilatimadhllva are well-
known examples of the PrakaraJ.lII.
The Samq,vakilra. 'fh(' Sam:wakim th(\ dramatic repr('sentlltioll
of some mythological Htory whieh relates to godH and 80me well-known
Asura, who mu"t be its Hero. It should consist of three Acta whieh nro
to take for theil' eight<'>('11 Na\likas (ac\'l'1I hours and twelve
minutes).' Of thcsr. tllll tirst Aet to take twelve and tit" eeeond four
and the third two N:il}ikag only. 'fIll! subiect-matter of the Salllllvnkiirl\
should present deception, excitement or love, and the number of eharaetcrfl
allowed in it are twelve. And hesides this, m,trllK used ill it Hhould be
of the com pIes: kind (XX. 63-76).
who did not sec !.he N.S.laid. "We lDay however obll6rve t,) the hJDOar
of 'he Hmdu drama that the paraki!la or ahe who wife of another is n..,.. to be
mat<>.the.ohJ .;dofdramat!c a [Irohibition whiol! .:ould slidly hav8000led \lin
tllUglnatloa aud cur.bed tho "it of Dryden ll'ld Oougrevo ::ipeoilnelilof Bbldu
Theatre, Vol. I. p. lI:lV),
Sed H.H. WilBon, On tho Dramatic Systelll of the O.uoutta, lIln. p. 18.
LllI
No old specimen of this type of drama has UB 1!'rom the
description given in the it seems that the Samavakiira was
not a fully developed drama, but.only a dramatic spectacle on the sasis of
a mytholog;ical story. It naturally became extinct with the development
and productien of fulfledged literary dramas such as those of Bhasa and
Kiilidasa.
Iho,mrga. The Ihiimrga is a play of four Acts in which divine
males are implicated in a fight over divine females. It should be a play
with woll-ordcroo construction in which the Plot of love is to be based on
discord among females, carrying them off and opprcssing [the
l'ncmies], and when persons intent on killing arc on the point of starting a
tight, the ilOpcn\ling battle should be avoided by some artifice (XX. 78-82).
No <lId BPl'Cimen of this type of play has becn {onnd. From the
description giv!!n in the it seems that the Ihiimrga was a play
of intrigu(', in which gods and goodess('s only took part.
The Dima. The I,}ima is a play with a W('Il-constructed Plot and its
Hero Rhonld be w('ll-known and of the exalted type. It is to contain all the
SrntimrntH e:occept the Comic and thp Erotic, and should consist of four
Acts only. Incidl'llts dcpictl'd in it art' mostly earthquakc, -all of metl'ors,
pclipst'3, battle, p<'l'sonal combat, challl'llge and angry conflict. It should.
abound in deceit, jugglery and energetic activity of many kinds. The
sixteen characters which it must contain lire to include different types
such as gods, Niigns, and (XX 8488).
No old or new cxample of this type of play has reached us. It seems
that like the Samavak'lra this was a dramatic epectacle rather than It
fuHledged drama. With the advent of literary plays of a more dewloped
kind, it has naturally become extinct.
Vyayola. The Vyayoga a play with a wellknown Hero and a
small number of {('male chamctcrd. The ('vents related in it are to bc of
one day's duration. It is to have one Act only and to include battle, per-
sonal combat, challenge and angry conflict (XX. 90-92).
Bhasa's Madhyama-vyayoaa is a solit.ary old specimen of this typr
of play.
Ulmtillliitka, The or Alikn is an one-act play with
a plot, and it inciudrs only human characters. It should
abound in the Pathetic Sentiment and is to treat of women's Inmentntions
and despondent utterances when battle and violent nghting have ceased, and
its Plot should relate to the downfall of one of the contending characters
(XX. 94.-100).
Bhasa's Ul'ubhailga seems to be its solitary specimen. This type
uf play may be regarded as a kiud of one-act trllgedy.
Tile Prallasana. ThePrahilsuna is a farce 01' a play in which the
Comic Sentiment predominates, dud it too is to consist of one 'Act only.
mv
Tht, object of laughter is fUI'Dished in this. mainly by the improper eoudud
of various sectarian teachers as well as eourt.ezaus and rOilles (XX 102-106).
The Mattavihisa and the Bhagavaqajjukiya are fairly old
of this typ\. of play.
T he The Bhiir.la is 111\ 0110 A et play with a single charact('r
who speaks lifter repeating answers to his cjuestions 8uPllOsed to 00 Iliwn
by II person who remains invisible, thronghont. This play in monolol!UI'
relates to one's own or ullother's ooYl'utur!'. It 8hould always inelude mallY
lDovcmrnts which arc to be acted by a rogue or a Parasit; (XX. 108.1\0).
The Bhiir,las illclndod in the eollection publish( ... l uuder the title Cutur-
bhiil,li seem to be old spc;:imclIs of this t}1)() of play.
TIle Vi/hi. Vithi should be acted by Ollt 01' bwO p('I'80nB. It
may conbin auy of the tln"'t! kinds of characters ,supt'riol'. middling and
inf('riol' (XX. 112-113). It srclUS 10 be a kind of II "(:1 Y short OM Act
play. nllt (Hit' canllot br tlbont thill; for 110 Spceillll'l1 ()f thil! tYJlI'
of play has cOllie down tv ns.
2. Iliclioll of D Play
(a) The Use of Melre. One of till' things to r<'cl'h'e the atti'll-
ti')n of the Himitl writers on dramatul'!{Y w:t, th" IIl1l'ortancl' of v('rl!(' in thi'
dramatic dialogue. They 10llg IIhd frequt'nt prose
on the grollllll that the:;e lIlight pfove tirr;;omc to spectators. (XX. 34).
After giving II perUlilll"IlL plllcp. tl) verse in drtllllli the Hindu tlll'Orist8
utilir."d t\tl!ir ddail('{1 know kdge of the structUf(! of metres which varied
ill cresura a, wdl a., the Ilumber dnd SelIUl'nCI' of sylIabl('s or moras ill
11 PUdtl (XV.3!:Hf., XIV. fl)1' lj('ightel1iug the ,tl\'Ct of thl'
lIs(od. by [>uttillJ them in 1I appropriate met!'I.". In thiA rcspect thf'Y frllmi'd
ddinitc 1'01/", a, to thl,' suitability of metl'cs to dill'erCllt Senti-
ment-. 1<'01' l'xalllplc, thl! dl':!cl'iption of lillY act 1) boldnCl!l! in eonnl'Xion
with thl' HerlJie and the J"urious Sentillll!nts is to be sivt:'11 in tho Arya
metrr, and cOlllpo,itiQns meallt to ClCprtss thp Erotic Sentiment Rbould bf'
in gent\.- mttn, ,;neh a5 IIml Mlllllhikranta. IIl1d th(' Dlt'trllS of th"
and Atidh\ti were suitable for tho Pathetic
(XVll.llO-1l2). In this regard the Hindu theoriats. and for
that matter, the Hindn playwrights antieillateU the Kreat Shakespeare
who in his imrnOital play; made "ull of experiments in metre".
(b) EuPhony. After {'onsidering the use of metres the author of the
Nityasa8tra pays attention to euphony and IlaYS, "The uneVM and even
metres which have been described bcfol'e should be ueed in composition
with agreeable and soft sonnds aeeordini to the mORDiDa inteadcd.
The playWright should make etforts to UBe in his com{lOlitloD eweet
ami IIgreeable words which can be rceiWd by women.
A 'plllY abounding in agreeable and 1II1111ll.1, and containina no
LV
obscure or diffioult words, inlelligible to the oountry poople, having a good
construotioll, fit to be interpreted with dances, developing Sentiments ........ .
beooml'8 fit I'or representation to spectators" (XVII. 119-122).
(c) SlIrres1i'De or Sirnijicanl names. Another important aspect of
the diction was the suggestive or significant names for ditrerl'nt characters
in a play. It has been said of Gustave Flaubert that he took quite a long
time to find a name for the prospective hero and h(>roine of his novels,
and this may app<>ar to be fastidious enough. But on discovering that the
Hindu dramatic theorists centuries ago laid down rules about naming the
crEftited oharaoters (XIX. 8036), we come to appreciate and admire thl'
genius of tile great French writer.
(d) Vari,ty o/Ianruares or dialects. The use of Sanskrit along
with different dialeets of Prakrit (XVIII. 36-61) must be asctibed to
circumstances it! the midst of which thc Hindu drama grew up. Thl'
dramas rrflect the linguistic condition of the 8oci('ty in which the early
writl'rs of pi aYB lhed. As the sp('reh is one of the featur('9 of a
person's character and social standing, it may profitably be retained unal-
tered from the normal. Even in a modern drama dialacts are very oft,en
used though with a very limited purpose.
IV. The Ancient Indian Drama in Practice
1. Occasions for Dramatic Performance
The Hindu drama like similar other forms of ancient art and poetry
:aeems to have been of religious origin. aud it devl'loped probably out of
Iloes and songs in honour of a deity like Siva who in latl'l" time. came to
styled the great dancer-actor time the dance
ith gradually assumed the form of rl'gular dramatic spectacles. and
e range of subjects treated WIIS beyond the legends connected
ith the exploits of a particular deity. It is just possible that
velopment of the religious aspect came in course of time to be partially
rested. and plays began to be composed more with a purely secular
araeter. And thiR change considerably loos!'ned original connexioll
th the popular deities. Possibly due to this tho Hindu drama in the
toric period of its career, is found to be acted soml'timml f01" moral edill-
'on all ill the ease of the Buddhist som('times for the ll!'sthetic
ym!'nt of the elite as ill the caRO of Kiilidis:I's works, and sometim!'s
hononr of a deity as in oase of one of Bhavabhiiti'8 III spite of
various uses, the Hindu drama unlike its modern counterparts did
ibly never beoonle all ordinary amUlleml-'llt of everyday life. It WIkl
tly on special oeoasions like a religious festival, a marriage ceremony,
"DI'S ooronation, a friend's visit that dramatic p(lrformances were
.869 ; AD. 12-14). But aqlODg all these oeeasions reli&iolls ofestivals
LVI
were the mOflt common for the performaneee of drama. It was natural
that on suoh oecasions the drama was a popular entertainment as well, the
public being then iu a holiday mood.
Another fact about the dramatie 'performances of the Hindus was
that these were sometimes held in the form of contests (XXVII. 2122,
71, 77-79). Different groups of aetors vi<>d .with one anotRer for the
popular appreeiation, and reward for their skill in the particular art.
drama, howe"er does not soom to have been a regular feature of tlie Hindu,
as was the case with that of tho Greeks, and theatrioal troups gave, how-
ever, performance usually for money without any spirit of rivalry towld'ds
others, and were paid by the rich people or the different guilds.
2. Tht' Time of Performance
Except in the midnight or at noon or at the of the Sandhyii
prayers, the Hindu dramas could be performed almost at any part of the
day or of the night. But this does not mean -that any play could be pro-
duced at any allowable time during the twcntyfour hours. 'rhough at the
command of the patr"n thl' Director of a thl'atrical party could overlook
8trict rules in this regard, tho time of performance was to be regulated
aeeording to the nature of the subject-matter of the individual' play. For
example, a play based ou a talc of virtue was to be performed in the fore-
noon i a performance which was rich in music, aud told a
story of strength and energy, was to be held in the afternoon, and a play
which related to th(' Graceful Style, the Erotic Sentiment, and required .
yoeal and instrumental music for its production, was to be in
the evening i but in case of plays which rr lated to the magnanimity of
the Hero and contained mostly the Pathetic Sentiment, performance
to be held in the morning (XXVII. 88-99).
Though in thl.' modern times dramatic performance iB mostly held in
the evening, the ancient Indian rules rl'garding the assignment of a play of
a particular type to a particular part of the day or of the night need not
be considered queer itt any way. On the other hand, they appear very
much to havc been bast'<l on a proper understauding of the ever-changeable
nature of human' personalities. Even if a play based on a tale of virtue
, or of woe, wheu presented on the stage, could be appreeiated at
any timl', it had better chance of impressing the spectator in the forenoon
, or in the morning, when after the night's sleep and rest, he could be the
'>,most rcerptive in regard to these Sentiments That a play including a
story of energy and Rtrength can better bo assignod to the after-noon is to
be explainoo. on the BS8uD)ption that on taking rest after meals at com-
pletion the morning's aetivitips, one bllcomes psychologieally more oqq.peteat
to appreciate stories of strength and energy presented on the 8 ' In a
similar ,manner, a play with love as its principal theme" o:fiV5With
L if"
LVlT
the Erotio Sentimont) may be more efreotively presented on the stage in the
evening, when after the day's work, one is naturally inolined to enjoy the
oompany of his dear woman, be she his wife or the hetaera.
S. The Playhouse or the Theatre
The de80ribes various types of playhouse, and their
dilferent parts have been mentioned to some extent in detail. But in the
absenoe of evidence the like of which has been oopiously available in oase
of the Greek theatre, it oannot be said how far the ancient Indian plays
were peformed in specially constructed theatres. It may be possible that
on'Jy the kings and very wealthy people owned playhouses constructed acoor-
ding to the NiitYaSiistra, while dramatic spectaoles meant for the common
people were heM in the open halls oalled the (Niiwa-mandira)
in front of the t'emple3, or in a temporarily devised theatre under the cover
a canopy, as in the case of the modern Bengali Yiitras which seem to have
some resemblanoe and conncxion with thc ancient Indian Niitya desoribed
in the Siistra. One remarkable feature of the playhous<'.8 in the
is that they are of a very moderate size, the largest among
them (meant for mortals) being only thirtytwo yards long and sixteen
yards board, capable of aeoommodating about four hundred (400) spcotators.
This is in sharp contrast with the Athenian theatre which sometimes held
as many as fifteen thousand (15,000) people
The comparative smallness of the ancimt Indian th(,Atre was a nece-
ssary consequence of the pecular technique of the dramatio productiou.
l!'or in a larger playhouse the spectators could not all have heard delicate
points on which depended in no'small measurc the sucoess of a performance.
The inordinately large Athenian theatre was not much handicapped in
this respcot, for the Greek drama depended on a considerably difrerent
technique.
The NiitYMastra d!'Scribes three main types of playhouse: oblong
(calurasra) and triangular (/,.yasra). These again might
be the large. medium or small, wIth their length respectively as one hundred
and eight, sixtyfoul, and thirtytwo cubits. This gives altogether nine
difrerent varities of theatres, vir.. (i) the large oblong, (ij) the large-
square, (iii) the large triangular, (iv) the medium oblong, (v) the
medium square (vi) the medium triangular, (vii) the small oblong,
(viii) the small square and (is:) the small triangular. These nine typos
can also be measured in terms of da,,1as instead of that of cubits. This
will give us eillhteen dilferent diamensions of playhouse. But the
is silent about the use of the playhouse measured in terms of dalJr/.as,
and the playhouse of the largest type measuring 108 cubits in length have
been prohibited by the Siistra for the mortals. And it has been mentioned
before that a playhouse more in area than thirtytwo YlU'ds long and sixteen
H
LVIII
yards broad has been preseribNi for them. 'This should be divided into
three parts: (i) the tiring room (nepatk,a) (iO the stage (ranrap.1/Ia
or and (iii) the auditorium (raheamarfi/4la). Of these the
tiringroom would be at one end of the theatre and would measure sixteen
yards by four yards. On the two sides of the stage there should be two
Mattaviiral)is each oeeupying an area of four yards by four yards and
having four pillars. Thus the area to be oceu pied by the seats of speeta-
tors would be twentyfour yards by sixteen yards.
'fhe tiring room (nepalkya) was the place in which the aetors and
the aetresses put on the costumes suited to the different roles, and from i'his
plaeo, the tumults, divine voices (dai'llfl-1JuQi) and similar other aets
proeeeded. This part of the theatre was separated from the stage by
two sereens over its two doors, Between these two doors the members
of the orohestra (kutapa) were to sit and the direetbn facing them
was to be considered conventionally the east.
4. The Representation
To understand the technique of representation of the Hindu drama
one must remember that it avoided stark realism and gave utmost
scope to imagination and faney, The one unmistakable evidence of
this is the total absenee of any painted scenery from the stage. This
is but a' negative side of it. If the Hindus, avoided bringing in any
kind of artificial scenery, they made positive efforts in communicating
the meaning of the drama and calling forth the Sentiment (rasa) in
the spectators through suggestive usc of colour in the costume and '
make up of the actors and rhythmic movements of many kinds which
have been summed up in their theory of fonr repre3entations (aMina,a)
such as aneika, 1Jacika, akiirya, and saltvika (VI.23).
(a) The Physical Representation
Among these, the aiiet'ka should be discussed first. This consists
of the use of gestnres and postures of whieh the
gives elaborate descriptions. Different limbs have been nllmed ana their
manifold gestures and movements described, with various significance
attached to each OQl), of them (VIlI.-XII). For example, the head has
thirteen diffi,rent gestnr!'8 which are as follows :
lkampita : Moving the head slowly np and down.
Kampita: when the movements in the Akampita head are quick
and copious. (Uses): The lkampita head is to be applied in ii,ving
a hint, teaching questioning, addressing in an ordinary way (lit. naturally),
and giving an order.
The Kampita head is applicable (lit. desired) in allier arjtument
understanding, assertinjt, threatening, sickness and intolerence,
Dhnta and Vi<\huta : A slow movomllnt of the head is Cl\l1ed the
ux
Dhuta and when this movement is quick it is called Vidhuta. (Uses):
The Dhuta head is applicable in unwillingness, sadness, astonishment,
confidence, looking side ways, emptiness and forbidding.
The Vidhuta head is in an attack of cold, terror, panic,
fever and the first stage of drinking (i. e. intoxication).
Pariviihita and Udviihita: when the head is alternately turned
to two sides it is called the Pariviihita, and when it is once turned
upwards it is known as the Udviihita. (Uses): The Pariviihita head
is applicable in demonstration, surprise, joy, remembering, intolerence,
cogitation, concealment and [amorous] sporting.
The Udviihita head is to be applied in pride, showing height,
looking high U1\ and 'he lik!'.
Avadhuta! When the h('aM once turned down it is called the
Avadhuta. (Uses): it is to be applied in [communicating] a message
involking a deity, convrrsation and beckoning [one to come nearl.
Aiicita : When the n!'ek iH slightly bent on one side the Aiicita
Iwad is tha result. (Uses): It is applicable in sickness, intoxieation
anxiety and sorrow.
Niha!lcita : when two shoulderK are raised up with the neck bent
on onp, side the Nihallcita h!'ad is produced. (Uses): It is to be used
by women in pride, Amorousness (vilasa), Light-heartedness (lalita).
Affected Indifffirence (lJiMoka), Hysterical Mood Silent
Exprrssion of Affection (mol!ayita), Pl'etmted Anger (kuttamila)1 :
Paralysis (slambka) and Jealous Anger (mana).
Pariiv:rtta: when the face is turned round, the Pariivl,'tta head is
the result. (Uses): It is to be nsed in turning awaY the faee, and
looking back and thll like.
Utk!)ipta : when the face is raised up the Utk!)ipta head is the
l'e8ult. (Uses): It is used indicating lofty objects, and application
of divine weapons.
Adhogata : The head with the faoo looking downwards is called
the Adhogata. It is used in 8hame, bowing [in salutation] and
sorrow.
Parilolita : when the head is moving on all sides, it is called
Parilolita. (Uses): It is nsed in fanting, sickness, power of inton-
ation, possession by an evil spirit, drowsiness and the Uk!'. .
The eyes are similarly to hav.? different kinds of glances ac.eording
to the States (Mafia) and Sentiments (rasa) they are to express. The
eyeballs too are liable to similar changes to crest impressions of
different feelinae and emotions, and 80 have the eyebrows, the nose,
t For the definition of &11 these termR together with the preceding ones soo N 8.
XXLV. 15,18-22.
the cheeks, the chin, and the neck. The hands, however, are the most
important limbs in the making of gestures. Gestures and movements of
hands fall into three classes, viz. single (asaf!lyUia), combined (saf!lyUla)
and dance hands Single-hand gestures and movements
relate to one hand only, while combined hands to both thc hands. The
following are e:r:amples of the three kinds of hand gestures :-Pataka
(single hand): The fingers e:r:tended and close to one another and the
thumb bent. A"iali (combined handl Putting together of the two Patiika
hands is called the Aniali. Caturasra (dance-hand): The Katakiimuk;ha
hands held forward eight Aligulis apart [from each other] on dnc's
the two shoulders and elbows on the same levd. Besides these gestures,
the hands have varied movements which ate characterised by the following
acts: drawing upwards, dragginj!, drawing out, accrpting, 'killing, beckon-
ing, urging, bringing together, separating. protecting, releasing, throwing,
shaking, giving away, threatening, cutting, piercing, squeezing and
beating(IX. 161-163).
From the foregoing discussion about the gestures it is apparent that
their uses fall into two different ent!'gories, viz. realistic and convcn-
tional. Of these two types, the convrntionally far outnumber
those of the other kind. But this should not appear strange. li'or the
ancient Indian dramatists and theatrical producers were fully conscious
of the limited scope of realism in arts of various kinds, and hence they
conceived action as comething very closely allied to dauC('. This demanded
that while moving on the stage with or without uttering any word, 'the
actors should geaticlllate rhythmically, to impart grace and decorative
effect to their figure. For this very purpose another set of called
Dance-hands (n1;itahaslrt) are also to be used. As their name implies
these hands were exclusively to be used in dance, but for reasons men-
tioned above ,they were sometimes utilized at the time of declamation
or recitation. TJe lower parts of the body down to the !feet are also
to be similarly ll<;ed. Among these, the feet are thc most important. On
them depend the diil'erent movements of the entire body 88 well as the
various standing postures. The of the feet are of three kinds,
viz. ordinary Cari and Mal)g.ala, Of these, the tin is a simple
movement of the feet (XI.) while Mal)g.ala, is a series of such movements
considered together (XII.) During the stage fighting the two combatants
are to move with Caris and Ma\lg.alas in accompaniment with suitable
music. And the gait is very valuable for the representation of different
roles. 10 this matter too convention pla}'ll a very considrable part. The
NitYaSastra lays down elaboraw rules about the width of foot8wps and the
of the gait for dift'ereDt charaetel's accordin" to their !IOCial position,
age, health and feeling as well as the peculiar environmeutB in which
they mijrht be placed (Xm. 1-157). .
LXI
(b) The Vocal Representation
The second means of theatrieal representation eonsists of the use of
speech. It relates to the propdr musieal (sflara) voice registers
(st.6ana), piteh of vowels (var7}tl), intonation (kaku), speech-tempo (taya)
to be used in reciting or declaiming a passage for the purpose of evoking
ditrerent Sentiments (rasa) in the spectators. For e:rample to call forth
the Comic and The Erotic Sentiments a passage should be recited with tho
:Madhyama and the Paiicama notes, and for the Heroic and the Marvellous
Sentiments the and the would be the suitable noteH.
To call a person staying at a distance the voice should proceed from
the head register (Biras) and when he iH at a short distance it should be
fl'Om the chest'tur/JS), and for calling a man at oae's side the voice from
the throat register (ktm,tha) would be proper (XIX. 43) .

For any speech with the Comie and the Erotic Sentiments the prevail-
ing piteh would be Udiitta (acute) and Svarita (circumflex) while in the
Heroic. the Furious and the Mervellous Sentiments it should be Udiitta
and Kampita.
In the Comic and the Erotic Sentiments the speech-tempo should be
medium, in the l>athetic slow, and in the other Sentiments a quick tempo
is appropriate (XIX. 59).
Besides the above of speech, closl' attention was to be given
in observing rhythm and calltnee. And the metrical character of any
passage iu vel'SO was to be fully CJ:Ilresscd in it.o; recitation or declamation.
this propose the nearly two full chapters (XV,
XVI) whieh discuss prosody and allied tollies.
(c) The Costumes and
One important element in theatrical representation now-a-days is the
various stllie appliances such as, paintOO scenery, costumes and make-up
However able the aetors aud actresses might Ix> in delivering the
speeches assigned to their roles, without being placed against properly
painted scenery and without having proper costuDlrg and make-uII, by theil'
acting and delivery alone they cannot create that kiml of stage-illusion
which is necessary for the success of a dramatic produetioll. But ill the
aneient Indian stage thel'e no painted scouery. Henee the actors had to
depend a great deal upon and make-up. By tlLC term Ahiryiibhi-
naya the Hindu theorists undel'Btood these two items (XXIII) ..
'rho\llh painted scenery is eonsidel'ed indispensable ill the modern.
theatre, the ancient Indians baving a considerably diifel'ellt cOllct'ptioll of
the drama, did not require its aid for tho tn:oduction of a plftY. The wall
tliat separu.ted the tiring room (nepalhya) aDd the stagr (rahlapi!"a)
tOSether with the scre6J1s covering the two doors e.onnecting the stage IIllll
the tiring room, served as the btook"ll'ound to show olf to advadtagc the
LXII
figures of the performers. And these, the wall and the screens, possibly
did not contain anything other than the usual decorative designs. This
simplicity in the character of the scenic apparatus was a nacessery con-
comitant of tile pt'cuJiar technique of the Hindu druma, and its cause
may be looked for in its early history. The introduction of magnificent
scenery appears to be a later development in the history of drama.
Similarly the back: scene of the Shakaspearean stage consisted of a bare
wall, and anything in the way of spectacular effect was created by thc
movements and grouping of actors
The production of an impression by means of painted scenery would
have been alien to the of the ancient Hindus who were more or
conscious of the limitation of realism in their various arts. III order to make
the spectators visualise the place and time of the dramatic story in hand,
the Hindus had a different device. Numerous dcscriptiQlls of place and
time composed ill 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 vlace or the time described. The elaborate description
of Vasantasena's magnificent reisdence in tho Mrcchakatika was calcu-
lated to call up vividly its picture before the mind's eye. The same
thing may be said of the grand descriptiou of the forest in
the Uttararamacarita. This devicp. of making a scene lively, has been
utilized by Shakespeare also. In appreciation of his very beautiful des-
cription of place and time, one critic says t'The plays aro full of such des-
criptive passages as can nullify the achievements of decorators and
mechanics." It has already been mentioned that in thc Shakespercan
stage too painted scenery was unknown.
There being no scenery of any kind ill the Hindu theatre which made
no effort at realism, the spectators were required to use their imagination
to the utmost. The demand on tho spectator's imagination made by the
ancient Indian prQducers of plays was further testified by their rules of
conventional Zonal division of the stage (XIV. 1-15).
Some of these are as follows:
A Zone might change with the aetor walking a few steps over the
stage. '1' Any ancient Hindu play will furnish ,numerous p:ramples of this
convention. For e1:ample in the first Act of the l::Iakuntala tho king appears
for the first time at a distance from Kal}va's hermitage, but shortly after-
wards he enters it by simply taking a few steps over the stage, looking
around and saying. t'This is the entrance of hCl'mitalle and let me enter it".
By the same kind of convention the inside and outside of a house was
Dllc to this kind of convention. setnos of the Hindu plays wafe not clearly
separahd as thay nrd in II modern clralllll. This puzzled F. Hill who says :
. .
LXUI
simultaneously presented.
s
The rule relating to this was as follows:
AccordinR to the Zonal division, those who entered the stage earlier should
be taken as being inside [a house] while those enroring it later are known
to be as remaining outside it. He who enters the stage with the intention
of seeing them (Le. those entering earlier) should report himself after
turning to tho right. To indicate going to a distant locality one is to walk
a good few steps over the stage and to indicate going to a place near by, a
short walk only is needed, while a walk of medium duration will indicaro
going to a place of medium distance, But in casr. a person leaves one
country and goes to a distant land, this is to be indicated by closing
the Act in which sllch an event occurs, and mentioning again the same
fact in an Explt.natory Scene at the beginning of the next Act.
An exampld of some of these conventional rules occurs in the ninth
Act of the Mrechakatika where Sodhanaka appears first as being at the
gate of the cOllrt of justice and enrors it by making a pantomimic move-
ment; then again he goes out to receive the judge and re-enters, the court-
room after him by simply walking over the same stagr.. And when the
judge has starred work, Sodhanaka again goes out to call for the complain-
ants. This going out also cousists of actually walking a few steps over
the stage.
Thollll:h painted scenery was not in usc in the Hindu theatre
like hi11s, carriages, aerial cars, rl ephants etc, were rpprcscnted on the
stage by suggestive modds (pusta) of these. According to the Natyaiistra
the model works were of three kinds, viz. sandkima which was made up
of mat, cloths or skins, wl'apping cloth, or other materials wrapped round
something, and vYajima which was a mechanical contrivance of some kind
From Dhanika, the commentator of the (II. 67-58), we learn
about a model-work of an elephant for the production of the Udayana-
earita, and the owes its name to the toy cart which plaYA an
indispensllble role in tho story.
(d) The Temperament
The fOllrth or the most important means of representation iR tho
Temperament (saliva) or the entire psychological resources of a man
(XXIV), The actor or the actress mllst for the time being feel the
States that he or she is to represent, aud only then will the Seutiments
irelated to them follow. This kind of reprsentlltion was indispensable for
iying expJ'CSSion to various delicate aspects of men's and women's
motional nature.
So far as is known, Hindu dramas have always beeu parted into acts; but never
ve they had scenes. It is somewhat to be wondered III, that the Hindus, wi h their
ordinate love for subdivision, should havo left those univented. (Introduction to
asarupa, pp. 2S.29. 2 above.
V. Literatul'e on the Ancient Draana
1. Tile Early Writers
Bi/atin and K,'a8fJa. Panini (oir;" 500 B.C.) refers (lV. 3.110-111)
to the Natasfitras SHalin Kfsiisva. As the works of these two
authors perished beyond recovery we are not in a position to havE1
any exaet idea about their contents. But Levi and Hillebrandt have taken
them to be manuals for actors (nata) though Weber and KODOW have 000-
sidered these to have been sets of rules for dancers pantomimists, and
Keith has aeeepted their view. Konow further thinks that the trlllltisils of
and KI,'AAsva were absorbed in the body of the (ID. p. 1)
2. The so-called son8 of Bharata
.
After 8iliilin and come the writers names have been
included in the list of the one hundred sons of Bhnrata, given in the extant
version of the NatyaSatra. (I. 26-22). Among these Kohala, Dattila
(DhUrtila), Salik:\rJ}a (Satnkarva), Badarayal.la (BiidarD, Nakhakutta and
Asmakntta have been referred to and quoted by later writers as authorities
on and histrionics. Beside3 these, Viitsya and Sal)gilya have
been named as authorities on drama by some writers. Such references and
quotatiolls are our only source of knowledge of them and their work.
(a) Kokala Among the writers on drama who wrote after Silalin
and Kohala seems to be the most important. In the extant
version of the N:ityasastra (XXXVI. 63), it is given in the form of a
prophecy that Kohala will discuss ill a Rupplementary treatise all those
topies on drama that have not been touched by Bharata. From quotations
of his works made by Abhinava I and another commentator, as well as
from their references to his opinion, it appears that Kohala wrote on dance
and dramaturgy as well as historionies and music.
(b) flat/ita, and Valsya. Dattila seems to be identeal
with Dantila or DhUrtila mentioned in the (I. 26). Abhinava
too quotes from olle Dattihlcarya
3
and it is likely that he is not other
than this Dattila. From these quotations .it appears that he wrote
on histrionics and Sal}<Jilya and Vatsya montioned in tile
Natyaastra (XXXVI. 63) along with Dattila (DhUrtila) are to us nothing
but mere names. It is possible that they were writers on some aspects
of drama lind thelltre.
1 Ag I. pp. 173, ]82. 18318!; II p. 26. 55, 130, 133, 142, 116, 148. 151.155,
4f1l, 416417, 421, 434, 438439, 413, 452, 459; Vo' Ms. p. 413,436. 496, 521, 680.
I Bh P. pp. 204.210,236' 245,251.
I Ag. I. p.205, Besides this Ag. qnotes and refer. tJ Dnttilll nJ less than 14 timos
while comenting on ch'ptcr on mu!ic. Sea Do's Ms. pp. 544, 573, 076, 580, 583,588,590,
628,633, 6H, 640, 642, 644, 650, 655. See a1so Kuit! ijl. 12:J.
,
LXV
(0) (Sa/akatll-a, ,9r.likafl.!a). as a llrop<'.r mlllle
is found ill insoriptions from the first ;ccntury B. C. to 14.9 A. C. Hcnce
it is possible (though not quite certain) that Hatakarni the writer on drama
flourished about the first O('ntury A. C.' Like kings later times who were
sometimes found to take interest alllong other subjects in drama and poetics
and to write tl'eatiscs on them, this Satakarl,li might well have been a king
or a person of royal doseont. From the made by later wriwrs"
from him it appears he wrote on dramaturgy.
(d) and NakkakufJa. Those two writers from their
nanPJs -appear to liave been eonwmporari<'l!, probably belonged to the same
locality. Siigaranllndin
6
and quote from Nakhakutta, and
Siigara only is known to have quoted from th0.1e
quotations it that AsmakuHa and wrote on
dramaturgy.
(e) HJdarayar;a (Biidarz'). Sagara quotes from Biidarayana twiee
9
and possibly nalllM him onoe as Badari, and from the extraots 'quoted it
seoms that this early writer discussed dramaturgy.
3. Samgrahakara
Abhinavagupta once mentioned the Saf!lgraha and onoe the Sa111-
grahakarn.
10
In the Natyasiistra (VI. 3, 10) it8cl also One Sa111graha
has been mentioned. It seems that the reference is to the identical work.
From these facts it appears that the work might hav(' bet'n a comprndillm
treating of dramaturgy as well as histrionics.
4.. The Present Text of the Natyasaslra (ciroa 200 A.C.).l1
5. Medieval Writers on Drama
(a) Nandi (Nandikes1Jara) Tum6uru Visakllila and
BCRidcs the writers mentioned above Abhinava and Saradiitanaya rcfer to
Nandi or Nandikesval'a I 2 and the former also names Tumbl1ru
1
S aUlI
Vi&ikhila 14 with occasional referl'noe to t.heir VirW9 or actually
from th!'m, and CiiraYRJ,Ia has once bren qllokd by Siigaranandin.
15
(b) SadciSiva, Padmablift, ' Vyiisa and Atijaneya.
Solect Inscriptions, pp. 191207.
I NL. 11011102, Rucipati's Comm. on AR. I" 7.
NL. 2768-2769, 2004-2905.
SD. 294, Nakhakulill has also boon by Bahllrllpn in his Oomm. on
llasarupa (Indian and Iranian Studies presented to D. Ross, Bombay. p. 2Oll, p. 201 f.lI.
8a, 437. 2766-2767. 27742775. NL. 1092.1094, 2770-2771.
" Ag. II. pp. 430, 27702771. 11 Sec below sections vr. aod vnr.
lt Ag. I. p. 171, Do's Ms. p. 559. This Nandikesvara may be idontical with
the author of the AD. " .Ag. I. pp. 165.
I, Ag. I. p. )99 also De's Ms. pp. 547, 56!. [:Ril, SCQ Klllla, sl. 123.
I. NL. 362.363.
I
LXVI
Abhinava aud Siirndiitanayn once rrfrr to 16 wl1ile some writers
on drama, such as Prulmllbhil,17 Drallhh)i,18 Vyiisa-
lO
and Anjancyn' 0
have boon named by Siirruliitanaya only. But we are not 8ure whether they
were l'cally old authors or these names have been attached to some late
treatises to give them an air of antiquty.
(c) KMyayana, Ranula and Garra. These three writers, quoted
by Abhioava and Siigara may be counted aillong tho medievl\l writers 00
00 dramn. From the available extracts from his work Kiityiiyana
1
seems
to have been a writer on dramaturgy. Rahula has been twice quoted io
Abhinavs's commentary, and Siigara1"ll has once referred to his view.
n
From these it appears that Riihula was 1\ writer on dramaturgy as weUns
histrionics. Garga 88 an authority on drama has been mentioned by Siigara-
nandin:
H
In the absruee of IIny quotation from him we cannot say what
exactly he wrote about.
Cd) ,qakaligarMa and Gna'Jlaka. Abhinllva mentions among others
the names of SakaUgarbha1i5 and Ghm)taka.1i6 Of these two, Ghm)taka
seems to be a contemporary of Sa ilkuka, and as for, Sakaligarbha, we
have no definite idea about his time. Prom the refrrcnceR to their vieWH
it appears that they wrote on dramaturgy.
(c) Viirtika-knra Har.qa. Abhinava once quotrs from the Varti-
kakl'tJ7 and once from the ViirtikaJ(s and next time from tho
viirtika,H and besidrs this he oncr referA to the views of the Viirtikll-
kari.80 Siigaranandin and Siiradiitanaya refer to one I or
It seems possible that they nil rrferrcd to tho same Rnthor, and
the name of the author of the Viil'tikn \VilA or Har$a-vikrllma.
JProm th(iSO quotations and the rcferenMs it appears that this Viirtika WIIS
an original treatise 011 dramatllrgy and histrionics.
(f) Matrgupla. Miitrgupta has bcpn taken to be a commentator
of the by Sylvain Levi. 3 Though this view has bem
accepted by anthors who have written later on the subject, a. from the
metrical extractR
S5
mnde frOIll lIiH work by some commentators it appeal'll
.. BbP.l!i2, DR. IV. 1, Bit". p. 47. 11 Bbl'. p.239.
" BhP.251. '0 See noto 10. "NL. 1484-1485. Ag. II. pp. 245-246.
Ag. I. pp. 1t5. 172. NL.2873-2175. to NL. 3225. .. NL.3226.
.. Ag. II. p. 45g. Kavi thinks that Sakaligarbhs" Sakaleya- Udbbata.
.. Ag. n. p. 436.
" Ag. r. p.172. This Vnrtih 860m. to have been in original work like
rila'. written in verso. Ag. I. p 174.
Ag I. p. 2fJ/ also Dc's Ms. p. Ag. I. p. 31.
11 NL.3225. .. Bhl'. 23s. .. Le Theatre indian p.15.
a. g. Skt. Poetics, Vol. (p. 32-33).
-I A. dy pp.2, U, 7, 8, 9, tl, 15, 110, 126, 2:30, NfJ. 102, 314 .. 316, 459 .. 471, 5.14,
1186 (P) BbP. p. 234.
LXVII
that he compoaoo an original work on the snbjoot. It is probable that in
this he occasiona lly explained in prose the view expressed by the author of
the Interpreting in thil> manner one can understand the
words who, commenting on Bharata's definition of the
Benl>diction (nanr.Ii), remarks that 'in axplaining this Miitrgupta said
ctc'.87 About the time of Matrgupta, we havo no sufficient evidence. All
that can be said is that, Abhinavll quotes from his work and hence
he : was than this great well-known commentator,. Besides this
Siigaranandin, who iri possibly earlier than Abhinavll, names Miitrgupta
alollg with old writers such as Nakhakutta, Garga, and
lliidal'iiyal,la (lliidari);"
9
hence it appoors that he was not 1\ late writer.
the'meagre information available about him scholars have
identified him wit'll the poet of that name living during the reign of
vikramiiditya of "Kashmir who rieCmB to have been the author of a work on
drama called Viirtika. This would roughly placo his work at the end of
the 4th century A.C. 01' in the beginning of the 5th.
4
U ]<'rom the extracts
made from his works it appears that wrote 011 dramaturgy and music.
(g) Suoandku. refers to one Sl1bandhl1 who wrote 011
dramaturgy. Y If it is possible to identify him with tho famous author of
the Viisavadattii, then he may be placed rougl!ly in the 5th century A.C.
(Ii) Tke compilers oj the and the Vt:glUdkarmoliara.
Tho treats of niijya, nr;tya, and rasa, but this treatment dl'pends
considerably on' the Natyaiistra. Thero is literal borrowing from this
work as well as parapharases of some of its metrical in this
Puriil,la. portion of the Agnillural,la iH usually placed after
(circa. 7th century). H The too treats of nr;tta, nfltya
and alJleinaya, and this treatment too is dependent on the and
does not appear to be earlier than the 8th century.
6. Late writings on Drama
(II) IJaSatupa. The of Dhanaiijaya was
composed in the last quarter of the 10th century A.C. during the reign of
MUiija (Viikpatiriijll, II) the king of Malawa. This work, as its name
implies, treats of gha ten principal forms of dramatie works (;uPtJ) which
constitute the subject-matter of chapter XX of the but it
.. For example 8"1(8ra, (NL. o34lf.) discusses Matl'gupta'a view in his compi-
lation which is written in verse and proso. It seem that this anthor was his model.
It SlIt. Pooties Vol, 1. pp. lOi-loa.
" Ag. De's p. 543. Dr. S. K. De thought that Matrgupta was unknown
to Ag. (Skt. Footics. Vol. r. p. 33). '.
II See note 23 above. .. Keith, SkG. Drama. p. 291.
.. BhP. p.238. .. Vol. I.
L:r.vm
actually brines in a few other relevant scattered over other parts
of this comprehensive work.
. Any earllful student of the Niityaiistra will easily discover that
Dhanajijaya in restating the principles of dramaturgy in a more concise
and systematic form has carried too far the work of his abridgment and
left out quite a number of important matters. The special stress which
he lays on the literary aspect of drama by his exclusion of its histrionics
and other teehnieal sides, very clearly indicates the ioneral dccadene of
India's aesthetie cultnre at the time, With his professed r(lVcrenllO for
the 1'ules of the NiityaSistm (ascribed to Bhllrata), hI) SL'IllllS to have mis-
understood the and objl'Cts of its author who composed work for
the playwrights as well as the prOOUC('r8 of plays.' 3
But whatever be its limitation, the Dasariipa, and its commentary
Avaloka without whieh it was only half intelligible, attained in course of
time a wide popularity aud gradually superseded the which
soonis to have become very rare with the passage of timc. And the
80 thoroughly Bupplanteu other dramaturgic works liS existed
before its time, that with the exception of the Nii tya.4iistra it is the
well-known work en the subject and yery frcqllcnti y drawn lIpon by the
commentators of plays as wpl\ as later writers on dramaturgy I ike
ViSavanatha.
(b) Slightly earlier than the
or with it,H is the (brielly
of Sligarauilndin. Till about a quarter of a century ago
our only knowledge of the work eousisted of a few from it in
dill'erent commentaries. But iu 1922 the late Sylvaiu Levi discovered
MH, in Nepal and published II report on its contents and other relevant
matters (Jourual Asiatiquo, 1922, p, 210). 8inee then the work has beon
carefully edited by M. Dillon and publisht-'ll (London, 1937). Just like
Dhanaiijaya, Siigal'auandin too discusses in his dramaturgy
in detail and only incidentally certain connected with
histrionics. But unlike the Dasariipa the doos not treat
exclusively of drarnatUl'gy, but refers to hi8tl'iouics whcnevm' necessary.
Though the author dependH 'on 110 10ils than seven <liferent
authorities such as Miitrgupta, Gal'ga, Asmakutta, Nakhll-
kutta, Biidal'i (BiidariiyaQa), lIud Bharata (the mythical of the
yet his dependencc on the last-named ono seems to be the
greatest. A largt' number of passages have actually boon borrowed by him
from the same.
4
Besides these borrowings the enent of Sligaranandin's
" Ag, I. p. 7
.. See R. Klvi, 'Date of in Indian and IrB/liaD l:i'udiOil prelellted
to D. RoSI. Bombay. 1939. pp. 19S1f, .'. !leo N L, pp 143-144,
dependence on the is apparont from his echoing of the
numerous passages'6 of the latter.
(c) NlIlyaaarpa'lla. The Niityudarpal)a' 7 of Riimucandra and GUl)a-
Cllndra is the next important work Oll dramaturgy ufter the Of
the two joint-authors
48
of this telCt, who were Jains Riimaculldrn Jived
probably between HOO and 1175 A.C., and he was a disciple of the
Hemacandrll. Rilmaeandra wrote II large number of works including
many plays. But of GUl)acandra, the collaborator of Riimacandra, ,'ery
littl\, is known except that he too was a disciple of I1emacandra. '1'lw
Niit,yudarpal,1a which is divided into fOllr chapterR, treats of
This has been composed in brevity
of the treatment eompareable to that of the and as in the latt r
mauyof its cannot be fnlly understood unlesR a commentary is
Fortnnately for us the joint-authors of the work have 10ft for
us a very clearly written and informatiwl v(#i (gloBR). It is evident from
the metrical text that the authors had accrsq to the NiitYIInstrli ftnd C)C-
ploitrd it very thoroughly, And what<o\'rl' eould not be accommodated in
tIll' text has bc('u added in the prose vrlH which has utilised also Abhi-
11!1V1I'S famous commentary. Besides this the authors have occasionally
rriticised the views of other writers among whom the author of the
rflpu figures most prominently.
5
0 All this has given the Niityadarpm.1a
a uuique value and some superiority over the Dasaliipa.
(d) Ruyyaka's lI'tilakal1tiI1tUI(ISU. RUYYllkli alt'as Rucakll/
T
who
was a Kashmirian and flourislH'd probably in the 12th century, \VaH n
voluminous writel' on poetics. It was from one of his works (a commentary
of Mllhima-bha!tli's Vyaktiviveka) that we learn of his NiitaImmimiillh"t It
work on dramaturgy. No of this work has so far been discovered.
(e) BhiivapraknSana. HiirncHtanaya, who seems to haw bern :I
Southerner and flourished in the 12th century, wrote the
which dealt with dl':lmatllrgy in greater (Mail than .. the or
the Niityadarpana. And his work !lCqllirf's an additional authority from
the faet that had as his teacher oue Diviikarll who was the
Director of a theatre"' lind might be taken us conversant with the
theory lind practice of Indian drama as it was cllrrent in his tin1l'. Thollgh
delJends InLlch on earlier authors for the materials of hi:;
work, his apprvach to the subject is to some extent originul. As the
namo of his work implies, it deals with th,' ,. expression" of tltn
.. Printed out by M. Dillon in the margin of N L.
" Ed. in O.O.S. Baroda. 1929. "Soo Introduction of ND. 1'.:1.
But thoy have also drawn materials from older writers like Kohala, I'a"kllka
and Ag. SL'tl ND. p. 2"24. "See NO. Introduction 1'.3. " Skt. Poetic., p. 190ft:
.. Ibid. p. lIl6. os Ed. O.O.S. \930. .. BhP. p. 2 also Introduction, p.G.
LXX
"State" (6I1iJflo). Now the propel' of the States' by the aetol'S
according to the gives rise to the Sentiments (rasa). Hence
Siiradatanaya begins his work with th!! description of the States and
everything oonnected with them Next he passes very naturally to the
discussion of the Sentiments, These being thoroughly discussed, he
takos up the Heroines of different classes who are the main of tho
Sentiments. The time factor in the plot and the diction of the play
which also arc means of developing the tlelltimcnts are considered ncrt.
Afterwards he analyses the body of tho play and its different parts.
This brings him to the consideration of the ten major aud twenty mmor
types of play (rfipa), and finally of the miscellaneous matters connccted
with drama and theatre. '1'0 avoid prolixity we desist from giviug here
any detailed account of itK contents which inclnde aU- possiblo topics
relating to dramaturgy. It may be briefly Kaill that.
treatment of the subject is in many rcsp('cts Illorc comprehensive than
that of the Dasarlipa, thc and the Nlltyadarpana. And
to attain his obiect thradiitanaya iw.s freel; rcferrod to th;:
as well as the works of early writers like Kohala;H Matrguptu,
5
1 os
and Subandhu.
5
(0 Bcside, this he has sOlJwtimes mentioned authors like
Dhvanikrt, Rudrata, Dhanika, Abhillava, Bhoia and, sometimes referred
also to their views and criticised these.
6
0 All this adds to the great value
of his work.
() SilhityadarpafJa alld Na!akaparibhfl8a, Kaviraia,
who tlouri8hed about the thirtecnth century'; r was 11 poet and a scholar
and in this latter capacity he wrote among other things the famous
tliihityadraplII.m which treatK all brunches of tlte tlkt. literature including
drama. It was the sixth chapter of this work dealing with drama on which
the early western writers of the ancient Indian drama depcndea.
his treatment of drama seems to have utilised tho Niitya-
the Dasarlipa
63
aud its commentary Avaloka
6
' as well tho
work of Rndrata aud others.
is kuown only ill name. But his
Uasiirt.llIvasl1dhlikara. 6 5 treats of drama towards its end, It seems
that 110 important treatise on drama was written after all these works.
,0> dBbt to ha, been poiutcd out by the editor of his work,
tee Introduction of BhP. pp. tlJ.67. " ::iec above note 1. " :5eo above noted
Soe above notes :Jl32. .. Suo above note 41.
HhP. pp, 175, 179, U5, IGO, 327, 82 160,194,313,12,152. lV', 213, 216, 242, 245,
'251.. " Skt. Poetics. Vol. 1. pp. 2:13 If.
oee 281, :\06,321, 5W, 517; 537.
Sed SD. ViSVllllltha wrongly a ascribed to Dhanika what Leloogd to DR. (Ill.
3133). This misled "Omo scholars to bJliovo that Ohallikll lIud DhManjaYR wore not
different parsons. Skt. Poetics. Vol. I. pp. 242 If.
kd. Trivandrmn Ori\llltal Sories, 19IG
UXI
VI. The NafYllsosfra': TIle Text and its CommeJJtators
1. Its Author
The Natyaastra is commonly attributed to Bharata But
Bharata oannot be taken as its suthor, for in the Natyaastra itself
his mythical character is very obvions, and the majority of the Pural}as
are silent about tho socaUed anthor of the and there is not a
single legend about him in any of the extant PuriiJ}.as or tho RiimiiyaJ}.a and
the Mahiibhiirata. Tho word Ekal"ata which originally meant 'an actor'
to have given rise to ao eponymous author of the EkaralaiIaslra or
the (the manual of aetors).
2. Its Two Recensions
Whoever JIlight be the anthor of tho it is certain that
the work itself possesses undoubted signs of great antiq nity, and one of
these is that its text is available in two distinet recensions. In having
two partly diVergent recensions the eau well be eompared
with works like tho Nirnkta, the Briladdevatn and tlw Sakuntalii.
The editors of thpsc works have differently settled the elaims of their
shorter and louger recensions. At first sight the tendency would be to
accept the shortor reeension, as representing the original better,
because elaboration would seem in most casl'S to come later. But opinion
is divided in this matter: Pisehel regarded the longer recesion as beiDg
nearer tho orginal
3
, Maeodonell has also given his verdict in favour of the
longer recosion
4
bllt he has not ventured to reject the shorter recension
entirely as being late, and Lakshman Sarup Ilas dPlln suggested that
the shortor rec(>nsion is the ealier onc.
5
All these go to show that the
problem of the relation between two recensions of any aucient work is not
so simple as to be solved olf-haud. So in this ease also we should oot
settle the issue with the idea that the long<>r recension owos its bulk to
interpolations.
'rho text-history of the shows that already in the tenth
century tho work was available in two recensions. Dhanailjaya the author
of the Daarupa quotes from tho shorter recension while Bhoja, who elosely
follows him, quoted from the longer one.
0
Abhinava in his commentry
of the Natyasiistra, however, used the shorter recension as the basis of
his work.
7
It is likely that' the long time whieh passed since then has
witn<'SScd at 1(>8st minor ehanges, intentional as well as unintentional, in tllC
1 800 IRQ. Vol. VJ.1930. pp. 72 IT, Annals of BORI, Vol. XV. 1934, p. 90 In.
See N:81 . 2-5 note 2. Kalidas&'s Sakuntala. HOS. p. XI.
The Br-haddevata, HOS. Vol. I. p. XVru-XIX.
Introduotion to the Nighantu and Nirukta, p. 39.
, Preface to Baroda ed. of ;O!. 1 8. Soe abuve,Dote G.
.urJ/
teKt of both the recel/sioDS. flenco tho proNe; beuOOJaf elill/JI(J/'{J mJflmIt
But a careful eXlImination of the rival recensions may gh'e us Borne clue
to their relative authentioity. Ramnkrishna K:wi who has examined no lcss
then forty Mss of the text, is of opinion that the longer recension (whioh
he oalls n.) soems to be ancient, although it contains some interpolation
(pointed at by him) going back to a time prior to Abhinnva.
6
Mr. Kavi,
howevor, docs not try to explain tho origin of the shorter reoension whioh
he calls A. This vipw regarding thn relative authenticity of the longer
recension seems to possess justifioation. Reasons supporting it arc to be
found in the tests dift'ercntating the two recensions, whioh arc as :
(i) Chapters XIV and XV of the shorter recension dealing with
prosody introduce the later terminology of Piilgala (ra, in. SII, na, and bha
rlJrJAS ete.) while the longer recension uses terms like IIJt"ku and ruru in
dofining the scheme of metr('S.
(ii) The Rhorter recension in its chapt!'r XV gives definitions
of metres in Upajilti. while the corrosponding chapter (XVI) of the
longer recension gives them in and in a dift'erent ordt'r.
Considering the fact that tho bulk of the Natyasastra is written in this
metre the longer recension in this ease to run closrr to thn
original work.
9
Though RamakrisluUl Kavi, overlook<>d it, there is yet another
point which may be said to dift'erentiate the two recrnsions. 'fhe chapwr
dealing with the Niityagn1)lIs lIud AlaJtJkiil'tls have nearly forty
ditrel'ntly worded in the two rccensions. These {;lokas in the longer
recension (cit. XVII) are written in the uSlml simple language of the Niitya-
sastra whilc (oh. XVI) in the shorter recension (the hctray a
latcr polish. The opening stanzlls of the chaptllr (XVI) in the shorwl'
l'rcrnsion are in Upajiiti metre while in the longer recension (ch. XVII)
thry arc in the :Iloka mptre. This to the parlier origin of the latt(\r
for the bulk of thp N:itya{;iistra as has been pointed out beforc is composed
in the same metre. Now the shorter rneODsion which apprars to bp. of lawr
origin, not sccm to br totally devoid of worth. It appears that this
hAA in crrtain preserved what once cxisW bllt nrc now missing in
the longer recension. The eases in which the shorter recension gives in II
dift'ercnt Imlg;uage the oorresponding passages of the longer recension may
be by assuming thnt tho passages in qucstion wore probnbly
writtc>n from memory of the original in the prototY!lo of the recoils ion.
3. Unity of the Nntynsuslrn
" scll01111'8 have cnte1'tainoo a doubt tho nuity arc nuthOl'ship of
tho think there lire indications that "it (the
Sjl8 above note 6. See abovo note Il.
LXXIJI
Mrtfl'Ni"bua) hRlf SUDftwCY/ EO CQJISli-it'hlOIr' rrW/lJJ(/hfqf' IfJ mkr IfJ/{'b'
it assumod tlJo l,resent shal/c ...... , .. "
The .allegell indications may be 8umnrd up llR follows :
(i) The colophon at the the end of the KM. text of the NatyaSastra.
(ii) The mention of Kohala 38 the future writer on certain in the
(XXXVI. 63). (iii) Bhavabhiiti's referenCll to Bharata
Mn'ni, the soealled Iluthor of the as the Tanryatrika-siitrakiira.
(iv) The mention of the siilra, the and the karika as conHtitnent
parts in the itself along with the the existence of prose
p8$ages in it. As for the first alleged indication Dr. S. K. Dc has tried
to connect the colophon of the Natyasttstra (samap/a8 cayam Nandt:
Bkarala-samgi!a-puslakam with the 'chapter on music only.TO He opines
that the Nandt':Blzarata of the colophon indieares that thr on
music (XXVIlI-XXXIII) arc Bharatrl's original teaching on thl1 snbicr-t
as modified by doctrine of.Nandi. If we eould aeecpt the view it would
have been easy to believe in tIl!' composite authorship of thr Niitya4iistra.
But this does not seem to be possibll1 for thC' following ,
(a) Tlll1 colophon ill qneRtioll stonds at the elld of two MSR. copi<>d
from the slime original and arc missing ill all the rest of the available
(b) 'I'he word sal!IO'ila occnrring rarely in th" includes
according to Hiirligadeva (c. 1300 A.C.) gila (song), vUdya (instrumental
mnHic) and n!'lya or nrt/a (dancl'). Hrnce the colophon may be taken ill
relation to tlJ(1l1ntire tmct and and not with th" cliaptl'rs on alonl'.
((\) Nandi as a writl')' 01' 3nt.horily 011 SaI!,gila alone has 1I0t I><.>l'n
ml'lltiollcu anywhcl'l1s "lsI'.
As for the prC'llktion that KohalR will tl'l'Rt ('rl'taill topics 1I0t
discllsRC'll in till' it may Raid thnt tlwl'l'iR nothing ill it to
show thnt Koha!:, is later than till' author of this trl'lIti,,. He waR in all
likelihood a prrunMHRor 01' a contempoml'Y of hk
Th" most import.allt or all th', aUngC'(1 indicatiolls of th" pllll'al
nlithorship of th" is U,,' th ird onl'. Thn idC'a that the work was
originally writtm ill prose and WaR Hn\)HNluently tllrnrd illto VPl'SP, al'os"
probably from a misllnderst:lllding of the word SIdra. In spitl' of its trlldi-
tional d!'linition as asatzdt'gdlzal!! siir7Jad
etc. there is nothing iu it to show that tho sidra 1I111st always b" ill 11IORe.
Inuood the Nlityadm'llIll)a-siika is !'ntir('ly in VOl'S!', and tht) Snddhal'llm-
of the Mahiiyana BuddhistR is partly ill verse and
partly ill prose>. III the MallllalaearaJ.la Moklls of his commentary
Abhillava too mentions the extant Niityasastrn as the Bharlltllsntra, Thus
on taking the sulra in its oldest sonSC', the theory of the SIIpp08ed original
version of the falls to the gt'olmd. The exiRY'nce of tho
11r1lRO .pasRagoR ill tho dOffi not ill tho It'list 11<'Ip thiR tllPory, filI(I
" Skt. Poetics, Vol 1. p. :H, '.r ;Ed. 00,.
J
LXXIV
it may bo explained on the asBumption that tho author found it more con-
veuient to write certain things in prose. All this will remove the difficulty
in understanding the words of Bhavabhuti who mentioned Bharata as the
sUtrdam. .
4. It Scope. and Importance
It has already been shown what II great variety of topics the Mitya-
discusses in connection with its principal theme, the dramatic art.
In sharp contrast with almost all the later writers on the subject its authol'
treats of dramaturgy a8 well as histrioniCR. In justification of this two-
fold aspect of this work Abhinava Rays that 'it is for the guidauce of the
producers as well as As the drama in any form is primari-
ly and essentially a spectacle, laws of its production shouUl be considered
indispensable for the playwrights. It is a wdlknown fact' that many good
literary dramas often get reiected by the theatrical directors because of
their construction being found unsuitable for successful and profitable
repersentation in the stage. The author of the Niitya.4iistra WIIS evidently
eonscious about this vital connection between the 'literary and technir,al
aspeets of a drama, and treated of both very elaborately. It is a very
unique text dealing with every possible aspect of the dramatio theory and
practice. It is no wonder therefore that the Niityasastra was often quoted
or referred to in later treatieses on gestures, poetics, music, prosody and
even on grammar, besides being often laid under contributfon by commen-
tators of diffirent Sanskrit and Prakrit plays. And all the later writm'H
on dramatnrgy too depended greatly if not cxcusively on this work, anel
most of them expressly mentioned their debt to the MUlli RhllrRtll,
the supposed author of the Niitya,4iistra.
5. lIS Slyle and MfJlhod of Trealment
In style the differs very largely from all the Inter writers
on drama who Ildherenec to it and formulated their rules in a con-
cise manner. ThORe latter are sometimes so very brief, that without thll
help of a eommentator they are not easily intelligible. Though some PRSSR-
ges remain obscure without a commentary or similar help yet the major por-
tion of the Niityasiistra is written in a simple language in the and tho
Aryi metres. Though composed mainly in verse, a very small number of its
passages are in prose. As the work is in the form of dialogue botween
Bharata, its mythical author, and some ancient sages, it has some similarity
with the Pnriil,lllS. One of the charge, brought allainst the NatYMastra is
that it is very diffuse. This is true. On . a careful of his
method of treatment it will be foand that the author of the NitYaBistra,
like :the famous Piil,lini, treated of the Bubjoet analytieally. He has taken
.. 4&'. I p. 7.
,. HIIU,'p' XXVIII .
LXXV
up ino.ividual topics ano. eons idered them in every possible detail and
has found it necessary to repeat things for the completion of the matter in
hand. This ha9 given it diffuseness. But the adoption of this method
was unavoidable in a technical which aimed at completeness. This
however may be said to have rendered it difficult to some extent. The
o.ifficulty with which we moderus are confronted in studying this
ancient work, is however primarily due to its discussing an art which
has pratically gone out of vogue for quite a long time. That the text was
transmitted through a defective Ms. tradition is no less responsible for
difficulties it presents.
6. The Early Commentators
According to SiirJigadeva (SR. I. 1. 9) the commentators-who set
themHelves to 'the task of explaining or elucidating the
life {jdbhata, SaIikuka, Abhiuavagupta and Ki;tidhara.
Abhillava in his commentary refers in addition to Bhatta
Yantl'a aud Bhattll Niiyaka who IllIIY be taken us commentators of the
and 'quotes from of aud one Viirtika. The Viirtika
however seems to be an indepeno.ent treaties on drama though the
an old commenblry. nut in the absence of suitable data our knowledge
about the date of th<'8e commentators and the nature as well as the value of
their work, is very inadequate. W Cl are however discussing below what-
ever meagre informations may be !lathered about them.
(a) Aciirya Kirlidkara and NijnyaaB'/Ja. Abhinava
hus I'<'ferr('d to Kirtidhara only once. I 4 But from the speeiail'CSllect shown
him by the commentator who calls him iicarya. it appears that Kirtidhara
was l\ very early commentator of the and as such he was
possibly anterior to Bhatta Udbhata and may be placed ill the 6th or
the 7th century.TO And NanyadevaT8 quoted by Abhinava as the author
of the seems to be another early commentator of our text.
(b) BkaUa Ud!Jkaja. Bhatt.'! Udbhata'sT7 opinion has been thrice
quoted by Abhinava. As his views were controverted by
who ftouri8hed in the 8th century it is possible that Udbhata was a person
of the early 8th or the late 7th century.T8 Though it has been doubted
H
whether was really a commentator of tho from the-
reference to his work by Abhinava we may be fairly certain in
this matter.
r. Ag. L p. 208. Of. Skt. Poetics, Vol. I. p.,29. T, Cf. Skl.l'oetics, 1. p. 3\1.
1 Ho should be distinguished from his namesake who was a' king off Mithila in
tho 12th century (880 J ASB for 1916, pp. tm If.)
f, Ag. II. pp. 70, 441, 451, De's. M . pp. 992.
To See Skt. POlItiCS. I. pp. 76ft'.
ro Ski. Poetic, I. pp. 37 1f.
LXXVI
(c) Bhalla Lolla/a. Bhatta Lollat.a has been referred to as many
a8 cleven times.
IO
From these h!l appears to be a commentator of the
Niityasiistra. As the rasa theory of SaRkuka was known to have been
against Lollata's view on : the SlIme, this latter writer flourished
possibly in the middle of the 8th eentury. If
(d) ,sri ,sailkuk(l. Abhiuava referred to Bri-Sankukll 01'
118 many as fifteen times. n About his time we Heem to IIlWo some definite
information. For he is probably idclltielll with the lIuthor of the pucm
BhuvaUllbhyudllYII written during the king Ajitiipi4a wh'Jse
date is about 818 01' 816 A. C.'i3
(e) Bhal!a Nayaka. 13haHa N:iyaka has been rcferl'cd to as many
as six times by Abhinava." llCllides elCplaining and elucidating the
Natyasastl'a, lit lellst in part, he wrote on the Dh vllni :In indepen-
dent work naml'{l tho Hrdayadarpal.l:I. I-I,' been placed bet.ween th'J
cnd of the 11th and the bnginlliug of tlw 10th cl'uLury.to
(f) BkaUa Yantra, Prom the Hingle rl'fel'cnce to him ill Abhina-
va's commcntary it appears that BhaHa Yllutrll' '; WIIS a C{)lllllwntator of
the About him nothing morc cnn be said axcl'pL thllt he 11l'L'-
Clued the celebrated commentator,
7. Bhatta Abhinllvagupla
Among the commentators of the AhhillllVllgUptli or Abhi-
IJava is the most wellknown. But his fame rCllts alsl) 011 hiH COlllluc)lltal'Y
on tho Dhvanyaloka as well as numl'rous lI'al'ned on the KSHhmil'
the concluding portion of some of books Wl' Iral'l1 a few
of his family and 011 the Htrength of he haH placC'd
the end of the 10th and the begilling of the 11th centu)'y." 7 1<'1'0111
the Abhinavabhiirati we learn that his IInothpr name was NIsiIllhllgu pta.""
Althongh like IIny other work of this chlSs it professes to explain tlw
text, Abhinllva's commentllry is not always an IIdequate help for under-
standing the 8('v('ral difficult of the Natya.4listra. This drawback
might be due to its defecth-e t.Pxt trllditioll, but a careful study of it will
convince auy one that all itt; weak 'points cannot be clCplainrd lIWIlY on this
a.'lSumption ahne. There of Abhiuuva'H not being sUl'e about
the explanation offered, for example, the word kutapa once c:orplaiued a"
" Ag.1. PI'. 208, 266, ; II. PI'. 106, 415, '12;), 4:J6, ,152. Dc'B 'IB p. H86.
.' I;kt. PoctiCB, Vol. 1. Pi'
Ag. I. pp. 74, 217, 274, 2\lJ, 21J8, :J11); II. pp. 411; 436, De's. :Ills, pp 493,
413. 4:J7, 441, 441:l, 469.
II See Ski. Poetics, I pp 'J8.39.
I" Ag. 1. pp'. 4, 278, II. p. 298, Dc' s pp. [)06, 508.
.. .Skt POIltic8, I. pp. 3911'. .. AI(, I. p, 208.
Skt. Poetlt'S, I. pp. 11711: ". Soo Ag. De'd. Ms, pp. 428, lill,
LXXVII
'four kinds of musical instruments,g and next as 'a gronl) of singers !llId
players of mWlical iustruments'li and then again as 'four of musical instru-
ments',ST while explaining the mslla'IffJrtI'I}i he gives four different Vi
CWS
82
!Iud does not give support to his own prcferenec. Besides this, his
Clcp18llation in Bome cases seem to be fanciful. For example, he explains
kha1}l1ana as (meaning) 'also fanning by means of a fan made of
palmleaf'.83 This evidently is wrong, for in the same context flyajanakam
'fanning' has been mentioned, and kha'l}i/ana may better be interpreted as
patterns or designs'.H Bnt such instances are not many. That
Abhinava had as the basis of his commentary a defective text of the Niitya-
Mstra, is apparent from its published portion, and his text was in to
some extent difJ'ercnt from any of the versions that have reached us. It is
due to this latter fact that sometimes particular passages of the comml'utary
Cllllllot be connected with any portion of the text (given above th,! commen-
tllry) ill the Baroda edition. For clCamp!p, once Abhillava WriteH "here
are fOllr ca-karas",3. but in the text indicated by the pratika two cii-kii,ras
only arc available. And curiously enough a part of this text '1llotOO
clsewlwre
38
in the commentary corroborates the available reading of
the text. 1n anotll('r place of Abhinava's we have the word
(/'lamOhana explained, bllt we look in vl!.in for it in the text.
3
7 The slime
is thp case with avyalireka alld agama oecuring ill the commentary laler
Oll. 8 And some rr,spollsibility for its reduced usefulness must be tl)
the fact that Abhinava had his commentary based 011 an imperfect ted of
the
There is still another reason dlle to which Abhinava's work dOt'!; not
prove to be qnite adequate for 0111' need. It is probably II<' wrotr>
til!' commentary with a view to help scholars of his whoHe knowledge
on many th iugs relating to the Indian drama, theatre and genl'ral Iitl'l'ature
he eould IISSUml:', his comm(>ntary sometimes falls short of our nero".
But in spite of these limitations Abhinava's work has its valliI'.
Wlwnever hl' has to explain any theory or problem concerning the dramatic
art or general aesthetics, he dOM it very exhaustiv(>ly by quoting all
views on the same and oftRu cites examples from a vast number of dramatic
and other works some of which have perished. Often he slims up the
discussion in a masterly fashion. That he was a voluminous writer on the
abstruse philosophical topics gave him some facility in handling such
matters But, for the purpose of reconst1'l1cting the theory and practice
of the !Incient Indian drama, such scholastic discussions lire often not of
much value, though students of Indian poetics and aest\wtics will SHrl'ly
.,
Ag. I. p. 73. Ag. I. p. 65.
H
Ag. 1. p. 186.
..
Ag. L pp. 64-66
..
Ag. 1. p. U.
..
see note 2 on IX 6HH'
..
Ag. II. p. 34.
..
Ag. I. p. 203 .
..
Ag, II. P 3-1.
..
Ag.ll. pp.ll'l, 226.
,tIn'.!JI
be profited by their perusal. But it must be sa.id of Abhi?ava's commeu-
tary that it gives conSiderable help in understandmg some passages
of the very old obsolete text of the NiitrMii8tra, and for thIS we should be
genuinely groatflll to
VII. Data of India's Cultural History in the Nalyas8slra
Besidils giving all BOrts of information relating to the dramaturgy
and histrionics as well as the allied arts of dance and music, the Niitya-
iliistra incilldes considerable other materials for the cultural of
India. The most important among these will be discussed below under
their several heads.
1. Language
The gives some d('Scription of Pkt. 1-25) auu
examples of Dhruva songs in Pkt. (XXXII). materials it
seems that the Pkt. of the Niityailiistra lie mid-way between the Pkt. of the
cla,;sical dramas and that of plays. this there occur
iu this work (XVIII. 44, 4.8) some references about the. nature of languages
used by the aucient tribes like the Barbaras, Kiriitas, Auuhras,
Sabaras aud Ca1)(Jiilas. Thare arc besides matters relat-
ing to the language used by men of different professions and status in life.
2. Literature
In addition to Prakrit verses given as examples of Dhruviis, the
N:ityasastra cite,; lIumerous podical Htalllms ill Skt. a80xamples of the
Benediction and of the diffrxent metres (V. 108112, 130131: XV!).
These arc very (>lIrly of the ancient Indian literature. It is 011
the testimony of these which lire free from the IIrtificiality of the later clasHi-
cal poetry, that P. Regnaud placed tho Niitya.4astra about tho beginning of
the Christian era (Introduction to cd. of the NS. p. VIIVIII).
The contains IIlso the earliest available discussion on
of speech (alaf!lkara), and the method of criticism based on the
theory of Sentiments (rasa) which became very popular amongst Indian
scholars during the medieval times.
3. Art
In the (II. 2. 4) it has been said that the canons of
painting lIrc difficult to understand without an acquaintance with the
canons of dancing. Now the Hindu drama as we have seen before depends a
great deal on dance which is in fact its mainstay. The' same work similarly
conneets the canons of painting with the canons of image-making. Thus
the three arts being connected with one another, the NiitYM&stra receives
an aditiona[ importance. This vieW' is justified by the fact that the
NiityaSiiatra detioribes various male (.rIhan4) such 118 Vai,J,lava,
LIra'
Samapiida, Ali<.lha lind (XI. 50-71), and
female (stkana) (XIII. 159-169) such as Ayata, Avahittha aod
AsvU:ranta. These and the vario)ls gestures in the
may also be helpful in studying specimens of the ancient sculpture and
painting. It should be noted in this connection that thA SamarAtigal.la-
Rfitradhara a medieval encyclopoedic work while describlug the rules of
making describes (ed. GOS. Vol. II. p. 301ft') the hand gestures
etc, almost in the language of the Natyasastra.
4. Metrics
Fiftyeight varieties of metre of sama, a,dkasama and types
have been described in the NatYaSastra (XVI). All these are p<'rhapH
anterior in timo to the Chandhal).-siitras of Pir'lgala. One important aspret
of this deseri ptioJl is that the name of the following are dift'mmt
in tho ('. g. Drutavilambita=HariJ:lflplllta (Nth, Bhlljmigaprayata=
Aprameya (NS), Sriigvil)i= Padmilli (NS), Miilini=Niindimukhi (Ntl),
(NS), Mandiikriinta=Sridharii (NS), Pl'ithvi=
Vilfllnbita-g;ati (NS), K Ilsumita-Iatii-yellitii = Citrall'khii .
:I. Poetics
The enuml'l'atl's (XVII. 43-106) four poetic figllr. s
(alallykara), t<>u GUJ)aR lind ten faults of a composition. In brief
these may be cmll!'il the earliest writings on poetics. To the theory of .
Hcntimellt (rasa) and the States (lIka'lla) (VI-VII) also the same rl.'mark
applies.
6. Costume8 and Ornament8
Detailed dcseription8 of ornaments, and directions about costUmeR to
be need by eharacters in a play according to thoir soeial status, profession,
religious faith, and tribal oria:in etc. are gIven in the (XXIU.
1-67, 110-127). These may throw interesting light on the social life of
t.he Indian peoille in the remote past.
7. Mythology
The mentionR (I-V, XXXIIIXXXIV, XXXVI nil"
merous gods,; goddcsscA, demigods etc. Classified aecording to the eyst<>m
adopted by Hopkin in his 'Epie Mythology' thl.'Y are as follows I. .
(a) lOfJJe, Mylkolor'Y: Serpent, Birds, Waters. (b) SPirits: Pitfg,
Bhutas, ASliras, Daityas, Danavas, Gnhyakas. (c) The
eirh' peal rods " Tho Snn-God, the Moon-God, the Wind-God, the
Fire-God, the God of death, Varl1l)1\ and Ocean, Indra, the
(World-proteetor). (d) TM Host 0/ S#n'ls: Gandharvas, Apsarasas,
Kama, Mvins, Mal'uts, Rlldras, Adityas, (0) Di'lline "Seen:
BrhaRpati, Niil'l\dn, Tllmburll. (f) Rarth',. and Perso"arfs:
llalll (d .. va), 8aulltkllmarn. (g) Tilt! T"ree SuJrefne Deilies:
llriihlll:lll, Hivll, (b) Lesser God: Kiirtikeya. (i) Goddesesses:
Sar8IWati, Umii, Pirvati, Cal}9.ikii, Siddhi, Medhn, Smrti, Mati,
Niyati, Nirrti, It is probably significant that GancAa and the AvatarM of
are absent from this list.
8. Geography .
In its chapters XIV, XVIII lind XXIII the NiityaSiistra mentions
Rome geographical names such as AtigR, AntR (Anti) rgiri, Andhra, A vauti,
ArvudR, AvnrtR, AnartR, minara, 09.ra, Kalitiga, Khllsa,
Tiimralipta, Tosala, Tripura, Drami<Ja, Nepiil!l, Paflciila, PuJi-
nda (bhiimi), PaUl)9ra, Plaval11ga, Bahir-
gin, Brahmottara (Suhmottal'a), Bhiirgavn, Magadha, M'adraka, Malnv-
artflka, Mahiirastra, Miirgava, Miilava, Mahendra. Mosala, Vai,ga,
Vatsll, VanaviislI;'Viirtika (Miirtika), Viihlika, VidWi, HHrRRPlJa,
Hiilakll, Simlhll, SallVirll, Galigii, Carmllr.tvnti, V ctrllYati, :\lnllPn-
dl'n, Mnillya, Sabya, Mekllla, Kiilapaiijara, Himalaya, Vindhya, Bhiirata,
9, Ethnological Data,
The names of thp following tribes occllr in the
KiiM, Kosala, Barbara, Andhra, Dl'ami(Ja, Abhirn, Habam, CiII,l<}ii'ln, Haka,
Pallava (Pahlava) lind Yavana. From the costnmPB alld colotll'K to ho
IIssigneU to their body it may be possiblp to trace them historically.
10. Ars Amntoria.
The mentions Kiimitantra or Kiimataotra (XXV. 38, r.3-
567) 1I11U (XXXV. 46). Rnt lIR it divides womoll into tW('nt.y-
fOlll' d:WlR, alld ViitRyiiYIIUlI'S Kiiulilsiitra into fOlll' thl'Rr namrs do
lIot S(,l'm to rclaw to the Kiimasiitra which probably eomeR lat.!'I'.
11. Art haeHstra.
Thr. Niit-Yn.4iiRtra is of opiuion that "The mcmbrm of the eourt (saM,,-
s/ara) Rhoulu be appointcU after eonsllltinK the views of Rrhaspllti who
thillks that the following arc tho qualities required for this office, '''l'h('y
should 00 always ready for work, 1Ilert, free from indolrncr, I1nuauntrd by
hard work, :tffcctionare, forbearing, mod<st, impartial, skillfnl, trained ill
polity anu good mauners, deeply con\'orsant with .tho IIrt of
lind 1111 other brllnehes of kno"wlooKe, and not aifoould by sexual passion and
the like" (XXXlV-87-90). The word la6/mslilra which has been translatcU
here as a member of the court, oeeurs io the Smtti of VyiiSll who holds thnt
this officor should hold discussion about morals (dha'tmijfluya) for tho
edification of those who arc present tin court). In Mbh 4.1.24, howevrl'
saMastara nppcal'fl only as a COnl'til'f (sa611,a, Nihtkar.tthn) who is lIarti-
elliarly in gamhling (.Jolly, Hi,n<111 lllw lind Cllstom, pp. 287288).
LUXI
The deeeription of the king, the the MIIa/ya and the pffk1fJifJlika
liS given in the (XXXIV. 78-87) might well have been taken
from the now lost work of Brhaspati recognised by Kautilya as one of his
Bources. The gives besides one interestinti information that
the inmates of a royal palace included a mil/aka (XXXIV. 64-69) and that
there was besides a functionary named kumarodhi/frla (XXXIV. 76-77).
As the definition has been lost, it is not possible to know what his duty was.
Can he be identified with the kumaramalya mentioned in Samudragupta's
inscription P
111. P18ychology.
The seem9 to be the first in recoa:nizing the twofold
importance of l'Byehology in connexion with the production of a play. Its
classification of Heroes and Heroines according to their typical mental and
emotional state. (XXIV. 210ff., XXXIV. lliff). proves its admission of
the importance of psychology on the creative side of the dramatic art; for
with the complete knowledge of all possible reactions of different objects
and ineidents upon such Heroes and Heroines, the playwright as well as
actors and actresses could attain the greatest possible success in charac-
terisation. On the critical sid(! also the importance of psychology was
discovered by the Hindu theorists almost simultaneously. It was realised
early that no strictly objective standard of beauty ever existed, and the
enjoyment of a theatrical production consisted of peculiar reactions which
the art of the playwright as well as that of the actors could success-
fully evoke in spectators of different types. It is on this assumption that
the theory of Sentiments and States (VI-VII) important alike for the
criticism of tbe theatre and the 6elles le/h'es hIlS been elaborated by the
an thor of the Niityasastra. Such a view does not allow any kind of
uogmatism in the 'criticism of art and literature, and will make dne
allowance for the vk'Ws of people who may widely differ ill their tasteR
because of their varying cultural eqnipm(,lIt.
VIII. Tlie Date of tlie Natyasastra
More than sixteen years ago, a careful investigation of the linguistic,
metrical, geographical and ethnographie data, of the evidence to be drawn
from the history of poetics and music, of the Kamasastra and the Artha-
sastra, and from inseriptions the'present writer came to the conclusion that
the available text of the Natyasastrp. existed in the second century afu'r
Christ, while the tradition which it recorded may go back to a period as
early as 100 B.C. (The Date of ill the .TDL. Vol.
XXV. Since this conclusion was' made, n more intensive
T For a bibliography on the Date of the NS. see this papor p. 1,
It
LXXXII
study of the text as well as aecession of fresh data has eonfirmed the
writer's belief in its soundness. 'l'hese additional materials are bein"
discussed below.
1. The Geographical Data
Geographical names occur in the (XIV. 86ft'.) mostly
in connexion with praV('/lis or Local Usages which seem to be a later eon-
ception and not at all indipensablo for understanding the theatrical art as
explained in the In fact the authors of the DMariipa and the
speak of the vt;tlis are absolutely silent on pra1Jftlis
which are counretOO with them. Considering the fact that these wvrks
depend a great deal on the their omission of this item may be
taken as significant. names occuring in connexion with
the pra'll'l:tlis are found in the Mbh. and some of the PuriiJ.Jas, some of these
being almost in the same sequence (see D. C. Sircar, "TpJd; of the Puranic
Lists of Peoples" in IHq. Vol. XXI., 1945, pp. 297-314). It seems that
some interpolllto[' put them into the text of the Niityai;iistra, for associating
it with all the difl'erent parts of India, though the original work was an
exposition of the dramatic art as it WIIS practisrd in the northern India
especially in the midland only. Hence the data should nQt
bo used in determining the date of our text.
2. The Nalyasa81ra earlier than Kalidasa
The argument that B particular dramatist who disregards any rule laid
down in the will be earlier than it in time, will reverse the
accepted ehronologicru relation between the Niityasastra and KiilidasB.
(a) Though the fact has bren overlooked by earlier writers on the
subject, Kalidiisa too violates the rules of tho NiitYMastra 011 the
following poillts :
(j) 'l'hough the prescribed rule (XIX. 33) is that the king's wives
shouhl be given names cOllnecil'd with the idea of victory, some of
diisa's royal Heroines have beon named as follows: DhiiriJ.li, IriiVllti
(Maillvi.) Hal]lsnpadikii, Vasltmati (I;jak,).
(ii) It is rueo in disregard of thr 1'1110 (XIX. 34) prescribing for tho
handmaids the narueg of various flowers, that KiilidiislI has
Niigarikii, Madhukarikii, Samiibhrtika, NipllJ,Iikii, Candrikii, Kaumudikii
(Miilavi.), Parabhrtikii, Cllturikii as the namcs of handmaids in
his play. Vakuliivalikii (Miilnvi.) is Jlossibly au cl[cl'ptioll.
" (iii) Though the prescribed rille (XIX. 34) is that the names having
an of auspiciousness, should be given to the menials, KaHdasa has
Raivntaka and Sarasaka (Malavi.) 118 the nllmos of servants.
(jv) The term svamin has becuused by' all army-chief (senapati) in
addressing thn king (Kak. II) in violation of the rule that it
I!hould bIl used for crown-princn nux. ;12) .
..
LXXXIII
( v) Besides these, Kiilidiisa has written olaborate Prologues to his
plays, though the does not recognize anything of this kind as
a part of the play proper. TheliC as well as the departnres from the rnles
in Bhasa's play, may be taken as great dramatists' innovations which as
creative geniuses they were lIlly entitled to.
(b)' Besides these there seems to be other facts which probably go to
Hhow thut Kiilidiisa kllew the present They are as follows :
(D Kiilidiisa IIses the following technical terms of the NiiWasiistra :
sandht; prayoga, (Kumara, VII. 91), ailga-satlva-vaeana
srayam ndlam (Raghu, XIX. 36), patra, praSnika, saustkava, apadcsa,
siik.kii, vastu, mayuri miirjanii (MiilavJ.) ..
(ii) Kiilidiil!a mentions the mythical Bharatfl as the director of
the celestical theatre (Vikralll, HI).
(iii) According to Kiitayavellla, K,ilidis!l in his Maliivi. (I. 4.0 ; 21.0)
refers to particular in the (I. 16-19 ; N8 (C.) XXX,
92ff.)
3. The Mythological Data
In the paper mentioned in the beginning of this chapter the present
writer was mistaken in his interpretation of the word mahiigriimtl1'!i which
docs not mean GaJ,lapati UA Abhinuva the reputed commentator of th0
opines (see notes on IlI.l-8.). The absenco from the
of this' deity who does not appear in literature before the fourth century
speaks indeed for the great antiquity of this work.
4. The Etlmological Data
The Niityasiistra in oue passage] (Xxm. 99) Illlmes Kiriitiis, BarbaraB
and PuJindas together with Andhras, Dl'amilas, and Kosalas who
were broWIJ (al#a, lit. uot whito), and in another passage (XVIII. 44) names
Andhras and Dramilas to.r.cther with Barbal'as and Kiriitas. Apastamba
the author of the Dharmasiltra who Jived at the lntest in the 800 B.C.
to the Andhra laud (Jolly, Hindn Law amI Custom, p. 6 and also
P.V. Kane, Hist. of tho Vol. I. p.45). Henee it may be
IIRsumed ou the basis of these IJames that the NiityiWiistra was in alllikeli-
hood eomposed at a timc when a section at le'llst of the Andhrns and the
Dramilns (forefathers of the modeln Tamils) were still not looked upon
as thoroughly civilized. Such a time may llot have been much after the
beginning of the Christian era.
5. The Epighraphieal Dala
Sylvain Levi has discovered parallelism botwoon the NatyaSiistra and
the inscriptions of the Illdo-SCflihian Ksatrapas iike Chnstanll who are
l'cfcl'red to th1lreiu 'Il su,jl1li a term "Pplioablo, according to the SRstrll to
LXXXIV
the 1U'Dafijja or crown-prince (I. Ant. Vol. XXXIII. pp. 168f). Though
MH.P.V. Kane {Introduction to the SD. p. viii} hIlS differed from him,
Levi's argllment does not soom to be without its force. It may not be con-
sidered unulual for common persons who aro intimaw with him to show
the future king an exaggerated honour by calling him s'UiJmin a. term to
be formally applied to the reillning Dlo1l9rch only. Besides the argument
put forward by Levi, there may be collected from the inscriptiolls other
facts too which may incline ns to take 200-300 A.C. as tho timo of the
compilation of the NityMiistra. These are as follows:
(8) The word randlJanJa probably in the sense in which the Niitya-
8astra uses it (XXXVI. 76) occurs in the Junagarh Rock inscriptiou
of Rudradamlln, I (150 A.C.). This also mentions terms, like
and niyuddha which we meet in the in the same
sense (J unagarh Insoription of Rudradaman 1. Sec Select Inscriptions,
pp.172-173).
(b) The respect for 'Cows and Brahmins' which the
author of the Natyasastra shows at the end of his work (XXXVI. 77)
hIlS its parallel iu the inscription referred to above. And respect for
Brahmins also finds expression in more than one inscription belonging to
the ard century A.C. (op. cit. pp. 159, 161,165)
(c) The three tribal names Saka, Yavana, 8n<1 Pahlava appearing
in the inscription of VlISistiputra Pulomayi (149 A.C.) occur in the
same order in the Niitya&istra (op. p. 197,) and N8.
The cumulative effect of all these data srems to be that they may
enable us to placc the Niitya.4astra about 200 A.C., the time of theso
inscriptions.
6. The Natyasastra earlier thaD Bhasa
Lack of conformity to the dramaturgic rules of the hIlS
sometimes been cited as an evidence of the antiquity of BhiisR, the argu-
ment being that as he wrote before the rules were formulated, he could
not observe them. This view however, seems to be mistaken. For the
rules occurring in the Niityaaliistra cannot, for obvious reaSOIlS, be the
author's fabrication without relation to any literature;! If
the Niitya.4iistra was written after Bhiisa's plays, its rules had every chance
of having been a generalillStion from them lIS well as from numerous other
drr:natie works existing at the time, while the contrary being the clISe (i.e,
being later thllll the SOIOO novelties are likely to be
I F. Hall in his Inlroduction (p. 12) to the DlI8arupa saya: At all e,enla. he
(Bharata) hardly have elaborated thelll (the rules) oxcept as InductlODs, from
actual COIDpotilions.
LXXXV
introdnced by the dramatist in disregard of tho existing rules. It is on
this line of argumont that the chronological relation between Bhiisa and
the will be judged below.
(a) On no less than three points, Bhiisa seems to have disregarded
the rules of the These are as follows:
(i) The sfttradhara (Director) brgins the though according
to tho the sthflpaka (Introducer) should porform this
function (V. 167).
(ii) In contravention of the rule of the NiitYaSiistra (XX. 20)
allows death in Act I of .
(iii) In Madhyama-vyayoga and the Bhasa does
not give tho Maratavukaya (final benediction) and what he gives
in itH stead, may DO au innovation.
Hence it may be that the was completed before
the advrnt of BhiiR8,.
(b) Besides this, thero seems to be some good evidence in his works
to ,how that the drnmatist was acquainted with this ancient work on
drama. For mcamplc, he mcntions in a humorous context the Jester con-
founding the (A vi. II O. 38-39) ,vith the Riimiiyal)a. Bhasa's
Ilwntion of some tcchiniclIl terms as well lIS the acquaintance which he
Hhow8 wit!1 some special rules of the may also be said to
strengthen the above IISsumption.
(i) First, about the technical terms. They lire : prasliJVann,
stradhara, Ciiri, tali, bhadramukha, hfl'Oa, bhava,
nii{akiya, the root pallia, railta.
(ii) The hetaera in the Ciirudatta (I. 26, 38.) SIIYS within herself, "I
am unworthy of being allowed entrance into the harem" (a6hailJi aham
abbhantara-I>avesassa). This seems to refer to the NS. XX. 54. The
expression, "by means of a N:itllka suiting the timn"
lIi1r{ael,la) in Pratima. 0. 4. 7) probabl"y points to NS. XXVII. 88lf.
(iii) The vocal skill of the hetacrll referred to by the Sakiira (Parasite)
in the yarudatta may IIlso be said to point to the elaborate rules regarding
intonation (kaku) in the NS. XIX 37-8.
(i v) Besides these, e:rpresoions like "the two feet made facile ill
dance due to training" and "she represents
the words with all her limbs" (a6hinfJyati vacfll7}si sarvattifral/,) ill
the Ciirudatta (1.9.0, 16.0) probably relate to tIle elaborate discussion
on dance and the use of gestures in the .
011 the basis of all these it may be assumed that Bhasa was
acquainted with the contents of thepresent ten of the Hence
LXXXVI
it may be placed in the 2nd centuary A. C. i.e. one century before
the time generally IIssillDed to Bhiisa's works. (Jolly, Introduction to AS.
p. 10, but IICcording to Konow Bhiisa.'s date mllY be the 2nd century
A. C. See ID. p. 51).
]i'rom the foregoing discussions it may be reasonable to assume
the existence of the in the 2nd centuary A.C., though it must
not be supposed that the work remained uninoorfered with by
of later ages. Such an interpolation may exist more or lCBB in all the ancient
texts. For example, Aristotle's Poetics too, in its received text, has
suspected to have interpolated passages iu it. 'fhere are indeed interpolated
passages in the and some of these have been pointed out'
and a few more m'BY by some chance be discovered But this
may not bring down tho work liS a whole to later times.
See notes On XVIII. 6, 48; XX. 63. Besides these cases, the seventeen couplets
after XV. 101 and the five couplets after XVI 169 arc spurious. For thO.16 do not
give any important information regarding the art of the theatre or dramaturgy and may
be merely ,cholastic additions. The passage on pra,'rllis XIV. 3d55 may also be
spurious.
- /-
THE NATYASASTRA
CHAPTER ONE
THE ORIGIN OF DRAMA
Salutation
1. With'a bow to Pitamaha
1
(Brahman) and Mahesvara
l
I shall' explain the CanonH of Drama a
which were uttered by Brahman.
Sages question.
2-5. Once in the days of yore, high-souled sages such
as, Xtreya
1
and others who had subdued their senses, approached
the pions Bhurata
ll
the master of dramatic art during an inter-
mission of studies {anadhyaya}. He (Bharata) then just finished
1 (B. G. same). ,I Pitlimaha (the Grand-father) is a PuriJ).ic epithet
of the Vedic god Brahman. For, the Pitrs (the Fathers) such lIB Ailgiras,
Bhrgu, and Marici and others, whoso peopled this earth,
\Vere their progeny. In the lawr literature and religion of India, Brahman
gradually recedes in the background and practically vanishes. His place is
taken by the extra-Vedie Siva, and in his full fledged PuriiJ).ic
character.
Mahrsvara (t.\le Great God) is another name of Siva who is
originally a pre-Vedie deity. Salutation to Siva along with Brahman, is
very rare in Indian literature.
By 'drama' in this eonnenon is to be nnderstood any play in ita
theatrical and lit<>rary charact<>r. For on this point Ag. (I. p. 7) says that
the NS. is meant Or the producer (of a play) as well as the poet
(==playWright). til""''''.
2-5 (B.G. same). 1 Atr<>ya-There are two Itreyas. One is 8
of Yijilavalkya (Mbh.) and another that of Vimadeva (Brahms P.)
See Vidyalankar, sub '[IDee.
I PuriJ).as.elCcept the Matsya (24. 28-30) silent on this Bhlll'ata,
the authority on the Canons:of Drt'Dlllo.
2
THE NATYASASTRA l I. 6 ..
thl' 1l1uttel'ing of prayers (il/pa) nnd was snrronnded by
sons. The sages respectfully said to him, "0 Brahman, how did
originate the a similar to the Vedas, which you
have properly composed? And for whom is it meant, how many
limbs does it possess, what is its extent" and how is it to be
applied? Please speak to us in detail about it all a".
Bharata'answers.
Ii. Hearing these words of the Bharata began in reply
to spl'ak thus about the Natyaveda :
7 -12. "Oet yourselves cleansed, be attentive and hem'
about the origin of the Na!yaveda devised by Brahman
1
0
Brahmins, in the days of yore when the Golden Age (Krla-
yuga)la passed with the reign of (Manu), lind
the Silver Age ('1'1'etallnga) commenced wJth the career of
Vaivasvata Manu, and people became addicted to sensual
3 Niityaveda-Thc 'Niltyaveda' aeeording to Ag. is a synonym for
the 'Niityaiiistra', and iA no 'Vedie work. He (1 p. 4) says :
'Ii'II'Ir
4 pramltil)a=oxtf'nt. Ag. tak .. the word in the sense of proof
(jJrama1.lam aira 1ZI8caya-janakat1Iam), but he eites another view as well,
which takes the word to mean 'number' and is as follows: 'lI"I II if''i'1f1!lifr
R'lI f" .. "II,
6 From the five questions put in ll<'rc, it iR not to 'be that
the treatment of slIbjcets mcntioned will follow the ol'drl'of thcsf'.
6 (B.G. same).
7-12 (B.G. same). I Tllf' !,pfrr('nee hrrr' iH to the Nlityav(1(la
allegoo w havr bern compoRro by Brahman in about 36000 It iR
also belirved that, later on a work (in 12000 /franthas)
on this grrat work and it was in the form of a dialogue betwern Siva and
Piirvati. iR c,(Jnsidrl'{'(l by Home to be the Adibharata 0;'
bharata. The prpspnt NH. contains about 12001) /fran/has and it is slIPPo>I!X1
til include the views of the authors of the !lOW extinct Niityaveda (eomposed
by Brahman) wnll M of the Adibharata. Sec Prl'fllcr io NS. (B.) pp. 67.
On this point Ag (1 p. 8) says:
"l!lIlfterdilil'loi
1'; A. K. CoomarllSwamy has freely translated 8-17 (The ?tfirror of
New York, 1936, p. 16\
1.15 ] THE ORIGIN OF DRAMA
3'
pleasul'es', wel'e under the sway of desire and greed, became
infatuated with jealousy and anger and [thus)' found their
happiness mixed with sorrow, and JambudvIpa
8
protected by
the Lokapalas (guardians of the worlds) was full of godA,
Danavas, Gandharvas, and great Uragas
(Nagas), the gods, with Indm (Mahendra) as their head,
(approached) Brahman and spoke to him, 'We want an objeCt
of diversion, which must be audible as well as visible'. As the
Vedas are not to be listened to by those born as Hiidras,
be pleased to ('.reate another Veda which will belong to all the

13. "Let it be so", said he in reply and then having
dismissed the king of gods (lndm) he resorted to yoga (concen-
tration of mind)
1
and recalled to mind the four Vedas.'
14-15. He then thought: "1 shall make a fifthl Veda on
the Na!ya with the Semi-historical Tales (itihu8n),2 which will
conduce to duty (dharma)', wealth (r.tl'fhn) aR well as fame, will
--... _ ... _-------
" griimyarJhama-Ag. explains the word differently and as follows:
",t/i:
8 According to ancient Indian geography thc earth was di vided
into dviPas (contincnts). Jambudvipa is olle of thrill. It indud('d
or known at prcs('nt as 'Iudia'. P. (ch.
1-12). See Winternitz, Rist. of Indian Literature, Vol. I, p. 548.
, On point Ag. sllyS: tllIf"rw 1!Iillfflfit
5 This relates to the foul' classcs such as Briihlll8J,1a, Kljatriya,
and Sndra. \.
13 (B.G. same). 1 Yoga hll8 be<>n defined in Pataiijali's work as
It howcVI'l' b<>gins with the concentration of the mind.
2 After 13, B. reads olle additional couplet. But G. considl'l's
PIIFJSllge to be spurious and puts it in the footnow.
14-15 (B.G. same). 1 III the t'arly IndiRll literature the
alone was considered liS the fifth Veda. Sl'C Chandogya Up. VII. If. and
7., and Suttanipiita, II.7 (Iltllruiutta). Kautilya's too gives
the same position to the IhlzllSas. See Wint"rllitz, Vol. T. i1. 313.
I On ililliua Ace now below.
I dllatrIIG also moallll virtuo, ll'w and ClllltOIll ete.
THE NATYASASTBA [t. 15-
contain good counsel and collection [of other materials for human
well.being), will give guidance to people of the future as well
in all their actionllj will be enriched by the teaching of all
scriptures (ialtra) and will give a review of all arts and crafts'
(Iilpa)".
16. With this resolve the Holy One (hhagnvat) from
his memory of all the Vedas shaped this Nittyaveda compiled
from the four of them.
1718. The recitative he took from the
the song from the Sam an, Histrionic Representation (abhinaya)
from the Yajus, and 8entiments (msa) from the A tharvaveda,
[and] thus was created the Natyaveda connected with the
Vedas principal and subsidiary (vedopaver!a)l, by the holy
Brahman who knows [them] all.
19-20. After the creation of the Niltyaveda Brahman said
to Indra (lit. the lord of the gods), "Semi.historical Tales
(itihasa)1 have been composed by me, you arc to get them
[dramatized and] acted
l
by gods. Pass on this to
those of the gods who are skilful, learned, freo from stage.fright
and inured to hard work."
The word 8t1pa is often synonymous with kala. As the 64
kalils enumerated in differ<>nt works different arts and crafts, these
two words may be translatOO as 'arts and crafts'. fitlpa, however, is some-
times to be distinguished from kalii; and then it may ml'an merely '8 craft'.
16 (B.G. same).
17-18 (B.G. same). I Vedopa1lcda-the Vedas and the Ullavedas
i.e. the Vcdas principal as as subsidiary. The Vedas are all
wellknown, and arc at fow' on!' being attached to each
of the Vedas. They are as follows: thr Ayur-veda.(tJ\C Science of Medicine}
to the Dhanurveda (tho Seience of ArmsHo the Yaiurveda,
Gandharvaveda (Musical Science) to the Samaveda, and
(the Science of Architecture) to tho Atharvaveda.
19-20 (B.G. same). I Kautilya's Arthaaastl'a iu itR definition of
ilihilsa enumerates PllralJll and iti'll('t/a as belonging to contents. An
fli'llt;tta, according to Wiutcl'1litz, can only mean :Ill event" and
purat}a probably meanH "mythological aud legendary lore." Vol.l p. lIl8.
PIIl'giter has, however, cxtractAJd )listorieal facts from some of the
-1.25 1 THE ORIGIN OF DRAMA 5
21-22. At these words of Brahman, Indra bowed to him
with folded palms and said in reply, "0 the best and holy
one, gods are neither able to receive it and maintain it, nor
are they fit to understand it and make usP. of it; they are un!\t
to do anything with the drama 1. .
23. The sages (mnni)1 who know the mystery of the Vedas
and have fulfilled their vows, are capable of maintaining this
(Natyaveda) and putting it into practice."
The Nityaveda and Rharata's one hundred sons
24. these words of Hakra (Indra), Brahman said to me;
"0 the sinless.one, you with your one hundred sons
1
will have to
put it (the to use".
25. Thus ordered. I l-earnt the Natyaveda from Brahman
extant Puriil)as (8(10 his Ancient Indian Historical Traditions, London,
1922). Acoording to the native Indian tradition t#hasa is said to be an
acoount of events that occurred ill past, carrying in it instructions
about duty, wealth, enjoyment of pleasul't', and salvation. The traditional
slolta is-
I ffllJ'lllli'lf!j1fifilrn..IQ "
The same tradition assigns the position of Itihasa to the Mahibharata
th<1 great Indiau (pic. It is possibly this t#luisa that has b(J('u conneeted
with the Nityavcda by the a1!thor of th" Heuer it appearH that
Oldcnberg's theory about thr original connrJcion epic and dramatic
poetry, is worthy of serious considr\'lltioll. NuEYilkhYaI!1 paitcamaYlJ. 1JedaY(l
setikasaY(l Itaromy akam (J 5) sroms to 00 very significant. Ag. (I. p. 13)
explains setihasam RS Ih'kasopadesaltarft.paY(l sapraMedam. Sec Winternitz,
Vol. I. pp. 100 ff. 312 n. Sec note on 14-15 above.
21-22 (E.G. same). 1 It Illay be tentatively suggested hero that the
gods represented the primitivo ljldo-Aryans who. possibly had no drama.
On this point see the Priiein Rhiil'atel' Natya-kalii (in Rrngali),
Calcutta, 1945 p. 60 ff.
23 (E.G. same). 1 The word muni is (>vidently to be derived
from the Pitt. root mUl}a 'to know' which is Illost probably not of Indo-
origin.
24. (E.G. same). I Th(1 Puriil)as and similar 'other works totally
ignore these one hundred sons of Rharata.
25 (B. G. S.,).
THE NATYASASTRA
[I. g/j-
and made my able sons study it as also [learn] its proper
application.
NamPB of Bharata's oue hundred sons
26-39. l[Names of my 80ns are]: Vatsya, Kohala
2
,
Dattila
3
, Jatila, Agnisikha, Saindhava, Pulo-
man, HruJvali, Vipula, Kapinjali, Badari, Y arua,
Tambudhvaja, Kakajailgha, Sval'l)aka, Tapasa, Kedal'a, Halikal'l)l\,
Dirghagatra, 8alika, Kautsa, Piilgala, Citraka,
dhula, Bhaktaka, Raindavayana 'raitila, Bl.largava,
Bahula Abudha, BlldhasenH, KeralH,
Sambara, Vanjulu, Miigadha, Sarala, Kartr, Ugra, TlU)ara,
Gautama, Biidarayal}a
5
, Sabala, Sunabha, Kaliya,
Bhramara, Pithamukha i\1ulli, N
6
, AsmakuHa 7,
Uttama, Paduka, Upanat, Rl'\lti, Ajyaklll)(Ja,

26-39 (B. same; G. 26-(8). 1 B. lIud G. Ronw of tll!'8e nam('>:
differently. f:lome at ICIIRt of the so-called sons of lllumlta might in fact
have been the authors who wrotR 011 dramaturgy, art, and
music eOO. mention thr first four. t:lee lxlow 2-7.
Kohala has again been mrntionrd ill (C.) X.'\XVI. 65. Ag.
has referred to opinion sf,vrml times aud quotrd fronl work on
nii!ya (Vol. 1. PI'. 140,173,182, 18::l, 2/j5; 'fif>l. 11. PI'. 2ti, [,5,. 130, 133,
142, 144, 146, 147, 151, 155, 407, 416, 421,434,452, 458, Latf'I'
writers like D:iJllotiaragupta, Ilclilacandm, and
SingahhiiPiila acknowlrdgl' hilll an authority on drama aud music. (Sec
S. K. De, Skt. Poetics, p. 25. Ln.)
3 Ag. has quoted II passage from the work of our. Dattilaearya (Vol. I.
p. 205). He tfJ bl' idl'11tie:II with this DlIttilu. Sc(' IIlso notr I abov('.
t is probably identical with 1'rfrrrrd. to and
quoted in the commcutary of the Allarghlll':ighllvll (P. 7. sec Levi, n.
pp. 27, 65) and the (P. 47, mi. M. Dillon). ill. Siiliviihana
=Siitaviihana.
s TIl( (pp. 46, 114) rf'ft'rH to and quotes from him.
6, 'rhe (pP. I 14, 121) rl'ff'1'S'to and qlloros from this
authOflty. So dOl'8 flD
7. TIl<' (pp. 4, 19, 114, 115) 'l'f'frrK to and quote!
from this-authority.
.1.46 J THE ORIGN OF DRAMA 7
'.Tab, Bhyanaka,
Asita, Sita, Vidyujjihva, Mahajihva, Syamayana,
Mathara Lohitanga, Sal!1vartaka, Pallcasikha,
'Gabhasti,
A!p8umali, Katha, Vidyut, Raudra and Vim.
3940. [Thus] at the command of Brahman and for the
benefit of the people I assigned to my RonR different roles f<uitahle
to.theml.
Performance brginR with thrcr Styir8.
41. O Brahmin", I then prepared to give a performance
(praynga) in ,"hich waf; adopt('d dramatic Styles (qlfi) such aR
the Verhal (!Jhiirafi),l the Grand (."al/rati), and the Energetic
(al'lIbhal;"i).
Need of thl' Kai!:iki Styl('
4243. II [then went
2
to Brahman and] after bowing,
informed him [of my work]' Now Brahman (lit. the !III n
of godg) told mc to include the Graceful (kllisiki) Style
[in my performance], and he asked me to name matf'rials
('ondurie to its introduction.
Thug addrf'8f'ed by the master I rf'plied, "Give me
materials neceRSIU'y for putting the Gmreful (I.aisiki) Style into prac-
tiee. At the time of Nilakal}tba'sl (Hiva) dance I have seen his
Graceful Style appropriate to the Erotic Sentiment, and this requit'es
3940 (n. same; G. 39). 1 G. diffPlently.
41 m. same; G.40). 1 TIl!' fOUl' Htyl(';O probably relaW to four
tl'iiw<t Bharata, and .'rabhata. Among thp;:r
llharata and a\,(' wrllknown. Thl' rrmaining two might
havr bN'1l I08t.
42-43 (n. same ; G. 4n 1 G om. 4211

prOKfltJlll (=embraeing) hils bern to nll'an 'going to'.
en. same; G. 42448). 1 is traditiolllli god of
dal1{,(,. S('(' M. Gholih (ro.) AbllillllyadarpnJ,lll, C'nlt-nttn, I PM,
'1'rnnslation, V. 1.
8
THE NATYASASTRA
(I. ,6-
beautiful dresses and is endowed with gentle Ailgahiiras
2
and
has Sentiments States (ldllit'a,)s and action as its soul.
Creation of Ap8a1'a8a8 for the Style
46.47. ThiR St.yle cannot he practised properly by men
(>xcept with the help of women." Then the powet'fu! Lord
(Bl'Ahman) cl'(>ated from his mind nymphs (apsamR) who were
in embellishing the dmma
1
, and gave them over to me
[1'01' h(>lping me] in the performance. ..
Nallles of Apsarasas
4-7 -50. iThcir names
l
arc]:
Sill oca nii, Sal\(iillliui, Devadatta, Devascnii, Manol'amii, Sudati,
Sundal'i, Vidagdha, Sumala, Santati, Sunanda, SUlllukhi, Magadhi,
Arjllni, SarahL, Kel'ala, Dh!,ti, Nandll, and Kalabhii.
Hviiti anti Niirada rngilged to help Bharata
flO-,j 1. And hy him (Brahman) Svati 1 together with his
discip\rK cmployed to play on musical (lit. drums)
and (!/(/I/(I"al'l'lI) slwh as, "Kamda
1
and otherll
were engaged in singing ROUgH.
2
ii 1-53. ThuH after comprehending the dramatic art
which arORe out of the Yedas and their [different] limbs, 1 '
along with my SOUH aH well as Sviiti aud Namda approached
Brahillan (lit. lord of till' with foi<le(1 palms and
']"01' ailga/llims IV. 16 ff. Rrlltl 11t('d1'ailgaitara fol'
nI:tN!il,gr('in B. " ]"01' tI .. taij,. 011 Sta!.<'s V J I.
41\-17 (B. Sa1llf; G. 44b45). 1 lIit!yMfi;,kfira hrl'!' nUly b" tnkrll alRo
to nwall 1tit(y(i.lIl;lkrjras Iw'ntioli"d in XXlV. 4-5.
4750:1, G. 1 B. and G. some of the names
in II Hlightiy diftl'rrnt mann",'
50-5j (B. SOb-bln, G. '49). lOne Sviiti has mcntionoo in the
P: . N:I.rada a wrllkllown PlIrar.lic sail!'. He is mention!f
as II nlllSIClan.lI1 BiJagllvata anti Viiyu P. Sec Vidyalankar. tlK .. su6 voce.
2 Ag. think!; gana ill this connrxion tho playing of stringed
. lnstrumellUl and flntes.
5],53 (R. 5Ib-53a, G. 50-51).
.J.61]
THE ORIGIN OF DRAMA
9
said that the dramatic art (nOk!/a) haR been maRtered, and prayed
for his command.
The Bannl'r FE'Stivnl of Indra and the first produetion of a play
53-55. On these words, Brahman said, "A very suitable
time for the production of a play has come: the Banner Festival
l
of Indra has just begun; make UAe of the now on
thii occasion".
55-58. I then went to that festival in honour of Indra's
victory which took place after the Danavas and the Asuras (enemies
of the godH) were killed. In this festival where jubilant gods
assembled in "great numbers I performed for their satisfaction
the holyl Benediction (nand!;) containing blessings with words in
their eightfold
2
aspects (asianga, lit. of eight limbs). Afterwards I
devised an imitation of the sitution in which the Daityas were
defeated by gods (and), whirh represented (Rometimes) an alter
cation and tumult and (AometimeR] mutual cutting off and piercing
[of limbs or hodie8]'
The pleased gods reward Bharata's party
58-61. Then Brahm'an as well as the other gods were pleased
with the performanee and gave liS all sorts of giftsl as a token
of joy that filled their mind. First of all the pleased
53-55 (B. 53b-55a; G.5253). I This festival occurred on the
twelfth day of the bright half of the moon in the month of Bhiidra. It was
a very popular festival ill IIlleil'llt India, mentions it in his
ka1IYfJ8. Maha, II part of the eomponnd dhvaja-maha is simply a Pkt.
form of the word makha meaning tsaerifiec' ; ef. Indra-makha.
5558 (n. 55b-58a ; G.54.-56). I (vetia-niNfllta, G.)
means 'like the Veda' i. e. 'holy'.
I The eight aspects of words are noun (nama), verb (akhyiJla),
particle (nipala), llrl'fix (upasarga), eompound word (samara), secondary
euphonic eombination (sandh,'), nominal and"'>V!'rbal
suffixes ('DiMakti), See NS. XV. 4.
58-61. (B. 58b61, G. 57-59) I Making gifts to dancers, singers
Bnd actors at 8 performanee, is a wry old custom' hI India. Sueh!lifts were
made by rich members of the while the common people
2
10
THE NATYASASTRA
[ I. 61.
(f-takm) gave hiB auspicious banner, then Brahman a Klltilllkll2
and Varuna it golden pitcher (bhrfi,gara), Surya (the sungod)
gave an Siva success (suldhi), and Vityu (the wind-
god) a fan. gave us a lion-seat (si7{/,hasana), Kuvera
a crown, and the goddess Sarasvatl gave visibility as well as
audibility 8
62-63. 1 The rest of the gods, and the Gandharvas, the
YakRfls, the ancl the Pannagas (Nagas) who were present
in th;it assembly and were of different biJ-th and merit, gladly. gave
Illy speeches suitrd to their different roles [in the play], States
(hhli'l'II)2, Sentiments (msn), [good physical] hrm, [propel']
movement [of limbs] and strength as well as beautiful ornaments.
M-6G. Now when the performance relating to the killing
of the DaitYfls and the DUnavas began, the Daityas who came thCl'C
[uninvited] instigated the Vighnas (malevolent spirits) with Vim-
puksa fiR their Irader, Raid, "Come forward, we shall not tolerate
l
thiH dramatic performance."
66. Then the Yighnas (evil spiritR) together with the Asuras
resorted to Bupernatnral powr\' (maya) and paralysed the speech,
movement as well as memory of the actorR.
the performance without any payment. This old custom is now dying out
under the in/lu('llcn of model'll theatl'('>; which \'('alise the price of the rnter-
tainmcnt by Oll'll ing tickets.
2 Kutilllk:l.-Ag. it tAl 1111'1111 'a cnrv('(\ stick fit to bo UA!l(i
by thl' ,J!':lter'. Bnt lIP dm's Hot to b" in this by tht' olt!
dramatic liwratlll'l'. 1n Klilidiisa'A Miilavi. how(;vl'\' oceur
INI/t1a-dal)l!akal/ha and dal,/.l!aka((/ta ("tl. Pantiit, Bombay, 1889, IV. 150,
160). Bnt it !s not from thl' eontA;xt whrthrr it Ix'longoo to tIl!'
Jester. The NK. XXIII 167-170 prohably but
does not connect it \" ith th"
a From now on the numlx,ring of eOIl)l\!'t;! is wrong in B.
626:! (B. same; G.60-61). 1 B. 63:1
2 }l'or detailM on Statrs He(l NH. VI.
64-65 (D. same; G. 62-6a). 1 1Ia (1Iellltam i(cita-
mahe, B).
68 (D. same; G. 64).
.1. 78 ]
THE QRIGIN OF DRAMA
11
67-68. Seeing this injury to them,l Indra sat in meditation
to ascertain the cause of break in the performance and found
out that, surrounded on all sides by the Vighnas (evil spil'itf;),
the Director (811tradhara) together with his associates (actors)
had been rendered senseless and inert.
69-70. Then with eyes turning in anger be rose and
took up that best banner staff (dhvaja), brilliant with aU the
jellels. set in it. With this .Jarjara Indra beat to death the
Asuras and the Vighnas who were hanging about the stage [for
mischief].
71-73 . The Vighnas together with the Danavas having been
slain, all the gods saids in joy. "0 [Bharata,] you have got a divine
weapon with which all destroyers of a play have heen made jarJnra
(beaten to pulp). Hence it will have the name of Jarjara.
1
73-75. The remaining enemies too who may come to do
violence to [actors] will fare like thill." To the gods, Indra then
said with plea.'Iure, "Let it be so: this Jarjara will be the protection
of all actor!;l."
75-76. [And afterwards], when the play was ready and
Indm's festival continued in full force, the remaining Vighnas began
to create terror for the rest of the actOls.
7678. Having noticed these attempts caused by the insult
of the Daityas
1
It along with my sons, approached Brahman [and
said], "0 the holy one and the best of godl'1, the Vighnas (the evil
spirits) are determined to destroy this dramatic performance; su
enlighten me about the means of its protection."
.6768 (B. same j G. 6566) I la/ra le'1am sal! (Sftlradkiirasya, B.G.)
69-70 (B .tame i G. 6768).
7178 (B. 7172, 78b i G.69-70, 7lb). I This is evidently Iln insbllIcr
of folk-etymolQiY. We read 72b. as, i1" i\ (C.)
but B. G. lUll: Ilnd add. .. our hemistich as follows:-

7375 (B. 73b-75, Q. 7278) ..
7&-78 (B, 77078 ; G. 75.76) '
75-i6 (B. 76, n. 74).
I dailyanam (matlarlM, f3.)
li!
THE NATYASAf,trBA
[I.7s..
78-79. "0 the high.souled. one," flaid, Brahman then to
Visvakarman,l "build carefully a playhouse of the best type."
79.81. After constructing it this instruction
1
he (i.e. Visvakarman) went with folded palms "to Brahman's court
[and said], "0 god, please have a look at the playhouse which has
[just] been made ready." Then Brahman, along with Indra and
and all other good (lit. the best) gods, went to have a view of the
playhouse.
8288. On seeing it Brahman said to the rest of gods, "You
ought to eo-operate in the protection of the playhouse in its several
parts [and of the ohjects relating to dramatic perforrnance]: Candra
(the moon-god) to protect the main building; 'the Lokapalali
(guardians of the worlds) its sides, the Maruts its foul' corners,
Varul}a the space [within the buildingl Mitra the tiring room
(nepathya), Agni its plinth 1, clouds the musical instruments
2
,
deities of four (l:(lJ'lfa)3 the pillarA, the Adityas and
the Rudras the space hetween the pillars, the Bhiitas (spirits) the
rows lof the Apsarasas its rooms, the
the entire house, the ocean-god the ground, Yama the door, the two
Naga kings (Ananta and Vasuki) the two blades of the door
(dvo/rapatro)4, the RodS of Yam a the door.frame, Siva's Pike the
top of the door.
88-9:3. 1 Niyati and Yama (Mrtyu) were made two door.
keepers, and Indra himself Htayed by the side of the stage. In the
78-79 (n. 79; G. 77). I Visvakarmr\fi is the 'I\rchitcet of the gods,
He is very frequl'utly met with in the Pnrlinas. Tllcrc was also'a Vedic
deity of this uame. See Vidyalankal', JK, sub ;oce. .
79-:n (B. 8l-,H2; G.79-80). I Krtvil ya/lwlliam evaf!J tu ,,/.af!J
padmodMmil{,jitllya. R. G. read in place of this hemistich a colDplete iloka.
(B. 1j3-89a ; G. 81-87a). 1 Vedl'kil laiN liAslw'
(Ag.). .
2 lJhilT!lJa IN tripukare sopakaralJe (Ag.)
8 Such deiti,'s are nowhere to be met with.
, dVilrapatrtll (dvara-Pilr8ve n.) Sre Nti. III. [-8 note 5.
8893 (ll. 89b-95a; G. 87b-!l2n). I B. "l1l1ds 1\ t'Qltpl(lt ootween 91a
and 91b.
-I. 99] THE OBIGIN OF DBAMA 13
Mattavira\li was ,placed Lightning which was capable killing
Daityas, and the protection of its pillars was entrusted to the very
strong Bhiitas, Y Pisacas Bnd Guhyakas. In the J arjara waH
posted Thunder (vajl'ai the destroyer of Daityas, and in its
sections {par va) were stationed the best and powerful gods. In the
topmost section was placed Brahman, in the second Siva, in the,
third Vi!}!}.u, in the fourth Kartikeya and in the fifth great Nagas
as, Visuki and
93-94. Thus for the destruction of the Vighnas, gods were
placed in different parts of the Jarjara, and Brahman himself
occupied the middle of the stage. It is for this reason
l
that flowers
are scattered [at the beginning of the performance].
95. Denizens of the nether regions such as, the Y the
and the Pannagas were employed to.protect the bottom
of the stage.
96. Let Illdra Pl'Otect the actor who assumes the role of the
hero, Sarasvatt
l
the aetress assuming the role of the heroine,
Ol!1kara!.t
i
the JestCi' and Siva the re8t of the characters (drnmatil5
perso1UJ.J).
97. He (Bl'ahman) said that the gods who were employed to
protect it (i.e. the play) would be its guardian deities.
Brahman pacifies the Vighuas
98-99. In the meanwhile gods in a body said to Brahman,
"You should pacify the Vighn11s by the conciliatory method (l5Q.man).
This (method) is to be applied first, and secondly the making of
gifts (dalla) j and (these proving futile) one should afterwards create
93-94. (B. 95\).96 j G.92b-93). 1 See V. 74.
lIS (B. 97 j G. 94).
96 (B. 98 j G. 95). 1 Sarasvati mentioned IlPrc SN'IDS to bP
V Nlio goddess of the 8IUXIC nam!'. I, 142.9 Iwd JK. sui voce.
Olllkira au deity ill very raJ'!lly to be met with.
g7 (D. 'gg j G. g&).
. THE NATYASASTRA
[ 1.100
[among and this too proving
punitive force (daTJ4a) should be app!ied [for curbing them
l
].
100. Hearing these words of the gods, Brahman called the
evil spirits and said, "Why are you out for spoiling the dramatic
performance ?"
101-103. Questioned thus by Brahman,
together with the Daityas and the said these conciUal?ry
words: "The know1t:dge of the dramatic art which you
have introduced for the first time, at the desire of the gods, has put
,us in an unfavourable light, and this is done by the sake of
the gods; this ought not to have not been done you who is
the first progenitor (lit. grand-father) of the world, from whom
came out alike gods as well as Daityas."
104-105. These being uttered by
Brahman said, 'Enough of your anger, 0 Daityas, give up your
grievance (lit. sorrow), I have prepared thiR Niityaveda which will
determine the good luck 01' ill luck of you as well as of the gods,
and which will take into account acts and ideas of you as weH as
of the
Charaeteristie of a drama
106. In it there is no exclusive representation of
you or of the gods: for the drama is a representation of the state
of the Three Worlds (lJhiJ,t'o,nnlartanct)l.
107. [In it] sometimes there is [reference to] duty, some-
times to games, sometimes to money, sometimes to peace, and
___ . ___________ . 'l.
98-99. (B.I00-10]; G.97.98). 1 This is an aneient;lndian political
.
100 (B. 102 ; G. 99).
101-103 (B. 103-105 ; G, 100-102). 1 Thill name oeeurs in Rim. and
Mbh. and in Rome Pural.IaR, but none can be identified with
mentionpd here. Vidyalankar, .TK. sub wee .
. (n. lfl6-107; G. 103-104). 1 \i'or B. reads
rnrlmunfl1n.
106. (n. 108; G. 105). I A. K. has translated
106-109 (See MG., New York, 1936, p\>. 16-17).
107. (B, ; G. 106).
1.116 ]
THE ORIGIN OF DRAMA
15
Rometimes laughter is found in it, so;netimes fight, AometimeR
love-making and sometimes killing [of people],
108-109. This teaches duty to those bent on doing their
duty, love to those who are eager for its fulfilment, and it chasti!\es
those who are ill-bred or unruly, promoteR Relf-restraint in those
who are disciplined, gi ves courage to coward!!, energy to heroic
persOQB, enlightens men of poor intellect and gives wisdom to the
lea,ned
1

110. This gives diverson to and firmness [of mind] to
persons afflicted with sorrow, and [hints of acquiring] money to
those who for earning it, and it brings composure to persons
agitated in mind.
111-112. The drama as I have devised. is a mimicryl of
actions and conducts of peoplc, which is ri('\] in valious
and which depicts different situations. This will relate to actions
of men good, bad and indifferent, and wiII give courage, amusement
and happiness as well as counsel to them all.
l13. The drama will thus be instructive! to all, through
actions and States (bhii1Ia) depicted in it, and through Sentimentil.
arising out of it.
114 115. It will [also] give reliefto unlucky persons who
are aftlicted with sorrow and grief or [ovCl}work, and will be
conducive to observance of duty (dharma) as well as to fame, long
life, intellect and general good, and will educate people.
116. There is no wiAe Inaxim, no learning, no art or craft,
no devict. no action that is not found in the drama
10lH09 (E. ll{)lo111; G. 107-101). I All till'se lay stress 011 the
('dncati vo asp('ct of dramatic porformall(l('S.
110 (B. 112 i G. 109).
111-112 (B.n3-n" j G.110-n1). IAristotle also brings in 'illrita-
tiol\' to explain poetry and drama (Sec Poetics).
113 (B. 115 ; G. 112). I Sec above 108-109 note.
114-115 (B. 116-117 ; G. 113-114).
1I6 (B. 118 ; G.11IS).
16
THE NATYASASTRA [ I. 117
Hence I have devised the drama in which meet
all the departments of knowledge, different arts am) various actions.
So, (0, DaityaR) YOll should not have any anger towards the gods;
for a mimicry of the world with its Seven Divisions (sapia dVlpu)1
hns been made a rule of, in the drama.
119. 1 Stories taken out of Vedic works as well as Semi-
-historical Tales (itihi.isa) [so embellished that they are] capable of
giving pleasure, is called drama (na(ya).
120. 1 A mimicry of the exploits of gods, kings as
well as house-holders in this world, is called drama.
121. And when hUllIan nature with itR joys rmd sorrows, is
depicted by means of Repl'(lscntation through Gestures, and the like
(i.e. Costumr, and Tcmpemment 01' Sativa) it is called
drama."
Offering Pujii to the gods of the
122-123. The Brahman said to all the "Perform duly
in the playhouse a ceremony (ya,jana) with Homa, 1
(sacred) Japa
3
: and the offerings in it shonld
consist of eatables hard as well as soft (iJlWjyll and MHlkM( 4).
124. Thus this Veda (i.e. this Natyaveda) will have It
117118 (B. 119-120; G, ll6). 1 According to tIl(, Pllral,lic goography
the world was into HCV('Jl RIlCh Jambu,
J{usa, Kl'allliC(', and Elich of tll('S(, continents WIIS furtbrr
subdividcu iuto nine rpgioll., and Hhiirata (India) is a l'l'gion of the Jllmbll
continent.
119 (l23L-1248 ; G. 119) I R. l'e:I<iRone conplet more afkl'
120 (B. 121b-122a; G. 117) 1 We 120b kl:tiinllkara.}al1J loke
na!yam dad but R. G. differently.
121 (B. 122b123a ; G. 118).
122-123 (B. 125b-127a ; G. 121)121). 1 hlma-"'ojfrrillg oblations to
gods by throwiug ghee iuto the consccratoo tirr. '. '.
, mantra":"formllia of prayer sacred to any deity.
: a mantra or mlltroring it many
-RIll, 'I(
. .
1. 125 ] THE ORIGIN OF DRAMA
17
happy adoration of the world. A dramatic spectacle.
should not be held without offering Piija
2
to the stage.
125. He who will hold' a dramatic spectacle without offering
the Piija, will find his knowledge [of the art] and he will be
reborn as an animal of lower order (ti1!fay-yoni).
126. Hence [pl'Oducers of a play] should first of all offer hy
all means, Piija to the' [presiding] deity of the stag<', which iff
silflilar to the [Vedic] sacrifice.
127 .. The actor (nnl'talm) or his wealthy patron (arthapati)
who does not offet this Piija 01' does not CRllse it to be offered,
will sustain a .loss.
128. He who will offer thi!! Piija according to the l'UleR and
thl' observed practice, will attain auspicious wealth and will [in the
end] go to heavens."
12!}. Then Brahman with other gods said to me, "Lrt it he
offel' Piija to the stage."
Ih'l'C onds Chapter I of Bharata'8
which treats of the Origin of Drama.
124 (B.l27b-128a; G.122) 1 Pali pekkhii occuring in Sikkhti
(c. 600 H. C. ).
2 a deity with /lowers, sweet scent, incense,
music and omring of Patabl('ll.
125 (I3.l2Hb-129a, G. 1 2:1). 126 (B.129b-130a, G.124).
127 (3.130b-131:1, G.l25) 128 (Bl:1lb-132a, G.126).
129 G,127).
13 SEP 1958
CHAPTER TWO
DESCRIPTION THE PLAYHOUSE
Introdl1otion
.1.2 On hearing Bharata's the said, "0 the holy
one we would like the hear a.bout tho ceremony relating to the
And how are the men of futlll'e to offer Piijii in the
playhouse or [to know abOllt] the practiceR mlated to it, or its
accurate description?
3. As the pl'odurtion of a dl'mna begin;; tho
you [first of all] giVl' us its description."
The tl,rrr' t)l10S of the playhollsr
4. On hearing theRo won!s of the RageR, Rhfll'ata ;;aid,
"Listen,O sageR, ahout the rlpsrl'iption of a playhouse
l
:tnd of the
Pujii to be offered in ('onnexion.
5-6.
1
Creations of gods [nhsorvrdl in honses and gardons
2
,
1-2 (B.G. same). 1 railga her, 'tlll' stag,.' It may al;;o 1I}('!ln
the auditorium as wl'll as the spectators sitt.ing th,'I'(\ 1'0 wriw:
'"1 n J. 4. 2. 3 (RG, saw)
4 (B.G, same), '. Excrpt th, cave (c. 200 R:C.l in the Ramgnrh
hill sllspect<tl by Th. TIioch m,'port of thr Survry of
India, If) to hal'<' br'PIl th,' rrmaillK of a thratrr, thrm is no
othrr rvidmc(\ of th, I''{i,wller' of a playhou;r' in :llIril'nt India. Frolll tile
of the jl\ayhOll,e in tltr Ill'<,rut c1Japt<.1' we loam that. it was
r'()nstrllctrd with brick walls and woodl'll probably with /I tlHltrbrd
hnngalo,", rnf 'fl,P samgidasii.lii. ( n1l'IItionrd by Kiilidii'll in
Miil:1Vi. was possibly HOIll,ti,illg jik, a pillyhollsr (nu!yamaIJ1!a/>a).
Large open halls called nii!mandir oftrn iOllllil ill fl'ont of morr 1'('O'lItl I'
built tromp]', in llmgal and the nrighholll'iflt: rna)' h;.
with tlJl' ,YCtinct playholli's, Tllis 1/ril-m(wdir or niil-sii/ci.
is oftm met with in thp Illl'lli""al H"llgali !itA'ratlll'l" . .
5-6 (l3.G, samr.). '. Hriwcen the two hemi,tidlR of 5, U.
more hemistich.
2,This ill the, reason why no deseri{ltion of n plllyhollHl! suitable for tile
gods has booJl given in NH. '..
-il. 11 ] DESORIPTION OF THE PLAYHOUSE 19
..
are. the outeome of their [mere] will but men's [creative] activity
should be carefully guided by. rules [laid down in the Sastras].
Hence, listen about the method of building a playhouse and of the
manner of offering Puja at the site [of its construction]'
7-8. There are three types of playhouses devised by the
wise ViAvakarman [the heavenly architecht] ill the h'eatiRc on his
art (iiistm). They are oblong square (catnnul'U) and
triangulal' (hyasra).
The three sizes of thr playhouse
8-11. Their sizes vary: thoy lllay he large middle-
sized (mlldh!Ja) aIM small (avam). The Ilmgth (lit. measurement)
of these [three typesJ fixed in of as well as if!
one hundred and eight, sixtyfol1l' 01' thirtytwo. They
2
should
lrespectively] have [sides] one hundred and eight, sixtyfour and
thil'tytwo [cubitil 01' long. The large playhouse is
meant for gods
4
and the middle-sized one for while fOt the
of people, has been prescribed the smallest [theatre]. S
7-8 <B.G. same).
8-11 (B.G. same). I oOlUe :U'l' for idl'utifying tlw oblong, the sqllarr
and the triangular tn1(>S l't'Spertivply with the large, thl' middle-sizl'tj
and the Slllull playhous("", hut :\g. wry rightly to thi". He say".
According 1m 'II;ij ij 1!<1i'li filfu 1"111:-
!j1!i1J. to Ag's view there will he the following nine t)11l'S of playhousrs :
(i) large oblong (ii) large square, (iii) large triangular, (iv) oblong (v)
medium square, (vi) medium triangular, (vii) small oblong, (viii) small
square and (lti) small triangular. 1<'01' tI fr('r tranRllltioll of the pa.'lSj\gt'S in
this chapter (8, 17, 19,24-28,33-35,4:3-53,63,68, 69-92) relating to.the
truction of the playhouse see D. R. )1allkad, "Hindu Theatre" ill IHQ.
Vill. pp. t82 if.
2 They.: e. the large, tlJ(' lIliulll('osized and till' small.
S As the u('SCribcd Il)'(' both in WI'IllS of cubits lind
daJ,it!as (t cubits), eighteen kinds of p\a\yholh'p will !>t. Ilvailllbh .
, .Ag a. p.S!) thinkH that hy god", alld other peoples mcntiolll'<i
in this P8S88ie charaetrrs ill II play haY<' Illl'tmt. But this view does not
800m to be plausible. the oth('l' view, 1I1<'lItiomd by him, which tak('"
gods and kinas etc. AA mllY lx, 1\000pted.
I Ator this. B. thlOtl couplets which go rightly JxotWl't'n IlQ and
24. G. also holds tho same view. \
20
THE NATYASASTRA
t II. 12.
The table of measurement
12-16. Listen now about the measurt'ment of all these
theatres, which has been fixed by Units of these
measurementsl are: AJ].u, Raja, Bala, Yiiki\' Yam, Angula,
cubit (hasta) and
8 Atlus
8 Rajas
8 Balas
8
8 Yiikas
8 Yavas
24 Ailgulas
4 cubits
1 Raja
1 Bala
1
Yiikfi
Yava
1 Ailgula
cubit
1 D3J].(.Ja.
With the preceding table of measurement I ,lmll describe
them (i..P,. the different classes of playhouse;;).
Thr- for morlal,
17. An [oblong] playhouse menut 1"01' 11I0I't:t1, 1 be
made sixty four aud thirtytwo ('Ilhih ill I"l'adth.
DiHsuv8utllgc of a too big playliou,c
18-19. No one build a playhouse bigger than the
above; for a play [producedJ in it (i.IJ. a bigger houHe) will not he
properly expressive. For anything recited 01' uttered in too big It
playhouse will be euphony due to enullciated syllables' being
indistinct 1 [to spectators not sitting close to the stage].
20, [Besides thi..,l when the VPI'V hig, the ex-
III .he f<tee L of on which the Hilpresentlition
12-16 O. samr\ '. The tublc' of llI('asurc'll\cnt brivcu hern
ag!'ec':' substantially witiJ th" oue given iu thf of KllutilYII (5\'6
IHq. VJJl. p. 482 footnotl'). .
17 (B.20, U. same). 1 A uwdium oblong playhouse is meant here.
It is dcocribcd in d'Jtail late't Oll. Sm. a:lHB, 43-45, 6a6.') below.
Ill-Hi (1'1.21-22, G. same). 1 (/nflbhivyakta.var(lat;ud. B. reads
In spite of Ag'R acceptanCe of this reading it
may not he considered genuiue.
.II. 27 1 DESCRIPTION 0]' TilE PLAYHOUSE 21
of States and Sentiments,! will not be difltinctly visible [to all the
spectatorR].
21. lIenee it is desirable that playhouses should be of
medium sizp, ,.;0 that the Recitativcs as well as the songs in it, may
be more easily Iward [by the spectatorsF .
2223. Creations of gods [observedJ in houses and gardens
are the outcome of theil' [mere] will, while men are to make careful
in their cr-eations; hence men should not try to rival the
creation of godR.
l
I shaU now describe the characteristics of a
[play] houRe fOI' human beings.
Selection of a suitable Rite
24, The expert [builder] first of all examine a plot
of land and then proceed with a good l'ewlve to measure the site
of the building.
25. A hllilrlel' should erect a playhouse on the Roil which
iH plain, firm, hardi, and black 01'2 white.
26. It should fi1'st of all he cleared and then serateherl with
a plough, aud then bone;;, pegs, potl'lherds in it as well as gl'aSS and
shrubs growiug ill it, are to be removed.
MeaSllremrnt of thr site
27a. The ground being cleared on(' measure out
[the Imilding site 1.1
20 (n.24, G.21). 1 rogo .
.21 (B,24, G.2j) 1 AftI'!' thiH B. G. "('ad two mor(' COllPi<'tS.
22-23 (R. 27-28, G. 24-25). 1 TI1I\t (men) should not
build a .. f the biggCtit tyP(' w:Jich oo.u prescrilwd for gods.
240 (B. 29, G. 26).
25 n.:IO, G .27). 1 Ag. (=f('rtill').
Accordinll to Ag. till' se<'ond CO means 'or'.
26 (B. 31, G. 28).
27a (B. G. 2\)11). hmniRtkh is followed ill n and .v by
ou(' COllp\!'t which iu is as 1'11,' Uttarapilalguui
(Bet a-Leon is), U ( Tt,/4-..)'tll! ttl ar/r). ( ; ttumbhiidraplld:i (Atldro-
1ned/B), (LamIJda.Orionis), Vi{;iikh.i (lotll-Lt II ra), Th'vllti (Pis
CiU'fI), HMtii (<'-Ot'vii), 'l'isya (Della-Canm) aud Allul'adha (Deita-.ScorPit)
are favourable i/; with .dtama.
22
THE NATYASASTRA
[ 1. liB-
27-28, Under the astel'ism (Onncl'i) he should spread
[for measurellwnt] a piece of white string which may be made of
cotton, wool, Muiija grass 01' bark of some tree,
Taking up the string
28-31. Wise people should prepare for pllt'pose a string
which is not liable to break. When the is broken i,nto two
the patronl [of the dramatic spectacle] will surely die.
When it. is broken into three a political disorder will occur in the
land, ant! it being broken into four piece:; the of the
dramatic will while if the string slips out of the hand
some other kind of will be the result. Hence it iH desired
that the Rhonld always be taken and held with 19reat] Care.
Besides llie meaSllrement of grollnd for the playhouse should
be carefully made,
32-33. And at a favourable moment which OCCUl'S in a
(happy) Tithi
l
during its good Palt he gpt
the day (leelarud after the Brahmins have hC')I1 satisfied
[with gifts]. 1'h(,11 he should the string after sprinkling on
it the propitiating water.a
The ground plan of the playhou8e
33-35. Aftrl'w:1l'ds he should measure a plot of land Hixty-
fOlll: enbi/', [Iong]l and dividl' the [lengthwise] into two
[equan parts, The part which will be behind him (i.e. at his back)
will huvr, to be divilied again into two equal halves. Of these
halve, olln I behind him] shonlrl he again' divided equally into two
parts, ,)nl' of which will he tit,: (lIti,,;la-Hil'.?a) and
the part at hack the tiring I'oom
27-28 en. 33b-:l4a, G .. ,Ob-:3la).
:8-31 en. Mh-S7, (j,. :3\b-34). I sVii.lIIinalJ = Ag.
o jJrayoktur=na!yltcri,ryasya. (Ag.) ..
(B. G. 31i). 1 tz'thz'-a IUllar dllY.
a Imlf of a IUlIar day, Mm bl>low 4;1-.\,) Ilo/'n.
G. UffilU:! 33a.
(n. 311b-41a 0 :)6 37) 1 S 1
, ,., -, PO ,7 Ilhovp, and the note 1 on it.
-II. U I
DESCRIPTION OF THE PLAYHOUSE'
23
The eeremony of laying the foundation
35-37. Having the plot of land according to rules
laid down before, he should lay in it the foundation of tM play-
house. AUfl during this ceremony [of laying the foundation] all
the musical instruments such as, conchshcll, Dundilbhjl, Mrdanga
2
,
and Pal}ava S should bc sounded:
3738. And from the plncrs for the ceremony,
pcrsonA .. mch as ineluding Hl':llllaf,l<1R\ Il1rll in dark red
:tfl well as IIlPIl with defectR, should be
turned out. .
383!) . At night, should he made in all the tell
I tl) various god:;; guarding thrm] anl theRe
shonld consist of Rweet flower:,. all!l etablrs of variouR
other kin(h;.
39-41. 'rhe fOQ(i-:;tuff off('l'cd in tilt foul' [cardinal] direc-
tions rll,t, west, south aml north, should be of white,
blue, yellow and red colonr. Offerings preceded by [the llluttering .
35-37 (R,41b-43a, G.38-49). Idundu'6h-a kind of drum.
3 ml:daiiga-a kiud of rarth<.'ll drum.
3 paI.laM-a 6mall drum or tabor.
37-38 (B.43b-44a, GAO). I 'word a very curious
hititory. DC'rivcd originaly from (meaning 'ass<.'mbly' or
'('oJllmunity') its Pkt from was .passada or ",passa,!a or Pi'lSar/a. The
form pusarIa with Rpontaneous nasalization of the second vow('l gave rise
to paSat!lda (S.venth Pillar FAlict, D,'lhi-Topra), which is the
of Skt. ill tIl(' sen"., of 'lwr.'ti(". It may be l11('ntiollOO her!'
tll:1t in Pkt. the word nwant 8imply a '('ommunity' and not a 'hcl'eti-
cOllllllnnit,y'. 'One of th<.' (,flrly of disfavour to lll'rC'ti('s
j" to 1)(> found in tho fonrth book '.h. 18) of the P. 8.,1' Wintcl'IIitz,
Vol. 1. p. 551.
2 .n. rl'ads bUi G, Sramal,la, tIl!' word 1ll('lIns Jain monks.
Ntl. XVlll. 36 note 2.
3 in 01' roh(, of dark I'!'d cO\Oll!' ; such
boing Buddhist who ncC<.'ptro t\w YOW of ('('\('ba(')" If('rc
cOIIRideroo nil evil omen. for they symbolised IInprodllctivity aud want of
woraly S\1CC!lSS etc. See also NS. XVIII, 36 not<.' 2,
38-39 (B.4.4b-45a. G.4l) 39-41 (B. 45b-47a, G42-43)
24
THE NATYASASTRA
[ II. 41
of] Mantras should be made in [all the ten] difterelll directions to
deities presiding over them.
141-42, At [the time of the foundation ghee
1
and
Piiyasa
2
Rhollid be offhe<l to Brahillins, Madhup,u'ka
'1
to the king.
and l'ke with molasses (!/!lfla) to [of dramatic art].
42-43. The foundation be laid during the
part of a happy Tithi nnder the llstt'riRItl Mula (Ll1;miJrla.8c())'l'ionis).
pillarR of the pJayh ollse
4345. A'ftl'r it lills been laid, walls be built and
these haring beon eOlllpll't<'d, pillars within the playhol1s0 Shl)l1\l\ be
raised in an l'mlRpiciollsj Tithi and l\aral}a whieh ar(' Illldt'l' a good
astel'istll. This [raising ()f pilla!',] ought to Ill' IIllu\e IIl1dul' the
asterism Hohini (A/'/,'/" 1"'11) or (,h"i!I:,.) IlI'hieh are
ronsidPl'cd at\;;picionii for the purposHJ,
4546. The llw,;t('r lof t1ramatil' art), aft(!' he has fasted for
thl'er [days and) night" is to rai . ..;!' the pillars ill :In
moment at dawlI.
<1]42 (fU7b-48a, G.H). I ghre-e1al'i/iI,d huH.', .
.. coni",,] ill milk with It i, a kiml .of rice-
pOl'l'idgt'.
:l IHadhuparka-'a mix:tJlI'I' of houey' ; a respectful PI'Pscl'i1wd
to hI' mad( to an hOllourahl1' ],,'rcOll iu V((lic times, aud tllis ClIst(JIIl still
lingers ill Ct'rt'mollit's lilw marriag.,. Jts m'I' 1i,,1' : CUi'll (dadhr)
watl'" (ia/a), IIOllt'Y (k.:fI1t1lra) ami white "Ilgal' (,r!lit).
42-4a (B.iSb49a, G,45).
4:101'> (H.49b-;'la, GA6-,!7). I kara(la-half of 1.\.,' IUllar day
The,l al'(' (,Ievell in IIl1mb('I' viz.-(J) ;Java, (2) 7,'iilm'a,
(3) kaulava, (I)lazWa, ([I) [ara, (6) 7Ia"ija, (7) (8) ;'akull1;
(9) !lU) nltga and (]]) kliztughna, and of thes(, tlil' first seven
art' COlJllted frnlll till' secoud ball of till< lirst day of t]w (IJril-(ht
half of till' lJIO'!II) to till. fil'''l. half of thf' fourt<.>('nth day of th.,
(clark half of tlllt IIIIJ0n). Tlwy (ight timus in II month. '1'1;1\ ('!'main-
ing karm.!!ls ocelli' ill the tlllt'ation of tilllt's ilUt! :Ipprar ouly
oucc iu a mouth. Kce Srwyasiddhiinta-II. 67-68.
45-46 (B. fi] b-52a, G .48).
-II. (j7 ] DESOIUPTION OF THE PLAYHOUSE 95
46-50. lIn the the ceremony in coDnexion with
the Brahmin pillal' should be performed with com pletely white,S
articles purified with ghee and mustard seed, and in thiR ceremony
Piyasa should be distributed [to BrahminsJ. In case of the
. pi\lar, the ceremony IIhould be performed with cloth,
garland and unguent which should all be of redS colour, and during
the ceremony rice mixed with molasse!! (gu4n) should be given to
the. twice-born caste. The VaiRya pill 8r should be raised in the north
western direction of the playhouse and [at the ceremony of its
raising] completely yellow articles should be used and Brahmins
should be gi\'en rice with ghee. And in case of tlie pillal',
which is to be in the northeastern direction, articles uHed in
offering should all be of blue
5
colour, and the twice-1.lorn
should be fed with Krsars.
50-53. First of all, in CllRe of the Brnhmin pillar, whitlJ
garland!! and unguent OR well all gold from an l'ar-Ol'DanlPllt shonld
be throwlI :it foot, while ('oppel', Rilver and iron arc resprctively
to be thrown at the feet of the Vaisya mld pillals.
Besides gold he' thrown at the fl'et of the rcst [of
pillars].
53-54. The' placing of pillllrs should be preceded by thl'
display of garlands of [gl'l.'CIIJ [of mango t\,(>(,R around theml
and the uU('rancc of '1.(,t it he wt'll' and 'Let this.be an
auspicious day' (/lIL1!-!lO,ha). .
5457. After the Brahmins with considerable
(a.lIl1l/lfl) gift of j()wl'IR, eows nnd ('Ioths, pillars IIhould be
46-50 (B.52b-S6a. G .50-5a). I bl'fore 46, G. reads on th(' strength
of 8 single ms. one eOllpll't follows If 11'111' '" I
". "'''\ ,!1I1l n This int!'rllOllltion S('(,IDS to !'<'Cord
;hc tradition that the Rhollid be t'onsiclt'l'cd as wooden.
t White-symbol of purity aud lennlill!!. assoei:ltro with thl' Brnhmiug. '
I red-symbol of ('nergy ancllltrl'lIgtiJ, llI1Soeiated with the
, yellow-symbolof wealth (gold) IISSOCiated with the VaisYIIII.
I blue-symbol of non-Arynn origin associated with the S!ldras.
50-58 (B.S6b-S8a,cG.S'-56). 53-54 (B.li9b-60a, G.57)
4
26
TtIE NATYASASTRA [.II. 57
[in snch a !Danner that] do neither move nol' Rhake nor turn
round. I Evil that may follow in ronnrxion with
thr raising of ilI'P nR \vhen a pillar Lafter it has been
fixed] !DOveR drought romeR, when it turns rOllud fear of death
and when it shakeR, feaL' from an enemy Rtate appearR.
Hence ene Ahould raiRe a pillni' free from these eventualities.
58.60. In caRe of the holy Brahmin pillar, a COWl
be giren as fee nnd in rm;e of the rrRt [of the pillr.rR]
sltoultl have n fl';14 And [in fpast foodstuff]
purified with Mant".l should he given by the wise master of the
dramntir art (1Iii(!liif'(i'-!lfl). Then he ,hould he fpel with 2
and Ralt.
GO-(j;{. After nil thrsr ha YO b(lell put into prilctice
anil all the mURical ill,(nlllH'llt, hal"(, been ROllndt'd, one HIIOUI(1
raise the pillar:.; with the muttering ol'er tllPlJ1 of a Ruitaol(, Mantra
["which iR as follow:;]: '.rll"t liS tIll' 1lI0llnt of is llllilloved
and the Hilllalaya is rcry :itl'Ong. "0 he tholl 11llmovf'aole and
bring victory to the king.' '1'1111, thf' ('x pert" Imild up
pillar", doors, wall, and the tiring room, a('col'(ling to mil'S.
The Mattaviil'fll.li
(j36i On [each\ Ride of the "tage shoulll be
built the Mattal"ii!'a1)i I and this should hn fUl'lIished with four
pillars and shoukl hI! equal in lrngth to the stage ('-"
54-57 GJ,8-!i] a). 1 a7'll1ziam m. acairlallJ-Thongh Ag.
is supposed t" read acalitam h" it corrl'Ctly liS 7lalaYlj-
k(fYirdinll parivarttanam yasya kara(liyall1 na bitmlfl/i (I. p.6(0.
58-60 (13./),\-66:\, G. 6lbs:. 1 This kind of payment i8 prohahly :I
relic of the time when th('ro \Vus 11'1 nwtallic CllITrnr.y.
is mude of milk, Sel'atntllll (lila) und ric('. ('oll1pIII'I,this
word witl, N1A. khirlJffi or kflil1eljr" (ric" amI ppas tOJ.(l'thrr with
a few spices). 50-Ii:! (H.66b-62a, G (j.\.o6)
63-65 (B.69b71u, G.67-68). 1 word dm's Ilot
ijeem to occur ill lilly Skt. dictiollllry. There iH howl'vrr 1\ word 1IIalla1'llrolia
. , .
ml'8ll1ng a turret or small room Oil the top of II lllrg(' building, II vl'fII11dll,.
II pllviFon'. In cOlllmentary to tlw malta-
'IIar
a
'fl
a
hit! been f,xplai!;cd lIS followR : matliilamoojJi';rayal/ syiit pr
a
lri1'()
.iI. 68 J
DESCRIPTION OF TIlE PLAYHOUSE
27
!lnd its plinth should be a cubit and a half high
2
, And the
plinth of the auditorium (1'(I;nf/a1n(l7!4ala)3 should be equal in
height to that of the two [Mattaval'Hl,liRj.
65-(j7. P.t thc time of building them (the two l\Iattavi\I'al,lis)
garlands, . incenRC', sweet of different colol11'1i lHi
well as offerings agl'eeable to [B1lutag] be offered [to them].
And to ensure the good ('ondition of the pillars, one should
put'a piece of iron below them, and Bl'ahmins should be given
food including Kr,ara. The l\Iattaviil'ill,Ils should be built up
after observing all these ruleR.
The
68. Then onn should construct the stage
matifl1}(Jral,lall (R<'<' Oka'" pU. JI. 50). Thin i" howf'W'l' not elrar. Malla-
'i"tral,layor varm.ll!aka IDPlltiollPu ill Suh:\lIdhn's Vasavauattii (cd. ,Tivananda.
p. a3) is probably cOlllIPcted with this word. 8ivariim(l Tripiithi expl(lins
tllf"p won1s as follow,.: : fllf"ll'f1 I it 'l!ITtJflIMr
111ll'if1 I litli!!l;;\tfll fllflf 1J11 II This alRo uot'S IIot give allY clear
irim abollt mattrt'i'"rm.!a 01' matta'i,iflll,lllyor 'iarm.lI/aka. But the woru
matta11ara1li lila), .1". tentatively tak('11 ill til(' ';(>I1HC of 'a side-room.'
Ag. SP.I)IURto have 110 d,'ar iupa about it. Ou thi,; 118 O. pp.64-65) says:
1J".,1 (o;:l!lfi!JilfT?)
A Dictionary of Hiudu Architectul'('. by (P. K.
Allahabad, 1927) d()('s IlOt giVe U8 any light on this term.
According to a vil'w expressed in the Ag. 0. p. 62) tht' plinth of the
is a cubit anu a half higher tllllll that of the
Q'IIT e"JIQ: The plinth of the audi-
torium is also to be of ths salDe height lIS tllllt of the mattavi'mu.li. But
nothing has \x>en said about the hi>ight of thl' plinth of the tiring room.
From the usc of Wl'ms like railgii7'atara(/(/ (d"ocending into the stab"') it
wOIlld appear that till' plinth of the tiring I'pom too. was higlll'l' than tbl'
Rtage. Weber however that the ,;tag" was higher. Inuische
Studien XlV. p. 225 Kpith, :Skt. Dl'anlll, p. 36U. cf. Levi, Theatre indicII,
i. 374, ii.62.
8 B. reads of railgfJl1tal.11alam (G) which
is the correet roading. (B.71b-73, 69-71a)
68 (B.?4, G.71b-7211). I Sow following Ag, are in favour
of taking and rahgaPil1w liS two ditlh'('nt parts of thl> play
house (sec D.R. Mankad, "Hindu Theatre" inlliQ. VIII. 1932, pp. 480 ft'.
28
TIlE NATYASASTRA [II.
after due performance of all the acts prescribed by rules, and the
stage should. indllde pieces of wood.
60-71. The tiring r(lom (ne}Jtithya) should be fUl'Dished
with two doorsl. [n filling up [the ground marl-.ed for the stage]
the black earth should be used with great carl'. 'l'hiA earth is to
be 'made free from stone gravel aO(I by the use of
II plough to which are to be yoked two white draught animals.
Those who will do rthe ploughin!cl work should be free from
physical defects of all ki nd", And the earth should be carried
in new baskets by f"('e from defective limbs ..
72-74. Thlls onr "hoilld carefully constrll!t the plinth of
the stage It mllst not be [convexJ the back of
a tortoise or that of 1L fbi!, For a (/'tin'.!" Jllflw,) the gl'ound
which is as level as tlw Klll'facc of a mirror, is commendable.
Jewels and preciou;; stone;; should he laid underneath this
(,'an'.!08i by expert Dialllond is to be pllt in the
east, !'IZIlU in the ,outh, quartz in the WI.""t and coral in
the north, and in tlw eent,\ gold.
Decol'lll i \'c work ill the stagr
if)-80. The plinth of the stage having been constructed '
thns, one should the wood-work whieh on II carefully
thollght out (nlta-!,,'at!Jnhn-sa1[tYllkfn)1 [plan], with many artistic
and IX. 19:1:1'\1\1. 97:1 ff. ; V, Haghavan, "Theatre Architecture in Ancient
India" Tl'ivcni IV-VI, (193\, 1933) alRo "Hindu Theatr<''', IHQ. IX.
19S3. pp.' 991 ff, I nm anahlr to agrffi with them. ]<'01' my argumentl!
011 thi, P";lIt srI' "Thr Hind" ill llIQ. IX. [93:1 pp. 591 W.
and awl the Ahhilillvahh:imti" in X. 1934 pp. 161 W.
69-71 (11.75-77, G.72h-75a), I On this point the Hindu Theatre hM
1\ Rimilarity with the Chiill'SI< L",'atrl'. (S"P A.K. Coomal'llswamy-"Hindu
Theatrr" ill IX. 19:3:l. p. 594).
, 72-74 (B. 78-HO,O.75b-7811), I Hep, note f 011 68. If railKalina and
aI''' tak"n to lUI'un two different parlE! of tit!, the
lIItorprct ,tlOlI of th,' paq':'gl' will IpU!luK tl) nnnoosaary diffioulty.
15-81) (RsO-86s, G.78b-aa). I !ilia Rnd prat>fl/la may aleo be
taken as t,vo architectural terms (soo Ai. 1. p. 63).
.II. 811 1
DESORIPTION OF THE PLAYHOU SE 29
pieces such as decorative designs, carved figures of elephants,
tigers and snakes. Many wooden statues also should be set
up there, and this wood-work [should] include Niryiihas
2
,
variously placed mechanized latticed windows, l'OWS (dhal'a1}'i)
of good seats, numerous dovecots and pillars raised in different
parts of the 1.001.
3
And the wood-work having been finished,
the builders tlhould Het out to finish the walls. No pillar, bl'acket
4
,
wiftdow, corner or door should face a doors.
80-82. The playhouse sliould be made like a mountain
cavern
1
and it should have two I.001'Sl [on two different levels]
and small winfiows; And it should be ft'ce fl'om wind and should
have good acoustic quality. For [in such a playhouse] made
free from the interference of wind, voil'C of actors and singers as
, nt'ry'ft./za is evidently an architectural term but it does not seem to
have boon oxplained clearly in any extant work. Ag's explanation d()('S not
give liS any light.
S In the absence of a morn detailrd description of the different parts
of the wood-work, it is not possible to have a clear idea of them. Hence
our knowledge of the passage remains incomplete till such a description is
available in some authentic work.
, na,adan/a means 'a bracket'. TJll1 word occurs in Viitsyiiyana's
Kamasiltra. nGradanta'Oasak/a villa (1. 5.4)
6 On this pl\.'!SBII:C Ag. (1. p. 64) says :
{1Ui\1I " ,.PI.
80-82 (B. 86b, 89a, G. 84-85). I The pillars of the playhouse beilli
of wood, tho roof WIlt! in all prouabil ity thatched and in the form of a
pyramid with four sides. Probably that was to give it the semblance
of a mountain cavern.
"
The two floors lDentioned hcre seem to refer to floors of different
heights which the auuitoriulll, and the st.age Ill'll See 63-65
above and note 2 on it. ACCOl'ding to SOUll' old commentators dvif'lJlW.mt'
indicated a two-storied playhouse while otll('l'O; wt're slIl."h 1\ l!uggl'S-
tion. Ali. (1. p. 6") says: i {Ii'! I
-ftfiilPlllll",'" (1) .. 'tvP't Ilfilft",;i; I
... qr"'d" .... I
30
THE NATYASASTRA
[II.82
well tho flol1lHI of musieal inAtrl1ments
3
will br distinctly
1\
heard
4

82.85, The eonstruction of walls being finiHhed, they should
be plastered allli carefully white-washed, After they have been
smeared [with pla:.;tcl and lim,lj, lIIadc perfectly dean and
beautifully plain, painting should he l'xeeuted on thelll, [n this
painting be depided creeper:", nWlI, women, and tlt,pir
amorOUH exploits 1, TIlliS the architect should constlllet a play-
house (If the oblong type.
of [l squflrr plflyhouse
tl(;'!J2, NOli" I shall i'pr<lk of the charadcl'iHlic" of that of
the "qnare (""lui'I1,;,'a)1 A plot of land, cubits in
l(mgth and hrl':I!lth, i, to hl' lII!'u,nrcd out in :111 au,"pi('iolls moment,
,Illd Oil it the pl:iyholl."p "hl)lIld hI' ended hy l'xpprlH ill dl';lIllati,'
art. Rnlt, , ddinitillnH and propitiatory l'l'l'elllonieH nl(>lItiolH,d
I)('fol'(' [ill oj' :1 playhonH(; of the oblong t,Vp;;] will a 1,'0
apply in ('a,;' of that of the H'jll,II'C tyP(', it shoilid IJl' Illad!)
pl'rft'dly "}lHlI';! and divided into n'qlli"ih' [>al'(,,2 I.y holding
the stl'lng 1ll('a,IlI'(!nll'ntJ, anrl it, outer walls ,Iwuld he lllade
with :4r.ong bricks \,(!I'y thi('kly set together, And inside the
stage and III pl'Oprr directions lthe architectJ ,I]()ultl raio(J ten
_. .. ---
3 word rxplainrd by Ag. iu
parts of comm, Oucp (1, p. 73) he !11lIqff!f/l flud nOAi
time too (1. p, j !w RayR Jllti, but in another pla!"Al (1 p. 65)
he ,;ay 'Jjlfq: <l't,: ant! this lattl'r "irw to have boon
1'llpcatl>ci inl .. J,21-1, TIll' IirHt view SPCIUS tl) I.(il'(' thl' C'HTI'd iutl'l'p!,ptation.
Aft!'!' B,87 B, rrprats I Ii (B22)
(B,89b'92, I iitmaMo/{a.iam litcml!), IIlClilIR 'dllC
to 1)1' ,'ujlJ),lll"nL of tit" ROlf', Compare with thiR dpscriplioll
tllC dccorativll paintings in tIl(> Ajunta raw, .
8692 G, 89b95), I caturasf(! givc," riH' to NIA, ((tl$ras
or coras,
, The l'x',et naturr f tJ d' ., .
. , 0 liS 1I0t d"lIr from th
The view Cxpl'c;.srd by A" (1 p 66) Oil tl ' 't d L
. .' "'. " liS polO Drs 110t to Uf'
eonvIllCII'g.
-n.1<lO)
DESORIPTION OF THE PLA YHQUSE
31
pillars
3
capable of suppoliing the 'roof. Outside the pillal'R,
Aeats be constructed in the forlll of a staircaRe by means
of bricks and wood, for the accommodation of the
HllcceRsive rows of scats Rhould be made one cubit higher than
those preceding them, and the 10wI'st row of seab, being onc cubit
higlll'l' than the flool' And all scats overlook the
stage.
93!)ii. In the interiOt of the playhons(1 more strong
pillars ('apahle of supporting the !'oof shnl1ltl he rai,;C'd in
andwith [proper] cercmonies (i C'. with mentioned
before).' A.nd .in addition to eight more pillarR should he
misrd by tlleir sille. Then aftel' raising [for the ,tage or
1',1 i,[lal),(TtIl J II plinth eight ruhit [';lllt:lt'(, 1I11)['('J pillar" he
to Sllpp<lrt the roof of tIll' playholl"<'. Thes(' :;hould
he tixC'cl to thC' roof hy pr()ppr fa,klll'!' . .;, awl 1)(' (Ie('orat('cl with
figl1l'inc'" of 'wolllan-with-a-!rer' (siilil.,I!'i = saII/IITtan,iikn).
!J:j-l00. A ftcr all have hem made, one earc-
fllIly constl'llct tlte tiring 1'00111 (lie/lflth!!II). It iiltould have one
<lOOt' lllaC\ing to til\) iitage through whirh person,.; shonkl en tel' with
thl'ir f<lee tow:lnh; [the 8pet:tators]. There should al,.; 0 be a
(1001' faeing the ltllditorinll1 (mil!/II). The "tage r of the square
plnyhonsPj f'hollld he I'ight in h'ngth and in brpadth.
It shoul(1 be furnished with all elevated plinth with plain
"'lll'far(', and its l\lattavii.ntl).i "hollltl be marie <I('('ording to the
pI'r;l('l'ilwd hefol'P (i,l'. in ('asp of the ohlong type of
3 The tion of tt'll pillar,; amI 111l'ntionrd aft<>rwards
i" not c.\('1\1' from t('xt. What('vt'r is writkn 011 point in Ag's
"'''lI1ll1t'ntaI'Y is ('qnally difficnl t to lInderRtalld. who are
ill til(' I\\\t'gtd view of Ag. JUay be l'I'ferred to of D. R. M!lnkad
:lllci V. Ragllavall (loc. Cit.).
92-(J5 (n.99b-102a, G.96-98). 1 scilastri=xula-bhailjiku A. K.
COOll1i1I'!\RWmny, 'The Wonwu ami tl'Pt' 01' jikii ill Indiall literature
ill A('tll Ori('lItaJiu, yol. vn. also cf. Part II. p, 11.)
!15-100 (B.I026-107 G.99-1 04). 1 Both the "idl'R ar(' meant. Tlll're
sllould b(' two ma#aviiranis as ill 'the cast' of all oblong l!h-dilllll,
ll1aYhouse bt'fofr (17, .. a5).
31l
THE NATYASA!5TBA I. 100-
The should be made with four pillars
by the side
l
of t1iC' plinth r mentioned above]. The stage
should be either more elevated than this plinth or equal to it
ill height. rn cnse of a playhollse of the oblong type,
it should be bigher than the stage, whereas in' a playhouse
of the typP it have :l height equal to that of the
These are the ruleH according to which a square type play-
hOllSO is to be built.
Description of a triangular playhouse
101-104, Kow r shall ahout the eharartel'isticR of the
trinngular (tl'il ll "I'I/) type of playhou .. ,e, By the hllilderR, a play-
with tlll'ce shoulll hp huilt, and the
in it be made triangular, In onc ('orne I' of the
playhouse tliPI'(' should he a door, and a seconu door sho\lld be
malic at the IJnC'k (If the :-tage Rules regarding
walls anll pillars
l
whil'h hold good in ease of a playhollse of the
Aquare typr, will Ill' applicable in ease of the triangular type
ll
Those
arc the l'Ilh ael'ol'ding to whiel! dift'prent typeR of playhouses
are to be ronstruei('d by thl' ll':ll'ned. Next r shall describe
to yOIl the l (Jl'opitiatOl'y J Puja in ('onnexion,
Hcre ends Chaph'I' II of Bhal'ata'H
which of the of a Playhouse,
101-104 (R.I08-111, G,104h-lOSl, I It is not ejpar how the triangular
playhousc will have pillars like tho;, of other
2 No bel'll prescriW ill of the triaugular
plflyhouci,',
CHAPTER THREE
PUJA TO THE GODS OF THE STAGE
Conseeration of the playhouse
.
18. In the auspicious playhouse constructed with all the
characteristics [mentioned oboveJ cows, and Brahmins muttering
[p;oper Mantras] should bl' made to dwell for a week. Then the
master of the.dramatic art who has been initiated [for the purpose]
and has put on new cloths, fasted for thrE'e day!':, lived away from
his bed-room the dwelling house), has kept hi!'. senses under
control and bas [thus] become purified, will besprinkle his limbs
with water over which purificatory Mantras have muttered,
and consecrate the playhouse. This [comecrationJ should take
place after be bas made obeisance to the great god 8iva the lord
of all the regions, Brahman who sprung from the lotu!;, Brahaspati
the precept9r of the goda, Kllrtikeya, SarasvaU,
Siddhi, Medbll, Smrti, Mati, Candra (Moon), Silrya (Sun), Winds,
Guardians of all directions, Asvins, Mitra, Agni, and other gods, such
as Ruqra, Varl,las 1, Kala I KaH
8
, Yama, Niyati, the Sceptre of
Yama', Weapons of the Lord of the Nagas (Serpents), the
Lord of the birds Thunderbolt, Lightning, Seas, Gan-
dharvas, l\Iahagl'smal,ll (the great
leader of GaI}.3s)1, Guhyakas
S
and the hosts of Bhiitas .
. 18 (B.l.7, 9. G.1-7, 9). I varl,UZS-No a:ods ealled vaf?}fU are to
be met with in any other work. They may be taken as deities ruling
specially over the four varf}fU of people.
, Kila-lhere are several legendary heroee (a:ods, @aa:es and Asuras)
of this name, see Vidyalnnkar, JK. sub voce.
t Kali-There are many legoodary heroes of this name, see JK.
suj floe"
, See note IS below.
Weapoll8 of appear as deiti{l8 in the Act. I of Bhisa'. Bala.
nat,.akuma",-Such a:oddesses are possibly mentioned nowhere eille.
r Kreat leader of GaJ}as. It is very difficult
to Iccept Aa:'. identification of mallaVfJmatJi with G al)apati (mM/a.,.,a-
fftarji, I'flfJalali+). For in 58 below. occ\lrs the term maltOl'Qf,le'f/llr


'-
THE N A'l'YASASTRA
[ III. 9.
0-10. Having made obeisancc to these, and other divine
sages he should with folded palms invoke all the gods to
their respective and say, "Ye, holy ones, should take us
under your protection during the night, and ye with your followers
should offer us assistance in this dramatic performance".
Otl'ering Puja to the Jarjara
11-13. Having worshipped [thus] all the gods as well as
all the musical instruments (lcutapn) 1 he should offer Puja to the
Jarjara 2 for attaining good at the performance [and pray
to it as follows]' "Thou art Indl'a's weapon killing all the
demons; thou hast been fashionerl hy a II. the godR,. and thou IIrt
capable of destroying a\l the obstacles; bring victory to the king
and defeat to his enemies, welfare to cows and Brahmins and
progress to dramatic undertakingH".
14-15. After proceeding thus according to rules and staying
in the for the night, he {the master of the dl'umatic art}
(in the plural number) indicating the different IcaderR '* Gal)as who
followed Siva. 0111' of such lmdrrs has bern mentioned thl'rc as N
(Nandin). Besic1cs this thr te)'Dl (tl:1' lradf'r of Gal)as) has also
been applied to Siva in 47 brlow. In p,'(If!ioal dhas the
of ILas dak.:ayaji/a-vtnzardini IV. 260). ThiR
too shows tbt ga,!csvara, gramal.1'i or mahagromall& meant simply th(>
leader, onn of tlw or tlte great Iradrr of Gl\J)as. Tho fully
developed Garyapati to be non-existl'lIt at the time wl,en tl:c N8. was
composed. Onr in tl.o matter srrms to br corroborated by
the variant talha rrcordrd in the DlS (ha of B. for
makagrltmallyaTf!. Garyflpati to be a late entrant iuto th(l Hindu
Hn is not mentioD<d in any onr of tl.e old Pural)lIIl. OnlY the
Varaha, Va mana and Bralllnavaivarta P. which are vcry lute know
the deity (Winternitz, Vol. 1. pp. 56656f1, 1173, VidYlllallkllr, JK. suo' voce).
Kalidiisa make.8 !l') distinction bctwC('n and Guhyakll8,
See Meghadiita 1 and' 5,
9 See above ..
9-10 (B.I0-II, G.lolll.
11-13 (B.12-14, G.12-14). 1 See below note 3. The reading
laTf!prayuja in all editions aud inss. seems to be wro!li. It should b(l
emended s!ltI}prapujya.
'. See 73-81 below.
(B.15-l6, a.IS-lS).
.III. 91 ]
PUJA TO THE GODS OF 'THE STAGE i5
should begin Piija as soon as it is morning. This Piija connected
with the stage should take place under the asterism Arch'a
Orioni8) or Magba (Regnllts) or Yamya (Musca) or Piirvaphalgunl
(DeltaLeonis) or (Della.8ngitta1ii) or Pi.irvabhadra
pada (Alpha.Pegasi) or (Hydrae) or Miila (Lambda.
8borpionis ).
16. The stage should be illuminated and the Piijii of the
gods in its connexion "hould be performed by the ma'iter of the
dramatic art (acal'yn) after he has purified his body, concentrated
bis mind [to these acts] and initiated himself [to the pujn]

'Installation of the gods
17. During the concluding momC'nts of the dny, whieh are
considered to be hard and full of and are over l.y
Bhi.itas, one should perform Acamana
1
and came the gods to be
installed.
18. [Along with these gods] should be [taken] red thread-
bangle \ the best kind of red sandal, red fiowt'J's and red
fruits. [With these andJ articles i;uch a;; barley, white mustard,
sunned ri('(l, powder and hmked saffron (prigo'TN/II)',
the gods should be
The for installing the gods
20. In this ceremony one should draw in propel' place a

1
according til the manner
21. This should be sixteen Ta.las (hasta}l square
and it should have dOOl'S on nil its four
-------------------------
16 (B.l?, G.l7).
17 (B.1S, G .IS). \ aeamana-CI.'x(,ll1oni:ll rinsing of the mouth by
sipping water from the palm of the hano.
18-20 (B.l9'21a. G.l9-2la).
1 pralisara-sulra-vl'tu'rmita Ag.
(1. p. 74).
campaka tn' .. (AptRj. but Ag. says
nagadanlaJ/.
8 pr'-,aiJEu=sv.ffron, and uot the fruit of the priyailj'U Cl'N'jlel.
20 21b). 1 See the diagram 1.
11 (B.2iGII2). \ IIMla in pnssajCe to be
36
THE NATYASASTRA
22. In its middle should be drawn two lines vertically and
horizontally (i.e. parallel to the sides), and in the apartments made
by these lines, should be installed the different gods.
23-30. In the middle of this (ma1J4la), should be put
Brahman who has lotus as his Heatl. Then one should first of 1111
put in the en,t Siva with his hOdt of Niiriiyal)a
Indra, Skanda (Kiil'tikeya), Biirya, Asvins, Candra, Sarasvatl,
Laksmi, Rraddha lind Medha, in the south-east Agni, Sviihii,
Gandhnn'a,;, Rudras and in the. south Yama,
Mitra with his foilowers, PitrH, Uragas and Guhyakas,
in the south-west the and all the i.'l the west the
Seas and Varlll].ll, in the north-west the Winds
2
and
with other birds, in the north KUl'era, of the
Na\ya, Y with t1ll'il' in the leaders of
Gal}as such us Nandin, and the host of Bhiitas in their
proper
31. And (in the eastern] pillar should be placed Sanal-
kumiira
1
in the southern one
2
, ill the northern one
GriilllaI;li (lit. leader of and in the one Skanda
(Kartikeya).
32. According to this rule all the in their [proper]
form and colour should be placed in their re8peetive positions.
-------. --_._----
nasla-Iala or tala ,.e. the interval between the tips of the thumb and the
middle-finger stretched in opposite directions. ft .,Tft;tt I
lII1iIII1!1ioi'fq'll: u BR. VII. 1 046. it will be im-
possible tAo accomodatt clw mal,lllaia on. th(' stage which is eight cubita
wide (See Nti. II. 33-35). The ancient commentators like Salikuka and
others pointed out how absurd it would be take hasta in the
in the sense of cubit. (see Ag. 1. p. 75). 22 (B.23. 0.23).
233U (B.243l, 0-.24-31). 1 According to Ag. a lotus is to be
described in the centre of mal.ifla/rl. 2 l!'or the seveD wiDels 8ee the
Vamana P. (see Vidyalankar, JK. su6 voce).
31 (B.32, G.32). I ::ianatkulIliira-one of the &reui "is and.BOD
of Brahman. ,
of the lords of the creation (JrajiJ;ati), IOD of Pr ...
eetas .. Thero wore othol' Vidyulankar, JR." f1(J(e
.. :s('<' above 1-8 uotl' 7. 32 (B.S:1, G.BS).
-IiI. " J
PUIA TO THE GODS OF THE STAGE a?
. Oft'eriDi Pnji to the gods
33. After they have been installed with regular ceremony
in suitable places they should be worshipped in a fitting manner.
34. Gods [in general] Elhould be given white
1
garlands and
unguents, while Gandharvas, Agni and Surya should be given gar-
lands and unguents of l'ed
i
colour.
35. A iter being treated [thus] in due order and manner
they should be worshipped according to rules with suitable offerings.
36-39. ,[Offering:> suitable to different gods and goddesses
al'e as followflJ : Brahman i\1adhuparka t, Sarasvati Piiyasa 2, gods
. .
like Sh'a, and Indra sweetmeats. Agni rice cookl'd with
ghee, Candra and Surya rice cooked with molasses, Visvedevas,
Gandharva!-l and sages honey and PuyaRa, Yama and Mitra
and Hweetmeats, Pitr', Pisacas and UragaH ghee and milk, host
of Bhutas l'ice cooked with meat, wines of kinds and grams
covered with thick milk.
Consecration of the MattaviiraJ.li
40-H Similar shall be the regarding the Piija in
:'connexion with the Mattavaral}.l. [Offerings to be made to different
gods and demigods are as follows]: half-cooked meat,
Diinavas wine and meat, the remaining gods cake <md Utkarika
l
and
boiled rice, gods of seas and rivers fish and cakes, Varul}.a ghee and
Piiyasa,:Sages val'ious roots and fruits, the wind god and birds
different edible stuff (lit. and bho;ya), Mothers
8
of the
88 (B.84, 0.84).
34 (B.3S, 0.85). I 'Whiv/ here seems to be the symbol of parity
and KOod graee.
2 'Red' here seems to bo the 8}'DIbol of eneriY.
85(D. 35, 0.36).
36-89. (B. 37-400. G. 87-40). 1 madhupa"ka-SI!!! above II. 41-409.
notA! 8.
Il /JQytllfl-tl!llil above II. 41-42 notll.
4t0-44.(B.41 41), 0.41-4.5). I Sel' above.
uLtalVii-a kind of 8weetm9at.
I 'fhellt! KOddeMl!l tM!6ID to havl' UI\CU ijenol"ed by tit .. Puri&1}1I8.
38
THE NATYASASTBA
l III. ,,-
und Kuvera with hie follower!! eatables including cakes, and
Locikiis'.
45. These different kinds of foodstuft's should be offered
to them ami the '\Innt\'!ls to bt' uttered at the time of making
offering to differt'Dt, gods will be as follows :-
46. (The Mantra for Brahman), 0 the god of gods, the
most, lordly one, the lotnsborn one, the grand-fathel' (of the
IVOrl(18) aC('(lpt this 'my offering by the Mantra.
4i. (For Biva) 0 the god of the great 'god, the lord
of Gal}!lsl and the killer of Tripul'!l, accept this my etc.
is. (For 0 Kiiriiyul}fI, the best of
the gOlh with movement, accept this my etc.
HI. (For Indl'a), 0 Purandara, the lord of gods, the thunder
heUl'er, the maker of the liulldl'ed exploits, accept this my etc.
;iO. (For 8kallda), 0 Skanda the leadel' of the I..>elestial
army, the blesHed one. the dear son of 0 the six-mouthed
one, accept this my etl!
j1. (For Sarasvatl,i, 0 the goddess of the gods, the vel'Y
blessed one, the deal' wife of Hari, accept this my etc.
ii2 (For goddesses Biddhi, .Uati. Medlin) 0
Siddbi. Mati and )-Iedha, ye who are honoured by all the
worlds, t his my tltc.
53. (For 0 Mflruta, you who know the might
uf All the creatures And are the of all the world, accept this
my etc.
t. \1<'01' I) the gl'eat the great-souled
'1IICt'ka-This Las bl"" !"'ad it, lJllII!. all iDA/lea teAikif
l' 'L , , r , r ,
i/!'KU. The word !;irom. to bp C'()nll''Cttrd with tht' NI A. tue,; 1Ot:i,
from .locia, .IDct'kii.
, 45 (R.46, (}.46) 36 (B.47, G.47).
47 lB.!)', U.48. 1 It. shOltld be markec.l 11('1'(" thai Siv/I has been
Ililiind a wl'In applioxi ill later times to Oanapati only
48 (B.oO. ( 49). 49 (B.48, G.50). 50 m.49, G.S!).
51 JB.5a, G .52). 52 (R.SS. G .55) (B 5t! G 53)
" (B.64, G .54). , ,
_UI. 68 1 PUJA TO TijE nODS OF THE STAGE
ones, the SOD.. of PulastYIl, born of different eftUSeF, accept this
my etc.
55. (For Agni) 0 Agni, the mouth of the gods, the best of
the gods, the smoke-bannered one, the eatel' of things offered in
sacrifice, accept this my offering given with love.
56. (For Candm) 0 Soma, the lord of all the planetR, the
king of the twice-born ones, the favourite of the world, accept
my etc.
07. (For Surya) 0 the maker of day, til'" mass of heat, the
best among thp arcept this my etc.
58. (F<ir 10rdR of Gal)as such a?, 0 the gl'eat
lord of among whom N llw accept
this my etc .
. ')!). (For Pitr;:;) J bow to all thE' do ye accept my
offt'ring. (For BhUtaR) I bow to 1111 the Bh11tl18 who may
have a liking for offeringsl,
60a. (For Kamapall1) 0 I bow to thee
to whom this offering is made.
6061 (For 0 Gal1dharvas, amongst whom
Nal'ada, Tumbul'lI and Visvavasu are thE foremost. accept this my
hest offering .
. 61-62. (For Yama and :Mitra) 0 Yama and Mitra, thE'
gods who are adored by all the worlds. l1C<!ept thi" my etc,
62-(j3. (For I bow to all the Pannagas in the
nether region, who are .devourers of wind. give me in
Ill'ljmatic production after I have worshipped you .
. 6364. (For Val'ul).a) 0 Varlll}3, you who are the lord of all
watel':'; and hlle the swan as your monnt, be pleased IIlong with the
and riverf:, at(,l' I have wor;;hipped you all.
------------------ --------
55 (B.57, a.56), 56 (D. 58. G.57).
67 (R59. G 68). 58 (G.60. B.59).
69 (1'.61, a.60n). I G. Tluts one hcmiftich attt'r 60a without' num-
hEll'inlt it. 60a (B.62a. SO-Sl (13.S2b-S3n, G.S!).
61-S2 (D.68bMa, G.62). 62-63 (D. 64b-66a. G.6S).
6364 <"R.66b65a. G.64'.
THE NATYABAS'rBA ( m.M-
64.65. (For Garu4a) 0 the son of Vinatl, the high-souled
one, the lord, the king of all the birds, accept this my eic.
61-66. (For Kuvera) 0 the superintendent of [all] wealth,
the king of the guardian of the world, the lord of riches, ye
along with Guhyakas and accept this my etc.
6667. (For mothers of the 0 mothers of the
Nlitya such as Briihmi and others, Yil be happy and pleased to
accept my offering.
H7-';8. (For other;:) 0 weapons of Rudm, ye accept my
offerings. 0 weapoM of ye too accept [t'hings given by
me] out of devotion for
!i8-6!l. 0 Yama, the Fate, the dispenser of drath to all
creatures and the end of all actions, accept my offerings.
6970. Yc other gods who are occupying the
accept this my etc.
To all other gods and Gandharvas too who occupy
the heavens, the partb, the middle region and the ten directions,
these offerings are made (lit. let these be accepted by them).
71-72. Then a [earthen] jar
1
full of water with II garland
of leaves in its front, he placed in the middle of the stage,
and a piece of gold should be put into it.
72-73. All the musical instruments covered with cloth
he worshipped with [sweet] flowers, garlands, incense
and variolls eatabkR hard and soft.
1
B.66b67a, G.65).
6667 (B.68b69a, G .67).
68-69 (B.70b-7b, G.69).
7071 (B.72b-73a, 0.71).
65-66 (B.67b-6 G .66).
66-68 (B.69b 70a,
69-70 (D.71b-72a, G.70).
7172 (B.73b74a, G. 72). I For the sillnificance of this jar see below

7273 m.74b-75a, G.76). I This passage with some minor variation
has bee? in and G. Dnt this is out of pl!l<lO there. For the
order In wluch mUSical. instruments (kulapa) and the Jarjara elould be
worsH'ppro. see 11-13
111. 88)
PUJA TO THP. GODS OF THE STAGE

Consecration I)f thll Jarjarll ..
".
n
73-74. Having worshipped all the gods in due order. and.
offering Piijs to thp .J [in the following manner] one should
Ijave the obstacles removed.
7476. [One should fasten a piece of] white cloth at the-
top [of the.Jarjara), blue cloth at the Raudm joint, yellow cloth at
t4e joint, red cloth at the Skanda joint, and variegated
cloth at the lowest joint
l
And garlandE, incense and unguents
are to be offoced to it (the Jarjara) in a fitting manner. .
. 7677. Having' observed all these rites with incense,
garlands unguents one should consecrate
l
the Jarjara with the
following Mantra:
77-78. "For putting off obstacles thou hast been made very
"trong, and as hard as adament, by gods such as Brahman.
78-7!1 Let Brahman with all other godi! protect thy top-
most part, Ham (P-ivll) the part, Janl!.rdana (Vi!?I;IU) the
third part, Kuml!.ra (Kartikeya) the fourth part,. and the great
Pannagas the fifth part.
8081. Let all the gods protect thee, and be thou blessed ..
Thou, tho killer of foes, been born undt'r Abhijit (Vega), the
best of the asterisms. Bring victory and prosperity to the king !"
lloma or pouring ghee into sacrificial fire
8182. Aftel' the Jarjara has th11S been worshipped and all .
offering!! have been made to it, on(' fihonld with appropriate Mantras
perform Homa and pOllr (ghet) into thE' sacrificial fire.
8283. Aftel' finishing the Hom a he should with the fire
lighted [in the place of sacrifice] do tlll' cleaning work (?) which is to
enhance the b.l'illiauce of the king as well as of the female darrcers:- .
7374 (B.75b-76a. G.73).
" 74-76 (B.76b-78a, G.7475). \ For idl'ntifying the joints see 78.79
below. 7677 (B.79b-80a, G.77). 777B tn.BObBla, G 7B).
7880 (B.81b-82, G.79-80a), 8081 (B. 83bS4a, G.80b-81).
81-82 (B.84.b-85a. G. 82). 8288 (B.85b-86a, 0.8S).
e
H
fI/7$ A".lJ'UP$N./
1/1
la#
8H.8l. Alter. having Illumined thQ king and the dancers
together with the Illusirul instruments one should sprinkle them
again with water Mnrtified by the Mllntl'll, and say to them:
84.85. "You are born in noble and adorned, with
multitudes of qualities, let you have acquired by virtue
of birth, be perpetually yours."
8586. After saying these words the happiness of
the king, the wise man Rhould utter the Benediction for the success
of the dramatic production.
86-87. [The Benediction] : Let mothers such as Sal'aSvatl,
Dhrtl. Medha, HI'I, PI'I, and SmrtP proect yol,l and
give you
the Jar
87-SS. Then after performing Homa llcoording to rule8 with
ghe& and the proper the of dramatic art should
ca.reflllly bre.ak the jar.
88-89. In case the jar remains unbroken the king Oit.
the master) will have a of fear from enemies; bnt when
it is broken bis will meet with th(ir destruction.
III umination of stag(>
8!)-!}0. After the breaking of the jar, the master of the
dramatic art Rhould illuminate the 8nditorium (I'nnga.) with R
lighted lamp.
0001. Kobily, that with roaring, snapping of 6n&1'8.
jumping running about, he ShOllld cover the auditorinm with
that lighte(1 lamp (in hi" han(I].
91-92. Then a fight should be caused to be made [on the.
83-84 (B.86b-87a, G.84).
85-86 B.8Bb.89.1, G .86).
8485 (B7b.8Ba, G.B5).
8687 (B.89b-90a, G .87).
.j7-ilS m.90b-911l. G.B8). I Theee arc the ,eVeD Natya.mitt'IW.
Sec 23-30 above.
8S89 B.91b-92:l, 00.89).
89.9g (B. 92b93a, G.90). 90-91 (B.93b-94a, G.tl).
91-93 (B.94b-96a, G.92-93). I dunduMi-a kind of drlllll.
mJJ!/
PI7.1'A Po rNs 00.09 or rds 9:1'.4(lS II
sttJg8] in s(X:()mpsniment with the sound of 811 the musical instra.
ments such as conell-shell, DundubhP, MrdaJiga' and PaJ,lava
t
,
9293, If the bleeding wounds [reSUlting from the 6ght]
will be bright and wide, that will be a [good] omen indicating
success.
Good results of consecrating the stage
93-94. If the stage is properly consecrated it will bring
good luek to the king (lit. the master) and to people young and
old of the city as well as of the country.
9495 .. But when t!Jr auditorium is not conseC'rated in
proper manner it will be indifierrntly held by gods. and there
will be an end of the dram:ltic spectacle, and it will likewise bring
evil to the king.
90-90. He who willfully these rules [of
consecration of the stage] and practises [the dl'alllatic art], will
soon sustain loss and will be reborn as an animal of lower order.
91i-97. Offering worship to the gods of the is as
meritorious as a [Vedic] sacrifice. No dramatic performance
should be made without fir!';t worshipping Ihe (ll-itie . over
the stage. When worshippf'tl, they (these god,) will uring you
worship, and honoured they will bring you honolll. Hence one
should by all effort" Plijii to the gods of the sluge.
Evils following non-consecration of tl:e stage .
9S-99. Xever will 6.'e f:mn('d hy violent wind hurn tllings
so quickly, as defective rites will hl1l'n quickly [the muster of the
dramatie alt]. ,
99-100, So the stage HhOllld he lVorRhipped by the mm;ter
of the dramatic art who is purified, disciplined and in
I mrt!IJhrIJ -a kind of carthnn drum.
8 IaQlJl1/J-a kind of drum.
9894 (B.961>-9711. G.94). 9495 (B.971>-981l, G.95).
9596 (B.981>-99a, G.96). 9698 (B.99b101a, 0.97;98).
98-99 (B.l011>o102&, 0.99). 99-10(>'(B.1021>-103a,0.1I)U),
tHE NATYABABTRA
[II. 100 .
.
. the rules of the art and initiated into the practice of it and has
of mind.
100-101. Hp who with an agitated mind places his
'offering in a wrong pluet', liable to expiation like one who pours
ghee into the sacrificial fir\' without propel' This is the
procedure prescribed for lYorshipping the god:o: of the stnge. It
should be followed by producers [of in holding a theatrical
show ill a newly 11Iliit p\n.yhollse.
Here pnds Chapter III of Bharata's
whirh treats of Piija to the of the stage.
100-101 (B.lO:clb-lIHil, G.IOI-I02).
CHAPTER FOUR
DESCRIPTION OF THE CLASS
Brahman writes the first play and gets this performed.
1. AftH' having [the gous presiding over 'the
stnge] I said to Brahman, "I'dl me quickly, 0 the mighty one,
play shou]el be performed 1"
2. [Tn. reply J I tolll hy the Lord, "Perform the Amrta-
munthalla {the Churning of tht' Ol(an)1 whi(;h i., (;apable of stimu-
lating of giving plPa';llrc to gael;:.
3. I have l'olllpo.'l'd :-;alll:l\'akiil',t 1 whidl l'vnducivl'
to [the pCI'formaul'e of] dutil'" (,Iital mil), to [the fulfilluwnt ofJ
de8il'c (kamll) a" well as [to the earningJ wealth (II t'f!tll )."
4. When this Samavakara performed, aud
were delighted to action" and ideas [familial' to them].
5. in cour>:B of tiuH! Bmhlllan (lit. thl' lotus-born one)
tiaid to lUI', "We shall today the play h(fore the great-
souled (lit.. the three.eyed one)",
6-7. Tlwn on reaching along with other the abode of
(lit. the bull-bannered one) Bmhman pail} him and
said, "0 the best of the god", plea,e do me tilt' favour of hearing
and seeing the SallHi.vHkara whit:h ha., 'wen COlllpo8ed by me."
8. "1 shall enjoy it," said the lord of gods in reply. Then
Brahman asked me to get r('utiy [f01' the performance].
910. "0. the of tile Brahmins, atci' the Preliminaries
connected with the peri()l'mance had been completed this
1 (B.G. same)
2 B.G. same), I The lrgend about the rhllrning of the ocean occurs
in the Mbh. (1. 17-19.) nnd tll(> P. ll) Sec Wintcrnitz, Vol. I
tJp. 889, 646.
8 (]l.G. same).
t (B.G. sam').
8 (B.G. StIIIU).
1 See NS. )L'{, .69 tT.
6 (B.G. same). 6-7 (B.G. Sat/l4).
9-10 <fl.G. same)
,8
TBlD NA.l'fASA.StBA
[ IV. Ie).
, 1
(Samavakika named the Amrtamanthana) as well as a ?am
the Tl'ipuradaha (the Burning of 'fripm'a) .was 10 the
Himalayan region which consisted of many Illlls and 10 whICh there
were many Bhiitas, Gatlas8 and beautiful <!aves and waterfalls".
n. Then all the [Shiitas] and Gal,las were pleased to see
actions and ideas familiar to them, and Siva too was pleased and
said to Brahman :
12. "0 the high-souled one, this drama (nQ4!Jo,) which is
conducive to fame, welfare, merit and intellect. has been well-
eoncei ved by you.
13-14. NolV in the evening, while performiqg it, I remem-
bered that dance madr beautiful by Ailgahams
1
consisting of
different Karal,las
2
You may utilize these in the Preliminal'ies
(purmrnnya) of a play.
Two kinds of Preliminaries
141(j. In the application of the Vardhamanakal, the
A.salita, the Gila' and the Mahaglta you will depict properly the
ideas [by means of dance movements]; and the which
you have Qust] performed are. called "pure" (Buddh(/). [But] when
I qlma-one of the plays of the major type ; for its charaeteriaties
see NS. XX. 84 iT.
killed an Aaura (demon) named Tripura by
burning him with onc of his fiery arrows. Henee he is called 'l'ripurantaka
or Tripnrari. Thisle/l:end oceurs in the Varaha P. See JK. S'U6 vou.
RG. read lIii"ucutadrumakirr,e ill9tead of IlalmJlHdtJttlr}a/:i'""
11 (B.li. slmIe). 12 (R.G. same).
1a-14 (B.O. same). I 411l'ahiira-major dance figures which depend
on minor dance figures Th(l word 'movement of limbs'
Ag. O. p. 91} explains it as .. rli 'f1'(:
1I1l111:, "ri\$I''f1'(:.
? See below 29-311 note I. f4'or details about the Anphal'8ll _
below 16 If, 72 If.
14-16 (B.G. same). I 8e<' NS. V. n(II)e 3.
.&.l NS. V. 1l1llotR I.
I See NS. V. SOotS DOte a.
IV.IO 1
DESCRIPTION OF THE OLASS DANCE
. .
these dances will be added to them (pure Preliminaries) they wil!
l)t called "aliJed" (our4
The Aligahiraa
16-17. To words of Siva Brahman said in l'('ply, "0
the best of the gods, tell us about the use of the Angahilras."
17-18. Then Siva (lit. lord of the world) called Tandu and
sai&, "Speak to Bharata about the use of the Ailgabal'as." .
18-19, And by Tal,14u I WaR told the of the Ailgaharas.
I shall now Apeak of them as well as of the various Karal,llls and
Reoakas\.
19-27. thirtytwo Ailgahlras are as follows:- Sthira.
Pal'yastaka, Suctviddha, Apaiiddha, Udghattitll,
Aparajita, Svastikarecita.
Pal'Bvasvastika. V Bhrama1'8, Mattaskhalit,lka, Madavilalita,
Paricchinna, Parivrttarecita, Vaisakhal'ecita, Pal'ilvftta,
Alitaka, PirBvQ.CQheda, Vidyudhbrii(lta, Uddhrtaka, Allqha, Recita.
A cchurita, Sarpbbrinta, UpaRarpita, Ardhanikuttalta.
Usee of the
28-29. I shall now speak about their performance depen-
dent on the KaraJ}.as. [And besides this] "0 tbe best of the Brah
mins, I shall tell you about the movements of hanci8 and feet that
proper to the Ailgahiiras.
The
2930. All the Ailgahitras consist of Karal],as; hence I thall
nention the names of the latter as wen as their description
16-17 en.G. same). 17-1S (B. same, G.16).
18-19 (B. same, G.17). 1 Se below 247 tr.
19097 CB. same, G.1S-27a).
28-29 (B. same; G.27b-2S). I for detailliabout laratJQ see80ft'beJow.
29-30 t:n. 1t1m6 (U9). I laratJa-mlnor figure. Ag. (1 98)
plains the karana as ''''Illil! fdlll'li ."lII"f'l", 111R
\1"1" tftlll'll .
i8
THEl NATYASASTRA
( IV. 30.
;)0.34. The combined [movrmcnt olJ hands and feet in
dance is ('ailed the KaroQ.f1; Two Karal,las will Matrka,
and two. thr(,E', or four l\{iiq'kiis will III II k(l up one Atigaham. Three
Karanas will m:llw a K:lliipakn, t?nQ.c.lnku 1, and five 11 SaIpghil'
tab. : Thus' thE' of six. Reven, eight or nine
Karanas. I sh:lll now Hpcak of the hand and feet lUovementR
up these (Karal,1a'-).
31.iif). 1'hl' Km',II):lR are one hundred an(l eight in number
and they a ["(' :ldOJlIJ1\"8: '1':1-1:. pus pa pntn, Vnrtila, Valitoru, Ap:lViddha,
Samanaldl;l, LIlla, S\',Hik:II'l'('il:l, 1\f:lI)c.lalaRvHstika, KiknHaka,'
Ka\it:C"ltinn:l, .\.rdltar('cit;" U n-
matta,' Sl'astika, DiksnlHika, Alatl, KlI\lsall1a,
,,\nlhasvHstib, Aneita, Blll1jatigatl'il'
"ita, Ul'dhvajanll, Xiklliil'ita, :\l:ilalli, Anlhalllatu\li.
Pudapavidrlhaka, \' Gilul vil,l, L:i1itn, Bhujailga
tl'astarec.ita. :\ u: ,ur:l, Va:::lldl:I!'(,(it:l, B],r:lmarakn, CatnI'o, Bhl!
jangaiicital;a, l),l!) .1 Ib n.'l'i tn. V(l"ikdmHit:l, KAibbn1ul:l, Lata.
vrscika, Cllinna, 'V('ibrc('it<l, Vyu111sita, Piirsvani-
kuttana, Latatatilab, Kranl;!];::I, Kniicitu, Cakramal)(Jala, Uroma!}-
T:ilavilii,-it:l. Alida, Avrtta, Dolapllda,
Viyrttn, VilliYrlln. Vidyudbhl'linta,
Alikranta, Viv:ll titaka. ( ajnkl'i<.Iita, Garuga-
pllltakH. nal)f.la'ikl, P::I i"rl!:i, Grdhravallnllka.
::iaIp!lata, SUd, A l',llwiki, ,\ pakranta. Mayuralalitll.
Sarpila. ]):ll)fJ:lpli,j'I. ll:il'irplp'llta, Prrukholita, Nitamha, Skhalita,
Kal'iha;;ta, 1'ra, : 1'1'; t::, I ta', SiJTl ta, U dvrtl/l.
Upasrta. J:lI!ita, :\ val:itilwka. Elakakrldita.
Urudvrtta, jI:If\:t'\;)Ji,li(a. Sill)lbhl'antn,
UdghaHitn, LlJlilaka,
Gangal:l.t<ll"ill,l'l, f J'il", '.' will 1111 Ilspd] in dance, 6ght,
personal combat. w:dkilJg as 1\'\'11 ill general.
56, Foot 1ll0Yf'lllcnts wbieh have been prescribed for

. B. same, G. 1 read
1:455 (B,3455a, 56a, G.34.54)
56 (B.59, G.167).
IV. Oil] DESCRIPTfoN OF THE CLASS DANCE
!i9
the exercise of Sthanas
1
and Caris
2
, will apply also to these
Knral.las8.
57. And application of the Nrttaohastas
1
which have been
prescribed for dance is geneJ'ally implied in the Karal}as.
58. The the Carls and the N rtta-hastas mentioned
[before] are known as the Matrkas the valiations of which are
called the KaraJ].as.
59. I shall treat the Carls suitable for [rellresenting] fight
at the time of discussing the foot movements. The master [of
dramatic art] 'should apply them on any occasion according to his

60. In the Karal).a the left hand F<hould generally be held
on the brellflt, and the right hand is to follow the [right] foot.
61. LiRten [now] about the movement of hands and feet in
dance in relation to that of hip, thigh as well as to breast,
hack and bellyl.
Definition of the Karal}llS.
62. hand held on the left side,
the foot is Agratalasaiicara, the !:Iide is Sannata (Nata)1.
t See NS. XI. 49 If. 2 NH. XI. 2 If.
3 B.G. reau one hemistich mol'l' hl'forl' 56a. It not oeeur in some
In'!S. Ag. reeordR this fact. Though 108 karalJas constitute general
dance, which iR Rometimfls interpol:\tflo ill 'thr al"tillg to fill up its gaps,
they (karaIJas) may hI' :,180 uS1'I1 to emb(>llish the movcm('nt of limbs in
fights of any kind. Ag. (I. p. 96) "1M'll!
111{ qlli;!i lfl1!i IllftJT: "" 1T'!I000a; i>esid<'R this he saY8
tanura1isihilisrtl7Jmilile ka1'rtl}rtl7J (1. p. 97)
57 (B.l71. G.56a, 168). 1 For see NS. IX. 177 If.
58 (B.173. G.170). 59 m.56b-57n, G.511).
60 (B.57b-58a or 172, G.169).
61 (n. 58b-59a, G.57). 1 }<'or R.60 (G.58) omittRd SI*' NS. XI. 909b
62 (B.61, G.59)1 1 the of eOllnnil'nce eonstituent parts of
karaIJas have been separately mt'ntion('d without putting them in a
cumbrous sentenee. This method has be;n followed by .<\. K. Coomara-
s"amy in MG. As the 7lefinitions of these parts can be ('asily traeed
thl'ou"h the index they hav(1 not bel"D' rf'fl'l'rrd to in the 1I0tl'!1.
7
50
THE NATYASAFiTRA
[ IV. liS-
63. Val'titn- Vyavrtta (= Vyaval'tita) and PariYnrtita hands
bent at the wrist, then these hands placed on thighs.
04. hands to make Vyavltl'tita and
Parivartita K., and thighs are Valita.
65. Apaviddha-the (right) hand with Sukatu\l4a gesture
to fall on the (right) thigh, the left hand held on the .
. 66. Snmanakha-the two Samanakha
1
feet touching
other, two hanging down, and the body in natural pose.
H? Lilla-the two Pntaka hands held together in Aiijali
p08e on the In'eaRt, the neck hpld high, and the shouldE'r brnt.
(j8. with Recitl't and Aviddha
gestm'p held to;:PlheJ' in tilE' form of n th(>n Reparated
and hdd on tIll' hip.
li9. Mal)!Jalltsvastika-two hands moved to \lllitp in thp
Svastika gestnl'P with their palms turned upwards in a similar
mannpl', and the body in the Sthiina (poRture).
70. Nikuttaka-each of the handR to be movE'f) up and
down
1
nltprn:ttely between the head and another arm, and the legs
also moved in a similar manner.
it. Ardhanikuttaka - hands with Alapallavl\
1
gPShlJ'(> hent
and Irgs moved up and down:
72. Katirchinna-t!.p hip srrially in the Chinna pORe,
two PallavH hiltlclR \t(ld altel'llntely nnd I'Cp{.atedly nn the head.
(R.62, G
66 (B.P-.I), G.6:'1).
in thr, RH.
68 (R.97, G.65).
64 (11.6:'1, 0.61) /1[, (R.6S, G.62)
I .tamanakka f ..... t llowh ... rc been m!'ntioll!'d
07 11.6.6, a.64\.
69 (R6S, 0.66).
d . :0 (13.69,. G.67!. I IlikuI(11a=nikul/ana. Ag. 0.)1. 103) quotl'8 tlw
efillltlOn of from Kohala llnnamanam 1'Inamanam
syild ahgasya ntrm!lanam. ." \
" n.6S). 1 For kuiICda BG. read But A,. (1. p. 204)
(r('Rd kU'letfa and mean,; hy this word tho alapallthJa gesture,
12 (B.7l, G.69).
-IV. 88)
l)ESOBIPTION OF 'tHl!] CLASS DANOE
51
73. Ardhal'ecita-hand with SiicImukha
1
gesture to move
freely, feet to move alternately up and down, side in Sannata (i.e.
Nata) pose.
7 4. legs on each other in the form of
a Svastika, the two Recita hands brought together in a similar
manner on the breast which is bent (nihtncila).
75. Un matta-feet to be Aucita and hand;.; to be Recita.
76. Svastika-hands and feet l'eRpectively held to:.oether
in the Svastika form .
.
77. arllls after being thrown lip and
down coming tigether aK a Svastika, two feet also to rOlllp together
IU! a SvaAtika with Apakranta and ArdhaRuci Carls.
78. DikRvastika-turning sidewaYR and towards the front
in of a single (lit. ('onnertl'd) movement. and forming
Hvastika with handR and feet.
79. Alata-after making Alata Cart
1
down hand
from [tl1<> level of] the shoulderS, then making Urdlmtjanu Ciirl".
8U. to be separated, after tlw Svastika
Karar;ta, of the two one to \)1' placed at the nayel ami the
other at tIll' hip, and the ,;ides in the Udvahita post'.
81. left hand on tim heart, the dght
hand Recita and thrown up and Rideways, and then the two hands
to be Redta with Apaviddha (Xviddhaka) gesturei'.
82. aud feet Iir8t thl'own up,
then again thrown down.
83. A rdhasvastika-the t IYO fP{'t to tIlfll{( th!' t\]('
78 (B.73, G.70). I apat,ildlltl Ag. (1. p. l05) IIWllll3 til(' siiei-
",,,.ua iesture.
74 (D.74, 0.71). 76 (B-7:', U.72). 76 (B.76, u.n).
77 (B.77, G.H). 78 (8.78, G.n).
79 (R.79, U.76). I II vYIlI!lsllyd=al!/S(id
Itt4,.,at (Ag). ;\ kra1lt1l=dlfl.
SO (D.su, ll-.7 n. I l4iJfl(Vzita sid(,- is Howht'!'l' plsl' m"utiuw'd III
'tlle Nti.
81 (lJ.!!l, U. 78). SlIlB.SlI, (1.711) ti3 IB.S3, U.tiu).
THE NArtASAStBA
r I\'. 88.
right hand making the Karihasta gesture, and the left one lying on
the breast.
84. Aiicita-in the ArdhasvaAtika the Karihasta to be
alternately in Vyavartit't (VYllvrtta) lind Parivartita movement,
and then bent upon the tip of the nose.
85. Bllujllngatl'u"ita-tlw l\uiirila feet to he thrown up, tb!'
thighs to hllYe ,10 ob/lql/e XIVllrill/lIl (Xivr/t/l)1 lJIoremeot, the h/j)
OJld the tbigb 1I190 to OlIVe the 8/lIlJe moveJllent. '
86. Ul'dhvaji'inn-a Klllicita foot to be thrown up, find tlw
knee to be belt/lip (lit. Rhete/led) 011 II leIel witb the breast, and
the two bands to be in harmony witI. the dance.
87. Niklliicita-feet to be lJIoved in the Vrscika K.,
two hands to be hent at the the right hand to be held at the
tip of the nose
88. Matalli-making a whirling movement while throwing
back the two fpet (left and right), anti moving in the
and A paviddha lJIovement.
89. Anlhamatalli-feet to be drawn away from the position
in the Skhalita 1\., left hand Recita, ami afterwardR to be put on
the hip.
90. Recitanikllt(ita-the right hand to be Recita, lcft fool
UdghaHita ( -= Niku\\ita), and the left hund with Doli gesture.
84 (B.84, G. 8Ll.
E5 (,13.84, G.82). ,1 Fol' nivartaye!, H. G. r('OO 'lJwarlayet, and for
B. awl G. vivart(ic. 86 (B.86, 0.83).
87 G.8l). I For v!'sclla B.O. read car(1)tJ.
Rut Nt:>. does not know any caray!a or enr; nf this namp, while a K.
of this name VrclU''', mit! Olll' karalJa is wry ofv'n used to define anotll<il'
karal.w; Rec fur 84 abovI', lOa allli 107 bdow. In all those case;
Bome mss. read karal.!a instead of
88 (B.8S, G .85).
89 (R89, G.R6). I skkaillapasdiin parian flm drawn away from
the position of thl, skhallla K. '
90.(B.vu, 0.87). '.\c(\ol'diug 1,0 Ag. 14dtllatlila-",.lIita for
which Sl,'l! ab<)vc 70 U'ltt,. .
f
Dl!ISOlUP'fION OF THE OLASS
91. PAdApaviddliaka-the Kat;akamukha hands with their
back against the navel, and feet to be in 8iiCl and [then] the
Apakriinta Cirl
92. Valita-hands to be Apaviddha, feet to be in BiiCl Carl
Trika turned round [in the Bhramarl Carl].
93. Ghiir.pita-the left hand in Valita and moved round,
the right hand with Volli gesture, and the two feet to be drown
1111'8" from 88M otheJ' from the SYa8tiKII position.
94. Lalim-the left 111lnd witb Karihasta gesture, the
light one to he again turned aside (Apavartita), two feet to be
moved up and lJ.own.
95. Urdhvajanu Cari, Lata hands
to be. placed on the knee.
96. Bhujailgatrustal'ecita -the feet to be in Bhujangatrasta
carl, the two hands to be Recita. and moved to the left side.
\)'1. Niipura-the Trika to be gl'areful\y turned round, [in
the Bhramart Cart] the two hands to show respectively Lata. and
Recita gestures, and the NiipUl'apadu Cart with the feet.
98. and feet to be Recita, 80 the hip
and the neck, and the entire body in Vaisakha Sthana (posture).
90. feet in Askipta Cali, hands
in movement, anti 'l'rika 1 turned round [in the
Bhramari CIrl].
100. Catura-the left h!wd with Aiicita, (i.f!.. Alapallava)1
gesture, the right hand is with Ciltura gesture, the right feet in
Kut\ita (i.e. UdghaWtu) pose.
91 (B.91. G.88).
98 (B,93, G .90).
'" (B.H, G .91).
96 (B.96, G .112).
98 (B.98, G.96).
92 (B.P2, G.89).
I '-'Ul' _IUa. BG t'ead 1'(lrllla.
I t:iee Nij. IX. 191.
96 (B.D6, G .9S). 97 (B.97, G .94).
99 (B.DD, G.96). 1 'l'rika u!lf'd herl' ,mil many tiJllI'S afterwards
ml'./UlIl lriliull.i (lIIlerllm) till' iow('st I)()int ill t.hl' vertibral ('olimm
where the two other bones of till' Illb'tl 1l1l'et.
100 (B.lOO, G.97). I This ill Aa!:'" intel'prt'uLtiou of Aiieita.
Thil iI AI'. iDterpretation.
THE NATYASASTRA [ lV.101
101. Bhujailgiiicita-the feet in BhujaiJgatrisita CArl, the
right hand Recita, the left hand with Lata gesture.
to;!. and feet to be freely thrown
about on all like a staff (da'!4t"), and the same hands and
feet to be Recita afterwards.
10:3. Vr.\cikakutlita-assuming the VrRcika K. and the
hands with NikuWtl1 movement.
1
104. Katibluiinta-the Sucl Carl, the right hand with the
Apaviddha (Aviddha) gesture and the 4ip to be round.
105. Latavr.\cika-a foot to be Aftcita and turned back-
wards, and the left hand to be with Lata gesture its palm and
fingers bent and turned lIpwardil.
106. Chiulla-the Alapadma hand to be held on the hip
which in Chinna pose, the body in the Sthiina (posture).
107. the K., the two
hands in the form of a gradually to be Recita and
to show Viprakirl}a gesture.
lOS. VrScika-the two hands bent and held over the
shoulders, and a leg bent and tumed the back 1.
109. Vyatp.sita-assuming AlI4ha Sthiina, the two' handl!
to be Recita and held on the breast and afterwarJs moved up and
down with Viprakir9U ge8tUl'C.
110. hands to be held on one
side, and the feet to be
111 Lalatatilaka-after assuming the V rRcika. K. a mark
(tilaka,) in forehead to be made with a great toe.
112. Kl'iilltaka--belldillg It Kuiicita Itg behind the back,
the Atikl'anta Cali, thell till' two imlld" to Iw II1I'uWII down.
101 (B.lOl, lJ..98).
loa O.lIJO).
IIJIi (R11J1i, tr .102).
108 (B.I08, a.IUo).
!U9 (B.109, G.l06).
lU (Bolll, a.10Il).
loB (B.I02, a.99).
I !:i"p "boVl' 70 DOW. 104 (RIO'" G.101).
106 (.R.106, 0-.11J3). 107 (RW?, G.104).
I A .
". IUtorl'rl'ta tho (lIll4l!lIK. ditFp.Ip.lltly.
110 (H.1l0, U.I07). I "boYl' 70 notA!.
112 (B.1l2, G.1OII).
.IV.1I14]
DESORIPTION OF THE OLASR DANOE
113. Kuiicita-a leg to he first Aiicita anfl left hand to hI'
held on the left side with its palm upwards.
114. inner Apaviddha (AM-ita)! Ciiri
with the body bent and held down between the two arms hanging
Rtraight.
115. feet drawn away from the Svastika
position and used in Apaviddha (AfJ4ita) Cari and handR in
U gestm(.
tW. and feet to he thrown about swiftly
in this Karal}a',
117. T.Javilfisita-foot with the toe and the sole turned
Ilpwards and held high on the side, and the palm of hands bent.
118. Argala-feet stl'etched hackwfll'dR and kept two Talas
anrl a half apart, and hands moved in C'onformity with
119. and fert to he thrown hack wards or
in the flame way.
120. Avarta-the Kllncita feet pui forward and the two
hands moved Rwiftly to hefit the dance.
121. Dolapada-the Klliicita fwt thrown np. and two hands
from side to Ride in a mannC'I' befitting the dance.
122. Nivrtta-hands and feet tirst thrown out, and the
'I'rika to he turned l'Olmd and the two to be Redta.
123. Vinivrtta-observing the Cal'i, the Trika to be
turned round and hands to he Redta.
124. tlw Parsvakl-anta Carl,
throwing Ollt hands thp fl'Ol1t, and moving them III a
manllt'l' hefitting tllP clan<.'\'.
----------------_._ .. _ .... _._._-- _._.
113 (R.113. G.110).
114 (R.ll4, 0..11 1).
whidl Ree NH. XI. 22.
116 (B. 116, G .113).
119 (B.1l9, 0.116).
I A('(torditllt to Ag. opav/dalta = tufr/l'fn (ii.ri for
115 (RII5, 0.112).
117 (R.1l7, G.114). 118 (RllB, G.U5).
120 (Rl20, G.117).
121 (B,121, G.llS).
122 ro.122, G.119). I B. read:l
(R.123, 0.120). 124 (B. 124, ().121).
116
THE NATYABASTRA
[IV. UII.
121). fo!)t bent towar(lH the back, the \n't'aRt
raised high, and the hand held at the centre of the forehead (funkll ).1
126. Vidyndbhranta1-foot turned backwards and the
two hands in the gesture very dose to
the head.
127. Atikranta-observing the Atihanta Cal'i, thp two
hands stretehpd forward in a manner befitting the dance.
Vivartitaka-hands and feet to be thrown out, the
Trika to he tumed round and to be Reeita
129. left hand bent and brought IIP!H' the
Cleft] ear, and the right hand ill Lata and til(' fept
Dolapada Carl.
WOo TalasaIpRphotita I-a foot to be lifted lip and
pllt forward, the two hand" showing Tulasal!lRphotita2 geRtlll'l'.
131. two feet to be back-
wilrds and the two hands ---right and left-to be with
Lata and Recita gestures, and the breast raised lip.
t:l2. feet to be in Suel position, the Hide to
be U nnata, one ham) to be on the breast ancl the other to heml and
touch the cheek.
lin Parivrtta-the hands raised in gesture,
the fret in Suri the Trika tUl'IIed round (in the
Bhramari Ciiri).
13!. foot in Salna position and tlU'
opposite thigh raised, and one hand on the breast.
185. Grrlht'avalinaka--oml foot Htretchecl backward!'! and
one knee Rlightly hent and the two firms outiltretched.
125 (R125, 0.122). I Ag. interprets dift'rrcntly
126 (Bi126, 0.123). lAg. intrrprote diil'erently.
2 Nowhm in NR. 127 (B.127, G.l24).
128 (R128, 0.12.'\). 129 (B.129, G.126).
!80 (B.130, 0.127). lAg. intorpret<! the P8B8agl', dift'erently.
Defineu nowhere in NS.
I
t
31 (H.m, 0.128). 132 (13.182, 0.129). 133 (B.ISS, G.1S0).
34 (B.134, 0.131). 135 (B.135, G.132).
.IV. 1'5 ) DESORIPTION OF THE CLASS DANCE
57
136. Sannata-after jumping, the two feet are to he put
forward in Svastika form and the two hands to show Sannata
1
(i.e. Dolil) gesture:
137. Siici-a KuilCita foot to be raised and put forward on
the ground, and the two hands to be in harmony with the per-
forman<le. .
138. Ardhasiicl--the Alapadma hand is held on the head,
the right foot is in Siiel (karaJ}a) position.
139. SiiNviddha-one foot of Siiei KaraJ}a being put on
the heel of anoth;1' foot, the two handR to be put on
the waist and the breast.
140. Apakranta-after making the Val ita thigh, Apakrauta
Carl is to be performed, the two handA to be moved in harmony
with the performance.
141. Mayuralalita-after aSl'lllming the K. two
hands to be Recitn, and the Trika to be turned l'Ound [in the
Bhramari Cari].
142. Sal'pita-the t}Vo feet to be moved from the Aficita
position and the head with Parivahita gesture, and the two hands
are Recita.
143. the Kiipura Cill'i, Carl
should be observed and the iividdha (vaktra) hand should be shown
quickly. '
144. HariJ}apluta-aftel' the Atikrilnta Cari one
jumps and stoPf:, Rl;d then one of the f:hanks nre bent and
thrown up.'
145. Pl'eilkholitaka-afte1' obRel'ving the Dolapada Cari one
is to jump and let the Tl'ika turn round (in the BhmmRri Carl and
Come at rest.
186 (B.186, G.188). I Aeeordiug to Ag. SnnnatacDolahasta.
137 (B.137, G.134). 138 (B.l38, G.135).
140 (B,140, G.187). 141 (B.141, G.138).
142 (B.142, G.139). 143 (B.143, G.140). 144 (B.144, G.W). .
. ,
145 (B.l45, G.142). I Defined nowhere in Nt:l,
8
68 THE NATYASASTRA [IV. 146
146. Nitamba-arms to be first thrown up !lnd hands to have
their fingers pointing upwards and the Baddha Carl to be observed.
14 7. Skhalita - after observing Doliipiida Carl, hands with
Recita gesture to be turned round in harmony with
148. Krihasta-the left hand is to be placed on the
breast, the palm of the other hand to be made the
feet to be Aiicita.
14!l. Pras!lrpitaka--:one hand to be Recita and the other
with Lata gesture, and feet to be Sa!psarpitatala (= T!llaRailCara).
liiO. obRerving the Alata CarlonI'
is to more swiftly and handR to follow the feet.
1 fi 1. foot to be stretched backwards !lnd
hnnds to be hent and turned round in the front and again to he bent.
152. Udvrtta-hands, feet and the to be move!]
violently (lit. thrown up) and then Udvrtta Cari to be ObReJ.'ved.
153. Upasrtaka-observing Akf}ipta Cal'l and handA in
harmony with this Carl.
] fi4. Talasarpghattita-ohserve the Dolapiida 0.11'1 two
palms will clash with each other and the left hand to he
Recita.
155. .Tanita-onc hand to be on the hrensti, the oth<'r
hanging loosely and observing Talagrasal')lsthita (.Tanita) Carl.
lfiG. Avahitthaka-after observing .Tanita K. raising handR
with fingrrR ont and thpn letting tl}(,lll fall Rlowly.
iii7. twn handK will bn on the bl'P:lst which
should he Nirhhllgna amI the dalJ('cl' Hhould aSSU1l1<'
Sthana (posture).
146iB.l46, G.14:l). 147 (B.147, G.IH). 148 (R.148, G.145).
149 (R149, G.14fi). 150 (R.150, G.147). 151 (B.151, 0.148).
152 (B.152, G.149). 153 (B.l53, G.150). 154 (B.l54,
155 (R155, G.l52). I According to Ag. TalagrmmlllSthita padll
means Janita cari.
..
156 (B.156, G.l(3).
1.57 (B.IIi7, G.l54).
lV. Hi7]
DESORIP'l'ION OF rrHE CLASS DANOE 59
158. with Talasaiicara 1 feet ,md
coming to the ground with the body bent and turned.
159. Uriidvrtta-a hand made :Avrtta (Vyavartita) and then
bent and placed on the thigh, shanks made aiicitaand Udvrttn.
160. Madaskhalitaka-two hands hanging down, the head
assuming the Parivahita gesture, the right and the left feet to be
turned round ih A viddha Cari.
o 161. foot stretched forward and bent 8S if
on the point of walking, and hands to be Recita.
162. Sambhranta-a hand with Avartita (Vyavartita) move-
ment placed on j;he thigh which is made A viddha.
1
163. hand to be Apaviddha,l SiieI Cari, foot
to be made Nikuttita and the left hand on the breast.
164. Udghatta-feet to in movements and
hands in movement:.! are to be placed on two sides.
165. observing the Alata Cari two
hands to be made Recita, and afterwards these should to be made
Kuiiclta and Aucita.
166. Lolita-hands on the two sides to be Reicta and
Aiicita, and the head Lolita. and Vartita.
167. draw back feet from Dvastika
position and the head to be Parivahita and hand to be Recita.
------------ -- ---- --- --- --- ----- ------------
158 (B.l58. G.155). Same as agratalasailcara, see X. 46.
159 (B.159, G.156).
160 (B.160, G.157). 1 Dl'tilll'd llOWitl'l'C ill
161 (B.161, G.158).
169 (B.169, G.159). I lIowhen' in
163 (B.1&3, G.160). I Detinoo lIowlwl'(' ill
Ie. (B.164, G.16]). I DetillPd nowlu'!'!' in N8.
S Defined nowhere ill
165 (B.165, G.}62). I IIllwhol't, ill N8.
166 (B.t66, G.163).
167 (B.l67, G.164). I Dt-tilled Ilowhere ill Nt;.
60
THE NATYASASTRA;

168. with body at rest,
with a Talasaiicara
1
foot and making the breast U dvahita. 2
] 69. Gangavatara\la-foot with the toes and the sole turned
upwards, hands showing Tripataka with the fingers pointing down-
wards and the head being Sannata.
1
The Ailgahiiras
170. I have spoken of one hundred and eight Kara\las. I
shall now describe the different Angaharas.
171-173. Sthirahasta-stretehing two arms and throwing
them up, taking up Sumapada Sthana, the left' hand stretched
upwards from the level of the shoulder, taking up afterwards the
PratyaMha Sthiina, then observing successively the NikuWta,
Uriidvrtta, Sl'ustika, Nitamba, Karihasta and
Kara\las.
174-176. Paryastaka-observing Apa-
viddhu, and Vartita Karal)as, then takiug up Sthana,
then assuming NikuHaka, U rudvrtta,
Nitamba, Karihasta, Katicchinna, Karal,las.
176-178. Siiclviddh'l-after showing Alapallava (Alapadma)
and Suel (mukha) gestures assuming one after another
Avartita, Niku!Stka, Ul'Udvrtta, Aksipta, UrnomatJ4ala, Karihasta,
and Katicchinna Karal,lfls.
178-180. Apaviddha-Apaviddha and :Siic(viddha Karal}RS,
then observing K. with hands and turnina the Trika,
------ --- --._._-.
iS8 (B.l68, G.165). 1 See above 1&8 note. I B. reads udr"atiJ .
16J (B.l69, G.166). 1 Defined nowhere in NH.
Defined nowhere in NH.
81<'01' B.l70-IN and 0.167-170 sr.c 56-61 before.
170 (B.174, G.17[). I Delincd nowhere in NS.
17[-173 (B.17;'177, 0.172]74). I Th'linition of the ajlplliJras
have been translated like the above H(>C. 62 noU>. are
mostly of the kara(las.
174-176 (111711180a, G.I75-176). 10. Omibll75b.
176-178 (B.ISUb.182a, 0.177179a).
i/8-11l0 (R.1112uI 84a, G .179b-180) .
.
]
DESORIPTiON OF THE CLASS DANCE 61
showing with hands gestures and assumiug Ka"
chinna Kara\la.
180-] 82. successively Nupura, Vik-
Alataka, Nitamba, Karihasta and
KaraJ;las.
182-184. and Apaviddha
(A viddha) hands and the two feet to be and again
changing them to U gesture and then assuming !succes-
Nitamba, Karihasta and KaraJ;las.
184-18.7. by turns made feet
.ale successively made Nikuttita and bent, then assuming Ul'udvftta
K. hands to be made Caturasra
1
and feet Niku!taka, assuming
then Bhujailgatr-Jsita K. hands to be made assuming
Chinna and Bhramaraka Kam'.las while Trika is to be moved,
then Karihasta and Karal}as to be assumed.
187-190. Aprajita-assuming Dal}<Japada K., hands having

1
movement, then assuming VyaIp.sita K. the
left hand moving along with the left foot, then pands being Catu-
rasra and feet having movement, assuming Bhujailgatra-
sita K. and handH having movement, then assuming
successively the two Nikuttakas (i. e. nikutta and ardhanikuttaka),
Karihasta, and Katicchinna Karal}as.
190-192. Kuttita and Bhu-
jailga Karal).as, Recita hand to show the Pataka gesture,
then to be assumed successively Lata,
Kati,ccheda l{aralJas.
192-195. Mattakri4a-assuming NUpara K.' by turning
Tirka, then assuming Bhujailgatrasita K. aSRuming next Re<'ita K.
180-182 (B.I84b-I86a, G.181-ltli).
182-184 (B.186b-188a, G.18!l-184). 1 Iu til!' detinition of ahl'akQ,a
this term has been' with n/:lta 01' dance.
184-187 (B.188b-191a, G.18S-I87). 1 Defined nowhl'l'o in
187-190 (B.191b-194a, G.188-Hl9). 1 Dl'fined nOWhl'l'C iu NS.
190-192 (B.l94b-l96a, G.190-191).
19H96 (B.196b-199a. G.l9i-l94.).
'rHE NATYASASTBA [ tv. 187-
with the rigllt foot, and then assuming successively
Chinna, Bahyabhramaraka, Nitamba, Karihasta,
Katiccheda Karnas.
. .
196-197. Svastikal'ecita1-hands and feet are Recita, then
assume Vl'scika K. and again repeat this movement of the hand
and feet, and then NikuHaka K. and the Lati gesture alternately
with the right and the left hand, and then Katieehinna K. -
197 -200. Parsvasvastika-assuming (Dik-) Svastika fmm
one side and tlll'n the Ardhanikl1tlaka, all these to be repeated
on the side, then the Avrtta {vyaavartita} hand to be .placed on the
thigh, then to ilssume successively Urudvrtta, Nitamba,
Karihasta and Ka!icehinna Kal'al}as.
200-202. VrRcikiipas!ta-aSRuming Vrscika 1(. holding the
Lam band to he held on the nose, after moving the sallie hand in
movement, then assuming successively Nitamba,
Kal'ihasta and
202-201 Huccessively Nfipllrapada
Ka!iechinna, Siiclviddhn, Nitamba, Kal'ihasta, Uro-
mal}dala and Katicchinna Kal'al}as.
204-206. Mattaskhalitaka-asuming Matalli 1(. and moving
round the right hand and bending and placing it near the (right)
cheek, then assuming (successively) Apaviddha. Talas[LlJ1sphotita,
Karihasta and Katicchinna Karal,las.
206-208. Madavilasita-moving with Dola hands and
Svastikapasrta feet, making hands Aiicita as well as VaIita and
then assuming successively Nikuttaka, rudvrtta,
and Karal,l<'ls .
. _-------------- - ------
195-197 (R,199b-201a, G.195-196). I 111 the of this K.
Ag. hili! \)e(>1J followed.
197-200 (R,tOlb-204a, G,197-1911). I 10 th" translation of this K. 1
followpd Ag.
200-202 (B.204b-206a, G.200-2(1).
202-204 (B.206b-208a, G.202-2(3).
204-206 (B.20.8b-210a, G.204-205 J.
'"08-208 (B.210b-212a, G .206-207).
-IV. 228
DESORIPTION OF THE OLASS DANCE fi3
208-210. flRfluming Sthanaka
and making the handR Recita and the feet UdghaHita aSRuming
fluccessively Matalli. Ul'omal,l<,lala and Katiccheda

210-212. Paricchinna-after the Samapada Sthan
1
nSRum
ing Paricchinna (i.e. Chinna) K then with A viddha foot aR:mming
Bahya Bhramv ,ka
1
and with the left foot Sucl K. and
observi (successively) Atikranta, Bhlljatlgatl'asita, Kal'ihasta
and Katicc:. lIna Kamnas.
. . .
212-216. Parivrttakarecita-holding on thc head hands in
100Re Svastika klrm and them after bending the hody the left hand
to be made Reeita, and raising the body, again thl' same hand
to he made Reeita, after this handR to show Lntii. gcsture and
assuming 8ucceRsively V"fcika, Recitn, Knl'ihnsta BhujailgatrRsitn,
Karnl).as then have Svastika foot j all this to be
repeated after turning hack ('vmplete\y, then (lSfmme (successively)
Karihasta.
216-21!>. VaiRiikharerita-along with hody the t,,o hands
to he made Recita rmd all this is to be repeated with thl' body
hent. then obRerve Nupul'piida Ciil'i rmd Bhlljal,lgaiJ'iisita, Recita,
Mu!].4ulasvastika, afterwardR bending 8hol1111rr rrur]v"Ua,
KarihaRta' :md Karnl)aR are to be
assumed.
21 9-221. .Tanita K. and putting
ward a foot, then aSRuming Alfitnka K. and tll\'l1ing tIll' Trika, [in
tIl(' Bhl'llIll1'i Ciirl] afterwards the lI'ft hand hend and to on tho
choek, thon assllming Katicchinna Karal)!l.
208-210 m.212b-214a, 0.208-209).
210-212 (B.214h-216a, n .. 10-211). I Ac("ording to Ag (lp.152)
oii/zya Mramaraka SIWIlIS to llIean a cari of that nall1('. Hut it "I.'<'IDS that
hy this Mramaraka. the mOVI'IDl'nt known fig Mramari been n,r;mt.
800 M. Ohosh AD. 289jf. also A. K. MG. p.74. "
212-2] 6 (B.216b-220a, 0.212-215).
216-219 (B.220b-223a, 0.216-218).
(R22Sb-22l'>a, 0
THE NATYABABTBA [IV. Ill.
221-223. Aliitaka-assuming Svastika, vya!p.Rita [in it
hands being Recita], Alatakll, Ul'dhvajanu, Nikuiicila! Ardhaslicl,
Udvrtta, Kl'ihllsta lind Katicchinna Kara\lltS one
after another.
223-225. PiirSvaccheda--holding Niku\tita hands on the
breast assuming Urdhvajiinu, Svastika 1\.<'\rll\laS, 'l'rika
to be turned round, then Nitamba, Karihasta a,nd
Ka?cchinna, Karal}as to be assumed.
Vidyudbhriintll-assuming 8ucI K. \IRing the left
foot firRt, and Vidyubhriinta K. using the right . foot first, then
Siiel K. with the right foot moved first, and VidyuJbhriintn with
tbe left foot moved first, afterwards Chinnll K., and
turning round the Trika, then Lab1 and KaFcchinna Kllral}a8.
:l27-229. Udvrttaka-'Ilssuming l'iUpufllpiida. Ciirl hanging
the right and the left hands by the side, and with them assuming
K., with these hands aRsuming ragainJ BUel K., and
turning round the Trika [in Bhramari CiiriJ and then assuming
Lata and Katicchinna Karal}as.
:!29-231. AlIQha-lIssuming VYIIIpsita K., striking the
hands on the shoulder, and then Niipura K., with the left foot
[moving firstJ, afterwards Aliita and with
the right foot [moving firstJ and then making
gestures with hands and assuming Karihasta and Katicchinna
Karal}3S.
231-233. Rceita-showing Redta hand, benqing it on one
side and making the [sam'}J Recita movement and then repeating
this movement after bending the entire body, assuming RUCCCS.
sively JSUpurapiida, Bhujabgatrasita, Recita, Uromandala and Kati-
echinna .
221-223 (B.22ob-227a, G.221-222).
223-225 (B.227b-229a, G.223-224).
225-127 (B.229b-2Sla, G .225-226).
227-229 (B.2S1b-233a, G.227-228).
22.9-231 (B.233b-23Sa, G.229-230).
231-238 (B.235b-237, 0.231-282) ...
IV. 947 J DESCRIPTION OF THE OLASS DANCE 65
'- / ,
234-235. Acyhurita-assuming Niipura K. and turning the
Trika round, assuming Vympsita K. and again turning round the
Trika, then assumhlg successh'ely AliUaka
1
K. from the left
[sideJ and Siiel, Karihasta and Kllticchinna
, 236-238. feet to be in Recita and
so the Svastika hands, then with the same (i.e: Recita) movement
they should,be separated; and with the Rame Rocita movement they
areoto be thrown up, then assuming successively Udvrtta,
Uroma'.l4ala, Nitamba, Karihasta and
239-241: Sambhranta- assuming K. throwing out
the left hand with'Siiel gesture, the 'right hand placed on the breast,

Tl'ika to be turned [in the Bhramarl Cart] then assuming succes-
sively Niipura, Ardhasvastika, Nitamba, Karihasta,
and Katicchinna Karal}af"
242243. Apahanta Cali and
VyarpRita K. with the hands moving in
manner, th('o assuming successively Ardhasiici, Katie-
chinna, Udvrtta Karihasta and [again] Katicchinna
Kara\las.
244-245. ArohanikuH.aka -observing swiftly Niipurapadika
Carl, hands to move in harmony with the feet and Trika to turn
round [in the Bhramari Ciiri1 then hands and feet to make
NiJcuttita movement, afterwards uRsuming Karihasta,
Katicchinna and Ardhanikuttaka Karal',las.
The Rooakas
246. I have Rpoken of tlwse thirty two Angahiiras; I 8hall
now describe the four Recakas
1
; pleaRe list('n about them:
247. Among tho till' is that of tho foot (/,ada),
._ ... - _. __ . .- _. --- --- .. -_._--------
234-235 (B,23S-239, 0,233234',
pMam ca!alakam in n.
. .
236-238 (B.240242, 0.235237),
242-243 (B.246-247, 0.241-2'2).
I Hl'lId flUmal!1 cjjliil akam for
239241 (B.243-245, 0.238210).
2-'4-345 (fi,Z48-249, 0.213-244).
246 (B.250, 0.2(5). 1 For the r('lation h<'twe<>n RI'Cnkas alld the
Atiia}jaras and the lise of the S('('
247 G .,1146).
66 THE NATYASASTRA [IV. 948
the second is that of the waist is 'that of the hand
and the fourth is that of the neck
248. Tbe term Recita [relaiing to a limb] means moving
it round separately (i.e. not in any Kal'l1l].a or Ciiri) or its drawing
up 01' itR movement of any kind separately.
2-19. Pada-recaka-Going fr01l1 side to side with wavering
feet or with differently moving feet, is c.alled theil' Recaka.
250. Kati-recaka-Raising up the Trika and the turning
of till' waist as well aR its drawing back, is called the Knti-recaka.
251. up, throwing out, putting
forward, tuming munn and drawing haek of the 11:1'1l1 iH called its
Recaka.
Griva-reeaka-Raising lip, lowering and urnding the
neek sideways, and other Illovrlllents of it are called its Recaka.
253-254. Seeing (Siva) dance with Rccakas and
Angaharas, Parvati too performed a Gentle Dance (lit. danced with
delicate forms) \ nnd this dance waR followed by the playing of
musical instruments like Mrdat1ga,1 Bhcri, Patalw, Bhrnl1bhlll!,
I)il].(Jima, Gomukha, [>al].ava and 1 ):l\'(llIra.
2!)5. [Besides on this occaRionJ l\faheRvara dancrd in
til(> evening after the hreak-up (lit. destruction) of Ril<'ri-
with differfllt Angaharas and in conformit.y with propel' time
beat (tala) and tempo (lll!l(f).
248 m.252, G.247).
(1t254, G.249).
252 (R.256, G.25l).
253254 (13.257258, G.252253).
Ag.I. p. 20:l.
249 (&253, G.248).
251 (R.255. G.250).
2 mrdailga, hlter;, pa/aha. hka11JNla, dardura nlll\ pal.lam
are drums of differrnt ;;izrs IlIld and' made of different matl'rilllH
such as clay, wood etc. Of thl'8<) hkeri, and gomukka (possibly
11 horn) have beell mrntioll(,(\ in the Bhagllvadgitii, ch. 1.13.
, B. rpad jka'i!jhyii (pa. bambhii).
255 (B,259, G.254). 1 The story of the bl'<'ak-up of slIt'rificc
in two dill'erent forms in the Bbiigavata !llld the V lU'iiha p,
S(>c JK. nn!lI'T
.tv. 263 ] OF THJ!j CLASS DANCE 61
256. Gal}fls like Nandin and Bhadramukha then
[in COlirse of this performance of Siva], Ph],{Jlbandha
1
[of different
dance fOl'mR] gave names to them [and imitated these] well.
257263, Names of Pi!}(}I:; specia.lly attached to different
gods and [goddesses are as follows] ; Siva- N andin -
CaI].4ika (Kall)-Sizphavahini, Svayambhu-
(Brahrnan)-Padma Hakra (fndm)-Airavati, Manmatha
Kumara (Kartikeya)-SikhI (peacock),
(ow!). Jahl)avi (Gal',lgii)-Dhiit'ii, Yam a-Piisa , Varnf,lu-Nadl,
Knvera (Dhan'ada)- Bala {I'iima)-Hala (plough), Bhoginfl
(serpentH)-Sarpa, (the 100'ds of 1_ Dak
vimardini, The [ PiT,lJI] of Siva, the killer of Allllhaka
ll
, will be
Raudri in the form of his trident. The Ph}JJiS of the remaining
gods Hnd goddesses will be I.;jmilarly. named after (lit. marked with)
their own banners3.
26326-1-. After inventing the Recakas, Aitgaharas and
Pil)Jis, Kiva communicated them to the sage Tmy.lu
1
who in
his tUI'll made out of th( III dance together with songs and
256 (B.260, G.255). 1 Pt;p!ioandha-Ag. (I. 170171) explains the
wordus follows:-fcr'IiJT'I'" fw"tfu I ...... fcrl!j'tljl\f;
1'1,lf,,: I ..... .. iitif f.tlf I ...... It'l
fcr'lit'll\{f: 1I1I1S.;jfq fcrllil'l'" If!!; ij;lI'illIf,qijll'(:. l<rom these quotations it is
apparent that Ag. had no definite idea about the PilJrfibandha or Piryfi.
But the word occurs in the following couplet of a latex work on
dramaturgy (Bh P. p.264) :
li\'fll""lIri\ 'II ifTfl{lIfl; 1 ""
the above the meaning of the word seems to be a term
relating to groupdance, For more about st'e 257262,
284-285, below.
257262 (B.261-266a, G.256 261). 1 means relating to
or lords of hosts; soo above :'{S. III.' 31,58 and III. 18 note 7.
a The story of 8iva's killing the Asura Alldhllka . .in Ram,
HraivaJpa and sl'veral Purauas. Sl'e JK, suo voce. ",
S B. omits 263u altogetiler.
263-264 (B.266b-268a, G.262.263). I 'fllndu's Ilame doc;; not seem
to oeeur in any extant PlIriil,lII, It is jl;At that the name of
this muni has beeu derived from IimdaM a llollArmll word wlril"h
originally may have meant dauCtl. . ,
88 'rHE NA'1'YASASTRA
t IV. 265.
instrumenttil music; and hence this dance known as
(i.e. of TllJ}.{JU'S creation).
The sages
265. Use of Gestures et<'. (ahhina!Ju) having been devised
by the eXpel't8, for drawing out the sense [of songs and
speeches in a play] what led to the making of dance (urI/a),
and what is its nature?
266. Why is dance made in connexion with the AHarita
songs? It does neithel' relate to its meaning nor rcflect itK
spirit.
2U7. [In answer to these questionsj it is" said that tlw
dance is occasioned by no specific need; it has corne into
use simply because it creates beauty.
268. As dance is naturally loved by almost all people, it
eulogised as being auspicious.
269. It is eulogised alMo as being the source of amuscment
on oc'Cassions of marriage, child birth, l'eception of a Roninlaw,
general festivity and attainment of prosperity.
270. Hence the host of Bhiitas have ever praised
l
the
which are used in songs and in regulating the
of dances.
27t. giva (lit. god) too was pleased to say to Tal}{Ju,
"Perform this dance in connexion with the singing of songs.
(B 268b269a, G.264). 1 B. reads tasman for kasma1t
in 265b.
266 (B.269b-270a, G.265). 267 (B.270b271a, G.266).
268 (B.271b-272a, G.267). 269 (B.272b273a, G.268).
270 (B.273b274a, G.269). 1 For ItG. read pfQ'IJartita/t.
I Ag. (I. p.l82) defines this term 118 follows
un, I III ""fqf'll"Il. I

271 (B.274b275a. G.270): I ]-'01' lal,II/14/f This
variant has been rceol'lled by Ag. (1.181) 1I1It! it to Le tIll' COl'l'('C t
reading. B.G. read lal.lI!t4sliuJlJavaliiirt1aka",.
.rv. 218 J DESCRIPTiON OF 'tHE CLASS DANCE
272, The Class Dance (to/IJ4aIXr.)! is mostly to accompany
the adoration of godi:! but its gentlel' fOl'm
relates to the Erotic Sentiment, .
The Vardhamiinaka
27i3. NolV while coming to diHcuss the Vurdhamanaka I
de:<l'riue the rules l'(:'garding the pel'formance of the ClasH
Danl'e (taryJ,nm) as it waH pOl'fol'lned by Tm:J.(,1u.
,.
274. As in its performance Kala and tempo (la!la) aLtain
f1'ddhi (incl'ell}ent) due to the increment of Akl;'arMI it is called
the Vardhamanaka.
The Asiirita
275. After Hetting down the musical instruments (!.-alapa)
the producerl'l [of plays) shoul!l get the Asal'ita performed.
276. Then after the U poh,ma ha.; been performed to
the accompaniment of dmms
1
and stringed instruments, a female
dancer should enter [the stage] with the playing of drums
[only],
277. This playing of the [instmmental] music should be
in pure KmllJ}.a
1
and Jiiti
2
And then a Ciiri should be performed
with !Steps in accompaniment of music.
2i8. On entering the IJtage with flowers in her hands the
female dancer Hhould be in the Vai:<akha Sthana (posture) and per-
form all the foul' RecakaH (i.e. those of feet, hand, waist and neck).
272 (B.275b-276a, G.271). 1 The has been translated by
some as 'wild dance' (Haw;, DWiilla, p.5), but the adjective seems to
be misleading. It'rom the present chapter of the N8, it appears that
the word meant 'class dance' which has been codified. It is to be distin
guislu'<l from t\:C' folk d:lI1cc' mC'ntioned in latt'r works. was
hO exclusively malo danct'. the of the learalJllS taken
out of old "as rel/efs aud printed in the Baroda ed. of tIlt! N8. show
that these WPl'l' porfolmoo. by women II!! w('ll. These leara1.ias were evidently
elements of tii",!a1Ja ; liisya perfol'med by womell was only II 1I:('lItll'r form
of the tUtjf/a1Ja.
273 (R.276b-27711, 0.272).
275 (B.278b-27911, G.274).
277 (B.280b-261n, G.276).
'!741B.277b-278:1,0.273).
276 (B.279b280a, 0.275).
:278 (B.28lb-282a, G.2'i'n
10
THE NATYASASTRA [ IV. 279-
279. Then she should go round the stage scattering flowers
f!'Om hoI' hands to gods, and bowing to thelll, she should make
use of different gestures (auhillll.ya.). .
Instl'llUlentalmusic should not be played when there
i8 any song to be delineated by gestures, but at the performance
of Angahams drums IllUst be employed.
281. The playing of drullls (lit. iUBtrnll1el,tal music) during
the ])ance should be Salllll, Rakta, Vibhakta an,1 distinctly
hranl ('tlt on account of clear strokes and should be properly
following different aspects of the dance. '
282. After following the song [with her J the dancer
should make her exit and others [like her] will enter [the stage]
in the same manner. ..
283. These other women will in dne order forl11 Pil,l(Jisl
and till all these are formell they will perform the ParyaAtaka.
28k After forming l"Pil,l(JiH] these wOlllen will make their
exit, and during the formation of the Pil,l(lis an instrulllental lIluHic
whieh haR various amI Karal,las should be played, and it
should be similar to the music at the time of the Paryastaka.
Then thiR U pohana should be again performed as
before and the too; a song also ,llOlIld be Sl1Ilg and a
female dancer should enter the Htage in the lllannel' described
before, and she should dl'lineate [the meaning of the song in the
Hccond by suitable gesture] and translate the subject-
matter into 11 dance.
288. After the Asal'ita the female dancer shonld
make her (xit, and then another female dancel' should enter the
stnge and make a similiar performance.
289. ThuH at every step the of Asal'ita should be
followed oy IlH well as playerH of the
279 G.278). 280 (B.2R3b-28411, G.:l79).
2Hl (RZ84b-285a. G:.l80). 282 (B.285b-286a, (Usl).
283 (B.;!86b287a, I ::ie',' ahoVl' 1I0j"
284-2H5 cn.2H7h-288, G.28:la-:lS,I).
_ 2.B1!-2l-l7 (H.289-:Wla, 2'16). I it'OI' r'flsite (f
ad
a7'astu) ,\1'1'
MalaVl.II. U, 5, 8, la, 14. U.287).
-IV. 293] DESCRIPTION OF THE CLASS D;\NCE
71
290. [During all these performances] the 61'8t foot
1
of the
song should be sung once, the second twice, the third thricr, IIn<l
the fourth foul' times'!"
291. Thtl PiI)Qis have foul' varieties Pit}.Qi [propr!']
Latabandha, and Bhedyaka.
1
292. The name PiI)Qi 01' PiI)Qibandha is due to its being a
PiI)Qi (lump), a clustCl' (y,dliW.)1 is called and that
wliich is held togethrl' [as it were] by a net, is Latabandha', and
Bhedyaka 4. is to be the (Reparate) dance of one individllal.
2n;3. 'he Pit;J.Qibandha ill to be applied in the 6rHt (lit.
AHarita), at the tl'itnsition of tempo, thn
Latabandlm in the middle one and the Bhedyaka III the
longt1Rt (i e. ARiil'ita).
289 (B.292b-293a, G.288). 1 Vaslu hp],,, padaMstu. Sc'P
abo\'r 110tp.
2 Thl'se risimtas were distinguished. by .tllP kalas of time tb'y
rrquirpd. According to Ag. (I.185) til(' shorwst asar/ta takes up
scvenU'('I1 kalas, mc>dinll1 iisiirda thirty-thrre kalas and the loo!!pst
r!sartl(J sixty-fivr kalris.
290 m.293b-294a, G.28n). 1 It is implird that each each of thr"r
of songs should be followed by dance of ditf('rcllt
291 (R294b-295a, G.290). I S(>c notes 256 above. In tl)(' BhP.
(P. 246) the following :-
Jj't-IH'l1Ifl!l!lir 1!11Il: I lfitli.;j'1l ",,1f,.r,,: II
Jj'll! I I!IIIT IfIlT II
]"1'001 this it is 1l11iw clear that the #wjbandlta relates to th(> grouping
of danerrs. Of tltPRC the gu/ma is II general collc>ctivc daocl', the s('ilkhalli
is the danee in which partners hold one anothrr's iJaods, the la/ii is
the dance of two putting their each other, :lnd the Mcdyaka
is the dancn of l':Ieh one separawly. away from the group. rIhe R('ctioll
292 Iwlow dops 1I0t ql1itp agl'e<'. with this view.
292 (B.295b-296a, G.291). 1 See above 291 now.
2 Bhr>. does not identify the gulma and the srilkltalika.
3 See ahove 291 noW 1. .. Sl'P abov(' 291 note 1.
5 See nbove 291 noW 1. 0 sam:lta=ekanrtla=ekasya j
d sakrt (= onc(,
72
TilE NATYASASTRA
( IV, 294,
294, Origin (of Pi1}41s) is twofold: Yantra and
Sana,l These should be learnt and properly applied by the
producers [of plays].
The Chandaka
295. In the Vardhamanlt the producer should thus URe
I shall speak again about the "DIes regarding the
perfonnance of songs and Chandakas,
29U, I now speak of the dance and, the instrumeiltal
accompany consisting of the VashtI as
well as of their (Aligas), During the performance of this song
and music a female danccr cnlrr the at thnt time
all the drums are to be ROlll1d('(\ and all thr Rtringed inst\'l1l11rntf1
arc to be played with and
298. First of all, the !'ntiro (vast u) of the song
should be represcnt(ld hy gesture;;, and next the sume should be
shown by a danef'.
299. Directions given above f(garding the dance, use of
gestures and the instrumental will apply equally to the
matter of the songs in the ASiirita. #
300, This is the rule with l'(lgard to songs consisting of
the Vastu. Now listen to description of songs made by Aligns.
301. Rules regarding the (lanc(" IIRr of geAtul'es and the in-
strumental llluRic whieh apply to words (of songR) are equally appli-
cablE> in case of Chandakas which are composed of their' Angas.
302. DllI'ing the Mukha and the Upohana the instrumental
should be played with heavy and light by keeping
thrm rlistinet (Iit. i'pparatp).
293 (n.296b-2!l7a, G.292). I The fellt.III'Ps of tIll'
thl'ee asar,.las 11lIvc giw'n in 1I0t!' to 289 abovp.
(B.297b-298a, 0.29:1). I 'I his pllRsng<, is not cl(,aJ'.
("tllillnatiOll (I.p.193) of the yanlra and th .. bhadrii."sana is not cOllvincing.
295 CB.298b-299a, 0.294).
296-297 (B.299b-30Ia, G.295). I Sf'P abov!' 285-287 now I.
: I,'or sre ahove 270 nore 2.
(B,301b-302a, G.2!J7). 299 (B.302b.303n, G.29S).
3fJO (B,393b-301n, G.29fl).
IV.:!. DESCRIPTION OF THE CLASS DANCE
73
308. When in course of a song some of its parts are
repeated, the parts uttered first should be delineated by gestures
and the rest are to be translated into
304-305, When in course of a song some of its parts are
repeated it should be followed by the instrumental music which
observes the rule of three Palolis and three kinds of tempo. On an
occasion like this the instrumental music should follow the
[proPer] tempo.
305-808.. The Tattva, the Anugata and the Ogha relate to
the KaraJ}a. Among these, the Tattva is to be applied in slow
tcmpo, the Anuiata in medium tempo and the Ogha in quick tempo.
This is the rule regarding the instrumental music. [Different] parts
of the song in case of a Chandaka are to be repeated. This is
always the rule in [combining] the dance, Gestures and the song.
In case of songs composed in one stanza (nibaddha) commencement
(graha of the playing of drums) should take place at their end,
but in the repetition of the parts [of a large song] such
commencement should take place from the beginning.
The Gentle Dance
809. This should be the procedure in per(orming the
Asarita songs. Now consider [allJ that relating to the adoration of
godl! as the Gentle
310. The Gentle Dance with the Erotic Sentiment [relates to]
a dialogue between a man and a woman when they are in love.
Occasions suited to dance
311. Now listen, 0 about occasions in plays
when dance should.be inti'O<luced in course of song!'.
312. Experts should :Ipply dllnCt1 when the principal wonIs
of a song [in It play] as well as its [ornamental adjunct known as]
--------------
301 (B.304b-a05a, G.300).
302 (B.305b-306a, G.801).
808 (B.806b-307a, G.802). 304-305 (B.S')7b-S08a, G.80S-S06a).
805-308 (B.308b-811, G.304b-307). 309 (B 312, G.a08).
:1\0 (B.3IS, G.S09)l 31llB.314, <t.S10),
T<l
THE NATYASASTRA
[IV. 313
V 1 comes to a close or when any character attains good
fortune [in a play].
::l13. And dance' take place on an occasion in a play
"hen something <'lonnected with love occurs between a. married
couple, for it (the dance) will be a source of joy.
314. Dance should also take place in any scene of a
play when the lover is near and a [suitable] season or the
like is visible.
OeeasioDB when danoes are prohibited
315. But dance Rhould not be applied to the part of a
young woman who is enraged
1
deceived
or separated [from hllr lover] by a quarrel (kalahantarita)8.
31 G. Dance should not be applied alRo at a time when 11
dialogue is on or when the beloved one is not near at
hand, or has gone abroad.
317. And besides this when one realises the appearance of
one of the or the like (rom the words of a Messenger,
and feels eagerness or anxiety on aecount of this, no dance should
be applied.
31B.But if during the performance of any part of the play
the het'oine is gradually pacified, dance is to be applied till its end.
319. If any part of a play relates to the adoration of any
deity one should perform there a dance with energetic Ailgaharas
which Siva created.
320 And any love-song mentioning relations between men
and women should he followed by a dance with delicate Ailgaharas
which Piit'vatt (lit. the goddess) created.
Playing of drums
321. I shall now speak of the rules ahout the playing (1f
312 (B,31S, G.311).
313 (B.3l6, G.312).
315 (B,31B, G.314).
I .. "id.210.,
'317 (B.320, G.316).
319 (B.322 ,G.BlS).
1 Sec NR. (C.) XXIX. 19-82.
314 (B.317, G.313)
1 :xS. XXIV. 216. iMd.217.
316 (B.819, G.815).
818 (B.821, G.817).
820 (B.828, G.81!}).
.:tv. 328 J
ImSC1UPTION OF 'rHIli CLASS DANdEl 75
drums which should follow four-footed N arkuj;aka,
1
Khanjaka a
and Parigltaka.
322. Playing of should b<ifn with the Sannipata
Graha at a time when a foot of the Dhruva of the Khanja or the
class has been sung.
323. In course of a Dhruva which consists of even nlImber
of feet with equal number of syllables the drum should be
playM with the Graha by the fore finger after its first foot has
been sung.
324. [After performing the Dhruva song with the playing
of drums as di,rected above] this song should be repeated with
proper gestures [to delineate it], and it should be again sung, and
at the end of its last foot drum should be played.
When drums are not to be played
825. Drums should not be played at a time when the !long
or its Varl}as have been finished or it is beginning afresh.
326. During the Antara-marga which may be made by
Trantris 01' Karal}as, the Class Dance should be followed by
drums as well as the Siici Carl.
3;:7. One who will perform well this dance created by
Maheavara (Siva) will' go [at his death] free from all sins to the
abode of this deity.
328. These are the rules regarding the Class Danee
ari8ing out of its application. Tell me what more I am to
speak now about the rules of the Natyaveda.
Here ends Chapter IV of Bharata's
which treats of the Characteristics of the Class Dance.
-------------------------
Sil (B.S2t, G.S20). I See Ns. (C.) XXXI. 5H . '{XXII. 304 if.
, See NS. (C.) XXXI. 511 f XXxn.4M. 322 (B.325, G.3i!).
S2S (B.B26, G.S22). s24.(B.S27, G.82Sl.
S25 (B.S28, G.324). (B.S29, G.8:la).
827 (B,SSO, G.SIIS). (B.SSI, G.S27).
CHAPTER FIVE .
. .. .
THE PRElJMINARIES Q}i' A PLAY
The Sages question.
1-4. On hearing the words of Bharata who continued the
topic of drama the sages were pleased in mind and said, "We have
heard from you about the origin of drama t and the J arjara
2
as
well as [the means of] stopping obstacles
8
, and the worship of
gods!. Having grasped the meaning we would like to know
in' detail (lit. exhaustively), 0 the very splendid one, about the
Preliminaries with all their charactel'istics; it behoves YOll,
o Brahmin, to explain [everything] for OUI' understanding [the
_ same properly J."
Bharata answers.
5-6. Hearing these words of the sages Bharata spoke thus
about the rules of the Preliminalies: "0 ones, listt'n to
me. I am speaking about the PI'elimimlries as well as of the Pada-
bhiiga
l
, the Kalas and the Walking-roundS [which relate to
them].
Preliminaries defined
7. As it is first performed at the beginning (purvam) in
the stage (mnya) it is called the (pul'varangn) 1 Preliminaries.
Parts of the Preliminaries
8-11. Itil different parts which are to be performed in due
1-4 (B.G. same). 1 See NS. I. 13-18. 2 Rre N8. I. 69-73.
B See 1. 54-68. ' See NS. III.
&-6 (B.G. same). 1 PivlabhiJra-See Nti. (U.) XXXI. 308-309.
is a term relating to kua.
.lilia-unit of the time measure in musio. See NS. (C.) XXXI. 608.
On this Ag. (I. 211) says: "lIT JI1ii" 'III lillY
,""11II't'l'I!I'ITaif 3 On thiR see below 23-24, 65-Sf!.
7 (B.G.lame). 1 BhP. defines piiNJra;"ra ru; folloWH: fllllr'lr:
'lfiji!: I fillI'1 (SR. p. 742)1 The definitioll in
tho the comm. of DR. OIl. 2) iR co1'rllpt. 8-11 (B.G. ItJIII6).
V.lt THE PRELiMINARIES.OF A PLAY
77
order with the playing of drums and stringed instruments as well
as with' Recitatives are ItS follows: Pratyahara 1,
A vatarar.m
2
, AJ'ambha
3
, Vaktrapar;ti
5
,
Sal!lghotana
7
, Margasarita 8, and Asal'ita '\1" of the long, the medium
and the short types, These songs outside [the perform ace of a
play] aI'e to be sung by persons behind the curtain 10 to the
accompaniment of dl'Umi:l and stringed instruments.
12-15, Then after removing the curtain I , danceR and
l"ecitnls
ia
are to be performed with the playing of all musical
instruments, nnd some song of the Madraka
8
class is to be sung,
or one of the V ardhamanaka
4
class along with the Class
Dance [suitabre to it] should be applied, Then should take place
[one aEtel' anotherJ during the Preliminaries the following:-
Utthap::ma
6
, Walking l'Ounds, Benediction\ Railga-
dval'a
9
, Ciin
10
, Mahacal'jll, Three Men's Talk
12
and Laudation
13

16. I shall now explain in due order the characteristics
of all these which are to be included in the Cel'emony of the
Preliminaries.
1 See below 17,
, See below 18,
7 See below 20,
See below 18
6 See bt'low 19.
8 See below 20.
B See below 18,
6 See below 19,
g See below 21.
10 this statement it appeal''; that the tirst nine items of the preli-
minaries were performed on the stage covered with a front curtain much
like the modern drop curtain. There were besides this, two curtains OIl
two doors of the tiring room. It seems that the front curtain came into
rrgular lise in later times and l'8pccially at the end of each act. Cf. javan,'-
/tim/ar used as a synonym of 'act' iu the KM.
1215 (B.G. same). 1 'fhe front curtain j see 8-11 note 10 above.
2 Reoitals of the Benroiction (niindv and tht' Laudation (prarocanij)
etc. B madraka-a class of sonp.
, vardkamanaka-a class of songs with dance, See N8. t C.) XXXIX.
224if. 6 below 22-23. 8 See below 23-24, 65.89. 1 below
107-11 a See below 25-26, 11a-116, ij below 26-27.
10 See below 27-28.119-120. 11 Sec hdow 27-28, 127-130.
1. Set! below 28-29,137-141. I b See below 99-30, 141-142.
16 (B.G. IQf1I4). I It tnay. appl.l81' that thCllO itelI1ll of tho 'Prelimi-
18
THE NATYASASTBA [v. 17-
The Pratyihira
17. Arranging of the musical instruments (k"rapa) is
called the Pratyahira 1.
The Avatarlll}A
The seating of singers is called the A (lit. coming
down}8.
The Arambha
18. The commencement of vocal exercise for singing
(paJ'igUa) is called the Al'ambha {lit. beginning)8.
The
Adjusting the mURical iDl-1trumpnts for playing them in due
manner is called the
The Vaktrapil}i
10. Rehearsing (lit. dividing) the different Rtyles (1'rfft)
of playing musical instruments is called the Vaktrapiif}.i
s

The Parighat1;al}i
The strings of instruments are adjusted duly during the

8

nerieR to be performed behind the front curtain, have been made needlessly
elaborate. But it is not '80. In ancient times people duo to different
conditions of their lives, were not so much llUnctuai in coming to
the theatrical show. They did not come to it aU at once and at any fixed
time. Quite a long timn passed before they all ailllembled. Hence from
behind the curtain the Director offered to the early-comers (naturally
the peoplp who had no haste in their lives) whatever they could.
while preparing for the aetnal IJClformanec. Hence Ag. (1. p. 215) Bay!!
that n!n(; items of the Pl'e1iminaries were meant for a [common] women,
children and fools. The same practice about the Preliminaries may bp
obRerved now in of the Yitris or tlw 0lwn air thratrical per"
formances in Beugal. 17 <B.G. same).
1 ji'or the arragement of the musical instrl1ments spe the diaKralJl' \I.
2 It'or the Ilositioll of singers IlCO diagram 2.
18 same). 1 detailH "boat the pm'fOl'nlance of
;hisllOO (U.) XXIX. l2(j ft'.
19 m.o. same). I 1JaklrapIU,Ii-I"01' ahllllt the JlPrt'ormanCf'
:01' thiH HI1'1 (C.) XXIX. lSI fr .
" Iaril'lIaanii-I"or the or thiH APr NH. (C.) XXIX.

,.
V. i4J 'l'HE PRELIMINARIES OF A PLAY
'19
The
20. The SaQlghotanaI. is meant for rehearsing the llse of
different hand poses [for indicating the time-beat}
The Mlirglisiirita
The playing together [in harmony with one anothet] of
drums and stringed instruments is called the
The Asiirita
21. The ARiirita is lUeant fot practising the . he Itt of
time-fractio IIR. (kaZapata) 1.
The Application of songs

And the Application of songs (yitat'idhi)Z is f01' singing the
glory of godR.
The Utthapana
22-23. I shall now spE'ak about the Utthapana (lit. raising)
cerpmony which is so styled because from this, the reciters of the
Benediction start (lit. t'aisE') first of all in the stage the performance
[of the play J. Hence the Utthapana is considered by some to he
the beginning [of the performance].
The. Walking-round
23-24. The Walking round (pari1'll1'tana) ill so styled
heCal1He in it, the guardian deities of different worlds are praised
[by the Directer] walking all over [the stage].
The B('nrilictioll
The Benedirtion (1llilldi}l is so ealled because it
mugt always include [and in yoke ) the blessing of god:;, Brahmins
and kings.
20 (B.G. same). I sal!1.fnotana-For the performance of !!ee
NS. (C') XXIX. 137-141.
mar.fiisiirda-For the pt1riormanco of this see NS. (C.) XXIX.
145-116.
21 <B.G. same). .1, iiSarila-For the performance of this see
(C.). XXXI. 59-75. 169-194. ' NS. (C.). Xx.x:. 267 tl'.
22-23 (R22-23n, G. 21 c-22).
23-24 (B.23b-24f1, G.23). I parifJarlana=pa""arla b('\ow 65 Il'.
<B 24b-25a, G.24). I For its sp<>eimeuB see b ... !ow 107 Il'.
80
THE NATYASASTRA
[V. 2lJ-
The Dhruvi
25.26. When an A Dhruva is composed with
meaningless sounds it is called It indicates verses
for the J arjara
2

The Rarigl\dviira
26.27. The Railgadvara iR so called, because from this part
rommences the performance which includes Words and
The Ciiri and the Mahaoari
27 28. The Carl is so called because it consists of move
ments depicting the Erotic Sentiment and in the Maha('iil'i oerm'
movements delineating the Furious Sentiment.
The Three Men's Talk
2829. The conversation of the Director (suh'adhiira), an
Assistant (pal'i/J(jI'Sr(/ktl) m:d the Jesterl is called the Three Men'a
Talk (trigata,).
The Laudation
2930. The address which the Director (lit. the expert)
makes suggesting the Denoument of the action (kal'yo.) of the play
in hand with [proper] reaRoning and arguments is called the
Laudation (]!1'a1oclwii).
The origin of the Bahirgita and its justification
30-31. I shall now describe in detail the MravaJ;la
which is included in the Bahirglta and shall speak of its
origin as Well as its justification.
25-26 (R.26, G.25). I "ne bplow 113.115.
I Tho. meaning is not el"lJr. B.G. read between 25b and 26a two [lrose
lines.
26-27 (B.27. G.26). 27-28 (B.28 G.27).
28-29 (ll'29, G'28). 1 The Jfstcr's role is uAAumed by one of the
Sec 70 whPJ'o two entor along with the Dircetor.
details of the Threo M('u'H Talk sec: bclow 187-141.
29-80 (B,aO, G.29). I For dp.tails "bout tho see below
141-142:
V. 37 ] :raE PRELIMINARIES OF A PLAY
81
31-32. Now when songs in seven forms
l
and in Citra
i
and
Margas together with the Upohana
4
and the Nirglta
'
were started by musical experts like Narada in praise of gods,
all the gods and the Danavas, in the assembly were made to hear
the Nirgita' performed with proper tempo and time beat'.
DaitY88 and provoked til jealousy
33-34. Now on hearing these happy praising the
gods, the Daityas and the were all provoked to
jealousy.
34-36. Under these circumstances they pondered [over the
matter] and sard to one another: "We are glad to hear (lit.
uCCQpt) this Nirgita in accompalliment of the instrumental music,
(and not the songs) in seven forms
l
about the exploits of the gods,
which they were pleased to heal'; we shall hear the Nirglta only
and shall always be pleased with it. Then these Vaityas
[and pleased with the Nirgtta urged for its repeated
performance".
The gods approach Narada to stop the Nirgita.
,
37-38. This enraged gods who said to Narada, "These
Danavas and are pleased with the Nirgita only [and do
not want anything else i.e. songs]. Hence we wish this perfor-
mance (of the NirgIta) to come to an end. What do you think
of this 1"
80-31 (B.3l, G.30).
81-32 (B. 32-33, G.31-32). 1 SCV(,II forms mealls the tYP!lI! of talas.
Sec NS. (C.) XXXI. 497 0'. 2 Sec (C.) XXXI. 414.
I See (C.) XXXI. 412. ' S!'c (C.) XXXI. 234 fr.
Another name for oahirrila. See below 33-42.
e nirtila-instrumental music:..
.1. For diO'erl'nt of the tala s('c NS. (C.) XXVIII. IS16 Rnd
(C.) XXXI. 3334 (B.34, G.aa).
8'-86 (B.SS-57a, G.34-36a). I. The forms-On this Ag. (1.
p. 224) says : t .. IIifl"ll 'IIq"
1ll.,.lIl nl\q,",*.
II
THE NATYASASTRA
.( V. 38.
Nirada paoifies the gods.
38-41. Hearing these words of the gods Narada replied,
"Let the Nirgitn dependent on the music of stringed instruments be
not stopped, and this (nirgita) combined with the Upohana and
accompanied by the music of stringed instruments will have seven
forms. Enraptured (lit. bound down) by this Nirgita the Daityas
and the will not be provoked and they will not create any
obstruction [of the performancel
41-42. This is the called Nirgita to satisfy the vanity of the
Daityas while in honour of the gods it is called the Bahirgtta.
t!-44. is .to be played by experts inihe CitraVI\la
1
with metallic strings, and the performance should contain light
and hea.vy syllables and have Val1}as' and Ala1p.klil'as'.
It is. called the Nirgita because in it there is sung a combination of
sonnds carrying no sensl', and to satisfy the of the gOdA
it is called the Bahirgita".
The gods are pleased with the Nirgita (Bahirgita).
44-45. , The reason behind the Nirgita in its seven forms aA
well as the Utthapana and the like, wtII now be given.
45-54. The Pratylihlira pleases the (Ylitudhana) and
the Pannagas, while the Apsarasas are deliglited with the A vataraQa.
The Gandharvas are pleased when the Arambha is performed, and
in the performance of the the Dait.yas take delight. The
Vaktrapal}.i plea Res the Dlinavas and in Parighagana the
of nre [again] pleased. By the Guhyakas
are while the Mlirgasarita the pleases When
37-38 (B.37b-38, G.36b-37).
4142 (B.42, G.41).
38-41 (B.39-41, G.S8-40).
42-440 (B.43-44,.G.42-43). I ct'travi"a-natyoparaTdanar'ha ya 1111]a;
a kind of '[Iina suitable for being played during the performanee of II
dramll. 2 Syllables liktl gIn:' and M;ii are heavy, and syllables like
ma, la, Ira, ta are light. 800 NS. (C.) XXIX. 19.23.
See NS. (C.) XXIX. 24-75. 44-45 (B.45, G.),
-{554 (R.54b5l), 46-53, G .45-53),.
-v. 59 J
THE pid!JLIMINARtES OF A PLAY
songs (gitaka) are sung the gods enjoy them, and Rudl'a with
his followers' is pleased by the performance of the Vardhamana.
Similarly in the performance of the Walking-round (parivar-
fa'na) Lokapalas (the guardians of the worlds) are delighted,
and the Moon-god is pleased with the Benediction. During
the singing of the (Dhruva) Nagas are pleased, while
(Dhruva) pleases the host of Pitrs (ancestors). In
the Railgadvara is pleased, while the Jarjara, ceremony
pleases the leaders of Vighnas. On the Carl being, performed
Uma takes pleasure while on the performance of Mahacari
the Bhiitas are delighted .

55. So much about worshipping the deities in different parts
of the Preliminaries (pu1'varanga) begitming with the Pratyihira
and ending in the [Maha] carl.
. 56. 0 the best of Brahmins, in course of describing the
different parts of the Preliminaries I have named the gods pleased
by them and mentioned [the individual] parts of it in which they
take delight.
57-58. The performance of the Preliminaries which means
worshipping the gods, is praised by them (i.e. gods) and is con-
ducive to duty (dharma), fame and long life. And this perfor-
mance whether with or without songs, is meant for pleasing the
Daityas and the Danavas as weH as the gods (lit. denizens of the
celestial region).
59. I ilhall now tell you [afterwards] while discussing the
rules of Dhruvas
1
the and function of performances
with or without songs and nirg'it(t) as well as of the
Vardhamana.-
55 (B.5e, G.54). &8 (B.51, G.55).
&758 (B.58-59, G.5S-57).
59 (B.6}, G.59). 1 See 1(8. (c.) xxxn.
t this couplet (59) :8. reads one additional Uoka (B. 60).
111
l'd.E NAl'FA9AS1'RA
The songs in thE! pure Preliminaries
60-63. After performing the songs (gitaJra)1 and t,he Vardha-
manas, one should sing the Utthiipani Dhruva
8
which has
in its feet of cleven syllables the first two, the fourth, the eighth
and the eleventh as long. It should be [sung in] the CatuJ'asra
(Tala)' and [should ('onsist of] four feet and four Sanni 1\
as well as three kinds of tempo (layn)8 and three cresurll
7
(yatt). Besides this it should consist of foul' Walking-roundR
(parival'ta) and of three Piil)is
8
, and it should be in the Visloka
9
metre and in the same kind of Tala. '
64. The Tala in question should consist consecutively of
Samya
l
of two Kalas, Tala of two Kalal>, Samya of one Kala and
Sannipiita of three Kalas.
The First Walkinground
65. Thus a Sannipiita Tala of eight Kalas should be
observed by the experts. And it is said that a Walking-round
is made up of four such Sannipiitas.
titi. The first Walking-round in the Preliminaries should
be made in slow tempo (sthital(tya) and on the termination of
the third Sannipiita in it (i c. the first parival'ta) drums should
be played.
The 8Ceond WalkinKround
67. On the termination of the first Walkinground the
seconrt one (i.e. Walking-round) having commenced in medium
50-63 (B,SIl-65, G.60-63). 1 See (C.) XXXI. SlS7 If.
t See (c.) XXXI. 225 If.
t 'I.'he u-rm ultkapani dkruva does not oeeur in the Dnruvad"yaya
(C.) XXXII. ' See MS. (C.) XXXI. 9-11.
I See (C.) XXXI. 38-39. 8 See NS. (C.) XXXI. 4.
I See NS. (C.) XXXI. 532-537.
8 Ag. explains three PlJ"is as samapafJ'; avara'lii"i Rnd uparipiil.ll"'
II See Nt;. (C.) XXXII. 149
. .
G.64). I Cf. NS. (C.) XXXI. 74.
65 (B.67, Q 65). 66 (B 68, G.66). 67 (B.69, G.B7).
r. II}
!PUB PRELiMINARIES ORA PJ.AF

tempo (lalla) the Director [and tbe two AS8istantsp should entm'
[the stage].
68-ti9 The thrce should simultaneously enter [the stage]
with handfuls of flower-offering., But before that they should get
Ihemsel yes purified, initiated amI fllmished with charms for
pl'Otection [against evil spilits]. TIIPY should be c1aJ in white, and
IlolVel's carried by them SilOlllJ [also] be white, and they should
be 100king with the Adbhllta glance I and be in the
Sthana
9
with of the body.
70. The two
l
Assistants (pariliaI'BL'ika) should cany a
golden pitehm' and the Jarjara, and with them by his
side the Director should put forward fh'e ateps.
71. These five steps [will beJ for the pm'pose of worshipping
Brahman, and the manner of putting them forward will be described
l below] in detail.
72 . They should slowly place their two feet three Talas
l
apart aod then raise [them one by one] on each side and again put
them down at the same [distance],
73. After going five steps I in the manner described above
the Director and his two Assistants (lit. others) should perform
the Suel Cari with left foot moved first and the right foot
aftelwards.
74. Then the Director should offer flowers in Bmhmau's
circle ([}rahma-ma1!4altt) which is another name for the centre of
to stage where the deity is supposed to be present.
---- ,,_.- -- --------_.- .
1 Entranec of the two AMistants is implied in this pasS8ie. - See
below 88-69.
68-69 (B.70-71, G.68-69). 1 Sel' N8. vm. 48. 1&>1' NK. XI. 50-52.
70 (B.72, G.70). lOne of the AllSistants is to RlSSlIm!' till' roll' of
theJestcr in thn Three Men's Talk. St'e above 28-29, 187-14't.
t Jarjara- see NS. m, 78 ft'.
71 (B.7311, G.n), 1 B. omits ?lb.
72 (B.?", G.?lI). 1 liJa-n unit' of l(lligth. The from thl'
till of tile' middle fillillf to thll wriRt. Ill, 21 not!'.
78 (B.75, G.78). I B. for pailcapad.. 74 (R,78, G.7.).
[V. 75-
-
75-77. And afterwards he (i.e . . the Director) should res-
pectfully bow to Brahman (lit:- Pitiimaha) with Lalita gesture,
1
and to measure the length of tim'e during the salutation he should
thrice touch the ground with his hanfl, and his steps should be
[suitably J divided. The second Walking-round which beginf\. with
the entrance of the Director and ends
2
with the salutation [to
Brahman] and use of gestures [related to it], should be performed
in medium tempo (la.'l0)'
The third Walking-round
77-78. Next during the third Walking-round (pal'iva)'ta)
the Director should go round the Brahman's circle (i.e. the centre
of the stage), perform Acamana and takc up the Jarjara. [The
manner of taking it IIp is as follows :]
78-80. Rising up quickly fl'om [Brahman's] circle
(lIlof'}dalfl) he 8hould perform the Suet (lit. Vedha) Cari with this
foot (i.p. the right foot) put forward first and the left foot after-
wards. And then he should again raise his right foot which was
on the and perform the Suel (Vedha}1 Ciiri putting forward
the left foot first and the right foot afterwards.
80-83. Going round [the centre of the stage] the Director
should call the person (i.e. one of the Assistants) who carries the
golden pitcher (uhrngara),1 and perform ablution (S(Wl.'o) [with
water from this vessel]. He should then perform Acamana and
sprinkle himself with water in due order. Thus after performing
properly the ablution the Director should carefully take up the
J arjara, the destroyer of obstacles, and this act should be per-
formed along with the beginning of the last 6annipita [of
second Walking-ronnd}.
83-84. The third Walking-round beginning with going
75-77 (B."17-79a, G.74e-7S). 1 t':!ce N8. IX. 201. Breads vantlanMllt:
Hayunula/t for nayant'akah.
. ..
77-78 (R.79, G.77). -,. 78-80 (R,aO-RI, G.78-79), 1 Aeeordin!(
tc AJ1;, (I. p. 233) V"dka=Sftci Giri.
80-8:1 (B,82-A4, G.!:lO-82). 1 8(', ahovr 70.
(B,8S, G.8S).
.V.89]
THE PRELIMINARIES OF A PLAY 87
,
round the centre of the stag13 (i.l:'. BrahrnamOlI!4ala)1 and ending
with the taking. up of the Jarjara Bhould be performed in n quick
tempo. '
The fourth Walking-round
Aftel' taking up the J arjara to ward off evils he
should mutter [some Mantras] in eight Kala! . JI'hen he. should
perfnrm the Suci (Vedha) Carl by putting forward the left foot
first and the right foot afterwards, and then, move five steps to-
wards the musical instruments. And then again he should observe
the Slic1 (Vedha) Cari by putting forward the left foot first qnd
the right foot' afterwards. The fourth Walking-round which
begins with the taking up of thc Jarjara and ends
l
with an
approach to the musical instl'UmentB should be made in a quick
tempo.
87.88. In this LpUITIl.'l'ail!/a which is of the Caturasr8 type]
movements' of hand and feet in it will occupy sixteen Kalas while
it being of the T1'ya8ra type such movements will occupy Twelve
Kalas only.
88-89. [The Director and the two should make
three by touching .the ground, with the hand and
hefore this they are to sprinkle themselves with water, but in rase
of the Tryasl'a [Preliminaries Rllch RprinklingJ has not been
prescrfbed
1

The Parivartani Dhruvi
89-90. In this manner they should perform the Utthiipana
(lit. raising). Then .. comes the Parivartanl (Walking round) Dhruvii
1 See NS, nI,23-30"note.
84-87 (B,8S-88, 0.84-86). 1 B. reads iutapo niramlltllaltal}.
87-88 (B,89, 0.87).
, "
88-89 (B,90, 0.88). 1 This and the prtOeding (87-88) passae:e should
vroperly go after NS. 64 for th!'y r('latc to the Utthiillana which should
come before the Walkin,,rollnd ; sec before 22-23.
89-90 (B.9l, G,89). 1 For ca/,,,asre, B. G. calurasram,
88
THE [V.90.
which should be performed in the Caturasra (Tala) and medium
tempo and with eight Sannipiitas.
90.91. The Dhruva (song) which has only the last syllable
long in its four feet of eleven syllables, ill called the Parivartanl
(Walkinground) Dhruva.
During the singing of this Dhruvlt the Director
should" move in the Vartika Marga with graceful step
in accompaniment of instl'Umental music and should bow to
[different] deities in directions belonging to them.
92-93. And during the foot movement [mentioned above]
each step of the Director should consist two Kalas. and movement
in each direction should consist of two Sannipatas.
9394. Then he would observe the Siici (Vedha) Carl
putting forward the left foot first and the right foot aftet'wards
and putting the llrtter at a distance of two Tal as.
,
94-95. In this manner he should go five steps with
the Atikranta Carll and bow to different deities in directions
belonging to them.
9597. First of all he bow to the eastern direction
presided over by (Sakra) lndm, secondly he should bow to the
Routhern direction belonging to Yama. Thirdly he should bow to
the western direction ruled by V aruJ;la. Fourthly he should bow
to the northern direction of which Dhanada (Kuvera) is the
protector.
9798. After bowing to these directions he should perform
the Stici Carl putting forward the left foot fil'8t and the right foot
afterwards and begin the ,Walking-round.
98-99 Then with his face ttlwarus the,east the Director
90-91 (B.92, G .90).
9192 (B.93, G.91). I 'lJarnakena ('lJiJrtikena, B).
92-93 (B.94a, 0.92). ,\ B: pmiti! 93a.
93-94 (B.94b-95a, G .93).
940-95 (B.95be; G .94). I' Sec N8. Xi. 29.
(B.96.97,0.95.96). 97.98 (B.98
1
G.97),
98-99 (B.9!J, G.98),
:1/.U16J
THE PRELtNtINABllBS OF -A PLAY
should bow to -Siva (Rudra), Brahman -and Vil\lJ.lu (Upendra) while
going 'forward three steps by 'masculine', 'feminine' and "neuter'
feet [one after anothel"j.
91)-100. The l'ight foot fR 'mm;('uline' nnd the left foot is
'feminine' while the right foot not [much] l'aised is ('"lll'd
] 00101. Siva should Le bowed .to \l ilh the
foot [put forward first] while in bowing to Bralnll&1r the .neuter .foot
[should be so put forward]l.
The70urth Man enters.
] 01-102. Tho Walkinground should be rfinished] thus, and
then the Fourtlr Man (,:n(.nl'tlw-kara) should duly enter [the stage]
with flowers [in his hands].
And he should duly offer Pujit to the Jarjara and
to all the instruments ("'ntapa) as well aR to the Director.
10:1-104. Hi" foot-rnovrnwntR during thePlija should 'be
made to accompany the playing of drulll!', and there,s\lould be no
liong Rung then, but only meaningless sy.lIables should be chanted

Singing of the Dhruva
101-105. Mtel' offering'the Plljii. the Fourth Mnn should
make liis exit. And thrn shoult! \)(' nn Avaknt:l Dhru,1(l" in
Caturhsm (Tala) and slow tempo (-tltit,I-[1I !fa).
105106. This Dhl'llva should abound in h(lnvy syllables
and depend on the Sthiiyi-vaJ'I].;L
1
and be made up of eight Kalas,
and its Tala !>hould be AvapfiJ.lika.
99-100 (B.IOO, G.99).
100-101 (B.lOlal02b, G.lOO). I B. repeats here 90-91.
101-102 (BIOSI G.IOl).
102-103 (B.IO.!, G.I02). I Sce 11-13.
103-104 (B.l05, G.IOa).
104-105 (B.l06, 0.104). 1 of thc six kinds of DhrwoUs, Sec Nti.
(0.) XXXII. 154-159).
10S-106 CB.I07, G.10S). I (C.) XXIX. 21.
12
90
THE NATYASABTRA .
[V. 101\
. 106107. The A Dhruva is a song consisting of
four feet of tcn syllables of which the fourth, the fifth, the seventh
aud the eighth will be short.
1
Tho Benediction
107108. Then the Director will recite in a medium
(madhyama) tone the Benediction which should consist of eight
or twelve feet (l)('ida).l
108109. I These are tho Rpecimens of Benediction) :
namo'stu sarvaclewbhyo
slIhhal1l tatha I
jitaIp vai l'ajiia
arogyaIp bhoga eva ('Al II
1''/'. Salutation to all the be the twice horn
May Soma the king attain victor), M well as healthy life
'and [earthly J enjoyment.
1
109110. brahmottaralJ'l tathaivastu
hala tathal
prasastvimalp
P\'thivIIJ'l ca sasi'igaram g
T". Let there be an adrancement of the cause of the
ancl let their enemies be killed, and let the great king l'Ule
this earth together with all the seas.
110111. pravardhatam caiv/l.
rangaS cayam samrdhyatiim I
mllhan dharmo
bhavatu U
Tr. Let this stat9 prosper, and thiR theatre and let
106107 <B.l08). I G. omits this.
107108 tB 109, G.106). I For diif('rrnt int('tprctations of ,ada src
Levi. pp. 132133, 11.25-26. RiigllllvubhaHn quot('s from Ag. in his bakUll'
talatikii (p. 6) the following : or
1l1f" 'or ., and 'IIl"IU Thcso passages do not
occur in tho published Abhinavabhiirati
10S-109 (B. no; G.10n. 1 See Levi. p. 133.
109-110 (B.l1l, G.IOS). '110111 (B.112. G.I09).
:'1.118 J
TaE PRELIMINARIES OF A PLAY 91
the producer of the theatrical show attain virtues proceeding froUl
the Vedic knowledge.
111-112. kavyakartur YIlSl1S castu
dharmas capi pl'l1vardhatam I
ijyaya canaya nityal11
prlyantal!1 devllta iti I
'1"1'. Let the pl:lywright (lit. writer of the ka1:ya) attain fame
and let his virtue incl'eaf<e, and by this kind of sacrifice (!JoFi&u.),
let the gods be. always pleased with him.
112-1 W. After the recitation of each of such Benedictory
poems the two Assistants should lomlly and distinctly say, "Let
this be so."
The Dhruva
tt:H 14. The Bencdictioll f<hould be p(lrformed duly
according to the rules [nwntioned aboVl'} Then should be sung
the J>hl'u\'u and wl'ses the Jarjam.
114-115; This Dhl'lIva of nine long syllables
first and then six short syllables followed by long syllables, e,-f}.
115-1l(j. digle digle jhalflJe jam
bu ka va Ii ta ka te te ja.
o
Tho Rnilgadviira
1 Hi-1l8. After propel'ly performing the
Dhruva, he (the Director) Rhould recite in a loud tone one Sloka in
adoration of the deity in course of whose worship [the dmmatiQ
performance is going to be and th(ln [another Sloka] paying
homage either to the king Ql' to the Bl'ahmins should be sur.g ..
'118-1 tTl. After reciting the Jmiowa.Sloka in \ ... hilt 61lled
the Railgadvfim (lit. entry into the perrormance) he should agliin
read another Sloka to honour the Jal'jal'a
1
.
111-112 (B. liS, G 110) .
. 112-lIS (B.1l4, G.1l1a). 113-114 <B.l15, G.li2).
114-115 (B.ll6, G.1l3). 115-116 (B,1I7f1. G.l14.),
116117 <B l17b1l8!l, G,1l5). 117-118 (B.l18b-1l9a, G 111,
U8-lI9 (B.1l9b-120a, G.1l7) . I Mss. reading isjarjarasya 1/1;,iJ$QfIIl
THE NATYASASTIU [ V. 1J;9
The Cari
1 HI-120. And after the Jm'jam has been honoured, t he
should perform a ,Cul'i p.nd till' two Assistant& ,shol!ld step
backwards.
120121. Then the DhrU\'a
1
sh()Uld be performed
with the medium tempo (I alia), Catumsl'a Tala and four SannipiUa$.
121-122. The Dh\'llva (song) which hall the first, the ijftb
andithe last' syllables long :tmlthe rl'ri'lllining short in an:
four feet of tWP,1 Vl1 By lJahles, is ralJed the ,
,122.123. I shall relate its Ilpplieation Ilc('ording to the
pooeedure adopted by 8iwt 8nd (J lila w/J('n performing
it in the past with [the display oj] dillen'nt States (/J//ara). lind;
movements.
i23-125. After assuming the Avahittha Sthana (posture),
l
lind placing the left hand with its pplm downwards on the
nllvd and taking up the Jilrjara by his other IUllld,' the Director
should go five steps, with his left hand the Pallava gesture;
allllwliile going he covel' one Tula at each step and movo
his limbs gracefully 3.
125-127. Afterwards he should perform the Silel Carl Ly
putting forwllrd his luft foot filst and the right foot afterwards.
Then the Director iliL the expert' orro) should recite a Sloka with
lavilas itll sulJjcct.-maUelf And aftat, reciting this Carl 810ka and
(lZ,;i411W14). But this gives no relevllnt meaning. We eme.od. ill. to,
jarj(WS1t wmo.nanam.
11a,120 I
.' 120121 <13.121b-12i!Jl., G.llJ). I See billow .. 122, allO, NS. (C.)
XXXILIO,357.
121-122 (ll.122i.J123a, G.12Ll). 12.2..l.28.(Bi1iab.-I25a,G.W);
123125 (B.l24b, 12Sb, 126. G,122123). 1 DcfinClUIL NtL XllL
165. l'l'ud tutudlll:tam. But its IncauiUf. is IIQt clear. It is
just pO,iliblC,that ihc lU'igillll reading has been changlld. We thorclore
cmcnd this to.tatadkr(am. IUI,'lUling 'held in palm' or. 'held by,hand.'
. a.B. r.cIl<ls,bctwcllU 123h.and 1241lIlD.additional.homiatioh.
'W.127 . '
.V 131 J
THE PRELIMINA'RIES OF A PLAY
98
per.for.ming the Walking-round, he shollid wilh his face towards the
front withdraw backwal'ds with steps described befot'e.
, .
The Mahaeari
127']28. 'And aft')!" placing the Jarjal'a in the hands of one
of the ne should perform the Mahilcarl in accordance
with the rules laid down below:
128-130, Dlll'ing this Cilri the Dhruva song should be of
the type and in' qllick 1 tempo, and it should have
fOllr Sannipatas and eight 'fbiR Dhruvii, song shollld have
feet' of eloven syllables of which the fil,,;t, fom'th, seventh, tenth
the Jast lLre'long and the rl'maining ones i3hort,' ,
130-131. (An example of Cutura"ra Dhruva) :
padatalahati -pat ita fiailal!1
I
nrltam idam pralnyante
. piittl hamsya ,mda sukhaoayi II
'1'1'. Let the ever-pleasing Class Dance of Ham (Bira) after
the destruction of the wol'ld, which smashl'd the hills hy the
impact of his feet and agitatclI the ocean with all CI'eatlll'es U\'i}Jg il\
it, always give you protection,
130-1::11. Then he IShould IStep towards the drums (hha1}411)
and afterwards perform the Buct Carl followed bY' a change of the

132-] 33. Afterwards he should move his feet gl'3cefully,
with a quick tempo, and keeping them three Talas apart, he
should" gil 1i.ve steps, There he should perform the Suel
(Vedha) batl with his left foot put forward first and the right oil+'
afterwards. '
13H35. And with the foot movement [described above] he
sllould move backwal'ds with his face towa'rd$ the front, and again
lte'r,hould go tIll'ee steps forward in a similar manner, and Ih.en he
._--_._--------------------
127-128 (B.129, G.126). (B,laO-lSl, 0..127-128).
laO-131 G.li9). 131-132 (B.1SS, G.1SO).
1S2-1S8 (B,IS6-1S5a, G,131-132R): 1340135 (B.186b-1S8, G.13Jb.188).
'tHE NATYASAStRA
[V.lS6
should again perform the Siict Carl with his left {oot put forward
first and the right foot afterwards.
IRQ-137. Then he should recite a couplet calling up the
Furious Sentiment while bringing his feet togptherj and then after
. going three steps he should call for the two Assistants, and on their
coming up, a Narkutaku Dhruvii should be sung. At the time of
singing this Dhruva he should perform the Suel (Vedha) Cari by
putting forward the left foot first and the right foot afterwards. '
The Three Men's Talk
137-138. Then in cuse of a play in the VeI'bal 8tyle (hha-.
'/'ati vrtti) the Thrl'e Men's Talk (Iriglltll) take place:
During it (this Talk) the Jester should cOllle in and
deJivel' a discourse consisting mostly of irl'elemnt words to excite
the smile of the Director,
138139. In this discourse should be urought in some
controversial topic with an abrupt remark or an enigmntieal utt!'!'-
:tnee [of some kind], and snch as who is ltlwl'e] and who
has won, leading to the plot pf the play (lit. the poem), uut no
topie be brought in.
140-141. In the Three Men's Talk an Assistant talks with
the Jester who finds fault with his words which are, [however,]
supported by the Director.
The Laudation
141. Then the Director (lit. an expert) should put in the
Laudation and the Invitation [to of the audience], and
for the suecess of the perfOl'mance (I;t. the stage) the subject of the
play should again he lIIentioned.
14:!. After putting into practice all all the three
(i.e. the Director and the two Aftl'istantR) should perform
13fl1.137 (R137-138a, G.13H3:ia).
137-138 (ll.138b-139a, G.135bI36a).
138-139 (B.lS9b-140, H.l36b-n7).
140 (D.1 il, G.omits). 141 (8.142, G.138).
14S(B.t43', G.139).
,-v .. 161 J
THB PRELIMINARIES OF A PLAY
the Siiel (Vpdha) Carl, and they should go out together while
performing any Carl other than the :4 viddha onr.
The Tryasra Preliminaries
. 143-144. Thus, 0 Brahminfl, should be performed the
Preliminaries of the Catm'asl'a type i now I shall speak of that of'
the Tryasra type. Its use is similar and its component parts are
the same; the only feature that distinguishes it from the Caturasra
one is its ablidged ineasure of Tala.
U5-146. [In it] the Ramya should consist of two and
the Tala of Kala, and again the Samya is to consist of one KalA
and the of two Kalas. With this kind of meu;;:urement
of Kala, Tala and tempo, should be pel'formed the TI;yasl"a Preli-
minaries which include the UUhapana and such other items.
U7. The Dhl'uva (song) which has the fourth, the eighth,
the tenth and the last syllables long in all its fOUl' feet of twelve
syllables, is called the Utthapana Dhl"Uva of the (type).
148. In the Tryasl"a Preliminaries an expert dancer should
abridge the instrumental music, movements [of Dhruv8
songs and their Tala. '
14:}. The actions and movements [of a dancer] are to be
made of two types-elaborate and abridged-according as the
in5trumental and vocal musics are such.
150-151. It is saitl that each movement of hands and feet
should be of two Kala,,' duration, und in any Walkinground in the
(Preliminaries) the hands and ft:et should be moved
sixteen times, while in the Tryasra. Preliminaries they are to
move only twelve times.
151-15:3. This is the measurement of both (i.I'. of hand and
foot in the Ptcliminaries. But in thc Walking-round,
the foot movmwnt conRist of three strps only, but in bowing
143-144 (B.144 W, G.liO-lIJ).
145-145 (B.U6-147, G.l4H43).
148 m.149, 0.145). .
150-151 (B.151)52a, G.147-148a).
131132 (B.152b-153, G.148b149).
147 (R.148, G.1440).
149 (B.lbO, 0.146).
TEiE NATYASASTBA
[V. 1M.
to [the different J directions in the Clltlll'!lSI'aPrelimimmes
should go fh'e stpps,
153. [But all theBe-matter8] should be performed in the
PI'l'iimin:lI'ips according to the IlH:'lIsure of Tala as the
of the art thinks fit. Hence to avoid rnpetition no [elaboratE']
direction about the sallle has been gi ven [here].
154. 0 the of the Bmhmins, thlls should be perform-
ed the pure Pl'eliminarie;; of the Caturllsra and the Tl'yasrn
which relate to a play IIppending on the Verbal Style.
The .Mixed Preliminaries
155. So milch abont the pure Preliminaries which I was to
de:-lcl'ibp. I shall now t,l1 you hoI\' thp prodll('ers may tUI'll them
to one of the mixed (,;if m) typr.
ITJl,- J iW. After tllP Utthapani (l{aisillgl Dhl'Uva has been
decor;!t' d with flowers gircn hy the Fourth Man (l'afnl'tlwkUl'd)
and I'l'sonndl'd with the \\'!'ll measnred loud songs of musical ex-
Pelts, DUlidubhi,; should be played again !Iud again.
158. [And in the mixed Preliminaries thus begun] clusters
of white flowers bll scattered all over [the Rlagej, and the
gllould be performed by [dant'cl'II a;;;} goddesses.
The Class Dance which 11a,; been described above
with its [Pil).,li']' Angahal'Us, NyasaR and Apunyll8as
shoulll iutl'I'vene the Rcpamte -feet of the Benedictory (nandi)
pOCIllS ([il/da), Thi, I'Ule be put into practice by th06C ""ho
would turn pUI'e Prelilllinaries into mixed onel'.
1 (j 1. Aftol' t!IO 'pure' Preliminaries have been duly made
'mixed' [all the dancers a8] goddesses should make
their exit.
1 liZ. Mter the exit of all the female dancers the other
pal'ls of the Pl'elilllinaril's performed.
153 (ll.l54, n.1:.0).
155 (B.lati, n.152).
158 (B.15!), G.l55).
161 (B.162a, G.lS8).
154 (B.lSS, G.lSI).
I5ti-!5i (B.m-158, G.153-1(4).
159-160 (D.leO161, 'G.Ui&'1:57).
162 en. 163b-J6"a, 0,1(9).
V'. 1/1'1 ]
THE PRELIMINARIES OF A PLAY
97
( :: : .163. -This is the maimer ill which the pure Preliminaries
should be changed into mixed onps. But in the Preliminaries, be
they of any type, there sh"ould not be too much dance and song. .:
. 164. If [in a performance] songs, mURic and dance continue
for tOo long [Ii timeJ they tire out the artists as well as the
spectators.
165. Tired [persons] can neither attain or help to attain a
c1l3aor impression of the Sentiments and the States, and because of
this the rest of the performance (i.e. of the play itself)
excite pleasUl'e!
166. After performing the Preliminaries, be they Caturasra
or Tt'yasra of the pure or mixed type, the Director along with his
AR,oistants AhouId make their exit frol)1 the stage
l
.
Introduetion of the play
167. After the Preliminaries have been duly performed
1

the manner described, the Introducer (stl1apllka)2 should enter
[the stag'] and he should resemble the Director (suhadhara) in
every respect (lit. in quality and form).
163 m.164l1-165s. G 160). J 64 (B 165h-166s, 0.161).
(B.166h-167a. G.162). I B. reads OUI! additional eonpit't aftt'r this;
166 (B 168h-169a, G.163). I B. r('ads thee additional eouplets (B.
169h-172a) aft<'r til is.
167 <B 1 2h-173a, 0.160. 1 The r('ad;ng pmjujya in t!.is
8!l1'mS to be d<,feetive; for the nomiuath-e to this prajujya esnnot be
s/kapaka (Introdue<'r). Dl:Rnslijaya (e. 10th e('ntury) el('arly says
that the sn/radham (the Direetor) havin!! gonr Ollt aftt'r th' PrI'Ii-
minaries (jJftroara;Il'a), another aetor mt('I'S to introdllee the drama
(III. 2). The same is the opinion of Saradatanaya (c. 1175-1250). S('c
the Bh P. p.228. lines 56. Vgvan:itha also a similar opinion.
See the SD. VI. 26. H"'nM this should be some-
whnt like the wl'n-known provrl'b rat he ca znmanal1J dr*ij punar-
janma 1M 'Pit/yale. It SPl'ms tht Hha-a cut down the Preliminaries
and mBde an end of the prfletiee of g<'tt.ing the play inu'odueed by the
slkapaka. This assumption will ('xpli,in why Hiil.ls wrote sfdradhara-
etc. Introduction, 15).
I Ai. says Sfl/rarilzara eM of. llot(.l 1 aho,'(\'
13
-
THE-NATYABASTRA . t'l.,,166
168. He should assuine die and
the of the body, and on entering thi' sta,.e' he sh-auld
observe the foot movements which the Director had ,uset!. .
16!l. At the entrance of the Introducer the ,'Dhl'llva' ; should
be made suitable to the occasion (lit. meaning) and it. will be either
Caturasra or Tryasra and be in medium tempo.
170. Then he should perform a Cllrl in 'praise of. gods and
Brahmins in accompaniment with the recitation of 810kas contain-
ing Bweet woids and evoking various Sentiments States.
171. After thus pleasing the (Iit.:the stage) he
should announce the name of the play-wright (lit., the poet), and
then he is to start the Prologue (praslliranii) which relates to
proclaiming the thpllle of the play (lit. the poem)!.
17Z-173. Then by mentioning (lit. having recourse to) a god
in a divine [play], a man in a human r play] and a god 01' a man in
[a play] where gods and men [meet, he] should proclaim in different
ways the subject of til(' play [lit. the poem] by variously alluding
to its Opening (mukha) and Germ (l'ija)1.
174. After introducing the play the Introducer (lit. the
Brahmin who makes the introduction of the play) $hnuld go- oot
[of the stage]. Thus should be performed the Preliminaries accord
ing to the rules.
175. 1 any producerofa play will perform the Preiiminaries
according to the rules laid down, nothing in,auspicious will
to him and lie will [after his death] reach the heaV'cnly'region.: ,.
176. LOll the contrary] whoever a
willful violation of the rules lin matter.! will grf'at loss
and will [after death) be reborn llR a creature of It lowel' order.
168 (B.173b174a, 0.165). 1 Sec XI. 50-51. 2 See XI. 89b, 91a.
169 (B.174b-175a, 0.166). 170 (8.175.1760, 0.167).
171 (B.176b-177a, 0.168). 1 B. reads one additional
. 172'173 (8.178179, 0;169170). I Sec SD. VI. 27. also DR. m. 3
174 (B.180, 0.l7l). 175 (B.18l,
176 (13.182, 0.173).
.V'. 119 ] TBFl PRELIMINARiES OF A PLAY
177-. Fire fanned by a strong wind dpes not bul'll [anything]
so quickly as does the wrongly made production. ...
178. In this manner. the Preliminaries of two different ex"
tents (pramalJa) should be perfot'med by the people of Avanti,
Pancala,
.179. 0 Brahmins, theRe are the rules regarding the Preli-
minp.ries. Tell me what other rules . relating to the Niityaveda
should be discussed now
1
,
Here' ends Chapter V 01 Bharata's
which treats s>f the Preliminaries to the production of a play,
177 (B.184, 0.175). 178 (B,184, 0.175).
179 <B.18S, 0.176). I The portion of this ehapt<'r afwr this sloRa
haB not been translated. It is not from the hand of author of the
CHAPTER SIX
THE SENTIMENTS
The, sages question.
1-3. After hetll'ing about the rules regarding the Prelimina-
ries, the great snges continued tlwil' inquiries and said to Bharata,
"Answer five of our queRtions. Exphtin how the Sentiments
enumerated by experts in dramatic art attain theh' special qualities.
And why lire the /JIlaO(/S {States) so called, and what do they
bltava,yo nli (make llS feel)? thf'se, what al'C the real mean-
ings of such as, Digest Memorial Verse
(kal'ika) and Etymology (nirukta)" ?
Bharata answpre.
4.. At these won.ls of the sages, Bharata contimwn
and mentionrd in reply to their question the distinction between
the Bentiments and the
5-7. And thell he Faid, "0 I tell you in
detail and in due order about the Digest (s(/''!tllraha), the Memorial
Verse (/.ari/,a) and the Etymology (nirnktrr). I am not able by any
means to all tlw topics about drama (na<yn); for science
(inana), l and arts and emfts (silpa)' connected with it are
rcpeetively manifold and endless in number. And as it is not
possible to treat exhaustively (lit. to go to the end of) even one of
these subjects which are [vast] like all ocean, thel'e cannot be
any questi')11 of mastering them all.
8, [Hence] I shall tell you about the Digest on Sentiments,
States and such other matters, which has itR contents emhodied
1
1-3 (B.G. same). I For a \lossiblo ehronologieal implieation of
sa".lrra/za, karika, Ilirukta, mira and bhWfya m!'ntioned in this chapter
se!' Skt. Vo!' 1. Pil. 28 If. " (B.O. same).
H (fl.G. same). I Htananz:vYiJhua1J{ldinilaslra1}i(Ag)
2 siIPimi-cilrapllslfldi-karmarJi (Ag).
8 (B.a. same). 1 Urad sulrajul!hariltn.
[ V114-
raE SENT1MENTS 101
in a small number of Siitras (short rules) but which promotes
infel'8nce [about the understanding of the subject].
Digest, Memorial Verse and EtymoloEY defined
9. When subjects taught in detail have heen compl'essed
and bl'ought together in [a number of] and their
(commentary), these latter constitute according to the learned It
bfgest (sar{t!ll'aha).
10. 'I11e Digest [of the Niityaveda treats 1 the Senti ments,
the States, the Histrionic Repl'eRentation \tthhina!lf/,), the Practice
(dhn.J'1ni), the (v('iti), the (siddhi), the notes (sval'a),
the instrumental music (at(){l.1f(L), songs and the Rtage. I
11. When a rule (lit. meaning) is explained (lit. uttered)
briefly ill the manner of a Sutm by meanR of a minimulll Oit.
number of wOIds it is called the l\Iemorial Verso (kii,I'ik1i) which
shows the meaning [of the rule clearly J.1
]2. The Etymology (nirnktrr) is that which in con-
naxion with VaI'inus nouns, is helped by dictionaries and rules
of grammatical intet'pretation, the meaning of the root
inyolved as well as the l'easonK modifying it, and helped by
various findings [of Sastl'asl
13. When the meaning [of It nOlln] is established from a
conRideration of its root [and or affix], words expressing
[such] meaning in brief are called the Etymology.
14. 0 the best of the Brahmins, [the subjects included into]
the Digest which I montioned eal'1ier, will now be
discussed in detail with the necessary Memorial Verses (karika) and
Etymologies COllllreted with them.
9 (B.G sanu).
10 (B.G. same). I B. one more eOIl\ll('t after 10.
11 (B.12, G. same). lOne additional ehal'aeteriRtie of the !tiiriM L
that it should be Ilenerally eomposed in metres like aryii or ilo/ta, e.,
the .S&'!Ik.tya.tanlel.
12(B.la,G.111). la(R.14,G.13), 14('R.15,G.U).
10.

The ei,ht Sentiments
15. The eight S('ntiments (m.la)1 recognised in drama
are as follows: Erotic Comic (hi.i8ya,),
Furious (l'II nrll'll), Heroic (vii'll,), Twihle (bhllyana/ca) Odious
(bib/llltSII) and Marvellous (Itdbillt//i). g
16. These eight are the Sentiments named by B.uhman i
'r shall now speak of the Dominant, the Transitory and ,the
Temperamental States.
l
'
Tho Dominant States
17. The DomiUllnt States are,.k(lown to be
the following: love, mirth, sorrow, angel', energy, terror,
and astonishment.
18-21. The thirtythree Transitory States (I'ya/'hiral'i-
bham)l are known to he the following: discouragement, weakness,
apprehengion, envy, intoxication, weariness, indolence, depression,
anxiety, distraction, recollection, conttmtment. shame, incom'tancy,
joy, agitation, stupor, arrogance, dCRpair, impatience, sleep. epilepsy,
dreaming, awakening, indignation, dis:limulation, cruelty, assurance,
sickness, insanity, death, fright and deliberation. These are
defined by their names.
The eight 'remperamental States
22. Paralysis, Perspiration, Horripilation, Change of Voice,
15 (B.16, G.15). I rasa-A. K. Coomaraswamy is for translating the
word as'liavour' (MG. p. 17).
The later writers on Skt. poetics add one more ,...
,Ut this number.
16 (B.17, G.16). I 6ka'lla-A. B. Keith translates this word as
'feeling' or 'emotion'. See SkI. Drama, p. Slt'.' , A. K. CoomarllS'\Vl\lIIY
and others translate it a,q 'mood' (loc. ci/.). We are with Haas who translates
ii as 'State.' See DR. p. 108.
17 (B,lS, G.l7!. I stkayiMavlt-Keith trllllslate3 the termll8'domi.
net emotion' (Skt. Drama) and Haa.q as 'Permanent State' (DR.) and
. 'ben u 'permauent mood' (e.,. S. K. Dc, Skt Poetics, V 0). n. p. 26).
18-21 (8.19-22, G.111-21). I Thes& are also known as I.J,'IearI:JMN.
II (8.18, a.H). I IiJIIfJiM word IiIlfIt. ellIDot
.Y.J ,a. ]
. .1J!HE SENTIMENTS
Trembling, Change of Colour, Weeping and Fainting are the eight

The four, kinds of Histrionie Representation
2:t The four kinds of Histrionic Represpntation are Gee-
tUl'es (o:ngilc(I )1', W Ol:ds DresseR and Make-up (iihal'ya)8
the Representation of the Temperament (siittrika).'.
- _.' -
The Two Praotioe!!
24. The Practice of Representation (tllzannt)1 in n dmmatic
pl'l'formance rs tw{)fold: realif .. tic (lokadlwfmi, lit. popular) and
lit. theattical).
The four Stylee
And the Verbal (hhiimt;), the Grand (sal/t'n/;), the Graceful
(ka.isiki) and the Enel'getic are the rOIll' Styles
propC'l'ly translated into English. Keith dol'S not make any such
att'mpt (sec Skt. Drama) Haas translat<>s the satl7'ika-MinJa as
'Invohmtary States'. But this serms to be vl'ry misleading, for the
takl's sativa to hI' connected with manas. (sec VI. 94), and most
of the later writf'rs follow this work in this rf'Spect. eo the
autl.or of the 1\D. (III. 153) writf's '11.1,; 'I'f
" Ililil"l q:. "f'il" ;:;fu!ll1. The has also a
of sattz1a which is as follows: .. itl! 11'\<1 (XXIV. 7).
The autLor of the BhP. elaboratC'ly dcfiuf's thr term saUm lind "dffcussl's
the psy'eholollicai process connl'Ctoo with its usc j sec (pp. 13-14).
Visvimlitha in his SD. (164) defines sattz'a as follows: itll!
lIf""I1llQ
23 (B.24, G.2S). 1 ailgika-means Gcstnrl'S of special kind ddincd-
ill the 8cls/fa j sec NS. VllI-Xll.
2 Warda suitable for fPpreSf'ntation of the dift'f'rl'nt
(Muz'a) compos(od by the playwright. Srl' XV-XXII.
8 Sec Nti. XXIII. ' Spe XXIV.
24 (B.25-26a, 0.24-25a). I dharmi-This word has not h('('n very
eorrf'Ctly Hilt tho IlwRlling dC'ar; for dptail,. ahollt dhanni SM
XIII 69-81.
I Haas translates vrtHs as of Prncedm'" (DR. p, 67). The
four Styles arc translatNl 'by him as EJoquC'nt (Marali), Grandiose (sat/z'ali)
Gay (kai';ikj) aud Horrific (araMali). We follow Keith's trauslation
. .
DrlUlla, p. }i'or details about see N8. XXII. 1ft',
THE NATYASASTRA
[VI. 26-
. The four Local Uea&ea
2:,.2(j. Ava.nti, OQ"mniigadbI and Pancal!t
madhyama al'dhc fOllr Local u,<ages (1'I'((/'1tli)1 in a dramlltie
performance.
The Sueocss
The in the dl';lmatic performance is of two kinds:
divine (.Iairi/,-,) and hunwn
Tho
2'[.29. And [muRkal] notf'S such etc. arc
sevent in numhpr, and they fall into two gl'OllpR :.human (i{tI'i.1'/i
lit. from body) and in;;trumental (1!Ili,!,r I'll lit. from the Vil}a).l
Th! fOIll' kinds of musienl instruments
The mm;ical in,:;tl'llmcnts arc of 1'01\1' kinds
2
: stringed (tllla)
covpred (III'I1II1/d,/lw), Rolid (ghalill)' and hollow
Among tlw,,(l, tlw stringpd (ta/ II ) ml'ans an instr'umrnt with
strings, the con'red ,11 i'Ifiladdha) a drullJ, the solid (ghana)
It CYlllbal and the hollolV IL flute.
The five kinds of Dhruviis
2!J.30. Songs which rclate to Dh"uvas IIrc of five kinds
l
:
25-26 (B.26h-27<1, G 25\)-26,,), , prav(ili-Haas translat('8 this word
as 'Local Charactrristics', (Sec DR, p 74) The fivo grographical names
(Avanti, D Magacll.!l lind Pailcala) probably show tLat
th"se Wl'r{' tLe parts of India wL,'rc dramatic show was current at tl.o time
when tradition rrcord"d in this Omission of the north-castern
part of Indm, inclmling Bengal lind Assam, probably aloW's that at
that time these were still in mauy respects outside the pale of
Aryanized IIlJi:\. An 1 the of the northw65tern India from this
list may be rxplailJ('d on the 3S>umpt.ion that it beioK 00 the way of
tho lIelV lVi,Q frrql\('ntiy poured into this country tho forma-
tiOI} of illV <'it I l,i>heJ 113:1;:0 was diffiCtilt. For d<'tllils II1Iolit /raf)rllis
Bee N.;. XlV. :165U.
siddhi tI"tails about the HNl N8. XXVII. 1 if.
27-29 (H.28.1:lO, 29). 1 Sec (C.) XXVIII. 19, H.
'.See N8. (C.) XXVIll. 1-2. -
(B,a1-S3a, G.30-S11l). 1 See (C.) XXxII. 3840-852.
.Vi. 31 ] THE SENTIMENTS
105
entering (pravesa), casual going out pleasing
(pra8o,dika) and intermediate (antaj'(f,). And the playhouse is
of the three types: oulong (dkr*), square (ca/urosm) and
triangular (t1yasm)2.
31. So much about the Digest on drama giving its con-
tents (lit. meaning by a RmaH number of Sutras (concise rules).
I shall now speak about the contents of the SUtra-work 1.
The explained
In that c(}nnexion T 6,,t of nil explain the Sentiments
(1'tLsa). No meaning proceeds [from speech] without [:my kind
of] Sentiment. the Sentiment is produced from
II combination (.w7!tyoga.)2 of Detcl'minantR (dIJharn), Coni.equent"
(annliharn) and 'l'rauRitory StateR ('C!lrluhicari1JhavlI). Is there
any instance [parallel to it]. rYes], it is said that, as
taste (l'asa) results f!'Om a combination of variolls v<'getables
and other articies
S
, and as six t::st<'s are produced by
articles such as, raw sugar 01' spices 01' v<'getablel', 80 the
Dominant States (xthayilil1am.), when they come together with
val'ious other States (I'ham) attain the quality of the Sentiment
(i.". become Sentimcnt)4. Now one 'What is the meaning
of the word /'tlsa"? It i!'l in I'rply to thi!> [that msa is RO
called] because it is ('arable of bring taRted (ii'lraIIUllt!'). How
is rnsa tasted? [In reply] it i:; that i"Rt ail well-diRposcd
persons while eating food cooked with many kinds of spices enjoy
(a.wadnyanti) its tastes and attain ple;)snrc and
D, adds onc couplet aft!'\' ao.
31 (RaSh-Sia, G.alb. c), I The original of tIl!' ncxt passage till the
bpginning of S3 is in prosc.
, Tho nowhere l'xplain" tll<' tmns lind sawyoga of this
definition and does \lot inelude tho stluiyiMiiva ill it (t.he d!'f.). Hrncc the
theory of rasa cOllle to be interpreted ditfermtly in lat('\' tilUPS by
Lollllta, Satikuka, (Dhatt;a) Niiyaka lind Abhillamgupta. For 1\ brief
exposition of their views sec Bhattaciirya-Siihitynmimalllsii
(Bengali), Caleutta, 1948. pp. 33 ff, .
8 G. adds hero olle sentence mol' I' (latha ........ "
, lalraha (G. r;aya iiCfill).
14
106
THE NATYASASTBA l VI. S2e
so the cultured people taste the Dominant States (st1I'liyi.bha,va)
while they see them represented by an expression of the various
States with Words, Gestures and the Temperament and derive
pleasure and satisfaction. Thus is explained [the Memorial Verse
ending with] tasman iti
ll
, For in this connexion there
are two traditional couplets:
3233. Just as connoisseur of cooked food (blialeta) while
eating food which has been prepared from various spices and
other articles, taste it, so the learned people taste in their mind
the Dominant States (such as love, sorrow etc.) when they are
represented by un expression of the States with GesturC'R. Hence
these Dominant States in a drama are called the Sentiments.
1
The relation between the ScntimentA and the States.
sNow Jne enquires, "Do the States (blta,l!a) come out of the
Sentiments (rMa) or the Sentiments come out of the StateR?"
On this point, some are of opinion that they arise from their
mutual contact. But this is not so. Why?
"It iH apparent that the Sentimrnts m'ise from the States
and not the States from the Sentiments. For [on this point] there
are [traditional] couplets such as :
3435. The States are so called by experts in drama, for
they cause to originate (bhavayanti) the Sentiments in connexion
with various modes of dramatic representation. Just as by many
articles of various kinds auxiliary cooked food (lJ!fanjana) is
6 See below 33-34.
32-33 (B.il5-36, G.32-33). 1 For a discussion on Bharata's theory
of rasa see Skt. Vol. II. pp. 25 If.
;, The original of this passage till the beginning of 34 is in prosr,
but itA rcading Bcrms to be confused. In the light of the five kiJrikas tllnt
follow one Inay be justified in changing the order of some sentences and
in emending it partially as follows: "11m if
!J I lfi"''t I nit r,
But if it is really an instance of textual corruption it may be said
t-) have boon eanetified by tim(', for Bboia who refuted Bharata's view on
lJIza1Jas giving rise to rasas relied on this text. Cf. V. Raghavan, Sr. PI'.
p.26. 34-36 (B.SSS9
1
G,S4-Sli),
-VI. 49 ]
TaB SENTIMENTS
101
brought forth, so the States along with different kinds of Histrio-
nic Representation will cause the Sentiments to originate.
3G. There can bc no Sentiment prior to (lit. without) the
Statcs and no States without the Sentiments [following it], and
during the Histt'ionic Representation they are produced from their
mutual relation.
37. Just as a combination of spices and vegetables imparts
good taste to the food cooked, so the States and the Sentiments
cause one another to originate (M1avayant'i) .
.
38. Just as a tree grows f!'Om a seed, and flowers and fruits
[including the sood] from a tree, so the Sentiments are the source
(lit. root) of all the and likewise the tltates exist [as the
source of all the l:5entimentsJl.
The eight Sentiments from the four original ones
Now we shall describe the origins, the colol1rs, the [presiding]
(Ieities, and examples ofthese Sentiments. Sources of these [eight]
Rcntiments m'e the four [original] Sentiments e.!l. El'Otic, Furious,
Heroic and Odious.
2
39. The Comic [Sentiment] al'ises from the Erotic, the
Pathetic from the Furious, the Marvellous from the Heroic, and
the Tefl'ible fl'orn the Odious.
40-41. A mimicry of tho Erotic [Sentiment] is called the
Comic, and the result of the Ful"ious Sentiment is the Pathetic, and
the result of the Heroic Sentiment is called the Marvellous, and
that which is Odious to sce results in the Terrible.
42.43. The Erotic Sentimcnt is light green (syama), the
Comic Sentiment white, the Pathetic (Sentitnent) ash-coloured
86 (B.40, G.86).
87 (ll.41, G.87).
88 (B.42, G.BS). 1 B adds ouo prosc'sentencc more after this passage.
S The original of this passage till the beginning of is in
Bhoja criticises this view of the author of the Nt). in Sr. Pro
Seo Ramaswamy Sastri Bh. P. Introduction p. 28; V. Raghl\Vl\n, 8r. Pro 27.
89 (B.44., G.89). 40-41 (B . .s-46, G.40-41).
42-43 (B.47-48, G.4i2-43).
lOB
THE NATYASASTRA
[ VI. 4t
the Furious Sontiment rod, the Heroic (Sentiment) light
orange (ganl'(f), the Terrible (Sentiment) black, the Odious (Senti-
ment) blue and the Marvellous (Sentiment) yellow.
The presiding deities of the Sentiments
44.45, is the god of tho Erotic, Pramathas of the
Comic, Rudra of the Furiolls, Yama of the Pathetic, Siva (MaM-
kala), of the Odiolls, Yama (Kala) of the Terrible, lndra oE tho
Heroic, and Dralllll<l n of the Marvellous Sentiments.
IThuB have been described the origins, tho colours and the
deities of these (Sentiments). N ow we shall exph}in the Determi-
nants (ril)hiira), the Consequents (a II ItI,ltul'a), the Transitory
States ('I'yal)/t.il'al'in), theil' combination, and their definitions and
exampks.
We shall now enumerate the Dominant Statl's in different
SontimentH,
The Erotic Srntillwllt
Of the,p, the Erotic (x,'ilyal'll)' Sentill]('nt"procecds ,from- the
Dominant State of love (/'ali) and it haH as its basis (lit. soul) a
bright attire; Em' whatever in thiH world is "hite, pm'e, bright and
beautiful is appreciated in terms of the Dominant State of love
(srnVam). For example, one who is elegantly: dressed is called a
lovely person (scI/Varill). Just as persons are named, after-the
Cl1stom of their filther or mothe( or accordance with the
traditional authOl'ity, so the SentimentH, the States and other
objects connceted with dl'ama are gi"en nallles in pursuance of the
custom and the tradItional authority. Hence the Erotic Sentiment
has been so named on account of its usually being' associated with
R bright and elegant attire. It owes its origin to' men and women
Rnd relate., to the of youth, It has two bases-: union
and separation (1!ipl'alarnbha.), Of these two, 'Erotic
Sentiment in union arises from Deteminants like the pleasures of
the season, the enjoyment of garlands, unguents, ornaments [the
44-15 (13.49-50, n.4H5), 1 'rIte original of this p88llage till the
beginning of 46, is ill prose.
-\11. 471
THE SENTIMENTS 109
company of) beloved objects [of senses], man!-1iolls,
going to a garden, and enjoying [oneself] therr, seeing the [beloved
one], hearing [his 01' hel' words], playing and dallying [with
him 01' her]. It should be representated on the stage by Conse-
quents such as clever movement of (lyrs, eyebrows, glances,
soft and delicate movement of limbs, and sweet words and similar
other things. TransitOl'Y States in it do not include fear, indolence,
cl'uelty and disgust. [The El'otie Sentiment] in separation llhould
be represented on the stage by ConsequentH such all indifference,
langour. fea.., jealousy, fatigue, anxiety, yearning, drowsiness,
sleep, dl'eaming awakening, illness, insanity, epilepsy, inactivity,
[fainting], death and othel'
Now it has beeen 1U;ked, "If the Erotic Sentiment has its
origin in love, why docs it [sometimes] manifest itself through
pathetic conditions [In reply to this] it is Haiti, "It has been
mentioned before that the Erotic Sentiment has its basis in union
as well as in separation. Authorities on aI's amatol'in (vaisika-
have mentioned ten conditions [0 the persons separated
from their beloved ones, which al'e pathetic], We shall discuss
them in the chapter on the Comlllon Histl'ionic Representation.
2
The Pathetic Sentiment relates to a condition of despair owing
to the aflliction under a curRC, sepamtion ft'om dear ones, loss of
wealth, dt'ath or captivity, while the Erotic Sentiment based on
separation relates to a condition of retaining optimism arising
out of yearning and anxiety. Hence the Pathetic Sentiment,
Rnd the EI'Otic Sentiment in separation diffel' from each other.
And this is the reason why the Erotic Sentiment includes
conditions available in all other Sentiments.
46. And the Sentiment called Erotic is rich in pleasure,
connected with desired objects, enjoyment of garlands
and similar other things, and it relates to [the union of] man and
woman.
There are besides two Aryas related to the preceding Sutra :
4748. The Erotic Sentiment arises in connexion with
-------------------'-----------
D 800 NS. (C.) XXIV.
46 (B.52, G.41&). '7418 (B.54-55, G.'7-418).
110 THE NATYASASTRA
[VI. 4:9
favourable seasons, garlands, ornaments, enjoyment of the company
of beloved ones, Ulusic and poetry, and going to the garden and
roaming there. It should be represented on the stage by means of
serenity of the eyes and the face, sweet and smiling words, satisfac-
tion and delight, and graceful movements of the limbs.
The Comic Sentiment
INow the Comic (hasyo) Sentiment has as its basis the
Dominant emotion of laughter. This is created by Determinahts
such as showing un$cemly dl'ess or ornament, impudence, greediness.
quarrel, defecti vc limb, use of irrelevant mentioning of diff-
erent faults, and similar other things. This (the Co\uic Sentiment)
is to be represented on the stage by Consequents like the throbbing
of the the nose and the cheek, opening the eyes wide or con
tracting them, perspiration, colour of the face, and taking hold of
the sides. Transitory States in it are indolence, dissimulation,
drowsiness, sleep, dreaming, insomnia, envy and the like. This
(Sentiment), is of two kinds: self.centered and centered in others.
When a person himself laughs it relates to the self-centred (Comic
Sentiment), but when he makes laugh it (the Comic Senti-
ment therein))s cen tred in others.
There are two traditional Aryas here:
-1,9. As this makes one laugh by an exhibition of oddly
placed ornaments, uncouth behaviour, words and dress and
strange movement of limbs, it called the Comic Sentiment.
50. As this makeR persons laugh by means of uncouth
behaviour, words, movement of the limbs and strange dress, it is
known as the Comic Sentiment .
51. This Sentiment is mostly to be Reen in women and
persons of the inferior type, and it haR six varieties of which I shall
speak presently.
52. They are: Slight Smile Smile (hasitlt), Gentle
Laughter (vihnsitn), Laughter of B.edicule Vulgar
1 Tile original of th ta \I!11!Sage till the beltiuning of 49 is in prose.
49 G.49). 50 (ll.59, G.50).
61 (B.60, G.o!). 511 (B.61, G.lill).
-VI.60J THE SENTIMENTS
111
Laughter (apalur,wa) and Excessive Laughter (atilta8itJl,). Two by
two they belong reApectively to the superior, the middling and
the inferior types [of perAons].
5:3. To persons of the supel'iol' type belong the Slight Smile
(smita) and the Smile (ltasita), to those of the middling type the
Gentle Laughter (viita,l{ila) and the Laughter of Ridicule (npa
to those of the inferior type the Vulgat, Laughter (apahasita) and
the Violent Laughter (rLt.ihasitn),
There a!'e Slokas on this subjectA :
5 t The Slight Smile of the prople of the superiol'
type should heochul'aderised by slightly blown cheeks uud elegent
glances, and in it the terth should not he visible.
55. Their Smile (hI/Nita) f<hould be distinguiHhed by bloom-
ing eyeR, face and cheekl', and in it the teeth l'IIOUld be slightly
viHible.
Of persons of the middle type
56. The Gentle Laughter (l:ilUlsita) should have slight
ROlmd, and sweetness, and should he ,mitable to the occasion and in
it the eyes and the cheekR should be contracted and the face joyful.
57. During the Laughter of RiJicule (upahosita) the nose
Hhould he expanded, the eyeR should be squinting, and the "houlder
!tnd the head should he brnt.
Of persons of the inferior type
58. The laughtrr on occasiom; not suitable to it, the laugh-
tC'r with teal'S in one's eYC'fl, or with the shoulder and the head
violently shaking, is called the Vulgar Laughter (apahasita).
59. The ExceRRive Lallghtel' is that in which
the eyeil al'C expanded and temful sound if; loud and C'xcessiv<', and
the sides ure covel'ed by handp.
(j0. Comic situations which Illay al'ise in the of a
53 (B.62, G.53).
56 (B.68, G.56).
59 (B.72, G.59),
54 (B.65, G.54).
57 (B.69, G.57).
60 (B.7s,G.60).
55 (B 66, G55).
58 (B.7l, G.58).
THE NATYASASTBA
play, for persons of the superior, middling ai' inferior type are thus
to be given expression to,
61. This Comic Sentiment is of two kinds: self-cenb'cd and
centred in others; and it relates to the three types of persons: supe-
rior, middling and inferior, and has thus [on the whole] six varieties.
The Pathetic Sentiment
1 N ow the Pathetic (l.:al'u,1fn) Sentiment arises from the DOIili-
nant State of sorl'ow. It grows from Determinants such as aIRic-
tion under a ellt',e, separation from dear ones, loss of wealth,
death, eaptivit.y, Hight [from OllP'8 OWII p\;lCll). [dangerouR] aecidents
or any other This i8 to be rpprcsl'ntrd on till' stage by
!lleans of Consequents such as, Hhcdding lamentation, drymss
of thc mouth, change of coloul', drooping limbs, being out of
breath, loss of memory and the like. Transitory States connected
with it are indifferencl', langollr, anxiety, yrarning, excitement.
delusion, faintiug, sadness, dejection, illness, inaetivity.
epilepsy, fear, indolence, death, paralysiH, tremor, change of COIOUT.
weeping, loss of yoice and the like.
011 this point there lu'e two Aryas :
62. The Pathetic Seqtiment ariseH hOUl seeing the death of
a beloved person, 01' from hearing something vcry unpleasant and
these are its Determinants.
63. This is to be represented on the stage by Consequents
like weeping loudly, fainting, lamenting tlnd bewailing, <,xerting
the body or striking it.
The Furious
1 Now the Furiolls (rawlm) Sentiment has as its \1asis the
Dominant State of anger. It owes its origin to Danavas
and haughty men, and is caused by fights. Thill is created by
-----_. ------- -- -----------------
61 (B.74, G.61). 1 The original of this passRgo till the iK>ginning of
62 is in prOR". 62 (lU6, G,62).
6aiB.7? G.63). 1 The original of.this passage till the b<'ginning of
64 is in prose.
-VI. 66] THE SENTIMENS
113
Determinants such as anger, raPf', abuse, insult, untrue allegation,
exorcizing, threatening, revengefulness, jealouRY and the like. Its
actions are beating, breaking, crushing, cutting, piercing, taking up
arms, hurling of missiles, fighting, dnLwing of blood, and similar
other deeds. This is to be represented on the stage by means
of Consequents such as red eyes, knitting of eyebrows, defiance,
biting of the lips, movement of the cheeb, pressing one hand
with, the other, and the like. Transitory States in it are presence
of mind, determination, energy, indignation, restlessness, fury,
perspiration, trembling, hOl'l'ipilation, choking voice and the like.
Now one enquires, "Is it to be assumed from the [above]
statement about that they only give rise to the Furious
Sentiment, and that this Sentiment does not relate to others?"
[Reply]. "No, in case of others too this Sentiment may arise, [But
in case of it is to be understood af! their special functioll.
They are naturally ful'ious, 2fOI' they have many arms, many mouths,
gtanding and unkempt hah'f! of brown colour, and prodigious
physical frame of black complexion, Whatever they attempt, be
it their speech, movement of limbs 01' any other effort, is by nature
furious. Even in thcil' love-making they are violent'. It is to
be easily inferred that persons who imitate them give rise to the
Ful'ious Sentiment from theil' fights and battle!!.
On these points there are two Al'yas :
G4. The FUlious Sentiment is created by striking, cutting,
mutilation and piercing in 6ghtt:, and tumult of the battle and
the like.
65. It should be l'1'pl'es:nted on the stage by Rpecial acts
Rueh as the releaRo of many ('utting off tIll' head, the
tmnk and the arms.
66. Such is the FUlioll:> Sl'ntiment viewed [by expPl'ts] ;
it ifl full of conflict of m'IllS, and in it movements and
deeds are terrible and fearful.
, G. eonsiders this passage till thn rlld of this senwuec ru; all iiryii
(G.64). 8 Cf. Bhattikiivya, VTII. !l8.
64 (B.79, G.65). 65 (RSO, G.66). 66 (B.SI, G.67).
Iii
lU
THE NATYABASTRA [VI. 67-
The Heroie Sentiment
INow the Heroic (vira) Sentiment., relates to the superior
type of persons and has energy as its basis. This is created by
Determinants such as presence of mind, perseverance, diplomacy,
discipline, military strength, agressi veness, reputation of might,
influence and the like. It is to be represented on the stage by
Consequents such as firmness, patience, heroism, charity, diplomacy
and the like. Transitol'y States in it are contentment, judgement,
pride, agitation, energy (vegn), ferocity, indignation, remembrance,
horripilation and the like.
There are two Aryas [on these points] :
67. The Heroic Sentiment arises from energy, persever-
ance, optimism, aLsence of surprise, and presence of mind and
[such other] special conditions [of the spirit I.
tiS. This Heroic Sentiment is to Le properly represented on
the stage by firmness, patience, heroisllJ, pri!!l', energy, agrcssive-
ness, influence and censuring wor(k
The Terrible
1 Now the Terrible (hhayanalw.) Sentiment ha" as its
the Dominant State of fcar. This is crcated by Determinants like
hideous noise, sight of ghosts, panic and anxiety due to [untimely
cry of] jackals and staying in an empty honse or forest,
sight of death or capitivity of dear ones, or news of it, 01' discussion
about it. It iR to be represented on the stage by Con seq uents sllch
as trtmbling of the hands and the feet, horripilation, change of
colour and of voice. It" Transitory States are paralysis, per-
spiration, choking voice, horripilation, trembling. loss of voice,
change of colour, fear, stupefaction, dejection, agitation, restlessness,
inactivity, fear, epilepsy and death and the like.
On theHe points there are two traditional ArYiiA :
69. The Terrible Sentiment is created by hideous noise,
--- --------------- -------------
I The original of this plISsage till tho beginning of 67 is in prose.
6? (B.ss, G.6S)
68 (B.S4, G.69). I The original of this passage till the b<>ginnilli!
of 69 is in prose. 69 (R.S6, G.70).
VI.74] THE SENTIMENTS
llIi
. sight of ghosts. battle, entering an empty house or forest, offending
one's superiors 01' the king.
70. Terror is characterised by looseness of the limbs, the
mouth and the eyes, paralysi" of the thighs, looking aJ'ound with
uneasiness, dryness of th3 dt'oopLlg mouth, palpitation of the
heart and horripilation.
71. Thif! is [the character of] natural fear; the artificially
Rhown fear also should be represented by these cunditionR. But in
case of the feig.ned fem' all effol'tR for its representation should be
milder.
72. This1'ertible Sentiment ,;hould be always represented
by tremor of the handH and the fcet, pnmlysis, shaking of the
body, palpitation of the heart, dryness of the lips, the mouth,
the palate and the throat.
The Odious Sentiment
1 Now the Odious (b"ibhafs(t) Sentiment has as its basis the
Dominant State of disgust. It is created by Detel'millants like
hearing of unpleasant, offensive, impure and harmful things or
HL'Cing them or them. It is to be represented on the stage
by Consequents such n8 stoPVing the movement of all the limbs,
narrowing down of the mouth, vomitting, spitting, shaking the
limbs [in disgust] ami the like. Transitory States in it arc epilepsy,.
delusion, agitation, fainting, sickness, death and the like.
On these points there are two traditional Aryas :
73. The Odious Sentiment arises in many ways from
diRgusting sight, tastes, smell, touch and sound which cause
uneasiness.
74. This is to be represented on the stage by narrowing
down the mouth and the eyefl, covering the nose, bending down
the head and walking imperceptibly.
70 (B.87, G.7l). 71 (B.88, G.72).
72 (B.89, G. 78). 1 The original of this passage till the beginning
of 73, is in prose.
73 &.92, G.74). 74 (B.98;G.75).
116
THE NATYASASTRA
[ IV.
rAe Jluwlhus Mumt'ot
!Tile Marvel/oils (atlNud,') SentiJ1Jent has ,7S its hasis the
Dominant State of astonishment. It is cr'eated by Determinants
such as sight of heavenly beings 01' events, attainment of desired
entl'llnce into a superior mansion, temple, audience hall
(sablta), a seven-storied palace and [seeing] illusory and magical
acts, It is to be represented on the stage by Consequents such as
wide opening of eyes, looking with fixed g,lze, horripilation, tears
[of joy] perspimtion, joy, uttering words of approbation, making
gifts, crying Ita, ha, ha, waving the end of dhoti or
Bari, and movement of fingers and the like Transitory States in
it are weeping, paralysis, perBpiration, choking voice, horripilation,
agitation, hurry, inactivity, death and the like,
On this point there are two traditional Aryas ;
75. 'rhe Marvellous Sentiment is that which arises form
words, character, deed and personal beauty,
76, This is to be represented on the stage by a geRture of
feeling [sweet] joyful shaking of and uttering of ha,
ha, ha, sounds, speaking words of approbation, trcmor, choking
voice, perspiration and the like.
The three kinds of the Erotie, the Cornie aud tho Terrible Sentiments
77, The Erotic Bentiment of three viz, of words,
dress, and action, And the Comic and the Terrible Sentiments
are likewise of three kinds, viz, of limbs, dress and words.
The three kinds of the Pathetie Sentj.moot
78. The Pathetic Sentiment is of three kinds, viz, that
rising from obstruction to lawful deeds, from loss of wealth and
from bereavement.
The three kinds of the Heroic Sentiment
79. The Heroic Sentiment is likewise of three kinds, viz.
I The original of this passage till the bciinninK of 76, is in prose.
'75 (B.05, G.76). 76 (B.96! G,??). 77 (B,97, G.7S).
7S (B,9S, G,79), 79 (B,99, G,SO).
."11. sa 1
'rHE SlllNTIMENTS
117
thnt arising from mll/dng gilt>!>; from doing one'" duty (rlltfll'fna) lind
from lighting (one's enemy)
The three kinds of the Terrible Sentiment
80. The Terrible bentiment is also of three kinds, VIZ,
feigned fear, fear from a wrong action, and fear from an apprehen-
sion of danger.
The three kinds of the Odious Sentiment
81. The Odious Sentiment is of three kind!', viz.
s:mple, and exciting. Of these the Sentiment froUl
a sight of stool and worms is nauseating. and the sight of blood
and similar objects is exciting.
The three kinds of the Marvellous Sentiment
82. The Marvellous Sentiment is of two kinds, viz. celestial
and jOYOU8. Or these the celestial is due to seeing heavenly
sights, and the joyous due to joyful happenings 1.
83. These al'e the eight Sentiments and their definitions,
I shall hereafter speak of the characteri"tics of the States.
Here ends Chapter VI of Bharata's
which treats of the Sentiment!1.
80 (B.IOO, G.al). Bl (RIOI, G.B2).
82 (B.I02, G.BS). 1 B. adds here a >,purious passage on ianta rasa.
CHAPTER SEVEN
THE EMOTIONAL AND OTHER STATES
Bhii'Oas (States) explainro
Now I shall:speak of the lillii,I'IIR (StateH). An enquiry in
this connexion is, "Why arc the (StateR) so called 1 lR it
hecause they bhal'a.yanfi (pervade) and are henet) called Mal:aS
(States)?" It is said in reply that (States) are so called
because through Words, Gestl1l'es and the Representation of the
Temperament, they (infuse) the meaning of the play
[into the spectatorH]. 1 IJha1;(( is 'eauso' or 'inHtrulllcnt', for
words such as, uhiicitn, I'asil.n and "'1'1'1, are Rynonymous. An
expression likE', '0, all theso things are iJltiil'itn (pervaded) by one
another's smell or moistened by one another's juice,' is established
even the common people. Hence the root "hal'IIyf!. means
'to pervade'. Ont his point there are the following :
1. When the meanings presented by Determinants and
Consequents are made to pervade (UII1J!ltylc) [the heart of the
spectators 1 they are called bhavas (:States).
2. As in these the inner idea of the playwright (kal;i)
is made to pervade (the mind of tbe Hpedators] by means of
Words, Gestures, colour of the face and the Hepresentation of
the Temperament they are called U:)tates).
3. As they caUtle the Sentiments I'elating to various kinds
of Histrionic Representation to pervade [the mind of the
spectators], they are called bhiJ,vus (t'3tatoA) by those who
produ(,'C a drama.
ViMiJ'Oas (Determinants) explainro
"Now, why iR the word 1Jibhal1a used ?" [Answer]: "The
word 1Jibhii.l!a is useu for the sake of clear knowledge. It is
---------------_._---
o <B.G. same).
1.<B.1-2. G .1). 1 We read 6hava ,1i leara'Qa(m) sadkanallJ. yiiJlIiJ ow.
2 (B.S, G .2). 8 G .S).
-VII. 61
. THE EMOTIONAL AND OTHER STATES 119
synonymous with lcam1}a., nimiUa and hetn. As WordR, Gestures
llnd the Repl'esentation of the Temperament are viiJAavayle
mined) by this, it is called nibhat'a (Detetminant). Vibltatifa
(also) means the same thing as l'ijnata (clearly known).
On this point there if; a 810ka :
4. AH many things al'e 7!ilJ/ta,n!/(ltfl (determined) by this
through Words, Gestures and the Repl'esentation of the
Temperament it is name(1 vibhara (Diterminant).
AnuMiivas I'xplained
"Now, why iH the word (I II !tllha,ra ?', (Answer) "Because
the Histrionic RepI'Nl'ntation hy means of Words, GeFtUl'eS and the
'l'emperanH'l1t are fI.ll./lIJ!t(iI'!/afp (made to he felt) hy it
c;tlled alll//,h(ici/ (Oonsequrnt).
On this point there is a Sloka :
5. As in it the spectators are Ill! 1I/,lI"iiV!l0!e [made to feel]
hy means of Word!> and Gestures it is called (wIlMI(il'a and
it relateR to words :lR well as to [gesturcH and movements of] major
and minor limbs.
Now we have rxplained that the Statl's (Mtiil'a) are related to
Determinanbl (viIJha/'(/) and Consequenb; (IIlIn/l/tata). Thus are the
States (I!/tara) cl('atpli. Hencr we shall di"cU8R the definitions and
rxample:; of the State,; togethrt with their Drterlllinants and Conse-
qu(;nts. Of the IletrrminantR and the ConRequents al'e well-
know11 among people. They lwing e(lllneett'd with thr human nature,
th("il' definitions are not This iH fOl' ,woiding prolixity.
On this point tbere is the Kloka :
6, Determinants and Conseqnents al'e known by the wise to
be things which are creatrd by human nature and al'e in
accordance with the ways of the world.
The three kinds of States: Dominant, Transitory and Temperamental
Now the Dominant RtateR arc eight in num-
ber. The TmnRitOl'y Rtail's m'e thil'lythree and
4 (B.6, 0.4).
6 (B.9, 0,6).
I) (B.7-8, 0.5). 1 We read with B,
120 THE NATYASASTBA .eVIl. 7
the Temperamental States are eight in number. These are the'three
varieties of the States. Hence we are to understand that there are
fortynine States capable of drawing out the Sentiment from the
play. The Sentiments arise from them when they are imbued with
the quality of universality (samanya, lit. commonness).
On this point there is a 810ka :
7. The State proceeding from the thing which is congenial
to the heart is the source of the Sentiment and it pervades the
body just as fire spreads over the dry wood.
Difference between the Dominant and the other States
It is said in this connexion: "If the forty nine States being
represented by Determinants (viMtarll) and Consequents (lI1l!tbhavlI)
coming into contact with one another become Sentiments when
they are imbued with the quality of universality, how is it that
Dominant States only are changed into Sentiments (and not Deter-
minants and Consequents)?" [In reply to this] it is said:
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 attain kingship, while others
endowed with an inferior intellect become theh' in an
identical manner, the 1 Dominant States become masters because
on them Determinants (vibllam), and Consequents (aul!hllat'a) and
Transitory States (vyrtbhicarill) d(>pend. Similarly some of the
other States Determinants and Consequents) have the quali-
ties of [king's] local officers, and [hence J Transitory States
(vyabhirarin) become attendants to these (Determinants and
Cons because of their quality. Now it may be
asked, "Is there any parallel instance?" [Answer.] "Just as only a
king surrounded by numerous attendants l'eceives this epithet [of
king] and not any other man, be he ever so great, so the Dominant
States (Mthayi.bltal'a.) only followed by Determinants, Consequents
and Transitory States receive the name of Sentiment. [On this
point] there iR a traditional Sioka :
7 (B.lO-lI, G.7). I .. :
a!i1tl1m: itT"I;, .. "t1ffll Ml"l,",
"1"1;. .
-VII. 10) TH,lll EMOTIONAL AND OTEER STATES 121
8. Just as a king is superiol' to other men, and the
preceptor (gum) is superior to his disciples, so the Dominant
States (stha!fi./;ham) are superior to the other States (Determi-
nants, Consequents and Transitory StateR).
The Dominant StateR
Characteristics of these which are known as the Sentiments
have been mentioned before. Now we shall discusR the marks of
the States common to them. First of all we shall takc up [the case
of] the Statcs (stho,!fi-bho,va).
Love
Love ("ali) which bas pleasure aR its is cau.ed by
Determinants like seasonR, garlands, unguent, dear
ones. enjoyment of a RlIpcriOl' l'esidential housc and absence of
opposition [from any 011(']. It is to bcre-presented on the stage
by Consequents such as a smiting facl', swCl't motion of
eyebrows, anu glancl's and til(' like.
There is a [on thill point]
9. Love arises from the attainment of desired objectl'l,
because of its agreeableness. It is to be on the stage
by sweet words accompanied by [Ruaablp] gestures and movements
of limbs.
Laughter
Now Laughter is rnus('d by Deterlllil)anti3 such as.
mimicry of othcrs' incolH'I'l'nt talk,
ness and the like. It is to be repl'l'sent('d on the stage by means
of Smile and the like .
. On this point there is a tmditional :
10. Laughtm' arhws from a mimicry of other people's
actions. It is to be l'eprOllelited on the Rtngr by the learned with
Smil(', Laughter and Excef;Rin' Lal1ght('l'.
8 (R.J 2-14, G.8).
9 (RH-lS, G.9). I B. adds ktlhaka aft ('I' ..
10 (B.16-17, G.10). .
16
192
. THE NAT'fASASTRA [ VIL 11:
Sorrow
Sorrow (Bilka) is caused by -Determinants such as death of tho
beloved onE', loss of wealth, experience of sorrow due to anyone's
murder or captivity, and the like. It is to be on the
stage by Consequents such as shedding tears, lamentation, bewllil-
ing, change of colour, loss of voice, looseness of limbs, falling on
the ground, crying, deep breathing, paralysis, insanity, death and
the like. Weeping in this case is of three kinds: [weeping of
joy, [weeping] of nfHiectiun and [weepingJ due to jealousy. On
these points there are traditional Aryas :
11. 1 Weeping in which the chcpks are blooming in joy, the
body horripilating, there are wortb
2
of and tears
arc not concrnlcd is called weeping of joy.
12. Wepping in which tlIPre is a loud sound, copious
shedding of teal'8, uneasiness of the body, want of steady move-
ments and efforts, laml'ntation falling on the ground and
rolling on the earth is ealled weeping due to affliction.
lB. Loud weeping of women in which the lips and the
cheeks are throbbing and the head is shaking, the eyebrows and the
glances are moving in angel', is ealled WCf!ping due to jealousy.
14, Sorrow relalt's to women, persons of the infpriol' type,
and it has its origin in affliction [of any kind]' With relation
to it, perRons of the superior and the middling types are
distinguished by their patience and of the inrerior type
by their weeping,
Angrr
Angel' (1.-/,,,,/1111) is eallsrd by Detel'minantR slIrh as insolenrr,
abuRivc Jangllngr, qnarl'l'I, altm'ration, [prrRons 01'
ohjr<'tR] nnd the like, It iR to hr I'rp,'eRPntl'cI on the Rtagp by
as nosp, npturned ('yes, bittl'n IiPA,
throhhing (h.,(h and tl){' lik(.,
11 (R.ln, 0,11). I R. onr additional rouplrt (11.18, lwfore
Rr!lU salluSmara(IUm
12)B.20, G.12). IS (B,2l, a.. IS). 14 (B.22-23, G.l").
.VIt. 90] THE EMOTIONAL AND b'rUER STATES
15. Anger is of live kinds, viz., anger caused by erwlllies,
superior lovers, servants, and feigned
On this point there are traditional Aryas :
16. One should show angel' against resi;.tance by the enemy
with knitting of eyebrows, fierce look, bitten lips, hands clasping
each other, and touching one's own head and breast. '
17. One should show anger agaimt control by superiors
with slightly downcast eyes. wiping off slight per:;piration and
not expressing"any violent movement.
18. Rhould Hhow one's anger to the beloved woman
by a very Rlight lIIovement L of the body], by tears,
and knitting eyebrows and with siddong glances, anll throbbing
lips.
19. Anger to one's servants be represented on
the stage by Illeans of thre1lt, rebuke, dilating the eyes and casting
contemptuous looks of various kill(k
20. Anger which is mtificially shown with a view to
the realisation of an ulterior motive and which mostly betrays
marks of effort is called feigned angel', and it relates to twoJ.
Sentiments.
Energy
Energy (ntsahll) relates to pet'sons of the superiOl' type. It is
caused by Determinants such us absence of sadness, power,
patience, heroism and the like. It is to be represented on the
stage by Consequents such as steadiness
ll
, _muni6cenct" boldness of
an undertaking, and the like.
On this point there is Ii Rloka :
15 (B.24, G.omits).
18 (B.28, 0.17).
16 (B,26, G.15). 17 (B,27, G.16).
19 (B.29, G.18).
20 (B,SOSl, G.19). 1 uMayamra (dvimra, G.).
J Omit dllairya after slkairya.
21 (B.S2SS, G.20). 1 Omit 8'Uapada before Bfi1lya.
J Omit ian/am before du,di"a.
lS4
THE NATYABA8TBA
{Vl],26
91. Energy ",hien ntiS ellort os its hllsi..'1 aDd whiah fIJ'flws
out of II/eJ'lness and sllell otber qualities, shollld be l'epl'esente<i on.
tile SUlge by acts of ,"igilllnce lind tile like
1!'car
Fear (MfI!I(I) relates to womcn and of the infel'iol' type,
It is caused by Dpterlllinants such liS acts offending one's supel'iol's
and the kingl, roaming in a fOJ'CRt, sering an elephant and n snake,
staying iI. an empty lIOUS(', rebuke [from one's snpcl'iors], lin dark
raill)' night, bearil.g the hooting of owls lind the cry of animals
that go out at uight, and the Iikc. It is to he rcprescuted on the
stage by COnl!eqlH'nts snch as, tremhling and fect, palpitation
of the heart, pam lysis, dryness of the mOllth, lieking the lips,
ration, tremor, apprl'll('nRioll [of c1angerl for safety, run-
ning away, loud cl'ying and the like.
On this point therc am :
22. Fear frolll an dnc to offi'nding
superiors and the king, tm'ribll) ohjeets and headng awful
things,
23. This is to be represented with tremor of the limbs,
panic, (h'ying up of the mouth, 11Ill'l'ied movement, widely opened
eyes and sllch otlwr lind actions.
2,1. Feal' in men from terrifying objects Bhould be
represented on the stngo by Il(tors (lit. dancerll) with slackened
limbs and suspended movement of the eyes.
The,e is nl80 nn Al'ya on this point:
. 25. This (fear) be represented on the stage with
of feet, aud palpitation of the heart, paralysis,
the hps, drymg up or the mouth, loosened limbs lind sinking
(Vlsaf,i.1J.a) body, .
--------------------
22 (B.34, G.21),
24 (B.36, G.23).
26 (U.3 7 -38, G, 24).
23 (D.3S, G.22),
-VII. 37)
THE EJ:fOTIONAL AND OTHER STATES
Disgust
Disgust U1tg1tl'<a) relates to womell lind person::; of dIe inferior
type. It is caused by Dderminants liliGh as heaJ'ing aLd Reeing
T
unpleasant things, and the likr. It to be represented on the
stage by COllsllquent.'l snch contl'lwting all the limbs, spitting,
narrowing dowlI of the mouth, heartaehe and the like.
On this point there is a
26. Disgust is to be represented 011 the stage by covering
the nose, contracting all the [general] uneasiness and
heartache,

Astonishment
Astoni:-;hment (risma!/") Gl'eated by Determinants snch as
illusion, magic, extl'aol'(linal'Y feats of Ilwn, great excellence in
painting, alt-works in parcIllllent
1
and the like. It is to be re-
presented on the stage hy Consequents sHeh lIl' wide opening of
the eyel'l, looking without winking of the eye:-, [mnch] movement
of the eyebrows, horripilatioll, moving the head to and fro, the cry
of "well, do)]r," "well done," and the like.
On thiR point therll is a :
27, Ai'toniRhment aI'iRing from joy dUll to extraordinary
al'tR should be rept't'scnted hy means :mdt as joy tears, fainting
and the like,
The Statrs
The Dominant are to bll known as here,
W () shall now explain the Tl'ansitol'Y Stah>K (J:!ltlhhit'ari-bhat'a).
It is questioned, "Why are tllllse called ?" [In answer]
it is said that t,i and al!hi are prefixes, and the root is carlt meaning ,
'to go', 'to move'. Hence the word means 'those that
move in relation to the Sentiment..:; different kinds of objects.
That i8, they eal'l'y the Sentiment:,; which are connected with Words,
GestUl'es and the TempCl'ument. It i!:l qu(>t'>tioned, "How do they
carry [the Sentiments]?" In anSWel' it is said, "It is a popular
I Omit pari/tirlana after
26 (B,40-41, G.21>), 1 Omit vidYli after
27 G.26). 1 Omit raSQsQI(lji,aIJ (ll) IIfwl' sth"yino Ma'llill/.
THE NATtASASTRA [ViI. 28
convention to say like this, just as people say, The sun carries
this or that day. It does not however mean that
arc carried on arms or Rhouldcl's. 'fhe Transitory States
should be considcl'Od liko this. Transitory States (v!l0lJhi.
c(tribh(tvlt) as mentioned in the Digl'st are thirtythl'ee
in number. We shall them now.
Diseonragem0nt
Discomagement (niJ'J'l'dn) is cause(1 by Detprminants
such as, being redncl'd to POV(>l't y2, gptt.ing insultpd, abusive lan-
guage, Wl'llthfnl beating, lo"s of beloved pet'sons and the knowledge
of the ultimate (lit. essential) truth and the like. It is to he
on the stage by Determinants such as weeping,
sighing, deep breathing, deliberation and the likl', on the part of
women and persons of the inferior type.
On this point then' is a Slob:
26. Diseourngel1lent gl'OW" out of heing mluced to poverty,
and loss of deal' and it is to be represented on the stage by
deliheratiofl and deep breathing.
'On this point there two traditional Aryas :
29. Discouragement ariseH from loss of deal' ones, poverty,
disease, envy from seeing the prosperity of
30. A discouraged man has the eyes, b<tthed in tears, face
and eyes miserahle due to heavy breathing and he is like a yogi
absorbed in meditation.
Weakness
Weakness (ylani) pl'oceedH from Determinants such as vomit-
ting, purgation, penance, austerities, fasting, mental worry,
too mnch drinking, scxual indulgence, too much exel'eise, travelling
a'long way, hunger, thirst, sleeplessness and the like. It is to be
representl'd on the stage by Consequents snch ail weak voice,
lustreless eyeR, pale face, gait, want of energy, thinness of' the
body, change of COIOUI' and the like.
... ,- --_._----,---- ------_.-
2' Omit 7Jyadlzya7Jamana afWr dii1:l'dra.
28 (B.44I, G.27). 29 (B.'5, G.28).
80 (B.47-48, G.29).
.VII.351
THE EMOTIONAL AND OTHER STATES
127
On this point there are two Aryas :
31. Weakness grows out of vomitting, purgation and sick-
ness, penance, and old age. It is to be represented on the stage by
thinness of the body, slolv gait and tremor [of the limbs].
32, )Veakness is to be repreRented on the stage by a very
weak voice, weakness of the eyesight, poor gait, constant slaekncRs
of the limbs.
Appl'ehCJIsion has doubt as its hasis and it relntts to
to wOlllen and persons of the inferiol' type. It is caused by Detcr-
minants such a" theft, giving ofl'cnce to the king and the like. It is
to be represented on the Htage hy Consequents sneh as con;;tant1y
looking on, hesitating movement (If /'Ilklll!,!hall'l ), drynes;; of the
mouto, licking the change of facia1 coluur, tremor, dlT lip!',
10Rs of voice and the like.
There is a Klokll on these points:
33. Apprehension in the Tel'l'ible Sentiment is due to
robbery, and the like, and in case of the Sentiment it is due
to [a posgible] deception on the part of the lover.
Some authorities prescribe (lit. desire) in thi;; case a conceal-
ment of appearence which is to be chamctel'i>'ed by [adoption
of] clever trick;; and geRtUl'eR.
There are two Aryas in connexion :
3 t A pprelwnsion is of two kind:,;: viz. that at'iRing from
one's 0IVn8elf and that arising from anotht'r That arising
from .Qne's own self is to be known from one's eyes and
35. A man has a dlll'k face, a thick and
protruding tongue, trembling limbs, and he constantly
looks
Envy
Envy i>l caused hy l"urh HR various
offenrel'l, hatred, otllPl' wealth, good luck, intel\igenee,
31 (B.49, 0.30).
34 (B.54, 0.33).
32 (B.50.51, G.3l). 33 (B.52-53, 0 32).
35 \B.55-56, 0.34),
198
THE NATYASASTRA
(VIT.86.
)eHl'ning and the like. It is to btl on the
by ConsrqlH'ntR surh as finding fault. with otherR, derl'yillg their
virtues, not paying any heed to these, remaining with downrast
face, knitting eyebrows in diRparagell1l'llt anel ahusing othel's in the
assembly [of men].
On the;:e points thpre Hre two Al'yiiR :
36. Envy m'j,es in H who is displeased to soo othel'
people's good fortunr, wl'allh, intelligenct'. and eXllLerenco of
sportivenl'S8.
37. It to bf' I'Cpl'eHf'utl,d hy n faep, knitting eye-
face turlll'd away in j('aiullci <lngl'I', d"l'l"ying 0111<'1'
and showing hat!'ed toward,; tht'n!.
Intoxication
Intoxieation (lilt/do) is ellll,.;(:tl hy drinking of licjllOr and
smilar other thing..;. I t is of t11l"l'e kind,., awl haH lire
There arc the following ihyiiS on thi" point:
3S. Iotoxication is of three kindH, vit:. light, medilllll awl
exceHiiive. It haH Hl'e caUReR whieh HhonlcJ he rcprpsented on the
stage.
3!). intoxiealrd Ring, laugh and some
usc hot words while other Rlflrp.
40. Among t1wse, pprSOIlH of the superior tne sleep,
those of the middling typP langh and nnd tholie of the inferior
type cry or hot word".
41. Light intoxir'ation iK c-hnra('ipriHrcl by smiling farr,
pleasant fe('ling, joy fill hody, faltc'ring lVortlK, d('liratply
ullsteady gait and I"l'latos to of the flIlPCriO)' type.
42 l\IC'tiillm intoxieation chm',wteriHod by drunken and
rolling eyt's, dr'loping Hr1l1H or l'ostleRsly thrown abont and
irregularly gait, and relateR to of the middling
type.
... -------------_.-------
36 <R.57, G.35\.
'39 (B.61, G.38'.
i2 (B.64, 0.41).
37 (R.58.59, G .36).
40 (B.62, 0.39).
38 (B.60, G.37) .
41 (B.63, 0.40).
VII. ''11
THE EMOTIONAL AND OTHER STATES
129
43. intoxication is cbaract('rised by loss of
memory, and incapacity to walk due to vomitting, hiccougb and
cough, and a thick protruding tongue and spitting, and relates to
persons of the inferior type.
44. A character who [acts] drinking on entering the stage
is to show that his intoxication is increasing, but the character
who enters the stage as dl'Unk should show that his intoxication
is decreasing.
45. the intoxication should be stopped by effort when
there is panic, grief and increase of terror due to some cause.
40. On -account of these special intoxication
disappears quickly just as grief. pa!'ses away on hearing the
happy news of [sudden] prosperity.
Weariness
Weariness (srama) is caused by Determinants such as
travelling It long way, exercising of the limbs and the like. 1 It is
to be represented on the stage by such as gentle
rubbing of the body, [deep] breathing, contraction of the mouth,
belching, massaging of the limbs, very elow gait, contraction of the
eyes, making Sltkiira and the like.
There is an Aryii on this point:
47. Weariness in man is raused by travelling [a long
way] and exercising [the limbs], and it is to be represented on the
stage by [deep] breathing, tired gait and the like.
Indolence
Indolence (alasya) is. caused by Determinants such as
nature, lassitude, sickness satiety, pregnancy and the like. And
it relates to women, and men of the inferior type. It is to be
represented on the stage by Consequents such as aversion to
any kind of wOl'k, lying down, sitting, dl'owsiness, sleep and the
like. On this point there is an :
43 (B.6li, G.42).
46 (B.6S69, G.45).
4'1 (B.'10-'l1, G.46).
1'1
, 44 (B.66, G.43). 45 (B.6l, G.44).
1 We follow the r!'nding of tlw rns tfa in B.
1 ad/lfJazaii for m;ltadvao(B).
180
THE NATYASAS'PBA
48. Indolence arising from lassitude liS wcH as nature
should- be represented on the stage by discontinuance of all activity
except taking food.
Dipression
Dipression (dainya) is caused by Determinants such as
poverty, mental, agony and the like. It is to be represented on
the stage by Consequents such as want of self-command, du\lne8s
of'the body, ahsent-mindedness, giving up of cleansing [the body]
and the like.
There is an Arya on this point:
49. Dipn'8sion of men proceeds from anxiety, eager expec-
t ~ t o n and misery. Different modes of representing it on the
stage includes giving up of cleansing [the hody] in any way.
Anxiety
Anxiety (rinta) is caused by Determinants such as loss
of wealth, theft of a favourite object, poverty and the like. It
is to be represented on the stage by [deep] brcathing, sighing,
agony, meditation, thinking with a downcast face, thinness of
the body and the like.
There are two Aryas 6n this point:
50. Anxiety of mcn arises in various ways: from the loss of
wealth, theft of a favourite object., and a heart full of expectation.
51. It is to be represented on the stage by sighing, deep
breathing, agony, and absent-mindednl's8, giving up of cleansing
[the body] and want of self-command.
Distraction
Distraction (moha) is C'auspd by Determinants such as
accidental injury, adversity, sicknesR, fenl" ngitntion, rcmem'
bering past enemity and the like. It it; to be represented on
the stage by ConRequpnts such as want of movement, (excessive]
d.8 (B.92-73. G.47).
00 (B. 76. G.42).
49 (B.74-75. G.48).
51 '(B.77-78, G.50).
\'11.55 j THE EMOTIONAL AND OTHER STATES
is!
movement of [a particular] limb, falling down, reeling, not
seeing properly and the like.
There is a Sloka on this point:
52. Due to seeing a robber in an unexpected place or from
panic of different kinds distraction occurs to II man when he
finds no hel p [neal' by J.
There is also an Arya on this point :
53. Distraction occurs due to auversity, acciuental Illjury,
memory of past enemity. It is to be represented Oil the stage
by suspension of the activity of all SenReE!.
q
Reeollcetioll
Recollection (smrti) is remembering every condition of
happin('ss and misety. It is caused by Determinants such as
impairment of health, disturbed nightly sleep, seeing and speaking
with a level head, thinking, constant practice and the like. It is to
be represented on the by Consequents such as noli ding of
the head, looking down, raising up the eyebrows and the like.
On this point there is it Sloka and an Arya :
54. One is said to be recollecting something when one
remembel's past happiness and misery'-which were either conceived
in mind 01' did actually occur and wae forgotten.
55. Recollection arising from impaired health, 01' relating
to the Vedas and is to be represented on the stage
by raising or nodding of the head and raising the eyebrows.
Contentment
Contentment (dltrli) is caused by [Determinants sllch as]'
heroism, spiritual knowledge, leal'lling, wealth, purity, good conduct,
devotion'to one's sllperiol's, 1getting excessive amount of money,
enjoying sports, and the like. It is to be represented on the stage
by Consequents such as enjoyment of objects gained, and not
6i (B.'1&,-G.5l).
540 (B.82, G.5S).
5S (B.aOal, G.52).
66 (B.Ssa4, G.54). 1 Omit ,ullHatha (B. G.) after a,",'ka.
'tHE NATYABABTRA t VII. 66.
grumbling over objects unattained, past, paliially enjoyed, lost and
the like.
On this point there are two Aryas :
56. !Jontentment arising from spiritual knowledge, purity,
wealth and power, is always to be represented on the stage by an
absence of fear, sorrow and sadness.
57. When one enjoys attained objeets such as [sweet]
eound, touch, taste, form and smell, and is not sorry over their
non-attainment one is said to have Contentment.
Shame
Shame (VI'iila) has improper action as its basis. It is
caused by Determinants such as humiliation and repentance
on account of transgrcssing wOl'ds of sU,le riol's or disregarding
them, nonfulfllment of vows and the like. It is to be represented
on the stage by Consequents such as covered face, thinking with
downcast face, dmwing lines on the gl'ound, touching clothes
and rings, and biting, thc nails, and the like.
There are two Aryas on this point:
58. When a man, after he has done anything improper,
~ seen by those who are pure, he becomes repentant and is
ashamed.
59. The ashamed man will cover his face, draw lines on the
ground, bite the nails and touch clothes and rings.
Inconstancy
Inconstancy (capalata) is caused by Determinants such as
love, hatred, malice, impatience, jealousy, opposition and the like.
It is to be represented on the stage by Oonsequents such as harsh
words, rebuke, beating, killing, taking prisoner, goading and the
like.
Th:re are two Aryas on this point.
56 (B.S5, G.55).
1i8 (B.88, G.S7).
57 ea.86S7, G,56).
59 (B 89-90, G.5S).
.VIl.
THE EMOTIONAL AND OTHER STATES 193
fiO. When a man does anything like killing or imprisoning
anyone without any forethought he is said to be inconstant be-
cause of his not being definite in his action.
Joy
Joy is caused by Determinants such as attainment
of the desired object, union with a desired, trusted and beloved
person, mental satisfaction, favour of gods, preceptor, king, and
husband (or master), receiving [good] food, clothing and money
and enjoying them, and the like. It is to be represented on the
stage by means of Consequents such as brightness of the face and
the eyes, using sweet wOl'ds, emb1'acing, lhorripilation, tEars,
perspiration and the like.
There are two Aryas on this point :
61. Joy if! caused to a man when he has attained any
object or obtained anything which was unobtainable 01' has met
his beloved one or has his heart's desire fulfilled.
62. It is to be represented on the stage by brightness of
the eyes and the face, loving words, embrace, delicate movement of
the limbs, and perspiration and the like.
Agitatioo
Agitation (a vega) is caused by Determinants such as por-
tents, wind or rains, [outbreak] of fire, running about of elephants,
hearing very good' 01' very bad news, stroke of adversity and the
like. In this connexion portents include [a stroke of] lightning and.
[falling] of meteors or shooting stars, eclipse of the sun and the moon,
and appearance of comets. It is to be represented on the stsge by
looseness of all the limbs, sadness, distraction of the mind, loss of
facial colour, surprise and the like. [Agitation] due to violent winds
is to be 'represented by veiling [the face], rubbing the eyes,
collecting [the ends] of clothes [worn], hurried going and thE' like.
[Agitation] due to [heavy] rains is to be represented by lumping
60 (B.91-9S, G.59). 1 Omit puJa/tt'ta after (B.G).
61 <n.93, G.60).
811 G.el).
THE NATYASASTRA [ VII.13S-
together of all the limbs, running, looking fOI' some covered
sheltel', and the like. [That] due to [an outbreak of] fire is to be
represented by eyes troubled with smoke, narrowing down all the
limbs, 01' Rhaking them, running with wide steps, flight and the
like. That due to running about of elephants is to be represented
by hurried retreat, unsteady gait, fear, pamlysis, tremor, looking
back and the like. [That] from he:u'ing something favourable is
to be represented by getting up, embracing, giving away clothes
and ornamentFt, weeping, horripilation and the likt>, That due to
hearing anything unpleasant is to be represented by' falling down
on the grollnd, lamentation, !'Oiling about [even) on a rough
surface, running away, bewailing, weeping and the like. And that
due to popular rising (pntkrti-vgasllna) is to be represented by
sudden retreat, taking up weapons and armonI', mounting elephants
and horses and chariots, and the like.
63_ Agitation of these eight kinds has hurry as its
This is characterised by patience on the part of persons of the
superior and the middling types; but agitation of persons of the
inferior type is marked by flight.
On this point there are two Ary liB :
64. Agitation occurs over an unpleasant report, disregard
of instruction, throwing a missile and panic.
65. Agitation due to an unpleasant report has as its Conse-
quents assuming a sad look, and that due to a sudden appearaqce
of ijnemy is to be l'epresented by clash of weapons.
Stupor
Stupor (jnqata) is caused by Determi!1ants such as cessation
of all activity, hearing of a much thing 01' a [very] harm-
ful thing, sickness and the like. It to be represented on 14e
stage by Consequents such as not uttering any word, speaking
indistinctly. remaining absolutely silent, looking with steadfast
gaze, dependence on others and the like.
1 IfJl'I'}pralzaraYffJ (pradharfJt)fJ B. G.).
es CB.96, G.62). 84 (B. OS, G.Ss). 65 CB.99-100, 0-.64.).
.VII. 68 J
THE EMOTIONAL AND OTHER STATES
185
. There is an Arya on this point:
66. A man is called stupid when due to he
cannQt between good and bad as w(>ll ns happiness and
misery, and remains 8ilent and dependent on otherR.
Arroganee
Arrogance (!larva) is caused by Detel'llJinants Ruch as king-
ship, noble birth. pel'sonal beauty, youth, learning, power, attain-
ment of wealth and the like. It is to oe rept'esented on the stage
by ConsequentH such a" contempt
l
[for harassing [people}
not giving reply [to one's qncRtion], gt'eeting [others], looking
to sil nlders, [at large], contem ptous laughtet, harsh
words, tl'ansgl'essing [commands of] the Rnpel'iors, in;;uIting [othel'<1
and the like.
There is nn Al'ya on this point:
67. Arrogance of persons of the infel'ior type dne to
learning, youth, beauty, royalty and attainment of wealth is to
be represented by movement of the eyes and the limbs .
. D!'Spair
I ,. Despair is caused by Determinants Ruch as inability
t9, finish the work undertaken, accidental calamity and the like. It
i,. to be represented on the part of pel'sons of the superior and' the
middling types by Consequents such as looking for allies, thinking
about means, loss of energy, absent-l1lindedness, deep breathing and
the like. And on the PUtt of persons of the inferiol' type i't is to be
fepresented by running away, lool{ing down, drying up of the
mouth, licking the cornel' of the mouth, sleep, deep breathing,_
meditation and the like.
' .. There, are two Atyas on this point:
6S. Despair lII'iRes from non fulfilment the work begun, being.
taken at the tihle of committing theft, nnd giving offence to the
king- and the like. . '
66 (B.lOl102, G.65), 1 Omit asflyii before Q1IaH/a.
67 (B.lOSI04, G.66), '68 (B.I05, G.67).
138
THE NATYASASTRA
69. In case of persons of the superior and the middling
types this is to be represented by thinking about various means,
and in case of persons of the inferior type Mieep, deep breathing,
and meditation Ilre to r('present it.
Imllatienee
Impatience (IInts1/leya) is created by Determinants such as
separation from beloved persons,l'emembel'ing them, sight of a
garden and the like. It is to be represented on the stage by Con-
sequents such as sighs, thinking with downcast facE', sl(lp, drowsi-
ness, desire for lying down and the like.
There is an Arya on this point:
70. Impatience arises from the of beloved persons 01'
from remembering them. This is to be represented on the
stage by thinking, want of sleep, drowsiness, dullness of the body
and desire to lie down and the like>.
SIOtlllinl
Sleeping (lIirz,,'a; is by Determinants such as weak-
ness, fatigue, intoxication, indolence, [too much] thinking, too much
eating, [soporific] nature and the like. It is to be represented on
the stage by Consequents such as heaviness of the face, lrolling of
the body, rolling of the eyes, yawning, massaging of the body, deep
breathing, relaxed body, closing till' eyes and the like.
There are two Aryas on thiR point:
71. Sleep comes to a man through weakness, fatigue, exer-
tion, [too much) thinking, natural ,tendency [to sle6pJ and keep
ing awake throughout the night.
72. It is to he represented on the stage by Consequents
such as heaviness of the face, closing the eyes, or theh' rolling,
stupor, yawning, massaging of the body and the like.
89 (B.108-107, G.68).
70 (B.10S-109. G.69). 1 sarira-/o/ana (afla/o8anaB.).
71 (RllO, G.70).
72 (B,lll.ll2, G.71J.
-VII. 75]
THE EMOTIONAL AND OTHER STATES
.137
Epilepsy
Epilepsy (apasmara) is caused by Determinants such a!'!
being possessed by a god, a Naga, a Y a a Pisaca
and the like, and a memory of such beings, oating food left after
somcbody's partaking of it, staying in a deserted house, non-obser-
vation of proper time [in taking food, in sleeping etc.1 derangement
of humours (dhatn)1 and the like. It is to be represented on the
stllge by Consequents such as throbbing, trembling, running,
falling down, perRpiratioD, foaming in the mouth, hiccollgh, licking
[the lips] with the tongue, and the like.
On this point there are two Aryas :

73. Epilrpsy occurs in a person when he is possessed by
Bhiitas and Pisiicas, when he rememhers these beings, [eats]
1, stays in a drf.;ol'ted housr, disrrganls for propel' time
[for taking foo(l ote.], and is impure [in Lody].
7.t. Falling down fHllhleuly on the gl'olmd, trembling.
foaming in the mouth, an(l rising up while are condi-
tions during Epilepsy.
Drraming
Dreaming is cauRed by Detrrminallts such as inter-
ruption of sleep, enjoying objects of senses, infatuation [0 any
kind], spreading the bell on the ground, dragging the bed o\'er the
ground and the like. The drellming whieh occurs in sleep is to be
by Consequrnts sllch as tleep breathing, dullness of
the Lody, closing the eyes, stllpefaetion of all the senses, dt'eams
and the like.
There arc two Al'yas on thig point:
75. Dreaming oeCllrs due to interl'Uption of sleep. enjoying
objects of senses and infatuation [of any kind]. It is to be
1 They are three in number plrase viz. wind (viiyu), bile (pittll) RDd
phlt'gm
73 (B.Ua, G.72).1 That which is It'ft OWl' in ono's pillro after he
has finished his meal. -
i'l G.7S). 75.(B.1l6, G.omit).
18
ISS
THE NATYASASTRA [VII. 76-
represented on the stage by closing the eyeR, deep breathing,
dreamiug dreams and talking while asleep.
76. Dreaming is to be repreAented on the stage by deep
breathing, imperfectly dosing eyes, stupefaction of all senses and
absence of all activity.
Awakening
Awakening (vi/){)rilin) is the break of Rleep, and it is caused
by Determ in ants Rlwh as lligestion of foou, bad dreams, loud
sounu, sensitive tonch and the likl'. It is to be represented on the
stnge by ConseqllcntH slIch ns yawning, rubbing the eyl'R leaving,
the bed, and the like.
There is nn Arya on this point:
77. Awakening i,:; raused by digestion of food, [loud]
sound, (sensesitiveJ touch and the like. It is to he represented on
the stage by yawning, rubbing the face nnd the eyes, and the like.
Imlignation
Indignation is callRed to persons nhused or illRlllted
by those having sup<'riol' lea/'lling, w('nlth or powrr. It is to he
represented on the stagf' l)y Consel]uent,.; stwh as slwking the head,
perspiration, thinking anll refil'cting with a downcast face. determi-.
nation, looking for ways ancl means nnll and the like.
, There are two Slokas on this point:
78. I n!lignation grows in cnergetic mpn who have been
or insulted in an assembly by those having superior learn-
ing anti wealth.
7!l. It is to be represented on the stage by energy, deter-
mination, reflection with a downcast face, shaking the head, pel's
piration and the like.
Dissimulation
Dissimulatioll,.(a,vahittltii) is the concealmont of
It is caused by Determinants such as shame, fcar, defeat, reRpect,
76 (D.1l7-UB, G.?4).
'ill (B.121, G.76).
77 D.119-120, G.75).
.79 (B.122-123, a.77),
_vir. B2J THE EMOTIONAL AND OTHER STATES
139
deceit and the like. I t is to be represented on the stage QY Con-
sequents such as speaking like another person, looking' downwards,
break in the speceh, feigned patience and the like.
Thel"e is a Sloka on this point :
80. Dissimulation is due to boldness, deceit, fear and the
like. It is to be represented by carelessness about an action, and
not speaking mueh in reply or in addressing [others].
Cruelty
Cruelty (ngmta) is caused by Determinants Rueh as arrest of
robbers, offence to kings, offending words and the like. It is to be
represented on the stage by Consequents like killing, imprisoning,
beating, rebuking and the like.
There is an Arya on this point :
81. Cruelty occnrR when a robber is arreRted or the king
iH given affence. It is to be representl'd on the stage by
quents Huch as killing, beating, rebuking and the like.
Assuranec
Assurance (1Iinti) i:; ('auscd by Determinants such as
thinking abont the meaning of many SaHtras and c0118idering
the pros and cons of things. It is to be reprl'sented 011 the.
stage by COllseq uents such as infltl'llcting pupils, ascertainment
of [any] meaning, l"eJlloval of doubt and the like.
There is a Sloka on this point:
82. ASRUl'ance COlUes to men when they arc well-versed
in the meaning of mAny Sitstras. It to be represented on the
stage by Oonsequents such as inHtructing pupils and explaining the
meaning [of Sastras].

Sickness ("!fadhi) OWeH it. origin to [aft attack of .. three
humours such fiR] wind (q'iila), bib (l,ilfa) and phll'gm (1.-01,/'\1).
------- . __ .. -"". ---.. -.-.. --
80
\.
82 (8,128-129, G.80).
81 (B.126-127, G.79).
140 tHE NATYASASrrRA

Fever and similar ,other illnesties are special varieties of it. Fever
is of two kinds, viz. that with It feeling of cold (stta) and that with a
feeling of heat (daho). Fever with a feeling of cold Hhould
be represented by Consequents such as shivering, tremor of the
entire body, bending [the bod v], shaking of the jaws, narrowing
down 'he dJ'YIll>HR of the mouth, hOlTipilation,
lamentation and tho like., An!} with a feeling of heat,
is tp be repl'l'spntecl by throwing out the and the
feet, desire [to roll on] the groimd, of] unguent, for
coolness, lamentation, C'rying Itnd tho like. Tho 'other of
sicknesses are to be reprcscntcd 011 the stnge by Con seq uents
s\lch as nmTmying down the mouth dullnesH of the body, [deep]
breathing, making [peculiar] soundH, crying, tremor and the like.
'fhere is a Sloka on this point:
83. Sickness in generaJ should Le represented on the
stage by 1008enos8 of the limbs, throwing out the limbs and
narrowing down the mouth due to illness.
Insanity
Insanity (unlllad'l) is caused by Determinants Hurh as
death of beloved persons, loss of wealth, accidental huit, derange-
ment of [the three humoul'R]: \Vind (eata), bileH (IJitt,,), phelgm
and the like. It is to be represented on the stage by
laughing, weeping, crying. . talking, lying down, sitting, running,
dancing, singing, and reciting. [something] without any t'eason,
smearing [the hodyJ with ashes and dURt, taking Nirmalyal,
soiled doth, potHhcrd, earthen tray !IS decoration [of the
body], many othet sensebs acts, and imitation of others.
Theile arc two Aryas on this point:
84. InR:mity occurs owing to death of beloved persons,
ross af wealth, accidental hurt, wind (vata), biles (pitta\ phlegm
(lcaplllL) derangement of the mind in various ways.
". 83 (B.l30131, G.81. 1 Remains of /I flower-ofi'ering to a deity,
whielr is,pupposed to puriTy 1\ person who takes it with reverenee.
84 (8.132, G.82).
-VIlS6]
TIlE EMOTIONAL AND OTIlER STATES
141
85. Insanity ie to be represented by laughing, weeping,
sitting, running and crying without any and [otherJ sense-
less acts.
. Death
Death (ma'?'I17fa,) comes through sickness as well as acci-
dental injury. Of these two of death, that fro III I sickness
is caused by Determimlnts as a Illalady of the intestine and
the liver, colic pain, disturbance of hUlllours, tUIllOUl"S, boils, fever,
cholem, and -the like. And that due to accidental injury i:;
caused by weapons, snake-bite, taking poiHon, [attack ofJ fero-
cious tlljury due to falling down from elephant, horse,
chal'l'iot and other vehicles. I Rhall now speak of the different
methods of their repl'e:;elltation on the stage. Death from
sickness is to be represented on the stage by ConsequentA Huch
as loosene"" of tlte body, lllotionlt'Hsnel's of the limbs, eyes,
hicl'ongh, deep ureathing, looking for family member;;, speaking
indistinct words and the like.
There it! a Sloka on this point :
su. Death due to is to be represented on the
by olle mark viz. loose and inactive sellH6 organs.
But death due to ;\(,l'idental injury is to be represented
on the stage in difI\)j'ent [death due toJ wound by
weapolll:l i:-; to be repre:'ented by COllsequentfl such 118 suddenly
faIling uown 011 the gronnd and the like. In ease of snake-bite
or taking poiRon [there is gratlualJ "development of its symptoms
which al'e eight in llumber, viz. thinlle;;s (of the body), tremor,
burning 8ensation, hiccough, foam from the lllouth breaking of the
neck, prlraiysis and death.
85 (B.133-134, G.83). 1 Earlier writE'rs on the Hindu drama
wrongly believed that NS. excluded scenes of d!'ath from the stage. (See
Keith, Skt. Drama, pp. 222; also M. Ghosh. "A so-called convegtion or
the Hindu lHQ . IX. 1933, pp. 981 ff.). Windish thought th!\t.
i'ltidrl\ka in l{is (Act. VIII) violatrd a 1'ule in showing the mUl'deE of
Vasantaseni, by (Der Eiufluss ill Drwpa)
ller/in, 1882. p. 43).
'86 (B.lS50-1S6, G .8').
There two traditional Slokas on this point:
87-88. The 'first sympto,m' of the development [of the
effect of poi SOil ] is thinness of the' body, the second tremor,
the third a burning sensation, the fourth hiccough, the fifth foaming
in the mouth, the breaking of the neck, the seyenth
paralysis and and the death.
There arc besides two Arylts on this point:
89. Death due to [an attack of] ferocious animals, elephant,
horse, or falling from chariots and wound by 'Yeapons should
be represented by absence of any further movement of the body.
90. Thus death occurs U1uler various condititms. It should
be rcpresented by proper words and gestures.
Fnght
Fright (11'i'i8a) is caused by Determinants such as 'flash
of lightning a meteor, thunder, earthquake, doudR, erying or
howling of big animals and the like, It is to be represented
on the stage by ConsequentH such as, shaking of na1'l'OW limbs,
tremor [of the body], paralysis, horripilation, speaking with a
choked voice, talking irrelevantly, and the like.
There is a Sloka on point:
91. Fright is caused by a very terrible sound and the like.
Itshollid be reprcsented on the stage by looseness of limbs and
half-shut eyes.
Deliberation
Deliberation (rita)'kn) is caused by Determinants as
doubt, cogiation, perplexity and the like. It is to be represented
on the stage by Consequents such as val'ious discussions, settling
the definition, concealment of the counsel and the like,
There is a Sloka on this p,oint: '
92. Deliberation which arises from discussions and which
'bas doubt its is' to be ,'epresented on tqe litage by
of the head, the eyebrows and the eyelashes.
,.
Sfas (B.lS7-138, G,85-136). 89 (B.lS9, G.87).
90 (B.140-1401, G.8S). 91 (B.142:l403, G.89). 92 (B.l#-1405, G.90).
.VII.9'.1
THE EM(\TIONAL AND OTHER S'l'ATES
.
143
These are the thirty three Transitory States; the,. are to be
pl'oduced in a play by men and women of tilfl' superior, middling
and the inferior types in conformity with [proper] place, time and
"
occasion.
. . .
93. These thidythree- are ll the Transitory
I shalt now explain in detail the Temperamental States,
The States
Now it may be questioned,
"Are these States (Mtltt
O
",) called Temperamental
other States (Detel'minants, ConRequentR and Transitory StateR)
are said to be Without the Temperament 1" [[n answer] it is Raid
that the Temperament i.n this connexion [Romething] originating
in mind. It is caused by the concentrated minu. The' Tempera-
ment is aceompliRhed by concentration of the mind. Its nature
[which includeR] paralysis, perspiration, horripilation, tears,
loss of colour and the like, . cannot he mimirked by an
absent-minded man. Hence the Temperamen t ifl desil'Cd in a
play for the put'pose of imitating human nnturr. If the question
is, 'Is there any remion in Rupport of this then it may
-le Raid that in theatrical practice, sitnationfl of happinrss as well
lR misery should so purely accord with the Temperament behind
:hem that they may appear to be realistic (!latllii8!"m'ltjl(l), How
sorrow which has weeping as !JaRis be represented on the
,tage by anyone who is not Rorry? And how can happiness
which hUR joy as its basig be 011 the tage by
anyone who is not happy? Hence the Tcmperament
heing deHired (in acting) in connexion with certain States the latter
nre railed Temperamental. The explllnation of the Temperament
is thiH, that teal'S and horripilation shollld be shown
by perRons who are not [actually] son'y or happy.
94, Tlie eight are as follows:
Paralysis, Pel'spimtion, HOl'ripilat,ion, Qlvmge of Voice, TremLling,
Change of Colollr, Weeping and Fainting.
93 (B.l46-147, 0.90).
P4 (B.l48, 0.92), 1 above VI 22 now 1.
U4
THE NA!'YASASTR4. [ VII. lao.
Among these,
Perspiration
95 .. Perspiration (,m-d,t') O(,'Cl!l'S the result of anger,
fear, joy, shame, !;Ol'rOIV, toil, Riakncss, ,hent, excrcise, fatigue,
sumlller and lllllssage.
PllralYilis and 'fl'l'mbling
96. ParnlYf.i;; (sttlll/I,htl ) as 'wing duc t9 joy, fool',
snrpl'is(', illt()xi('atioll and llIlgPI', :11111 'n'l'll1hling
(l'anl !"I=I'I'l'afill') due to cold, fl':ll', joy, :lUf;('I', toudl' [of tho
beloycd] and old agl'.
W('('ping
9i. Wceping (a.v,,) heing dll(, to juy. indignntion,
(,ollyrium, yawning, I'mI', sorrow, looking with a Rtcmlfast
gnz(', cold and
Chllnge of Colonr and Horripilation
98, Change of Colour (ra.ivlI.n.tyn) occurs as "cing due
to cold, angpr, feal', toil, fatigue and heat, nnd Hor-
ripilation (ttllllan"I/) due to touch, fPI\I', ('old joy, anger and
RickncRR.
Chllnge of Voice and Ji'ainting
",
99. Changn of Voiee (sl:ar,,-sQ/If/) O('('III'R a;: heing due to
fear, jf)Y, nnger, fc\w, and intoxication, an(1 Fllinting
(/inda !I") duo to too IIIIH.:h toil, intoxi('ation. !ilcel', injul'Y,
and the like,
Rel'l'r<;(,[ltation of the 'ft'mpcramt'utll) Stat!'S
100, These al'C to he known by the wif;e as the cight
Tempel'amental Stntcf;. I shall Rpeak a[tI'l'wHl'US !lhont actions
which StateR.
95 (B.l49, G.93),
, (B.l51, B.95).
99 G,97),
---- -------_._-_._-----
96 (l50, G.94).
98 (B.152, G.96).
100 (B.l59, G.98).
-VII. 108] . THE EMOTIONAL AND OTHER STArES 14Ii
101. Paralysis should be represented on the stage by
being inactive, motionless, smileless, like an inert object, senseless,
and stiff-bodied.
102. Perspiration should be represented on the stage by
taking up a fan, wiping off sweat as well as looking for breeze.
108. Horripilation should be represented on the stage by
repeated thrills, hairs standing Qn the end, and touching the body.
10+. Change of Voice should be represented by broken
and choking vtlice, and Trembling by quivering, throbbing and
shivering.
105. Ch;nge of Colour should be represented by alteration
of colour of the face by putting pressure on the artery, and
this is dependant on the limbs.
106 Weeping should be represented on the stage by
rubbing the eyes and shedding t e a l ~ , and Loss of Consciousness
by falling on the gl'ound.
A pplication of the States to the diil'erent ScntimenUt
107. These are the fOl'tynine States (M!ava) of the three
kinds mentioned by me. Now you ought to hear of the different
Sentiments to which they are applicable
.' 108. All the (fol'tynine) States except indolence, cl'uelty and
disgust are applicable to the Erotic Sentiment (lit. raise the Erotic
Sentiment by their own name).
109. Weakness, apprehension, envy, weariness, inconstancy,
dreaming, sleeping dissimulation are the States applicable to the
Comic Sentiment.
110. Discouragement" anxiety, depression, weakness, weep
ing, Rtupor and death are the States applicable to the Pathetic
Sentiment.
---------------------_. __ . --
101 (B.l55, G.IOO).
lOS (B.15?, G.l02).
105 (B.159, G.IOS-I04a)
107 (B.162, G.I0S).
109 (B.l7l, G.lOB).
102 (B.I56, G.99).
104 (B.I5B, G.IOl>.
106 (d. B.l60-161, G.l05).
lOB (B.169, G.IO?).
110 (B.172, G.I09).
1'6 THE NATYABASTBA [ VII.l11
111. Arrogance, envy, energy, agitation, intoxication, anger,
inconstancy and cruelty arc the States applicable to the Furious
Sentiluent.
112-113. Presence of mind, energy, agitation, joy,. assurance,
cruelty, indignation, intoxication, horripilation, change of voice,
anger, envy, contentment. arrogance and deliberation are .the States
applicable to the Heroic Sentiment.
114. PerRpiration. tremhling, horripilation, choking voice.
fear, death, change of colonr are the Statl's applicable to the
Terrible Sentiment.
115. Epilepsy, inRanity, despair, intoxication, death, sickness
and fear are the Stntes applieable to the Odoius Hentiment.
116. Paralysis, prrspil'ation, 10RH of conseiousness, horripila-
tion, astoniRhment, ngitation, stuppel', joy and fainting are the
States applicable to the Marvellons SentIment.
117. These
l
Tempr,ramental States which on the
various kindR of Histrionic Rept'eHmtation are included into all the
Sentimrnts by experts in the production of plays.
11811 9. No play in itH production can haye one Srntiment
only. If in an assemblage of the manyl SentilllentH,StylcH
(qlti) and Local Usages (1'1'arrtti) [in the production of a play 1
anyone item has varied representation it should he eonsidered
the Dominant Sentiment and the rest the Transitory ones.
120. That whieh stands on the principal theme [of the
play] and is combined with DeterminantR, nnd Tran-
sitory States is the Dominant Sentiment.
III (ll.l73, G.1l3).
114 (B.l76, G.1l4).
112113 (B.174.175, G.nOlll).
115 (B.l77, G.ll5).
117 (B.l79, G.1l6). lye I'llele (canye. B).
n.
116 (B.l78, G.l15).
118119 (B.180ISI, G.1l7-118). 1 !Jallunam G.). sama
'lIelanam .
After this B. reads one additional couplet.
12{) (llJ83, G.l19).
.vn. 124 J THE EMOTIONAL AND OTHER STATES
147
121. IThis Dominant Sentiment should be represented
with an exuberence of the Temperament, but the Transitory
by mere gestures and postures (lit. form), for they are to support
the Dominant Sentiment [and as such should not exce1
2
it].
122. [An equally full representation of] a variety [0 Senti-
ments] does not please [the Rpeetatm's], and such a variety iH rare
in practical life (Iit. amongst people). But a mixture of different
Sentiments will however, bring pleasure [to the spectators] when
such is carefully lepresented.
123. In [the production of] a play the Dominant, the Tem-
pet'amental and. the Transitory States which are supporters of the
Sentiments and which are accomplished through many objects and
ideas, should be aSRigned to male
l
characters
2

124. The Sentiments and the States in plays are thllR to
be created. One who knows this well will attain the best Success
[in the production of a playJ.
Here ends Chapter VII of Bharata's
which treats of the of the States.
121 (B.lS4, G.120). 1 A disrega.rd of this principle liable to
cause undue prominence to a minor characrer ill a play and thereby to
frustrate the principal obiect of the playwright.
After this B. reads some additional couplets (B.IS5-1S9a) which
include a variauts of 122 a (B.lS9a) and 122b (B.lS6b) and a repetition
of USa (B.lS6a) and l1S6 (B.lS7a).
122 (B.IS4 foot-note, 9, G.121).
123 (B.lS9b-190a, G.l22). I ItG.).
, An analysis of the pL'\ys of the best kind, known to us seemR to
explain this ruIn. For in almost all of thrm silperior roles are assigned
to meo who can better be made the of diifcl'l'nt and complex
psychologioal states.
(B.190bc, G.l23).
CHAPTER EiGHT'
THE G E:STURES OF MINOR LIMBS
Tae sages question.
1.2. Through your kindness we have heard in due order
evet'ything relating to the origin of the States (bh(iva,)1 and Senti
ments (rasa)2.- We shall now like to know also what the experts
say about the different kinds of Histrionic their
meanings and different subdivisions.
3. 0 the blessed one, you are also to tell us accurately
what kinds of Histrionic Representation are to be applied to which
(places or occasions] by pcrsons aiming at the
Bharata answers.
4. On these words of thc Bharata spoke thus relating
to the four kinds of Histrionic Representation.
5. "0 sages, I shall now speak to you in detail so that
the Histrionic Representation becomes properly explained to you.
lWe shall speak of [the fact that] the abhilUl!ll! (Histrionic
Representation) is of four kinus. The question is, "Why is it called
the nbhina!Ja?" It is said in reply to this that the abhinlt!Jlt is
derived from the prefix lthhi, and the verbal root ni meaning 'to
cause to get' (to attain), and the sufix (w attached to these two.
Hence a answer to this should be made after a consideration
of the root and its meaning.
There is a Sloka on this point :
6. As the root n"i, preceded by abhi means 'carrying the per.
formances (pra!Juga) of a play [to the point of direct] ascertainment
----------------,---------
1-2 (B.G. I Sec NS. VIII. a See NS. VI.
a (B.G. same). 4 (B.G. same).
5 (B.5-6, G.S). 1 This portion till the bellinning of 6 is orilCio.
ally in' prost', 6 (B.7, G,6).
ViII. is] TaE GESTURES OF MINOR LIMBS
149
of its meaning,' so [the word made out of them] becomes abhinayn
{carrying towards}.
The meaning of a6Mnaya
7. Abhinaya is so called because in the performonce [0 a
play] it together with the Sakha \ the Ailga 11 and the U pailga'
. explains the meaning of different [things].
The four kinds of a6kt'naya
8. 0 :ijl'ahmins, the Histrionic Representation of a play
takes place in four ways, and on this (Representation) the plays
of different types rest.
9. 0 Brahmins, this Histrionie Representation is known
to be fourfold: Gestures
l
Words (fiil'ilia) Dresses and
I\Iakeup (ahal"!la) and the Temperament (saUrika).
The Gesture: its three varieties
10. Of the::;e, the Temperament has been described before,
along with the States; now listen fh'st of all about the GestureH
(anyika).
11. The Gesture is of three kinds, viz. that of the limbs
(salim), that of tho face (mllldw.in) and that related to [different],
movements of the entire body including the Sakha, the
Ailga and the U pailga.
12. Dramatic performance in its entirety to the six
limbs including the majol' and the minor ones such as head,
hands, lips, breast. sides and feet.
13. The six majol' limb:-; (1t1J-!flt) are head. hands, breast,
sides, waist and feet, and the (six) minor (ltpanga) are eyes,
eyebrows. nose. lower lip and chin .
. _--_._---------------
7 (B.S, G.7). I See 15 below. . See 13 below. 3 Sec 13 oolow.
S (B.9, G.a).
9 (B.IO, G.9). 1 rdore properly and postures.'
10 (B.ll, G.IO). 11 (B.l2. G.m. 12 (R13, G.ill).
18 (Hol40, G.l8).
150
. .
THE NATrABABTBA [ VlII.
14. Producers of plays should reckon the Sakha, dance
(nritc) and the Ailkura as the three aspects of the Histrionic
Representation (ahhinaya).
15. The gestures (aitgika,) are called the 8akha; 1 panto-
miming through them is the Ailkura
ll
and that whieh is based
on the Karal}as S and consists of the Ailgaharas
4
is called dance
(nrtt(t).
Hi. 0 Brahmins, listen first of all about the different
gestures of the head, which are included in the facial gestures
and which Illauy Sentiments and States (lillava,).
Gestures or the head and their uses
17-18. The gesture of the head is of thirteen
l
kinds, viz.
Akamptita, Kampita, Dhuta, Vidhuta, Parivahita, Udvahita,
Avadhuta, Aiicita, Nihaucita, Paravrtta, Adhogata,
and Lolita.
19. Akampita: Moving the head slowly up and down is
calle(the Akampita.
Kampita : When the movements in the Akampita head are
quick and copious the same is called Kaill pita 1.
20. (Uses); The Akampita head is to be applied in giving
a hint, teaching, questioning, addressing in an ordinary way (lit.
naturally), and giving an ordel'l.
14 (R1S, G.14).
15 (B. 16, G.15). 1 defines the 8aiNii and ailAu,a as
follows :-1111' IIriifll f4f"'I!IT I I
liT I SR. VII. 37-38). .
From this we learn that the BaRka means the flourish of the gestioulating
hand (kara-1lartana) preceding one's speech whereas tho aiiAura meaIII
such a flourish following it. ' See NS. IV. 299 if.
a See NS.IV. 170 if. ' See NS. IV. 170 if.
16 (B.17, G.16).
17-18 (B.18-19, G.17-18). 1 The AD. has nine gel!ltures of the head.
See ed. M. Ghosh, 49-65, and A.K. Coomaraswamy, MG. pp. 86-38.
19 (RiO, G.lII).
20 (Boil, G.20). 1 B. reads one IIdditional oouplet a&r this.
VIII. 80 J THE GESTURES OF MINOR LIMBS
llil
21. '1'he Kampita head is applicable (lit. desired) in anger,
argument, understanding, asserting, threatening, fiiekness and
intolerance.
22. Dhuta and Vidhuta : A slow movement of the head is
called the Dhuta, and when this movement is quick, it is called
the Vidhuta.
23. (U ses) : The Dhllta head is applicable in
sadness, astonishment, confidence, looking sideways, emptinei's and
forbidding.
24. The Vidhuta head is to be applied in nn attaek of colt],
't('1'rol", panic, fever and the 61'8t stnge of drinking,
25. Pariviihita and Udvahita: When the head is alternately
turned to the two sides it is called Pal'ivaliitn, and when it i" once
turned upwards it is known as Udviihita :
26. (Uses): The Palqviihita hend is applicable in demons-
tration, surprise, joy, remembering, intolerance, cogitation, coneenl-
ment and [amorous] sporting.
27. The Udviihita
1
head is to be applied in pride, showing
height, looking high up, self-esteem and the like.
28. A vadhnta: When the head iH once tUI'Drd down it is
ealled Avadhuta. (Uses): It is to be applied in [communicating]
a message. invoking [a deity], conversation Ilnd bpekoning [one
to come near].
20. Aiicita: When the neck is slightly bent on one side
the Aiicita head is the result. (Uses): It is applicable in siekness,
swoon, intoxication, anxiety and SOl'l'OW.
30-R 1. Nihancita: When two are mised up with
21 (B.22, G.21). 22 (B 24, G.22).
23 (B.25, G.23). 24 (B.26, G.24).
25 (B.27, G.2b}, I G. reads one additional hrmistieh bctwl'l'n 25a
and 25b, and nam<*l the head movement as adhftta.
26 (8.28, G.26).
27 (R.29, G.27). I B. reads the nil me liS adhftla.
28 (R.SO, G.28). 29 (B.Sl, G.29).
G.80-S1).
152
THE NATYASASTRA
(VII. 38
the neck bent on one side the Nihaiicita head is produced. (Uses) :
It is to be used by women in pride, Amorousness Light-
heartedness (lalita)2 Affected Indifference, (bibbolca)8, Hysterical
Mood, (lcilakincita)\ Silent Expression of Affection (moayila}5,
Pretended angel', Par?lysis and Je,alous angel' (mana).
32. Parayrtta: When the face is turned round, the Paravrttu
head is the result. (Uses): It is to be used in turning away the
face and looking back and the like.
33. When the face is [slightly] raised the
head is the result, (UsC's): It is used in lofty objects and
application of divine
34. Atlhogata: The hond with the face looking downwards
is called Adhogata. (UsC's): It is uRed in shame, bowing [in
salutation] and sorrow,
35. Parilolita: When the head is moving on all sides, it is
called Parilolitrt. (UseH): It is used in fainting, sickness, power of
intoxication being possessed by an evil spirit, drowsiness and the
like
l

36. Besides theRe there are many other gestures of the
head, which are hased on popular acting. These are to be used
according to the popular practice (lit, nature).
37. I have spoken ahout the thirteen gcstureA of the head.
Now I shall the chamctel'istics of the Glances.
The thirtysir GlaMB
The Glances expressing the Sentiments
1
are Kanta,
Bhayanaka, Hasya, Kal'Ul}a, Adbhutii, Raulh'i, Vlra, and Blbhatsa.
--_._._._---_ .. _--
I See NS. XXIV. II),
2 Sen ilM 22. 3 See i6id 21. ' Sec ibid 18.
G See ioid 19. 6 See ,.bt'd 20.
32 (B.34. G .32), 33 (B 35, G,33), 34 (B.36, G.34).
35 (R,37, G .35). I B. reads after this an additional eouplet.
36 (B.39, G.36). 37 (R.40, G.37).
38 (B.41, G,38), The AD. too has only eight soo ed, M.
GhOSh, 6678, and A. K. Coomaraswamy, MG. p. '40. But euriously
ep.ough the of 'the ei!tht in the AD. if rMl'rred br
-VIlI. 47] THE GESTURES OF MINOR LIMBS
lliB
39. The Glances to be used in the Dominant States are
Snigdba, Dina, Kruddha, Drptii, Bhayanvita, J ugupsita and
Vismita.
40-42. The Glances to be used in the Transitory States
such as Biinya, Malina, Branm, Lnjjanvita, Glana, Sailkita,
Mukta, KuilCita, Abhitapta, .Jihma, Lalita Vitarkita,
Ardhamukula, Vibhl'ant1i, Vipluta, Akekara, Trasta and
l\Iadira, make up theil' number thirtysix 1.
The Glances to cxpr('ss the Sentim('nts
43. I shall now explain the charaderistics of these Glances
in connexion with the val'ious Sentiments and the States, and shall
describe their
44. Kanta: When with a feeling of love a person con-
tracts his eyebrows and castes a sidelong look, he is said to have
a Kanm (pleasing) Glance which has it, origin in joy and pleasure.
It is used in the Erotic Sentiment.
4G. Bhayanaka: The Glance in which the eyelids are
drawn up and fixed, and the eyeballs are gleaming and turning up
is called Bhayiinaka (terrible). It indicates a great fear and is
llsed in the Terrible Sentiment.
46. Hasyii: In the Hasya (smiling) Glance the two
eyelids are by turns contracted, and they open with the eyeballs
moving and slightly visible; it should be used in representing
jugglary.
47. Karuf}a: The Glance in which the- upper eyelid has
descended, the eyeball is at rest due to mental agony, and the
gaze is fixed at the tip of the nose, and there is teal', is called
Karut,Ut (pathetic).
Coomaraswamy's text to the Bharat.lIsnstra, does not occur in the NS.
which has no If.'SS than tilirtYHix gIancrs. BrBid('s tlHl eight glancE'S Coo-
maraswamy's text records (/oc. cit) fOl't.yfoul' glances which inclnde
those mentioned in the 39 (B.42, G.39).
40-42 (B.43-45, G .43-42). I SrI' note 1 to 38 above.
48 (B.46, G.48). 44 (B.47 G.44).
45-46 (B.48-49a, G.45-461\). 47 (Ri9, G.46b),
20
THE NATYASAiSTBA [VIII.
48. Adbhuta: The Glance in which eyelasheR are slightly
curved at the end, eyeballs are raised in wonder, the eyes
are charmingly windened till the end, is called the Adbb.litti (of
wonder). '
49, Ral1dri: The pitiless Glance in which the eyeballs
are rough, red, raised, and the eyelids are still and tM
knitted, is called Raudrl (cruel), and it is used ill the furious
Sentiment.
,50. Vira: The Glance which is bright, fully open, agi-
tated, serions, and in which E'yeballs are at the centre of the eye (lit.
level) is called Vira (heroic), and it is used in the Hllroic Sentiment.
!) 1. Bibhatsa: The Glance in which the torners of the
eyes are nE'al'ly covered by eyelids, tho eyeballs are disturbed in
disgust and tho eyelashes are still and close to each other, is
called Bibhatsa (odious).
Thc Glances to cxpress the Dominant States
52. The Glances defined here are known to occur relation
to the Sentiments. I shall now explain the Glances relnting to
the Dominant
53. Snigdhii: The Glance which is not milch widenect
(lit. medium widened), is sweet, and in which eyeballs are still,
and there are tears of joy, is called Snigdhii (loving); it is used
in love ( lit. grows out of love ).
54. The Glance which is moving, slightlY bent
and in which eyeballs are not wholly visible (I". entering), and
there is winking, is called (joyful) ; it is used in laughtel'.
5ii. Dina: The Glance in which the lower eyelid is
slightly fallen, eyehalls are slightly RlVollen, and IVhich is moving
very slowly, is called DIna (pitiable) ; it is used in sorrow.
48 (B,5l, G.48).
50 (B.53, G,1I0).
49 (D.52, G.49).
51 (B.54, G.51), I B,G. add after this one couplet defining th('
illnlarasa.
52 (B.56, G.5a).
53 (B,S7, G.54). '54 (p.9, B.55, G.511).
55 (p,9, B.1I6, G.S6).
.VIIL6S] THE GESTURES OF MINOR LIMBS 150
5U. Kruddha.: The rough Glance in which eyelids are
motionless and drawn up, eyeballs are immobile and tumed up,
and the eyebrows are knitted, is called Kruddha (angry); it is
used in anger.
57. Drpta.: The steady and widely opened Glance in which
eyeballs are motionless, and which shows forth (lit. emits) prowess
is called Dfpta (haughty); it is used in energy (lit. gl'OWS out of
energy).
uS. Bhayanvitii: The Glance in which the eyes are widely
opened, the eyeballs are mobile in fear and are away from the
centl-e [0 theCj'el is called BhaYiinvita (awestricken); it is used
in fear.
59. JI:gupsitii: The Glance in which eyelids are contracted
but not joined together, and the eyeballs are covered and are
turning away from the object coming in view (lit. the place in
view) is called J ugupsitii (disgusting); it is used in disgust.
60. Vismitii: The level Glance whieh is fully blown and
in which eyeballs are throughly tumed up and the two eyelids are
motionless, is called Vismitii (astonished); it is used in
astonishment.
The Glaneee to express the Traneitory States
61. These are the Glances relating to the Dominant State!!,
that I have just defined. I shall now explain the characteristics of
the Glances in the Tt'8.nsitory States.
62. Sunya: The Glance which is' weak and motionless
and in which tbe eyeballs and the eyelids are in ordinary position
(lit. level), and which turns to the space and is not attentive to
external objects is called Sunya. (vacant).
63. Malina: The Glance in which ends of the eyelashes
are not shaking and ends of the pyes arc pale, and which is charac-
terised very mnch by half'shut eyelids, is called Malina (pale).
56 (p.9, n.57, G.57).
59 (B 60, G.6D).
6t (B.6S, G.63).
b7 (p.9. B.58, G.58).
60 (B.6!. G.6l).
6S (B.64., G .64.).
58 (B.59, G.59).
61 (B.62, G.62
f
.
156
THE NATYASASTRA
64. Branta: The resting Glance in which eyelids have
beel). let down due to fatigue, corners of the eyes al'e narrowed,
and the eyeballs are fallen, is called Rriintii (thed).
65. Lajjanvita: The Glance in which endR of the
eyelashes are slightly bent, the upper eyelid is descending in
shyness, the eyeballs are lowemd due to shame, is called Lajjanvita
(bashful).
00. G1ana: The langllill Glance in which the eyebrows
and the eyelashes are slowly moving and eyeballs are covered
[under the eyelids] due to fatigue, is called Olana
67. Bailkita: The concealed (llance which' is once moved,
and once at rest, slightly raised, obliquely open and in which
the eyeballs am timid, is Sailkita (apprehensi ve).
68. Visal)l)ii: The bewildered Glance in which eyelids
are dmwn wide apart in dejection, and tlwl't' is no winking and
the eyeballs are slightly motionless, is called Visal}l)ii. (dejected).
69. Mukula: The Glance in which eyelashes are slightly
trembling, the upper eyelids are of the l\lukula type and the
eyeballs are opened in happiness, is called Mllkulii.
70. Kuiicita: The Glance in which ends of eyelashes are
bent due to the eyelids being contracted and the eyeballs are also
contracted, is called Kuiicita (contracted).
71. Abhitapta.: The Glance in which the eyeballs are
slowly moving due to the movement of the eyelids, and which
indicates much distt'OSf! and pain, is called Abhitapta. (distressed).
72 .Tihmii: The Glance :in which the eyelids are hanging
down and slightly contracted and the eyeballs are concealed, and
which casts itself obliquely and slyly is called Jihma (crooked).
73. Lalita.: The Glance which is sweet, and contracted at
the end [of the eye] aNI which is smiling and has movement of the
eyebrows, and shows Rigns of love is called Lalita. (amorous).
----.-.-- "_._. __ ___ __ ,_ ______ __ " _____________ _
64 (B.65, G.6;').
67 (B,6B, G.68).
70 lB.7l, G.71).
72 (B.73, G.73).
65 (B.66, G.66).
68 (B.69, 0.69).
71 (D.72, G.72).
73 (B.74, G:74).
66 (B,67, G.67).
69 (8.70, G.70).
-11II. 88] TaE GESTUBES OF MINOR LIMBS
157
74. Vital'kita: 'i'he Glance in which the eyelids are turned
up {01' guest!ing. the eyeballs Ilre full blown and moving downwards
is called the Vitarkita (conjecturing).
75. Ardhamukula: The Glance in which owing to joy the
eyelids are of the Ardhamukula: type, the eyebulIiI IIrc half-blown
and slightly mobile is called Ardhamukl1la.
76. Vibhrantii: The Glance in which the ey('balls are
al'O the eyelids, !Lnd the middle [of the eye] is wide
open :and full-Qlown, is culled Vibhrilnta (confused) 1
77. Vipll1tii: The Glance in which the eyelids [first]
tremble and)heb become. motionless and the eyeballs are [again]
. disturbed, is called Vipluta
78. Akekal'i1: The Glan<.'e in which the eyelids and the
comer of the eyes are slightly eontmcted and joined together
and is half-winking, and the eyeballs :U'e l'cpratedly turning up, iR
called Akekara (half-shut.).
79. VikoM: The joyful Glance in which the two eyelidR
are wide open and thel'C is no winking and the eyeballs are not
immobile, is called (fuU-blown).
80. Trastit: The Glance in which the cydids are drawn
up in fear, the eyeballs are trembling and the middle of the eye is
full-blown due to panic, is called Tmsta (frightened).
81. Madirii: The Glance in which the middle of the eye
is rolling, the ends of the eyes are thin, the eyes are bent, and the
corners of the eyes are fully widened, is calIed Madira (intoxicated).
It is to be used in representing light intoxication.
82. In medium intoxication this Glance should have its
eyelids slightly contracted, the eyeballs and and the eyelashes
f1lightly mobile.
83. In excessive (lit. the IVOl'st) intoxication the Glance
74. (B.n, 0.75).
76 (B.77, o.m.
'17 (B.78. 0.78).
80 (B.81, 0.81).
83 (B.86, 0.8').
71i (B.76, G.76)
1 B.O. read 76b. ditrl'rl'ntly.
78 (B.79,0.79). 79 (R.80, 0.80).
81 (8.82.0.82). 82 (B.8S, 0.88)
168 TaE NATYASASTBA
[VIIl.
should have [either too] much winking or no winking at all, and
the eyeballs in it should be slightly visible, and it (the look)
should be tUl'ned downwards.
84. These are the thirtysix Glances due to the Sentiments
and the Dominant States described by me. Now listen about their
uses.
Uses of the Glances expressing the Transitory Statl'S
85. The Glances due to the Sentiments am to be used in
representing them, while Glances due to the DOF.linant (States)
should be used:!in expl'essing these. Now listen about the uses
of the Glances due to the Transitol'y States in representing these
(States),
86-93. Sunya (vacant)-ill anxiety and paralysis (motion-
lessness).
Malina (pale)-in discouragement, change of culoUl.
Branta (til'ed)-inweariness and depression. \
Lajjanvita-(bashful) 1-in shame.
Glaniqlazy)-in epilepsy, sickness and weakness.
gailkita (apprehensive}-in apprehension.
(dejected)-in depair .
. Mukula-in)leeping, dreaming and happiness.
Kuiicita (contt'acted)-in envy, undesimble object. objects
visible with difficulty and pain in the eye.
Abhitapta (dil!tressed)-in discouragement, accidental hurt
and distress.
Jihma (crooked)-in envy, and indolence. Lalita
(amorous)-in contentment and joy.
Vitarkita (conjecturing)-in recollection and deliberation.
Ardhamukula-in joy due to an experience of [sweet] smell
or touch.
---------------- ---------
84 (i.8Ii, G.!40). I We adOl't G's reading .
85 (B.86, G.85).
86-93 (B.87-94t, G.87-94t). I lajji/a (/aJim, B.).
.VIIl. 98 J
THE GESTURES OF MINOR LIMBS 159
Vibhranta (confused)-in agitation, hurry and confusion.
Vipluta (disturbed)-inconstancy, insanity, affliction of
misery and death.
Akekara (half-shut)-in looking to a distant [objectl
sepamtion and consecration by sprinkling
Vikosa (fullblown)-in awakening, arrogance, indignation
cruelty and assurance.
Trasta {frightened)-in fright.
Madirii intoxication.
!J4-95. Here I have finished the propel' discription of the
thirtysix Glan;es; now Iistcn about. the [additional] Glances, and
gestures of the eyeballs, the eyelids and the eyebrows due to the
Sentiments and the States.
The ryebalJs
!J596. Eyeballs have gestures of nine kinds:
(moving round), Valana (tuming), Pata- Patana (relaxing), ealalla,
(trembling), SUl11pravesana, (drawing inside), Vivartana, (turning
sideways), Samudv!'tta (raising up), (going out) and
Prakrta (natUl'a!).
96-98. Bhmmal}a (moving round)-turning round the
eyeball!.' at mndom.
Val ana (turning)-moving (the eyeballs) obliquely.
Patana= Pata (relaxing)-the relaxation (of the eyeballs.)
Calana (tl'embling)-the tremOlO (of the
lI'awing inside)-drawing (the
eyeballs) in.
Vivartana (tul'Ding)-turning the eyeballs sideways In a
Ridelong glance
this.
1 B. G. read p"ek.1,'te.!u.:
94-95 (B.95, G.95).
95.96 (B.96b-97a, G.96). 1 B.G, rend one additional" eoupM after
96-98 (B.98b-lOOa, ..
160
THE NATYASASTBA
[VIlI.99.
Samudvr
tta
(raising up)-the raising up of the eyeballs.
{going out)-going out. [as it were of the
eyeballs.]'
Prakrta (natural-eyeballs in the natural (glanrr.)
U R('S of the eyeballs
99-101. Now listen about their URes in [different] Senti-
ments and States.
(moving rOllnd), Valana (turning) and Samudvrtta
(raising of eyeballs)-in the Heroie and the Furiolls Spntiments.
Nillkramul;ta (going out), and Valana (tm'lIing of the
eyebaUs)-in the Terrible Sentiment.
Samp;'avesana (drawing of the eyeball)-in the Comic and
the Odious Sentiments.
P:1tan:l (relaxed eyeballs) in the Pathetic Selltinwnt.
(going out of the -' in the Marvell
ous Sentiment.
Pl'akrta (natural) eyeballs-in the remaining Sentiments
(lit. States).
Vivartana (turning sideways of the eyeballs)-in the Erotic
Sentiment.
102. These are the natural gestures of eyeballs based on the
popular practice. They are to be applied [suitably] to all the
different States.
The additionalG\ancCR
10;3107. r shall speak about the varieties of Glances in
special relation of these (lit. there). These are of eight kinds, viz.
Sama (level), Saci Anuvrtta (inspecting), Alokita (casual),
Vilokita ,looking round), Pralokita (carefully looking), Ullokita
(looking up" and Avalokita (looking down).
99-101 (B.101b104a, G.lOOb102a).
102 (B.104b106a, G.1021>-104a).
103107 (B.105h-llOa, G.I0H09a).
.VIIT.lOB1
THE GESTUBES OF MINOB LIMBS
181
form.
Sarna (level)-the eyeballs are in a level position and at rest.
Bact (sidelong)-the eyeballs are covered by eyelashes.
Anuvrtta (inspecting)-Glance which carefully observes any
arokita (casual)-(the eyeballs) in _seeing any
object).
Vilokita (looking in looking back.
Pralokita (carefully looking)-turning (eyebal\s) from side
to side.
Ullokita (looking up)-(turning the eyeballs) upwards.
(looking down)-(turning the eyeballs) towards
the ground.
These are the gestures Qf the eyaballs in relation to all the
Sentiments and the States.
The eyelids
108-111. Now listen about the gestures of the eyelids follow
which the movements of eyeballs They are: UnmellR (opening),
(closing), Prasrta (expanding), Kuiicita (contracted),
Sarna t!evel), Vivartita (raising up), Sphurita (throbbing), Pihita
(resting), and (driven).
(o'(>Cning)-separating the eyelids
Nimella (closing)-bringing together the eyelids.
Prasrta (expanding) --separating the eyelids widely.
Kuiicita (contracted)-contracting the eyelids.
Sarna (level)-eyelids in a natural position.
Vivartita (raising up)-raising up the eye1idtl.
Sphurita (throbbing)-when the eyelids are t.hrobbing.
Pihita {l'csting)-when the (yclids are at rest (lit. eiOH>d).
Vita4ita (dt'iven)-whcn Rt\'llck the eyelids are struck
Iccidentally.
lOS-Ill (B.UOh-114ft, G.109b.USa).
21
169 THE NATYASA&TRA [ VlIl.1l2
U 8C8 of the eyelids
112-115. Now listen about theil' uses in different Senti
ments and States:
Vivartita (raising up)-in anger.
(closing)-in angel'.
(opening)-in angel'.
Pras\'ta (expanding)-in objects wonder, joy, and
heroism.
KuiicitCl (contractetl)-in RPeing undesired objcl'ts. (S'II'eet)
scent, flavour and touch.
Sarna (level)-in love.
Sphurita (throbbing)-in
Pihita (l'cstiug;-in dl'e;lIning, fainting, aftii('tion due to
storm, hot rains and collyrium and eye-discase.
(driven)-in accidental injury.
These are the UBes of the eyeballs and the l'yelids in express-
ing the Sentiments and the State8.
The f'yebroW8
116-120. Now, listen about the gestures of eyebrows,
which accord with those of the eyeballs and the (They)
are seven in number and are as follows: Patana
(lowering), Bhl'Ukuti (knitting), Catura (clever), KUllcita (con-
traeted), Recita (moving) and Sahaja (natural).
(raising)-raising of eyebrows simultaneously or
one by one,
Patana (Iowering)-lowel'ing of eyebrows simultaneously
or one by one.
Bhrukuti (knitting) - raising the root of tho eye!H'owA,
Catum (de\'el')-Hlightly moving lind ext(nding the eye-
bt'ows in a manum'.
112-115 (B.1l4b-118a, G.ll3b-ll7a).
116-120 (B.llBb-123a,
,NIH. 126 ] '1'aE GESTURES OF MINOR LIMBS :163
Kulicita (contracted)-slightly bending of eyebrows one by
one 01' the both at once.
Recita of one of the eyebrows In an
amorous way.
Sahaja (natural)-thc position which the eyebrows maintain
by nature.
Uses of the eyebrows
121-125. Now I shall f;peak about their URCS in (expressing)
the Sentiments' and the States.
(raising)-in angf'!', deliberation, sporti-
venoss, in soeing and hoaring only ono ('yebrow is and in
surprise, joy and violont ang!'l' both the eyebrows are raised up.
Plltana (Iowering)-in envy, smile, and smelling.
Bhrukuti (knitting)-in objects of angel', dazzling light.
Catum (c1evel')-in love, sportivenes8, pleasing (object),
(pleasing) touch
l
and awakening.
Kuucita {contracted)-in manifl'station of affection, pretended
and hystericai 11100d.
Recita (moving)-in dance.
Sahaja (natul'al)-in simple (II illividdha) conditions.
The nose
126-123. Gestures of the eyebrows havc becn described;
now listen about those of the They are of six kinds:
Nata. Manda, YikliJ}.ita and SVilbhiivika.
N am-lobes at'e constantly clinging
Manda-lobes are at rest.
are blown.
Soechvasa-when air drawn in.
Vikiir;tim-the contl'llch'(illosc.
l21-125 (B-123b-126, 1 2812!)s, G.122b127s). 1 n. ]24 1\
differently uud one additional helllistieh aftrr this ..
H16-12H (B.129b.132a, G.127b-1'30a).
164: 'rBE NATYASAS'rRA [ vm. 130.
Svabhiivika-the natural nose.
Uses of the nose
121)-132. This is the description of the gestures of the
nose. Now listen about their uses:
Nata-in slight weeping at intervals.
Manda-in discouragement, impatience and anxiety.
strange smell, breathing, anger and fear.
Socchvasa-in sweet smell and deep bt'Cathing.
Vikiil}ita-in laughter, disgust and envy.
Svabhavika-in the remaining conditions.
The eheeks
132-13t Cheeks are of six kinds: (depressed).
Phulla (blown), Piiqta (full), Kampita (trembling) aDd Kuiicita
(contracted) and Sarna (natural).
(depressed)-(cheekA are) fallen.
Phulla (blown)-(cheeks are) raised
Piirl}a (full)-(cheeks are) expanded.
Kampita (trembling)-(cheeks al'e) throbbing.
Kuiicita (contracted)-(cheeks are) narrrowed down.
Sarna (natural) -as (cheeks are) by nature.
Uses of the eheeks
135-137. Cheeks have been described. Now listen about
their uses.
!{Sarna (depressed)-in SOrrow.
PhulIa (blown)-in joy.
Piirl}a (fuJJ)-in energy and arrogance.
121H32 (B.132b, 134136a, G.130b133). I Instead of U9b, B.
one eouplet slightly different in content .
t32134 (B.136b138, G.lS4136a).
135-137 (B.139141s, G.136b13S).
.VIII. 1*0 J
THE GESTURES OF MINOR LIMBS
1611
Kampita (trembling)-in anger and joy.
Kuiicita (contracted)-in horripilation (sensitive) touch, cold,
fear and fever.
Sama (natural)-in the remaining conditions.
The lower lips
137-139. Gestures of the lips are six in number. (They
are): Vivartana (narrowing), Kampana (trembling)' Visarga
(spreading ont), Viniguhana (cl)ncealing), (biting),
Samudgaka (contracting).
Vivartana (narrowing)-lips narrowed down.
Kampana (trembling)-throbbing (of lips).
Visarga {spreading out)-to spread out (lips).
Vinigiihana {concealing)-drawing in (of lips).
(biting) -(lips) bitten by teeth.
Samudgaka (contracting)-the contraction of lips and keeping
them at rest.
Uses of the lower lips
140-142. These are the gestures of the lips; now listen
about their uses.
Vivartana {narrowing)-in envy, pain, contempt, laughter
and the like.
Kampana (trembling) -in pain, cold, fear, anger, swiftness
and the like.
Visarga (spreading out)-in women's amora, affected indiffer-
ence and painting of lips.
Vinigiihana (conoealing)-in making efforts.
(biting)-in manifestation of anger.
Samudgaka (contracting)-in pity, kissing and greeting.
187-189 (B.141b-148, G.189-14la .
1.0-14\1 (B.14H46, G.141b-144a).
166 THE NATYASASTRA
The ohin
143.146. So much about the gestures of the lips j now
listen ahout those of the chin; (they are): KuHana,
Chinna, Sarna and
KuHana-when the upper teeth are in conflict with the
lower ones.
(the two lips) repeatedly come together
with each other.
Chinna-when (the two lips) very meet cach other,
(the two lips) are held widely apart

Lehita-in licking the (lips) with the tongue.
Sarna-when (the two lipR) slightly parted from each other.
the lower lip iR bitten by the teeth.
U HCS of tit!' chin
146H9. fear, cold, attack of old age, and
sickness.
Khal,l9ana-in mutterings prayerti (jal'n), Hpeaking
and eating.
look.
Chinna-in fear, cold, (taking) exercise, and angry
Cuksita-in yawning.
Lehita=Lehana-in greedinesH.
Sarna-in a natural position.
angry efforts.
80 much about the gestures of the chin in relation to the
teeth, the lips and the tongue.
The mouth
149156. Gestlll'eH of the mouth are: Vidhuta,
Vinivrtta, Bhugna, Vivrta and Udvahi.
143146 (B.l47.150a, 0.144b.147).
(B.150b-153a, 0.147.15011).
14P156 (B.153h-160a,
-VIII. 169 ]
THE GESTURES OF MINOR LIMBS 167
Vidhuta-the obliquely open (mouth).
Vinivrtta-spread out (the mouth).
Nit'bhugna-(the mouth) lowered.
Bhugna= Vyabhugna-(the mouth) Rlightly spread out.
Vivrta-the mouth with the lipH kept apart.
Udvahi-(the mouth) turned up.
Uses of the mouth
Vinivrtta-in women's envy, jealousy, angrr, contempt
flll(1 baRhfulnesR and the like.
Vidhuta.in restraining, 'not Hi' alltl tlw likr.
Nirbhugna-in looking into drpth and the like.
Bhugna- in being ashamed, ,liscouragement, impatience,
anxiety, discipline and consultation. It is natural for the
ascetics.
Vivrta-in laughter, sorrow and fear.
Udviihi-in and pride of women, in saying
'go and disregard, in saying ':'(0 indeed' and angry words.
156-157. The expertH should also use the mouth in
conformity with the varieties of Glant'es Ruth as Sallla and SaCi
and the like mentioned by others.
TIl<' colour of thl' face
157158. The coLm' of the {aee aceording to the eireull1'
stances (lit, meaning) is of foul' kinds: natural (.qva,MI(il'il.-a)
bright (lJitlsan1!Il), l'(ddoned (mI.-fa) and dark (syiilJla). .
of tl\p colonr of til<' facl'.
15()160. Natnml face-in :l naturnl nnd indifl'l'l'ent (mood).,
Bright face-in wondl'r, laughh'r and love.
R()(ltlf'ued faee-in intoxieation and in the H('roir the
Terrible ami the Pathetie
--------------_.----_ .. --
156.157 (B.160b16la, G.158).
157158 (B.16tb162n, G.159).
:).59160 (B.162b-164,
188
THE NA!l'YA8ASTBA
[VIII.18I.
Dark faee-in the Terrible 8/Jd the Odious Sentiments.
161-162. The colour of tlle face should be thus used to re-
present the States and the Sentiments. The acting done with the
Gestures of the eiikbii
1
, the Align and the Upaliga is good, but
without proper colour of the face it will not be charming (lit.)
beautiful.
162163. Even a few Gestures when combined with the
proper colour of the face will double their charm (lit. beauty) just
as the moon [rising] at night will.
163164. Glances too when combined, with the proper colour
of the face will clearly express the different States and the Senti-
ments, and on this (i.e. the colour of the face) the Histrionic
Representation rests.
164-165. The colour of the face suitable to the represen.
tation of the States and the Sentiments, should follow every
gestures of the eye (Glance), the eyebrow and the mouth. So
much about the colour of the face which is the basis of the
States and the Sentiments.
The neek
166-167. I shall now tell you, 0 Brahmins, about the
gestures of the neck. They are of nine kinds: Sarna, N aUi,
Unnatii. Tryasrii, Recita, Kuiicita, Aiicitii, Valita, and Vivrttll.
Deseription and uses of the neck gestures
167171. Sarna-the natural neck. (Uses) : in meditation,
natural pose, and muttering of Mantras.
Nuta- (neck with) face bent down. (Uses) in wearing (lit.
binding) ornaments, putting ones arms round (lit. taking) some.
body's neck.
161-162 (B.165b-166a, G.l62b-168). I See lIand 15 above.
162168 (B.l66-167a, G.164).
163-164 (B.167b-168a, G.165).
164-165 (B.168b-169, G.166.167a).
166-167 (B.l70, G.167b168a).
l1l7-171 (B.l7l.175,
. VIII i19}
THE GESTURES OF MINOR LIMBS 189
Unnata-neck witb the face upturned, (U.90): in looking lip.
Tryasra - neck witl! the face tUl'ned (Uee): in
Cllrrying weight on the neck, and sorrow.
Recita-the neck shaken or moved. (Uses): in feeIing
(Mb(jva), and dance.,
KlIncita-the neck the head bent down. (Uscs) : in
prefumre of weight and in protecting the neek.
Aiicita-the neck with the head turned back. ill
hanging (to dellth), arranging hail' and looking ,'riT high lip.
VUhita-the ncck with the face turncd sidewnys. : ill
looking with tht! npek turned round,
Vivrtta-neek with the face the front. (UFr): III
(indicating) going tOlVards one'" olVn plllec.
17'2 17B TheRe are the many vllrieti("- of the neek
;I('cording to tlwir [('xpressing diffl'l'pnt J ('ustomary statps of
men. Gostill'PR of the neck are all to follow the gestures of tIl('
hc'ad find th(' head geRtnres a\"o an' reflected in of tllP
Jll'ek. ll1ueh ahout tllP of the of till'
head and the connected minor (uJlai/flu) and their
listen about the gcsturl's of tIll' remaining limbR (aiI91f),
widell r am going to drshihe.
Hrre ('lwptf'r VITI of I3harata'"
wllic'\t t.reats of t.he (\rstlll'f's of MillOl' Lilllh",
(B.17ti-l77, G.I7:\b-17;,
22
NINE
THE G E,.qTURES OP HANDS
Bharata speaks
1-3. So much about the minor RlH'h as head, eyes,
eyesbrowH, nose, lips and eheeeks, and their (leH('ription that I
waH to tell you. T Hhall now- define you for the g('RturcR of hands,
breast., sides, belly, waist, thighs and feet and [explain 1 theil'propel'
use
1
. In this connexion I [first of all] tlw gesturl's
of hands and the like, that are u,l'd in the prot\uetiull of a play.
You are to listen how they arc to hc apl'lied lin atting]'
Sixtysevcn grstlU'cS of the hand
4-7. Gestures of single hands ("SI17?!!lI, tll-ha ."n) 1 arC' twenty-
four in number: Pataka, Tripatak:l, Kal'lal'illmkha, A I'd hae:lllllm,
Arala, Rikhara, Kapittha, Katakalllukha 2,
Siicyasya (Siicilllukha), KangllJa,
Alapadma (Alapllllava), Catura, Bhram:ll':l. HalJlsa-
Mukula, Ul'lpnahha lind TaIllI'Ht\l(.la.
-----'- -----_.- ------------------------ --------
1-3 (R.I, 3,2, G.1-3). I This lIR" rclateR'to th!' twofold Praetic('
(realistic and covcntional) on stag" (f:irc XIV. 62ff). 'I'll<'
rralistic Practice Uokadhar.mi) in this connpxion iH of two kindK, vil.
(I) that rpficctiug OIll"K rlllotion, aR in alTogant J'(f"l'(nCl1 'to 0I1t'',; own-
self. this (pa/aka) hand is to bl' laisrd 011 a le\'rl with tIl<' fOI'<'l:l'al1
(IX, 19), (2) that rrpJ'('srnting thf' f'xt,'nml fOl'1Il of till ohiect, aK til"
llRC of the hand to rrpl'(,Kcnt lotu" anll ,imilar flow(')'8. TIl<'
conventional Practi,'" ('ita!yadltarmi) iH (If two kim/" vi1.
(1) tl;at n('atin/-( an OI'lHIIIl<'lItal elf .. ct, ilK tILl' l1sr of tit<' foul' kara(!as
of th .. hand (HI'" NN. IX. 205-211 hdow), (2) that part.ially
a popular b .. haviollr, :LH tltr '11"" of tit .. tripatt/,ki-', hand to j'ppJ'C'f'rut
words Rpokf'u aqid .. ( Jalliillhka). SeC' AI!.
4-7 (ltG. s(J,tne). I 1'11<"" hands gratlll'r" arc ordinarily IIRrd Riug/)';
bllt at tilllrs two hand" showing olin of t\;('!l(\ grAtn!'oH aI''' stmlll
tanoolls1y. Bilt still tlJ('RC aro ('allC't! siuglt hands, ]"01'.
combined (sal/lYuta) hand" arC' rall(a tlIPY aro 1I1ways to h<'
shoWlf by both the handA; HOC Ag.
'f:ionw mAS. rl'ad thiH ll!lllll' :Lq khalakflmukha, Ollr rending
.ix 17]
TrIm GESTUBES 0Ji1 HANDS
8-1 O. of com'bine4 hnndH (NI'f!!!I" are
thirteen in number: Aiijali, Kapota, Karkata, Svastika, Kat;aka-
vardhamanaka
2
, Uti'anga, Dola, Makara.
Gajadanta, A vahittha and Vardhamana.
10-17. Danee-hands (II'rtftt-hr(strl)l are Caturasra
2
, Udvrtta
Talamukha, Viprakirl,lli, Aralakatakamukha, Aviddha-
vaktl'a, Reeita, Anlhareeita, Uttall<l.vancita, Pal\;(va,
Nitamha, KeRabamlha, Lahi, Kariilasta,
pntdyotaka, Urdhvammp}ali,
11I:LI.lI,Iah, Uro'mal,l,.\nli l\I
Alapallava, Ulbana, Lalita and VaJita,
These are the of hand" ..
li:.;tl'n ahout tlwi .. dl'finitiol1 and
Patilka (tl:tgJ-the ling{'r" ('xknded aud olle
i11lOthm', an(1 tlw thum!, !WI1t.
supportr>d by tl({' AD. (Sce ed. M. GhoKh, ,'('l'S{' 124. A. K.
.MG. p. 50).
8-10 (B.G. same). ] SCI' nou: I to 4-7 abov(,.
t Somf' ]'<'lId this nllmp II, kha(akit ; ka(akilVardhana, iR tllP
Harm' of a sarf}yuta-hasta in th!' AD. M. G]IORh, 18i and A. K.
Coomarllswamy, MG. p. 60).
10-17 (B.G. lOb-17a). 1 Thcs(' grsturcs (danc{' hands,
liS their name implit's, are ordinarily to \)(' uscd ill dllnce; bnt in ('ourse
of acting too thcy lIfC ofwll to be us{'d IIlong with other grstllr('s (single
and combined) to create lin ornllmentlll elfect (Sec note 1 to 1-3 llbove).
SeeAg.
2 In the Skt. text these nameR arc given in dual number e.r.
our caturasra stands as calurasrau. '1'lIe reason for this is to be sought
in the fact thllt unlike the single ami combined hllnds which must repr!lSellt
one single idea or object, the hands in thf' danc(1-1umd gpsturcs arl'
to be individually moved, not for rcpres{'nting IIny idea or obket but
for crellting lin o.rllam<lntlll otlhct in acting lIS w<'lllls in dauce. 800 Ag.
3 In actual (lnumerlltion hllnd g('<!tur!'H are Rilctyscvpn ill number
(singl(l24, combined 13 lind Dance-hllnds aO). ill tllp. text
shonld be emended to , 17-26 (B.18-25, 26a, '0..18-26.268).
172
TaE NATYASASTRA [IX. 26.
To represent' an administration of scorching
he.'1t., urging, attainment of happinesR and arrogant reference of one'H
ownselfl this.hand is to be raised on a level with the forehead. To
represent the glare of heat, torrential rain and shower of flowers two
Pataka hands with the fingers separated and moving, are to be joined
together. A shallow pool of 'W[\tCl', present of flowers, grass and
any [lit. ohject] made on the ground are to be represented
by two such separatl'd frolll the SvaHtika position. TIIO
same Pataka hands with their lingers pointing downwardH are to
be to n'present anything dOHed, made open, pl'Oh'eted,
c(lvcred, dense or private (eoncealab!p). very hand with
itlS lingers pointing dowllwanls and moving up alill down, iH to
expresR the speedy movement of wind and [oeeanJ WlLVl'R, [ocean
waves] breaking against the short', and Hood. The Reraka
of this hand he used to ]'''prl'Hent encolll'agement, many
[in 11\1Inher], a great erowd of llIen, height, heating of drullls, and
Hight of hirds upwards. And anything wHHhed, prossed, ('lea nHed,
. !lollll(lpd, or holding lip 11 hill 01' uprooting it, should he
by the palmH of two Ruch rllhbing eaeh otiler. This
also the manner of representing lIlall nnd WOIlH1Il2.
2tH32. Tripataka (nag with thl'l:l' third tingl']'
of the Patakahand to be bent.
(Cses) : [t is to he used in invocation,
bidding goodbye, prohibition, entrance, up
bowing [in salutation], Ruggesting alternat.i\'l!s, touehing
[the head with] auspicious objeets or putting them on the head,
putting on a turban or crown and covering the mouth or the
This very hand with its fingerR pointing and moving
up and down is to he in representing lIight of RlllaJl hirds,
. Rtream, snake, bees and the like. And with the thil'll finger of the
I In saying 'I too,' 'of me too', 'by metoo', in me too' I1nd the like (Ag).
2 Ag. gives detail00. l'ules abollt the lise of the pataka hl1nd in all
the casrs mentioned above.
26-32 (B.G. 26b-32) I A2. thinkR that thiR 1'('la008 to object-" likl'
one's chin.
.
nidananam upamlmopameyaOhavam (Ag.).
.IX.39
THE GESTURES OF HANDS
173
Tripataka should btl rcpresented wiping off team, drawing a Tilaka
01' Patl'ulekha
3
and touching of hairs,
33-38. Two Tripataka
1
hands held like a Svastika repl'e-
adol'Ution of the feet of venerable persons (YllfU,). Two such
hands lire to meet each other's end for representing ulltl'lilg().
Separated and moved from thi:; they indicate a king.
When obliqudy forming a f;vlIstika they l'Cl'resent planet8. To
indicate all aHeetic they arc to be with palm tUl'Iled baek-
ward,; .. To represent a door they arc to fal'c each othm. Subm.ll'illt'
lire, hattie and 1Il0nHtm''; arc tu he indicated by two Tripalab
hands, first raised IH!<lr OliO'S fac,! and tlwlI moved with the
pointing ,\ ith very hand:; dlOuld be indicakd
i lim ping of wave", wind and womcn, To ;;;how the cre:;ent
moon this hand "hollid put forward its thumb, and to indil.'ate
a king'" march [againl>t hi;< enl'lIly J this hand should tUl'Jl itself
toward:; the back.
8!J-H, Kartal'imukha HSH\)l's' bladt,::<)-the fOl'elinger of
tlte TI'ipatak:t hand to bend haekw;tnk
(IT Thi" [hand with finger,,] puinting downward"
showing the way, decorating the fed
l
or dying
and the emwling [of habiesJ3. With nngel'H pointing upwards it
will biting, hoi'll and letters. And when the liugel's in it
;Irc tlll'ned differently (i.e. the Illiddle finger is bent hackward") it
will represent falliug down, death, eogita-
lion aud putting [anything] in trust
5

" rocanMaManakam-touching (the body) with go-ro(ana or drawillg
Ol'fHltnpntal dC8ignR (palra!ekhl!) on the body with this substance.
Gorocana is a bright yellow pignJ('nt prl'pllred from the urine or bile of
lICow.
33-38 (B.G. 33-38). 1 This portion docs not occnr in all tnss., and
Illay well have been 1\ lawl' addition.
s Parputs, and the H\liritllal guide dc, arc meant by
thiH term.
:l9-H (R.(}. 39-41).
(Ag.).
1 racaltam kaslurikii dl'tzapairalJleaizKfHkrt'yil
m1lja1lam alaklakl'1la (Ag.).
a Read rt';IKana for rahKana i!1 B.
, vyatikramalf-aparad/lalf (Ag.), ;
174 THE NATYASASTRA r IX. 42
42. And with the two such (sa'l!l-yttta) or one Ruch
(It81!',!!!/nill) hand Hhould be represented antelope, yak, buffalo,
celestial elephant (nir(lvnia), bull, gate (vopl!ra) and hill-top.
43-45. Artlhacandra (crescent moon)-the fingers lind the
thumb HO bent as to make a cllrve like a bow.
(Uses): With this he repr(,Hentl'<i young tree"
t:l'C:-Icent moon, 1.'()IJl'h" hell, jar (!.-nll/H,,), brac!'ll't, fOl'eible opening,
exertion \ and drinking
2
With thiH ["cry l A rdhat'lIndra
hand women l'l'pw"l'nt girdle, hip, waist, faCl', Tlliapatra
8
and earring.
4(i-52. Aroda (bent)-the fOl'dillgcr curveli like:b bow,
the tlullnh also clIrved and thl'remaining lingers separated and
tllrned upwards.
(Uses): With this should be represented COlll'agl', prili("
prowess, beauty, contentment, heavenly I poist', ad of
blessing and other fa YOllrahle stateH. And this, ngain, will reo
present wOlllan', gathering of hairs 01' SCilttering them and looking
carefu\]y ovcr their entire hody, Tho preiiminiu'ies to the marriage
by bride'H going round thci bridegt'Ooml and [marital] union
2
nre
to be represented hy two Arab moving around eneh other
and their tiuger:' meeting in the form of a Svastika. And with
similar hands be circumamhulation, round
objet!;;. gl'eat erowd of men, objeetR arranged on the ground
8
J n
('alling anyone, asking anyone not to COUle in, uprooting anything,
u (lW. t2l
4:H;' en cr. t;H::i). '(iyastam khedam (Ag.).
" pl,nam fol' ptnam (B.G.).
" -'l"c. ]'(ad !tilapatm (tri(japatra) mcaning a kind of cal'-Ornalllrnt
(t/lljailka "I' tll!ai,ka). It uiifPl'pnt kW.II!ata from which iK aiKo lin
j':\l'''I)l'JI:mU'lit.
(f 46::; I, I kautukam-vivilkat pji.rvaMavi
vadhu'lJaravor liC/iral! anlar1ll1'll.kal!
Vi'iliihal!-agnau (Ag.).
:l Obj('cb; HIWI! as .llpan.-, and flowers arraugpd Oil till' ground.
JI'OI' illpana L'alpana hy And!', at BnzanrH' Knr'prllrs, 1930 (P)
'3 G. r('adR lifter thiH a conpll't d(liiuillg the Ariita hand.
.tlt. 61 , '!HE GESWRES OF HANDS 175
:laying too many things, wiping off sweat and enjoying swect
abusc, censure the Tripataka hands have bccn prescribed before hy
me, but women are to use thc Arala hand to rcprespnt these.
53-54. (pal'rot'A beak) - the ring-finger (third
finger) of the A,rala hand iH bent.
(Uses) with this should be liS '(It
not 1', '(It iH) not you, (It is) not to be <1on!'; invocation,
farcwell, and saying 'Fie (upon yon)' in contempt.
55-5tj, (fist-fingcrs theil' pnds [hl'lltJ into thp
palm and thc thnmh [iR Rct] npon them.
(Usc,;) : n is IIsnd to repl'cscnt heating-, I'xit, PI'CSS-
ing2, shampooing
3
, grasping anti holding duhs and
5758. kikhnra {pcak)-in this vcry hand the thumh
rai,;('(!.
(Uses): It IS Ilsed to win,;, whip. goad, bow,
thl'Owing a jarclill (/fillllli'lI) 01' a Hpik!! pnillting the two
lips and f(,(t and up
fi9GO. Kapitthn (rlephant-npple)-th( forpfillg(>r of tilt'
hand to bf' IWllt and prcsscd hy the thinnl .
: It to rp[)\'('Rf'nt Hl1ell at' hoII',
Ilis('uR, javelin (IIIlntll'lf), "peal' (1.'11111,1), lII'aee, ,pik!' (flll.-/i),
thl1l1det'bolt anti :liTO"'", tl'I1(' and whnlp,onH' drrd".
G1-04. Katakiilllllkha-th!' ring-IIngl'r alHlthl' litllP fingrr
IIf thi" Kapittha hantl to he rai"pri :lnd bpllt.
(Uscs) : It is ilKI'd to I'rpl'psrnt '';:If'l'ifippL'. ohlation!,
IIlllh),(lla. dl'i.wing IlJl I'!'in,. fan. holding :1 mirror, drawing
r,a-64 0.il4-;'!i).
;,;'-56 (Rr,5-;,6, G,r.fl- 7). 1 V,J'iiYltl1l17 :l<'rol'!ling to Ag. 1Il1':\ll.
),wldha, (fight or 1.!t\!,I).
2 of th<' trill;,; of ('ow,.; :\IId whi!(' milking"thl'lll;
(Ag).
:I according to Ag. 1llf':IIl, m(tpir!I111I1.
,,7-58 (n."7-58, 0.1)8-59). ;,!l-60 (B.59-60. G.60-61).
6164 (p.41, B.60-63,. 0.53-65). 1 holram-smgii.d,-ultcinrlla, Ag,
havyam-ajYiidyamuMellfl (Ag.).
176
THE NATYASASTRA [VII. 65
[patterns]S, powdering, taking up big sticks, arranging a pead neck-
lace, taking up garlands, gathering the ends of clothes, churning,
drawing out arrows, plucking flowers, wielding a goad, drawing out
a goad, string and looking at a woman.
65-71. Siicimukha-thc fore finger of the
hand to he
(Uses) : I shall tell you briefly of its various as the
forefinger [in it] is raised and hent, moving
moving up and down, and moving up without any rest.
By moving the forefinger upwards [in this hand] a.re to UP
represented lightning, hanners, blossoms, wllTingl, zigzag
movement, a cry of approbation
2
, young serpent, young SPl'Out
a
,
incense, lamp, creepets4, Rikhm:u'ar., falling dowu, clIrve 'nlHl roulld-
ness and with the forefinger raiRed this' [handJ again should h(,
used in [representing] stars, nORr, [tltr nlllllupr] 0111', ('Iuh and
stick. And [this hand with the forefingPI'J hmt shol1hl IlIret the
mouth to I'rprcsent a being with tertii, Hlld tlIt' f'il'C!ular
1l10Yl'lIwnt of this han(l one should rcprrs(>nt th(> taking myay
man'RJ every thing. And the forefinger iti this hand should Il,! altpr-
nately raised and lowered to represent long stlldy :\lld long day. And
t.he same should be clIrved, movrd lip and dow II IWilr the fner to
I'epresent a sentence. And to indicate 'no' or "prnk' tIl(' 1'01'(>-
finger be shaken :Iud Illo\'rd up.
72-7G. This hand he to rPllI'c,rnt llllgPI',
prl'spiration, hair, rar-ring, armlet :1l1t) d('('OI'atioll of tli<, t'hp('b.
3 kkal,l11anam-ur:lwin.1! decorativr pattf'fIIR 01' d"si;.(IlR on anything'.
Ag's (''CpI:lIIation of this to be wro;.g. Cf. aiak/j-tilakii patravaiilll
klla1Jt!antr (drflW,; thf' atak/l-tilak(1 and patrii71oli) in the Kirtila(:i of
Vidyiipati. t:\ee (>d. HarapraHiid HiiHtl'i, Calrutta, TIti. IHai PJl.
1:1-14, anu thr root kha/! (to draw) in E. R('ugal uiairet of Tipprm.
61>-71 (ll.64-7la, G.66-72). (Ag.).
3 Saying 'wclldolln', 'how bralltifni' etc 3 pal/a7Ja bllt n. lJaly{/7'a.
Thr text URe!< two words valfi fllld lafti mraning '(\r('(']1r1". Ag.
distinguishes betwcClIl the two aH follows: ala1lii-praMrtayo 'lIallyal! lind
drak.1I1praOht;layo latal! .
Mkllfl'l,u/a-lmmarak'/.r}iillJ k,iA'{//Jak,ah ( Ag.).
7275 (R.7Ib75a. G.7:176).
nt. 89 J
TBE GESTURES OF HANDS
177
And to represent pride, 'I am,' enemy, 'Who is this'J and
scratching of the ear it should be held near the forehead. [And
two Siic1mukha hands] should be united to represent the union
[of men], and be separated to indicate !'epam,tion, and to represent
:t quarrel the two hands shonld be crossed, and to show bondage
they are to press each other. The two Siicimukha I hands]
facing each other and held sepamtely on the left side will
represent the close of the day, and held on the right side they
will indicate the close of the night.
76. This hand moved in the front will indicate [any]
form, s t o n ~ whirlpool, mechanical contrivance and a hill, and
t ~ represent th; sel'ving up of meals the same movement of the
hand pointing <lPwnwards is required.
77. To repl'esent Siva this hand pointing downwards
is to be held close to the fOl'P)lCad and to indicate Indra this
hand is to be raised [to the fOl'eheadJ and held across it.
78. By two such hands the orb of the full moon is to
be represented. amI to indicate the rising of Indl'a (i.e. raising
his banner) it should be held close to the forehead.
79. [This hand] moved all around will represent the orb
of the moon, and to indicate Siva's [third] eye, it should be held
on the forehead and [in mse of] Tndm's [<,yes it should be]
raioed obliquely.
80. Padmakosa (Iotm;-}md)-thc fingers including the thumb
to he separated and their entls to bend, but not to meet one
another.
81. (Uses): To repl'esent Bilva and Kapittha (t>lephant-
apple) fruits and the breasts of women [this hand is to be used].
But to represent accepting [these fl'Uits] or flesh, this hand should
be slightly bent at its end.
82. lThis hand] Rhollid be held fto represent] offering
76 (B.77b-78a, G.77).
79 (B.76b-77a, Q.ao).
81 (B.80b-81a, G.82).
82 (B.82, G.83).
23
77 (R.78b79a, 0.78). 78 (B.75b-76n, G.79).
80 (B.79b-80s, G.81).
J R adds 0110 hrlllistieh aftol' this.
178 THE NATYASASTRA
( IX. 8S.
,
Piija to It deity, cart'ying tribute, casket, offering the first funeral
cake!, and a number of flowers, are also to be indicated by the
hand .
. 83. The two such hands with moving fingers meeting at
the wrist and turning backwards will represent the full-blown
lotus and wat.er-lilly.
84. SarpaRira\;l (snake-hc:ul)-the fingenl including the
thumb b be close to one another and the palm to be hollowed.
85. (Uses): It is used to repre8ent the offcring of water,
movement oJ pouring watp!, [on anything], ehallenging
[for a duelJ, motion of the elrphant's frontal g1.obcs (1.It1nuha)
and the Iikr.
8U. (deer-hpml)-the hand with all
its fingers pointing downw<lI'lIR, but the thumh and the little
finger raised up.
87. (Uses): It. is moved to represent hpJ'(" now, "It is",
to-day, 8plendoul' (nlla Sl1l1l1), throw of die!', wiping off
perspiration and pretended anger.
88 Kiingula-The middle and the foreGngers :111(1 the
thumb to be separated and the ring Gngpr to be bcnt hut the little
finger raised.
89. (Uses): By this are to be reprcHcntp!1 immature
fruits of various kinds and angl'Y wonls of women.
90. Alapallava (Alapadmaka)-all fingcrs turned towards
the palm, standing on its side an!1 Reparated from on(1 anoth('r.
91., (Uses): It iR to be used for indicating prevention,
words like "Who are you," "It is not", "nonsense" and a woman's
allusion to herself.
1 agra#1Jr!a-dima-nandimukhasriiddka (Ag.).
83 (B,83, G.84). 84 G.85). 85 (B,S5, G.86).
86 (B 86,0.87). S7 (B.87, G.8S).
88 (B.S8, G.89). 1 trerlag'llisarl)stkilaq=viraliil} (A g.).
S9 (B.89, G.90). 1 B. reads one ndditiopal after this.
90 (B.9], G.91). 91 (B,92, G.92).
.IX. 103 ]
GESTURES OF HANDS
,
92. Catura-the four fingers stretched and the thumb bent
near the middle finger.
\13. (Uses): It is to be applied in l'epl'cRcnting policy,
discipline, penance, cleverness, a young girl, a sick per:;on, spirit,
deceit, proper words, welfare. truth and tranquility.
94. By one or two such ham]:.; moved round should be
represented openness, deliberation, moving, conjecture and shame.
95. By the combined Catura hands are to be represented
lotus-petals cC\lIlpared with eyes, and ears of deer.
96-98 Besides these, the Catura hand i::i to indicate sports,
love, memory, intelligence, judgement, forgiveness,
nutrition, consciousness, hope, affection, reaHoning, union, purity,
cleverness, favourablene8s, softncss, happine!':;, ciJaractl'r, question,
livelihood, propricty, dress, soft gl'aSR, a Amall quantity, wealth,
dcfeat, Hcxual intet'course, merit and demerit, youth, home, wife
and various colours.
99. [To representJ white it (the Catura hand) should be
held up ; red and yellow are indicated by moving it round, and
blue by pressing [one such hand with another].
100. Bhramara (bee)-the middle finger and the thum.b
crossing each other, the forefinger bent, the remaining two fingers
separated and raised.
101. (Uses): It is nsed to indicate the plucking of flowers
with long stems such as lotus and water-lily, and. ear-ring.
102. It should fall down with a sound to represent rebuke,
pride of power, quickness, beating time and pl'otlucillg confidence.
103. HaIpsasya (swan-mouth)-thc forefinger, middle finger
and the thumb closel to one another and the remaining fingers
stretched.
9il (13.93, G.93). 93 (B.94, G.94).
95 (B.96, G.96) 96-98 (B.97;99, G.97-99).
, 100 (B.101, <1.io1). WI (B.I02, G.102).
."
94 (B.95, G.95).
99 (B.I00. G.I00).
102 (B.103, G.I03).
103 (B. 104, G.I040). I nirantfNii iti (Ag.).
THE NATYASASTRA
[ IX. 104
104. (Uses): It with the slightly throbbing end is used to
indicate'Specially, fine, small, loose, lightness, exit, and softness.
105: (swan-wings)-the three fingers stretched,
little finger raised and the thumb bent.
, 106-108. (Uses): It iti used to indicate pouring libation of
water, and it should be held near the check to represent aceepl<'1nce
of a gift, Acamana and taking meals hy Brahmins, embrace,
excessive stupor, horripilation, tOlleh, unguent and gentle massage.
It may again be used to indicate according to the [prevailing]
Sentiment, amorous action of women relating to the 'rf'gion hetween
their breasts, their sorrow nnd touching of their chi!1'
109, SandalJ1sa (pincers)-the forefinger and the thumb
of the Arala hand crossed and the palm a little hollowed.
110. The HandalJ1Rll (hand) according to the Sentiments
and States, iR of three kinds, vir.. that [held] in front, that ncar
the mouth and that on one side.
111-115. (Uses): In representing the plucking of flowers,
making garlands of them, taking up grass, leavf's, hairs or thread
and holding or pulling out an arrolV or thorn the SandalJ1sa should
b/.l held in one's front. And to taking off a flower from
ita stem, the wick [of a lamp J, [collyrium] stick, filling up [any
with any thing], in saying 'fie [upon you'], and anger, this
should be held near the mouth. To represent the sacred thread,
piercing a hole (in pearls and similar sbjeetH], bow-string, fineness,
arrow, and objects aimed at, yoga, meditation and small quantity
[two] such hands should be combined. This shown by the left
hand held on one and slightly turning its tip is used to re-
present softness, abuse and envy. It is used also to indicate pain-
ting, colouring one's eyes, deliberation, stem, drawing Patralekha
and squeezing of lac-dye by women.
116. Mukula (bud)- the fingers bent and close to one
another and theil' tips meeting together in the l!atpsaRya hand.
104 (B.105, G.105). 105 (D.106, a..t06).
106108 (B.107-109, G.111). 109 (l.1l0).
1'10' (B.l1l, G lll). lll-lI5 (B .. ll2-116, G.). i16 (B.m, 0.117).

-IX. 126 J TIlE GESTURES OF IlANDS
181
117-118. (Usm,): It is used to the making of
offerings in worRhipping a deity, bud of a lotus or a water-lily,
throwing a lliss contempt, miRcellane6tis things,
taking meals, counting of gold coins, narrowing of the mouth,
giving away [anything], quickneHs and huds of flowers,
119-120. Urr;mnabha'(spider)-the fingers of the Padmkosa
hand [further] bent.
(Uses): It is used to represent the combing of hair,
receiving stolen goods, Hcratching one's head, skin disease,
lions, tigers an'd such other animals, and takin'g up [touch J-stone.
121-122 . TamraclJ(Ja (lit. copper-crest i.e. eock)-the middle
finger and the thumb crossed, the fore-finger bent, the remaining
[two fingers] at the palm.
(Uses): It should fall down with a Round to rel?,resent
l'ehuke, beating time, inspiring confidence, quickness, and making
signs.
123. This hand is to he used to indicate small fractions of
time such as Kala, and as well as talking
to a young gil'l and inviting her.
124. When the fingers in a hand are close to one a,nother,
bent and the thumb is set on them, the slime is [aboJ called the
Tamracu4a hand.
125. By this hand are to be indicated hundred, thoqsand
and lac of gold coinR, and when the fingers in it are suddenly made
to move freely it will l'epresent sparks or drops.
12{;. 0 the of Brahmin!', these are the single hands
described by me. Now hear about the combined hands which
I am going to describe.
117-118 (B.l1S-U2, G.118-119). 1 sviiOktpmyay!! awl-
svahaslam. eva mukltlial!lvtas wmbanliti v(acumiJanam (Ag.)
..
119-120 (B.120-121, G.120-121). 1 Cf. Ag's cxphmation of cau",a-
Iraha.
,
121-123 G.1 .... 123). 123 (B.124, 0.124), _
124 (B. 125. 0,125). . 125 (U.l26, G.126). 126 ro.127, 0.127).
... '" . ""
1811 'tHE NATYASASTRA [IX. 1111
127. Aiijali-Putting together of the two Pataka hands is
ealled Afijali.
(Uses) : It is usoo to greet gods, venerable persons (gl!m)
and friend 1
128. In gl'eeting gods it is to he held on the head, in case
of venerable persons it is to be held neal' one's face, and for
gl'eeting the it is to be placed on the breast, and in case of
the remaining persons there is no fixed rule.
129. Kapota (pigeon)-The two (Aiijali) hands meeting on
one of their !lides will make the Kapota hand. Listen about its
uses.
130. (Uses): It is to be used to indicate an approach with
inimical attitude, bowing and talking to a yenerahle perRon. To
indicate cold and fear, women are to hohl thiH hand on their breasts.
131. 'The hands [showing the Kapota gl'HtureJ released after
the meeting of fingers will indicate anxious wOl'lb, or 'This much
can be done' or 'Nothing more can be done.'
132, Kal'kata (crab)- When the lingol's of the hatH]s are
interlocked the Karkata hand is produced.
1:33. It is used to indicate the bees-wax,
of the limbs, yawning just after awakening from Rleep, a big body,
supporting the chin and holding a conch-shell U'OI' blowing
" 134. Svastika-The two Arala hands upturned and hold
together at the wrists will form the Svastika. It is to be used by
women.
135. (Uses): When the handH are separated from the
'Svastika position, it will indicate dil1eetions, clouds, the sky, forests,
seas, seasons, the earth and similar [otherJ extensive things.
127 (B.l28, G.128).
128 (B.129b-30n, G.l29). 1 n. adds 0111' additiollal hemistich aftl'r
this. 129 (B.l30b-13la, G.l30).
130 (B.131b-13211, G.1Sl). lSI (B.lS2b132a, G.lS2).
.1S2 CB.133b-13411, G.lSS).
134 (B.185b-136a, G.13.'.
133 (B.l34b-135a, G .134)
186 G.IS6).
IX. 144 J THE GESTURES OF HANDS
183
136. Wilen one (glUkha)
hand is placed on [the wrist ofJ another Katakii [mukhaJ hand the
Kitakiivardhamanaka hand will be produced.
(Dl:;eR) : It is to be used in movements connected with
love-making and in bowing [to a personl.
137. UtRanga-When the Arflla hand,: arc eontmrily
placed and are held upturned and bent, the Utl-m1ga hand will he
the result.
(UHes) : is used to indicate the feeling of tonch.
138. It if) also uRed to imlieato anything to be done with
great effort, acts, of anger and indignation, sqt1('ezing [anything]
and women'f) of jealousy .
. 13()-140. left hand holding the [right] arm
ahove the elbow amI the right hand ;;imilarly touching thtl left arm
with a denched fist will make a hamP
]41. It i,., to indicate patience, intoxication, pride,
('h'ganee, valollr, arrogance sl'lf-col1eeit, haughtiness
steadiness and the like.
142. Dola-When the two shoulders are at case III a
Km'al}:l and the two Pataka hands are hanging down the Doh
hand is produced.
14:1. (U,es): It is to be used in indicating hurry, 8adness,
fainting, fit of intoxication, excitelllC'nt, HtatC' of illness and wound
hy a weapon.
1 H. two Sarpasiml.l hands with their
fingers to one anothel' meeting on one Hide very closely will
give rise to the hand.
.,
1:l6 G.l:17). (B.l:lll, G.138). la8 en 140, G.139).
13!H.tli (R lH-Il;;). 1 G. thiK and 141, and 1'('arl them
diff('!'('lltly, but in tIL(' foothot. to t 116 tho d<'finition and the
llHOH too. n. also gives all lIdditional dclillitioll lind 1I8('S of the
ill ll.l41 143.
. 141 (R.H6). I Sec note 1 to 139",140.
142 (ll.148, G.142). ' 143 (R149, G.143).
144 (B.l50, G.l44).. _ '145 (B.15l, G145).
184
TaE NATYASASTRA [IX. 145
145. (Uses): It is to be used to indicate the receiving or
carrying of rice, fruits, !lowers and foods of various kinds and the
carrying and removing of water.
146. l\1a kara-When the two Patiikn, hands with their
thumbs raised nrc turned down unti. placL>d on cach other the
Makara hand is produced.
H7. (Uses): It is used to indicate lion, tiger, clephant,
cl'oeodile, shark (malmra) and fish and other carnivorous animals.
1-18 Gajadant-t-The two SarpaHirag hands .. touching tllCl
opposite arms bdween the shoulder and the ('lbow will give rise to
the Gajadanta hand.
149. (Us('s): It is to b(' nsed to indicate the carrying of the
bridegroolll and the hrid!" wPight, a pillar :lnd
uprooting a hill 01' a blork of Btonc.
150. A vahittha-WhPn the two 8ubtlll).(J l
each othrr on the breast and arc bent and then Hlowly lowered, the
Avahittha hands will be the I'Ci'oult.
151. (Uscp); It is to be used in indicating sigh,
showing one's body, thinness [of the body] and longing [for a be-
loved pl)l'son 1.
lii2. Vardhamiina-When the Mukula hand is clasped by
the Kapittha the result will be the Varrlhamana hand.
15B. (Uses): By pressing one hand with the other it is uRed
to indicate receiving, pl'(>sorving, convention (or doctrine)
. truthfulness and abridgement.
154. Or the two hands turned down will be
the known as the Val'dhamana. (UHes) : It is to be used to represent
the opening of objects like latticed
155. The two kinds of handH (single and combined)
-------------_.------_.
146 (R.l52, GI46). 147 (B.153, G.147).
14B (RIM, G.14B). 149 (RI55, G.149).
150 (B.156, G.150). 151 (fi.l57, G.l51).
152-153. I Ms. G. of G. and If a of B. read tho passages as we do
but:a. and G. reiect this and read them diif!'rcntly.
l54 (B 15B, G.1I)2). 155 (B.l60, G.15S).
. h lX. 165 ) GESTURES OF IIANDS 180
described briefly may be used elsewhere also in conformity with
the rules laid down here.
General rules regarding the use of hand gestures
156. In acting, hand [gcsturcs] should be selected for theil'
form, movement, significance, and class according to the personal
judgement [of the actor]'
157. There if! no gesture (lit. hand}-that cannot be used in
indicating [some] idea. I have profusely described whatever forms
(lit. gestures} are usually seen [to be associated with different
ideas].
158. There arc bcsides other popular gestures (lit. band)
conneeted 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 be used by males as well as
females with propel' regard to place, occasion, the play undertaken
and a suitability of their meaning.
Diiferl'nt movements of hllnd gestures
160. I shall now dcscribe the varied movements which
these gestures (lit. hands) [should] have in connexion with .,
[different] Sentiments and States.
161-163. [These movements aro) : drawing upwards, dragg-
ing, drawing out, aecepting, killing, beckoning, urging, bringing
together, separating, protecting, releasing, throwing, shaking,
giving away, threatening, cutting, piercing, squeezing and beating.
164. Hand gestures according to the theory of Histrionic
Representation are to have tl11'ee kinds of gener;].! movements, viz.
upwards, sideways and downwards.
165. These movements of hands should at the time of their
use, be embellishad by means of [suitable] expressions in the
eyes, the eyebl'ows and the face.
156 (B.l6l, G.l54).
158 (B16S, G.156).
160 (B.l65, G.l58).
164 (B.169, G.l7S).
24
157 (D.162, B.G.l55).
15!! (D.l64, G.157).
161-163 (B.16616B, G.l59 161).
165 (B.170, G.162).
186
THE NATYASASTBA
':{ IX; 16ft-
Spheres of hand gestures
166. The experts are to use the hand gestures according
to the popular practice and, [in this matter] they should have an
eye to their movement, object, sphere, quantity, appropriateneRs
and mode.
167. Hand gestures of persons of the superior type should
move near their forehead, that of the middling type of [,ersons
at ahout their breasts while the inferior pel'sons [should move
their hand gestures in rpgions] below this.
The quantity of gestures
168. In the superiol' acting, hand 8hould have
scanty movemcnt, in the middling acting medium sort of movement,
while the ordinary acting should have profuse movements of hand
gestures.
169. To indicate different objectR and ideas the hand gestures
of persons of the superior and the middling types [in such cases]
should conform the d('finitions given Lin the 8astraJ while geBtnres
of the persons of inferior type should follow the popular practice
and their [own] natural habit.
170. Rut when [specially J differpnt occasions 01' times
present themslIlvt)s, wise people should make different uses of
the hand
17L-174. While a person iR to represent himself as sad,
fainting, terrified, overcome with or sorrow, weak,
asleep, handless, inactive, drowsy, inert, sick, attacked with fever,
seized with panic, attacked with cold, intoxicated, bewildered, mad,
thoughtful, practising austeritieA, residing in a cold region, prisoner
under arrest, running very swiftly, spraking in dream, suddenly
moving away and cutting nails he is not to use hand gesture!',
but he resort to the Reprcsettation of the Temperament as
well as to the change of voice suitable to the different States nnd
Sentiments.
166 <B.171, G.l63).
168 (B.l73, G.l65).
170 (B.175,G.167).
167 (B 172, G.IU).
169 (B.l?4, G.166).
171-174 (B.176-179, G.168-171).
-IX.18S]
'tHE GESTURES OF HANDS
187
175. At the time of verbal acting (i.e. when tho acLor will
enunciate his pari) the eyes and the look are to be directed to points
at which the hand gestures are moving, and there should be propel'
stops so that the meaning may be [clearly] expressed (lit. seen)!.
176. The movements of hands in dancing and acting will
be of five kinds, viz. palms kept upwards, downwards or oblique,
fingers pointing upwards or downwards.
177. These are the hand gestures connected with the various
kinds of Histrionic Representations. I shall now speak of Dance-
hands (i e. gestures to be used in dance).
The Danee-hands
] 78. Caturasra-two hands held forward
eight Ailguhs apart [from each other] on one's breast, tlw two
shoulders and elbow::! on the same level.
179. Udvrtta-the two hands waved like a
palm-leaf (fan). Its .1ltel'native name is the Talavrnta (palm-leaf),
180. Talamukha-the two hands from the Caturasra
position to be obliql1l>ly facing each other.
181. Svastika-the Talamukha handi'! rrofised at the
wrists; but released after this they are called Viprakirl}a.
182. Aralakatakamukha-the two Alapallava (Alapad-
maka) hands with palms upwards changed into handf'.
Its another name is
183. Aviddhavaktraka-The two hands are to have a
graceful movement after touching [successively] the oppo-
site shoulder, elbow and hands, and the palms [of the hands] moved
are to turn towards the back.
175 (B.180, G.172).
176 (B.l82, G.175).
178 (B 184, G.177).
I B. repeats here 164 lB.l69)
177 (B.l83, G.l76).
179 (B.l85, G .178).
180 (B.l86, G.179). 181 (B.l87, G .180).
182 (B.188, G.181). I B.G. read after this 1\ variant of this
definition. f 188 (B. 1 00, G.183).
188
THE NATYASAl3TRli'
[IX. 181 .:
184. Tbe two' bands witb their
thumbs touching middle fingers are to stretch their tips obliquely. '
185. Rl'cita - the two hands swiftly moving
with the palms facing upward This is like the ordinary Recita [of
the hands].
186. Ardharecit.a-The left hand should be as in the
Caturasra and tho right hand as in the Recita.
187. Uttrtnavaiicita-The two Tripallika hands are slightly
bent obliquely and the shoulders and theelbows are moved.
188. Pllllava-the two Pataka hand joined at the wrist.
r
Nitamba-the two Pataka hands taken out from the shoulder
[W the hip].
] !in. Kcsabandha-the two hands moved out from the
hair-knot (la'IHbrtndhn) and held on the sides.
] 90. Lnta-the two hands to be obliquely stretched
8ideways.
191. KnrihaRta-the Lnta hand held np and Rwung from
side to side and the Tripataka hnnd held on the ear.
192. Tripatalm hand placed on the
waist and another on the head.
1113. 'hands chang-
ing places (i.p. tho hands placed on the waist to be put on the
head and dee versa).
11}4. Dal].4apaksa-the two hands moved
alternately and then held out like a staff.
195. Urdhvama\l4ah-the two hands to have circling
movement near the upper region (i.p,. the upper part of the body).
(B.l91, G.184). I B.G. read after this a variant of this definition.
185 (B.l93, G.l86). 186 (B.194, G.187).
187 (B.l95, G.l88). 188 (B.196, G.189).
189 (B. 197 , G .190). 190 (B.l98, G.l91).
191 (B.I99, G.192), 192 (B.200, G.19S).
193 (B.20), G.l94). HH (B.202j G.l91i), 195 (n.203. G.196) .. ,'
IX.9061 GESTURES' OF HANDS
18(}
PiirBVamlllJ.l!alt-the same movellJrnt made on one side.
196. UroDlfl!l,gali-llfter circling movements one hand to
. be raised up and the other to hang down, and movements to take
place neal' the breast.
197., Alapallava (Alapad-
maks) and Arala hands moved by turns above the breast and on
the sides.
198. two Katakiimukha hands bent
at the wrists a&d moved round.
199. NalinipadmakoRa the hands to be illoved by turns
with Vyavartita.' and Pari val'tita Karal}a.
200. Allapallava-the two hand to have the
Karal}a in their movements.
Ulbana=-the two hands to be stretched up and waved.
201. Lalita-two [Ala}pallava (Alapadmaka) hands to be
moved above the head.
Valita-the two Lata hands crossed at their elbows.
202. The Dance-hands are to be used in forming Karal}as
and hands such as the Pataka should be used in representing
the meaning [of words].
203. [But] sometimes, out of necessity their U8es are inter-
changed, and the names given are due to their predominant use
in drama and dance.
204. The Dance-hands are of two kinds: single and com-
bined. I shall now speak of hands in. relation to the Karal}as.
1
1'ho four Karal}as of the hand
205206. Instructors of hand gestures are to note carefully
the four classes into which all such gestures are grouped. The four
classes are: Udvcl?!ita, Vyavarita and Parivartita.
196 (B.204, G.197). 197 (B.205, G.I98). 198 (B.206, G.l99).
199 (8.207, G.200). 200 (8.208, G.201). 201 (B.209, G.202).
202 (B.210). I G. omits this. 203 (B.21l). 1 G. omits this.'
204 (8.212, G.20a). 1 This Karal}R is evidl'ntly ditrerl'ntly from the
K. mentoned in NS. IV. 62ft 205-206 (B.213-214., G.204,-21/5).
190 THE. NATYASASTBA [XI. 201. ,
207. When the fingers beginning with the first
one (the forefinger) are gradually pointing inwards at the time [the
hand] moves round, the Karal,la [thus produced] is called
208. When the fingers beginning with the first
one [forefingers] are gradually pointing outwards at the time
[the hand] moves round, the Karal,la thus produced is called

209. Vyavartita: When fingers beginning with the last
one (the little finger) are gradually pointing inwards the time
[the hand] moves round the Karal,la thus produced is called
Vyavartita.
210 Parivartita: When the fingers beginning with the last
one (tho little finger) are gradually pointing outwards at the
time [the hand] moves round, the Karal,la thus produced, is called
Parivartita.
211. Hand gestures in their [various] movements whcn
applied in drama and dance should be followed by Karal,las having
[appropriate expression of] the face, the eyebrows and the eyes.
The movements of arms
212213. Persons dealing in drama and dance have pres-
cribed ten [movements] of arms: Tiryak, Urdhvagata, Adhomukba,
Aviddha, Apaviddha, Svastika, AilCita, Kuiicita and

214. 0 Brahmins, I have now finished the brief description
of rule8 regarding the Kara\las and shall Hpeak afterwards about
the movements of the breast, the belly and the sides.
Here ends Chapter IX of Bharata's
which treats of the Gestures of Hands.
207 (n.215, G.206).
209 (B.217, G.208).
211 (B.2I9, G.210).
213 (B.221, G.212).
208 (B.216, G.207).
210 (B.218, G.209).
212 (B.220, G.211).
214 (B.222, G.213).
CHAPTER TEN
THE GESTURES OTHER LJMBS
The breast
1. The breast is known to bo of five kinds: Abhugna
(slightly bent), Nirbhugna (unbent), Prakampita (shaking), Udvahita
(raised) and Sarna (natural).
2. (slightly bent)-(the breast) lowerrd, back
high, shoulders slightly bent and at times loose (not stiff).
R. (UseR); in hlll'ry, dmlpair, fainting, sorl'OW, fear, sickness,'
b.oken heart, touching of cold objects, rains nntl being ashamed
of some act.
4. Nirbhugna (unbent)-(thll breast.) Rtiif, back depressed.
shoulders not bent and misrd.
5. (Uses): in paralysis. having resentment, look of surprige,
assertion of truth, mentioning oneself haughtily, and excess of
pride.
6. Pl'akampita {shaken)-thc breast incessantly heaved up
[and down].
7. (Uses): in laughter, weeping, weariness, panic, [fit of]
asthma, hiccough, and misery.
8. Udvahita {raised)-the breast raised up.
(Uses) : in (rcpl'cHenting) deep breathing, viewing some lofty
[obje!!t], and yawning.
D. SmUlL (nafl11'al)- All the limbs being in the Caturasra
. and wit.h the hreast will he ralled Sama (natural).
1 (B.IX.223, G.l). 2 <B.IX.224, G.2).
S (B.IX.225, G.S). 4 (B.Jx'226, G.4).
5 (B.IX.227, G.5). I B.G. r('ad after this an additionaf'eouplet.
6 (B.IX.229, G.7). 7 (B.IX.2S0, G.S).
e (B.IX.281, G.9). 9 (B.IX.232, G.lO).
199
THE NATYASABTBA
[ X.lO.
Tile siaes
.
10. I have properly described the variety of the breast
movements. And I shall now define here the two sides.
11. The sides are of five kinds, viz., Nata (bent), Samunnata
(raised), Prasarita (extended), Virvartita (turned round) and
Apasrta (drawn away).
12-15. Nata (bent)-the waist slightly bent, one side slightly
bent, one shoulder drawn away slightly.
Unnata (rnised)-The other side [on the assl1mption of the
Nata position] will be Unnata (raised), [because in relation of it]
the waist, the side, the arm and the shoulder will be raised.
Prasiil'ita (stretched) - the stretching of the sides in their
(respective) directions.
Vivartita (turned round)-the Tl'ika (Racrum) is to be
turned round.
Prasrta (drawn away)-the side restored to its original
position from the Vivartita movement [described above].
These are the definition of the various kinds of sides.
U scs of the sides
16-17. Nata (bent)-in approaching any body.
Unnata (raised)-in going backwards .
.
Prasiil'ita (stretched)-in joy and the like.
Vivartita (turned round) -in turning about.
Apasl'tn (drawn away}-in returning.
These are the uses of sides. Now listen about those of
the belly
The belly
18. The belly is of three kinds: K ~ i i m a (thin), Khalva
(depressed), and Purl].a (full). Of these, the thin (belly) is K ~ i i m a
the bent is Khalva and the full be\1y is Puma.
10 (B.IX.233, G.l1). 11 (B.IX.1I84, G.ll1).
11115 (B.lX,1I35-238, G.13-16). 'B feads nifJarlila.
'16-17 (B.IX. 239-240, G.l7-18). 18 (B.lX.241
1
G.19).
THE GESTURES OF OTHER LIMBS
19 ...
Uses of tho belly
19-20. K ~ i i m a (tbin) : in laughter, weeping, inbalation and
yawning.
Kbalva (depressed) : in sickness, penance (tapas), weariness
and hunger.
Piiqw. (ull): in emitting breath, fatness, disease, too much
eating and the like.
These are the uses of the belly. Now listen about that
of the waist.
The waist
"
2124. The waist in dance and drama is of five kinde, viz.
Chinna (turned aside), Nivrtta, (turned round), Recita (moved
about), Prakampita= Kampita (shaken) nnd Udvahita (raised).
Chinna (turned aside)-in turning the middle of the waist.
Nivrtta (turned rOllnd)-in turning to the front from the
l'cverse 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 waist. Now listen about
their uses.
Uses of the waist
25-26. Chinnii (turned aside): in exerci!!ing [the limbs1
hurry and looking round.
Nivrttii (turned round) : in turning round.
Recita (moved about) : in movements [of the general type].
Prakampita (shaken) : in the walking of hunch-backs and
persons of the inferior type.
19-20 (BlX,24S-24Sa, 24040a, G.20-2!). 1 B.G. read an additiODal he-
mistich between 20a and 20b.
Sl-S40 (BJX.S44b-S48a, G.22-'25). 1 B.G. read ditrerently.
BIS-S6 (B.lX.B48b-250a, G.26-27Y.
25
194
THE NATYASASTRA [X. 97
Udvahita (raised) : in the [movement of] corpulent [persons]
and the amorous movements of wome,n.
The thigh
27-30. The thighs have five conditions, viz. Kampana
(shaking) Valana (turning), Stambhana (motionlessness), Udvartana
(springing up) and Vivartana (turning round).
31, Kampana (shaking)-raising and lowering of hee18
repeatedly.
Valana (tul'ning)-drawing the knees inwards [while going].
Stambhana (motionhsness)- suspension of movement.
Udvartana (springing up)-tlrawing the knee inwards (ralita)
and moving it.
Vivartana (turning rould)-drawing the heels inwards.
Uses of the thigh
32. Kampana (shaking): in the frightened movement of
persons of the inferior type.
Valana (turning): in the movement of women at ease.
Stambhana : in perturbation and despair.
Udvartana (springing up) : in exercising [the limbs] and the
Class Dance.
Vivartana (turning round): in going round due to causes
like hurry.
33. Similar other [conditions of the thigh] as they arc
found in populal' practice, may be assumed. So much about the
description of the thigh. Now li8ten about the shank.
The shank
3437. The shank is of five kinds, viz Avartita (turned)
. Nata (bent), (thrOw11'out), Udviihita (raised) and Parivrtta
(turned back).
27-30 (B.IX.250b-253, G.28-31a) .
30-32 (B.IX.254-256a, G.Slb-S3).
33 (B.IX.256b257a, G.34). 34.-87 G.3S),
x. 41 J
THE GESTURES OF OTHER LIMBS 195
Avartita (turned)-the left foot turning to the right and the
right [one] to the left.
1
Nata (bent)-the knee bent.
(thrown out)-shank thrown out.!
Udvahita [a shank] up.
Purivrtta (turned back)-the turning back [of a shank].
Uses of the shank
38-40. Avartita (turned) : in the Jester's walking.
Nata : in aseuming Stbana (standing) and ASah&
(sitting) postUl'es,
(thrown out) : in the exercise [of limbs] and the
Class Dance.
Udvahita (!'aised): in movements like quick (avid(Zha)
walking.
Parivrtta (turned back): in Class Dance and the like.
These are the movements of the shank. Now li:,:ten about
the movement of the feet.
The feet and their uses
41-50. Thc feet are of five kinds, viz. Udghattita, Samn,
Agratalasaiicara, Aiicita and Kuiicita.
UdghaHita-standing on the fore part of the feet and then
touching the ground with the heels.
(Use) : In practice this is to follow the Udghattita KaraJ,la
and this should be applied once or more in the high or medium
speed.
Sarna (natural)-[feet] naturally placed on an even ground.
It relates to representing It natural postUl'C.
(Use) : It should be kept still III representing the natural
38-40 (B1X.262b-263a, G.39).
41-50 (B.IX.265b-270a, 273b-278a, G.4245, 47-52). I n. :dds three
additional couplets after 45, and 0:. adds one additional couplet after 44.
2 B. reads for Rsala mC/Illing 'wound'.
. .
196 THE NAT!ASASTRA [X. 51.
position of the body in connexion with the various Karal}as, but
in the Becaka movement of the feet it should be moved.
Agratalasaucara-the heels thrown up, the big toe put forward
and the other toes bent.
(Uses) : This [is to be usedJ in urging, breaking, standing
posture (sthanaka), kicking, striking the ground, walking, throwing
away [somethingJ, various Recaka movements and walking on the
forepart [of the footJ due to an wound at the heel.
Audta-the heels on the ~ r o u n d the forepart of the feet
raised and all the toes spread.
(Uses) ; It is to be applied in representing a movement with
wonnd at the forepart of the foot, turning round in every way, foot
being struck [by something] and in various Bhramarl movements.
Kuficita-the heels thrown up, toes all bent down and
the middle of the feet too bent.
51. (Uses): It is to be used in aristocratic (ndatta) going,
turning round to the right and vice versa and the Atikranta Can:.
The Ciiris
52. Persons practising [the CarIs] should take up simul-
taneously the movements of the feet, the shanks and the thighs.
[For] in the movement of feet are included all the movements of
the shanks and the thighs.
53. The thighs follow the way in which the feet are moved,
and these two [limbs] constitute together the Can of the leet.
54. These are the descriptions and uses of the [various]
limbs. 1 shall now describe the System of the [different] Caris.
Here ends Chapter X. of Bharata's NatYaSastra,
which treats of the Gestures of other Limbs
51 (B.IX.278-279a, G.53). 1 B. reads after this three additional
hemistichs wich define the Silci foot as follows: The [right foot with its]
heel raised resting on the big toe and the left foot in tho natnral position
constitute the Silci feet. It is used in dance and playing the Nlipura
. 52 <B.IX.281. G.5&). 53 (B.IX.282, a.s?).
54 (B.IX.283, G.58).
CHAPTER ELEVEN
THE CARl MOVEMENTS
Definitions
1. As the Caris prescribed by rules and connected with
[different] limbs relate to (vyayacchante from vi/a-yam, stretch
out to) one another they constitute (Iit. are called) a vyayama
(System)!. .
2. Carl: The movement [mainly] with a single foot, is
called the Car:'.
Karana! : The two feet moving [together] is called the Karuna.
. .
3. A combination of the [three] KaralJ.as is called
thu KhaI,14a.
MaQ.4ala: Three or foUl' combine to make up
tho MaI,l4ala.
Uses of the Cari
4. From the Oaris proceed dance as well as movements
[in general] and release of misililes; and [the stage] fighting [in
general] should be made with the Caris.
5. Whatever has been described as Histrionic Representa-
tion (n04ya) is included in the CariS, and no part of it can take
place without the same.
6. Hence I shall described the rules of the Caris which are
to be used in dance, ordinary movements and fights [on the stage].
The thirtytwo Caris
7-9. The following sixteen are the earthly (bhaumi) Carls:
Samapooa, Sthitavarta, Sakatasya, Adhyardhika, Vicyava,
1 CI3.X.2. a.2). 1 B.G. read one additional couplet before this.
\! (B.X.B. a 3). 1 This karatJa should be distinguished from that
mentioned in NS. IV. 80,84-75, 63ff. 3 (B.X.4, G.4).
4 (B.X.5, G.5). 5 (B.X.6.-G.6). 6 (B.X.7. G.7).
7-9 (B.X.S-IO. G.8-l0).
108
THE NATYASASTRA
[ XI. 10
Edakakri(lim, Baddha, Uriidvrtta, AMita, Utsyanditii,1 Janita,
Apasyandita
3
, Samotsaritamatalli and Matalli.
1018. The aerial (al,asi1ct ) Caris are sixteen iri number.
They are as follows: Atikriinta, A pakranta, ParRvakranta,
Urdhvajanu, SiiCi, Nilpumpadika, Dolapada, Aviddha,
Udvrtta, Vidyudbhranta, Alala, Bhujailgatrasim, Harit;mpluta,
DaJ}9ii and Bhmmari.
The earthly Caris
13. Snluapada - the two feet closo together, the nails [of the
toes] mooting, and standing on tho Fpot
l

14. Sthitilvarta-ono Agratabsaiicara foot drawn up to
cross tho remaing foot and movoment repoaled with another
foot after separating tho two.
15. body held upright, one Agratalasaiicara
foot put forward and the breast being Udvahita.
10. Adhyanlhika-tho loft foot on the back (i.o. heel) of
the right one, the latter to be drawn away [n Tala and half a part].1
17. right foot put forward and then drawn
back :.mJ at the same time left foot drawn back and put forward
afterwahlR.
18. Vicyava-seperating the feet from the posi.
tion and striking the ground with their fore part.
10. up and down with the Tala-
saucum feet.
1 G. reads these names as Uispandila, Apaspandt"ii. and Spandilij
and B. as Utspandilii., Syandz"la, and Apasyanditii.. I have been taken
the root syand as the basis of all these name3. Mss. erratically give syand
and sPand. sec note 1 above. 8 ibid.
1012 (B.X.ll.13, G.ll13).
13 cn.X.14, G 14). 1 On the appropriateness of this name Ag.
writes : llllqW'fi"l\ 'n q'l 111([
1I'1.iil! mill<l1H <{"II
14 (B.X.l5, G.15). 15 (B.X.l6, G.l6).
Vi (B.X.I?, G.l?). 1 The exact measure (It lata) is given by Ag,
17 (B.X.lB, G.IB). 18 (B. XI 19, G.19). 19 (B.X.20, G.20).
XI. 81 ] THE CARr MOVEMEMTS
199
20. Baddha-The sideways movement of the thighs when
the two shanks are crossed.
21. Urudvrtta-the heel of u Talusailcara foot placed
outwards, one of the shanks to be slightly bent and the thigh
turned up.
22. Agratalasancara foot rubbing against
the fore part or the back of anot4er foot.
23. Utsyandita-the two feet to move gradually side
ways Oit. in and out} in the manner of the Recaka.
24. Janitil-a hand held on the breast and
unothel' band movod round, amI the fept to be TalasallCal'u.
25. Syandita-one foot put forward five away
from the other.
Apasyandita-the reverfle of the Syandim Ci\ri (i.l'. another
foot being put forward five Talas away from the other).
26. 8amotsarita-mataIli-going bade with a circular move
ment and the feet being of tbe 'l'alasailCara kind.
27. Mattali-going back with a circular movement and
hands being and
28. These are the Cal'is used in pesonal combat al> Hell as
in the Karal}as. I shall now describe the aerial Carl,;.
The acl'ia] Caris

29. Atikl'iintfi-a Kuiicita foot thrown up. pllt forward
and eaused to fall on the ground.
no. A pakriinta-the Valana postlll'e of the two thighs, a
Kuiicita foot ruised. and thrown down sideway".
31. PiirRvakriinm-one foot KuilCita and :'lllothel' thrown
up.and brought ncar the side.
20 (B.X.21, G.21),
23 (B.X,24, G.24).
26 (B.x.27, G.27).
(B.X.SO, G.30).
21 (B.X.22, G.22).
24 (B.X.25, G.25).
27 (BX.28, G28).
30 (B.X.31, G.3l).
22 (B.X.23, .<;t.23).
25 (B.X.26, G.26).
28 (RX.29, G.2H).
31 (B.X.82, 0.32).
liOO
THE NATYASASTBA
[XI. S90
32. Ul'dhvajanu-throwing up a Kuiicita foot and its knee
brought up to the level of the breast, and the remaining knee with.
out movement and then this second foot thrown up in the manner
of the first, and the first foot kept motionless.
33. Siici-a Kuiicit.'1. foot thrown up and brought above
the knee of the remaining foot and then to let it fall on its fore
part.
34. Niipurapadikii-one Aiicita foot raised up and taken
behind another foot and then quickly caused to fall on the ground.
35. Dolapada-one Kuiicita foot thrown up and moved
from side to side and then caused te fall on the' ground as an
Aiicita foot,
36. Kuiicita foot thrown oft' and then
placing it quickly on an A iicita foot by crossing the shank of tho
romaining leg.
37. Aviddha-one Kuiicita foot from the SVJLstika posi.
tion stretching and falling on tho ground quickly as an Aiicita foot.
38. Udvrtta-tho <Kuiicita) foot of 'the Aviddha Carl
taken round [the thigh of the remaining leg] and thrown up and
thon caused to fall [on the ground].
39. Vidyudbhrantii-one foot turned to the back and after
touching its top part to be stretched and the head moved in a circle.
40. Alata-one foot stretched backward, and then put in
and afterwards caused to fall in its heel.
41. Bhujangatrasita-one Kuiicita foot thrown up and
the waist and the knee being turned round and the thigh [of the
remaining foot] to bc turned round too.
42. HariJ;lltpluta -the foot in the Atikriintii Carl to be
caused to fall on the ground after a jump and the shank of an
Aiicita foot to he put in the posture.
32 (B.X.33, G.3S).
35 (B.X.36, G 36).
38 (B.X.39, G.39).
41 (B.X.42, G.42).
33 (B.X.34, G.S4).
36 (B.X 37, G.S7).
39 (B.X.40, G.40).
42 (B.X,IJ.S, G.43).
. S4 (RX.S5, G.SS),
S7 (B X 88, G.S8).
4:0 (BJt4l. G.m.
.XI.63'] THE CARl MOVEMENTS
201
43. the foot in the Niipura- [padikil] Cari to
be stretched and quickly to turn.
44. Bhramari; the foot in the Atikrilnta Cari to be thrown
up and the entire body turned round (lit. the 'l'rika turned round)
and then the second foot to be moved on its sole.
45. These are the aerial consisting of graceful
movements of the limbs. These are to be applied in the release of
weapons like an arrow and the thunderbolt (vajm).
46. O.Brahmins, in all these cases the two hands should,
according to the either precede, go simultaneously
with or follow the feet.
47. Where the foot [moveR], there the hand [should follow]
and where the hand [lIIove"l tht're the entil'e body. [Honce] after
taking a step, all the minor limbs be made use of.
48. When in course of a Cari a foot. comes to rest on the
ground the [corresponding] hand should be moved round and
brought on the waist.
49. I have fiinished describing the Caris consisting of grace-
fulmovements of the limbs. I shall now speak of the Sthanas
(Rtunding posture) to be uR('d in the release of missiles of all kinds.
The Sthalll\S
50. The six Sthanas (standing posture) for men are
Sampada, Vaisakha, l\ffIJ;uJala, AlieJha, and
51-52. f('ct two Talas and a half apart, onc
foot in the natural posture and anothe!' obliquely placed with toes
pointing sideways and the shank bent (IInrila.) and limbs with
the ifl the presiding dpity of this Sthana.
53. (UseR) : From this Sthanu persons of the superior and
the middling types should canyon their ordinary (lit. natum\)
conversation in connexion with the various duties.
43 (B.X.44, G.44) 44 (B.X 4;), G.45).
46 (B.x.47, G.47). 47 (B.X.48, G.48).
49 (B.X.50, G.50). 50 (B.X.51, G.51).
45 (n.X.46, G.46).
48 (B.X.49, G.49).
5l-52 (B.X.52-53, G.52-53).. 53 (B.X.54, G.501).
26
.,:
THE NATYASASTRA
[XI. M-
54. It should also be assumed in throwing a disc, holding
a bow. iI). patient" and stately movement of the limbs and in anger.
55-57. On being reversed it is to be used in anger of love.
And similarly in the administration of rebuke, and in love, distress,
apprehension, envy, cruelty, assurance. and recollection, it is to be
assumed when the Erotic, the Marvellous, the Odious and the
Heroic Sentiments are prominently introduced.
57-58. Samapada-the feet in the natural posture and kept
one 'fala apart and tbe body \vitn the natural Brahman
is its presiding deity. '
58-60. (Uses): It should be assUllled in aec"pting hlessings
from the Brahmins!, and in mimicking birds. The bridegroom at
the marriage ceremony, persons in the sky, chariot and aerial CUI'
(vimlina), persons
2
of marked sprts (liilgastlta) and ppl'ROnS practis-
ing vows arc also to assume_this.
(j0-62. Vaisakha-the two feet three Talas and a half apart
and the thighs without motion; [besides this] the two feet to be
obliquely placed pointing sideways. Kartikcya (Skanda) is its
presiding deity.
6264. (Uses): This Sthana should be assllmed in riding
horses, and in exereise, exit lfrom any place], mimicking large
practice of bending the bow and in the Rocdkas [of
the feet].
64-65. It relates to Indra (i.e. its presiding
deity is Indra). In it the feet al'e fOllr Talas npart and they are
obliquely placed and tUl'lled HidewaYH, the waiHt nnd the knee are
in the natnral position.
54 (RX. 55, G.55).
57-58 (RX.58-59, G.58).
55-57 (B.X.56-58, G 56-57).
5860 (B.X.59.61, G.59-60). I vijJramailgata-z'ijJrai/! yatl ma';lga-
la8i1'flacanridi (Ag.).
liittastkan-sai7}(idyaIJ vratastha ftrdhvakaylidi jJrajuahgaIJ (?)
(Ag.).
6062 (H.X.61-63, G.61-62).
114-65 (B.X.65-66, G.65).
62-64 (B.X.6365, G .63-64),
XI. 74: J . THE OARl MOVEMENTS
20B
65-66. (Uses): The Sthana should' be assllmed .in
the use of weapons like the bow and the thunderbolt, ridirig of
elephants, and mimicking large birds.
6().67. 'rhe right foot in the Sthana
drawn five Tabs apart [from the other footJ will make the
Sthana. RuJra is its presiding deity.
67-69. (Uses): This Sthlina should be ass,umed in all acts
relating to the Heroic and the Furious Sentiments, duel of wrestlers
and in the representation of enemies, an attack [on them], and
release of missiles.
69-70. When the right foot is bent and the
left foot is put forward in the Ali(Jha Sthana the
Stha.na will be produced.
70-71. (Uses): The missiles made ready for throwing from
the AIi<Jha Sthlina are to be [actually] thrown from the
Sthana. The actor should use various weapons from this Sthana.
The four Nyiiyas in using weapons
71-72. There are foUl' Nyayas (ways) of using weapons (lit.
releasing missiles), viz. Bharata, Sattvata, and
Kaisika.
72-7H. In the Bhii.rata [Kyaya the weapon] should strike
(lit. cut) at til(> waist, in the S,i.ttvatta at the foot, in the
at the breast and in the Kaisika at the head.
73-74. In these Nyayas arising out of the various CariS,
the actors should walk about [on the stageJ at [the time ofJ using
weapons.
74-75. The Nyayas (way) are so called
l
because fights [on
the stage] are 1I'iya1tte (carried on) with the Ailgaharas relating
to the and arising out of them.
65-66 (B.X.66-67, G,66).
67-69 (B.X.68-70, G.68-69).
7071 (B.X.71-72, G.71).
66-67 (B.X.67-68, G.67).
69-70 (B.X.70-71, G.70).
71-72 (B.X.72-73, G.72),
72-73 (B.X.73-74, G.73). 73-74 (B.X.74-75, G.74t).
74-75 (B.X.75-76 G.75). I B.
204
THE NATYASASTRA
[ XI.n.
Il BI -. '" . PllttinO' forward the sMold with the left
757 v. lalll", I>
. d k' the Slvol'd (lit weapon) the actor should walk
IltlDd an ta mg .
b
.' "11"" StretchinO' the Illlnd fOl'ward fully and then
,1 out on tile 't:>
dl'llwing it back be ,4JO/l1d move tho 8h/eJdo1t h,s from side .to
side and f1ouI"isll tlw sIVord (lit. weapon) al'ound IllS head, iJnd It
sllOulcl also be turned round [about the wristJ nellr the clwek.
And again the hands holding the sIVord and the shield should be
flourished gracefully around the head.
80-81. Silttvata: I shall now speak of walking about in
tho Sattvata Nyilya. In it the same flourishiug (i.e. as in Bbarata)
of the sword and the shield holds good, but this (the flourishing of
the weapon) should take place at one's back. '
81-82. The walking about in the
Nyaya will be silllilar to that in the Sattvata, and the sword (lit ..
we.,pon) and the shield also should be flolll'ishcd similarly, but
these should go round the head.
838-+' Tho flourishing of the sword (lit. weapon)
neal' the bl':tstol' the shoulder which to take place in the
Bharata [Nyaya] will hold good in caRC of the KaiRika. But [in
the latter] the sword (lit. weapon) should be made to strike only
after being flouritihed ovcr the head.
With these graceful movements of the limbs
weapons liko the bow, the thunderbolt and the sword arc to be
flourished at tho time of theil' use.
85-87. In the stage-fight there should be no [actual] pier-
cing, cutting or flow of blood amI the actual striking. Tho use of
(lit. release of missiles) should be done with its mimicry,
or the cutting off [of anyone's limb] should be represented,
according rules, by the use of gestures and postures only.
this.
788/). The exorcise should be performed in the Ailgaharas
7679 (B.X.76-S0, G.76-S0).
8182 (B.X.8283, G.82-83)
8081 m:x.8182, G.808l).
8384 (B.X.84-85, G.88-84).
(B.X.8586, G.85). 85-87 (B.X.7688, G.76-B7).
'87-88 (B.X.8889, G.8S). I B.G. read ona additional couplet after
.XI.94 ]
Taj'CARI MOVEMENTS
206
cmbellished with lho and accompanied hy mUflic with
[proper] tempo and Tala.
Tho
8s-m. Those perfol'ming tho eX(lrci..;:l's [ill Ang:tflllms]
slJOuld take care of tlw {oJ' the limbs withollt it
(Saul?thava) cmate no beauty (lit. do not slJine) in dmnm 01'
dance. The of limbs is to be presented by being still,
unbent, at ease, not very upright and not milch beut. WllP.n t110
waist and the e:;trs as well as the elbow, the Rhollldm' and the head
arc in their natural position (sanUl) and the breast is mised
it will be the r of the body].
1
The Catllrasra
\)1-92. CaLurasara: The Sthana with the two
hands moving ahout at the waiHt and the navel tog(ther with
the brcast raised, is called the Caturasra of the limhs.
The foul' acts relating to the bow
92-93. There arc fOUl' acts relating to the how, vi?. prepar-
ing (l)rf,timal:jnna), taking an al'row (adana), taking- an aim
(sa.n
1
lhan(1,) and shoJting
9iHH. The preparing (JI(lI' im(irj'(II(I.)
1
iR the hemling [of the
bow], taking (ymhll1J>a) is the pulling out of [the al'l'owJ, taking an
aim (sandhana,) is to put the al'l'ow to the bow. and shooting
is the releaso [of the arrow].
The metliod of (lJCercise
!H-95. : One should perform exel'eiRe [in the Atigahii.ras and
CariS] on tho floor as well as [high up] in the air and should have
beforehand get one's body masflaged with the [sesamum] oil or
barely gruel.
98-91 (B.X.89b, 91-93, G.89b 90-92). 1 E.G. read one additional
ccuplet after this.
91-92 (B.X.94-95, G.94). 92-93 (B.X.95-96, G.95).
93-94 (B.X.96-97, 0.96). I G. reads sal/JmiJ,.jana.
94-95 (B.X.97-9B, G.97).
THE N ATYASASTR! .
[XI.95
9596. The floor is the proper place (lit. mother) for
exercise. Hence one should to the floor, and stretching
oneself over it one should take exercise.
Health and nonrishment of pcrsons taking c1Ccrcis()
96-99. For the strength ot' body onc Hh()uld take [proper]
and get oneself pmged [lit. resort to the rule regard-
ing the abdomen], i,'lke agrceable food, [meat] juice an(l drink.
For vitality is depelident on one' H nourishment and the exercise is
dependent on vitality. Hence one should be about oue's
nourishment. When the body is not cleansed and one is very
tired, hungry, thirsty, has drunk too much [water], too much,
one shonld not take exereise. The wise [teacher] should give
training in exercise to his pupil who has tl graceful body and
square breast and is not covered with [much J garment.
100. These are the rules regarding the Caris in connexion
with the exercise of [the limbs]. I shall hereafter speak of the
diift'rent Mal,l4alas.
Here ends Chapter XI of Dharata'R NatyaRastra
which treats of the Rille of CariH.
95-96 (B.X.98-99, G.98).
96-99 (B.X.99-102, G.99-102). 100 (B.X.I01l, G.103).
CHAPTER TWELVE
'rIlE MA!:i'J)ALA MOVEMENTS
The
1. I have now propel"iy described the Caris in connexion
with the llse of weapons (lit. rclense of missiles). [Now] learn
about the MaQ.9alas arising out of a combination of the Caris.
2-3. The ae!'ial Ma1]4alaR are: Atikranta, Vieitra, Lalita-
sailCara, Slirividdhfl, DaQ.4apada, Vihrta, Alatn, Vamaviddlta,
Lalita find Krallta 1.
3-5. The earthly Mm]J'alas are Bhramnrn, Askandita 1,
Avmta, Samotsaritn, EQakakl'i4itn, A (.t'Jitll, nnd Ciil3ngata,
[Now] listen abuut their descri.ption.l!
The aerial Mal,l(Jalas
6-9. Atikranta-the right foot [to be moved successively]
in the Janita Ciiri and [the Sakata-sYii Ciil'i in which the breast is]
Udviihita, the left foot in the Aliita Ciiri and the right foot in the
ParSvakriinta Cari. (next) the left foot in the Siici Ciiri and the
right foot in the Apaki'antii Cad, [again] the left foot [successively]
in the Siici Cal'i and [the Bhramari Cal'i by] turning the Trika 1,
(then) the right foot in the Udvritta Ciiri and the left foot in the
Aliita Cari which should he changed (lit. divided) to the Bhramari
Cari, again this left foot in the Alata. Cari and the right foot in
the DnlJ.(Japada Cari,
10-13. Vicitra-the right foot [successively to be moved]
III the .Janita Cari and III the Talasniieal'a
1
(Nikuttana), manner
1 (ItXI. J, G.l).
2-3 (B.XJ.2-3, 0,2-:3). I n. adds 0111' additional hemistich aftcr this.
3-5 (B.XI.4-6, G.3-5). I Msa. sometimcs gives this Ilame as aspan-
which sl'ems to be a corruption for uskandt'ta. See the Ciiri of,this
lIame XI. 7-9.
2 B. reads 5b. differently.
6-9 (B,XI.7. Sb-ll, 0.6-2), I Ag.
10-13 (B.XI.llb-12a, 1311, 13-15,0,10-13). I See Ag.
208
THE [ XII. 14
(then) the left foot in the Syandita Cari, the right foot in the
vakl'anta Ciil'i a, (again) the left foot in the Bhujm'lgatrasitii Ciil'i and
the right foot [snccesRiyely] in the A tiklfinii and UdV!'Uii CanR,
(next) the left foot in the Suci Ciiri, the right foot in the
Ciil'i and the left foot in the Apakl'anta Cari.
B-17. Lalitasaiicara- the right foot with the knee raised
[to move] in the Suci Ciiri, (next) the left foot in the A pakriinta
Ciiri and the right one in the PiirHvakriinm Ciiri (again) the left foot
[successivPly] in the SuCj and the Bhramari C<\sis [this latter by
tnrnillg ronnd the Trika] and the right foot in the Piirsvakl'iilltii
Ciiri and the Id't foot in the II tikrunm Ciiri which to be changed
(lit. divided) into the Bhramari Ciiri 1.
18- t(). Sileividdha-the left foot [to be moved] in the
Sud and tho Bhramari Ciiris [the laitC'1' by turning the Trika
l'ound], the right foot in the PiirHvakl'iintii Ciil'i the left foot in tho
Atikriintii Ciiri, next the right foot in tho SUCi, the loft foot in
the Apiikriitlta Criii and the right foot again in tho Piil'Hvakriinm
Cari.
2022. Dal)(Japi\<]a-tIJC right foot to bo moved in the
.Janim and the CariS, the left foot in tho Suci and the
Bhrarnari Ciiris [tho lattor by turning the TrikaJ, (next) the right
foot in tho Drudvrtta Ciiri and the left foot in the Alata Cart,
(again) the right foot in the Parilvakriinta Cfiri and tho left
foot LsuccesHivelyJ in the Bhujangatrasta and the Atikriintii Caris
to meet the right foot in the Dal)<,apiida Cari and the left foot
[successively] in the Suci and tho Bhramari Ciiris [the latter by
tuming the Trika]'
2S-26. Vihrta-the right foot [to be movod] in the Janita'
Ciiri (then) its Niknttana, (next) the left foot in the Byanditii
Ciiri an<l the right foot in the Urudvrtta Ciiri, (thon) the left foot in
the AliiUi Carl and the right foot in the Suc'i Ci\ri, again the loft
. B. readH one additional hemiHtich after 10.
14-17 (B.Xl.l6-17, 19, 0.14-16, 18). I n.G. reads one IIdditional
couplet after 16.
o 18-19 (B.XI.20-21, 0.19-20).
23-26 (B.XI.25-28, G.24-27).
20-22 (B.XI.22-24, 0.21-23).
-xu. 38] THE MANDALA MOVEMFNTS 209
foot in the ParSvakranta Cari and the right foot in tte
and the Bhramari [this by turning the Trika] and the
Caris, (then) the left foot in the Suei and the Bhramari Calis [the
latter by turning the Trika] again the right foot in the Bhujanga-
trasita Cari and the left foot in the Atikranta Cari.
27-2!J. Alata-the right foot [to be moved] in the Suei Carl
and the left foot in the A pakranta Cari, then the right foot in the
Par8vakrantii Cari and the left foot in the Alati'L Cari, after moving
by tUl'n in the these [two] Curis six 01' seven times with graceful
Hteps, again the right foot in the Aprkranta Cari and the left foot
[successively] in the Atikrantii and the Bhramari Caris,
30-33. Vamaviddha-the right foot [to be moved] in the
Suci Cari, the left foot in the Apakl'antii Cari, (then) the right foot
in the Cari and the left foot in the Suel Cari and right
foot in the Bhrarnari [this by turning the Trika] and the Parsva
kriintii, Curis, (next) the left foot in the Ciiri and the right
foot in the Dal}Qapada and the Urudvrtta Caris, (then) the left foot
[successively] in the Suei, the Bhralllari [this by tUl'lling the Trika]
and the Aluta Caris, (next) the right foot in the
Cari and the left foot in the Atikranta Cari.
34-37. Lalita-the right foot [to be moved] in the Suei
Ciiri and the left foot in the Apakrantii Cari, (then) the right foot
in the PiirSvakranta and the Bhnjm\gatrasitii CariS, (then) the left
foot in the Atikt-antu Cal'i and the U rutivrtta Caris the left foot and
the Aliitii Cari, and the right foot in the Par8vakrantii Cari, next the
left foot in the Atikl'1i.uta Ciil'i with graceful steps.
38-40. Kranta-the right foot [to be movcd] in the Suri
Ciirl and the left foot in the A pakriintii. Cari, then the right foot in
the Pilrtivakranta Cari and the left foot too in the sarnc Carl (P,lrS-
vakrarna), moving round alternately in these Caris in all directions,
again the left foot in the Suei Cari and the right foot in the
2729 (B.XU9-30, Slb-32a, G.28-S0).
30-38 (B.XI.32b36a, G.SI-34).
8437 (B.XI 36b-37a, 38-40a, G.BS-37). I G. omits 3Sa and 36b.
38-40 (B.XI.40b43a, G.38",,0).
97
210 .; NATYASASTRA
[XII. 41-
Apakrantii "Can. This MaJ,lQulu is prescribed for the natural gait.
Hence it is called Kranta i.p. going.
41. These are the aerial MUJ,lQulas. Now T shall describe
those on the earth.
The earthly MaJ)galas
42-44. Bhramara-the right foot [to be moved) in the
Janita CUri and the left foot in the Skanditii Cal'i, then
the right foot in the 8akaj:iiRyii Ciil'i and the left foot to be
(next) the right lout ill the Bhrumari ('[u'i [by tUl'Iling the Trika],
again the left foot in the Sknndita Cari and the right
foot in the Cari, then the left foot in t he A pakrUlltii
(ApilslIrpi) Cll.ri and the Bhramlll'i CMi hy illming abuut the lJilek.
Askanditu-the right foot [to be moved] ill the
Bhramari Ciiri HlHl the left foot in the and tho p'hl'amari
Cal'h, [the latter hy turning the Trika], then tlw right foot in the
Urudrrttu CUri and the left foot in the Apakl'flllta (Apasnrpit.) and
the BlJl'illuari Caris [the lattpr hy turning the Trika then] the right
foot in the SkanditU Cal'i, (npxt) the left foot in the PakatUsyu and
the same foot to violently titrike the gronnd.
4tHiO. Aval'ta-thc right foot [to he 1l1OVl
l
dj in the .JanitfL
Cari and the left foot in tlw Talasaiicam (Nikn\taka) Cari', then the
right foot in the and the Drullvrttii CUri, (lJ(lxt) the right
foot foot the AtikrUntli CUl'i t\ll'ning h:l(:kwarcls and the
Cill'i, then the right foot in the Skandita CUl'i
anll the left foot in the CUl'i, again the right fuot in the
Bhramuri C:1.l'i with the 'l'rik:t tlll'ncli round, and the left foot in the
ApakrUntli Cari.
1) t -iJn. Salllotsarita-asslIllIing fil'st of all the SamapUda
StlHin3, thell Htl'eteitiug the two hands with their palms tumed
(next) theil' intermittant A and lllove
ments, [thell putting. the left. hand) on the waist, the right hand
moved in the Avartita manner [next the right han(! to be put on
41 (B.XI,43b44a, G .41).
4H4 (B.XI,44b-4711, G.42-44).
48-50 (B.XI 5 Ob-5 3a, G .4850):
4547 (B.XI.47b501l, G.4547).
5153 (1l.XI.53b-56a, G,5153).
XII, 63 J
THE MANDALA MOVEMENTs
211
on the waiRtJ and the left hand moved in the Avartita manner,
moving round alternately with this Cari will rise to the Samotsa-
rita Mar;u.lala.
54-55. E(JakakricJita-the two feet on the gt'otmd [to be
moved ill tlte Bilci and the F-\lakakricJita (nrxt)
the swift moving B!tramal'i Cari by turning t.he Trika, (thpn) mov-
ing [the feet] round alternately in the Buci fmd til(' Aviddha Caris.
This will give rise to the Khal,lcJamal,lqala nallled E(JakakticJita,
55-M3. A(Nita-the right foot [to be moved] in the
UdghaHita mann!'t' and then Lsimply] moved round, next [to
be moved] ill the Syandita I Asyandita) Cari amI the left foot in the
Saka\a:-;ya Carl, next the right foot to he moved backwards in the
Apakrilnta (Apasarpi) and the Carls, (then) the left foot
in the AQ:cJita C,il'i and the right foot in the Ap:lkl'i1nta (Ap:l:-i:lrpita)
CarL (next, t.it(' left foot in till' Bhramari Curi and the right foot in
tlto Syandita (Asyandita) Glt'j and to violently strike the ground.
l
50-GO. SalmtasY,t-The right foot [to be moved] in the
.Janita Cal'i and m'xt it to move in the 'l'alasaneara (Nikuttaka)
matllH'I', tlw foot in the Cari and the left foot in the
Ryandita (Asyandita) CrLl'i, moving rOllnd in this mannl'r alternately
with the Carl. This G<lt'l named the
is to be used in fight.
61-62. Adhyartlha-the right ooot [to be moved succes-
sivelyJ in the Janita and Syandita Caris, then the left foot in the
Apukranta (Apasurpita) Cat'j and the right foot in the
Ciiri. Moving around alternately in these Caris, will be the Carl
MUI}4ala named the Adhyardha to be used in personal combat.
53-64. right foot [to be lllovedl in the
8iici Cat'i and the left foot in the Apakranta [then] the right foot in
---------------------
54-55 (B.XI.56b-58a, G.M-55), I This seems to br
another name for er!akakrif]i tao
56-58 (B,XI.58b-61a, G.56-58). I iisPho{ana-padataiena
tar/ana (Ag.).
59-60 (B.X1.61b-63a, G,59-60). 61-6:.! B.Xl.63b-65a,
63-54 (B.XI.65b-67a, G.6S-54).
THB NATYASASTJU
(XII. 84-
the Bhujllnglltrasita Cari and the left foot too in the same Ciin.
Thus going round in the Bhujailgatrasita Cad is known as the
Cari named the known to be used in personal
combat.
65, ronnd with feet in the Cari
is c,'llJed the Cari named It to be used in per-
combat.
66. Here I have described in brief the arising ont
of the varions Caris. Now I shall describe the Sama Caris.
67. The nse of the Sarna Caris are known as Sarna
las. [An actor] using them is to follow the instruction of the
master actor (iiciiryabnddhi).
68. These to be used in fight and personal
combat, are to be performed with sportiveness and graceful move-
ments of limbs, and 8hould be accompanied by [suitable] instrumen-
tal mnsic.
Here ends Chapter XII of Bharata's Natyasastra,
which treats of the Rules about the
----------------------- ---- --------
65 (B.XI.67b-68a, G.65).
67 (RXI.69b-70a, G.67).
66 (B.Xl.68b-69a, G.66).
68 (B.X1.79b-ila, G.68).
CHAPTER THIRTEEN
THE DIFFERENT GAITS
1. So much about the formation of the by a
combination of the Systems of Cari {cart-v!Ja!Jama}. I shall here-
after describe the Gaits suitable for (lit. existing in) different
characters [in a play].
Entranee' of dramatis personae
2-3. AfteJ' the U pavahana in accompaniment of drums and
other musical inRtrumentR has been perfol'lllcd by observing Kalas
suitable to the Marga [adopted in it], and the Dhruvas [to be sung]
at the entrance of dramatis personae, have commenced and the
curtain has been drawn away, the acton; who arc to develop the
Sentiments in the various itemR [of a play] should enter (lit. be
made to enter) the stage.
Posture for superior and middling eharaeters at the entranee
4-7. In case of chamcters of the superior and the middling
types [the actor] should assume the Sthana, his breast
being raised, Sarna and Caturasra, at rest and not
raised very much, the neck as graceful [lH that of a peacock, the
shoulders eight Angulas apat't from the ears, the chin fOUl' Angulas
apart from the breast, and the two hanclf; (the right and the left)
respectively at the navel and at the left waist.
The interval of their feet
8-9. [In the posture described above] the interval between
the two feet [of the actol'] should be two Talas and 11 half. Steps
1 (RXII.l, G.l). 1 On the Gait Ag. says: "The Gait is to be pres-
cribed with a view to the perSOll, tlentillll'ut, situation, plaee and oeeasion".
2-3 (RXlI.2-3, G.2-3). 1,It seems that upavahana gave rise to
upohana(Pkt.) whieh afterwards was adopted in its plaee; for upohana
see (eh) XXXI. 2:15ff, It is defillru by Ag. as follows: upohjante
samiisa-vyiisatal, padakalalalasamaMihitalt- svara yasminn aitge tal
latholdam (I.p.l86).
+-7 (B.XII.4-?, G ... ?). (B.XII.8-9,G.8-9).
THE NATYASASTRA
[XIII.9-
that he will take according to his own measure [of the hand]
be foul' or two Talas or one Tala wide.
9-10. In case of [characters such as) gods and kings the
steps should be four Talas widc, of the middling [type of
tel's] two and of women and persons of the inferior type
one Tala wide.
The time fol' their Atops
10-11. [An(1 the time reqllirCtI fol' the should be] foul'
01' two 01' one Kala only. [Htep"] of the [characters]
should take f01l1' K'lla,.;, tho"e of the middling type two Kalas and
thoHe of the inferior type one Kala ollly.
The tempo of their Gait
12. An exp(;rt ill the theatl'ieal al't Khould apply three
kinds of tempos-...;]ow, IllP(liulIl anti quick-to the Chit [of
different charactcrs] according to their rmtme.
lil. The Gait of the superior [rhar:lcterR should be] slow,
that of the middling L characters ,hould have] the medium [tempo,
while the (Jait of] the inferior !eharad('r,; Khould hI,] quick and
copious. [Thus] should he applil!d the thrce tempos according
to the spirit [of the difft'rent eimractel'H j.
U. So much about the ruleR regarding the timing and
tempo [of the Kteps]. 0 the sinlcsR listen now about the
manner of taking [buitable to different characters]'
The natllral . Gait
15. In hiR natural [Gait] a snperior [character] iH to miRc his
knee up to the height of the waist and in case of Caris to be used in
fighting the RamI' (i. c. the knee) is to be raised up to the height of
the breast ..
16-19. With the graceful steps of the ParHvakl"dnta Cari and
9-10 (B.XII.9-IO, G.n-]O). 10-ll (R.XII.lO-ll, G.IO-H).
12 (B.XlI.12, G .12). I n. rrads tayan.l budhalt
13 WXn.l3, G.l al. I sattvam -ct'ttavrttz' It (Ag.).
14 (R.XII.14, G.l4).. 15 (D.XII.15; G.i5l'
16-19 (B.XlI.16-19, G.16-19). .
XIII. 24) THE DIFFERENT GAITS 215
in accompaniment of instrumental mURic he should go five uniform
steps, towards the corner of the stage and then he Hhoulcl move
in the Suci Cari by putting forward his lrft firRt and the
right foot Then turning round he "l1ol1ld go [five
similar stepR] toward" the second corner of [of stage] ann then
move in the Sud Cari by putting forward his left fuot first and the
right foot Next time he should [again turn round and)
go [fivo similar 'fltpp" J tow:\nls the Illusical in"tl"lllllents and then
again move in tit!) Slid Uiiri by putting forward his left foot first
and the right foot aftel'w,mk Thus his movelllent will consist
of twentyone stepR.
20. In an oblong Rtuge the acto!' (l!h!l.J'ata) should make
elaborate foot movements (lit. coming and going by foot-step,,), but
in sqnal'e and triangular slIch movements Rhould reRpectively
be of the Catnrasra and the 'l't'yasra types.
21. When [a character] is walking along with hiR equals,.
the tmllpo [of his Gait] will bn [according to his own rank in
termsl of four or two Kalas or of one Kalil.
But when anyone is walking accompanied by
perSOllS of the middling and the inf('rior types [the tempo of the
Gait of the grollP] \yill be in tel'lllH of four ancl two Kalli.s and
one Kala.
The actors llIake tlw stepR four TaJas wide
in case of god:<, Diinavas Pannagas (Naga), kings, and

2 b. All [other] dwellt'rtl of the heaven
l
will have steps of
mediulll [width]. But tilo:;e HllltHlg' thelll who are haughty 2 should
have Uait similar to that of the gods.
I S('e V. 707 J. 2 (Ag.).
20 CB.XlI.20, G.20). 21 (B.XlI.21, G.21).
22 (B,XII.22, G.22).
23 (B.XlI.23, G.23). I B.G. readA herc of deva
(god).
24 (B.XII.24, G.24). 1 By SUerl dwcllers devadtdas arc meant (Ag.).
2 (Ag.).
216 THE NATYASASTRA [X. 25
Gait of kings
The sages .question :
25-28. 'Uf the kings are human beings why should they
have a Gait similar to that of the gods ?" It is said [in reply],
"Why should not the kings have Gait suitable for these (i.e. gods) ?
In drama the characterR [arc of thl'ce kinoR, viz.] divine, semi-
divine (lit. divine-human) amI human. Of these, the nature of
gods is divine, that of the kings is semidivine and that of the
others is known to the people aH human. For)he kings have boon
described in the Vedas and the Vedanta as being
made up (lit. born) of the parts of [different] gods. Hence there
cannot be any fault in kings imitating the gods."
29. This is the rule of the Gait in ordinary walking, but for
Gaits in cases of hurry, insanity and angel' the rule about its
measure willQ.ot apply.
Gait under special conditions
30. [In those eases] the pl'o(lucel's of plays are to apply to
all the different characters, superior, middling and inferior, Gaits
as modified by their peculiar condition.
31. Their Gaits should be of the duration of half of foul'
Kalas or half of that (i. c. two Kalas) on attaining conditions other
than the normal ones.
3::!. [The relative position of the different characters as
l'>gards the timing of their Gaits is as While a superior
[character] will have a Gait of f01l1' KalaR, a middling [character] is
to have that of two Kalas a.](1 an inferior [character] of one Kala.
33. When a middling character will have a Gait of a Kala,
nn inferior character is tq. have that of half a Kala. Thus
one shouhl make [in differetit U aits under special condit.ions) a
reduction of Kalas.
------------_ .. _-------------,(-------
2528 (B.XlI.25-28, G.25-28). 1 tatoo
(Ag.).
29 (B.XII.29, G.29). 30 (B.XII.SO, G.SO).
Sl (B.XlI.Sl, G.sl). S2 IB.XII.S2, G.32).
SS '(B.XlI.SS, G.SS). I G. read 33 \\ dilFerently .
XIIL 4:5 ]
THE DIF1!'EllENT GAITS
217
34, The Gait of superiol' persons iH not to be applied to
that of the middling type, and the Gait of the mi<hlling eharactCl's
is 1I0t to be applied. to. that of the inferior type.l
Tempo of Gaits under special conditions
35-37. In case of an attack of fever, hunger, fatigue, due to
austerities, [exceHsive 1 tlll'rOI',l diHsimulation, uneasinesH, love [in
separation], SOl'I'OW and in the Hick perRons' walking the Gait"should
be of slow tempo more than fOUl' Kal:iR. But in case of
anxiety the Guit be of foUt Kalas' [durationj,2
37-40. In casc of concealed (lit. uncasy) lovr, panic, ft'ight,
agitation, joy, hUl'1'ie(1 action, hearing of unwelcome news, haughti-
ness 01' insult, sight of porenttlOuA urgent wOl'k, distress,
seal'ch for enemies, pnrsuit of an offender and by a ferocious
animal, the wise [actolJ ,hould harp Gaits with steps of two Kalas'
[duration ].
Gait in the Erotic Sentiment
4l-4!o, The Gait in ordinary love-making should be graceful.
[The lover] is to cnic'I' the with the female Mcssengcr (diU,]
showing the way. He is to act hiH part (lit. mcaning connected
with the play) by meanR of the Kuea
1
He Hhoultl be adol'lled with
lovely garment:.;, pl'rfllm('s, 0l'naments
2
and garlands of
He walk with gmceflll step:'! in
thc Atikranta Cal'i, and hiM Hlionld the
and he should move with propel' tcmpo and 'fala. His hands
Rhould always follow the feet. The former should be raised along
with the falling of the lattci' and with thc of thc latter th('
fOl'lllPr should fall (lit. vice
45-48. Now listen about the Gait in ca,c of eonc(>alcd love,
After dismissing hiA servants (lit. JUt'll) t.h(' lovcr is to walk
34 (BXII.39b.40a, G.34).
35-36 (B.XII.34-35, G,35-36). 1 vlsmaye G. 2 G. omits ala.
37 G.35-36), 37-40 (B.XII.2611-3!);l, G-a7-39).
41-44 (RXII.4tOb-44, ,I XXIV.43.
2 R'Jad hfdyair gatldkair talllll vas/rail' ala/1.lkiirais ca,
8 G. omitR 44b. 45-48 (F.XU.45-4Ri\, G.4.4b-,67).
28
218
THE NATYASASTRA
[XUI. 48
[at night] along with the female Messenger as his guide. He is to
put out the lamp. He is to be dressed in [simple] clothes suited to
the time day and ie to not make his toilet elaborately. In making
love secretly a pl'rson is to walk with slow and silent steps. and
from [any] sounds [heard at the time] he is constantly. to look
around and tremble in his body and to have a faltering Gait.
Gait in the Terrible Sentiment
48fi4. [In treating the Gait] in the Terrible Sentiment I
shall speak only with regard to Daityas, and Nagas.
o Brahmins, the Terrible Sentiment only is dominant in their
case. And this Terrible Sentiment is of three kinds, viz. Terrible
in make-up, Terrible in limbs and Terrible by nature. [An ex-
ample of] the Terrible in make-up is [a with his body
(hipping in blood, mouth moiptened with it and having pieces of
flesh in the hands. An example of the Terrible in limb is a very
tall with a prodigious physical framl', lllany heads, and
many hands holding weapons of various kinds. And an example
of the Terrible by nature, is a perHon with rrd eyrs, tl1Wny hair,
black complexion and rough voice and a person who is always
scolding [others] and who stands with feet fOUl' Tabs apart and
take Rtcps foul' Talas widl'. ThiR the Gait which [characters]
resrlllbling them are to have.
Gait in the Odiolls Scntimont
Gt-Gu. The Gait [of a person walking] on tho ground which
i8 either a place of cremation 01' a place gruesome on account of a
battle [h:wing taken place there] should be uRed in acting ill
connexion with the Odious Sentiment. The feet in the
Cal'i falling in quick succession sometimes c1oso to and Rometimes
wide apart from rach other, with the hands following them, will
conRtitute the Gait in the Odious Sentiment.
Gait in the Heroic Sentiment
57. The Gait in the Hproic Sentinwnt 8honld conRist of
swift foutsteps in the various Caris.
------... .. ,--.. - ..
. 48-54 !B.XII.48b-54, G.48-53).
54-56 (B.XII.55-b7a, G.54-55).' 57 (B.XlI 57b-57a, p145, G.56).
.XIII. 1 '1'HB DIFFERENT GAITS
919
58. In case of mental excitement the Gait sllOuld consist of
footsteps of propel' Kala and Tala (kala) in the ParSvakriinta,
Aviddha and Surl Cans.
Gait in the lind the Comic Sentiments
n9-60. 1'11('8e are the Gaitfl pl'Cscribed for the impt>l;or
characters. I "hall now describe the Gait for the middling and
the inferior characters. In theil' astoniRhment and joy they are to
take fi\vift and in all dircctionl<, and in tl1l.'ir langhter
too they al'e to take to this)md similal' foot
Gait fu the Pathetic Sentiment
6163. 'I'he Gait in the Pathetic Sentiment should be in
slow t('mpo [and it should be connected with] eyeR full of tears,
drooping limbs, arm>! thrown up and down, and loud weeping.
AI.d thit-l Gait iR alRo to contain one and a half times more Kalas
and iA to have l'('p('ated foot-tUm'ement!; [of the ",ame kind]. ThiR
[Gait] if! also to be ulled in case of women and pet'sons of the
inferior type.
63-66. [In connexion with the Pathetic Sentiment] the
superiOl' chnraeter8 Rhould be patient, tearful, heaving deep sighs
and looking upwardf! und [their Gait in conformity with these condi-
tions] is to be of no [regular] measure and [they am] not to have the
SauflI\hava [of the body]. In case of death of t.heir beloved persons
and relatives they are to lX'nd down on their breast in dejection a.nd
to become senseless due to grief, and to walk with the feet not
raised very high. When too much beaten the shoulder and the arms
are to be made drooping and the [entire] body is to be made un-
steady (lit. moved round) and walking [should be] by measUl'Cd stepE'.
67-69. A [special] Gait is to be assigned to women and
persons of the inferior type when they al'e attacked with cold or are
overtaken by a torrential shower. [In such a case] they al'e to
- ------- -----
58 (B.Xll.67b-58a. G.57). 59-60 (B.Xll.58b-6ITa, G.58-59).
61-68 (B.Xll 60b-62, G.60-62a).
88-66 (H.m.8866, G.82b-85).- 1 B. reads one additional hemistich
after 64.
87-69 (B.XII.87-89, G.86-88)
220 THE NATYASASTRA [IX. 70.
draw all their limbs togethel', to shiver greatly, to put their two
hands on the 11I'east, to bend their hody, and their teeth are to
rJatt.3r and lips are to throb and the chin is to qniver, and in
reprpsenting an attack of r,old the Gait should be slow.
Gait in the Sentiment
3. In the TC\'l'ible [Sentilllent] tlw HhOliid
make the (Jait of WOllH'll, and lI1en of the inferior type who al'e
larking ill to theil' ll:lture (lit. in that IlUllllWJ).
[In the Tcn'ihle Sentiment] tlwy are to have wide open
and moving eyes, the Vidhuta head and the look awe-strickell alld
turned alternately to Hides, and holding the Kapota hand they
are to walk with quick tremhling body and faltering Gait.
This [kind of movement] should be resorted to when a person is
pursued [by an enemy], thrratened or frightened [hy anyone].
rAnd the Hnme I'l1le will apply 1 when they HOC (\nything dreadful
or heal' any dreadful sound. In the terrified state the Gait suitable
for wowen, and men who are cowards (lit. have renounced prowPsR)
will of moveillent of the feet in the E(lakiiluidit<i. Cali
falling in quick RuccesRioll sometimcs close to aud oometimes at
a distanl'l' from ea('h other, illld tlw han( I,; ilre to follow them.
Gait of and minist(')'s
71F18. The Gait of JIIerch:lIIts and ministers IS to be
made natul'al. They Rlwuld walk in the Atikr,',nti\ CaJ'i with
ste!,JH two 'f;\llls wide. Their [l('ft hand] showing the nptul'lled
Rhould be on the nawl, the right [lit. the fil'Rt
hand I the npturlled should he on one Ride away!
[fI'OJII thn left OIl('J. Tlw'y Rhonld not make thpi!' limbs drooping,
or moving.
Gait of ascetics lind scctarians
Yatis, S"amanas, tlwse practising llusteritieR and
t.hose observing the vow of. Bmhmaearya are to have a [special]
7075 (B.XII.7075, G.69-74).
76-78 (D.xn.76-78, G.7577). I n. reads stananlare for' ladanlare
(G. la/kim/are).
7986 (B.XII.79-86, G.78-85). Pidlza'IJa (D. ,idkaya).
-XIII. 88] THE DIFFJllRENT GAITS 221
Gait. [Tn acting their part] a wise [actor] should have immobile
eyes looking only four cubits [in the frontJ, a ready meUlory, the
entire body in steadiness and he is to keep the mind at rest. to
assume the markfl belonging to his sect and to IlHvc mO(leRt clothes
generally dyed in !lark red, and to stand with the SamapikJa fC('t
and to aRRume the Sthana of the same name. Then he should make
two Catul"ll hands one of which is to be stretched. And assuming
It apprarance in conformity with the performance he should
perform the Atikr;mt >, (Atikl'allla) Cii.ri with Ilatlll'al (lit. not
drooping) limbs. The ascetics of the great vow fire to be con-
nected with these 01' others contrary to them. As fOt, the
rest of the asceticcs th('y according to the vow Lenjoined by their
own srcts] are to h:lve a Gait confnsed or Rt:lt<>ly or Robel' 01' mild.
And in case of the asceticH of the Pasupata Rect they should walk
in the and Atikrant i. CUl'is with haughty
Gait of a person in or of a blind man
87. The Gait [of a pr[':,on J ill (lal'kncl"K 01' the Gait of 11
blind [man] of tIl(' fpet drawn o\,er the ground
and the hands groping for the way.
Gait of one riding a chariot
88-!l2. The Gait of a riding it ehal'iot "lwuld
of simple (curwr) steps. From the Hamapuda Sthun<l (po;;tllre) he
if! to make a mimicry of the being rarried in a chariot (lit. go the
movement of a chariot), and with the one Lhand he is to take up]
the bow and with the other the pole [of the chariot]. AntI hiH
eharioteer is to remaian bUHy with the whip and the reinR, find the
draught nnilllals according to the daRs ["of the vrhidr] should be
represented diiferrntly. And with quick and Rimple stepH he if! to
enter the stage. The Gait of one in it cebtial car (I'im(ina) should
\)e made like that of OIl(' l'idiug a c-hariot. One who is about to
------------------- .----------------
"'hgam .e. jafJalJkasmakauNnadi (Ag.).
S Gaccked-alikramiid (B. gaccked vyatikramtid, G. gacchcd
yatikramad).
87 (B.XIJ.8'?, G.86). I (R,G. "('ad atka yanc).
88-92 (B.Xll.88-92, G.87-9l). .
THE
[1m. 92
mOllll
t
vehiclcBJ is to hold his body up Ilnd with opposite of
this olle is to make one's discent [from them].
Gait WiJiJll moving in the sky
02-95. The Gait of a cha!'acter moving thl'ough the ilky is
to include the lll'l'ial Caris nlld looking downwards, nlld [besides
this] olle is to move [first] ft'om the Samapada Sthilllll (posture)
with simple stepK. The (hit of one who desends from the sky is
also to be of thiH kim!. This (hit is to consist of stepR straight
and wide or high and low, 01' irregular and 1'ol1n<1 about.
The Gait of a perRon falling from the sky is to include the
Apaviddha anUR, scattcred ('/Ids of clothes and eyes set on the
ground [below].
Gait in asc<'lIding any lofty palACe
06-98. [In a play sometimes] there iR necessity of ascen-
ding Hairs ofJ a pal:icc, tree or hill or any othpr high object and
descending from tiwm or getting down into 11 river or Home lower
region and getting up from it. In [the stairs of] a
palace a person should move the feet in the Atikl'fi.nta Cfi.ri, and
with the body held up he should put forward his stepR in [the
flight of] stair". Tn descell(Jing from the the body be
slightly bent and one foot should be in the Atikr:1nffi Cfi.rl and the
other in the Alicita movement.
98-IOLI. This Gait suited to ascending [the stairs on a
palace should be applied in climbing hills. But in the case of
hills the limbs are to be thrown up. The climbing of trees [should
he represi'nted] hy steps ill the Atikranffi, and
Parsvakrimta CtLli.S.
Gait in getting down into lower places
101-104. This should also be the Gait in coming down
[from the treeR] and the Hame should apply in case of getting down
into a river.
92-95 (B. XII. 92-95, G.91b-94l.
96-98 (B.XlI.96-98a, G.95-97). I ga/ram iinamya (B. rafram

99-100 (B.Xll.103-104, G.103
101-104 (B . .l(JI.105a, 98b-lOl, G.98-101).
-XIII. 109] THE DIFFERNET GAllS
228
The Gait in [case of coming down from the top of] a palace -
will apply only in crossing [a river].
The Gait of a perRon moving in the river will he I]ccording
to the depth (lit. measure) of the wiltel'. In shal/olY wiltel; with
tile tuckiug up of one's clothes, and ill tile deep rwatCl] with the
tIll'owing out of llands one is to move with the fore part of one's
body slightly bent. And in case of a person's being carded away
by the eurrent (lit. wate!') he ifl to stretch out hiR arllls one by one
to push forward water repeatedly and during movement
all bis limbs m'e to be busily engaged '[tnt! the mouth filled up
[with water]' /
Gait in traVelling by boat
105. The Gait of a person travelling by a boat should be
made up of quick stepH. According to these rules (lit. this rule)
one should observe the various Gaits and 1ll0\'QmentR.
106-107. All these [conveyances] are to ropreRented (lit.
made) by [suggestive] tokens (liw)?I-}1/,a) only. [If you ask] "why",
[the reply will be the question], "Will tho actors (lit. producers)
have to die when the charactet' [to be represented] is said to be
dead?" The elephant will be by taking up a goad, the
horse by a bit allli the other conveyan('cs by a whip.
Gait ill riding a horse
108. The Gait of :t person riding a horse will of the
Sthana and simple foot sLeps of thc various kinds.
Gait of serpents
109. The Gait of Rel'pents will be by the Svastika feet. [To
represent it the actor] is to move in the Cad and then
make a Recaka of the SVflstika fcct.
105 (B.Xll.I02a, 105b, G.I02b, 105a).
106.107 (B.XlI.106-107, G.I05-106). I G. readR 106b liS tasman
itiprokte kirr} kartavym'l}- This passage shows that
lise of painted scenery WI\S not indispensible ill the :Incient Indian
On this point Ag. Bays: iii,- "(I)g'i'Ii'l I

108 (B.XU.I08, G.I07). 109 (B.Xll.I09, G.IOS).
1124 THE NATYASASTRA [XIII. 110
Gait of a Parasifu
11 O. The Gait of a Parasite should be made graceful.
[An actor] is to represent (lit.. go) the Gait of a Parasite by putting
forward Akuiicita (Kuiicita) fept within one Tala and holding the
Katakav1trllhamiina hands with tbe proper and Iptting
hands follow the feet
Gait of tho Kaileukiya
11:2113. [The Gait] of the K;iiicl1kiya (:u'mour-hearer)1
should be made [suitable] to hiH particular age amI condition. When
he not oId
2
his Gait should be ;lS follows: With the fect rnisl'd
half a Tala high and simple stops Iw Hhould walk ra.rl'ying his
limbs like Qne who is treading (lit. touching) upon mud.
11-1. But in case of his being lthoroughly] old he should
walk with the tremhling body and raise the feet slowly and with
[every] step he is to take his breadth.
11 0 (RXlI. 110 , G.10!l). III WXILll0,G.llO).
11 2-113 (B.Xll.1l2-113, G.lll-112). 1 TIl(' word kailcukiya (Mil-
cukt'n) Hhould be translated 'al'lUoul'-bral'pr' and not as 'clHlll1berlain'
which terlll should be Ilscd for sanmiih(it( ; spo Knutilya'H
(2. 4. 23). nhP. (p. 292) dcfirH's the /(ail.cukiya aH follows:
"II'fffll illllI'ijlll'l I \I
(PaRsioulrsH BmhminR who lJavr knowlcdltc lind WiRdolU being in charge
of (the king'H) armonr and crown, and holding the cline-stick (as symbol
of their authority), aro eallrd Kaitwkiyas by the wiso).
2 a-vrddhasya. ThiH adiectivil of the kaiu:ukiya contradicts the
followinll: (probably very late) dClinitlon: "IIllI:S,;Rt r'ltn I
"1;1: 'fi1!it<"lTflNillil i r'lii'I I
This pasRIIge hns been wrongly IIHeribed to nharata in Rncipati's commen-
tary to the Allargharaghava (cd. ill Kavyamala, p.109). The ka'1u:ukiya
ill the plaYA ascribed to Ehasa (t:e. Svapua, Pratima, Abhi. Panca.
Duta. and Bala.) does not show an), t.race of old age. The kailcukin in the
deplores that the cane-stick which ho had taken up as the symbol
of his office, has bllcomfl in old agl' the Hupport of his body which he
could move with thllieulty (V .:3.). From this it may be assumed that he
was appointed before upon him.
144 (B. XU. 144, G 11 :Il. 1 II'or lin old kaitckin !l('C Hak. loc . cit
Mudrii, II. etc, 9. lind 111. 1.
.XUI. 128] THE DIFFEREN'P GAITS 226
Gait of emaciated, sick and fatigued persons
115-117. The Gait of an emaciated person should consist
of slow steps. And in case of an attaek of fever 01' other illness, 01'
of fatigue due to austerities, 01' hungel', a person is to walk with
lean and depressed belly, feeble voice, depressed cheek, lusterless
eyes, slow movement of the hands and the feet, tremor ami affliction
of the limbs and with [every] step he is to emit breath.
Gait of a person walking a long distance
118. The Gait of a perRon walking a long distance If; to
consist of slow steps, na,l'l'ow.ing of limbs and the rubbing of the
knees.
Gait of a corpulent person
11 D. A person is to walk with the feet miRed
slowly and he is to drag on his body with great effort.
120. A person going with [hurriedJ steps should be copiously
breathing, and be covered with perspiration due to fatigue and his
stepR should be simple.
Gait of intoxicated persons
12 J The Gait of persons with light (lit. young) and medium
intoxication will be reeling, with the two feet [sometimes going]
backwardi'.
122. Tho Gait of persons hr;tvily (lit. worst) intoxicated
will consist of Ull.,tea<!y feet., reeling body and staggering steps.
Gait Of a lunatic .
123130. The Gait of a lunatic will of il'l'cgulm'
steps, many Curis in imitation of [various typeR of] men. He has
unpolished and dishevelled hah' and body covered with dust; he
talks without any reason and t.alks too much in an lllllU\tural
115117 m.xU.1l5-117, G.1I4116).
11S (B.XU.lis, G.117).
Il9 (B.XII.l19, G.llS).
121 m.XII.121, G.l2u).
123-1aO (RXU.12a-130, 0.122129).
29
120 (B.XI1.l20, 0.119).
122 (B.Xn .122, G .12.1).
226
THE NATYASASTRA [ XIIl. 131
manner; AometimrR he Rings and sometimes laughs and iR not
ready accompany [anyone]; and he [sometimeR] dance;; in joy
Hnd makes drumming [with any ohjrct he may find
bf)fore him J. O[ce he runs swiftly find at other times stands still ;
[again] somrtimcs he is seated amI sometimes lying down. He
is to weal' rags of different kimls and to make the publie road his
irregular dwelling pbce. A lunatic will he of the ahove description
(]it. this man). His gait will he as follows:
After moving in tlIP Baddha Cii.ri he is to cross his feet.
The J going ronn(1 ill all the foUl' direetioll with this CaJ'i he Js to
perform the Bhl'tllllara Mal}(,aln oll/wanls :tnd J'l':lch one corner of
th(> Then tllrning the Trika gracefully and hol(iing the Lam
hand with irl'Cglliar movements he is to movr with his feet.
Gait of lame men, cripples lind dwarfs
131-130. The Gait of lame persons, crippie,; allli (Iwarfs in
eonn(Jxion with the di"play of for the sakI' of th!)
Comic Sentiment, will he of three kinds. Tn onr 1 kind 01'.1 Gait of
lame personH the feet are to remain stiff. Tn the :,ccon<l one, fcrt
are to be made Agratalas,liicara and the body is to helli up (lit.
raised) by the stiff foot. [AmI in the thirdl the body is to move on
one foot, and to rest ou anothcl' foot and setting feet in ihis order
[the lame men J are to go. This will be one's Gait when OIW
Ims l'Iln a thorn in the sole of one's foot. The Uait of (']'ipples will
ronsist of the Agr:ttalasailcara and tllP Aileita [ed, the s(p[uly hody
and thr Nata sha.nb. Dming the {lait or dwarfs all their limbs
are to be narl'Owe<l down itlJ(l theY.Rhonl(1 neither move \:qlliekly I
nor take [wide] .
Gait of the J fflOOr
IB7-140. The Jester will have the Rame Gait consisting of
simple l::mghahle steps with feet raised high [and put forward]. And
his Gait will relate to three kinds of laughter: laughter due to
131-136 (B.XII.131136, G.13U135a). 11<'01' Irividha G. rrads
vividka and omits
..
.137140 (UXn.137140,. G.l3;.hl:18). I For viikyakl:!a RG. l'rad
kll7'!.ak!ta.
.X.lIll46 J THE DIFFERENT GAITS
227
limbs, due to wOl'lI;; and due to the costume and make up. Of these
the ugly and big teeth, baldnesB, hunch on the baek, lameness and,
distorted face will bo of laughter due to limbs. When ono
walks like a crane looking up and looking down and with wide
strides, this too beoomes an object of laughter duo to limbs.
140-141. Talking incohorently, lllcanillgieHsly, unnaturally
and uttering words are to lJe known as r objects of] laughter
due to wordH.
111-H2, A coveroll with tattored clothes 01' skin,
or smeared with ink (01' lalllp-blaek), ashes OJ' yellow'Ochere is [an
objed on laugh tel: due to the l!OstUll1e alld make-up. Hencl'
the 1.JestrrJ after considl'l'ing the characters llw will bl' con
frontingJ flitould earofully (lit. essentially) assumc [one or morc
of J these statei'<.
143-146. Tho Gait of the .Je"tor be distinguished
,lccor(ling to his different conditions. 1]"01' exalllplej in his natural
Gait he is to carry tlw Kutilaka in his left hand and. to
show the CatuJ'a (grHtlll'e) with the right hand. this he iH
lower hy turnH one of hi" Rid('s, head, handH and feet observing
prOpl'I' tempo and 'rala. The Gait othel' than thiH which iH natnral,
will be abnorm,d. HiH Unit on having HOllle food which was
difficult to get, will lJo arrested.
Gait of the menials
146-148. The Gait to represent the walking of servantR of
lower order or other pet'RonR of the inferior typn shonld be as
followH : in the walking one of their sideR or head or a
hand or a foot is to be lowered and their eyes al'e to move to
[difterentJ objects.
3 For vaktnat G. reads i/zaravad.
140-141 (B.XII.140b-141a. G.139). \ For viikyakasyam B.G.
kavyallasyam.
141-142 (B.Xll.l401b-142, G.140-14la).
143-146 (B.XlI.l43-146a, I n. reads 146a as
alabilatahhad bhuktasya etc,
146-1'8 (B.XI1.146b-147, G.14.'>-146).
92S 'THE NATYASASTRA (XIII. US
Gait of the Hakiira
148-14il. The Gait of the Sakara will consist of proud but
ordinary st(lPs, and while walking he will touch his clothes and
ornaments and often look at them, and from the unnatural motion
of his body his garlands, and suspended parts of the clothes are
to move to and fro.
Gait of lowly Jlersons
150. Persons of inferior birth are to walk with eyes looking
around, proij:eting their limbs from the eontaet of other people.
Gait of the Mlccchu tribes
151. The Gait a.nd movements of the men of different
Mleecha tribes sueh as the Pulindas and the Sabaras he
made according to the lands they inhabit.
Gait of birds
152. The Gait of hirds, heasts of pray and other
is to he made according to the character natural to thrm.
Gnit of liOUR, bears and monkeys
15,1. The Ga.it of hears and monkeys is to be made
[like that] which was assumed hy the lord incarnah:d as the
Man-lion. CIt is as described helow].
151-155. [In this Gait] after acsuming the Sthf1.na
(posture) with limbs conforming to it, that is, one hand on the
knee and the other on the breast, one is to look all around and
put one's chin on one'A shoulder and to walk with feet placed five
. Talas apart.
156. The Gait should be applied to [represent] and
such other animals at the time of personal combat as well aR III
the stage.
148-149 (RXlI.149-15Qa, G.147) 1 G. omits 14111.
150 IB.XII.lSOb-151!l, G.148). lSI (B. XII. 151b-152!1, G.149).
152 (B.XII.l52b-1S3a. G.150). 153 (B.XII.1S3b-1S4Il, G.l5l).
1M-155 (B.XII.154b-156a, G.152-153).
156 (B.XlI.156b-157a. G.IM). 1 Lions oW. here indicate actors with
the m.k of these animals.
.XIII.166] THE DIFFERENT GAITS
157. As for the rest of animals the Gait and the Stha.na
(posture) for them when entering the stage or carrying anyone or
anything on the back should be made Ruitable to the occasion.
158. These [different] UnitH are thuH to be nsed by wise
r actols]. The Gaits that have not heen descrihed by nw, are to
be adopted from [the practice of] people.
Walking postures of women
159160. I shallllow speak of the aTl<1 lllovcmenhl
of women. The Stha.na of women in walking and
speaking [to othersJ will be Ayata, A vahitth'l and Asvakra.nta.
160-161. Ayata: Tn the Ayata Sthana (posture) the right
foot will be Sam3, the left (lit. fhe other at the side) foot Tryasra
(obliquely placed) and the left waist rniRed.
161-164 (UseR): This ,Sthii.na is to be m;ed in invocation,
dismissal, observing carefully, thinking and dissinnilation. And
first appearance on the Htng!', Rcattering handfuls of flowers on
the stage, angel' due to jenlollH love, twisting the forefinger,
prohibition, pride, profundity, Rilmce, fit of resentment (mana.)
and looking to the horizon are also to be I'cpI'('sented from this
Sthil.na
1

161-165. Avahittlm: Thl>....!dt foot will he Sarna nnel the
right (lit. the other at the foot Tl'yasm (obliquely placed)
and the left waist raised lip.
165-167. (Use!l): ThiH 8thiina is known (lit. remem-
bered) as natural for woml'n during {,OllVI'I'sation rwith anyone],
in determination, !'!atisfaction and ('onjeeturc In representing
157 {B.XII.157b-158a, G.155), 158 (B.XII.158b-1591l, G.156).
159-160 (B.XII.159b-160, G.156c-157). I B. five additional
hemistichs after this,
160-161 (B.XII 163b16411, G.15S).
161-164 (B.XII.164b-167a, G.159-] 61).
164-165 (B.XII.l67b-168a, 0.162) I R.G. read two additional coup-
It 'b\ aftl.'l' this. .
165.167 (B.Xll.171b-172a, 17Qb 171a, G.l65166).
280 THE NATYASASTRA [ XIII. 167-
anxiety. amorousness, sportiveness, grace, the Erotic and the like
and looking towards the way of someone [coming
or going] this Sthana is to be used.
167-168. Asvakri1.nta: The in which one foot iH
and the other is resting on itH fore-part and [ready for] the
SUCi or the A viddha Cari is called AHvakranta 1,
HiS-WO. (UHes): Sthfma is to be assumed in taking
hold of the branch of a trep, plucking a eluster [of flowers] 01' in
the taking- of l'eHt by gotldesseB or women for any purposes.
160-171. The Sthana will be [maintained by a (lancer] till
any movement begins. For during a dance the Sthana at an
rnd wlll'n the CiLri has i)('gull (lit.,js preBent). This is the rule of
the Sthfma for womrn -:till] for men as well. T shall now describe
women's Gait in relation to their nature.
Gait of YOllng WOllwn
17l-l70. [Sueh a nait will Rerially ill('lIH\e following
Sthana and movements 1: The A vahittha Rthana, til(' Idt han(l
pointing tlowllwarl!H, the right hand with the geHture
placed on the navel, the right foot raispc\ gracefully up one Tala and
thrown on the loft one allli with that the left hand
with the Lata geflture placed on the navel and the right side bent,
placing thr right hand on the hip and the movement
of the left l,,,ad, tben the ItfL foot put fOJ'wartl, tire right hand with
the Lata gestul'C, lAftl![' and 1ll0vementR]
they aI'(' to walk five Hll'PH with tlw hody slightly bent and the
head gracefully hdd in the Udviihita posture.
176-177. The rules for going ahout on the Btage which have
been prescribed for men will apply alAo for women
. , 167-168 lB.Xll.172h-173a, G.167). 1 R. reads two additional coup-
lets thill.
168-169 (B. Xli. I 75b-176a, G.168).
169-PI (R.XII.176b-178a, 0.109-170).
171-176 (B.Xll.178b-183a, G.l71-175).
176-177 (B.XlI.18Jb-184a,
-XIII. 184] THE DIFFERENT GAITR
281
Gait of young women
177 -179. The steps of women should not be made of six or
eight Kala,; duration. Such a Atep will he for them. ThiA
will be the Gait of women in their youth. I Kpeak [now]
about the Gait of women who are aged
Gait of agerl women
17fl-181. After the Avnhittha Sthana and putting
tho I('ft hand on the and the right hand with tho Arab
gesture upturned, placo(\ hetw('en tho n:tvt'l amI the brl'aRtK, they
are to walk g\'i\dually with tlll'ir body neith!'l' \'(\axed nor Rtiff nor
[much] moved about.
Gait of handmaids
181-183. The Gait of shoul(1 he made bewil-
d<'red (II ""'IIa II fa). Tlwy al'(' to wnlk with klightly r;lisrd hody
and fio1ll'iHhing nl'tPl' th( A \'ahitta Sthana with
the left hatHI pointing downwartlH and the right hand showing
tho Katakiilllukhn hand held on tlte nav!'\.
Gait of half-women
183-184. The Gait of tho half-woll1cll, all admixture of
that of mon and of woman will conRiRt of hut graceful
movement of limbs and playfnl :steps (lit. feet) ..
111-1-1116. Tho time required fol' the Gait which has heen
pl'eKC'l'ihpd for persons of the RllpC'l'iol' t.ype will 1)(' hal"e(1 in case
of women :t1l(1 the inferior of II1PII. And the Gait [prescrihed
for person,;j of the snperiOl', the middling and the in[erior typ(>s
will apply in ensc of women [of type;;] except for the foots-
teps which will be graceful [for the lattel'l.
177-179(B.Xll.184b-186a, G,177178). 1 R.G. rl'ad sthiiniya yii
striyas tMam for stkaviyasinam etiisiim, The word stltaviyas may well
he a comparative degree form of stkavt'ra. Cf. da11jyas for dlira. "
179-1S1 (.B,XIl.186b-1S8a, G.179-1S0).
181-183 (B.XII.188b-190a, G.1811S2).
183184 (B.Xll.190b-191a, G.18S).
184-186 (B.XII.191b-193a, G.1-84-1S5).
232
THE NATYASASTRA
[ XIII, 186
Gait of children
J 8u 187. The Gait of children will be aecording to their
will and no and [fixed] 1l\('ltHI'ement will be required.
Gait cf hermaphrodites
187' 188. The third type of will be hermaphroditeR
in whose case women's Gait to the oxclusion of their [partial) male
character, should be applied.
Gait in the change of role
18818!). A chango L of their role] by 11lPlI, 1V0men and
hermaphrodites should be representAJd by assumption on their part
of Gaits suitable to those [new roles] to the exclusion of their own "
[original] character.
Gait of persons ill disguise
189.191. For disguiHo, sportH or deecption [of others] a
assumes the role of it man, and a mhn that of a 1V0mltn. [In
such cases] the WOlllan should play the role of a nian with patient
and liberal spirit and inteiligener, and with aets aH well as dress,
words and movement suitable to that r character].
191192. To play the role of a woman a man iH to wrar her
clothes, speak like her and look at things and abstain from looking
at these as shr does, and is to :lHSllIl1e a delicate and slolV Gait .
Gait of the tribal women
19219;). Women of inferior bitth and of the Pulinda and
the tribes are to have Gaits natuml to their eOlllllll1uity.
Gait of women aseeotics
193194. In case of observing vow or pmclising ,lusteri
ties or bearing the mark [of religious scctR.] or staying in the sky
the Carl is to bc used [as their Gait].
186-187 (B.XII.193b!94a. 0.186).
187-188 (B.XII.194b195a. G 187).
188-189 (B.XII.195b-196a, G.\88).
189192 (B.XII.l96b-199a. G.189-191).
1'92193 (B.XII.l99b200a. G.192).
193-194 (B.Xll.200b20 la, G.\ ga).
-XIII. 199 J
THE DIFFERENT GAITS 238
194-195. An expert in dramatic art should not assign the
energetic Ailgaharas, Caris and to women.
Sitting for men and women
195199. Sitting for men and women
should be made conforming to (lit_ combined with) the different
StateR which they are in, and similm' should be their postures
while in bed.
Sitting at c.asc
J !Hl-197. In sitting at ease the two feet are at l'eAt
Iildta) and doubled up (ancitn), the 'l'rika is :;;Iightly l'ais('(l,
. anel the two hands are put on the thighR on the two Rides.
Sitting in a thinking mood
11l7-198. When a prl'son iR to aRRllIne [deep] thinking,
[from the eaRY sitting posture] he iH to stretch slightly one of
his fpet, and tlw other foot is to rest on the nnd the head
iR to bend on one side.
Sitting in sorrow
Hlil-l n9. Wlwn a person is in [del'p] sorrow, [fl'OIll the
P:I!"Y sitting he is to pllt IIp his hands for supporting the
('hin, 01' his Iwad if; to I'l'st on the shoulder, and he is [to look likp]
nne whoflc mind and the senRe-organs are not working (lit. lost).
Sitting in fainting and intoxication
199-200. When a perRon iH fainting 01' is intoxicated, tired,
weakened 01' Bad, If!"OllI the eaf1Y he i;; to Rtr\:teh
hi:; armR IOORCly and to sit depending on [Romp]
194-185 (B.XII.201b-20211, 0.194).
195-196 (RXIl.202b-203u, G.195).
196-197 (B.XII.203b-204R, G.1Il6).
1'97-198 (R.XII.204h-205a, 0.197).
198-199 (RXli.205b-206a, 0198.,).
1 H920U m.XIJ.2OGb-21J7n. 0.1 fl!l)'
30
234 !i!HE NATYASASTRA [XlII. 200.
Sitting in shame Bnd sleep etc.
200-201. When a is ill, ashamed, asleep or in
llIrditation he is to lump together limbs between legs and
knees.
Sitting on CPf('monial occllsions
In offering a libation of water to the spirits of
di8eased parcntR, muUm'ing of Mantras, tho Sandhya prayers
and making Acam:llln, ono iH to assuJIlo the silting posture with the
hUllIp miRed, in which the hip and tlw hrl'ls eomp together.
Sitting in pacifying 1\ beloved woman
20220,1. fn appeasing [the angl'r of] a helove(] woman and
pOllling ghre into tlw H:1crifirial firf' nn(] (]oing similar othcr netH, a
person is to put one of hiH stretched klH'cS on the grolllHl [f!'01lI thp
Hitting posture mentioned above l-
Sitting in worRhi pping 1I deity
203-206. Downcast face and til(' Hitting post.ure with the
two knees on tl](' gronn(] (i. 1'. kncpling down) is to he HHHlllllrtl in
adoring :1 diety, pacifying thp angry CSllperiors], hittrrly crying for
sorrow, dear] horly, lhe fear of perHons of low
the begging of something hy lowly pel'sons and servants, and,
attendance during the HOll1a ant] til(' s<lcl'ifi('ial work. Aseclil's
(uw ni) while practiRing amt!'ritie, :lI'n 1 to assume this sitt.ing
post me (lit. rul!' about
Srats for dilft'rrnt
20()207. Now thc spats (Iif. rnlps rpg:m]ing the SP<lts) fol'
maiC'R and femab in a (]rall1<1. al'O twofold: pnhlic (liah!la) anrl
private (aN/!laH/III'''). fTIll'RC two IPl'lIIs] pnhlir and private rpl:itf'
to tllr royalty (lit. thp kin[().
200-20l (RXI1207h-208a, G.2(10).
201202 (B.Xll.208b-209a, G.2(1).
202-2fn (B XII.20!Ju-2101l, G.2()2).
21)3-206 (B.XII.20Ih-21Ha, G.20H-205).
206207 (R.Xl f.213b-214a, G.21)6).
-XIII. 216] THE DIFFERENT GAITS
235
Beau; for male charactrrs
2082LO. 0 Brahmins, gods and are to be given
the Lion-seat (i.e. throne), the aud the ministers the
eane-seat, the commander of the aI'my and the erown-prince the
the Brahmins tho wooden seat and the other princes
the carpet-seat. This mit! of should he observcd in the
royal court.
Scats for female "haractcrs
210-214. r slmll now speak of the mle of for women.
The ehier (ilicen should be given the Lion-seat, the female
relatives nllil wives of the king other than the chief queen the
the wivt's of priest,; nnd the cane-seat,
the conenhinps [oF the king] tlw s('nt of cloth, skin or
('arpet, the wiVt'H of Bralnnins alld h'llIale aseeties thl' Reat maue of
wood (paUli), the wives of the seat of pillow \
and for the rmnaining women the grollnd will be the Reat. t'lo
much about the rule of seats in the innet appartments as well as
in public places. 'Vhile residing in own house one can
take any scat accordillg t.o one'R liking.
Seats for ascetics and sectarians
215. The spatH for the aRcctics be according to the
mles lof the order] they are obscl'ving. For the memberK of
diffC'l'l'nt RCcts with special marks the scatR will be according
to their vows.
216. While pouring ghee into the sacrificial fire 01'
doing the sacrificial duty in general or offering a libation of
water to the departed parents one is to sit on a Vr$il,
or cane-seat.
208-210 (B.XII.214b-217a, G.207-210a). J A. cane-chair.
2 mU7J1iisana is probably nothing other than Bengali moqa.
210-214 (B.XII.217b-221, G.210b-214).
215 (B.XII.222, G.215). J For. example, some have ti!l:er-skin
their scat, some deer-skin or a piece of woolen blanket.
216 (B.XII.22S, G.216). I a seat made of kusa grass (A.ptc).
THE NATYABA8TRA
[ XIIl. 217
Gl'nernl rulM ahout IIMtA
Othel' 10<".l1 people who are of [high] birth
r tJ le'lI'ninO' he honollred by tIll' king } ,)'
and posseHs [gl'ea , ro " . ,
[an offer of suitable] seats,
218. 1'0 his (]quals be (l:{'. tb(! king) tbe i..:; to OlleI'S(!II/,'
equal in height to tlwt of his own, to pcrsonl' of mediI/ill irnportflUcl"
the seats of middling height, and to persons who I1re superior
to him, should be given II more elevated seat, while the lowly
persons are to be seated on the ground.
219. Refore the preceptor, the king 01' the guide
(anru) wise persons lire to sit on the ground or on an wooden
seat.
220. Sitting together with the Rpiritual guide, till) preceptor
or the king in a boat, on an elephant OJ' in a chariot, is allowed
(lit. not to be objected to).
IJying-down postures
221. Postures in the bed are known (lit. pJ'oelaimed)
Akuiicita, Sama, Pras[irita, Viv3rtita, U(lvl\hita and Nata.
222. Akuncita: Lying down with limbs narrowed down and
the two knees sticking to the bed is called the Almneita
It is to be uHed in representing persons attacked with eold.
223. Salla: Lying down with the face upwards and the
hands free and turning downwards is ralled the Sanm posture. It
is the posture in deep
224. Praearita: Lying down with one arm AS the pillow
and the knees stretched, is called the Prasii,rita posture. Jt iH to be
used to one enjoying a sleep of
225. Vivartita: Lying down with the face downwa.loUs
called the VivaJ.tita posture. It is to be assullLoU in [representing,
217 (B.Xll.224, G.2J7).
219 (B.XlI.226, G.219).
fil (B.XII.228, G.221).
228 (B.XII 230, G.22:1).
226 (B.xn.1I32, a.215).
218 (B.XIl.22/i, G.218).
220 (B.XII.227,G.220).
222 m.XII.1I29, G.222).
224 (iB.XII.321, (224).
-XIII. 228 ]
THE DIFFERENT GAITS
237
wound from any weapon, death, vomitting, intoxication and
lunacy.
226. Udvii.hita: Lying down with the head \'cRting on
the hand and making a Illovement of the knee, is ealled the
Udvahita postum. It is to 1m IIspd in sports :Illd Oil ('ntrance
of' the llJUI:!teJ'.
227. Nata: Lying dOWJJ with tIl(' legs (lit. shanb)
slightly r;il'ctdH'd :Illd the two hi/nds loosely j'("iting the
Nata PORtUI'C. It is to lJo used in lazil)l;ss, fatigue ,11](1 dis{l'elis.
228. This iH the il'Ule of] 0ait and 1Il0V('IIlt'llts I was to
tl'1l you. Whatever 1I11l:'aid :-;hould il(' aceord-
ing to the demand of Cirtlllllstances. r shall hcaraf'tl'r
about the divif'iolJ of the stage into ZoneH in conncxioll with going
a hout on it.
Hew l'ntls Chapt(1' XII r of
whil'h trcats of the Gaits amI other l\fovellwIJts.
:!2{; (R.X u;;:,a, G.221.).
22H (RX11.2a5, 0.228).

TilE ZONES AND TilE WCAL 118AGES ETC.
1. One shouM fix the ZoncR [of tho after kpowing
the of tho three [kinds ofJ playhollHc, that havc Leen ;nen'
tioned before by me.
The IlrrllI1W'lIlent of drums
2. The pl'OtllIcer [of a play] arran!!,!! the drullls
bl'twcen the two dOOI'B of the tiring rOOIll, whidl J have
dl'scribl'd heron!.
The /lollal diviHion
B. The Zonal diviBion
l
iH to he intlieat"d hy going ahout on
tlw Atage. [When one is ill a par!il,nlarJ ZOlll' [or the stag!', it]
will ehange [lit. bp another] with his walking Ollt of it.
Utility of the Zonal division
I-u. [It H from tlw Lconvention of! thc Zonal division that
one is to know [whether the place in which the Hcene Ims been laid]
is 11 hOllSC, a eity, a garden, a plmsllI'c rC'sort, a river, a 'hermitagl',
a forcst, the (,Drth, the sca, Lany part of] the Three worlds, any
one of the Seven grell! !liviRiom; of the earth or its continents,
any of the different llIol:lltains, till' (lit. light), the [sul'faec ot
the] earth or the nether world (rasa/ala.), the places of rest, cities
or of the Daityas 1.
7. The ZoneR should be fixed with l'cfen'nc(' (0 places Huch
:IS a city, it fore,,(., it eont.inent 01' 11 mountain ill which tim Hcenes
have been laid (lit. the event oel'Ul's).
----_._-----_ .. _--_._------._---._--------
1 cn.XllI.l, G.l). 1 See 63w'
2 (B.Xl1l.2, 0.2).
3 (B.XlII.3, G.a). 1 As modern devise of the chango of SCt'lIes
absent in the ancient Hindu thelltl'e, the convention of the Zonal division
indicaOOd the locality in which different characters met.
:1.-6 (B.Xlll.4-6, G.46), I B. reads daityanagatayas for daityanflm
aJayas. 7 (B.Xm.7, G.7).
-XIV. 16)
THg ZONES & THE LOCAL USAGES
289
Indicating relativl1 location
8. [The Zonal] division should relate to location inside,
outside or in the middle and to a place fur or neal'.
9. According to the eonvpntion of the Zonal division those
who have entered [the Rtage] eariier, Hhould be taken as being
inRide [a house]. while those entet'ing it later are to be known as
remaining outl"ide it.
1 O. IIp. who entel'S the ;;tage with tlw intention of Heeing
them (i. ('. tho:-1e entering cal'l ieI') should I'eport himself tUl'Uillg to
thl' right.
The east 011 thp, stage
11. The dil'l'd,ioll thl' dl'l1ll1s aIHl tlw two (IOOrH of the
tiring room fa('(', should always he cousidered as thp east in COl\l':';C
of tIle performanc(>,
Thf' rule of (\xit
If any will go out from the place (lit. thcrei.(',
inRidc th(' honse) ()Il any hn;-,inPHs It(' is to make hiR ('xit by the
very dool' he uRed whrn entering
l
,
1:1. If artpI' going ont hp is to t'o-cntpl' that housc he will
lila!.;:!' his exit [if IlCCf'SPHl'y I hy the doot' through whidl the u)('n
I_who <'liter laterl mlllP.
I If out of IlP(,(!RRit,y he gors along with latter, [re]
enters the hOllse with the Inttpr. or by alollP. another Zone
sllOnld he preRerii>l'<i for the two. 'rhi:-; othrr Zone will he indiented
hy their [ordtl' inJ walking,
Indication of rank in group walking
Hi. With the ('<InaIR, one to walk Hide by Ride and with
one'f; infL'riorR one i:-1 to walk RllI'rolltllled [by thfl latter]. and hand
maids are to hp known hy thnil' walking before [the lIHlRtet'l
-
8 (B.Xlll,B, G,B).
11 (B.XIlI,ll, G.Il),
12 m.XIII,12. G.12),
18 m,Xlll,13, G.II).
9 (R.XlII,9, G.9), 10 (B.XIII.IO,
1 R. renilK th!' conplet diffel'l'ntlr,
14-15 (B.Xm 14. G.W,
240
THE NATYASASTRA [ XIV. 17- ,
Indicllting distanee great, small lind medium
17. The same place if much walked O\'er will be taken as
a dh;tant. land. And neal' by 01' lands of medium dist.ance
are to he indicated likewise (in the same principle)l.
Movement of gods lind demigods
1820. According to the various needs of the plot (lit. play)
gods and demigods llrn to 1l10vn to eitieH, forests, seas or mountains
through the sky, hy an aerial cal', by their occult power 01' by
ditfernnt otlwr nets. But. whiln in disguise in a play they (i. e
gods and demigods) are to move on the ground, so that they Illay
he visible like human heings (lit. through human cans(s)!'.
Movemrnt of men in
21. The gods and dl'migo<is can at tlwir will move to any
of [the nine] divisions [of the ,Jambudvipa], bllt it IS pn!scl'ihed
that men fll'l' to move in Bh',mta (India) alone.
for a place
:.l2. If a pet'son depalts on business to a distant place this
is to he indieated by e\osing tlw Act [with his depm'tingj !UHl
ml'ntioning again this f:l<'t in an fntro<iuctory (jll'IIV,l!ll!.a),
Time, allowed for tIle eVPlltR of un Act
21 To indicate the attainmcnt of an ohjPet onl' I, to
traverRe a ml';tsl1l'c of But in eaKU of failure in this
matter (lit. in non-att:liument of the ohj(>('t) tltr A(t shoulcl be
hrought to an end.
24. [Incidcnts in a play occurring for] a a Mahllrtn,
a Yilma and a day arf' to he accommodated in an Act in purRuanee
of the Gl'rm (l'lin) [of the play].
25. Hut a month or a year iR [to be conRideredJ finiRhed
with the l'nd of an Aet; and events occurring more than one
year after, Rhouhl not hr put in an Act.
16 (B.XIll16. G.16).
17 (B.XJII.l7, G,17). 1 1<'01' 1111 oxample of thiR A(1C Uttara 1.
1820 (B,XIJI.1821l, G,18-20).! B.G. ndd OIlP eouplrt lifter
21 (B.XllI.21, 0.22), 22 (B.XlJJ.211, G.23). 23 (B.Xlll.2,t (}.24 .
24 (B.XIII.25, G.25). 25 (B.Xm26, 0.26).
f
't -XIV. S6) TaE ZONES & TaE LOCAL USAGES 241
26. The ZoneR of the' stage [and allied conventions] con-
cerning the movements of men are thus to be observed in a play
in QOnnexion with (India). Now listen about that
of gods and demigods,
27 -32. Guhyakas, the follow f'rR of Kuvera,(lit. the
giver of wealth), Bhiitas and who live on the
best mountain incllllle<l in the Himalayas, arc known
as dwellers of the latter mountain. Gandharvas, Apsarasas and
Ga\las are known to live on the On the live
all the Nfigas (serpents) such as and The
thirty-three groups of gods dwell on thc great Mel'll, and Siddhas
and on the Billp [Mountain] full of lapis lazuli.
The White Mountain is the aho<le of Dait.yas and Danavas, while
Pill'S resort to t.he Sl'ngavat [mollntaiu]. Theso are the best moun-
(aim; where gods and demigods (lweI!. With reference ot the
Zonal <livision they should be [placed] in .!U1nbudvipa [where
these lUountainH exist].
Movementq of gods
32-35. Their cxploits should be rcpresented (lit. made)
aecording to their habits and powers, but their costumes a.nd make-
up should be like that of human beings. All the conditions of gOdR
are to be made human. Hence they should not be represented (lit.
made) as [which they traditional! i are]. For the 8tH.tes
aud the Sentiments [in a play] depend on Glancos. And the
States are [first] indicated by Glances and thrn represented by
gestllrf'R and postUl'es by limbs). This i., all about' the Zonal
division.
The four Loeal usages
36. I shall now resumc tllP of the Local UR:lges
(JlmlTtti) whieh according to the expcrt;; in dr,:mlt arc' foul': Avanti
Pii.iiclli nnd OQhra-Magadhil,
...
26 (B.XIlI.27, G.27). 2732 (B.XIlU8-33n, G.28-33).
32-35 (B.XIII.33b-36r, 0.35-3711). 1 1.'01' tu kii,r:yam It l'ead8 na
kii.ryam.
:16 (ll.XIII.36b-38, G'-WhS8). I Th!' pllS!iage following thiR till tL,'
beginning of 37 is ill pros!'.
31
THE NATYASASTBA [XIV, 37.
[Now comes the question]: Why is Utealled] lJravrtH
(report) [of the Local Usages]? [In answer to this] it is said that
pra'Vftti is 1'10 railed because it informs [one] 'about the Local
Usages regarding costumes, languages, manners and professiollfl
in different countrieR of the world, Vrtt'i and lJ1'1t1'rtti mean
'information', There arc many countries in this world. Hence
it is' asked, "How a fourfold division of these (i.II, the four
prai;rttis) [can be] proper? And an observance of all these
pl'lt'llfttis possess [some] comlllon charactl'riHtics," [In reply]
it has been said, "It is true that their observance has [some]
common characteristics; but as people hwp. different native
countries, eostumps, languageR and mannerH, I have pr('scribed
a fourfold classification of the dramatic performance which is
attached to four different according to the preferp.nce
of [different] people. [Hence] countries are connected with the
perfonnance which, relate to the Styles such as the Verbal
(lillarat'i) the Grand (satt1'flli), till' Clracl'flll (htisilo'l) and the
Violent And f!'Om these [.countries 1 arisl' the
four pravrttis (Local Usages) and alRO the [entire] performance
including them.
The Local Usage
Now [it is saidJ in that eonnexion (lit. there) that the
Bouthem [countrieH] favour various kind of danceR, Aongs and
an abundatH'c of tlIP Ol'llceful (lmisild) Styl!'
and clever and graceful TJ\(\y arc aR :
,37 Countrieo adjacent to mountains namcd the Mahendm,
the Malaya, the Bahya, the Mckain and the KaJapaiijam\ nm
known as the (Deccan).
,38-39 [But] Kosala, TOAatl, Knliilga
1
, Yavana, Klmsn, an(1
countri!'R like An(lhl'l1, VaiJ].l):l and Vana-
-,-- --- --'--"- ----
----------------
37 (B.XlIl.39, G.39). 1 K!ilapll jllra to be Bamc lIS modern
Kali..jara ( = Kiilapi iara) j P!'r,jara is a variant of pailjara j Bee
Paia-snddamalml}l,lavo, sui voce.
38-39 G.40-40. See DotH 1 to 43-45.
may also be taken: af! the name of the great
Andhra empire '
XIV.46)
THE ZONES & THE LOCAL USAGES 243
viisika which lie between the Southern Ocean and the Vindhya
[mountain] are always to take to the Local Usages
8

The Avanti Local Usage
40-41. Avanti, Vidisa, Ma.lava, Sindhu, Sauvim,
Arvudeya
1
Tripura, and l\1rttikavat always take to the
Avanti Local Usage
2

42. The performance lof a play] by [people of] these [coun-
trieR] should depend on the' Grand (sattvati) and the Graceful
Lknisit.i] Styles and [such a procedure] should be adopted by
the producers.
The OdhraMiigadhi Local Usage
4345. Eafltern
1
[countries fluch as] AIiga, Vmlga, Kaliilga
i
,
Vat:-;a, O<Jhra (Ol.lra),'l\1agadha, PUl}\lra, N epaIa, A!p.tal'gira, Bahi-
rgira, Plava!p.gmna, 1\1 alada s, Mallavartaka,
4
Brahmottara,
6
Bllar
gava,8 Milrgava, 7 Pulinda, Videha and Tamralipta,
adopt the Local Usage known as the O<Jhra-Magadhi.
46. In relation to other countries too known in the
PurilJ}.as as belonging to the East the O(Jhra-Magadhi. Local
Usage is applied.
3. Geographieal names mentioned in this passage and the passages
that follow, arc mostly to be met witll in the Pural,las (sometimes with
variant readings). For a discussiou on the SlIme see Dines Chandra
Sirear, 'Text of the Purauic Lists of Peoples' (IRQ. Vol. XXI. 1945
pp.297314).
4041 (B.XIll.4r243, G.4243). 1 Arvuda or modern Abu in Raj
putana is probably meant by this name.
42 (B.XIll.4r4, G.44).
43-45 (B.XUI.45-47, G.45-47). 1 B. pra7tftlayal!.
2 The twofold mention of Kaliilga requires an explanation. It is
possible that the two dHferent Usages were current in this region.
8 Malada be may modern Maldah Distriet of Bengal.
, Mallavartaka may b(l modern MaliaMum (Bankura ill
5 For Brahmottarll see Visvabhiirati Patriki, Vol. IV. pp, 250jf.
6 Bhiirgava remains unidentified,
1 Mirgava remains unidentified.
46 (B.XlII.4r8, G.4S).
THE NATYASASTRA
[XIV. 47
The PiiiieiilaMadhyama Loeal Usage
47-48. Countries such as Panc .la, Siirasena, Kasmira,
Hastinapul"c1, Viilhika, St'.kala
l
, Madra and USinara which are
contiguous either to the Himalayas or to the Northern bank of
the Ganges, take to the Pii,fieiila-madhyma Local Usage.
1
49. In this Usage the Grand and the Violent
Styles are known [to predominate]' The application of
these [means] paucity of song and excessive movement and
extraordinary Gaits and steps.
The twofold entrance in observing Local Usages
50. Going about on the stage in [ohserving] Local UHages,
will be in two ways, viz. by entering from the right and hy
entering from the left.
51. In the Avanti and the Local U,:age the
going about [on the stage] will be from the right, and in the PiiilCali
and the it will be from the left.
52. In case of the Avanti and the
Usages the door to he lIsed in entering he the Northern
one, while in case of the Piii\Ciili and Local
the Southern door should he used.
ii:). But in view of the special assembly, plnec, occasion
and expression of meaning these rules may be combined (lit. he
made into one).
54. Experts Rhould apply to piaYR the Local Usages
which have been prescribed before for different countries.
55. In musical plays (giinafciidi) these rnlcs sho\ild lip,
simplified. One should produce thcm (lit. practice those acts) in
disregard of the multiplicity of Local Usages.
4748 (RXm.49-50, G.50-5l). I The reading Salyaka of Rome mSR.
may be a variant of Siil vaka. As in the Pural)as an expression likp
ialviJh iakalavasinah is met with. or Siilvakas might have beell
the of a tribe in the aneient Sakal a region.
49 (B.XIlI.51, G.49). 50 (B.XIlI.52, G.52) .
. Iil (B.Xm.S3, G.53). 52 (B.XIll.54, G.M).
liS (B.XllL5S, G.o5). 54 (B X!ll.56, G.56). 55 (B.XIII.57, G.58).
.XIV. 63] THE ZONES & THE LOCAL USAGES
245
The two general types of plays
56. The production of a play in conforUl(ty with the l'l\leH
of dramatic practice is' of two types: delieate (Snkll.nlar(l,) and
violent (avirldl!ll).
The vioi<'ut tY]l('s
57-5H. The play which requireH violent (u"i,f,lha) gestures
and movellHmt" (ailyalta,'a) to rrpreHent, cntting, piereing and
(',hallengillg, and eOIlLaius the lise uf llIagre aut! m:cult as
well m; lUtilicial and ma.ke-lIp, aud has more llwn and less
women [among itt> lll!),,;()/IIU:J and applil's Lin iLs production1
the Grand and the Violeut Dtyles, is of the violent type.
ii\!. Acconling to the Ll'xpert] produecl's, [plays olJ the l)im<l.
the. D<lmavakllra, the VY1-L),Og<l aUlI the ikilllrga L classes) are
known to be of the violent type.
60. Production of play" of this type he made by
Lan illlper:;ollation ofJ and who are majestic
a.nd haughty, and have lH'l'orislll, energy and
The delicate tY[lP
Gl. The tho Pmkaraga, Vithi and the Atika are
plaYH of the delicate type, and they deppud [for their production]
Loti an imperiionation ofJ human beingH only.
The two PracticcH
6:l: I Hhall now define (lit. relate the dWl'adl'l'i8il'::; 01) the
t.wo PractieeH (d IIll'l'1n t) whieh have been lIll'ntioned brfol'l'.
The realistic Practice
63-64. If a play depends on natural behaviour [in its
ehnract)rR] and iR simple and not articial, and haH in its lplotJ
56 (B.xm:J 9 ; G.59) 57 (B.XIII.60-6l, G.60-61).
59 (B.XIll.62, G.62). 60 (B.XJlI 63, G.63).
61 (B.XIIl.64, G.64), 1 13. adds five :Idditional cOllplets after this.
62 (B.XIll.7U, G.65). 1 b'or a discllssion on DharmiR see V. Ragha-
van, Niitya Dlmrmi' and Loka Dimrmi and Realism of Bharata's
t5tage), journal of Uriental Researches. Mudrss, Vol. VII. pp. 359-375.
68-640 (B.Xlll.71-72, G.66-67). 1 See note 1 to IX. 1-3.
246
THE NATYASAi-iTRA
[XlV.65
pl'ofeRsions alHl activities of the people and has [simple aeting and]
110 pluyful flourish (If lilllbs and dept!lllb on 111('11 and women of
differcnt types, it is (1(,klldlwl',tni)l.
'rhe conv<'ntional Practice
65-li6 Tf a play contains speech, :wtivity, beings and
states of the extraordinnry kind, and requires :wting with phyful
flourish of limbs and POSSl)"H(,S eh:il':;et('ristics of dancl', and
requires conventional t!UllllCialioll, aud is d"l't'tldl'nt Oll emotionally
carried persons (lit.) chal'aete)'s it i" to he knolVll as convcntional
(nal!/ad harm/p.
67. If unything IIseel hy (lit. among) people, appears
(lit. Ret foot)l in a play (lit Ill!!'!') as endo\Vpd with a ('orporal
frol\1 and speeeh
2
the pl'aetiet) i:.; [al"o I tailed conV!'nti6nal
(n(i!!I(ld lUlnni)3.
6t3. [The practice ill a play aCl'oJ'(ling to are
supposed1not to heal' words uttel'el1 j;;-l'l'oxilllity, 01' to heal' what
has not bccn uttercd at all, io [also] called conventional.
69. If objects like a hill, conveyance, aCIiil! cal', shield,
armour, weapon 01' hannt11'-Rlaff are macle: to appeal' on thp stage
(lit. are uord) in [human] fOJ'lll, it iH known as an [itlRtanl'e of] t.he
conV('ntional Pmcti('p,
7U. If after ap[lt':Il'ing ill a role, olle as"lIllleH a <Iiffcrellt
role [in the Halll!) play J, un aeeollnt of his being an expert in
both the caRes 01' being the Hole aetor available for both the
roles, it is known to he an instance of the conventional Practice.
71. If after a p<m;oll haH iJet:1l employed (lit. being) in the
role of it woman for whom marital conncxioll with a particular
character is forbidden by thc Ru,'itras, is made to appeal' in thc
65-67 (B.XIII.15, 0.70). 1 padam '; G. l'paUA Madram.
I mrNmat tB. murttmat
3 Au iustanee of this the personification of the in
(Ag.).
68 (B.XIII.76. G.71). I 1;'01' asanno/etam, G. reads a/rok/am ca:fJa.
69 (B.XIII.77, G.72).1 G. omits two conplots (70 and 71) after
this. 70 (B.XIII.78) 71 (B.XIII.79).
XIV. 78 J THE ZONES & Tarn LOCAL USAGES
247
role of another woman with whom snch connexion is permit.ted, it
becomes an instance of conventional practice. The same will
be the result if th(' situation in the above case iR reversed.
72. That, [in a play instead of simple walking] one danceR
or goes with graceful movement of the limbs as well as with
"imilarly made steps is known as conventional Practicf'.
73. If the [ordinary] human nature which has acts of
joys and sorrOWR as its I'ssence (lit. Houl) is represented by (lit.
combined with) [speciall gestnres it becomes [an instance ofJ
the convent.ional Practice.
74. The Zonal diviHiol1 which inclnde8 (lit. depcl\(ls on)
many mlcR, is also [an of] the conventional Practicc
70. A play should always bl' produced with the conven.
tional movement [of limbs], for without the [use of] Gestures [by
the adm's] no pleasure OCCUI'S [to the spectators].
76. All. the States al'll lIalllml to all [persons J and all the
gestures [in eonnexion with them art' nsed] from necessity
; [hence] a movements of limbs [in producing
a play] has been considered as [au instance of] the conventional
Practice.
n. So mnch about the Zonal Division, [the two] PracticeR
and the [fOUI'J Lo('al Usages. Experb in dramatil' production
shonhl know t1ws(' and put them pl'oprl'ly into practice.
7R I haVl! dOHcl'ihed hero the HiRtrionie RepreRentation by
1l1enns'of the Rakha and the Ati.gaham. I shall afterwards speak
abollt such Reprcsentati'ln depending on Words which consist of
vowel and consonantal Roumls.
Here rnds Chapter XIV of Rhlll'lltu's
which treat!" of the LQcal and the Practices

72 (B.XIII.BO, 0.73).
73 (B.XIII.8[, G.74).
74 (RXIII.82. 0.75).
75 (RXIlI.84, 0.76).
77 (B.XIII.86, 0.78).
I 13 one additional couplet after this.
I B. reads one additional couplet after this.
76 (RXIII.85, G.77).
78 (13.Xm.87, 0.79),
CHAPTER
RULES OF PROSODY
The actor's speech
1. 0 tllP of J now allont the
nature (lit chal'actoriHtic;; of) the Verbal Repr(,Rentation which
haR heen mentioned before 1 anJ which mlates to (lit. :trisoB from)
vowels anJ consonants.
of speech in drama
2. One should take care of wonl,l. For thpsp arp known
as the hoJy of the dl'alllati(' art Ant! CI,;ttllP;:, Co,tnllll'S
and Makeup and tIll' 'l'emparamcntnl (sijf'7!ikfl) adinf!; [mcrplyJ
clarify the meaning of lVor(h
;3. In this world (lit. here) the are made np of words
and rest on words; hence thorc is nothing heyond wor(h and words
are at the sonree of cverything
l
.
4. The Verhnl representation is related to L:t knowblge
of] nouns (llama), vC'rbH (akh!fla), pal'tieif' (/lijia/II), prC'posi-
tion (nf!(t8(/,ya), nOlllinal snffix (tal/,fhiln) words
!'uphoni(' 1'llIlIhination (.", III/hi) :lIld ("':<("('llIlillg'
( 'I,ihhakti ).
'rhe two kin<ls of recitation
G. The lteeilaiioll (e'a!hYII) [in a play] known to \)('
of two kindR : Sanskritie and Pmkritic. I shall of their
difference in due order.
I (C.1; B.XIV.l). I I<'or the fOllr kinds of Histrionio
which includes the Verbal one sec VI. 23.
2 (C.1; H.XIV.2). 'This rille applilJll to the actors liS WI!! I liS to
the play-wright. On this Ag. says: 'licl"l ffi! f'l'l1'11'1ifi;r

3 (C.8; B.XIV.8). I This view is also held hy Rlilltrh:lri (circa
600 A:C.) in his Viikyap'luiya (Agamakal.IIJa) .. See R. fl. 224, foot HOt.<.
4. (C.4; B.XlV.4). 5 (0.5; B.XIV.5).
-XV. 9) RULES OF PROSODY 249
Dift'erent lIf1peots of Recitation
6-7. [They consist of] consonants, euphonic combi-
nation, case-endingA, nouns, verbs, prepositions, particles and
nominal suffixes, The Sanskritic Recitation is characterised by [a
due regard to] thesc aspects and compound words, and includes
\'arious verhal l'OotR
1
. Now listen about its npp1ieation,
The speech-sounds
8 The fomtcen f01mdH beginning with a and ending in
au, are known aR vowelR, and the group of l'OImc!R heginning with
kit and ending in ha are known as consonantR.
Vowles are fourteen in numberl. A, ii, i, i,ll, U, !" f' 1.1.
P, ai, 0 and au fire to he known as the vowell'.
The group of lctters heginning with ka, arc consonants. Ka,
kha, ga, glia, na, (,fI, cha, jn, iha, ita, 4hn, J}.3, ta tha
da, dha, na, pa, pha, oa, hha, rna, ya, nt, la, va, and ha 2
leonstituteJ the group of consonants
S
,
Consonants : their articulation
9, The fit'st two Rounds of each group lof the stop
eonf'Onants] are known as unvoiced and the r('st lof the
group] are called voiced
6-7 (C.6-7; n.XIV.67). 'n"ad C.
8 (C.8; B,XIV.8). I DiifC'rellt ami Pl'iitgiikhyas ('l\nID<'l'lItr
vnwrls dift'rrrntly, Accol'ding to t\t{' l'A. thry are 22 in !IUIIlOer, while the
Atharva, ,Taittiriya, and Vlijasan('yi, and the
Vyiikllfllna (SiimavL'(h 1'1'.) give their numher "{'spcctiwly as 13, 13, 16,
23 lIud 23. Sec (cd. ManoUlollllu Ghosh) p.5l.
9 counts anzesvllra. zltsarga, jikvamldi)'a and 16jJadkmlmiya
among consonants. Sec ('d. Ghosh, p. 50.
S B. reads after this a oouplet (B.lO) from Pd, RCC ilnii, p. 59. Not
OCcurring ill most of the mss. this lIlay OC taken as spurious. This is
followed in B. by a prose passage which also to be spnriol1s, The
Baine is our view about the couplet Rll which follow this prose pMsag('.
'rhe subHtulloc of this oouplet (Rll) oeem'" in 91)('lo\\'.
9 (C.9 ; B.XIV.12). 1 In C. tl;is conplet aftC'1' B alld oefol'('
t1w IWORe passare that f('llows it.
32
260
THE NATYASASTBA [ XV. 10-
10. These
1
[consonants J are to be classified int.o (lit. known
as) voiced and unvoiced, velar, labial, dental, lingual (jihvya)9,
nasal. sibilant, palatal and Visarjanlya.
'11 . In these groups (of consonants] ga, gha, ria, ja, jha.
ii, \la, da, dha na, ha hha, rna, ya, ra, la and va are voiced,
while ka, kha, ca, cha, tao tim, ta, tha, pa. pha, sa, Ra and ha are
unvoiced.
12-14. Ka, khn, ga, gha, and ria, are velar (kn1Mhasthrt}l
ca, cha, ja, iha, ila. i, i, ya fwd sa palatal, tha, \la, r,
ra, and cacuminal (llifudhMJ-ya), ta, thu, du, dha, na, la, and
sa dental, pa, pha, ba, bha, and ma labial; a and ha are from the
throat 0 and au are throatlabial .
. e and ai, throat'palatal (k1M,rha.talat'!]!!).
14-15. The Visarjaniya is from the throat, and ka and [kha]
are from the root of the tongue
1
The place of articulation for pa
and pha are lips, and the RfllIlC will he for the closed (rwi1!'('tn)
vowels u and u
2

15-16. [The group of Rounds] beginning with ka and
ending in ma are ca\lrd HtOpS (s/I((/,Ra), K<1, sa, and ha are open
10 (C.I0; B.XIV.l3). 1 Read the first hemistich ag 'Ill1l1'1ll1l1;

Z The jthvya does not seem to OCClIl' in any wellknown grammatical
work. 'I'his is perlmpH synonymOllR with 1nurdharpya; for in tlw pro-
duction of 1nurdharpya sounds jihva (tongue) play,; mOi't important part.
The Taittiriya. Pro describes the manner of tllt'ir production as follows;
jthvagrcrpa tnurdhal'ji !avargasya (II.:l7). CuriouRly
this term has never agaiu used in the NK.
11 (C.ll; B.XIV.l4).
12-14 (C.12-14a; B.XIV.15, 15 of p.230 aIll116). I For tradi-
tional views about the placeK of articulation of RCC PH. p. 62.
Read llb as follows :-lfil9"1l1iea'!f'l'lQ;''I!'I!lH tf1f lI'i,-.llll:.
I 12a as follows :-lfililil'ifl'T: 'l<Tlli! "IIiiOll'fi'Sll: .
3 Read l3b as follows :-'IIT"T"li tr.fi;r'fl!!l1fT ii!.(I:.
, Read 14a as follows: "'T -.it 'Ii'll.iIlilwrt I( it .. ,,", "I lfi'li!!!Tl!T!Ii't.
14-15 (C.14b-15u,B'x1V.l6b-17a). 1 See noto tto 12-14 above,
Read 14b-15a, as follows: I qq;1l1

15-16 (C.15b-16a, B.xIV.17b-12a). 1 C. sa7l;mrlal,l
-XV. 21] RULES OF PROEiODY 2111
(vivrta) while semivowels are crused Qa,
iia, J,la, na and ma are nasal [sounds].
16-17. Sa, and sa and ha are sibilantK lit. hot) j
yu, ra, la amI va are semivowels lit. intermediate),
from the root of the tongue (jilWijl!!fUi!/IL) and fl'OIU the
Upadhma (npndhmall,iya).
17-1H. Ka, cn, tn, ta and pa are [simply] uttered
and kha, ella, tha, tha alJ(I pha arc littered fmarkedly 1 from the
thl'oat, and gil, gha, ja, jha, da, dlIa, and ba, bha from the
throat lt8 well aR the breast 1.
18-19. The ViRltl'janiya should be known as a sound from
lthe root of] the These are the consonants which have
heen briefly defined by me. 1 now discuss the vowels with
reference to their lise in words.
Vowels: their quantity
20. 10f the above mentioned fourteenS vowels ten constitute
homogenouil pail's (,amalia), of which the first ones arc short and
the second ones long.
The four kinds of word
with vowels and consonants [described
above] the wordR include verbs (al.-h.'lijfa), nouns (nanlll), roots
(dhatn), prepoRitions (npasal'!/n) and particles (onipatn), nominal
affixeH (tal/'{ euphonic combinations (;;nndJl'i) and case-
terminations ('nibhctkti).
16-17 (C.16b-17a; B.XIV.18b19a).
17-18 (C.l7b-1Sa, B.XIV.19b-20a). 1 Read this couplet as follows:
'l!'R:I{IU: llJ'IifI!l''lil: \>!1iI"11 'l!'@ll: I II q'leN.
18-19 (C.18b-19; B.XIV.20b-21). 1 See Ilote 1 to 12-14 abovl'.
Read ISb as follows : See the foot-now in B.
under B. 20b.
20 (C.20; B.XIV.22b-23a). 1 B. one additional hemistieh
(B 22a), before this.
2 About the numbt'r of vowels see S note 1 above.
21 (C.21; B. foot note 4. in p. 23p. "
TIl! NATYASASTRA [ XV:"JS
22. The of vocables have been mentioned in
detail by the ancient masters. I shall again chamc-
teristies briefly when an will arise
l

The noun
2;1. The noun 1 has itR funetions determinp(l by the e:lRC
endings Ruch as 'su' and the like, and by special meanings derived
therefrom
2
; and it is of flves kinds and lias a baHic meaning
(/Jl'iltipltdikill'thu,) and gender".
It (the noun) iK known to be of seven
l
daHscH and
has six cases, and it is well-established (/Iralhitn)2 and
22 (C.22; B. foot-note 5 in p. 231).
23 (C.25; B XIV.28). 1 This couplet has evidl'lltly b('0n miKpl!wd
in C. lIH well as B. Begin it as svadyiidyao.
2 The second hemi,tich shonld be emcmlcd as follows:
if Til ijiji{. (m,>1, fi;(rg1lt, iiij'l ).
a The live kimls of nonll 11II\,0 b,,<,u ellllllll'l':Itrd as follows: 'Q'UT>:Iiii
.. ilfinriii I'!ilrl'!ifi 1 ,t" '1111 II Goyirfllldm,
(It,'f. Ihldar, ltih;isa, p, 174).
4 Thel'l) i, a dilfcn'ncp of opinion ahout t1i" of 1lI<'lIning,
(pnilipadikartka) of a word. According to P:t(lini thny are-two: dU1J'('t!'riH
tics of a species (fiJii) and objfct (dravya). K:ity:iyanrL addR 01](\ 1)IOl'n to th
number which is geuder (hi/on). But Vyaghmpiit-a rath!'r les8 kuowll
ancieut authority-took thril' Humber to be four. to him til!,)
al'c : characteristics of a "IWci ... " "bjrct" W'n(h' and llum\)('l' (san}kkyi), I.
Pafaiij,,]i howe vel' c.onHiderl'd thelll to be Ii,,!, ill unmber, C.ff. chal'1lctcriHtic,
of a object, geuder, numb!'r and case (kliraka). IHaldal', Itill:i,a
p.447-48.
24 (C.23; n.XIV.25b-26a). 1 Thn R1'V<'1I cla",(',; probably relatl' to
the BCVl'1I grOllps of
TllP words pralki/a mHf slidhya 11K grammatical terllls :11'"
RClIflwly well-knowlI. Pro/Mia "P('IllS to I'plato tl", well-known word,
as a whol!', which cannot be conveniently lIualys!'d into eompon('nt parti"
(Ul)iidi derivation should ill this COUn()XiOll be considered liS th" 1110,j
artificial), It may be in contrast to tlwse that the words which call h"
built up from the verbal roots lind affixes pte. fLr!' known as sadkya (to
be. made). These two tl'rmR may tllrroforo bo tllk"n aq with
t'fitVta and yau/ilea l'espoetil'dy . '"
-xv. 27) RULES OF PROSODY 258
[sometimes] is to be cunstituted [and when combined
with diffel'ent case-endings] it may indication (nintesa)3,
giving to (sa,mpmdana), taking away (aLio,dii;nll.) and the liiq)'l
25. 1The verbs relate to aetions occurring in the present and
the past time and the like; they are ,sometimes well-established
(pmthita)2 and sometimes to be eOllstilutca (sarlh!la)2, are distin-
and divided according to number and pelson.
The vcrb
26. [A collection of] five hundJ'ed roots divided into twenty-
five claRseH are to be known as verbs (iikh!lo/a) in connexion with
the Recitation, and they add to the meaning of the nounii
l

27. Those that (modify) the meaning of the
verbal in conncxion with the meaning of bal<ic WOl'd:-j
1
are for
that [vcry ]1'eaHon call1!d /LlntH" )'ff!l (prepoHitioll) in the :-;cience of
gl'alillllCl' )'((,).
3 Nirdesa seems to to relate 'nominatives; for it is one of the
meanings of the thesr, grammarian says:
lfilf I (Haldar,
ltihasa, p. 170).
25 (C.2,1; B.XIV.26b amI cf. 29b)' 1 R"ad the couplet as follows:-
I !.If<lg'lf
B. 27a 80pms to be corrupt and redundant.
2 In caso of vl'rbs pratkt'ta to relate to irrpglllar froms like
paSya in place of drs, and sridkya to rpgularly constructt'd onl's. Sec
also note 1 to 24 above.
26 (C.:Waj B.XIV. 27b, 29a). 1 C. 26a and gives only 26b
as C. 26a. There are different number of in lists (DhatliPiitha)
attached to different grammatical works. It is not known which give
their number aH five hundrl'd. Dhanapala (970 A.C.). in his comml'ntary
to Jaina Dhatllpatha 8ays on the subject follows:
'i'lIf..:"'if IiH" I "I'lliff: 1'll'filli'l 'lIlTf'l 'I)f<IJ lila,,: II - (Ref. Halda!',
Itihnsa, p. 44). V cl'bal roots an' divided according to Plinilli into ten classes
Theil' division into twcntyfive cll\sses does not to occur ill any
well-known work.
27 (C.26, RXIV.30). 1 This definition of the 14pasar{ftZ follows
view on the RS expressed in thl' Nirukta (T, 1.3-4).
According" to this authority upasfU'ras have no independant meaning and
2114
THE NATYABASTRA
[ XV. liS-
The particle
28. lAs they nipatanti (come together) with declined words
(pada) to strengthen their basic meaning, root, or etymo-
logy', they are called nipatas (particles).
The affixes
29, 1 As it distinguishes ideas (pmt!l(t!/(1,) and develops the
meaning [of a root] by intensifying it or combining [it with
another] or [pointing outJ its essential quality (saltl'a), it is called
pratya!lll, (affix).

'rhe nominal affix
30. it develops the meanings [of a word] by an elision
[of of its parts], a seperation of its root and affix, or their
combination and by pointing out the abstmct notion [indicated by
it], it is called /Ltddhtin (nominal affix).

they arf] nwrrly auxiliary modifying tlw meaning of the verbal
root-. On thf' ditfrrrnt ways in which sllch modification takes lliacp
one grammarian says: ijif"fI"ffl I
Haldar, Itihiisa, p. 346:.
28 (C 27; B.XIV.8l). I According to Piil)ini imltclinables (avyaya)
of the ,a-group are JlllrticlcR (nijJata). Hre I. 5.57. According to
Pat'\lijali nijJiitas do th(' fllllC.tioll of clIHe-endingti and intonation (svara=
pitch accf'nt). He says : lwlitfu f"qrnli'llT: ... (on P.IIl.4.2).
The author of the Klisikii too thiH vi"w in hi8 COlllments on P.I. "57.
2 la, tu, and hi are instancCl; of snch nijJatas.
a It is not clear now nijJatas, strengthen tbe etymology giyen
here.- Probabl y the fmding here is corrnpt.
29 (C.28; B.XIV.32). I Such lin elaborate definition of the pratyaya
not not appear tI) occnr in any exant grammatical work. Ag.
seems to trace it to the Aindra Hehool of grammarians. The meaning
of the definition is not quito clear. According to the common interpre-
tation the jJratyaya means that which helps to develop II meaning from
root ( i)'ITfl: I'( ).
30 (C.29; B.XlV.33). I This definition of the taddkila does not
Heem to OCCllr in any weU:'known grammlltical work. It dtCl'ibes thr
processes through which the taddkita suffix will transform II word.
, ,',
.XV. 3' J RULES OF PROSODY
255
The case-ending
31. As they 'vibhainnti (distinguish between) the
of an inflected word or wOl'ds with reference to their roots or gender,
they are called vihhaleti
The euphonic combination
Where separated vowel A or consonants sa?,dhi)lllte
by coming together
B
in a word or wordfl it iR
called [an inAtance of] (cuphonic combination).
33, As due to the meeting of two sounds (lit. letter;;) or of
two wOl'elil, their Requence (krauin).l. 8nnilhiyafe (reRult in a combi-
nation), it iR rn\lpd ,<II.1tdhi (euphonic combination).
The compound words
34. The Samasa (compound word) which combine
l
many
wordR to express II Ringle nwnning an.! suppreSSOR llffixeR, has been
described hy the experts to be of six kinds such as and
the like.
31 (C.30; B.XIV.34). 1 This d!'li.llition follows the etymological
KenSe of the term (viMakti). DLU'g;RsiI11ha of the Kaiapa school Bays
tlw cl\-le,cllding, al'e KO called of their giving distincti vo mraning
to a word r'lilfiJ). Sp(' Haldar, Itihasa, p. 169).
32 (B.XIV.35) C. R"ad for 1 TIHl
srmdh,,' iA Atrictly Apeaking, not mrrely a combination of two 80undR (vowels
or in a itrl'at number of caSt', their mutual phonetic influellee
constitutes a sandhJ. This is of five kinds, and r('latc to savara-s,
vyaitjana-s, anus11iira-s, and vtSarEa-s.
3 This 'coming together' depends on the shortness of duration which
Roparatc the uttpronc(' of tho two According to the ancient
authorities sandhi will take placl' when duration will not bp. morc
than half a matra .. It iR for thi8 l'eaROn that the two hemistichs in a
couplet are ncv('l' combined .
..... I If
I (llaldar, 'Itihasa p. 166).
33 (C.31; B.XIV.:16). 1 C. as
34 (C.S2; 13.XIV.37). I Reads sall)karal samiiso'# (13.) for S/111)"a-
ranft' (C.).
!Jo6
THE NATYASASTRA
[ XV-30
35. Observing such mlcs of grammal' (sllbda-vidlta
na
) one
should compose series of inflected words (pada) combined in verse
01' in prose, which have the quality of suggesting extensive meaning
(lit. extensiveness )1,
Two kinds of word
36 Padas nre inflected words
1
and are of two kinds, viz.
those used in verse, and those in prosc, Now liswn
2
[tirst] about
the characteristicR of words used in prose.
Words in prose
R7. Words used in prose are not schematically combined,have
not the number of their Ryllables regulated, and they contain aR
many syllables as are required to express the meaning [in view)1.
Words in verse
38 Words used in vrrse conRist of schematically combined,
syllables which have caesura and and which have their
number regulated 2.
Syllabic metres
3f). m'ist's ,L Rhythm-type (rhalldns) ('ailrd Vrttn
( metre) made up of fOlll' fcpt
1
""hidl difi'rrrnt
ideas and of [short and long] syllahb. .
Hhythm typf'S
.to. Rhyt!lIlI-lypt>s ill fc(t al'p twenty-six ill lIulIlber.
l:\y\labie llH'lrp, with theoe- lthytllllltypcs :II'!) of tll\'(e viz.
even (Hnma), HE'rni-el'cn (nl'dhfl.-Hfl.I/MI) :\lHlnnown
35 B.XIV.38). 1 the COllpkt follow" :-QJlI:
I Q-,1fillr: '11';5111: 'iJ.'"t '''.
36 (C.34; n.XlV.39'. 1 U. vibhajykap(ulam for vibliaktyantam; C.
hahir-hodhata for salY}vibodhafa.
37 (C.a5;.B.XIVAO). 1 B. anihaddhapadam .chandas for anihad-
dhapadavrttda; C. anu H. S)/lItam for

38 (C.36; B.XIV.4l) 1 C. padacche,ja for yaficth{'da.
89 (C.37; n.XIV.42). 1 R pramul,1a.n(vatatmakam for pramuI/a-
Head piidair-lfarl,lair for jludairvarl,1air.
'0 (C.38 j B.XIV.43).
-xv. 611 RULES OF PROSODY
267
4l-42. T'llis RllythnHype which assnmes the form of
different syllabic metre
q
, is the body of words, There is no
wOl'd, without rhythm and no rhythm without word. Combined
with each other thp,y are known to illuminate the dmma.
Twentysix: Rhythm-types
48-19. [The Rhyt.hm-type] with one syllable [in a foot] is
ralleu Ukta, with two ;.;yllahleH iH AtYllkt.a, with three "yllables
with fOlll' syllahl!',;; with five syllables Rllpra-
with Rix syllables Gayatri, with syllal)leR U with
eight syllables with nine syllables Brhati, with ten syllables
Pankti, with eleven syllableR with twelve Ryllables Jagati,
with thirteen syllables Atijagati, with fourteen syllables
with fifteen RyllableR AtiRakkari, with sixteen Ryllables with
Reventeen syllablefl with eighteen syllables Dhrti, with
nineteen syllahles Atidhrti, with twenty syllables Krti, with
twentyone Ryllables Pmkrti, with twentytwo syllableR Akrti, with
twentytlll'l:e syllable;; Vilq'ti, with tWfmtyfour syllables Salpkrti,
with twentyfive syllables Atikrti \ and with twentysix syllableR
Utkrti
Possible metrieal patterns
4!:J-51. Those containing more syllables than these are
known as MulU-yrttas. And the Rhythm-types being of many
different varietief:, metrical patterns according to the experts 1 are
innumerable. The extent of these such as Gayatri and the like, is
being given [below] But all of them are not in use.
51-76. [Possible] metrical patterns of the Gayatl'i [type]
are sixtyfollr, of the one hundred and twenty-eight, of the
two hundred and fiftysix, of the Brhati five hundred
and twelve, of the Pmi.kti one thousand and twentyfonr, of the
two thomand fort.y-cight, of the Jagati foul' thousand
4142 (C.39b-40; B.XIVA4b-45).
43-49 (C.41-47a; llXIV.46-52a). I ('ailed
49-51 (C.47b, 58b59a, B.XIV.52b-54a). I rxperts arf' matht.'
matieianA like Bhiiskaraearya. Sec Litii vati, section 84, (ed Jiviinandu,
p.50). 51-76 (C.5Qb.80a; !l.XJV.54.b-79),
33
\
THE NA1'YASASTRA [ XV. '17-
and ninetytwo, of the Sakkari sixteen thousand three hundred
and eighty-four, of the Atiakkal'i thirtytwo thousand seven hundred
and sixty-eight, of the sixtyfive thousand fiive hundred
and thirty-six, of the one lac thirty one thousand and
seventy-two, of the Dhl'ti two lacs sixty-two thousand one hundred
and forty four, of the A tidhrti five lacs twenty-four thousand
two hun(ia-ed and eightyeight, of the Krti ten lacs forty-eight
thousand five hundred and seventy-six, of of the Prakrti twenty
nim>ty-seven thousand one hundred and fifty-two, of the
Akrtil forty-one la('s ninety-four thousand three hundred and four,
of the Vikrti eighty-three lacs eighty thousand six hundred and
eight, of the Smpkrti one Cl'ore sixty-seven laC's seventy-sevEn
thousand two humlrctY and sixteen, of the A bhikrti (Atikrti)
three crore8 thirty-five I:les fifty-follr thousand foul' \lIlndlw] and
thirty-two, of the Utkt-ti six ('rOl'cs lacs eight thousand
eight hundred and sixty-folll'.
77-7fJ. Adding together all thEse numbrrs of different
metrictll patterns we find their total as thirteen (,1'01'e8 forty- two
lacs seventeen thousand seven hundred and twenty-six.!
Another method of defining metres
79-81. I have told you about the even metres by counting
[their numbers]' You should abo know how the which
make up the syllabic Whether these are one, twenty,
thousand or a crore, this is the rule for the formation of all the
syllabic metres or metres in general.
tll82. Triads are ('ight in number aud have their olVn
definitions. Three Hyllablps heavy 01' light, or heavy and light
make up a triad which is considered a part of each metrical
pattern.
I .. giving tlw lIumberR of metres of the uk!'!i, vik!tt; sarl}kr;tt;
aMikl.'li (ati/u:lt') and utk(ti classes seems to he oorrllpt in C.
77-79 (C.80b-82aj B.XlV.80-S2a). I Readings of B. and C. do not
literally agree.
79-81 (C.82-84aj B. foot note 4 in p. 2401). I C. omits 79b
81-82 (C.840b-85j B.XIV.83b-84),.
XV. 90) RULES OF PROSODY
259
[Of these eight triads] bha contains two light
syllables preceded by a heavy one (- v v), rna three hea.vy
syllables (- - -), ja two light Hyllables i:il.'parated by a heavy
syllable (v - v), sa two light syllables followed by a heavy Ayllable
(v v -,) ra two heavy syllables separated by a light one (- v -),
ta two heavy syllables followed by a light. one (- - ;..1), ya two
heavy syllables preceded by a light one and (v - -), na three
light syllables (v v v).
85-86 ... These are the eight triads having their origin in
Brahman. For the sake of brevity or for the sake of metre they
are used in works on prosody, with or without [inherent] vowels
(i. e. a ),1
86-87 A single heavy syllable should be known as ga and
such a light syllable as la,
Separation of two words [in speaking a verse] required by
rules [of metre] is called caesura (yati),
87-88, A heavy syllable is that the which ends in a long 01'
prolatetl (plntlL) vowel, Anusvara, Visarga 01' comes after a con-
junct consonant 01' sometimes occurs at the end [of a hemistich].
88-89. Rules regarding the metre, relate to a regular
couplet (snmpnt), stop, foot, deities, location, syllables, colour, pitch
and hyper-metric pattern.
The regular eouplet
89-90. A couplet in which the number of syllables is neither
in excess nor wanting is called a regular one (xampat).
The stop
90-91. The stop (1;iramn) occurs when the meaning has
been finally expressed,
---------
88-84 (C.86-87; B.XIV8586).
85-86 (C.88-898; R.XIV,87, 88b). 1 B. OM additional
hl'miRtieh betWf'en 85b and 86a,
8687 (C,89b'90a; B.XIV.89J.
8788 (C.90b-9la.; R.XlV,90).
8889 (C.48; B.XIV,102). 8990 (C.49, B.XIV,103).
9091 (C.50; B.XIV.104).
260
THE NATYASASTRA [XV. !Jl
'l'he I'oot
The foot (pat/a.) frolll the root fiOri, and it lllmnH one
quarter [of II .couplet].
The presiding deiti(s of
9192. Agni and the like pl'c,;iding over different metres are
their
Location
..
Location is of two kinds, viz, that relating to the body and
that to a [particular] region.
Qnantity of syllables
93. Syllables are of the three kind" VIZ. short, long
and prolated (pluta.).
Colours of metres
Metres have colours like white and the like.
Pitch of vowels
94.95. The pitch of iH of three viz. high, low
and medium. I shall speak about their character in connexion
with the rules of Dhruvas RuleR [about their UHC] relate to the
occasion and the meaning [of thing sung or recitedJ
':hree kinds of syllabic meters
95-97. SyUablic metres are of three kinds, viz. even
semi-even (a1'dha-sama) and uneven
If the number of syllables in a foot of any metre is difficient
or in excess by one, it is respectively called Nivrt or Bhnrik. If the
deficiency or excess of two syllables, then such a metre is respec-
tively called either or Virlit.
91-92 (U.S I; B.XlV.I(5).
93 0.531>-54a. B.XJV. (107b-10Sa). 'fhiR couplet iR preceded by in B.
three helllistichH which do !loi OCCIll' ill versiollS, aod which seem to be
94-95 (U.53b-54a, ByXIV.IOBb-109).
95-97 (U.54b-58a, B.XlV.1lU-IHIII).
.XV.102] RULES OF PROSODY 261
98. All the syllabic metres fall into three classes sueh as
divine, human and semi-divine.
(Hl. Guyatri, U Brhati, and Jagati.
belong to the firRt 01' the divine (rliv!Ja) claRR.
100. Atijagati, Sakkari, Atisakkari, Dhrti and
Atidhrti belong to the next (i.e. human) class.
101. Krti, Pralqti, Vyukrti (Akrti), ViJqti, SaIp.krti,
Abhikrti (Atikrti) and Utkrti belong to the semi-divine class
l

102. 0 the best of Brahmins, now listen about the metrical
pattems which are to be used in plays and which are included in
the Rhythm-types described by mel.
Here ends Chapter XV of Bharata's NiJ.tyaSustra
which treats of the Rules of Prosody.
98 (C.91b-92a, B..XIV.1l2b-1l3a).
99 (C.92b93a, B.XlV.1l3b-1l4a).
100 (93b94a, B.XIV.1l4b-l1Sa).
101 (C.94b9Sa, RXIV.llSb1l6a). 1 The seventeen couplets after'
this (C.IOla-U8a B.XlV, U6b-132a) seem to be spurious. For a discus-
sion on this point sec t\w Introduction.
102 (O.llB1l9, RXIV,l3 :-134). 1 Home ver8ions of the NS. read
this couplet as the beginning of the next chapter.
CHAPTER ."IX1'EEN
METRICAL PATTERNS
Tanu-madhyii
l. ITanu-mdhya is a variety [of metres] of the Gayatri
class. [In each of its feet] the first two and the last two syllables
are heavy9.
Example:
2. I
hastarpitaga\lga ki1p. tva1p. tanu-madhya II
o fair lady (lit. slim-waisted one), why 1 have you cast off
your ornaments, why are your eyes without collyrium and why are
you resting the cheek on the palm of your hand?

3. [Of the same ClaSR is] which haH [in
each of its feet] the first foul' syllables light ami the last two
heavyl.
F.xample:
4. svayam upayiinta1p. bhajasi na kiintam I
bhayakari ki1p. tva1p. II
You are not greeting the beloved one who has .come to
you of his own accord 0 terrible one, whyl are you so dull
headed
2
1 (C.2,'B.XV.2). I This is preeeded in B. and C. by a eouplet
whieh rightly to the Chapter XV. (XIV. in B.)
2 Scheme (- - v, v - -). The definition of metre is also its
example though an independent example also follows. Such is the
with mllll)' other metres defined in the
2 (C.3, B.XV.3). I Kt'rl;, h'a'!l-why (1lt'1l) you ... ? Cp.
tUiJral,lam eva darsanal1l rataye no diyate, Kumar. IV. 7.
3 ((j.4, B.XV.4). I Scheme (v v v, v - -). ThiR is called
by Pro P. Vr. R. and Srv.
4 (C.5, B.XV.5). I See above II note L
a head (t:e. brain) like that of a makara.
-XVI. 9]
METRICAL PATTERNS
263
Miilati
5. [The metre with] the feet of six syllables of which the
second and the fifth are ligllt and the rest heavy, is called
Malatjl.
Example:
6. sobhate baddhaya I
miilatilllalaya manini Iilaya II
The offended woman wearing the Malati gal'land in which
the bees are clinging looks charming.
Miilini
7. [The metre with] the feet of six syllables of which the
second one is light [and the rest heavy] is called MalinP
Example:
8. snana-gandha-srngbhir I
vyaktam tVllJ?l. malini prakhyam II
By your perfumed bath, [wearing of] garlands, [good] dress
and ornaments you are clearly recognised as the wife of a garland-
maker.
Uddhata
9. [The mett'e with] the feet of seven syllables of which
the second, the fourth and the fifth are light [and the rest heavy]
is called Uddhata!.
The allusion is perhapR to the foolish tnakara in the Vanara-tnakara-katka
in the Pallcatantra. IV. which really believed that the monkey had left
ill; heart behind in the tree on the rivrr-bank. Hence I translate the
word as "dull-headed one."
5-6. (B.XV.9-10). 1 Scheme (- V -, - v -) C. omits this metre.
7 (C.&, B.XV.6-7). 1 Sch(>mr (- v -, - - -). This is quire diflhent
from the metre dcfinl'd by Piilgala and his followers. The NS.
calls this second Malini (with 15 in each pada) Niindimukhi.
See below 73-740.
S B.XV.S).
9 (C.S, B XV.IH2). 1 SC)l('me (- v -, \) V -, -).
10 (C.9, B.XV.l3).
264 THE NATYASASTRA I XVI; 10-
10. danta-kunta-krtankmp vyakulalaku-sobham ,
salpsatlva tnv:tsya!p nirdaynyu!p rata-yuddham "
Your face which bears the marks of Hpear-like teeth [of the
beloved] and strewn ovcr with y01l1' (lishevelled hair,
indeed an um,plenting 6ght of loyI'.
Bhramllra-miilikii
11. [Thc metre with] thr fret of lOrvrn of whirh
the first two and the last two aro IlPavy [and the reRt light] iH
called Bhramara-malikti 1.
Example:
12. nana-kllRumacit\'p pmptc surahhi-mase ,
bhramati matta klint.o hhrallHll'a-mala "
o beloved one, this being the month of Caitm which IH
varigated with different flolVC'rH, clllstpr of are flying about
intoxicated [with their smell].
13. [The lUptre with] the fcet of pight syllables of which
the first, the third, the fifth, the seventh and the last [the eighth]
are heavy [and the rest light] is called .Sil!lha-Iekha r.
Example :-
14. yat tvaya hy aneka-bhlivais sngatri 1
tan mana mama vrttam atra si!pha-Iekham II
That you have planned the love'H cmbl'llce in various
o fair-limbed one, haR been inscribed in my mind with the scratch
of a lion's claws
1


15. [The metre with] the feet of eight syllables of which the
11 (C.IO. B.XV.14-15).1 Echeme (- - v. v U -, -).
12 (C.ll, B.XV.IS). ..
13 (C.12. B.XV.19). I (- v -, v - lJ. - V -) C. giveR the
name as Sil]lhalila.
14 (C.13, B.XV.17-18). 1 The translation follows Ag.
,15 (C.14. RXV.20.21). 1 Scheme (u - '-'. - V -, V ,-).
is Darned 8S Pramiil)ikii in PI'. P.
ME'PBICAL PATTERNS
second, the :fourtb, lim sixth and the eighth arc heavy [and the r('st
light] is called
Example:
16. vilambititkulttlakam I
padail). priya karoti II
The beloved one with her eyes l'efltless and rolling, ha.irs
hanging down dishevelled, and footsteps unsteady, is behaving like
a person who is intoxicated.
Vidynl-lc'khii
17. [The metrc with] the [cpt of eight Ryllabll's of wiJieh all
arc Iwavy, is called Vidyul-lekha.
1
Examp\r:
18.
Rambho-bhul'air anmdadbhil.l liyam:tmbhodair vyapte vyomni I
adityarpHll-spardhiny bhranm vidyul.lekha II
The sky being overcast with dark clouds which are roaring
and are laden with lllasses of water, a flash of lightning which
rivals the sunbealll is running in [different] directions.
Citta-vilasita
10. [The metre with] the feEt of eight syllables of which
the fifth, the seventh and the last lIl'(l heavy [and the l'(lst light]
is called Citta-vilasita.
1
Example:
20. smita-vasaviprakMait daHana-padair I
varatanu piirJ}.a-candrarp tava mukham aV!'l,loti 11
o fair lady (lit. fait limbed one)(, your face with the teeth
16 (C.15, B.XV.22).
17 (C.16, B.XV.23, 24). I Scheme (- - -, - - -, - -). n. gives
the name as Vidyun-miilii. 'fhis is the name in Pili gala and 8r. B.
18 (C.17, n.XV.2S).
19 (RXV.26). 1 Scheme (v v v, v - v, - -). C. omits this ml',tre.
20 (B.XV.27). 1 This mode of addressing (\ beloved woman is as old
as the time of Pataiijali who qnooo!! the {rngment of a poem as follOWS :
varatanu saYrJpravalianti kukiufiiIJ (Ref'. Avte's Guide to Skt. 819).
34
266 THE NATYASASTRA [XVI. 21-
revealed on account of your smile, outshines (lit. covers) the full
moon.
Mlldhukilri
21. [The metl'e which has] the feet of nine syllables of whirh
the last three are heavy [and the rest light] is ealled Madhukari.
1
Example:
22. kusumitam
vividha-tarugaQ.ais rhannam I
van am
bhramati madhllkari II
Seeing the woodland covered with various h'ees full of
flowers and rich in exubercnce of [pleasent] odour, the female
bee is flying about in delight.
Kl1va]aYIl-miilii
23. [The metre which has] the feet of ten syllahles of whi('h
the first and the last three nl'P heavy [and the light] is eallrd
Kuvalaya-mala
1
.
Exam1ile:
24. asmirps te sirasi tad a kante
vaiduraya-spIHltika Ruvar!],{i(Jh ye I
sobharp BVa'll na vahati t&l11
baddha kuvalaya-malt>yam II
o dear onf', this well-made garland of Kuvalaya
1
flowers
fastened at that time on your lwad which has been richly decorated
with lnpis lnznli, quartz and gold, does not bear [any more] its
natul'fllbeau ty.
25. [The metre whieh has] the (let of ten syllabl(ls of
._------------------ -------------
21 tC.18. n.xV.2B, 29). 1 Scheme V V V, V V V, - - -). ThiR
metre is called (o)11ta, vl'tii) by Pillgll]a and his followers.
22 (C.19, B.XV.30).
113 (C.20, B.XV.31, 32). 1 Scheme (- - -, V V v, V - -. -). This
is called Plll}ava by Piilgala and his followers .
24 (C.21, B.XV.33). 1 Kuvalaya is II blue aquatic flower of the
of the lotus class. 25 (C.g2, B,XV.S4, 35).
.XVI. 29] METRICAL PATTERNS 261
which the second, the fourth, the sixth and the eighth ure light
[and the rest heavy] is called MayurasariQi
1

Example:
26. naiva..te'sti saIpgamo
misti anyat I
garbhiJ,rlva drSyase hy aniirye
kiql tvam evam II
o ignoble one, you have no union with men, neither have
you any sign of love's enjoyment. Still you look like one who h'!
enceinte. You indeed behave like a pea-hen.
t
Dodhaka
27. [The metre with] the feet of eleven syllables of which
the 6rst, the fourth, the seventh the tenth and the last are heavy
[and the rest light] is called Dodhaka.
1
Example:
28. pl'askhal i tltgmpada-pm vical'alp
vilasam I
pasya vilasini kuiijal'am etaIp.
dodhaka-vrttam ayaql prakaroti II
o meJ'I'Y lady, look at thiH elephant which with its faltCl'ing
steps of the fl'ont legs, and with the body playfully moved about
[as if in] intoxication, is imitating the manner of a calf (?)1"
Motaka
29. [The metre with] the feet of eleven syllables of which
the 6rst two, fifth, the eighth, and the last are heavy [and the
rest light] is called Motaka.
---'--""-
1 Soheme (- v -, v - v, - v -, -). 1 Piligala gives the name as
Mayiirasiio and so does Yr. R.
26 (C.23, B.XV.36). 1 This relates the belief that tho pea-fowls'
sexual union take plaoe in complete seclusion.
27 (C.24, B.XV.a7, 38). 1 :::lcheme (- v v, - v v, - V v, - -).
28 (C.25, B.XV.39). i We arc not suro of the meaning of thd'>word
dodllaka. AK. writes dodhakena
29 (C.26, B:XV.tO). 1 Schemfl.(- - v, v - v, v - V, V -). This is
named as by Gauiiidiisa ill:Ch. M.
EtalllPle:
30.
kSibah skhnlamiina-vilamba-gatil.l I
srotvli add-tate
prati N
This hearing the douds roaring in the mountain
valley, is trumpeting in excitement IB loudly liS the [min] cloud:;
and is rushing with faltering steps to the trees.
Indra-vajra
31. [The well'e with} the feet of eloven syllables of which
the third, the sixth, the seventh ami the nintb am light, [<IUd
the rest heavy] is called Indra-vajl'ii 1.
Example:
H2. tvaip. duratipJ'3sada
duhkhaikn-sadhyii kathinaika bhava I
sal'Yasv avastMsu ca kama-tnntl'c'
yogyasi kiip. va bahunendravajtiL II
You are hard to be looked at, difticult to be plcas('d and won
over, and you have an unmixed (lit, one) hard feeling, in the
practiee of love, you are unAt (n!l0!l!la) at every stage; and in short
you are [like] the thunder-bolt of Indm.
Ullcndravaira
33. [The metre with] tho feet of eleven syllables of which
the first, the third, the sixth, the seventh, the ninth are light [and
the heavy] is called Upendravajl'ii.
1
,
Bxampla:
34. priye Hl'iya
smitena kantya sukumar-bhavat I
ami gUl,lii rupa-gut;l.unuriipa
bhavanti to kiip. tvam upendravajl'a "
30 (C.27, B.XV.4l).
31 (G.28, B.XV.42). I Scheme (- - V, - - V, V - V, - -).
32 (C.29. n.XV.403)
33 (C.SO, B.XVA4). I Scheme (v - v, - - V, v - v, - -).
(C.3I, B.XV.i5).
MM1UCAb PATTEaNS
o beloved one, due to your beauty, the special colours
[of your dressl smile, gl'ace and delicate bearing, these qualities
of yours ha\'e matched the qualities of the [heautiful] form. Are
you the bow of Indra ? I
RathOddhatii.
35. [The metre with] the feet of eleven syllable:;; of which
the fh'st, the thil'd, the seventh, the ninth and the last are
heavy [and the rest lightJ is called Rathoddhata
1

Example:
3u. kiql tvaya sublwta uiim-V<ll'jitlll]1
natmana na suhriuam pl'iyaql krtam ,
yut palayanaparayaQ3sya tc
yiiti dhiilir adhuna mthoddhata II
o good soldier, why have you left the battle-field com-
pletely. Yon have done neither any good to yourself nor to your
friends, for while runing away [from the battle field] the dust [in
yoUI' road] rises now [as if] scattered by chariot. 1
Sviigata
87. [The metre withJ the feet of eleven syllables of which
the fh'st, the third, the seventh and the tenth and the last are heavy
[and the rest light] is called Svagata
1

Example:
38. adya me saphalam ayata-netre
jivitam madllna_saJpsraya-bhijvam I
agatasi bhavanmp mama yasmat
svagatalp tava varol'U II
Today the two large eyes of mine ha ve attained their object
and so has my life and love, because you have come to my hOllse;
o fail' lady, you are welcome, please be seated.
.. _--_.----_._----
I Upmdra-7JajrallJ.tu etc. (Ag.).
35 (0.32, B.XV.46). I Scheme (- v -, v v v, - v -, v - l-
36 (C.33, B.XV.47). I B. gives an additional example of
Illetre (B.XV.48).
37 (0.34, B.XV.j,lI). I Schem; (- v -, v V V, - u v, - -).
270 THE NATYABASTRA [XVI. 89
Salini
39. lThe metre with] the feet of cleven syllable; of which
the sixth and ninth are light [and the rest heavy] is called SalinP.
Example:
40. va nirgur;mm piipakatp. vii
loke dhairyad apriyatp. na I
al)'al]l silatp. siidhvi he te'nuvrttal]l
madhnryMhya sarvatha salini tvam 11
On account of your patience with the people you do
not, utOOl' a harsh word to anyone who has bad manners or is
without any merit or is wicked. 0 good lady, you have followed
a noble manner, you are a honsewife full of sweetness in every
respect.
Totaka
41. [The metre with] the feet of twelve syllables of which
the third, the sixth, the ninth and the last. are heavy [and the
rest light] is called
42. kim idatp.
bahu-sathyalil I
svajana-priya-sajjana-bhedakaratp.
nanu totaka-vrttam idatp. II
Why is this crooked and insufferable conduct full of villainy,
and unambiguous (lit. direct) and harsh words hurting the relations,
dear ones and [other] good people? You arc indeed behaving
like a cutter.
Kumudanibhi
43. [The metre with] the feet of twelve syllables of which
------
38 (0.35, B.XY.50).
39 (C.36, B.XY.51). I Scheme (- - -, - - \.), - - v, __ ).
400 (U.S7, B.XY.52).
41 (0.38, B.XV.531 54). 1 Scheme (v v -, u v -, v u -, v v -),
.42 (0.39, B.XV.5&).
403 (0.400, B.XY.59),
-XVI. 47] METRIOAL PATTERNS lin
the first four, the. eighth and the tenth are light [and the rest
heavy] is called Kumudanibha
1

Example:
44. kumudanibha: tva!!1 kama-b:tJ}.a-viddha
kim asi-natablll'lll) sita-vatu-dagdha I

katham api jata agratag sakhinam II
o fair-eyed damsel, being like a Kllmuda flower why have
yOIl been struck with cupid'R arl'ow and why do you appeal'
pale before your friends like 11 delicate N alini blaRted by the
cold wind.
Candra-lekhii
45. [The metre with] the feet of twelve syllables of which
the fir5t fhe, the seventh and the t('nth as are light [and the rest
heavy] and the cae8nra after the fir,t five RylJables, is called
Candra-Iekha
1
.
Example:
46. vaktral!1 saumyal!1 te
kamasyavasal!1 cavabhasam I
kamasYltpida!!l kamam ahartukanIaI!1
kantya tval11 kiinte candra-Iekhcva bhasi II
o beloved one, your Rweet faen with eyes as large as lotus-
petals and the splendour of your are the abode of love,
and they are ready to bring love even to the god of love; you
shinf' aR it \\"(\1'(\ likp :t phase of tIl(' 1I100n.
47. [The metre with] t.he feet of twelve syllables of which
------_._- -_._-_._----- -- -- --_._-----_._--------
I Scheme (\J U v, v - -, - 1..1 -, 1..1 v). n. gives another metre of
this ll!lm(l with a different Rchrmc (- \1 -, U - -, v v v, V - -) and an
l'xample of this (B.XV.56-58).
44 (C.41, B.XV.60).
45 (C.42, B.XV.61). I Scheme (- - -, - - -, 1..1 - -, V - -).
46 (C.43, B.XV.62). 47;(C.44, B.XV.6S).
THE NATYASASTBA [ XVl.4S
the third, the fifth, the ninth and the last are hE'avy [and the
rest light] is called
Example:
48. hy
nibhrtttpflvfu.lavimukhi I
yadi kasya rid yuvatir asti snkha
sa hi pnmiiii jayati II
If anyone has a pleasing young wife with restrained speech,
who is al ways smiling and ayerse to speaking ill of him [I'yl'tl]
secretly, and is fickle 01' harsh, that p<'l'son wrily thrives.
49. [The metre with] the feet of twelve syllahlC's of which
the &econd, the fO\11'th, the fifth, the eighth, the trnth and the last
are heavy [and the rest lightl is called
Etamp!c:
50. na me priyii yad bhmniina-varjim
krbtpriyii te I
tathii. ca pasyamy aham adya vigrahalp
dhruvalp hi val]lsastha-gatiJ.I II
Y 011 are not dear to me, for y:m are wanting ill esteem [for
me] and your harsh words [also] have made you displeasing [to
me]. So I see that the natural habit will surely bring a quarrel
roday.
Haril)a-plutil
51. [The metre with] feet of twelve syIIables of which the
fourth, the seventh, the tenth and the last are heavy [and the
rest light] is called Haril}a-plut1i
I
.
---------- ----- --_. ---_--- -_.- ------_.
1 80heme (u v -, v - \.1, V V -, V V -).
48 (C.45, B.XV.64).
49 (C.46, B.XV.65, 66). 1 (v - v, - - \I, V - v, - v -).
50 (C.47, B.XV.67)
.51 (C.48, B.XV.68). I Seheme (v v v, - U v, - U v, - V -).
This is called Drutavillimbita by Pbigalll lind his followers.
-XVI. 66 ] METRICAL PATTERNS
Example:
52. tvaya
I
pratata-pluta-sarplll}I\ir
anukaroti gatair haril}a-plutam oN
The fair lady (lit. fairlimbed one)\' smitten by the whip of
your harsh words, and looking in fear to her sides and l'llning away
eontinously with quick steps is imitating by her movements a deer's
gallop.
Kiimadattii
53. r A metre with] the feet of twelve RylIablcR of which the
seventh, the ninth, the eleventh and. the last are he!\vy [and the
rest light] is called Kamadatta
1

Example:
54. yatha tvaql
8udati ell. I
gatir api caral}avalagna-manda
tvam asi kamadatta 1\
o fair lady\ you have been adorned with the markR of
nails, your lips have been bitten by teeth and YOUl' gait also is
faltering and Hlow. It seems, 0 deet'-eyed one, that you have
given [yourself up J to [the enjoyment of] love.
Aprameyii
Ofi. [The meh'e with] th(> feet of tw('iYe Ryllables of which
the first, the fourth, the seventh and tenth are light (and the
rest heavy] is called Aprameya
1

52 (C.49, B.XV.69). See above20 note l.
53 (C.50, B.XV.70). I Soheme (\'I v V, V V - U -, V - -), C.
oaUs this Kiima-mattii.
54 (C.51, B.XV.71). SudaH-O fair-toothrd one.
55 (C.52, n.XV.72). I Boheme (v - -, V - -, V - -, V - -). This
is oaUed BhujaIiga-prayiita by and his.followers.
35
2'14
THE NATYASASTRA
E1:ample:
56. na te ka cid anya sarna dryate strl
nr-loke gUQ-sir I
trilokyarp. samahrtya sarvan
jagaty apramey:1si vidhatra u
(XVI. 56.
Nowhere amongst the mortals (lit. in this world) is to be
seen a woman who is your equal, and is distinguished by. singular
The creator has made you matchless by putting
together [in you] all the best virtues of the three world&.
Padmini
57. [The metre with] the feet of twelve syllables of which
the second, the fifth, the and the eleventh are light [and the
rest heavy] is called Padmini 1.
Example:
dehatoyMaya vaktra.padmojjvala
netrabhjilgilkula smita I
kesapatracchad;:, cakravakastanl
padminiva priye bhasi me sarvada II
58. 0 dear lady, you always appear to me like a lotuslake,
for your body is a pool of water IV hieh by the lotusface,
and your eyes arc the reotless bees [there] and you smile with the
swanlike teeth and your hairH are [the lotusJ l<>aves, and the
hreasts are like the Cakra-vakns
1
[swilllllling,there].
Patuv(ita
59. [The metre with] the fect twelve syllables of which the
first six and the tenth are light [and the rest heavy] is called
Patuvrtta
1

56 (0.53, H.XV.73).
57 (0.54, B.XV.74, 75). I Scheme ,(- v -, - v -, - \J -, - V _).
This is eallcd by Pingalll and his followers.
58 (0.55, BXV.76). 1 n. gives a sccond example (B.xV.7?) which
seems to be 1\ variant of tide
59 (0,56, B.XV 78, 79). I Scheme. (v v v, U v v, - - -, v __ ).
This is called Pntll by lind hill followers.
-XVI.,68)
METRIaAL PATTERNS
Example:
60. upavana-salilanarp bala-paJmair
bhramam-parabhrtanam kal,ltha-nadaih I
kamininal]l
kathayati patuvrttal]l madbu-masal.l II
275
The month of Caitra (lit. honey-month) with lotus-buds
in the gal'den-Iake:;, of !.lees ami cuckoos and the playful
movements of intoxicated women, i;.; anounci ng its Hlllart man net" 1.
Prabhavl\ti
61. [The metre with] the feet of twelve syllable>; of which
the second, the fourth and the ninth the eleventh and the last
are heavy [and the rest lightl is ea\l('d Prahhll.Vati.
1
Example:
62. katharp nv idazp karnala-viilala-Iocane
grharp pihita-kare niMkare I
aeintayanty
tvam agata sutanu yatha prabhavaU II
o fair one, with eyeg a;; large as a lotus, how have you
come like a radiant being to this house [of mine] when the ray!>
of the moon have been eovered by clouds and yon have not cared
for the impending (lit. new) rains and the lightning?

63. [The metre with theJ feet of thirteen syllables of which
the first three, the eighth, the tenth and the twelfth and the last
are heavy [and the rest light] is called 1.
60 (C.57, B.XV.80). 1 I am not eertain about the E'xaet meaning
of the term pU(a'D1;ita. One ms. gives it as patu'D1;/ta (SeE' B.) which I I\doJlt.
61 (C.58, B.XV.8I). 1 Scheme (v - V, V, V V -, V, - -).
62 (C.59, B-XV.82).
63 (C,eO, B.XV.SS). 1 Seheme.( - - -, v v v, v - v, - v -, -;.
276
'tHE NArYA8A8TBA
-.
Example:
64, bhavHsthair tvarp
. satopa-skhalita-vilambita-gatai ca I
manarpsi kiimukaniirp
suvyaktam hy ntijagati eft II
[iv/. 84
[0 fait- one}. by --;'OUI' loving and Bweet words, witty
sayingM, beautiful, falturing and Hlow steps, you
vate the mind of It i,; apparent that YOII are enrapturing
beyond [anything in] tbi,; 1V00'Id,
Matta-mayiirll
65, [The metre with] the feet of thilieen syllables of which
the Hixth, the the. tenth and the ell'venth are light [and
the l't'Kt heavy J is called Mattamayura 1.
EltlImpie:
6ft vidyun-naddha sell!lra-dhanur-dyotita-delui
vatOddhiital.1 I
ete megha garjitanadojjvula-cihnal.l
pravrtkalal!l ma!ta-maylirarp kathayati II
These clouds [characterised] by a thundering and
brilliant signs eontaining lightning and rainbow, moved about by
the wind, and adorned with white Hpeakt! of the [arrival
of the] rainy Hcason which the
V IIsanta-tii aka
67. [The metre withJ the feet of fourteen of which
the first two, the fourth, the eighth and the eleventh and the
thirteenth and the are heavy [and the l'eHt light] iH railed
Vasanta.tilakii 1,
M (C.61, B.XV.84).
65 (C.62, B.XV.85). 1 &heme (- - -, - - v, v - -, v v -, -).
66 (0.63, B.XV.86).
67 (C.M, B.XV.87). 1 Scheme, < - - v, - v v, v - v, v - v, - -).
-XVI.-1f J
MlT1UCAL PATTERNS
Example:
..
68. citmil' vasanta-kusulllaiQ krta kpRa-ha8tii
I
nam\vata!psaka-vibhiisi ta-karJ].apMa
vasanta-tilakeva vibhati nari II
This welldreHsed woman who haR auorlwd her braid of
hair:s with the many-coloured vemal and the of her
body with various types o[ flowel'-garlan(J"l and hel' with
various ornaments, 100kH indeed like the decoration (tilaka) on the
forehead [of the goddess] of spring.
Asalpbiidhii
69. [The metre with the] feet of thirteen Ryllable. of which
til!) five and the last thl'e() al'e heavy,land the light] i"
called AHarp.badha.
1
Example:
70. mani 10kajtial,1
yasmin Sallllllanal!! na sad\,sltm anupasyed dhi I
gaccet tal!! tyaktva dl'uta-gatil' apararp.
kirJ].a namlrthair avanidyalll asarp.badha II
A proud porson who knows the world and is learned,
of high birth and charactel', must leave La country] in whidl he
does not find adequate honour, and quickly gops to a ditfp.rent
country; for this world is scattered over with wealth of many
and offers no [to such a person].
8arabha
71. [The metre with the] feet of fonrteen ;;yllables of which
the first four, the tenth, the eleventh the thirteenth and the
last are heavy [and the rest light] is called Sarabha
1

---------- ------ ------ ---------
68 (C.6&, RXV,88). I Srak aud malya a!'r lIS00 hrr(' probably to
indicate two diifer<>nt kinds of
69 (C.66, B.XV.89). Kcheme (- - -, - - v, v v v, v 0'-, - -).
70 (C.67, B.XV.90).
71 (C.68, B.XV.90. 8chemc (- - -, - v v, v V v, - - v; - -i.
278 THE NATYASASTRA [XVI. 72
Es:ample
72. kanta vl'ajati lalitalp vepamana
gulmac-channalp vanam sampl'aviddham I
ha ha kim idam iti no vedmi
vyaktalp krodhac-chal'abha.lalitalp kartu-kama II
This beloved lady goes tt'embling in a graceful manner to
the fOI'('st covered with shrubs and with high hills. Ah,
what It pity, the fool that I am, I not understand that
due to anger she is openly playing the graceful role of an young
elephar.t.
Niindimukhi
73. [The metre with] the feet of fifteen ;yllableK of which
the first the tenth, and the thirtl'cnth are light [and the rest
heavy J iH called Nandimllkhi.
l
Example:
74.' na khall1 tava kadacit
mayasyarp I
kim iha bahubhir uktair ya hrdiatha
tvam asi madhllravakya devi ntindimukhlva II
Never before have I seen yoill' face with eyes red in anger
and with eyebrowH clll'ved in frowning j 0 lady, what more Rhall I
say? Are you the [same] sweet-tongued one who resides' in my
heart and is like Nandimnkhi !
Gajavilasita
75. [The metre with] the feet of sixteen syllables of which
the first, the fourth, the sixth and the last are heavy [and the
rest light] is called Gaja.vilasita.
72 (0.69, B.XV.92).
73 (C.70, B.XV.93) .l Scheme (v v v, v v v, - - -, v - -, v
- -). This is called Malini by Pili gala and his followers.
74 (C.71, B.XV.94).
75 (C.72, B.XV.91i, 96). .l Scheme (- v u, - v -, U V v, v v v,
V V v, -): This is called by Piilgala and his
followers.
XVI. 79)
METRIOAL PATTERNS
Example:
70.
I
avanitalRlp
kn.roty asau II
2'19
On seeing the surface of the enrt.h adorned with the! Kandnla
nnd t.he Indragopa, and perfumed with the fJowers of
Kadamba T, 2, and Kutaja, which open at the loud and clear
drum-like peals of thunder (lit. Hounds of the doudR) t.his [man]
imitates the sportful movement of a bull-elephant.
Pravara-!alita
7i. [The metre with the] feet of Ryllnbles of which
of the second, third, the fourth, the fifth, the sixth, the t\\'elfth the
thirteenth, the fifteeth and the l.ISt nl'l' heavy [and the light]
il-1 called Pmvn.ra-Ialita.
1
Example:
7R. nnkhllliQharp gal).QHI!1
pravilnlita-kcRalakantam I
gatil.l khinna ceynr]! vadanam api sambhranta-netram
aho Rlaghyal11 vrttal)l pravara-Ialitalll
hotly haR hef'n Hcratrheo by and and til('
(hrl'ks are bitten hy teeth, th(; head is with flowers,
have their ends di"hevelled, nnd I!(>I' gait is languid, and the l'yes
arl' leRtleRs. Ah, a very graeeflll rxploit of love, haf\ taken plaeo
in a pl'aiRworthy manner.
Sikharil.li
7\1. [The metre with] the feet of Rev('ntren i;yllables of which
the seeond, the third, the fOlll'th, the fifth, and sixth, the twelfth,
76 (C.73. B,XV.97). T Kadam6a and tlipa are usually
synonymous. It is just possible that thert' are two different trees with
these two naml's and later wriwrs have ignored the dill'erenc which
1II1Iy be slight. It may be' noted here that the Concise Oxford
ary nipa!ls a 'kind of E. Indian palm'.
- Sec uote 1 above,
77 (C.74, B.XV.98, 99).1 8ehllme (v - -, - - -, v v v, V V -; - v
-, -)" 78 (C.75, B.XV.100). 79 (C.76, B.XV.IOI, 1021.
280
THE NATYASA8TRA
[XVI. 80.
'the thilteeLlth and the last 111'0 IWllvy {and tlle rest'ligbtJ is called
Kikharil}i.
1
Example:
80. mahanadyt\bhoge pu\inam iva te bhati jaghanalp
tathaRyal1l netl'abhyaljl bhramara-sahitaljl pal}kajam iva I
eayam Rutanu Rukumaro na
Rtanabhyaljl t11l1gabhyilljl Hikhari-nibha bhaKi dayite /I
Your hip is like the Aand-bank at the margin of a river,
your faee together with the eyes, is like a lotus with the bees, the
touch of your body is soft and not rough; with your two elevated
breasts you look like a hill with [two] peaks, 0 dear one.

81. [The metre with the] feet of seventeen syllables of which
the first five, the eleventh, the thirteenth, the fourteenth and the
sixteenth are light [and the rest heavy] is called
Example:
82. jalada-ninadal1l garjan lIludoceayadarrital.l
vilikhati mahil1l pmtimmlya ('a I
Hvayuvati-vrto gosthal]! prayiili ('a nirhhayo
"ilm!!! "rtta!!l karoti ('a II
On hearing the thundering lloiHl' of the douds .the bull
maddened with an excel's of rut, striking thp earth with its
horns and is bellowing in reply. And then, sUl'rOlllldpd by young
females of itR plasR it gOPH fearlessly from olle ('ow-pen to another
llnd has the variolli< spol'tirc exploit" on thp grnl'1l lpastmel.
Hridhara
83. [The metre with] the feet of S(!V('/ltcen syllables of
which ths first fOllr, the tenth, the eleventh, the thirteenth,
"
----..
1 f:!eheme (v - -, - - -, V \.J \1, \I U -, - U \I, \1 -).
80 (0.77, B.XV.ln3l.
81 (0.78, 1l.XV.104, 105). LScheme (u u U, U \.J -, - - -, -v-,
I J V -, \.J -). This is called Haril)i by Pingala and his .
82 (0.79, H.XV.106). 83 (C.80, B.XV.I07108, 109).
.XVI.87)
PATTERNS
281
;be fourteenth and tbe last are lJeavy [and the res"t light] IS called
Sridhara.
1
Example:
84.
snanaiti sukha-sumbhibhir ell dhiipail.l
sirasi-racitair vastrayogaiH ea taiR I
kanaka-racitail' anga-sambhoga-saipRthair
vyakarp. kiinte kamala-nilaya Aridharevil.ti bhasi II
o beloved one, by your batlling, powners, pleasently fragrant
paRte smeal'cd on yoU!' cheek, the [hail" pel'fumingJ flowers
set on the hair (lit. head), variollH aud lllany jewels ('om-
bined with gold worn on the limbs, you shine indeed very much
like the lotlll'i-dwelling [one] who is the of beauty.
Valllsa-patra-patita
8G. [The metre with] the fret of syllahlps of
which the first, the fourth, the tenth and the l:lst are heavy [and
the rest light] is called the
Example:
R6. gajo'dri-mastaka-tate kalabha-parivrtal.1
hanf' kURuma-hhara-nate I
megha-ravarp. nisall1ya ll1udital.l
8undal'i punm' api kurute II
o fair lady, thiR elephant whieh by young
ones is playing neal' tllP peak of the hill in the thick fOrf'Rt of trees
and shrubs bent with Howers, is delighted to hear, the roaring of
douds and is mOreOVl>l' causing, like the wind, the bamboo leaves
to fall [on the ground].
Vihuubita-gati
87. [The mctm with tho] feet of Reventeen syllahles of
which the second, the sixth, thc eighth, the tWt,lfth, the fourteenth,
.I. Scheme (- - -, - v v, u V v, - - v, - - v, - -). 'rhis ('al\cu
Mandakrant.a by and his
84 (C.81, B.XV.I1 0).
85 (C.82, B.XV.lll). .I. (- v v, - v -, v V '- U \I,
U V v, U -), 86 (C.83, B,XV.112/- 87 (C.84, B.XV.1l3-114, 115).
36
282 THE NATYASASTRA [XVI. as.
the fifteenth and the last are heavy [and the rest light] is called
Vitam bitagati.
l
Example:
88. vighiirI)ita-viiocanil. prthll-vikirI,la-hara
calat-sklllllita-pada-manda-krama I
na me priyam idaIp. janasya bahumana-r;\gel,la yan
madena vivafla krita tvaIp. priye N
o beloved one, your eyes are rolling, the large necklace
is displaced, the girdle is hanging loose, and your slow steps are
faltering; I indeed like
l
this your slow gait that you assume out of
overwhelming pride oue to this man's love and respect [for you].
Citra-iekhii
SIl, [The metre with the] feet of eighteen syllables of which
the first five, the eleventh, the twelfth, the fOllrteenth, the fifteenth,
the seventeenth and the last ure heavy [and the rest light] is
called Citra-lekha
1

Example:
90.
bahllbhit' adhikaIp.
madana-jananair ati.ga-ragais I
kllsuma-racitair vastraragaiR ca tais
kante kim iha Lahuna citl'l1-lekheva Lhasi II
o beloved one, you shine very much with the many be-
jewelled ornaments worn in your limbs, various pleasant
rich in passion-inspiring scents, hairs clean after bath and decorated
with flowers, and varied colours of your clothes. What shall I say
more? To be brief, you appeal' like a painted pictme.
I Scheme (v - v, v v -. v - v, v v -, V - v, v -). This is
called Prithvi by Piilgaia and hiB followers.
88 (C.85, B.xV.U6). 1 lit. IB it not dear to p
89 ,C.16, B.XV.1l7). 1 Seheme (- --, - - V, V V V, V - -, v --,
U -). This is called Kusumitalatii-velliti- by Phigaia and his followers.
90 (C.S?, B.XV.US).
-XVI. 96) METRICAL PATTERNS
288
Siirdfila-vikriq.ita
91-92. [The metre with] the feet of nineteen syllables of
which the 61'st thre(', the Aixth, the eighth, the twelfth, the thir-
teenth, the fourteenth, the sixteenth, the seventeenth and the last
are heavy [and the rest light] is called 1
Example:
93.

nirbhinnodara-padn-balm-vadanil I
uhairyotRaha-parakr:una-prabhrtibhis taiR tail'
vrtta!p. te ripll-ghilti bhfLti samal'e Rardu!a- vikt-iQitam II
The enemie;;; have been repelled after L :lOllle of them have
been) killed with VariOUl'l weapons, Sataghni and Tomara and [some
have] their bellies, at'IIlS, feet and face pierced and [some have] lost
all their weapons, Your enemy-killing eX1Jloits in battle comparable
to the tiger's. sports and characterised by virtues as, patience,
energy and valour, are Rplendid.
1
Suvadanii
94-95. [The metre witlv tlw] feet of twenty syllables of
which the 6rRt four, the sixth, the seventh, the fourteenth, the
fifteenth, the sixteenth and the last are heavy [and the rest light]
is called Suvadana.
1
Example:
96.
netre lil;1lasdnte kamala-dala-nibhe bhrii-capa-rucire
pina-madhya!p. sama-sahita-ghana!). snigdhas ca I
karl}av a!p.sa-pralambuu cibukam api natal!1 gho1J.8. surucira
vyakta!p. tval!l martya-Ioke varatanu vihitAsyeka suvadanil II
91-92 (C.88-89. B.XV.U9, 120,121, 1 Scheme (- - -, v u.-;\U -
V. U V -. - - v, - - v, -).
93 (C.90, BXV.122). 1 B. gives an additional example of this
(B.XV.I23).
94-95 (C,91-92, B.XV.l24-125, 12S). 1 Scheme (- - -, - v V v,
U V v, U - -, - V V, v -).
116 (C.98, B.XV.l27).
284 THE NATYASAi-iTRA [XVI. 97
Your eyes are like lotus-patals, beautiful with the bow-like
eyebrows and their ends are playfully lazy; the cheeks and lips
are plump in th('ir middle, the teeth are all equal, in a line, thickly
set and shining, the are hanging down as far as the shoulders,
the chin is bent and the nose is beautiful, 0 fail' lady, in this
mortal world Y9u are indeed the only fair-faced woman whose face
has been [carefully] fashioned.
Srllgdharii
97 -98. [The metre with] the feet of twentyone syllables of
which the first foul', the sixth, the seventh, the fourteenth, the
fifteenth, the seventeenth, the eighteenth, the twentieth and the last
are heavy [and the rest light] is called Sragdhl'a.
1
Example:
99.

punnagail.l pal'ijfltaiL' I
etair kllHUllla-surahhibhir viprakiL"l].'\is Cit t,lis tail'
vasantai/.l namVI'<1 vasudhii Rragdhal'cv,1.dya bhiiti II
o king (lit. he:it among men), due to the many ,w(1 val'iow,
sweet smelling vernal flo IVers sueh Cuta, Asoka, Aravinda,
Kuravaka, Tilaka, KlIrl)ikflra, Punnaga, Piirijata; Vakula,
Kuvalaya, Kiqisuka ana Atimukta, thiR earth loob today like a
woman w(!aring [many] garlandA of flowers .
. .
Madraka
100-101. [The metre with] the feet of twenty two :iyllables
of which the first, the the Rixth, the tenth, the twelfth, the
sixteenth, the eighteeenth, and the iaHt are heavy [amI the rest
liglltJis called Madraka
1
.
97-98 (C.94-95, B.XV.12S-129, ISO). I Soheme (- --, - u -, - v v,
u U v, v.- -, v - - v - -). 99 (C.96, RXV.lSl) .
. '100-101 (C.97-98, B.XV.l32-13S, 134). 1 Sehl'me (- u V, - v -, v V
lJ, - U -J V U v, - v -, U v v, -) ..
-xvi. LOO ] METBIOAL PATTERNS
Example:
102.
ndyatam eka-hasta-cal'aI,lRlp dvitiya- kara-recitarp 8uvinatalp
vlllJlsa-mrdangavadya- madhural)1 vicitra-karlll).unvit.am bahu-vidhmn I.
madrakam etad adya subhagail' Rll-Ialitail'
nrtynsi ,ibhramuklllapadalp II
o fail' lady (lit. lI1oon-faced one), you arc dancing to-
day in accompaniment of Rweet ROIlllds of ftuteH and druUlR
the Madraka T dance with one of your up and
another bent, and YOUI' feet arc )'rstleR" in a hurl'Y. And YOIl
<Ire making happy, devpr and gl':lcrful movenlPnts in pm'Ruanee
of many and various and this <laneH is imhued with
a distinct. Bentiment
Asvalalita
103-104. [The metro with] tho feet of twentythrec syllablcH
of which the fifth, the soventh, the deventh, tho thiltechth,
the sev('nteenth, the ninetrrnth and the last nrc heavy [and
thl' rest light] is ('allp(1 A:4valalita.
1
:
10:1. vividha-tllmnga-naga-ratha-yaudhn.-
Rfup.klllam nlalp balulp. samudital!l
ta-parig
bailu-prahHI'at;J.a1ll !
va -bhita-
sarpkita-bhatarp bhayaknlmn idal!)
krtam H<llpYllga-ll1ukhs
Halllipsita-guryu!l tvaYllRvalalitalll II
[Even aftet'j seeing thiH ('Olllplrt{,ly .mny
of lllany hOl'HCK, elephants, clwl'iotR and the manifold
ltRRUUlt;; :;pl'ead by Imndre(b of 1l1'l'OWR, dads, javelin;!, rtnd
swonls, and the foot-:;oldim's terrified and afmid on account of the
102 (C.99. B.XV.135). J See NS. IV. "'.
103-104 (0.100-101, B.XV.136-137, 138). 1 Sch(,100 (v U v, v - v,
- v v, V - v, - v v, v - v, - V \J, v -).
105 (0.102, B.XV.139).
'.
THE NATYABABTRA
,
106
noise of released missiles, and the terror-strickeh directions, you
have practised in the forefront of the battle the sportful movements
of a horse, the merit of which very IUuch desired [by people].
Megha-maIa
106-107. [The metre with] the feet of twentyfour
of which the first six, the eighth, the eleventh, the fourteenth the
seventeenth, the twentieth and the twentythird are light land
the rCAt heavy] is called
Exampjp:
, ] OS. pavanavala-samahala tivr<l-gambhira'
nad it balaka vali-lllckhahL
llIahanila-
dllUmUiijanahhambu-garbhOdvaha I

valu
gagana-tala-visaril,li
'dhikalJl Hobhate II
The sky-covering mass of clouds of the rainy Reason, having
deep and piercing wearing a flight of cranes llH their girdle,
oorrying in their 1V0mb water of deep blue colour comparable to
that of smoke and collyrium, girding the waist with the. rainbow
as the belt, having their armour' plates illumined by the flash of
lighting looks indee<l vel y beautiful.
Kra uiioa-piidi
109110. [The metre with] the feet of twentyfive syllables
of which the first, the fourth, the fifth, sixth, the ninth, the
tenth, and the last are heavy [and the rest light] is called
Karuiica-padi.
1
106-107 (C.103-1040, B.XV.1400-l401, 1402). 1 Soheme (v u v, V 0 v,
- v -, - v -, - v -, - u -, - u -, - v -).
108 (C.lOS, B.XV.1403).
109-110 (C.I06-107, B.XV.14040-1406, 1406). 1 Scheme (- v v, - --,
V 0'-, - V v, u V v, u V v, V 0 v, v u u, -).
-XVI. 114] METRICAL Pt\TTERNS
Example:
111. kila vidruta-somalp kratuval'am
acllmasam
vicayanam
a-samidham acarukam I
karmuka-muktenasu cakiira vyapagata.
suragal}a-pitr-gar;tam
nit yam asau te daitya-gal}iiriQ pradahatll
makham iva ripu-ga\lam akhilam H
287
Let Siva (lit. the foe of the demons) who by arrows dis-
charged his bow quickly spilled the Soma-juice, threw away
the Camasn, broke the KalaRa, felled the Yiipa, dislodged the
put out the fire, destroyed the fuel, Rcared away the
[sacrificialJ animals, spilled the Cam and put the gods and the
Fit-Is to flight in great sflcrifice, always destroy all your
enemies like the same {sacrifice).l
Bhujaliga-vijrmbhita
112-113. [The metre with] the feet of twentysix syllables
of which the first eight, the nineteenth, twentyfirst, twentyfourth
and the laAt are heavy [and the rest light] is called Bhujruiga-
vijflubhita.
1
Example:
1 H riipopetam devail.l samada.gaja-
vilttsita-gatirp tilottamalp
priiptaI!l bahu-vadanam
acala-nayanalp siral.l krta-van haral.l I
dirgharp niMvasyantar-gii<Jharp stana-vadana-
jaghana-ruciratp tatha punal,t
nyastarp devendreJ].a pravarama\li
kat;taka-valayal!l bhujanga-viirmbhitam H
III (0.108, B.XV.147) 'B. gives one additional eltample (B.XV.14S)
which oecurR in Halayadha's commentary to Piligala.
112-113 (0.109-IlO, B.XV.149-1S0). Scheme (- - -, - - ':"- - V,

114 (0.111, B.XV.lSl).
lI88
TaE NATfASAa'BA .
...
Seeing th; beautiful Tilottama created bf the gods witb
the gait of elephant 'in rut,' came to circumam-
bulate him, Siva fixed all the eyes oq her and kept his
heads and mouths motionless; And' then the lord of gods
(Riva) on seeing" her who was beautiful 011 account of her
breasts face and the hip, Highed silently and put aw,c1Y 011 hiR
back tl:e goidell bOllgli'8 8et with the be.qt of jell'els in which snakes
were yawning.
The uneven and the metres
115. These are, 0 the hest of Bl'Hhmins, the rnetr(1R
I mentioned [beforp]. Now listen ahout the unevell and the
semi-even metres.
116. The metres' of which the feet belong to differel.lt,
metrical types and are dissimilar, are calleil uneven
117-118. Thl' metreH in which thr two [altemnte] feet
are similar while the two [contiguous] feet are not similar, are
called semi-even (nfdlHl-samn). And the lllrtrc in which all
the feet ,are dissimilar is called uneven. The semievcn metre
is to have its even and odd feet disHilllilar and the first of
such groups of feet may he 8Iiorter OJ' longer than the rest
or one of them may be longer ilnd tlie oth!'I' shorter tlmn
the rest.
Evnll metreH
119. An even metre iH dl'fined hy defining one of fe<>t
while uneVfln metre requires tht' dpfinition of all its feet. And
from a definition of the two feet the semi-even metre is known.
This is the division of feet [in different semi-even metres].
120. I have described the even metres with reference to
their divisions of feet. Now I 8hall describe the characteristi('K
of the uneven metres in terms of triads, (i.p-.
114a, (0.112, B.XV.l53). I According to B. it iH spurious.
114b (0.113, B.XV.154). 115 (0.114, B.XV.155).
116 (0.ll5, B.XV.l56).
11-118 (0.116-117. B.XV.l57158).
'119 (O.llB, B.XV.159), 120 (0.l19, B.XV.160)
19' ) MElTiIOAL PA'fTERNS
289
Pathyii '
121. If [in the fil'st foot contains sa, sa, ga, ga,
and the second sa, Ta, Ia, ga and such will be the remaining
even and odd feet
I
, it is called Pathya
J

Enmple:
122. priyadaivata-mitrasi I
2priya-Jiinamt<1 patbya dayite
3
tva'lp priyasr me "
You respect the gods and the friends, you love the matri-
monial relations and the kinsmen, you arc. disposed to make
affectionate gifts and you are agreeable, 0 beloved one, you
are dear to me.
Uneven Pathya
123. [The metI'e of which] the first foot contains
rna, ra, ga, ga, the second ya, sa, la, ga, the third ra, bha, la, ga
and the fourth ja, sa, la, ga [is called un alluneven
Pathya]l.
Example:
124. naivlLcaro, na te mitralp na silmbandhi-gul,la-kriya:
1
I
sal'vatha pathya na bhavasi priye II
o dear one, you have no [good] conduct, no friend and
you have no good action towards the relatives and are in every
way vel'y rough; so you are not agreeable.
121 (U.120, B.XV.l62). 1 U. givt', correct reading yug-matt-
;'akau 'even and odd' (feet).
2 (1 & III) v v -, v V -, - - and (II &; I V) v v -, - v -, v -
122 (C.121, B.XV.l63). 1 C., daivata,for samlJandhi.
C. varii for rata.
8 C. yadyaPt' for dayife.
123 (C.133, B.XV.l6'i). 1 (l) - - -, - v -, - -, (II) v - -, " v -,
v -, (III) - v -, - v v, v -, (IV) - ... v, v v -, OJ -.
124. (C.134, B.XV.l6S). 1 B. /m'yii for k,iya ..
37
THE NATYASASTRA [XVI.12ll
Inverted Pathya
125. These are the characteristics of the first and the third
feetl. They being' inverted i.e. the second and the fourth being
of this description, the metre will be called the inverted Pathya.
Enmple:
126. krtena ramaJ,lasya kitp. sakhi tl,l' pyartham I
viparita na pathyasi tvaIp. ja4.e kena mohita
l
II
What is the use of this anger shown to your beloved one?
[It seems that] you are foolish and have been deluded by some-
body and have been upset, [ so] you not agreeable.
Capalii
127. [The metre with the feet of eight syllable of which]
the fourth, the fifth and the sixth [in the hemistictis] are short,
is called Capahi.l
Examples :
128.
, na khalv asyiiQ. priyatamal.l srotavyaIp. vyahrtaIp. sakhya I
nliradasya kathyate capala hiyam II
[He] is not this girl's dearest one. This [information] to
be heard [privately] was proclaimed loudly by the female friend.
TillS fickle woman is indeed [to be] called an image of Narada
(the deity 'of qnarrel).
Vipulii
129. [If a metre with the feet ot eight syllables has] the
seventq syllilble short in its second and the {ou'll! feet, it is
125 (C.l22, B.XV.l(6). 1 A passage before this seems to be lost.
C. reads yu/mayor-of the two even (feet). n. has ayujor-of the two
odd (feet).
126 (C.123, B.XV.f67).' 1 We -adopt B'B reading. (I) v - L',
V V -, V -, (11) v v -, - v -, - -, (III) - v -, - v', v -, (IV) v v -,
- u -, --.
127 (C.124, B.XV.16S). r C. 'lJijula for capala.
12S (C.l2:i, B.XV,169). 129 (C.126, B.XV.170).
-.xVI. ISli ] METRICAL PATTERNS 291
called Vipula. According to some
l
the Keventh l'Iyllable
in all the feet will be short in [such] Vipula.
Example:
130. vajravan-madhya hema-kumbha-nibha-stani I
vipulasi priye pUI1la"chandra-nibhanal)e II
o dear one, you are thin [in hody 1 your waist is slender
in the middle. like a Vajra, yOUl' I)l'easts are like golden pitchers,
your hips am large and YOUl' face is l\ke the full moon.
131. gangeva tV<1m meghagame aplii.vita-vasundharij I
arujati Rravanti vipulacalat
l
II
You are like the Gangeg at the advent of the rains, flooding
the earth, destroying the trees on the bank arid flowing down
from a high "Il1ountain
132. The feet of Pathya al'e thus of various types; in the
remaining [types of even ,md odd feet lllay be made up
with other triads (tril.:a}i.
133. In thiR metre a triad ending in a heavy syllable (i.e.
rna, ra, ya, sa) or consisting of light syllables (i.e. na) is never
to occur (lit. after the first syllable while after the fourth
syllable a short syllable must occur (lit. is prescribed).
134. If in the feet of a Pathya there are three heavy
sy lIables at the end it is called ] Vaktra.
Example:
135. subhru jagara-glana-netrantam I
rati-sambhoga-khinnaq:t te darsaniya-taraIp vaktram II
o . fair lady, the lips being bitten by teeth, eyes being
languid due to keeping awake, your face has become more charming,
after its exhaustion in love's enjoyment.
1 Saitava-mentioned in Pitigala and Agni P. See CSS. p. 38.
180 (C.a7, B.XV.l71).
181 (C.128, B.XV.172). 1 B. O. 'lIanal for caJat. 0:.
182 (C.129, B.XV. 1740). 1 We follcnv B. Ips (C.180, B.XV.175).
18' (C.181, B.XV.176). 185 (0.132, B.XV.177).
292 !rHE NATYASABTRA [ XVI.ISB
136. These are all-uneven !Detres of the class.
The authorities differ from one another as regards [the arrange-
ment of] the triads and syllables.
1
Viinaviisikii
137. The metre which has its feet consisting of sixteen
Malras as parts of Gatha to be divided into foul' sections in terms
of triads and the part of a triad, is called Vanavasika.
1
Example:
IRS. asalJlthita-pada Huvihvalangi
I
kva yasyasi yaroru Buratakale
kilJl vanavasika tvam II
o fail' lady, your gait is unsteady, limbs arc agitated, and
your faltering movements due to ardent passion arc charming.
Where are you going at the time of love's enjoyment? Are you a
perverse woman of Vanavasi ?
Ketumati
139. The metre of which the first and the third feet consist
of sa, ja, sa, ga and the second and the fourth hlw, ra, nn, ga, is
called Ketumati.
1
Example:
140. sphuritadharalJl cakita-netralp
raktakapolam I
kim idalp
ketumati-samalp vada mukhalp te II
Yoor lips are throbbing, the eyes which are like lotus-petals
are trembling and the cheeks are red. Tell me why has your face
robbed of its beauty by anger, become like Ketumati (flame) ?
136 (B.XV.l78). 1 C. omits this.
137 (0.146, B.XV.179). 1 Pitigaia calls this Miitriisamaka. His
Viinaviisikii is simply a variety of this. See CSS. p. 21.
138 (C.147, B.XV.180).
139 (0.140, BXV.l81). I Scheme: 0 & Ill) v v -, v - v, v v -,
-, 01 Ii; IV) - v v, - v -, v v v, - -
140 (C.W, B.XV.182).
XVI.145 ] ME'rRIdAL PATTERNS
29S
Apaarvaktra
141. In the metre called A para vaktra the first and the
third feet consist of na, na, ra, la, ga and the second and the
fourth of na, ja, ja, ra.
1
Example:
142. Rutanu jalaparita locanatp
jalada-niruddham I
kim idam apara-vaktram eva te
sftRivadane'dya mukhal!J. parail.-mukham II
o fair lady (lit. moon-faced one) why are your eyes full of
tears and why do you look like like the orb of the moon obscured
by the clouds and why has youI' face turned today like wme one
else's face ?

143. In metre the first and the third feet
consist of na, na, l'!t, ya, and the second and the fourth of
nIL, ja, ja, ra, ga.
l
Example:
144. pavana-raya-vidhiita-caru-sakharp
pramudita-kokilaka\ltha-nil.daramyam I
madhukal:a-parigiyam;-: na-sabdatp
varatanu vanatp II
o fail' lady, look at the top of the blossoming forest in
whieh the wind iH shaking the beautiful branches of trees, the
gladdened cuckoos are singing with sweet voice and the bees are
humming all around.
Udgata:
145. In Udgata metre the first foot consists of sa, ia, sa,
141 (C.142, B.XV.183, 184). I Scheme: (I & III) v v v, v v v,
v -, (II &I IV) v v v, v - v, v - v , - v - .
1402 (C.132,B.XV.177).
143 (C.144, B.XV.186). 1 Scheme (I & Il) V u \.I, U U u, - u -.
v - -, (II & IV) u u v, U - v, v - y, - u -, -
144 (C.l45, B.XV.187). 145 (C.laS, B.XV.188).
THln NATYASASTRA [ XVI. 1150-
la, the second of na, sa, ja, ga, the third of bha, nn, ja, IR, ga !lnd
the fourth of sa, ja, sa, ja, gao T
Example:
146. tava l'oma-rajir atibhati
sntanu madanasya manjarim I

hhramal'llvallvn. kusull1:u sallllHlgat,i II
o fail' one, the hairs which l'ioe from the hollow of your
lotus.like navel are comparable with 11 swal'ln of bees coming out
of flowers and they exceed in beanty Cupid's blossoms.
Lalita
U7. The metre Lalitil its first foot consisting of sa,
ja, sa. la tho second foot of na, ja, ga, the third foot of na, na,
sa, sa, and the fourth foot of sa, ja, sa, ja, ga.
l
Example:
148.
lalitl1 kula-bhramita I
pravikasitakamala-kanti mllkhi pravibhasi-deyi
o lady, hurriedly but gracefully moving the beantifnl
clothes and the delicate 1\l1d having a blooming lotus-like
face you look charming aftm' the fatigue of love's sports.
149. These are the ,yllabic metres of the even and uneven
types, to he used in dramas and poems.
150. There are besidea many other Hyllabic metl'es which
have been mentioned .hel'e collectively. They are not to be used
because they do not embellish [a composition].
1 Scfteme (1) v v -, v - v, v v -, v, (11) v v v, v v -, V - v,
-, (Ill) - v V, V u v, V - V, u -, (IV) V v -, v - v, V -, V - V, -
146 (0.186, B.XV.189).
147 (C.137, B.XV.190). .l Scheme II) same as ill Udgata. (Ill)
V V v, v v v, .v v -, v v -, (IV) v v -, V J'v, V U '-, v - v,
Piil(talll's Laliia has the fourth foot similar to that of U dgatii
148 (C.138, B.XV.l9l).
1"49 (0.148, B.XV.Ul2).
150 (0.149 B.XV.l9!j).
XVI. 158] METRICAL PATTERNS 295
151. The syllabic m t r ~ forbidden here after may be
used in songs. I shall describe their varieties while treating the
Dhrnva..
Q

AryO: metres
152. This i ~ the definition of varioufl syllabic metres
briefly treated by me. K"ext r shall give the definition of the
AryaR. '
lfi3. The AIyH.8 are of five typeR, viz, Pathya, VipuU.,
Capala, Mukha-capala, and Jaghana-capala.
154. I shall speak about their caesura and division of
Matras and their varieties depending on Gal].as which have been
prescribed as chal'acteristics of theRe.
1 fi5. In these metres the (,OORlll'a marks the division [of
feet]; the Gal.la consists of four Matras, the second and the fourth
(lit. the last) feet are the even ones, and the fi1'st and the third
(lit. the rest) odd ones.
156. [In an Arya] the odd Gal].as consisting of fOlll'
Matras should have no ja :lnd the even Gal].as may be of any
type according to the choice [oF the poet].
11)6 a. The eighth Gal):t in every Arya is to be known as
half It Gal].lt (i.l'. two MatIus).
157. The sixth Gal].a may be of two alternative typeR
and the eighth will consiRt of one [Hyllable]. The sixth Gal,la in the
Reeond hemistich will consist of one Miitrii only1.
158. In one alternative is that the sixth Gal].a will be ja,
(v - v,) and in the othet, it will consist of four short syllable,
(11 v v v) and these relate to the caesura (!Inti).
151 (0.150, nXV.19!).
153 (0.152, B.XV.196).
155 (0.154, BXV.198).
152 (0.151, n.XV.l95).
154 (C.153, n.XV.l97).
1M (0.155, B.XV.199, 211, 2f 8a).
'" ~
157 (0.156, B.XV.200, 208b209a). I Reau 157b (with C) as tl>il"l
'158 (C.157, B.XV.201, 209b-?Hia).
296
THE NATYASASTRA [XV. 169-
159. The caesura may occur when the second la after the
fifth GalJ.a has been completed 01' it may occur from the ftrst
syllable [of the sixth GalJ.a1 or after the fifth GalJ.a [has been
completed].l
Pathya-Arya and Vipuli-Arya
160. The Arya metre of which the caesura occurs after the
three GlIl,las (lit. feet lire made up of three Gal,las) iti called Pathya.
The Vipula At'ya is different from this, only because it observes
no cresura (ynti) of any kind [within its hemistichs J.
1
Examples :
Pathyi A1'yi
161.
rakta-mrdu-pad rna -netrl1sita-dirgha-bah ula-mrdu -[ku kesi I
kasya tu prthumrdujaghana tanu-bahvalpsodari [naJpathya II
To whom is not agreeable a woman with lovely and
lotus-like soft eyes, copious long, black and [curled] hairs, large
and soft hip, slim arms and abdomen?
Vipuli Aryi
162. vipula-jaghana-vadana-stana-nayanais
I
ii.yata-nasa-galJ.Qair lalii.!a-
caral].aitl subhii. kanyii. II
A maiden is auspicious when her hip, face, breasts and
eyes are large, lips, palm and feet are l'lld <tllii nose, cheeks,
forehead and ears afe prominent.
Oaprui A1'y8:
H\3. In the Capala (Arya) the second and the fourth
159 (0.158, B.XV.202, IllOb). 1 Read 159 liB <:(llIiI
160 (0.159, B.XV.203). 1 Read the couplet liS JIijj, fi;-,
II 'Q[T liT ",/I,. fqSliTf'll[
161 (C.160, B.XV. 213) .
162 (B.XV.214). 163 (B.XV.215, 904).
XVI. 167] METRICAL PATTERNS 297
in each hemistich are to consist of a ja (lit. with a
heavy syllable in the middle).
E1r:ample:
164. ludbhartr-gamini I
nati-mal!1Aa-yukta sura-priya Rarvatas capalii II
The woman who goes defying her husband, spcaks harshly,
has erotic signs in he.r dress, is not very'fleshy and is fond of meat,
is inconstant in every reRpect.
Mukha-eapalii and Jaghana-eapalii Aryii
165. When the definition of a Capalil applies to the first
hemistich [only J of an Aryii it is called the Mukha-capala. And
when the same appli('s to the second hemistich [only] it is called
J aghana-capala.
E1r:amplee :
Mukha-eapala Aryii
lUO. ilryil mukhe tu capalii tath:1pi carya na me yatal) sa tu I
tatha dul.lkhe bhavati II
My lady is talkatiV(', but still her condnct [in general] is not
bad, for she is an expert in Illy household work, and in my misery
fpols miserable.
J aghalla-eapalii Aryii
167. vara-mrga-na.yane capaJasi
varoru Rasatika-darpaJ].a-nibhasye I
kamasya sarabhutena
purJ].a-madacarll-jaghanena II
o fail' lady with the eyes of the best deel', and a fa.ce
like the moon or the mirror, by your hips which constitute the
hest prize of love and which arc charming on account of yom'
swelling passion, you arc [markl'd as] faithless (lit. inconstant).
164. (B.XV.216). 1 n. reads udbha{a.
B. reads janalt: for ya lIati. Prof. S. P. Bhattacharya this
('Il1Cndatioll
165 (B.XV.217).

166 (B.XY.218). 167 (B.XV,219).
298
THE NATYASASTRA [ XVI. 168
168. When the two hemistichs of a Capalli have the same
churactcl'iHtics it is callen the all-round Cupula.
169. This metm is known have thirty MatI': s in its first
hemistich nun twenty.sevcn in the sccond 1.
170. FollolVing these rules (lit. thus) one should compose
plays (iit. poetieal composition) (lit. having) therein
diffelCnt metrical patterlls belonging to (lit. arising from) diffcrent
Hhytllln-types, and Klwh plays are to have the thirtysixcharacter-
istic marks
Het'e ends Chapter XVI. of Bharatil's
which treats of the Metl'ieal Patterns.
168 (B.XV.220 ; C.1621d63a).
169 (B.XV.205, 201 ; C.l63b164a,). I The jive couplets al'tt1l' this
(B.XV.222226) arl' corrupt alll! "Plwar to b" <purious. will bl'
discussed in tIll> Introduction.
170 (C.l86b189, B.XV.227).
CHAPTER SEVENTEEN
DICTION A PLAY
Thirtysix marks of a good play
1-;>. The thirtysix characteristic marks ([al.?1t1!,(L)
1
of
In good] dramatic (kan!/a)2 are as followR : Ornateness
atll), Brillianee (s,,!,Jlli),
PamlldiHIIl (n'/lihara'/'fa), CauHation (hd 11.\
Favourahle Prreedent (dr*intn), Discovl'ry (,lrapti), Fancy
(nult:ip)'li!/tt), Unfavourable Precedent (nidnrsana), Convincing
Explanation (1/ ii'llklll.'i, Ppl'Huation, Distinction
1-5 j.1-5, B. p.348-350. XVI.I-5). About the signiticance of the
the term the commentators of tho arc not at all unanimous.
Ag. lllC'ntions no less than tpn differput views on the snbject. Evidently
some of the", are hr-tetcheu and off the mark. It seems that
in this conncxion is comparablp to the same word or,cnrring in the com-
ponnd word (characteristic marks' of a sll!>crman).
According to 011<' view this differs from the alal1Jkara (ornament)
and the ffu1Ja (qualities) of a person as figur('s of speech (alal!lkara) lind
excellencl'H (gu1,Ia) of a composition differ from its characteristic marks
The composition in this conncxion is cvid('ntly a dramatic
Olll' thongh Rome of the commentators think otherwise, For a
on the position of in the history of the Alaqtkira Iitl1raturc
sec S. K. Dc, Hkt. II. pp. 4-5; see also Ramakrishna. Kavi,
(B.II.pp. 348 349) and V. Raghavan's paper on in tltc J'ournal of
Oriental Rp.8('al'ch, Vol. VI. pp, 70, 71,81. 82. Mss. of the NH. fall
into two distinct recensions as regards thr. text treating the thirty-sile
Olle rec('nsion followed by older commcntators, and late
writc;s like Vi!;vanitha, and uses verses for
the onumeration of We have adopted this as the baHis of
our translation. The second recension which seems to be later, has
been followed by commentators like Kirtidhllra, Abhinavagllpta and
late writers like Dhana',jaya and others. This greatly varies from the
other recension with which it hIlS not more than seventeen names (of
in common. and among these, definitions of eight only are
similar in both tlle recetlRions.
2 Kavya in this connexion means the dt;sya-kavya or drllBmtic
composition.
300
THE NATYASASTRA [ X.VII. 6
Accusation of Virtue (g1brpatipata), Excellence (qu1fO,tiio,ya),
Inference from Similitude (tl!lyartarlca), Multiplex Predication
([ladvcca.ya), Description Pointed Utterance
Deliberation (1,icam). Inversion (viparyaya.), Slip of .Tongue
Mediation (a,nnnaYI1), Series of Offers (mala), Clever
Censure (garha'f!-0') Presumption (a.rthapattt),
Celebrity (pmsit/Ilhi), Interrogation (Pfccha), Identity (saruPYIl),
Inliirect Expression of one's Desire (rnlwomth(t), Wit (lfsa) ,
COIJ(:ealmcnt Enumeration of Merits (UllrJ/t-k'i:r/a.na.),
Semi-uttered Expression (annlda-.Iiddhi) and Compliment (pri-
!/ltvaca.na. = pjioldi).
Ornateness
6. 11'0 adorn the composition with many figures of
(nlll',!,kal'a) and OUJ}as as if with ornaments, for creat-
ing manifold meaning, is called OrnatCll('S8 lit.
ornament)!.
Compactness
7. 1 Whcn an wonderful is cxprei'sod by means of a
small nnmber of syllables with tionble entcnd/'!:, it is mlled
the'mark lIamed Compactness lit. assemblage
of syllables)2
--.. -- _.-._--.. ------ ----_._-----
3 Emend sall}k.foblw to sa"!-k'1epo. Sec below 38 note 1.
6 (C.6; Ilp350, XV1.6) I A Atudy of AI:'s. commmtary 011
dpaling with is liable to give OlIO an imprcRsioll that
thc exact meaning of Romll of the trrms at least rrl:lting to this subjrct,
!taR been to some extent lost, lind various pxplanations 11ltVt1 bern
partly based '011 guess. But in the abKPnce of anything hrttcr we ar('
to depcnd on them thongh vcry cautiously. Definitions of various
arc mostly not at all clear without pxamples which have
been very liberally given by Ag. To avoid prolixity we rrfrain from
quoting them here. Interested persons may th in the Baroda
ed. of the N8. (Vol. II pp. 294ft',). 11'or an example of OhufarJa. See
Kavi. As allY old commentary to these (Ni:l.) passages dealing with
has 1I0t come down to us, we used in this cOllnexioll the
one prepared by M. RlImakrishun Kavi. Sec B. II pp. 34Sif. (Referred
to as Kavi).
7 (C.7j XVI.7). 1 See.Kavi.
-XVII. 12] DIOTION OF A PLAY
Brillianee
301
8. 1 If a charming and novel meaning [arises J when a less
known object is referred to by likening it to a well-known one,
and a wonderful sense is expressed through don/Ile entendre
2
it
is called Brilliance (soblia, lit. beauty)
Parallelism
9. When by words expt'essing similar circumstances
l
a
RugW'Rtion is cleverly made to accompliHh an it iH ca\lrd
Pal'aJlelislll (nda!wl'(//I'!-(1., lit. example)!.
Causation
10. When brief and pleasing words by the force of their
[tactful] usc achieve the desired Obj(lct, it is called [an instan(''e of)
Causation {hetn}l
Hesitation
11. When due to many conRideI'ations It sentence IS
brought to an end without fully comlllunicating the essential theme
Lin view], it iK [an instance of] Hesit'ltion (salttsa!la, lit. doubt).l
Prccl'dent
12. That which HUppOi ting the case in hamJ1 is an example
of itR reason and is pleasing to all people, is a Precedent
to the Rpeaker lit. ()xample).lI
8 (C.8; il.p350. XVI.S). I C. yatra for
yatm "Ictlriirthii.. Hpp Kavi.
9 (C.9; n.p.a51. XVl.9). 1 fj. t7!alparlha for tulYlirtha. Cf. RD.4::\S
Ag'R dclinition in followf'. rhen from the OCC14rrenc(' (ft't.
st"ght) 0/ a sIngle word.food many Ilmnentioned ones ca1J lJe In/erred (Itt.
accomptz'shed) z"t called .Sample (udiil' al'lII.18).
10 (C.I0; B.p 352, XVI.lO). I Cf. SD. 139. Ag. r('ads this dpfj-
llition as follow>!: I
(RXVI.14). meaning iR not cl('ar, Ag.'s ('xplanation dO<'s not seem to be
convincing. is textual corruption in this.
11 (C 1L; B.p.352, XVI.II). I Cf. SD. 440.
12 (C.12j B. p.352, XVI.lZ). I C. for yastu
Cf. 8D. 341. Ag.'s text !n translation is as follows: Tliat a
302 TaE NATYASASTRA [XVII. 13
Diseovery
t:l. When on seeing some indiroations, the existence of
something is aHsUlned it becomes [an instance of] Discovery
(I,raj" i, lit. attainment)
1
which is included among the marks
of it [good] drama.
F'nney
1 k When:m itlca interesting to proplo [bnt.] hitherto notl-
('xistpnt, i, ('(lI\ceiv(t! on the basi, of similarit.y [of (WO ohjeetsj, it
is [an instant!! of] Fancy (al'hij/l'a!lil, lit. helief)l
li nfavourable Precedent
15. When well-known instance are mentionl'<i for rejeeting
the ('ontt'aI'Y view it is [an of] Unfavourable Precedent
(Ilid(tl'salla, lit example)l
Uonvincing Explanation
Hi. Words that arc spoken in support of the llw:tniug of
sOlllU faultless statement made befo1'(>, constitute COllvineing
Expi<lIlHtinn (nirnkla, lit etymology) 1.
Icarned person dis(overs silllilrtrity anything J WI"!!! some/hill/: pr/'-
(fIlled by him carlza, is railed IlltlStration Cf. tllr liJ.(III'r
(If "[H'c'eh of thiH nalI1n in SD. 697.
1;\ (C.l ; X\U:l). 1 Cf. flD. -M6, Ag. (R.XVL32).
U (U.J.t; XV1.l4). I sn. 445, Ag. reads this as a
\';ll'iant of yuk/i (13..'\ VI.:{6) wllieh in translation is as follows: The
mt'fl/tt'llg which l:r made liP oftly of matty mutually cOInpatt'61c objeds
combinillg with olle allotlu:r, is called Combinatiorl (ynkti). n.
KD. Dill.
15 (C.15; B.p.Z;;4. XV1.l5). flec SD. 44-1. Ag. ['rads this liS II variant
Tlce meaning of this dd. is not clellr. Ag. oifers no
('xplanlltion of this, but gives an example. which it is vory diffie,nlt to
fit ill with the dclinitioll, Of. SD. 471.
16 (U.16; B.p.254, XVI.l6). I Of. SD. 453. Ag.'s text ill translation
is as follows: Explallatz'on (nirukta) is two kinds: factual and non-
factual. [Of these] Ihe factual [expta1Iation] tS that which is wetl-
known (lit. accomptished before), and the non. factual is that which
has not been so (lit. 1JI}t accomplished):
.XVIL 21] DIOTION OF A PLA:Y
303
Pursuation
17. When name of persons are mentioned with It
view to accomplish the object aimed at, it is [an instance ofl
Persuation (siddhi, lit. succesS)2.
Distinction
1H. When after mentioning many well-known great objects
ROll1ething is said distinguishing a thing from them, it is [an
imltance of] Distinction
Accusation of Virtues
19. When virtues are mentioned with sweet wordi'l of harsh
importl which carry the contrary implicatiolJ, it is [an instance of]
of Virtues (glt'l!atipata, lit. opposition of virtuc) 2.
Excellence
2\), When after enumerating the qualities available in
common men, one mentions some special qualities, it is [an
instance of] Excellence (atisnY1L)l.
Inference from Similitude
21. When an object direetly perceived is inferred from a
lllataphor 01' simile applied in an identical it is [an imtallce
17 (C.17; Rp.354, B.XVI.l7). I C. pramktanam for pradhallumim.
KD. 454. Ag. I'l'mlR this with a variation.
18 (C.1S; Bop.355, XVI.lS), I Cf. SD. 452, Ag. rrnds this as a
variant of (n XVl.:\l) which in iH aH' TVhm
one be/tIl! hurt oy harsh and provoklltg mmfs nt/erred by a 70ickrd persoll
in tlte presence of good people, remains "I,ithout rm.f!er, it is [an instancc
of] Forgveness
(0.19; B.p.355, XVI.l9) I C, for madltu-
rair m:,(hurartltair. Cr. SD. 450. Ag. rrads thiR aA II variant of
gU/JatzwlJiida (B.XVI.13a) which in translation is aH follows: Eulogy
(gl1lJ:\llllvi"ida) relates to inferior SlIbjects compan'd 1/lt'tll super/'or olles .
. 20 (C.20; B.p.355, XVl.20). \ Cf. SD, 4::'1 (B.XV.13)
in trallslation is as follows: Whett anythIng compares favourably
to the best thIng [to 7/Jht'ch t't can oe compared] it IS [alt l'/tstanc(}>of]
E.rce lIence 21 (C.21; B.p.356, XV1.2l).
.
304 THE NATYABABTRA
( XVII.1l2
of] Inference from Similituue (tuly(!-taJ'ka, lit. reasoning from the
comparables)l.
Multiplex Predication
22. When 11 number of wordA arc uRed along with a Humher
of other words to fOI'1ll diifcrf'nt gl'OUpR for the PIII'POSP, it
breomeR [an inRtanre of] Multiplex Prediration (p"r!fJml.!la) I.
Description
23. When any ohject 01' incident directly scen or IR
described in harDlony with locality, timn or frOIl! related to it
it becoml'R [an instance of] Df'Rcription
Pointed Utterance
24. When one says something of hiH own Oil tIlt! imsis
of Sastras and thereby pleases the lea1'lled, it is a Point<'d
lit. utterance )1..
Deliberation
25. That which Ronwthing not directly pmwiw'd
and is in harmony with the meaning exprcHsod earliet
L
and
1 Of. SD. 442. Ag. reads this is as' a variant of the d('finition of
Exhortation (n.xVI.19) which ill transiatiull is as follow": To say
something 'IIery pointedly through suggesting one's own idea by
means of likenzllg it to others' actions, is called Edlor/aNon
Cf. SD. 472.
22 (C.22 ; n.p.a56, XVI.22). 1 Cf. SD. 443 Ag.'s rcading in transb.
tion is a, follow.,: When anything is drsmofd as possessing differ-
ent aspects by means of mallY words of similar import, it is [an li/stanc('
of] Mullt'pk.l Predication (padoccaya) whirl! jJuts together mmly objects.
23 (C.23; 13.1'.356, XVU{) 1 BC. d(* for Cf. :-iD. AI.(.
thiS"as a varhmt of s(jrii.pya (H.XVJ,15) which is different from
XVI.35 and is as follows:
I lIt'il<i 1'I'(! "
24 (C.24; Bp.357, XVI.24). I Cf. SD.419; Ag. reads this is as
II variant of AI'gllmentation B.xVI.35). 'fhe def.in trAnslation
is 8R follows: When faults discovered are eXPlained away as being
01 herwise is called Argumentation (upapatti) in (onnexion willi
drama. Cf. Sn.482.
(C.25; D.p. 357, XVI.25). 1 C. Pfirvadesao for n.
ane!eopiidhi for anekapoha. Cf. SD. 447. Ago's reading of the in

-XVII. 29] DIOTION OF A PLAY
305
includes much elimination of errors (apoha), is called Deliberation
(vicara).
Inversion
26. When due to seeing [something] an alteration of
Deliberationy takes place on account of a doubt, it is called
Inversion
Slip of Tongue
27. Manifold deviation of proud and similar other persons
from the intended words to something else is called Slip of
Tongue lit. lapse}!..
Mediation
28. [Words] which please the two persons with mutually
opposed resolution and [are aimed at] accomplishing some object,
constitute Mediation (Itnnn{l,!/{I" lit imploring)!..
Series of Offers
29. When for the purpose of accomplishing an object one
(lit. learned men) suggests to a person his many needs [which
may be fulfilled], it is [an instance of] Series of Offers (mala,
lit. garland)I-.
aH : Delt'beratz"on (vicam) is lite crt'iical c.mmination
of many tltings (under B.XV1.33).
26 (0.26; B.p. 357, XV126). I B. for
Of. SD. 456. Ag. reads this as a variant of the def of Wrong Perception
(mt'lltyadhyavasaya B.XVI,16) which in translation is as follows:
When in. Place of a non-cxlstent object one takes for cerlal'n some-
thing similar to t't, it [buomes all iltstaltee of] Wrong Perccption
(mithyadhyavl,s:lya).
27 (0.27 j B.p.a58, XVI.27). 1 EU1<'nd to d('P/lidinam
Of. Ma71cd bhral!ISO vacyud anyafarad 7'acal!. SD. 455. Ag.
reads this liS a variant of the dcI'. of Witty Oompliml'nt (priya7'acana)
which in trans. is as follows: ThaI 711hich IS apparently liable to provoke
anger 6ut 6rings joy ilt the cnd and inclledes a blessing, IS called
Witty CamPliment (priyavllcana=priokti) B.XVI.29.
28 (0.28, B.p.35S, XVI.28). I Of. SD. 458 Ag. reads this as a
variant of the d'lf. of Subservience (anuvi:!tz') W:lich in trans. is as follows:
To follow a purpose allothl'r person as a mat/a of courtesy, love
or favour, IS called SubsenliC1lr/i (anuvl'lti) n. XVI 34. Ag. reads
differently. Of. SD. 494.
29 (0.29; B.p.3S9, XV1.29). I Of. SD. 459.
89
306 THE NATYASASTRA [XVII. SO
Clever Manners
30. When one attends another person with a happy and
pleased face. [s weet] speech and [agreable] movements, it [is an
instance of] Clever Manners
Censure
3.1. If anyone mentions [someone's] .Iaults and explain
them as merits, or decries his mcrits and calls them faults, it
becomes [an instance of J Censure (!f(tr )1-.
Presumption
:32. When frol11 a sweetly-worded mention of something,
some other object is to be nnderstood, it is [an instanee of]
Presumption (athapatti). I.
Celebrity
Bi3 That which is expressed with excellent words mentioning
many well-known exploits, gives rise to Celebrity (prasiddhi)l.
Interrogation
34. When by courteous (lit. proceeding from courtesy)1
words one questions or another [imaginary person] it is [an
instance of] Interrogation (I)!'ccha).
30 (C.30; B.p.359, XVI.30). I Cf. folD. 457. Ag. reads this aA a
variant of the def. of Clevrr RCQlW8t (yiicim) which in translation is as
follows: Words 1vhich are apparently liaMe to provoke anKer, but bring
joy In the end' and turn favollrable are called. Clever Request (yiiciia)
See B. XVI. 22 Cf. SD: -.196.
31 (C.31; B.p. 359, XVI.3l). I Cf. SD. 461, Ag. reads this as a
variant of the dcf. of Deceit (kapa/asaYl}gllllta) (B.XVI.30) which in
translation is as follows: ApP/ication of some stratagem for the decep-
Uon or defeat of others, is called Deceit (kapat-a). When t1110 or three
(stratagems) are applied together it becomes. a Multiplc.t
(kapata-sa'llgh:ita) Cf. SD. 473.
32 (C.32; B.p.360, XVI.37), I Cf. SD.460. Ag. reads as a variant of
the dei. of Embellishment (kiirya, B.XVI.37) which in translation is IlS
followA: When defects of an object are e ... ptained as merits or
are derived from the defects t't IS [an Instance of] Embellishment (kiirya).
33 (C.33; B.p.360, XVI. 33). I Cf. SD. Ag. rel\ds this as a
variant of the def. of Submission (anunilt; B.XV138) which in
transilition is 8S follows: Sweet words which are uttered, to please
one after forgiving one's singular oiJence due to anger, is called
submission (anuniti). See also under B.XVI. 21.
34 (C.34; B p.36l, XVI.34). I Emend aiarod (iikiJrod C) to acarod
.XVII. S8] -DIOTION OF A PLAY
307
Identity
35. When from seeing or hearing Romething [suddenly] one
is confused by its suspected identity [with another it is an instance
of] Identity (sii'fUpya)1.
Indirect Expression of Desire
36. Expressing one's secrct desire of the heart
r
by a
pretence of referring to Romebody rlse'f! if-! called Indirect
Expression of Desire (manomthn, lit. object of the mind).
Wit
37. WordR which are addressed in a [clever] manner by
expert disputants and which relate to accomplishment of similar
objects I, constitute Wit (leaa).
Concealment
38. When heing faultIeR!' one declarE'S to be taking upon
oneself various faults of another, it Lis an inl'tance of] Concealment
lit. taking
Cf. abhyarthanaparaz,. vakyaz" SD. 462. Ag. (B. XVI.24) r('adR this
identically.
as (C.3S; B.p.361, XVUS). I Ufo SD. 464. Ag. 1'(>adr; this liB a
variant of the def. of W ollnded (abkimiina, B.XVI.8)
which in translation is as follows: When one is not pacified ez'tm 1IJhen
one is consoled by means of many words and acts, tI tS [an inslatuc oj]
Wounded Selfrespect (abhimana). Cf. SD. 493.
36 (C.36; B.p. 362, XVI.36). I Cf. SD. 468. C. h(dayarthasya
for htdayasthasya Ag. reads thiR in snbstantially identical manner
(B.xvi.20).
37 (C.37; B.362, XV1.37). 1 C. for
palya, (Jf. SD.467, Ag. reads this as a variant of the def. of Obs-
trnction (pratz1edha B.XVI.23) which in translation is as follows:
When one sets 014t to do sometlling contrary to another's desire and
is opposed by clever persons. (ttl. those who kn070 the ousinees) it IS
called Obstruflt"on
38 (C.38; B.p.a63, XVI.38). I EmeJld tu to sa/I}k,!epa. C. tit
Cf. SD. 465, yat 114 satrJkf!epiid iitmanyartke .prayujy/!.te.
Ag. this as a variant of the def. of pa,.z"devanam (parivudanam
of Bhoja, pariviida of 8aradatanaya, parzvedana of SarvE>savara) See
:S.XVLS9 foot note (.). The of its def. is pot clear.
308
THE NATYASASTRA
[XVII. 89-
Enumeration of Merits
39. When merits of men who excel [others] in qualities in
this world, arc ascribed to one single person it [is and instance of]
Enumeration of Merits (gWIJ,a-kil'taj!a)l..
Semi-uttered Expression
40. When from the mere commencement of II subject the
rest of it is compr(>bendrd without being actually expressed in
words
l
it [is an instance of] Semi-uttered (annleta-
sidrlh i, lit. unuttered nchievement)2.
Compliment
41. When words arc uttered in a pleasant mood to honour
an honoll1'able penlon and to. cxpreSH joy [for his acts J it [is an
instance of] Compliment (priynlit.i, lit. pleasing utterance)
8

42. thirtysix characteristic iuarb of a drama tie (lit.
pOltical) composition conducing to the objeet in view (i.l'. writing
plays) will beautify II play (lit. 1 and [hence
they] should be properly lIsed according to the .SentillH'nt2 [intro-
duced in it].
Fonr flgnres of spcrch
4:l. FOllr ngl1l'cs of spereh avaiJablr in drama 1 are: Simile
(npama,) Metaphor (Iupaka), Condensed (d'p,rkl!, lit.
lam p) and Yamaka.
39 (C.39 ; Rp.363, XVI.39). 1 Cf. SD.466. Ag. this d,f.
in translation as follows: Whm a proclamation of various quallHcs
of a person takes place, hut his faults are not given 01lt, it is [cal/cd
an instance of] Enumeration of Merits (gm.m-kirtana). Sre B. XVI. 9.
40 (C.40; Rpp. 363-64, XVI.40). 1 C. v!ifmatu ror
Ct. SD. 469. Ag. reads this as a variant of the def. paridevana etc.
(see 38 note abovn).
41 (C.41; B.p.3M, XV1.41). 1 Cf. RD. 470. Ag. reads this
differently, sen above 27 note l.
42 (C.42; B.p,3M, XVU2).
1 C. kavye.?" sodahara'(limi for C. haliltw-
rupa", (rasanuropam), C. for yatharasijni .
43 (C.43j B.XVI.40). 1 B. reads the second hemistich as kavyasy
etc hyfliarf}ka,ai catvaralJ parikirtitjjfl.
<XVII. 58 J
DIOTION OF A PLAY S09
Simile
44. When in a poetical composition anything is compared
on the basis of some similarity it is [an instance of] Simile (upama.)
It relates to quality and form.
N umber of objeets compared
45-4Q. This comparison may be of one with one or many,
or of many with one, or of many with many. (Examples of these
are as follows): your face is like the moon (one compared with
one}1, stars shine like the moon (many compared with one),
having an like); that of 11 hawk, a peacock and a vulture (one
compared with many) ; and elephants are like clouds ,(many com-
pared with many).
Five kinds of simile
50. Simile is of five kinds, viz. [that of] (p/'uSa'f!l-sa),
[that of] cemmre (ninda), [that ofj conceit (kalpila), (that of]
uniqueness (SW/ir1. lit. similar looking) and [that of] partial
likeness (!.:i'f!l-cit I;a drst).
Simile of praise
51. The king was pleased to see that lady just
as the 8ages are pleased to see the success incarnate after it has
been achieved with
Simile of censure
53. 1'ho \VOIlHlll clung to that rough-looking person devoid
of all good qualities just as a creeper clings round a thorny'l
b'ee which haH been [partially] burnt by the forest-tire.
Simile of conceit
,j;t The Elephants exuding ichor and moving slowly with
gl'aCeflllnc5s look like mobile mountains
. - - ._--- -_._----
44 (C.44; n.XVI.41).
45-49 (0.45-49; B.XV142-45). .1 should be
to anekasy (47b).
(mR. na in B.) for tutyartha (B. G.).
50 (C.50; B.XV.l.46). 51 (C.5l; B.XVl.47).
52 (0.52; B.XVI.48). I R!'ad 01' ka'l}lharatam, C.
53 (C.53; B.XVI.49).
310
TlJENATtASASTl\A [
Simile of uniqueness
54. What you have done today to satisfy someone else's
desire, is comparable only to your [other] superhuman
l
deeds.
Simile of t>artiallikeness
55. Here is come my lady friend whose face is like the
full moon, eyes are like the petals of a blue lotus and the gait
is like that of an elephant in l'Ilt.
1)6. These briefly are the varieties of similcR. Those not
described here are to be gathered from [different] poetical works
. and from the speech (lit. the people).
Condensed Expression
57. When words agreeing with different of] words are
combined into one sentonc'S by way of illuminating them together
it is [an instance of] Condensed Expression (!lillalea, lit. Iight)l.
Examplp: ,
fiB. In that region (lit. there) fUllness (lit. want of emptiness)
was always cffectc(P hy Hwans in the lakes, by flowers in the trees,
intoxicated bees in the and by friendly groups [of men and
women] in the and the gardens.
Metaphor
59. An image of slight likeness which is conceived due to
indecision [from OhjcetH} characterised hy Himilar limbs, is called
Metaphor (ru)Jokn).l.
Example:
60. The pool of watt'r and WOllt'n, with their 10tus-faceA,
Kumuda-smileH, beautiful and open !'iilotpala-eyes and swans
cackling around, seem to he talking to one anotitp\"
54 (C.54; R.XVI.50). 1 Read for #i milnu'1a. B.
55 (C.55; B.XV!.5l). 56 (C.56; R.XVI.52).
57 (C.60; B.XVI.53). I B. gives lin ndditiolllli del. (XVI. 54).
58 (C.61; n.XVI.55). 1 Tho plain mpaning is that the lakes were
full of swans, the. trees full of lIowers, lotus('S fIlII of bees, and the. park"
alld gardens full of friendly groups of
59 (C.5S; n.XVI.56). 1 (R.XVl.57) and (C.57) give II second
del. which does not appear in all ross
60 (0.59; B.XVl.5S).
XVII. 67) DICTION OF A PLAY .8n
Yamaka
61. Repetition of words at the beginning of the feet and
the other places constitute Yamaka (lit. twin). Lillten to their
characteristics which I am going to tell [YOU]l.
Ten kinds of Yamaka
62-64. Yamakas are of the ten kinds: Padallta. Ya.maka,
Kanci Y nmaka, Samudga Yamaka, Vikranta Yamaka, Cakravala
Yam aka, aud Yamaka, Padadi Ymnaka,
Yamaka, Catur .. vyavasita Yamaka and Mala Y Ulnaka.
Padanta Yamaka
65. When Rimilar syllables occur at the end of all the
foul' feet they constitute Padanta Yam aka.
Example:
66.
diviva lagnal!1 tapaniya-mm;u}alal!1 I
vibhati tamral!1 divi
yatha II
At the decline of the day, the redllish (lit. copper-colomed)
orb of the sun shorn of its of rays, shining like a golden
disc in the heavens, looks like a big rOllnd breast of a maiden .l.
Kailci Yamaka
67. Two similar words occuring at the' beginning and at the
end of eueh foot constitute Kauci Yamaka.
61 (C.62; B.XVI.59). 1 1!'or an old definition of Yamaka see
Bhiimllha, II. 17.
62-64 (C.63-65; B.XVI.60-62). 1 Bhamaha mentions a fivefold
division of Yamaka See II. 9. He seems to have known the tenfold division
of the and is of opinion that his fivefold division includes at least
and Samudga Yamakas. See II. 10.
65 (C.66; B.XVI.68).
66 (C.67; B.XVI.64). 1 B. gives an def. (B.XVI.65).
67 (C.68: B.XVI.66).
312
THE NATYASASTRA
, E:rample:
68. yanlltyamM candravatiniUp dravatinaIp
vyakMvyakt:L sara-janinaIp rajanin'im I
phulle phulle sa-bhramare Vii'bhramare vii
r,Lmii'rama vismayate ea smayate cal II
[XVII. 66.
The length of hours (YO-ma) of the moon-lit. nights, passing
swiftly in the company of young women are scarcely perceived.
Flowers having blown whether with or without bees, fair
lady looks at them admiringly, and the park smiles [with their
beauty].
Samudga Yamaka
69 When the same hemistich by its repetition completes
the verse it is [an instance of] Samudga Yamaka.
E:rample:
70.
Kobhate pmvara-kiinana-hasti I

Bobhate pravara-kiinana-hast! II
The very big wild elephant with it,; tuskR pale-white as
Ketak! flowers, looks beautiful j and the elephant-like large forest
looks beantiful with Ketaki flowers as itR pale-white tusks.
Vikrlinta Yamaka
71. When two alternate feet are similar, it is [an instance
of] Vikranta Yamaka.
72. sa purvaIp varal}o bhUtva dviRr,lnga iva I
abhavad danta-vaikalyad-viRfnga iva parvatlll,l II
Formerly being an elephant comparable to a two-peaked
mountain, [now] its two tusks heing broken it has b('come like a
mountain without any
68 (C,69; B.XVI.67).
69 (C.7.0; B.XVI.68). 1 yamiiyaml/S for yamam yiimam (lll
and maya mayii (C). This Yamaka . occurs in Bhiimaha; n. 10; allll
Dal}.9in.. ID.53-5', 70 (C.71; B.XVI.69).
71 (0.72; B.XVI.70). . 72 (0.73; B.XVl.71).
XVII. 77 ] DICTION OF A PLAY
313
Cakravala Ylimaka
73. When the word at the end of a foot is similar to the
word at the beginning of the next foot it is [an instance of]
Cakra vala Y amaka
1
.
Example:
71,. S/lraiRl tatha satl'llbhir ii.hata hata,
hatii.s ca bhllyaH tv anupUlpkhagail.l I
khagais ell sarvail' Ylldhi sai'tciHi.il dtM
nihatas talail.l. II
ThuR they werc killed after Iwing Htruck by arrows of the
enemies as well as by birds of prey flying closely behind such
missiles; the battlefield was swamped with snch hinls by which
dead bodies placed on the funeral pyre were heing pounced upon
with their [sharp] talons. a
Sandalita :-amaka
75. 'When the two words at the beginning of a foot are
similar, it is [an instance of] Yamaka.
1
Example:
76. pasya pasya me ramaQ.asya glll}ii.n
yena yena vasagarp. karoti mam I
yena yena hi mumaiti rlarRanalp
teua tena vasagarp karoti mam II
Look at the qualities of Illy lover, by whieh he makes me
bow to hill, !lUU he charills me by those qualities with which he
cOllles to III y view.
Piidiidi Yamaka
77. \Vhell the same word at til!' beginning of each
foot, it is [an instance ofJ Patladi 'Yalllaka.
73 (C.74; B.XVI.72. 1 B. has an additional dellnition (B.XVI.73) of
of Cakraviila Yamaka.
74 (C.75; B.XV1.74). 1 Emend satlas to sara/so
o C. reads ct"tiidhifii/!hii I,, hatt! hatti
75 (C.76; B.XVI.75). 1 This term occllrs ill Bh:imflha, II.lO, aJ4ll
DalJ<,lin, 1II.5152. But the latter'R def. different.
76 (C.77; B.XVJ.76). 77. (C.77; B.XVJ.77).
40
314 THE NATYASASTRA [XVII. 780
Example:
78. srjati bhiitani saIp.harate I
prasiite trailokyal11 lokadhi-daivatatp. II
creates all living beings; destroyes all creatures;
creates (lit. giveR birth to) the three worlds and is the
over-lord of [all] the worlds.
AmreQita Yamaka
7H. When the last words of :t foot are reduplicated, it
be(,,omes [an instance of] Amre4.ita Yamaka.
Example:
80. vijrmbhital!l nil.1RvusitalJl muhur muhul.l
kathalJl vidheya-smltruI,l:un pade pade I
yatha ca te dhy;inam idaIp.
dhruvalJl gata taIp.l rajani vina vina II
[You had] deep repeated [yon] remembered [her] as
yon uttered her name frequently and thus as [you were] in con&-
tant meditation [of her I your [sad] night passe(l without her.
2
Catur-vayavasita 'Yamaka
81. When all the feet consist of similar syllables it is [an
instance of] Catnr-vyavasita Yamaka.
Example:
82. varnI} anam ayam eva kalo varaI,lanam ayam eva I
varaJ}.anaUl ayam eva biD vii l'flJ}.anam ayam eva II
This is the time of the Vflral}1\ [tlower]; 'this is the
wlwn the elephants (IJarmpL) are free from disease. This
is the timB [forJ the Bnemies to come; 01' this is the time for
[goi ng to] hattie.
Miihi Yamaka
83. When one consonant with different vowels occurs in
various words it is [an instance of] Malii Yamaka.
\ .
78 (C.78; B.XVI.78). 79 (C.79; B.XV1.79).
80 (C.80; B.XVI.80). I Emend te to tiittl.
I The trans_ is not very literal
Bl (C.Bl; B.XVI.8I). 32 (C.82; B.XVI.82). 83 (C.83; B.XV!.88).
-XVII. 88] DICTION OF A PLAY
S15
Example:
84. hali bali hali mali suli kheli lah jali I
balo tv II
Lct the strong Balarama, the garlanded Balarama, who
holds a a spike, it; sportive, faltering [in gait] and is full of
Sentiment, and Balarama who if'! high in strength and who
has his eyes rolling and who holds a club, protect you.
85. asall hi rama rati-vigraha-priya
rahal.l-pragalbha l'<lmlt\lal!l raho-gatnm I
ratena 1'lltrau ramayet parcna va
no ced aI'u\lah puro II '
bcautiful WOll1an who is fond of love's fight and is
unashamcd in it, will Hccl'etly pl'<l.Re her lqver at night with the
best embrace, till the f'un will rise in thc paRt as her enemy.
86, Ha
I
iva sa!p.v!'tailgal:I
ivavabhfLti II
The lotus-cyed one having his eyes bathed In blood, lctting
fall from hi. wounds awful blood and fhaving his body] covcred
with window-like wounds looked like the thousand-eyed god
(lndra) in person.
87. A play (lit poetical work) should be compol!ed by
[introducing] these I characteristic] marks after considering their
objects and functions. I shall speak hercaftcr about faults
in Ruch
Ten fanIta
88. ill a play (lit. poctical work) may be'of ten kinds
"licit CiI'ClIlIllo('utioll (!/futhal'lha), ExpreAsion
(al'lhantnrll), Want of (arthnht II n), Deft'ctive Signi-
ficance (bhinnal'fhn), Tautology (ek7i,rtha), Want of
84 (C.84: B.XVI.84).
86 (C.86; B.XVI.86).
88 (C.88; B.XVI.88).
85 (C.85; B.XVI.85).
87 B.XVI.87).
8111 THE NATYABABTRA [XVII.89
(nl"riplldal'thn), Logical Defect Metrical Defect
I,ifnmll), Hiatus (/;isandhi) and Slang
Ciroumlocution
80. Mentioning [anything] by means of a [manufactured]
synonym, is to cause Circumlocution (yrulh1i;l'iilll, lit. hidden
meaning)1
Superfluous ExPression
When anything not to be mentioned is described it is [a
case of] Superfluous Expression (nrthantnm)
2

Waut of Significance
(lO. An expression which is irrelevant
1
or which remain8
incomplete
2
iH [an instance ofJ Want of Significance (nrthahl:nn)'.
Defective
Defective Significance (lJhinnartha, lit. broken meaning)
includes an expre8sion which is not refined, 01' is worthy of a rustic.
91. When the intended sense is changed into another seUiie
it is also called Defective Signiticanee.
Tautology
fl2. Tautology ("karl ho,), IlWallH lise of
[many J words for a single pUl'pose 1.
I Por It discussion of faults iu NH. see S. K. Dc, Skt. Poetic"
11, pp. 19.
89 (0.89; B.XVI.89). 1 Au example of such a synonym is EklidMka-
nava-vlinc!na for /)aXaratlza, Ufo Bhiimaha (1.a7.) serms to be
in au identical sense. He,,!. 45-46. 1:;. K. Dc trans-
lates this term as "use of difficult expressions" (loe ritl.
An example of such an expression is "''''1'11 "''I' \Ill':
'The beautIful lady's look iniects (lit. spreads) indeed love as well as anxi('ty
and Here "ltm:iety and inscnsibility" are superfluous, foJ'
love includes tlwse two states of the mind (Ag.).
90 (0.90; n.XVI.90). 1 Au example of snch au expression is
"l'lllf'l ('II{fa) it 'I'o HlIY that a mugdlm
heroine can be samara-tatura (rxpert in love) as wI'l!, is incoherrnt. (Air')'
2 The example of s{Ivase"a is " fll1lqlll{ eQllJa.
3 .I!'or makatma Miigyav'a;,iit may be constl'lu'd as ma/ultma aMagYI!'
"aXlit and thereby its meaning may remain incomplete or Uluil'cided without
a reference to the context. 91 (C.91; B.XVJ.91) .
.; 92 (0.92; B.XVI.92). 1 An example of Tautology (ekartka) i,
kundendu-kara-karakasasitam. White like a Kundu flower, the UlV0U
.XVII,96J DtOTION OF A PLAY 811
Want of Synthesis
[When a sentence is] completed within [each] foot [of a verse)
it [is an instance of] Want of Synthesis (alJhiplntartha)2.
Logical Defect
93. Anything devoid of reasoning is an example of Logical
Defect (nyayad-aptta) t,
Metrical Defect

Lapse in t.he metrical structure IS called Metrical Defect
lit. unevenness).
Hiatus
94-, When woniH [which shoul,l combine in Sandhi] are kept
separate it iH [an instance ofJ Hiatus (risl1ndhi) ,
Slang
When a Hound or accent is dropped it is an instance of slang
(saiJtiac!lntn, lit. lapse in a word)l.
GIlI,HIS
gil. These are dw faultR of a poetieal work properly des-
cribed by nl{'. GIlI).aH (merit) are their negation and are characterised
by sweetnesR and depth of meani ng 1,
The tell GUI)I\S
96, The ten GUl).as are: lit, union), PerR-
picuity (era "lidll ), Kmoothne,.;s (,'IIIIWIi:i), Concentration (,,,(lilad hi),
and the lallght(,l' of AllY would have beon enough,
Each simile here sel'V<'5 the same pll\'pose and IlPIlCl' Tautology has
OCClllT('d (Ag.). H('e HhiinUlha, IV. 12,
Read samflpyate (ms. na, ill n,) fm' samasyate. An example of
this is 'I I '!'l"''!!'' 'l1l!lfo'llHl'l:. Hrl'c
all the fUlIl' feet contain four complrte Hl'ntplIces which al'e 1I0t conll('ctRd
with on(1 anothrr hy srn$e.
(C.93; B.XV1.9:1). 1 nYllyviid-apetam = di'8akii.la-11I'ruddhall} etc.
(Ag.) 'd"fyillg tIl!' limitation of and tinw', Rhiilllaha'f<
kala-lokanyiiyiigamii-7J1rodh,U, (lV,2!ltf) He('mR to bl' included in thiH.
94 (C.94; B.XV1.94). 1 Huch dl'o[lJlillg occurred probably due to
the 1'1' IIkritic habit in sprech.
95 (C.95; n.X VI.95). I ViimRn:l holdH the oPPol'lit!! vi('w (IUI,Ia-
vtpat-yayalmiino U. l.l.) and according to him GllI,ms l\rll positive
entities lrartiiro dkaNlfii Ill, 1. 1),
96 (C.96; B.XVl.96). .I. Ill. 1. 4., and DIII.I<]iu, }.41-94.,
S18
tHE NATtABASTRA [XVII. 91.
t;weetness (mMhnrya,), Grandeur (o;lis), Agreeableness
miil'yn, lit. delicacy), Directness of ExpreRsion (a,rtha-vyakti, lit.
expression of meaning), Exalted ness (wiara, lit. deep) and
Lovelines (kanti).
Synthesis
97 Union of words connected through meanings intended
is called
Perspicuity
OR. W!lCl'C the unexprPRsed word or HenSe iH comprehended
through a of easily understood words and sense, it is [an
instance of J (/II'tl.<a,'/a)1.
Smoothnrss
90. When a eompoRition does not contain too many un-
compollndpd words, redllnr\lIllt f'XprCRRioIlS and words difficult to
nndprRtand it is [an installl'C or] Smoothness (samlltii)1.
Concentration
100. PORRessin,:; some special sense which the men of genius
can find out in a composition (lit. here) ill called Ooncentration
(samo;/hi)1.
havc trn GIIl.ms and llame them TInt th<'ir descriptiolls arc
different. Ufo De, Skt. POf'tics, II. pp.l5ff. Nobel, Foundations, pp. 104ff.
97 (C.97; B.XVI.97). 1 Cf. Vamana, III. I. 11; Da1)9in I. 4344.
BC. ),(ive another description (C.98, B.XVI.98) of this GU1)a, which in
translation is RH follows: ,1 [composdzonJ which is, 10ith deep logic
/r01ll. its nature is [very] Plain find is very is
called Compact
98 (C.99; B.XVI.99). I Cf. Vamana Ill. 1. 6; Da1)9in 1.45.
99 (C 100; B.XVI. 100). I Cf. Vamana III. 1.12; Da1)9in 1-4750.
(B.XVI.lOl) and C. (lUO) giv!'S an additional description of this GUl)a
which in tran8lation is as follows: When alaYl}kilras and tu'IJas matck
and illuminate one alto/ker it t's calJed [an instance of] Smoothness
(samata)
100 (C.p.212 f.n. 1. B.XVl.l02). 1 Cf. Vamana, III. 1.13; Da!}9in
I. 9394. B.(XVI.103) and C (101) giveR an additional description of
samadkt; which in translation iR !LA fol\OWR: Careful condensaft'" of
meantttgs suggested by and dert'rled from st1n1'les, is called Concmtrailon
(,:!amadhi).
-XVII. LOli 1 DlOTION OF A PLAY
319
SwectnpSA
101. When a sentence heard or uttered many times does
not tire or disgust [anyone], it [if) an instance of] Sweetness
(rnadh1wya)1.
Grandeur
102. When a composition ('onsistfl of fl, URe of many and
varied compound words cxalted [in sense) and agreable [in sound],
it is [an instance ofl Grandeur
Agreeableness
lOS. When a composition consists of words easy to pl'Onounce,
euphonically combined, and giving agreeable impression leven when
treating some unpleasant topic], it is [an instance of] Agreeableness
(,mnknrnal'ya) 1.
Directness of Expression
104. It any subject (lit-. action) relating to the LCOllllllOJl]
events occurring in thc world gets by means of well-
known predicates, it becomes Ian instanae of] Direct Expression
(arfha-llyakti) 1.
ExaiteuIIPKS
105. When in a eomposition charactm's are
101 (C.102; RXV1.l040). I Cf. Viimana III. 1. 1121; I.
5153.
102 (C.p.212, f. II. 2; B.XVI.105). I Cf. Viimana III.l.5; Dat)c}in
1.80-85. B. (XVI.l06) and C. (103) givL'S a second qelinition of this
Gm,la which in translation is follows: If a [;omPosz'tion otkerwz"se]
censured and dejicz"ent z'n qualt"fy reflects an exalted sense through
z"ts words and zs /'Z'ck zn sound and t"t becomes [an z'nstance of]
Grandeur (ojal). Hemacandra utilised this definition (Ch. IV.)
103 (U.I040; B.XVI.I07). 1 Cf. Viimana III. 1. 22; Dal,l9in calls
this sukumaratii.
1040 (C.p.212. f. n. 3; B.XVI.108). ; C. suprasz"ddkadkalunii, for
suprasz"ddkaM,'dhiina, (B.XVI.I09) and C.(105). gives a second dpfinitioll
of this Gm,lR, which in translation is as follows: When the meanwg-
of a can be g-rasped oy tke Penetrat.ng- mznd just after
rec;'tal (I"t. use) .'1 .-S [an '-nstance of] D.-rectness of
(arthavyakti). 105 (C,p.212, f. 4.; B.XVI.I01). .
8JO
THE NATYASASTBA
[ XVII. 106.
described in relation to the Erotic and the Marvellous Sentiments
and tbe various States, it is [an instance of] Exaltedness (/ldattap.
106. which [in a composition] while describing tlw
sportive movement of [a c1lilmcter) delights the and the mind
just as the [pleases us], is (an instance of] Loveliness (liilttt) I.
Alalllkaras, and GUI)US according to Sentiments
107. These are the figures of speech, faults and
[available in a poetical composition]; I shall now describe their
application in connexion with different Sentiments.
Sounds and Figures of Speech according to
108. The poetical composition in connexion with the Heroic,
the Furious and the Marvellous Sentinwnts consist
of light syllables and should include similes and metaphors.
109-110. In the Odious and the Pathetic Sentiments it (the
composition) should he similar except that it should consist mostly
of heavy syllables. -
Ml'tres according to t)cntimcnts: in the Heroic and
the J<'urious Sentiments
Whenever any act of boldness described (lit. ill
connexion with the Horoic and the FuriouH i::lentiment", it (the com-
position) should be in the Arya metre and HllOlIld havl' nl('taphor
and Condensed Exprc:;sion in it.
Tn the Sl'ntinwnt
In the Erotie HpntinH'nt th(' compositioll he in grntin
Illetres.
1 Of. Viimana. III. 1. 23; 1. 76-78. D:(XVI. III.) and
0(106) give along with this a definition of the GtII.ta named 2ldara.
In translation it is as follows: When the composdt'on includes wtfty
and graceful words having many specilll senses wkt'ch arc marvellous.
it is [an instance of] Exaltedness (l1diitta).
106 (0.p.212 f. n. 5; B.XVI.112). 1 Of. Vamana.II1. 1. 25; Dal.l9in,
1. 85-88. C (07). gives an additional definition of this Gm.la. which in
translation is as foIlowR; When a composition gives delight to the ears
as well as to lite mind on account of welt-pul-together words. it is [art
instance of] Loveliness (kanti).
107 (C.I08; B.XVI.1l3). 108 \C.I09; B.XVI.l14).
i09-110 (O.nO-lll;
-XVII.lJ7 ]
DIOTION OF A PLAY
891
In Heroie Sentiment
111112. In the Heroic Sentiment the poetical composition
should have gradation [of sounds] and it should be in metres of the
J agatl, Atijagatl and Satpkrti types. In the description of battles
and tumults Utkrti bas been prescribed by tbe experts.
In the Pathetic Sentiment.
Sakkari and Atidhrti would be the proper metres in the
Pathetic Sentiment ..
In the Heroic and the Furious Sentiments
113. The metres prescribed for the Horoie Sentiment may
be applied in the Furlous Sentiment as well; and as for metres in
the reRt of the cafles (i. e. those not mentioned) they should be
made suitable to the meaning intended.
Vowel-length in different Sentiments and StateR
114. In connexion with the drama the poets should use
l
short, long and prolated (pluta) voweh! for representing different
Sentiments and States.
115. In the intonation [in Recitation] a vowel consisting of
one MiUra is short, of two Matras is long and of three Matms is
pl'olated (plnta).
Uses of the prolated vowel
tH. In remembering anything, in [expressing] indigna.
tionl, in lamenting or in the reading of Brahmins the prolated
(plnta) vowels occur.
117. [Syllables concel'llcd in these eonnexions] will be 'a'
for remembel'ing, 'il' for indignation, 'ha' for lamentation and 'om'
for the reading of Brahmins.
111-112 (0.112-113; B.XVI.1l7-U8).
113 (0.114; B.XVI.1l9).
114 (0.115; B.XVI.l22). 1 O. kavyal!1 vt'jileyam for kiiryal!1
kaviMi".
115 (0.U6; BXVI 123).
116 (0.117; B.XVI.124). I O. smrte cast"ayule for casftyile.
117 (0.118; B.XVI:125).
4.1
TBE NATYASASTRA [ XVU.llS-
118. Besides these, other syllables in a play Oit. poetical
composition) should also be made short, long or prolated (pluta.)
according to the Sentiments and States [they are to-express J.
119. The uneven and uneven metres which have been
described before should also be used in composition with agreeable
and soft sounds according to the meaning [intendedJI .
. 120. The playwright should make efforts to use in his
composition sweet and agreeable words which can be recited by
women. For, furnished with these (i.p. such words) a play will
appear very much beautiful just as lotus-lake [will appear] adorned
with swans. .
121. With harsh words such as cehulita.1, delicate dramatic
art does not appear beautiful just as a public woman does not
appear well by the side of Brahmins who are clad in Ruru-skin,
and are annointed with ghee and who carry the skin of black
antelopes and have the [in their hands].
122. A play abounding in agreeable sounds and senses,
containing no obscure and difficult words, intelligible to country-
people
1
having a [good] construction, fit to be interpreted with
(lit. fit for) danoes, developing Sentiments by many [characters)ll
and having suitable Junctures (sandhi) and their [proper J unions,
becomes 6t for presentation to the spectators.
Here ends chapter XVII of Bharata's
which treats of the Characteristics of a good play in connexion
with the Verbal Representation.
118 (0,119; B.XVJ.l26).
119 (0.120; B.XVI.120). 1 B. reads 120a as yac jJurvam
e1JORlarrJ samam. B. salJdazs tat kiiryarrJ lu rasiinuram
for kiiryiis te'rlkavaliJnuraIJ.
120 (C.121; nXVI.121). 1 The word ceR1'ir/ayaliJrt} occurs in the
Avi (III.l8) R!!Cribed to BhiisR. (See A.D. Pusalker, Bhiisa, Lahorr,
1940, p.l3l).
121 (0.122; B.XVI.127).
122 (0.123; BXVI.128). I C. budkajanaiukkayoryam yuk/iman .
' B. ballukt,'/arasamiJ1'lam for C.
CHAPTER EIGHTEEN
,
RULES ON THE USE OF LANGU AG ES
'fhe Prakritie 'Reeitation
1. IThus I have spoken in brief
i
of the Sanskritic Recitation.
Now I shall speak of the characteristics of the Pt'akritic Recitation.
2. The former (lit. this) [when] changed and devoid of the
quality of polish, is called the Prakritic Recitation, and it has as
its chief feature changes due to different conditions.
1
Three kind. of the Pkt. Reeitation
3. In connexion with the dramatic representation, it (the
Pkt. Recitation) is of three
1
kinds, viz, that with the same -words
[as in Sanskrit] (samana"abda), that with corrupt words
and that '.ith words of indigenous origin (dest).
4. A sentence contaning words like kamala, amala,
ia,ranga, l'lla, saUla and the like are used in the Prakrit composi-
tion [in the same manner] as in Sanskrit.
1
5. 1 Sounds' which change their combined form or vowels
or sustain loss and that often in the middle of a word' are
corrupt
1 (C.l, B.XVI.l). 1 For' an English translation (with the text and
notes) of XVII11-24, seeM. Ghosh, "Date of the Bharata
JDL. Vol. XXV. (1933). For a Freneh translation with tho
romanised text) of this chapter see L. NittiDolci. Lea Grammairiens
Prakrits, 1938, pp. 64-'(6.
, IQlll(JSiltall (C. d'llijolla1llQ/}).
9 C.2; B.XVII.9). 1 Cf. Nitti-Dolci" p.70.
3 (C.3; B.XVII.3). I Later Prakrit ealled the above
throe classes of words la/sama, IadMa'lla and deBi respeetively.
4 (C.4; B.XVll.4b-oa). 1 B. reads one additional hemistieh (4a)
before this. Of. Nitti-Dolci, p.20.
5 (C.5; B.XVIT.5b-6a). 1 Cf. NittiDolei, p.70.
a C; yiinty ajJarJadau prayas, B. for gaccnanti padanyasJii, C.
B. reads one additional eouplet ,aftM 5.
824 THE NATYASASTRA [XVIlI.6.
Vowels and simple eonsonant/!
6. Sounds following e and 0 (i.e. ai and au) and the Anu-
svara [in the alphabet] do not occur in Prakrit. And such is the
case with sounds between va and sa (i.e. Ba and and the final
sounds in the lea, ca and ta groups (i.e, nit, fla, na).'
7. Ka" ga, to" da, !la, and va are dropped [in Prakrit] and
the meaning is carried by the [remaining] vowels, and kha, gha,
tha, dha and bha become ha without giving up the meaning of
the word.
8. In Prakrit ra does neither precede nor follow [a conso-
nantal sound] except in of bhadra, vodra, Iwalia, candra
and the like.
1
9. Kha, gha, tha, dha and bha always become ha in words
such as 1mdcha, megha, katlta and vadlm lJJ'o/Jhuta.
1
And as for
ka, ga, to" do" ya
2
and 1)a, the vowel S following them always
represents them.
10. ,5a it should be known, always become cha in words
such as The final syllable of kila should be m and the
the word lrhalu become kIm.
6 (C. 6-8; B.XVIl.7). 1 This together with three following
are written not in Skt. but in Prakrit. Henee they seem very much
to be an interpolation, The first of these occurs as a quotation (with-
out the author's name) in a late metrical work edited by M.H.D.
Velankal' (Annals of the Bhandarkar lnst. XIV. 193233, pp. 138,
citation, NittiDolei, p.7l).
7 (C.6-8; BXVII.8).
8 (C.6-8; RXVIJ.9). I Nitti-Dolci and B. reads padra for draka.
See clUiya and Ag. and also PSM. for the Pkt. words/';f. Nitti-Dolei, p.7l.
9 (C.6-8; RXVll.lO). 1 Evidently hard aspirate;! in ease of othrr
words did not change. Ag's. example of such words are kketa, part"gka,
atka.' This speaks of the high antiquity of the Pkt. of the NS.
2 The non-aspirate consenant.q mentioned here are to be understood
as devoid of the inherent vowel 'a'.
a The word saro (=s'lIarah) hero means "vowel" and not "sound".
Cf. p.71. .
10 (0.9; B.XVII.l1). 1 Ag. is oiJent about this ra'Qa.
XVIlI. 18] RULES ON THE USE OF LANGUAGES 8211
1]. 7
1
a becomes Ija in words such as and
and sa and always become sa, e.g. (visa) and (sanka).
12. In words such as itara and the like til standing not in
thc beginning of a word becomes an indistinctly pronounced
da.
1
:(Ja in words such as vatla,1'a and tatlaga becomes lao
13. Tha in words Auch as and the like
become Ijhr:, and na becomes "fa everywhere in pronunciation.
1
14. Pa [in it] changing into va., apana becomes avana.. And
except in case of words like yatha and tatha tha becomes dha.
15. One is to know as phamr.a, for pa becomes pha
[in it], and m1;ga will be changed to mao whilc mrta will also
be ma
n

l
tH. Au employed in words like etc. will change to
0, and c(/, in wor&, as }lmc(/,!I(/" Ilcim and a.cala etc. will
change into !/a.
l
17. ThuR [change] the sounds in Pl'akrit when they are
not mutually connccted (i.c. thcy are simple). Now I shall de;;cribe
the change of conjunct sounds.
Conjunct
IS. Sea, psa, tsa and thya change into (c)r1w, uhya, h!la
and ilh!la into Wihrl, *t into into ti1w, wnw into mlw,
and into "fhn, nnd into (l.:)khlJ.
11 (C.I0; B.VII.12).
12 (C.ll; B.XVII.13). 1 This indistinctly pronounced da is perhaps
a spirantiRed ria. Ag. thinks that it is somewhat like ala. ;;flI1I!ltI
it.! !I''11
13 (C.12; B.XVlI.14 f.n.). 1 B. reads the frrst hemistich as follows:
'l'i'lillt '" and C. too differently. Dka in vardkana
(i.e. in combination with ra) change8 into i/ka.
14 (C.12b13a, B.XVII.15).
15 (C.13b 14a RXVII.l6). 1 The word maa (maya) from mt'la
as wdl as mrg-a had its spil'antised ria reduced to ya-8rult" which how
ever was not Rhown in writting during the early days of this phonetic
change (8eeIHQ. VIII. 1933. suppl. p. 14-15).
16 (C.I4tb15a; BXVII.17). 1 Thisya'8rulifor ca did not probably
at once lead to it.'! graphic elimination ..
17 (C.lSb16ai B.XVII.lS). IS (C.16b18a; B.XVII.19.)
all6
tHE NATtASAS'l'RA [XVIIt. 19
19. L1Bcarya will be acchariya and nilcaya nicchaya,
l,btsaha ucchaha and l1athya, paccha.
1
20. becomes tujjha'f[t, mahyam majjhlL1[t, vindhya
and hasta hattha.
21. becomes gimha, u7J.ha
1
;
paryai,]ca palla'f[tka.
22. There is metathesis in the group hma occurring in
words such as brahman etc., and in brhaspati [the group spa]
becomes pha, yajna becomes ja7!7J.(!., bhimha.
23. Ka and similar other letters (sound) while on the top
of anothet lettcr will have to be disjointed in their
pronunciation 1
24. Thus are to be learnt the pronunciation of Prakrit and
Sanskrit. I shall diseu;;s hcreaftcr the classification of regional
languages
25. The [languages] to be used in drama are of four types
in which Recitation should be either of the refined (sa''f[tskrta) or
of the vulgar (pl'okrt(t) kind.
]<'our types of languQfl:eR
!)li. The Super-human Language the Noble
Language (arytt_bhafo,)l the Common Language and
the Language of Other Animals (yonyantar'i are the [fourJ
languages occurring in plays.
19 (O.18b-19a; B.XVII.20a-2la). I B. reads one Rdditional hemistieh
between 19a and 19b.
20 (O.19b-20a; B.XVII.21b1l2a).
21 (O.20b-21a; B.XVII.22b-23a). I O. reRds lear)half.
22 (O.21h-22a; B.XVn.23b-24a).
23 (C.22b-23s; B.XVL24b-25a). r This probably relates to S'lJara-
Dba/de' (anaptyxis). K/csa (Ie/csa), radana (ralna) and dU'Oara (d'Oara)
may be examples of this.
240 (C.23b-24a; B.XVII.2Sb26a). I Cf. Nitti-Dolei. p.7S.
25 (O.24h-25a; B.XVI126b-27a).
26 (C.25b-26a; B.XVII.27b-28a). I Some eommentators think that
meanR n language in whieh V t'die words preponderate (Ag.).
2 .C. reads jatyantari and yonyantari.
-XVIlI.301
RULES ON THE USE OF LANGUAGES 327
The Superhuman and the Noble Languages
27. The Super-human Language is for the gods, and the
Noble language for the kings
1
These have the quality of refine-
mentI and are current over the seven great divisions'
(d7)lpa) of the world.
The Common Language
28. The Common Language prescribed for use [on the
stage] 4as various forms'!. It contains [many J words of Barbarian
(mleccha) origin and is spoken in [only]"2".
The Animal Language
29. The Language of Other Animals.! have their orlgm III
animals domestic or wild and in birds of various species, and it
follows the Conventional Pal'ctice
Two kinds of Recitatien
30. The Recitation in the Common language which relates
to the four is of two kinds, viz, vulgar (pl'akrta) and refined
(sa1?'-skrta).
27 (C.26b27aj B.XVII.28b-29a). I The and
are possibly the dialeets of the pure Indo-Aryan speech. It.should be noted
that "samskrla" (Sanskrit) as the l1am of a language is absent here.
BllOja 111'ya- Okilifas reSllectiv?ly as 81'aula (Vedic), iil'fa
(Puranie) :\Od laukika (iitprary) speeches. See 01'. Pl'. pp,191lf.
! Read s(l,!,skaragu1}a for s(l,!,skii'fa-pu{hya (the ms. Ma in B.).
a Read for samyai/nyaya (the ms.
Ma in B).
28 (C.26b-27aj B.XVn.29b-SOa). I Read vivid"a-jiiliohasii j vJ"idha
(ca, ria in B.) for dvividha. .
I The common speech or the speech of the commoners is distinguished
here from that of the priests and the nobility by describing it as con-
taining words of Barbarian (mleccha) origin. These word9 ssem to have
been none other than vocables of the Dravidian and Austrie l:mgaages. They
entered Indo-Aryan pretty early in its history. See S. K. Chatterji, Origin
and Development of the Bengali Language, Calcutta, 1926 pp. 4.2,178.
29 (C.27b-29aj B.XVll.30b-Sla). 1 Neither the NS. nor "tmy
extant drama gives U9 any specimen of the conventional language of
lower animals, which is to be used in the. stare.
80 (C.2Hb-29aj B.XVIl.81b-SIa.).
828 THE NATYASABTRA [XVIII. 81
OeellSion for Skt.
ill. In casll of the self'controjled (dh'ira) Heroes of the
vehement (uddhatn), the light hearted (lalita), the e'xalted (udatta),
and the calm types, the Recitation should be in Sanskrit.
Occasion for Pkt. Recitation
32. Heroes of all these classes are to use Prakrit when the
occasion demands that.
l
33. 1 In case of even a superior preson intoxicated with the
kingship (or wealth) or overwhelmed with poverty no Sanaskrit
should be used.
2
34. To persons in disguise!, Jain monks I, nscetics8, religiouR
mendicants' and jugglars should be assigned the Prakrit Recitation.
81 (C. 29b30a; B.XVII.32b-33a).
32 (C.30b-31a; B.XVIl.33b34a). I As Arjuna disguised lIS Brhannala.
33 (C.31b32a; B.XVII.34b35a). I We follow C. text.
2 No extant drama seems to furnish any iIlllstration of this 1'1I1e.
B. reads one additional hemistich before this.
34 (C.32b:33a; B.XVIl.36). 1 "'persons in
disguise of different of professional and religious mendicants etc ..
See Kautilya's 'Artlmsiistra. An cxample of this is Indra in tho guise
of a Brahmin speaking Pkt. in Karf.1l1. ascribed tu Bhiisa. NittiDolci takes
this expression liS lin adjective of :lramalJalJiil!l etc.. But it need not be
construed like this. This part of the rule seems to relllte to Skt.
speaking characters assuming disguise. Viriidhagupta (Mudrii II.) aSRuming
the guise of a snake-charmer, an example of such And so
are YaugandharaYRI.Ul and Rumal,lviin ill the (lII) ascribed
Bhiisa.
a Sramal}a (Pkt. The word is to be taken to melln here
a Jain monk. Cf.jad,' vattham a'llarJcmi samarJao hom,; Avi. (V.) ascribed
to Bhiisa; sramana was sometime!! used also in with the
Buddhists. See below 36.
a tapas'llin.-It appears that the author of the NS. meant by this
term ascetics in general. Though we fiud Brahmin ascetics in ancient
literature, the institution of lISCeticism was most probably of non-Aryan
origin. This seems to be justification of assigning Prakritic Recitation to
all the lISCeties irrespective of their sectarian affiliation.
mendicant in general. It should not be res-
Buddhists alone. The alternative name of the Brahma-siitra
is the
XVIII. 95]
BULBS ON THE USE OF LANGUAGES
329
35. lSimilarly Prakrit should be assigned to children,
persons possessed of spirits of lower order, women in feminine
character
9
persons of low birth, lunatics and phallus-worshippers8.
Exception to the rule for Pkt. Recitation
, 36. But to itinerent rec)uses\ sages!!, Buddhists
s
,' pure
Srotriyas and others who have received instruction [in the Vedas]
and wear costumes suitable to their position (liilgastlta)" should
be assigned Sanskritic Hecitation.
35 (C.33b-34aj B.XVII.37 f.n. 9). I B.'s reading in translation is
as follows: SZ1nlarty Pkt. shoUld be assigned 10 6az'7la trackers, lunaft"cs,
cht"ldren, persons possessed of sprts of lower order, 11J01ltm, persons
of low bzrth and kermaphroddes (B.XVII.37).
a In a qneen's role a WOlllan may sometimes speak Skt. Sec 38-39
below. The parz'vrajz"ka in the Miilavi. speaks Skt.
3 salt"tiga.-This possibly means the of a sect which like the
LiIigiiyets wears a phallus suspended from their neck.
36 (C.34b-35aj RXVII.38). I parzvraj-a person of the fonrth
A recluse belonging to the Vedic community.
2 munt.-This word, probably of non-Indo-Aryan origin meant in
all likelihood '!wise man." See NS. 1. 23 note 1. In the ancient world,
wisdom was usually associated with religious and spiritual elevation. This
might have been the reason why the word was applied to persons like
V and Narada.
II siikya.-a follower of the Buddha. 1'hrre is nothing very astonish-
ing in Skt. being assigned to Buddhist monks. Buddhist teachers like
Nagarjuna, Aryadevtl, Vasubandhll wero almoRt all great
Sanskritists, and the Mahayana literature was written in Sanskrit of
corrupt as well as of pure vari('ty. This might have bern tile gt'nt'ral
linguistic condition bdore the schi81U arose among the Buddhists. In
Buddha and. his disciples speak
Sanskrit (Keith, Skt. Drama p.82). assigns Skt. to a sramar;a,
as well (loc. ct"t). This sramalJa was possibly a Buddhist j see 34 f.lt.
4 coksesu (caz"ksesu, C.) the pure srotriya or a
learned B;ahman. The adjective used with srotrzya is
possibly to separate him from an apostate who might have entered Jain
or any other heterodox fold and was at liberty to lise Pkt. ,.
5 liitgastkall-Ieligions mendicants who have received
instruction (in Vedas).
49
830
THE NATYABABTRA [ XVIII. 87
37. Sanskrit Reeitation is to be assigned to queens, cour-
tezans
1
, female artistes to suit special times and situations in which
they may speak.
38-39. As matters relating to peace and war, the auspicious
and inauspicious movements of planets and stars and cries of birds
coneern the well-being or distress of the king these are to be known
by the queen, and for this reason she is to be assigned Sanskritic
Recitation in connexion with these (lit. in that time)!.
40. For the pleasure of all kinds of people, and in con-
nexion with the practice of arts, the COUl'tezans are to be assigned
Sanskritic Recitation which can be easily managed.
41. For learning the practiec of arts and for amusing the
king the female artiste has been prescribed to use SallRkrit in
dramatic works!.
42. The pure speecl; of the Apsarasas
1
is that which has
been sanctioned by the tradition (i.e. Sanskrit), because of their asso-
ciation with the gods; the popular usage conforms to this [rule J.
43. One may however at one's pleasure assign Prakritic Reci
tation to Apsarasas [while they move J on the earth. [But to the
Apsarasas in the role of] wife of a mortal also [the same] should
be assigned when an occasion (lit. reasons and need) will occurI.
44. In the production of a play their [native] language
should 110t be assigned to snch as, Barbams, Kiratas,
Andhras and Drami(Jas
1
.
37 (C.85-36a; B.XVII.39). 1 An example of this is Vasantasenii
speaking Bkt. (Mrcch. IV.).
38-39 (C.36b-38a; B.XVII.40-401). 1 This rule cannot possibly be
illustrated by any extant drama. 40 (C.S8b-39a; B.XVII.42).
41 (C.39b-40a; B.XVII.43). 1 There is possibly no example of
this in IIny extant drama.
42 (C.40b-4Ia; B.XVII.44). 1 No play with an Apsaras speaking
Bkt. is available. All the Apsarasas in Vikram, speak Pkt.
43 (C.41b-42a; B.XVII.45). 1 Read (ca in B) for
is an example of an Apsaras who became the wife
of a mortal. (Vikram).
44 (C.42b-43a; 1 MS. XXnr. 99 notes.
-XVIII. 49] RULES ON TilE USE OF LANGUAGES 331
4p. To pure tribes of these names, should be assigned
dialects current in Saurasena.
46. The producer of plays may however at their option use
local dialects; for plays may be written in different reg:ons [for
local production 1
Seven major dialects
47. The Seven [major] dialacts al'C as follows:
Magadh'i, Avanti [Avantija], Pracya, Sauraseni (Siiraseni),
Ardhamagadhi, Bahlika, Dakinatya1..
In the dramatic composition there are, besidns, many
less important dialects sllch aH the speeches of the Aakara,
Abhiras, Cm,lQiilas, Babams, O(,lras
8
and the lowly
speech of the
U 8es of major dialects
49. [Of these] Miigadhi is assigned to gnal'ds (lit. inmates)
of the royal harem 1, and Ardhamagadhi to menial!', princes and
leaders' of merchants' gnilds
2

45 (C.43b-44a; B.XVII.47). 46 (C.44b-45a; B.XVII.48).
47 (C.45b-46u; B.XVIl.49). 1 Magadhi,- Sauraseni and Ardha-
magadhi are well-known. But any old and authentic description of
Avanti, Priicyii, Biihlikii and Pkt. scems to be non-existent_
According to Prthvidhara a very late authority, Mrech. contains the
specimens of Avanti and Priicyii only. It is to be noted that the prescnt list
does not include See M. Ghosh. a late phase of
SlIuraseni", JDL. .
48 (C,46b-47a; B.XVII.50). 1 By the word Prthvidhara
understands 'lJididha kinapat,.a-prayojyat'lJad Sec Pischel,
Grammatik, 3-5. No old and authentic specimen of the 'lJz7Jkasas has
reached us. According to Prthvidhara the M:rcch. contains and
Candali besides Dhakki which last the NS. does not know.
.. .
It is curious that after forbidding the use of languages like
DramiQ.a (Dramila) in 44 above, the author is including it among the
dialects that ean be allowed in dramatie works. One possible explanation
of this anomaly may be that here we meet with II late interpolation, and
passages from 48-61 belong to a later stratum of the text.
a Read for d,.Mm'liindh,.ajedf, Bj ""C.
See 1)1) note 1.
409 (C.407b-48a; B.XVn.lSl). I For a list of such persons see DR.H.74.
Accordini to Pischel this passage assigns AMg. to servlUlts,
982
THE NATYASASTBA , [ XVIII. 50.
50. Priicyii is the langunge of the JesterI and the like;
and AVllllti is of tIw rogues (dMiria):. The Heroines, and
their fC/llJue ffiends are also to speak Sauraseni when not ill
any difficulty.
51. To soldiers, gamesters, poliCfl chief of the eity and the
like should be assigned and Biihliki iR the native
speech of the Khasas who belong to the north,
Uses of minor dialeets .
52. 8akal'i should be assigned to the Sakara lind the Rakas
and other groups of the same nature!, lind to the Pulkasas
and the like.
2
53. To hunters and those who earn their
R3jPlltS (rMaputra) and leaders of mrrch:mts' See Gramma-
tik 17. But no extant drama seems to illustrate this rule. ]<'01'
Catldanadasa who is a does not spcak AMg. (Mudra, 1) while
Indrn in the disguise of a Brahmin spl'aks this dialect of l'kt. (Kartin.
ascribed to
50 (C.4Sb-49; B.XVn.52) J AccortIing to Pl,'thvldlmra
in the Mrooh. speaks Pr,icyit thr sole characteristic of which is abun-
dance of pleonastic ka. 8ec PiscJ]('I, Grmnmatik, Grammatik, 22.
C. yo}ya for dh-urtiinl!m apy. According to Prthvidbam the
the two rwlicemen Viraka and Cantlllnaka in the Mrooh. (VI.) speak
AVllnti. But aecording to the latter's own admission he was a Southerner
and II man of 'Kil"I,lata. No old and authentic dl'Scription of this
dialect available, see Pischel, Grammatik 26.
51 (C.49b5fja: B.XVII.58), J Uandanaka's language in Mrcch. itt
spitc of PTthvitlham's testimony to the contrary may be taken as 1\
specimen of See 50 note 2 above. No old antI I\uthrntic
dl'Scription of this dialect is available. Of. Pischel, Grammatik 24.
52 (C.50b-SIII; B.XVII.54). J sakiidinam for sakI!'
(B.), and sakiidwam (C). According to
Pl'thvidh3l'a Sakiira in Mrcch. speaks Siikarl dialect. Of. Pischrl,
Grammatik, 24.
A Prthvidhara thinks that in Mrcch (V.) speak tIll'
Ciir}9ali dialect. Cf. Pischel, Grammatik, 25.
'53 (C.5Ib.52a; n.XYU.55). I B. sakiwa.bha'1a for sabarabha.!ii,
This dialect seems to have been the patent of the modern Sora language.
.X11II. 58]. RULES ON THE USE OF LANGUAGES
333
livelihood by [collecting] wood and leaves should be assigned
Siibarp as well as the speech of forest-dwellers.
54. For those who live in places where elephants, horses,
goats, sheep, camels or cows are kept [in large numbers]
or Sabari
2
has been prescribed, and for forest-dwellers and the
like, Dravi4i
8
[is the language].
55. 04ri is to be assigned to diggers of subterranean
passages, prison.warders, grooms for horses 1; and Heroes and
others like them while in difficulty are also to use Magadhi for
self-protection.
Distinguishing features of various local dialects
56. ITo the regions [of India] that lie between the Ganges
and the sea, should be applied a dialect abounding in e
2
57. To the regions that lie between the Vindhyas and the
sea should be a::;signed a language abounding in nlt
l
( or ta).
58. Regions like and A vanti lying on the north of
the Vetravat'i one should assign a language abounding cal.
II Hee 54 note 3.
54 (C.52b54a; B.XVU.56). 1 Abhiri dialect is not available in
any extant drama. 2 See 53 note 1.
3 Dravi(Ji dialect iH not available in any oxtant drama. It is possible
tlmt it was not a p"re Dravidian speech (See 44 above). Possibly a
Middle Indo-Aryan dialect in which Dravidian phonetic and lexical
influence predominated was meant by this. Its habitat was iu all likeli-
hood some region of North India. Cf. Nitti- Dolici, p. 120-122.
55 (C54b-55aj B.XVn.57). 1 Emrml (tlha
ill B) into 0,/ ri kiirl!8varak..alllm (0. ostrkiinaa;t ca rak..atiim and B.
O{}ri Pki: sec 48 note 3. a;ld Nitti-Dolci,
lip. 120 f.n. 4 and 122.
56 (C.55b56a; B.XVII.59). I B. again roods 44 after 55.
9 This " e" is perhaps termination of the nominative singular the
a-bases in AMg.
57 (C.5S; B.XVIJ.60). 1 This relates to a dialect of Pkt. which
changes na always into rJa. Though according to some grammarians
Pkt. is always to change na into 1,/a, it se0ms that such was not
the case with all its dialects. j)'or ('xample in the so-called Jain Pkt.
(AMg. of Hemacandral has initial nand intervocal mI.
58 (C.56b57a; B XVII.6l). \ It seems that at the time of the
834 THE NATYASABTRA [ XVIII. 69-
59. To people who live in the Himalayas, Sindhu and
Sauvira a language abounding in u should he assigned.
1
60. To those who live on the bank of the Carmal].vati river
and around the Arvuda mountain a language abounding in 0
1
(or
ta) should be assigned.
61. These are the rules regarding the assignment of dialects
in plays. Whatever has been omitted [here] should be gathered
by the wise from the popular usage.
Here ends Chapter XVIII of Bharata's
which treats of the Rules regarding the Use of Languages.
author of the passage iutcryocal ca in this particular region was yet
main tailled or dental t sounds were mostly chullgod into c sound (as in
ciltha for
59 (C.57b-S8a; B.XVlI.62). This u perhaps relates to a elose
pronouncitltion of the 0 vowel.
60 (C. omits this; B.XVII.63l. This 0 perhaps relates to a open
pronounciation of the u vowel.
61 (C.53b-59; B.XVII.64).
CHAPTER NINETEEN
MODES OF ADDRESS AND INTONATION
Different modes of address
1-2. Thel'le are, 0 the best of Brahmins, the rules on the
use of languages [in a drama]. Now listen about the rules of
popular modes of address
1
or the manner in which persons of
equal, superior or inferior statuR in a play are to be addressed by
those of the superior, the medium or the inferior class."2"
Modes of addressing males: addressing great sages
3. As the great sages are adorable (lit. god) even to the
gods they are to be addressed as "holy one" (uhagnvrm)i and their
wives are also to be similarly addressed.
ll
Addressing gods, sectarian tenehers and learn('(l mpn
4. Gods,! personfl wearing sectarian teacher'R dress
2
and
persons observing varied vows
s
are to be adclresRed aR "holy
one" (bltflglt1,an)fJ by men as well as women.
1-2 (C.I-2. B.XVII.65-66). 1 This manner of addressing different
includeR referring to them before their ownselv(>S or before
others e.g.. In Sak. (1), is referred to by his charioteer as
and then he is addressed ill the same term (YatkiiHIii.payati
pasya pasya).
Rules given her!'aftcr do not cover all the numerOus and different
cases oeeurring in the exant dramatic literature in Skt. and Pkt.
3 (C.3; B.XVII.67). 1 Ex. Kii{;yapa (KaJ)va) addressed by his dis-
ciple (Sak. IV.) Marica by (iMd. VII.) and RavaJ.la in ascetic's
uisgnise by Rama (Pratima. V).
\l No ell:. of this seems to be available in any extant drama.
4. (C.4; BXVII.68). 1 Ex.: Agni (Abhi. VI). & VaruJ.la (ibid. IV).
! Ex. (RavaJ.la disguised as an ascetic addressed by Rama (Pratima.
V.). The Jester in Pratijiia (III) addn'8sing the Jain monk (sl'ama1]aRa)
as bhaavam (bhagavan) to create laughter; Madanla would have been
the proper term in this ease. See below 15.
8 Read here ncmavl'aladhal'a (Ma in B) for nana8l'uiadkal'a (B)
alld nilna8l'utidkara (C). Ascetics to minor heterodox seets
DS6
THE NATYABABTRA
[ XIX.S
Addressing the Brahmin
5. The Brahmin is to be as "noble one" (arya},l
Addressing the kiUl!
And the king [is to be addressed as "great king" (mahcila,ja).2
Addressing the teaoher
The teacher [is to be addressed] us (acal'ya).8
Addressing an old man
And an old man [is to be addressed] as "father" (tata,)."
Brahmins addressing the
6. Brahmins may address the kings at their pleasure, by
their names. This should be tolerated, for the Brahmins are to
. be adored by the kings.
. Brahmins addressing ministers
7. A minister is to be addl'esHed by Brahmins as "ConD-
cilloI''' (amat!/a) or "minister" (sariva),1 and by other persons,
inferior to them (i.e. Brahmins) he [is] always [to be addressed]
as "sir" (ii:l'yo,).1
Addressing the equals
8. One is to accost one'H equals hy the name with which
they are sty le(P .
seem to have been included in this term. Ag. reads naniisrutadharal! and
explains this as ballusrldal!.
5 (C.5; RXVII.69). I Brahmin (Kcsavadiisa) ill Madhyam:i. addressed
by Bhima.
2 Ex. Sumantra addressing Dasaratha (Pratimii, IT), and
addressing RivlIl}a (Abhiseka II).
3 Ex. Cal]akya addressed by his disciple (Mull'a, I).
Ex. Bharata addressing Sumantra the old charioteer (Pratima, VI.).
6 (C.6; B.XVU.70). I Ex. Indra disguised as a Brahmin addressing
KarJ}a (Karl]a.), Of. Cal]akya addressing Candragupta mostly as V
(or Sudra) in Mudra.
7 (0.7; B.XVU.71). 1 No example of this rule Beems to bl'
available in any extent drama. Seo note 2 below.
t Ex. The door-keeper (pratihari) addressing Y 8ugandhariiYaJ.l:l
( Pratijiiii, I.). But ouriously enough has been addressed not
as 'Arya' but as 'Amiitya' (connciller) by the door-keeper, and by hi;
friend Viriidhagupta too he iR addressed likewise (Mudra, 10.
. S (0.8; B.XVII.72). 1 Ex. CiiJ}akya addressing and 'IIi(c
'lima (Uudrii, VII.).
XIX.l1]
MODES OF ADDRESS AND INTONATION 337
Privileged inferiors nddressing superiors
A superior person may however be addressed (or referred
to)2 by name by inferior persons when the latter are privileged to
do sos.
Addressing employeeR, artisans and artists
9. Men and women in one's employment!, and artisans
and artists
g
arc to be addressed as Rueh (i, e. ficcording to their
status) 8.
Addressing persons of respect
10. A respected person is to be addresRcd fiS 'honoured sir'
(Mana), and a person of Rlightly less so fiS "comrade
or
Addressing persons of rqual
A person of equal status Rhonld be addressed aR 'brother"
and a low person as 'hey man' (hartt-ho)3
The charioteer addr<,ssing the chariot-rider
11. The chariot-rider shonld always be addressed by the
charioteer as "long lived one"
2 R. saparz'viiram, so also Ag.
3 Ex. Hal11saka referring to YaugandharaYSi.Ja befol'e the latter.
(I'ratijiia. 1 13.14). See above note l.
9 (C.9; n.xVII.73). I YangandharayaJ,1a addressiug by llame
(Pratijiia. I. 2. 4) and th(1 hrro Ciirmbtt.a the' maid-srryant
Itadanika (Carn. 1. 21.15),
2 Ag. ('xpiaius kiiruka and as folJo\\'s:
:LrtiBauR are tho:3e that unild stfipas aJ1(l till' like
are painters aud the like.
S Ex. The king addressing Haradatta one of the teacht'rs of dramatic
art (Malavi. II. 12.4).
10 (C.10; B.X.VII.H). I piirijJiir:wika addressing sfilradhara as
6havQ, and sulrao addressing ptlrlparSVt'ka as (Abhi. 1. 1.6,8).
once addressing vI'!a as Mava and next time as in nirn.
1.17.3; 26.3). The word does not s('em to (}('cm' ony extant drama
while occnrs very often. See Uttara. (1.4.7) and Miilavi (1. 1. 3).
2 Ex. Sidllhal'thaka and Samiddharthaka addressing esch other
(Mudra. VI. 2. 14, 16).
3 Ex. Cal.mkya's spy
(Mudra. 1. 18.4).
11 (C.ll; n.XVIT.75).
'B
':\
Ulldressing his disciple as hanJ-ho bamhm.Ia,
I E'I:. addressing th'c two
388
THE NATYASASTRA [XIX. 12
Addressing an ascetic or /I person with beatitude
An ascetic or a person who has attained beatitude (pt/lsanta)
i8 to be addressed as "blessed one"
Addressing princes
12. The crown-prince is to be addressed as "sire" (svamin),1
and othar princes as "young master" (uhartr-tlalaka)2.
Addressilll: inferior persons
Inferior persons are to addressed as "pleasing one"
(saumya)s, "auspicious-looking one" {hhndm-1I!nkhn)4 and such
terms should be preceded by '0'
disciples of Kiiyapa and Gautami (Sak.V. n. 6).
The word si'ldhu as II form of address does not seem to occur in
any extant drama.
12 (C.12; B.XVII.76). I No example of this rule seems to be
available in any extant drama. On tlw other hand svlimin is very often
used in addressing a king. Ex. Yaugandharayal,la addrcsRing the king
Udayana (Svapna. VI. 17.1). Kauiij,iyana and BhUtika addrcRSing; the king
Knntibhoia (Avi. 1. 5.3; 8.5). On the URe of the word SVamin in inscriptions
see SylVain Levi, Journal Asiatique, Ser. 9, XIX.95ff. 1. Ant. Vol.
XXXIII. p. 163. Situ's maid addresses Rama as bhalla (Pratimi 1. 9.2).
The door-keeper (pratihari) refers to the crown-prince Rama as 6ha/llari-
raassa riimassa (Pmtima. I. 2.9). and not as sremlassa riemassa,
2 The word has been usrd with re"l'rnce to tlw crown priner in
Pratimii. (loc. 1). In rrf"rrillg to other princ",'; use th"
word 1eumr!ra. In l'ratim'l. OIl. 14.12) Rharata has ))""n addrr,sl'Il with
this term. In MlldriL. (lV. 12.5) Malayak(tn has brrn add""Hsrd similuriy.
Avimaraka, the lovrr of Kurai'lgi is addressed as onaHliiMaa by her maid
(Avi. III. i7 2).
, This use of the term sa16mya docs not serm to occur in extant
drama, and Madra appears to have taken its plaer, c.g. Bhamta addressing
the messenger (bhala) in l'ratimii (1II.t21. addresses his chief of
the army (senapati) similarly (Hak. II. 5.4).
Ex. spy (puru'1a) addl'rJising his door-keeper (Mudra.
IV. 8.2). In Abhi, (VI. 31.1) Agni (go:! of fire) addresses Rima as Madra-
mukha though earlier, (VI. 26.7) he savs: Ila me namaskuram 1eartum
arhati The Jester addresses t1:c caT}r!iilas as Dho
X. 23.3).
6 It not soom to OCCIII' these terms ill any extant drama.
-XIX. 16 J MODES OF ADDRESS AND INTONATION
839
Addressing persons by their occupation or birth
13. In a playa person is to be addressed by a term appro-
priate to his birth or to the vocation, art or learning practised
by him.
1
Addressing a son or a disciple
14. A disciple or a son is to be addressed by the guru or
the father as "child" (I!ntsa}l "son" (pntraka)2, <'father" (llillt)3 or
by his own name or clan-name (yotra)4..
Addressing Buddhist and Jain Monks
If). Buddhist and .Tain (nil'granthn) monb are to be
addrcssed as "blessed Rir" (iJltadnnto,) 1.
Addressing persons of other sects
Persons of other sectsl! are to addressed by terms enjoined
by their own rules 3.
People addressing the king
1 G. The king is to be addre8sed by hi;; Hervants as well as
---
13 (C.13; n.XVlI.77l. I Not many eXllmples of this rule Reem to
be available in any extant drama. In Mrcch. (X. 20.1) Carudatta's Bon
addressing the CaJ)(}alas as arc calJi!alii;may be an example of this.
14 (C.14; n.XVII.78). I Ex. Sauvira king addressing Avimaraka
(Avi. VI. 17.4). Cf. DroT.lR addressing Duryodhallll (Paiica. 122.3).
2 Ex. The form putraka does not seem to occur in any extant play.
The from usually available form is putra. Drol)a addrc>.ssing Duryodhana
:IS putra (Paiica 1. 23.3). Duryodhana addressing his son similarly
(Urn. I. 42.3).
8 No example of this i'1Cems to be available in any extant drama.
4 Ex. Viili addressing Ailgada by name (Abhi. I 25.2).
(KaJ)va) addressing 8arIigarava by name (8ak. IV. 16.1). Instanel'S of a
Hon or a disciple addressed by elan-name (gotra) do not seem to occur ia
any extant drama.
15 (C.15; B.XVU.79). 1 Ex. addressed by and
8iddharthaka as Okadanta (Mudra IV. 18.2; V. 2.1). A Buddhist monk
is very rarely met with in extant dramas. drama included
such. a character, but' one cannot say from the fragments how he was
addressed. (See Keith, Skt. Dr. p. 82)
According to Ag. one is to understand by 'other seets'
and the like.
An eJ:ample of such a rule is a term like
saf'IJajna used in addressing (Ag.).
Ie (C.16; B.XVII.80), . .
'1\
or Ma-
THE NATYASASTRA
[XIX. 17
his subjects as "lord" (deva),l, but when he an overlord [of
other kings] he is always [to be addressed] by his servants as "sire"

Sages addressing the king
17-18. The king iR to be addressed by sages (rfi) aH "king"
(rajan)l 01' by the patronymic term
2

'rhe J ('Ster addressing the king
And he should be addressed as "friend" 01' "king'
(rlljou)1 by the Jester
Jester the quecn and her maids
The queen and her maids are to be by him as
"lady" (l!hnl'ati)5.
The king addressing the Jester
The Jester is to be addressed by the king hy his name or as
"friend"
1 Ex. The Klliicukin addressing the king (Mudlii. Ill. 10.3).
Gal.mdilstl addressing the king (Malavi. 1. 12. 8). reft'rs to
Rama as dcva (Abhi. VI. 20.3) wLeu he is not yet :\ king; bl'sidcH
this tlw samr. addl'coSeH HaVlll,ltl as maklirtija (Abhi. Ill. 15.1).
See also 12 note 1.
, Ex. Yavamkii addressing the king VI. 24.1U). Bul
in Bala. (Ill. :\.1) the cowherds address as MaUa, and Nunda
gopa too addresses V,islldevu likewise (Bala. I. 19. 30).
1718 (U. 1718; B. XVII. 8182). 1 Ex. Bhagaviin
addressing the king Vil'llta (PallcR. II. 14.2).
, No ox. of this seems to occur in extant dramas. Nlirada
the two kings simply as Kllntibhoja and Sallvirariija in Avi (VI. 20. 8, 12).
3 Ex The in (II. 2.1) and Miilavi. (V. 3.18).
No example of this !'cems to oocllr in any extant drama. In
Ratnii (I. '16.35) the Jester once addresses the king liS Mal/ii.
, Bhavall' in thc Jester's speech would be Modi. Ex. Tho Jester
addressing the IIlIcen's maid in HVl\pnll. (IV. 0.28) also addressing the
quccn (Muluvi, IV. 4.23.) and addrrssillg the !Jllcen's maid StlHal\lgat:i
(Ratnii. IV. 0.30).
6 Examples arc ell8i1y available. See Svaplla, Vikrtlm. ctc.
The Jester is addressed also as sakke. Soe Miilavi. (lV. 1.1 and Vikr8111
ll. 18.11. etc.) and as Madra (Vikram; II. 18.15).
XIX. 22]
MODES OF ADDRESS AND INTONATION au
Women addressing their husband
19. By all wumen in their youth the husband should be
addressed as a "noble one's eon" (arya,.-p1Ltm p, but in other cases,
the husband is to be addressed simply as "noble one" (aj'!Ja) z, and
in case of his being a king he may be addressed as "great king"
(maharaja)8 also.
Addressing the <'Ider and the younger brothers
20. The elder brother should be addressed as "noble one"
(al'!In)1 and the younger brother like one's son z.
These arc the modes of udl'ress to be used to male characters
in a play.
Mode; of addressing women
21. I shall now speak of the modes of address to be used
to female characters in u play.
Addre8sing female ascetics and goddesses
Female ascetic8 and goddesses arc to be addressed U8 "holy
lady" (bhagarati.) 1.
Addrcsiing wives of senior persons, and elderly ladies
WiveR of reRprctahle seniors, and oLhe!' elderly ladies
are to be addressed llfl "lady" (iJlur mti)1.
19 (C.19; B.XVII.83). I Examples arc easily procurable; sec tlak,
Malavi, Svapna etc.
Ex. Na(i in tbe prologne (prastavana) addressing the sulradkara
her husbl\llll (Cartl. and Mudra).
3 Ex. Gandhari addressing (Uru. I. 38.2). refers
to the king likewise (Vikram. IV. 39.2).
20 (C.20; B.XVII. 84a 85a). I Ex. ru.ldressing Rama
(Pratima. 1. 21.2). Sahadeva addressing Bhima (Vel,li. 1.19.12).
Usual from in such a case is va/sa; but the younger brother is
also sometimes diifel'Cntly addrotlsed, e.g. by name of the mother as
Saumitre, (Pratimu. I. 21.1), Kaikeyimatal,l, Ulna. IV. 2.21). Sec aboye
14 and 4.
21 (C.21; B.XVII.85a86a). 1 The king mhlressillg the privrajJ'ka
(Miilayi. I. 14.2 ) ; the Kaiicl1kill addressing the f(,!llllie ascetic (tapas:) in
Vikl'am. (V. 9.2)'
22. (C. 22; B. XVll 86b87a). I Sumantra addl'L'Ssing the
widowed WiVC8 of Dasaratha liS (Pratima. III. 12.2). Tho
KaJieukin addressing the Pratihari SVapna. (VI. 0.6).
84g THE NATYASASTRA
[XIX. ga
Addressing an accessible women and an old lady
An accessible woman (gamya)2 is to be addressed as "gentle-
woman" (bhn&I:p,)1 and an old lady as "mother" (amba)4.
Addressing king's wives
23. In a play king's wives are to be addressed by their
servants and attendants IlS "mistress" "madam"
(soamini)1 and "lady" (devi)2.
24. [Of these], the term "lady" (del'i)l should be applied to
the chief queen by hel' servants as woJl as by tho king.
Tho remaining [wivos of the king] are to bo addressed [simply J as
(hhaHini) and "madam" (8vamini)
3

Addr('Rsing unmarried prinecsRl's
25. Unmarried princesses are to be ad(lressed by their
handmaids as "young mistress"
" gamya- not within tho prohibited dogrcc of sO'mal rdationship.
8 Ex. Avimaraka addressing Kuranf,rikii (Avi. III. 19.0).
Priya1]1vada Olak. 1. 22.6). But the king Citralekha as
bhadramukki(Vikram. II. 15.9) as well as Madre (ibid. III. 15.0).
4 Ex. The king, UrvlIsi and their son addrl.'i'sing the female ascetic.
(Vikrllm. V. 12.3,5,18).
23 (C. 23; B. XVII. 87b88a). I Ex. (i) Mat/li.it: NipUl.lik!1 address-
ing the queen (Vikram II. 19.19); Kii,icanamiilii addressiug the 'queen
(Ratna I. 18.11). But in Pratimii O. 5.4) the maid (celi) addresses Sitii
who is not yet a <lucen, as 6ka!til.1i. (ii) S'IIiimiIJi liS 1\ term of address to
the quoen does not seem to occur in any extant drama.
Bx. 'fhe maid (celi) addreRsing the queen Bhiinumati (VeJ)i.
II. 2.14).
24 CC.24;'B. XVII. 88b-89a). ! Sec above 23 note 2. I<'or an example
of king addressing the queen as dC'IIi Ree Pratijiia. II. 10.12.
t 'fho term 6/zogini meant those who were merely an obiect of enioy-
ment i.e. those who wore not dkarma-palnis (wives elligible to take part
in rcligeous rites.
3 No. example of S'IIamini being used in addressing such a wife
seems to oceur in any extant drama. In Miilavi. IV. 17.8 Nipul.Jika
addressing Iriivati the second wife of Agnimitra uses the oha/ttiJi
the very term to bc used rightly for the chief queen Dharil,li.
25 (C.25; B. XVII. 89b-90s). 1 Ex. The maid (ce!l) addressing
Padmilvati (Svapna. I. 15.H) and KuraJigi (Avi. m. 0.405).
XIX. 28 J MODES OF ADDRESS AND INTONATION 343
Addressing a sister
An elder sister is to be addressed as "sister" (bhagini)
2
and
an younger sister as 'child" (va,tse)'.
Addressing a Brahmin lady, a nun or a female aseetie
26. A Brahmin lady, a nun (liitgastha) or a femalo 118cetie
(vmtint) is to be addressed as "noble lady" (arye)1.
Addressing one's wife
A wife is to be addressed as "noble lady" (al'lje)B or by
referring to her father'sS or son's4 name.
Women addressing their equals
27. \romen friends among their equals are to be aceosted
by one another with the word "hallo" (haZa)t..
Addressing a handmaid
By a superior woman a handmaid is to be accosted
with the word "hey child"
Addressing a eourtezan
28. 1 A courtezan i8 to be addressed by her at ten dents as
Ajjuka
B
, and when she is an old woman she i:,; to be addressed by
other chamctors in a play !l8 Atta 3.
2 This mode of address does not seem to oceur in any extant drama.
cf. Karp. I. p. 18.
a Ex. YaugalldharaYlII.J!t in the ['ole of an elder brother addresses
t.he <tnel'n who is playing the role of his younger as 1'atse
(l'ratij :t. 1. 9.11). C. om. 25a.
26 (C. 25b-26a; B. xvn. 90b-9b). 1 No ex. of this l'llie to
btl available in auy extant drama. Parivrajika in Miiavi (1) und the
female aseetic in Vikrmu. (V) eould have been addresses as arye instead of
as !JkagMlalt'. In Madhyama. Ghatokaea addresses the wife of the Brahmin
as Ma1JaJi.
" Ex. Sidradkiira addressing his wife ( Mrceh. I Malati. 1)
3 e.g. Mathal'aputri (Miithara's daughter). No example seems to
oeenr in My ('xtant drama.
4 e.g. Somasarma-janani (Somasarman's mother). No example seems
to oceur in any extant drama.
27 (C. 26b-27ai B. XVlI. 91b-92a). 1 For ex. see 8ak. Vikram. coo.
Ex:. Sitii addressing her maid'(Pratillla. 1. 4.21), Iravati addressinl
NipUl}ikii (Miilavi. III. 14.l).
28 (C. 27b-28a; 13. XVU. 92b-93a). . 1 RP.ad the hemistieh 2Sa as
lii1!l ttl q\b!it" 'I!.
au THE NATYASASTRA [XIX, 99-
Addressing wife in lovemaking
2\}. In love making the wife may be accosted as "my dear"
(p/'i!/p-)1 by all except the king. But priests' and merchants' wives
are always to be addreRsed as "noble lady" (a.ryp,)2.
Giving names to different characters in II play
30. The playwrights should always assign significant names
[to characters] which are not well.known and which have been
created [by them )1.
Name of Brahmins and Kljatriyas
31. Of these, Brahmins and in a pIny should,
be given, according to their clan or profession, nanWR ending in
sarman or varmn!!l.
Naming
32. The names of merchants
1
should and ill rlnUa
2

Naming warriors
To warriors should be given names indicating milch valour. t
---------------.--- --_ .. _- -----_._----
Ex. the hetcrac (gal}t'ka) addressed by her maid (Caru. II. 0.6)_
The word ajj!4ka ('aryakii, OIA) "madam" afterwards came to mean
'heterae' liS in the title of the Prahas:1lI1\ Bhagavadajjl1kiyam by
Baudhiiyana Kavi
No example of this seems to be :wai!lIble ill allY p'{tnnt dmma.
Bnt the word occurs ill the form of a/Hii ill M reeh. (IV.!lO).
29 (C.28b-59a, n. XVIl. 93b 94a). I at1dl'osR<'t1 aR pr('Yf
by VII. 20_6), but tho occa,iou is Rtrictiy not oun of 10\,('-
makihg (srilgara); Udayana while for V:lslIvadatt:1 RaYH JI,j
priye, kii etc. (Svapna. I. 12.53).
t No eJCample seems to be available ill any extant drama.
SO. (C.29b.SOa: B.XVIl. 94b-95a). \ No example of such mmJ("
seems' to occllr in any extant drama.
31 (C.SObSla; B.XVII. 25b96a). 1 No elCample of sueh names
seems to occur in any extant dralDll.
82 (C.31b-32aj B.XVIl. 96b, 97b). Ex. Carudatta the hero 0 of
BhiSll's play of the SlIme name.
2 B. reads after this one additional hemistich which in translation is
lIS follows: The name of Kiipiilikas should end in gha,,/a. The inti'J'-
1IOlator had evidently Bhavabhllti's Aghoraghal)ta (MalatO in mind.
sEx. Virasena in Malavi. (1.8.1).
_XIX. 37 1 MODES OF ADDRESS AND INTONATION 345
Naming king's wives
33. The king's wives should be given names [which are
connected] with the idea of victory ('oijayap.
Naming eonrtezans
Namcs of courtezans should end in datt(j,2, mitra
3
and
Naming hand-maids
34. In a play hand-maids be given the nameR of
various flowers 1.
Naming menials
of menials should I)('ar the meaning of
Naming snpcrior pcrsons
35. To should he given nameR of deep
significance HO that their depds may be in harmony with such
names
l

Naming otlH'r pcrsons
30. Thc rcst of pel'Il0nR 1 be givcn names suitable to
to thpir birth amI
Names [that m'e to be given] to men an(I women [in a play 1
have heen properly dCReribed [by me].
S'la. in a play alway::; be made in this
by the playwright..
33 (C. 32b-33; R.XVII. ()8). I No C1calllple of this srcms to oC("lII'
in any I'xtant drama.
o No cxalllple scems to occllr ill any old uranm. Anu tIl!' lIamc
V:lsavadatt:\ for the qlleen ill dramas RCC'IllS to bc a clear violatioll
of the rulo (Seo Svapna. R:ltnii. etc.).
a No cxamplo scems to OCCllr in allY old drama.
4 Ex. Vasantasellu ill Bhasa's 0:11'11. and Mrcch.
34t (C.33b-3"a; R.XVII. 99). I Nalinika in Avi. (II) and Puuminika
ill Svapna (V) seems to be rarc examples of this.
a Ex:. Jayascna the scrvant (Mala) of the king (Avi. 1).
35 (C.34th-35a; B.XVIlIOO). I No cxample sCI'ms to occllr ill any
cxtllllt play. ..
36 (C.35b-3611; B.XVlJ. 101). I Kg. Brahmacari (SvlIpna. 1), Vt'la
(CarLl.) Devakult'ka, and SlIdhukiira (Pratima. ]V.) rtc.
37a (C. 36b; R. XVII 10211).
44
846
THE NATYABABTRA [XIX 87-
37-38. After knowing exhaustively cyerything about the
rules of language
l
in a drama, one shonld practise Recitation which
is to have six Alarpkaras.
Qualities of Recitlltion
21 shall now descrihe the qualities of Recitation. In it
there are seven notes (sral't!), three voice registers (Hthana), four
VaqJas (lit. manner of uttering notes), two ways of intonation
(kalm), six Alarpkaras and six limbs (ai!va). I shall now explain
their characteristics.
The seven notes (stara) arc: Gandhal'a,
Madhyama, Pau.cama, Dhaivata and These are to be mad!'
suitable to different Sentiments.
Seven notos to snit diffcrment Sentiments
38-40. In the Comic and the Erotic Sentiments the notes
should be made Madhyama and Pau.cama. Similarly in the Heroic,
the Furious and the Marvellous they should be made
$a<Jja, and In the Pathetic Sentiment the notcH should
be Gandhara and and in the Odious and the Terrible
they should be Dhaivata.
Uses of the three voice registers
There are three voice (sfhana) ; the breast (nm.<)
the throat (!.:rl1Jl:ha) and the head (Sirax).
4041. In the human body as well as in the Villa notC's
and their pitches pro('('cd from the thl'rn I'rgistC'I'H: th\' hI'P:lst; thl'
tlll'oat and the head.
41-42. In calling olle who is at a dist.allce, notcH proceeding
from the head register should be but fol' calling one who iH
not at a great distance, notes from the throat register is to be used,
while for a person who is by one's side, notes from the breast [will
be proper].
--------------- -- ..
3738 (C. and prose 37a ; B.XVII. 102b.l03a). I It will be apparent
from the notes given above that the rules regarding forms of IIddreas havr
very often been overlooked in extant dramas.
The text from here till the beginning of 38-40 iR in prose.
38-40 (C.38-39; B.XVII. 103b, 104-105a).
40-41 (C.40. 41a; B.XVU. l05h-106)
. 4142 (C.41b-42a; B.XVlI.l07).
XIX. H 1
MODE OF ADDRESS AND INTONATION
347
42-43. At the time of Recitation, a sentence begun with
notes from the breast should be l'aiHed to notes of the head register
and at its close it should bc brought down to notcs of the throat.
Uses of the four accents
13. In Recitation the fOUl' accents will be : acute (ndiitta)
grave (nnlUliilta), circumflex (8vlt'l'it,l.) and quivering (lcamJlita).
1 Recitation in circumflex and acute accents is rmitable to the
Comic and the El'Otic Scntiments, acute and quivering accent is
suitable to the Heroic, the Furious and the Marvellou:> SentimentR,
while grav<" cil'cumfiex and quivering accents are appropl'iate to
the Patheti(', the OdiouR and the Terrible Sentiments,
Two ways of intonation
There are two ways of intonation, e.g. one entailing expacta-
tion (8o,ka:nk?a) and anotllel' entailing no expectation
These relate to the sentence uttered,
44. A scntence which has not completely expressed its [in-
tended] meaning, is said to be entailing an expectation
and a Rcntcnce which liaR eOlllpletely expressed such a sense, is said
to be entailing no expeetation (niriikaidr?(t).
J.Now, entailing an expectation relates to [the utterance of 11
of which the meaning has not been completely expressed
and which has notes from the throat and the breast, and begins with
:t high pitch (tapa) and endR in a low piteh (mamlm) and has
not completed its or AlalJlkara.
And, entailing no expectation relates to [the utteranec of a
,entenee] the meaning of which has not been completely expressed
and which has notes from the head and begins with a low pitch
(mandm) and ends with a high pitch (tara) and has completed its
Vall-a and AlaIpkara.
B.Xvn.408).
43 (C. 4sb, 48c; B. XVII. 109-UO). 1 The text from here till the
beginning of 44 is in prose.
44 (C. 44; B. XVU. ill). ! The text from here till the belino.ing
of 46 is in prOile.
348
'l'HE NATYASASTRA
[ XIX, 45.
The six Alalpkiiras
45, The six AlaIpkaras of the [note in] are that it
may be high (iI,cex), excited (rlil't(t), gmve (7Ilandra), lolY (nic,t), fast
(d1'llta), amI slow (vilambita), Now listen about their characteristics.
URes of the six Al!flJlkiiras
IThe high (ncca) note proceeds hom the head register and
is of high pitch (tara) ; it is to be used in speaking to anyonc
at a distance, in rejoinder, confusion, in cnUing anyone from II
distance, in terrifying anyone, in allliction and the like,
The excited (dipta,) note proceed, froll1 the head register
and is of extra high pitch (tal'lt/al"l) j it is to be used in reproach,
quarrel, discllssion, indignation, abusivc speech, defiance, :tnger,
valour, pride, sharp and harsh words, rebuke, lamentation 2
and the like,
The grave (tnandm) note proceed from the breast registOl'
and is to be used in despondency, anxiety, impaticllee,
low-spiritedness, dcep wount! fl'om weapon:", fainting,
intoxication, communicating scct'et words 1 and the like,
The low (!I!ea.) note proceeds from the breast register bnt has
a very low piteh (j/uti!11m-tara) ; it is to be used in natural
speaking. sickness 5, weariness due to austerities and walking a
distance, panic, falling dOlYn, fainting and the like,
The fast (dnt/a) note proceeds from the throat register and
is swift; it is to be u:lcd in women's soothing children (lallaua)
refusal Jf lover's overture (manmana) 8, fear, cold, fever, panic
7
,
agitation, sect'et emergent (a/yayi/w.), act. pain and the like,
405 (C.405; B.XVIl, 112-114), 1 the text from hero till the hcgiullig
of 406 is in prose,
.s. C.,om. krandt'tao, nirokartsana,o
3 n, inserts after vyudht',
4 C, om, guhy(srantha7'acana.
u After vyadh!' read tapa-pathesranta-trasta,
6 C. sMalita- vellana-madana for lallana-manmana, 011 the meau-
ing of lalla (tallana) and manmana there is 110 ullauimity, We follow
Ag's upadhyuya, who says l!11j[iJ'II'I"I
'II (Ag)
7 AfUlr tms (trasta, C,) readyashJfJtyayika (guqha)
XIX. 55]
MODES OF ADDRESS AND INTONATION 34!J
The slow (1Jilamuita) note preceeds from the throat register
and is of low pitch (ma'luZ'm)8 ; it is to be used in love
9
,
deliberation, discrimination, jealous angcr, envy, saying something
which cannot be expre8sed adequately, anxiety,
threatening, sUI'prise, censuring, prolonged sicknes;;.1.o, squeezing
and the like. [On this :;ubjectJ there are the following traditional
couplets:
46-48. '1'0 suit varions Sentiments the intonation (kakn)
should always be made high (ncca,), excited (dip/a), and fast (rlmtl:,)
in a rejoinder, confusion, harFh reproach, rpprE'Eentillg
ness and roughness, agitation, weeping, clmllellging one who iK not
present (lit. away frolll the view) threatening and terrifying
[anyone], calling one who is at a distance, and rebuking [anyone].
49-50. Intonation should be made gmve (maJ!(Znr) and low
(ntcn) in sicknesK, fever, grief, hunger, thirtit, observation of a lessel'
vow (ni!lllllla), deliberation, <leep wound frolll a wenpon, eOl1lll1llui-
eating confidential words, anxiety and state of austerities.
51. Intonation should be made gl'ave ('/J!a,ndJ'l/) amI fast
(rlJ'lItl() in women's soothing children (llllla)\ refusal to 10ve'K
ovci'ture (man1IUt)/lt)2, panic and attaek of cold.
52-5:;. The intonation should he made Rlow ("il'lm/,i/a),
excited (dtl1ta.) and of 101V pitel! (lIutndJ'lI) in following an object
lost after bl'iug seen, hearing anything untoward about a. de8il'(-'<1
objeet 01' cOIlllllllllieating Homcthing desired, nwntal deli-
beration, lunacy, ClH'Y, cenSI\l'p, ROlllething which cannot be
adequately expressed [by IVOl'dH 1, telling stories, rrjoindel',
an action involving woullded-'- and diseasl,d limb,
grief, surprise jealous angel', joy and lamentation.
, C. mandra for tanumandra.
10 C. readR for roga.
46-48 (C.46-48; B.XVn. 115-117).
" B. rl'ads karulJa after
49-50 (0 Dill. n.xVU. 118-119).
51 (C.4!1; B. XVII. 12ll). I C. malh' ca mardalle for lalle ca
manmane.' , See Hohll.
51-55 (C. 50; 51a-538, 51b, 5al>, B.XVII.121-124). I Read
vyildh,te t'llailge.
850 THE NATYASAl-iTRA [XIX. 56
56. Grave (mttndm) and slow (t'ilwmb'itlt) intonations have
been prescribed for words containing pleasant sense and bringing
in happiness
1

57. Exitl'd (dipta,) and high (neca,) intonations have been
prescribed for words which express sharpness and roughness.
Thus the Recitation should be made to have to different intonation;;
(lit. shelter) by the producers 1.
Intonation in different Sentiments
58-5f1. Slow intonation iR desired in the Comic, the Erotic,
and the Pathetic In the Hcroic, the Furious and the
MarvellouH Sentiments the excited intonation is praised. Fast and
low intonatiollR have ol'en prescribed in the Terrible and thc
Sentiments. Thus the int>mation should he made to follow the
States (uitarn) and the
Hix limbs of enunciation
INow there are [of enunciation] such as Separation
(viccheda), Presentation (a I'IJa1!a}, Closure (visnrga), Continuity
(ltnnunnrlha), Brilliance (tlIIJ(wn) and Calming (lJ1asllmana).
Of these, Separation (l:il:I;/UJIZn) iH due to pause (viramn).
Presentation (",l'llll'I.!a) llleallS reciting sOlllething by filling up
the auditoriulll with graceful modulation of voice
2
.Closul'o
(vi-slI/'ya) mcans the finishing of a sentence. Continuity
means the abscnce of separation between words
3
[in It sense group]
01' not taking bl'Oath while uttering them. Brilliance (dil)lI1tn)
mcans the gradually augmented notos which proeeed from the three
voiee registers (sthanrt), and Calming (pntsamana) means lowering
the notes of high pitch (tal'n) without making them discordant.
N ow about their uses in connexion with different Sentiments.
------- ------- -------------
56 (0.54; B.XVU.126). I B. reads one additional couplet before this.
57 (0.55; B.XVII.l27). 1 U. reads three additional hemistiches
after this.
58-59. (0.57b, 58; B.XVlI. 128-131). 1 The text from here till the
beginning of 60 is in prose.
9,R itlayamanamadhuravaiguna for tiiiivarl]a.
8 B. vuchedalt for
-XIX. 60] MODES OF ADDRESS AND INTONATION
351
In the Comic and the Erotic Sentiment5
4
the enunciation
6
shonld include Presentation, Separation Brilliancce and Calming.
In the Pathetic Sentiment it should include Brilliance and
Calming.
In the Heroic the Furious and the Marvellous Sentiments it
should abound in Separation, Calming, Brilliance and Continuity.
In the Odious and the Terrible Sentiments it should include
Closure and Seperation.
All these are to be applied through notes of high (tara), low
(manrlm) and medium (madh!J(l,) pitch proceeding [from the three
voice registers]. In addressing one at distance the notes should
be made of high pitch (tara) from the head; the person addressed
being not at a great distance the notes should be made of
medium pitch (mwZh!ln) from the throllt, and to speak to one at
one's sidE' notls should be made of low pitch (mnnrlm) from the
breast. But one should not proceed to the high pitch (lara.)
from the low (mandra) onr, and from the low pitch to the
high one. The three kinds of tempo (la!/a) of theRe' notos are
to be utilised in diflerent Sentiments. In the Comic and Erotic
Sentiments the tempo should be medium, in the Pathetic it
should be slow and in the Heroic, the Furious, the l\Iarvellolls, the
Odious and Terrible SentimentH quick.
Pause defined
8N oW, Pause (airli1n(l,) in connexion with enunciation is due
to the completion of sense and is to depend on the situation
(lit. practical), and not on mette. Why? Because it if! found in
practice that thet'e occurs pause even after one, two three 01' foul'
syllables, e.g.
60. kil!l gaccha rna visa 8udul'jana varito'si I
kal'yal!l tvaya nama rna sat'va-janopabhukta 1 II
What [is the matter]? Be off. Don't enter. You al'e prohibited
, B. adds after kasya-srhgarayor.
C. viikYam for fJiitkyam.
6 The text here is in prose.
60 (C. 59; B.XVII. 132). 1 B. Muklam C. Muklal,.
352
THE NATYABABTRA [XIX. 61-
[to enter], 0 very wicked man, the enjoyed-by-all, I have nothing
to do with you.
LI se of Pause
Thus in a pIny (lit. poetical composition) occur words con-
taining small number of syllahles in cases of Sucii
s
and Ailkum'
[which are connected with Pause].
Hence, care should be taken about Pause. Why? Because
[an observation of] Pause clears the meaning. There is a couplet
[on this subject] :
61. In the [Vorbal] Rppl'esentation (1lIJhina!la) tho pro-
ducers should nl ways take rare about foJ', on it drpends
the meaning [of nttcrpdl
Hands in connexion with Alal11kiiras and Pauee
62. Keeping tho oyes fixed in the direction in which the
two hands move one should mako the VeJ'bal Representation hy
observing propel' Pauses for indieating the [intended] moaning.
6364. In the Hel'Oie and the Furious [Sentilllentsl tho
hands aro mostly occupied with tho weapons, in the Odious they
are bent due to contempt, in the Comic they are to point to
[something], in the Pathetic thoy arc to hang (lolVn and in the
Marvellous thoy arc to rpmain motionless due to sl1I'prisr.
65. On similar other occasions 'too, the mraning
be made clrar by means of AlnlJlkiil'ilH and PauseR.
66-6i. whi('h are pres(,l'ibed ill a reqllir('
AIHlllk:iras. PnuRc should be olmrrved after a \vOI'd, wh!'l1 tho
moaning Ol' the breath (IJl'ii1Pl) rcquires it. And when words and
syllables ;\I' combined into a [hig] eompound or [the uttrrnnce is]
quick, or confusion about different meanings is liable to arisc, Pause
should be obscrvcd at the end of a foot or as required by the
breath. -In the remaining cases Pause should (Ilepcnd on the
meaning.
2 These arc the wordH of a 71ipralfl6dlzu Heroine ..
2 Sec MR. XXIV. 43. ' Sec NR. XXIV. 44.
61 (C.60; B.XVlI. 133). 62 (C (iI; H.Xvn. 134).
63-64 (C.62-63; R.XVII. 135-136). 115 (1.64; n.XVlI.137)
'66-67 (C.65-S7; H.Xvn. 138-14Qa).
XIX. 75 ] MODES AND ADDRESS AND INTONATION 853
1 Here one should !mow about Drawn-out Syllables (l.:?'?ya-
in connexion with the States and the Sentiments. e.g.
The Drawn-out Syllables and their use
08-69. The consonant ending in a long vowel like a, e, ai,
or an is known as a Drawn-out Syllable. In sadness, argumenta-
tion, questioning Or indignation such a syllable should take (lit. be
pronounced in) one Kala time.
70. Afl for the rest of the syllableR they may be pronounced
with Paufle required by theil' meaning, and a Pause may bn
one, two, three, foul', five Or six Kalas' duration.
71. The Pause being of great duration (I!ilaml!ita) the
syllable pronounced will alwaysl be [rendered] long. But its
duration should not be more than six Kalas
2

72. Or, taking account of the practice as required by some
rausf', 01' of the act on one should obsel've Pause in a \'erse to
suit the State Or the Sentiment [involved]'
73 In verse, Panscs arising from the footdivision [only] are
recognized; but the position of these may be varied [on the
stage] by the experts to suit the meaning [of a passage].
74. But [while observing Panse as directed above] one
should not ereat (lit. prononnce) ungrammatical words
or spoil the metre, and one should not too long excrpt in
places of caesura, and in [uttering 1Y0rds expressing] sorrow one
RhouM not make the intonation excited ((l')lta)1.
75. One recite n dral11atic composition ("'ii,1J!lu)
which is h'ee from litcmry defects possrsses best
characteristics and has [literary] qualitieR, and in such It Recitation
1 The text hOle is ill prOAe. We follow text.
2 C. for
68-69 (C. 6869; n.XVII, 140-141). 70 (C.70; n.XVlIl. 142).
71 (C.71; n.XVII. 143), 1 C. yauII for sadu.
2 C. parUinilm for kaliinam ..
72 (C. 7le-72a; n.XVII, 144) . 7:'\ (72b73n; n.XVII. 145).
74 (C.73b, 743; B.XVII 146). I C. repeats 7711 befol't' this.
75 (C. 75; n.XVlI. 147)
5
854
THE NATYASASTRA [XIX, 76
one Rhould observe proper rules relating to the lltter&nce of notes
and their Alaqlkaras.
76. Alal!lkaras and Pauses that have been prescribed in
case of Sanskl'itic Recitation should all be observed in unSanskritic
(Prakritic) Recitation of women as well.
77. Thus in the representation of the ten kinds of dramatic
works (l'Upa) produccrs sl'ould prepare Recitation subject to an
observance of proper notes, Kala, time (tala,) and tempo (la.ya).
78. Rules of intonation have been described [by me] in
proper sequence. I shull describe hereafter the ten kinds of dra-
matic work.
Here ends Chapter XIX of Bhurata's Natyasastra
which treats of the Display of Intonation in Connexion
with the Verbal Representation.
76 (C. 76; B.XVII. 148).
77 (C. 77; B.XVU.149)
. 78 (C. 78jB.Xvn. 150)
~ --------
.
CHAPTER TWENTY
TEN KINDS OF PLAY
1. I shall now describe the tenfold
1
division of plays
together with their nameR, functions and modes of production.
2-3. For their definition plays are known to be of
ten kinds such as Nataka, I Prakaral}a, Ailkn
Vyayoga, Bhal',la, Samavakara, VUhi, Prahas:tna, J)ima
3
, and
Ihiimrga. I shall describe their characteristics in detail (lit. from
the beginning).
4. Styles are known as the constituent elementl:' of
all dramatic work" (lit. poems). Considering their production
thc ten kinds of play nrc considered to have proceeded from these.
5. J llst as the J:Ltis1 and the gl'\ltiH 2 of notes constitute a
scale (!I1'iimn)
3
, so varieties of Styles make up the dramatic COm-
position (klit'!la-!mndha).
G. JURt as the 1 and the Madhyamu 2 scales includo
all the notes, so these two [kinds of] dramatic compositions (Na!aka
and Prakar!lI.w) are made up of all the Styles.
7. The Nataka and the Prakaral}a are to be known as
made up of all the Styles and they utilise all the different methods
of constl'\lctions 1.
1 (C.l; B.XVIII. 1). 1 Old writers on the subiect like Kohala men-
tion additional typ('S of play slIch as Sattaka, Totaka and Riisaka (Ag.).
Bhoia ignores the Totaka and recognises only twelve kinds of play includ-
ing"the Niitikii in the NJ. (See. V. Raghavan, Hr. Pro p. 27).
2-3 (C. 2-3; B.XVIIJ. 2-3). This word B sometimes loosely used
as a synonym of 1'ftjJa or rftpaka.
To distingnish it from aiika meaning "an Act", it it also called

a It is evidently 11 non-ArYlln word.
40 (C.4; B.XVIII. 40). 1 See NH. XXII. ..
5 (C. 5; B.XVIII. 5). 1 See NH. (C.) XXVIII. 36W. ibid. I ibid.
6 \C. 6; B.XVIlI. 6) 1 See N8. 221f. 2 ioid.
7 (C. 7; B.XVIII.7). 1 It seems' that 6 and" 7 .have taken each
other's placo.
THE NATYASASTRA [ XX.S
8-\l. Plays of the Vithi, the Samavakara, the Ihamrga, the
(Ailka), the Vyiiyoga, the Bhiil).a, the Prahasana and
the :pima classes should be made devoid of the Graceful Style. I
shall hereafter deseribe the different methods of constructing plays.
The Nataka
10-11. [ A play] which for its subject-matter a wcll-
known storyl., for its Hero a celebrated person of exalted nature
(ndatla)1 or which describes the character of a person descending
from a royal secr
3
, divine protection [for him], his many supcr-
human powcrs' and exploits such succcss [in different undf'r-
takings] and amorous pastimcs, and which has appropriate number
of (lit. richly furnished which) Acts (!I'idm,)5 and Intl'odllctary
Scenes (waveittka), is called a Nataka."
12, Character of kings, their acts and movcments represent-
ing many States and Sentiments and arising from (lit. madc by)
their joys and sorrows [when described in a play] iH styled a

The Act
liJ. After considering the denolllllllcnt (kal'ya) suitable til
thc particular stage [of the plot] an Act be constructed by
expanding the Turnil.g point (uilt!ln) [of the play] It should be
furnished with a group (yaf!/I ) [of characters]' 1
8-!) (C. 8-9; B.XVIIl. 8-9).
10-11 (C. 10-11; B.XVlII. 10-11). 1 It must OCClII' in form in
a Pural)'" Itihasa (Rim. amI Mbh.) or any utileI' celebrated work (e.g.
Brhatkathii).
2 Rama, and Udllyana arc eXllmp!rs of snch pCl'sons. This
and the other conditions mentioned in the not.c above exclude living persons
as Herocs of the Cf. ND, p. 27.
3 Janaka and Viilvamitra flrc examples of such persons.
4 Di vihe personages may be introduced in a Nataka only flS Heroes
of an EpU!ode (pataka) or Episodical Incident (Prakari). See Ag. 8l1d
ND. (toe cit).
6 For the description of Act (anka) see bolow 13-15,23.
6 ll'or a de3criptioll of the Introductory Sceno (prav&saka) sec below
19-21; 27-35.
12 (C.12; B.XVUL \2).
13 (C.13,B:XV.lII. 13). 1 C. reads this couplet dilferently.
.XX.18] TEN KIND!! OF PLAY 357
H. The Ailka (Act) is a I'udhil (traditional) word. As, by
means of the States and the Sentiments. it causes the meanings [of
playsJ to rnhn (to grow) thl'Ough [an adherence toJ some [technical]
rules, it iH clllled an Ailka (Act)2.
15. An Act should be brought to a close by (lit. in) a
division of the play, and no final disposal of the Germ (bi,jn) should
be made in it.
l
And the Turning Puint (bind/l)2 of (lit.
arising from) a play should again and again (lit. alwaYH) be made
to occur (lit. pervade) in the plot (w8tn).
16. That [part of the plnyJ where a [particularJ meaning
is fully exprcssell, but whcre the Germ (vija) is not
1
finally dis-
posed of, iH always to be known <lR an Act whi('h slightly attachcR
itself to the Turning Point (bindn).
17. An Act which relates to the dircct exploits of thc
perSOIlA (lit. HeroeR) mentioned [beforeJ and theil' variol1R StateI',
not be Illade too long 1.
18. It should also be known that the Act is to contaiu
the variolls SentimentH frolll [wonb and deed,., ofJ the queen
1
of the Hero, supcriors, pricst, lIlilliHtcl' and leader of the army
(.'art hal'aita)3.
14 (C.14; B.X.VIII. 14). 1 tho root 1I6n-to grow.
2 This is an instanco folk-etynlOlogy and does not help us at all to
the real m('aning of the word.
15 (C.15; n.XVIlI. 15). 1 1<'rom the Turning Points, the plut
attains rapid a movement, amI due to thf'sC the dramatic situations arise.
2 C. om. klirya after ,lt1d kiiryaahcdo Ita fur
klivyacccdo na, C. k{!vyaccncdalta, n. S.igafall[lndin's cx:planlltion of this is
fal'-fetched (See NL, I' 11).
16 (C.t6; n.XVIII. 16). 1 Emend ca into fta. Such an cllwndatioll
seems tu be Ill'C('Ss[lry from tho sp('cial of the word "ija. cr.
ai/kallam. yo' rt ho (Ag).
17 (Ct7; n.xvm. 17). 1 Silgaranallllin reads this differently. Sec
NL. p.ll.
18 (C.l8; IloXVlll.18). 1 Quoens include his concnbines and tqe
mahiidc11i (chief <lllcQn) (Ag.).
Superiors include his parents and teachers (.Ag).
Silr/havano'ira (Ag): In dramas. sma-palt'
,cldom appears.
858
THE NATYASASTBA
[XX. 19
Incidents not directly presentable in (In Aot
1\). lFeats of anger, favour, grillf, pronouncing a curse,
running away, marriage, commencement of some miracle and its
actual appearance, should not be made directly visible in an Act
2

20. A battle, los8 of a kingdom, death, and siege of a city
being not directly in an Act
1
, should be presented by
Introductory Scenes (pravfsalw,).
21. In an'Act or in an Introductory Scene of the or
the Prakarm;,ul there be no killing of It persoll who is known
as the Herol.
lIis flight, trmty or eapture alwaysl be indicated
by means of descriptions (lit. poetical passages) amI the
Introductory Scenes will refer to illei<icnts (lit. aetR).
An Ad shoulll ('over incidrnts that can take place in
course of a single day; it relate to the Germ of the play
and should proceed without a hindmncc of the routine duties.
l
19 (C.20; n.XV IlI.20). 1 B. and C. reud before this one additional
couplpt which in trallH. iH "The IlIunber of .\cts in the Nataka and the
PrakaraJ.Hl should noi be le;;s than five amI more than tOil (read paitcapan!
dasu para in the tpxt)". But ill view of the conplets 25 and 57 below,
this seems to be supcrJluous. .
, C.).
Sec An. R. comlllentlU'Y (p.53) whero we have ililfq 1I"!'!'!r i( sec
also 20 below.
20 (C.2l; B.XVIII.:l8). 1 This clpariy shows \hat death scenes
were not prohibited on the ancient Indian stagr. Sec NH. VII.85. note 1.
2 B. tu Ita!akc for Cf. Siigarn
nandin's view Oil this point (NL. p.l::!).
21 (C.22; B.XVIII.39). 1 A misundorotfllldillg of this rule aH
adopted ill SD. (2740) has given rise to the belief of modern scholars
that the ancient Indian drama did not permit death-seenl'S on the stage.
Sec Keith, Skt. Dr. V293, 354; Haas, DR. p.93.
22 (C.23; BXVlII.40). 1 B. reads for nit yam, and kiivya-
halmMi, llutyalattvaHtaill as 22b.
23 (0.24; R.XVIlI.21). 1 B. for 'aprav(-tfal!. Sagara
Dandin reads it wjth a slight dill'etencc. He quotes views about
the duration of incidents prC!!ented in Act, Sec NL. (p.13).
XX. 30] TEN KINDS OF PLAY
359
24. A wise playwright should not put in [too] many InCI-
dents in a single Act
I
. And incidents in it should be depicted
without a hindrance of the routine duties
ll

25. Persons who will enter the stage in an Act (lit. there)
. will go out after pot'forming things connected with the Germ and
the meaning of the play, and [they are to create] the propel'
Sentiments.
26. Knowing the length of a day which is divilled into
1, Yfi.mas
2
and Muhurtas
3
one should distribute nil the
different incidents in a play to diffel'ent acts.
The Introductory Seene
27. When incidents that arc to be finished in of a
[Hingle] day, cannot he accommodated in an Act they should he
presented in Introductory Sc('nes after closing the [Rame] Act.
28. [Incidents] that may take place in COlll'He of a month
01' a yeUt, are also to be presented (similarly J after closing the
Act t ; but [incidents cov('ring] morc than a yeal' should never be
treated [in such a manner].
2
29. When ill an Act any person goes out on business to a
distant land, it should be bronght to a dose [at that point] as
persel'ibcd before.
no. With an Act of the Nfi.tnka and the Pl'akararp the IIm'O
should be eloRdy associated. AI1lI an Introductory Scene
1
should be made Up2 of a cO!l\'ersatioll of
24 (C.25; D.xVlII.22). 1 Read rkailke 11a instead of ekailkena
(D.C.). The controveroy over the reading is anterior to tho timc
of Ag. (Sec Ag.).
I Routine duties inelude prayers as well as taking meals. (sandhya-
"!lndanadt').
25 (C.26; D.XVIII.23). 26 (C.27; B.XVIII 25).
27 tC.28; n.XVIII.26). I Ex. Avi, II, Vikram, V.
28 (C.29, n.XVlII.3l). 1 C. ailka{'chedam kuryiJt for cc!tc.
dalrJ kl:tviJ. The meaning of this rule is that an Aet 'will include oyettts
rovering a month' or a yeat. Dut this contradict 23 above. '.
29 (C.30; n.XVIII.32).
30 (C.31; B.XVIII.28). - I B. 1Jt'jilcya!j. for krtrta71!jal!; C:praz'{'$akc:
for Pravesako.
:160 THE NATYASASTRA [XX. 31'
31. An Introductory Scene in the Niitakn. and the Pl'llkaral).a
should be made to relate
l
to the essentials of the 'furning Points
(bindu) and follow the preceding (lit. another) Act.
32. It (the Introductory Scene) should not of
exploits of the superior and the middling characters, and there .
should be no exalted speech in it. And in pmctice it should adopt
speeches and manners of the common people.
33. An Introductory Scene may hare many purpose's.
[For example], it may indicate the advent or passage of tinw,
change of the or the b<,ginning [of an Act] or the
denounment (karya).
34. Incidents which depend on many [persons J are to be
compressl'd by means of Introductory Scenes 01' in .r unctures
For a play containing [tooJ muny prose passages I will
be tiresome [to the actors] at [the timo of] the production [of tlw
play].
35. When a particular item connot he (ompletcly presented
in an Act lest it be too large 01' pl'<)duC'tioll, its
account should be ('olllpref'sed in a few won!,; Ull(1 put ill all Intro
ductory Scene.
The Explanatory Scelle
36. In the Nataka the ExplanatlJl'Y Serne
should alwaYR he m:H]l' up with tlw lIIidcllipg eharactel'Hl and it
31 (0.32; B.XVlII.33). 1 C. bhaz'a/i kil1,yrrtl!1 for SIII!I7'tttlll'.!a1Iyiil!.
32 (0.33; RXVlII.34).
33 (0.34; B.XVIll.35). 1 Rend 33n as
flI'I!lT'IITi{. B.).
2 B. reads the first hemistich with the chllnge acceptro by
Ag. The passage in B. in trans. will be as follows: An Introductory Scene
may have many purposes. For examplr, it mfly indicllte the mlv('nt 01'
passage of time, or present some explanation or other IIspects of planning
the denoument (karya).
34 (0.35; n.XVIII.36). 1 For 6ahucurQapadair yuk/am. O. fcadK
35 (0.36; B.XVlII.37) .
. 36 (0.37; B.XVIII.54). 1 ThiA is that sl1ppl'ior
do not IIppear in lin Expilinatory Sec. below 37 note.
-xx. n 1 TEN KINDS OF Y 861
should bn concise and follow the poliRhed Rtyle of speaking

2
37. It should be of two kinds: pure (iwddha) and mixed
(sarpJi,7''I'!((')' Of these, the pure is up with the middling chamc-
terR, and the mixed with the infcrior and the middling characters.
313. In the Nataka and the Prakarm)il. an Explanatory
Scene between two Acts or at the Iwginning of an Act, should
always ine1l1de the michlling all(l the inferior charactersl.
Number of drama/is personae
nfl. The Sfi.taka and the Pl'llknral)a Rhouhl not be made to
contain a grcat number of attendants [to the Hero]' The Hero'"
attendants (lit. lUen of work) in such plays (lit. therE') should [at
most] be foUl' or five
l
.
40. Plays of the Vyfi.yoga, the Ihfi.,nrga, the S:unavakfi.ra,
and the 1)ima classes should he made to have ten 01' twelve
characters **1.
I utroduoiug chariots and pl\laces on the stage
41. A ch:ll'iot, an C'\rphant, a hors(> and a palaee should not
he presented on the Rtage. Thrse should be proyidcd [in a play] by
means of appearance and costmnes
1
[of men concrJ'lled] and [their]
Gaits
2
and mov('ments (!Iati-viciim)
8

37 (C.:18; n.XV1II.55). I Ex. Pratij'Ht II. Bak. III.
2 Ex. Prlltima. If, Vikram. III.
38 (C.39). I The exact sil!;nificlInce of this rule is not deal'. It
to Hay that other thlln of the Nlita1m nud the
Prakaral)fl types, will not allow an Explanatory Sepnc of the mixrd
kind. All r'{ampln of a scene probably OCCUl'a in the l'aiica. of Bhasa,
which docs not fall into any of the known types of drama. Sec Pusalkcr,
Bhiisa, pp. 209ff.
39 (C.40; B.XVIII.4l). I rule is possibly meant for avoiding
the practical difficult.y of producing a dJ'alll:'l with too many characters.
40 (C.4l). I C. it in a llIutilated form. Its second hemiHtic:h
Rhould be read lIR daSalJlu'/t Z'U kaI'Yfll,lt ......
41 (C.42). I This couplet should be read IIi 'I ", ..
I
2 See XXIII. 6-9. 3 See NB. XII.
46
362
THE NATYASASTRA [XX.
42. But nn elephant, a horse, a palace, a hill or nny con-
veyance as well as imitation lVeapons may be pl'l'son!d (lit. made)
by means of model''I'\'ork by these who know the rules [for their
construction ]1.
Introducing an army on the Rtllge
4:1. If due to flny reason
1
a detntehment of an army is to
be introduced on the stage (lit. herr), only five (lit. four) or six
perRons arc to make tlll'il' appearance (lit. going).
44. [In a play an army] sllOuld be made to appl'al' as con-
sisting of a Amall numlwr of men, representing mounts and
travelling requisites, anti it Hhoul(1 move slowly. For in the military
role of the actors, [actual] rules of polity lh not apply.
4;i. Tn the compo:;itiou of :t play Denonmcnt should be made
[like] the tip of the tail\ andal! the exalted situations (lit.
states) shonld be put at the ('Uil.
4647. At the c0ndnsion of all the plays which contain
various StateR alltl Srntilllcnts, I'xprrls shonltl nlways introduce the
Marvello11s Sentiment!.. '1'llIls I have 11I'ielly bnt properly Hpoken
about the characteristies of the l'i'iitab. I hereaftcl' (k'Rcribe
the Pl'akaral).::t by mentioning its charaeletisticR.
Tho Prakarat,H1
48. The play (lit. wherr) in whi('\t tho wriler l/1'ai.'/I1'lIir'
(doviscs)1 hy own gcnius an original plot with its Hero, and
works np its elahoration (,',r ri m), is cal\c(l the) l'rabral).:I.
42 (C.42). 1 See above 41 note 2.
43 (C.44). "EtIl0n<l karu\lopajmwii into kiira/,Iopao.
Emend kartavyamantra into karlmlyallZ atm.
44 (C.45). 'Emend k!atena into lIa.
45 (C.46; B.XVIII.42). t '1'he exact significance of this exprcsRioll
well as the implication of the ('utire rille is nut clear. Ag. howllvcl'
CjIlOtcs two difl'ercnt views on the sllbjrct but nOllo of thl'm seems to be
convincing,
46-47 (C.47.48; B.XVlII.4:H4). ''fhii is mostly to be done by
cllusing unexpected things to happen. The surlden revelation of Avnlltikii
:IS Viisnvadatta in Bhiisa's Svnpna. (VI) rmd the dramatic re-union of
gakuntnHi. with ill gnk. (VII) are c'!:nmples of this rule.
48 (C.49; B.XVIII.45). 'From this it mlly be :lSsumed that Ollce
there were Prllkararyll8 in whioh the plot was not wholly original, ,:e. the
.XX. 54: ] TEN KINDS OF PLAY
36S
40. When a playwright constructs a play with an original
(lit. invented) Germ and It plot which is not connected with
works!. and which that play has gathered fr01l1 some other workfl
and has some mal'vel!om; qualities in it, the same is also called
the Prakaral}a.
50. The plot and its elaboration as the basis of the Senti-
ments/ which bave been in case of the Nataka are also
to be applied with [the the detail of] their characteristics to the
Prakaral}lt in all its JuncturE's (sandhi)2.
51. The varied exploits
l
of Brahmins, ministers,
priests, officers [of the king] and leaders of the army [when pre-
sented in a play] are to be known as the Prakara I} a 2.
52. The Prakaral)a should be known as not made up with
'l.n exalted Hero. And it does not contain the character of any god,
has no story of king':-l enjoyment, lllld it eonnccted with the men
outside [the royal palace].
53. The play of the Prakaral).a type should include [in some
cases] servants, parasites (/' and heads of the merehallts' guild,
[as charactcr:> and should contain incidents arising from] the
conduct of courtezans as well as exploits of depraved women
of good family.
5 t [In an Aet of the Pl'akarul).a] where a minister, head of
the merchant;;' guild, Brahmin, priest, minister and leader of the
playwright worked lip materials from the source of the plot, such as
Mbh. Ram. and See above 10-11 note 1.
49 (0.50; B.XVIlI.46). 1 Ram and Mbh. are"examples of such
works.
50 (0.51; n.XVIIU7). 1 C. rasasrayopetam for ca 7J'1;ttz'6hCda$ ca.
2 C. kevalallZ utpadyaz1astu syat for lu.
51 (C.51; n.XVIII.48). I From this "varied exploits" one is
to understand that Prakaral)a was not concerned exclusively with
love-themes.
2 The types of ehllrllCter9 mentioned in the rule are mostly absent
in the scanty number of ext.'lnt plays of this t.ype. The Pratiji\a. is
!'xample of a Prak. having miniRters as Hero.
52 (0.53; B.XVlll.49). '53 B.XVIII.50).
54 (C.55; B.XVIlI.51).
TBE NATYASASTRA . [XX. 55.
caravan stay in their family circle, no courtezan should bo brought
in there
l

55. [In the"PrakaraJ;la] when a person is in the company of
a courtezan there should not be [at tho same time] his meeting with
any respectable woman (lit. woman of good family), and while he is
with a person of high family no courtezan should meet him then.
56. If out of necessity (lit. reason) there occurs a meeting
l
of courtezans and respectable ladies in [any scene of] a Prakara1}a
their langnage and manners should be kept undistorted.
57. In the Ku\aka and the Pmlmra1}<1 the playwrights
should have the nnmber of A('ls as not lei'S than five and not more
than ten 1 ; and this should be with the various Senti-
ments and the States
2

58. After considering the ne()d and action of the plot
one should place between two Acts the Introductory Scencs which
arc to compress the events in the Junctures (s/!uilh.i)1.
The Niitikii
59. In a play of the Nii(ikii claf's producers arc [0
recognise a more 01' less woll-known val'iety of these two (the
Na\ab and the Prakal':u;w) i.
-------_._- -. - ---. '-- -_ .. _._ ...... -_ .. __ ._ .. _---
1 See 56 brlow.
55 (C.56; B.XVIIl.52l.
56 (U.57; 13.XVlII.53). 1 Tiw natUl'e of the l1l'ce,;sity, nnd the
lanlluagc which the author of the had in viC'w ill fOl'mulating thiK
rnlr, probably!bccn indicated in the following coupM.
I 1ImT s;l;fifrfi."Il. Bh. pp. 242
57 (C.58; n.xVIII.29). 1 lbd nasi! para for dasapara.
2 B. rcad9 the second hemistich as "
59 (C.59; ll.XVIlI.56). 1 Read this couplet as follows: '1'fTi!1Ul;f.
;jf<l!ifTiI<II:. Cf. DR. I.l18 (cd.
Haas, pp. 34035) and SD. 302. The Introductory Scene cannot be placed
in the beginning of a play find it mllst be in l'kt.
59 (C.60a-61b; B.XVlII.57). 1 RC'ad tlll(isaltj(lsrt"1c kfwye for
1za/akayoge prakaralJ>c. Sec AVlllokll on DR. (cd. Nimayasngnr) IlI.43.
Description of the Niitikii given here (59-63) has been rightly suspected
as :Ill interpolation, though Keith is for rejeoting this suspicion. Sec
Skt. Dr. p. 340i.
-xx. 64] 'tEN KINDS OF PLAY
365
60. Different in origin from the [two types of plays]
the and the Prakaral}3, its plot should be invented, the
Hero should be a king and it should be based on [an incident
relating to music or affairs of the harem 1.
61. And it contains an abundance of female characters, has
foul' Acts, graceful gestures as its soul; well-arranged constituents,
many danceR, songs and recitations, and love's enjoyment are its
chief features 1.
62. The Natika should be known also to contain [a dis-
play of] royal manners\ [fit of] angm
2
, its pacification, and [acts of]
tleceit (dllmbha.), and to have the HeroS, his queen, the female
Messenger and the attendants [aR its lJeI'SOnae].
63. IThe charactet'istics of the Niitaka and the Prakaral}a
2
have been brietly described by me. I shall now speak about the
characteriHtic8 of the Sumavakiira.
The Samavakara
li1-65. ItI 8hollid have the [exploits of] gods as its subject
maltet (/17)11) and an ASllra ItH It well-known and exalted character
60 (C.60b-6la; H.XVlIJ.58). 1 Keith seems to be in error about the
Imture of the subject matter (vlot) of the l'rak. Sec Skt. Dr. p. 349. J llsti-
lieaLion for calling the l'ratijiiti. It Niitikti nmy be found in the fact that
it, plot is based on lUusical lessons giv(,l1 by Cdayana to Vasavndatta
lind it foul' Acts. But according to its l'1'ologuc it is a Prakaral.la, See
L'u811lkrr, Bhiisa, pp. 271-272.
61 (C.62; U.XVIlI.59). J Bl1t for this feature of having fOllr Acts
f)ltly, the M iltwi. m:ly btl cOllsidm'cll II NliFkti. Sec Keith. Skt. Dr. p.-350.
U:ltnii. iH II well-known example of the fOllr Act Nlit-ikii,
62 (;.63; B.XVIIl.60), 1 C. kamopacara for rMopacara.
2 13. krodhadam!J!nsaJ1)yukta for krodhasall,lYlela CaPt:
a C, 1'(>1\(13 62b liS -i'llfq ifrf!.!'fiT illT. .
6a (C.65; n.XVllI.62). 1 B.C. read Olle additional cOllplet (u'64j
B.XVlII.61) 011 t.he basis of two mHS. It does 1I0t give any new
information.
2 C, uk/am for '111lfaka-laksana.
.' " '!:I
l./am 11k/a!'!, vipra. Evidently the interpolator who is 1'('sponsible for
the description of the N:iti (Niitikii) insCl'ted "ali in the reading of C.
Sec above 59 note. . . .
64-65 (C.66-67; B.XVllI.6S64). I No old specimen of this type
366
THE NATYASASTRA [ XX. 66
as its Hero, and it is to consist of three Acts [presenting] the three
kinds of deception, the three kinds of excitements 01' the three
kinds of love
2
[Besides this] it should have as many as twelve
dramatis personae and a duration (lit. length) of eighteen
I shall now speak about the rule regarding the number of
to be alloted to the different Acts.
66. A
1
should be known as the half of the Muhurta
2
which is a [well-known] measure of The Acts in a Samava-
kiira should be measured according to the directions given in terms
of this
The first act of the Samavakara
67. The fit'st Act [of the Samavakr.ra] should have a dura-
tion of twelve and it is to contain langhtcr, excitement,
deception 01' a Vithi.
The sccond and the third acts of the Snmavakara
!i8. The second Act also should he similar [cxcrpt that)
it is to have a dUl'<ltiotl of foul' Nii(,likiiS\ And the thil'd Act.
which will bring the plot to a close will have a duration of two
only.
of drama is availablc. Samudramnnthana by Vatsariija (l2th ccntnry) is a
very latc work. See Krith, Skt. Dr. p. 267. Panea. is not a SlIm<lv.
Cf. Manknd, 'l'YPCH of Skt. Dr. p. 58; l'usalker, pp. 202210.
It docH not seem likely tlJat anyone play of this type will
include all three obkctH (dcccptil)!l, excitemcnt and love) in their three
varieties.
3 As the topics (and hmcc the Acts) in the Sumuvukul'a I\re to be
loosely related (sec 69 below); this limitation has becn placed on the
time kst it should be made too long.
66 (C.72a, 6Sb, nXVllI.67). 1 lIal/ika;:;:.24 minutes. Sec below
67 notc.
1Ilunurta=a period of 48 minutes. Sce below 66 note 1. Curiously
enough thinks that IluIliifu is one fourth of a mu/ifJrta.
Sec BhP. p. 249.
67 (C.70; n.XVlJI.65). 1 12 lIrjl]ikiis (ltill/t's)=4 hours and 48
minutos.
ji8 (C.71; B.XVllI.66). 1 4 1/iujiki!S"'" I honr 36 minutes.
, 2 nijikas = 4.8 minutes.
.XX. 73]
TEN KINDS OF PLAY
367
69. 1 In composing the Samvakllra Artg should be
mude to have diffel'eut topie", Ami t.opics in the Salllrtrakam are
to be loosely related to one anothel,2,
The three kinds of Excitement
70. Excitement (1'idram.) is known to be of three kinds Ruch
as being due to bat.tle and flood (lit. water), Rtorm (lit. wind) and
fire, or big elephantl at large, and siege to a city,
Three kinds of Deception
71. Deception (kapaH is hown to he of three
as being due to a devised plan,1 aecident 01' [the stratagem
ofJ the ('nemy, It creates joy Ol' sorrow [to personR].
Three kinds of Love
72. In this eonnexion (lit here) tht'ee kind;; of love to be
prof;entod through di/fprent actions IIrc: that in relation to duty
(dharma), that (tctnate(! by material gain (artllfT) :md that aetnatcd
by passion (I,limn)!..
Love togethrr with dllty
73. When in [discharging] the duty one attains one's
[mnch] wpli-being 1 accolllpli;;lll'd in many and in
this connexion m('nns like YOW" 2, ansterities mHI
prmance are adopted, it is to he known :lR love in 1'(,latiol1 to dut.y
(d
60 (C.72b. 73; B.XVJlI,60). 1 IMol'e thiR It rrads on<' additional
couplet (13.69) which docs not give allY important information and has
the support of two only. In C. this OCCl\l'3 aft('l' C. 68.
, From this it appears that Salllav. was not a play of the rrgnlar
type and belonged. to a very <'nrly stnge of evolution of Indian drama.
70 (C.N; B.XVlII.70). I C. Jalmdra-salllMtwo for gajclldra-
sarl}Ohrama.
71 (C.75; n.XVIII.71). 1 C. yastll gtlft'kramtl. for z>tlstltgattlkranza.
72 (C.76; B.XVm.72). I C. r{'U(h 72b as
73 ((\77; B.XVIII.73). I n. 73a as l:1f<l.'l. IffiIflQ'fiill111fY1i

2 C. ",ati for 11,ata.
868 THE NATYASASTRA (XX. 74-
Love together with material gain
74. Love in which attainment of material gain occurs in
various waysl is called Love in relation to material gain (,Mtho,-
B!lIgara) or it may be that love in which the enjoyment of pleasure
with women is for the purpose of some material gain.
Love dlle to passion
75. Love actuated by paBsion includes the
seduetion of a maiden and it causcs, and also secret or excited
intercourse
1
of a man with a woman.
Metres not in the Samavakiira
70. the S,lmavakiira the playwright should
proper use metres other than U and Giiyahi ctr. which are
of complex construction 2 .
77. In this manner an expert should eompose a
which will be the source of various Sentiments
l
. I shall h('rpuf!('r
about the characteristics of the Ihiimrga.
The thamrga
78. It (Ihamrga) has as its )W80IMtP dil'inc males
who are implicated in fights about divine It should be
constructed with a well-arranged plot and should be convincing
1

74 (C.78; B.XVlII.74). 1 Read 74a as
: (ms. eha B.).
75 (C.79; B.XVIII.75). 1 Rmd 76a as ,1lI''l1
r"lJli 111 f1l;;iI: 'lilil 'IlWlf:. (mss, ya, na. Pha, hili ill n.).
76 (0.80; B.XVIII.76). J Read this couplet as follows :-of,,!'!,
iIllillrf'l I " .. ,Wirrf'l .rnfu: 'fho reading
accepted by Ag. SC('ms to be corrupt. For lind Oiiyatri type (If
metres cannot by an) means be as being of complex con-
struction (bandkakutila). Our emEndation has the RU[lport of
chao in B. Udbhata (the noted commentator of the NH.) too thinks that
the rule prescribes complex metres such liS Sragdhara for the Samllv.
SceAg.
3 Lengthy, sami-even and uneven types of metres.
77 (C.81; B.XVllI.77). 1 C. sukhaduljkhasamlrsrayall for niiniirasa-

78 (0.82; B.XVIII.78). 1 C. Viprafyaya for vipralyaya. No old
spceilDen of . this type of drama is lIvailllblc. Rukmil)iilllrlll.m by
V IItsariijll is an artificial production of a very late period 02th centllry).
-xx. 85] TEN KINDS OF PLAY
369
79. It is to abound in vehement (uddhata) Heroes and to
have its construction dependent on feminine angel' which is to give
riAe to commotion excitement ('"idrava) and angl'Y
conflict (saTfl,php!a).
80. The Ihamrga should be a play with wcll-ordered cons-
truction in which the plot of love iR to be based on causing diReord
among femaleR, carrying them off and opprcssing [the enemies].
81. All that arc to be made [avllilable] in the Vyayoga-its
male characters, Styles and Sentiments-should be brought in the
Ihamrga also, except that the latter is to include (lit. have connexiorr
with) the goddesses (lit. divine females) only! us its femule characterR.
82. [In the IhamrgaJ when persons intcnt on killingl is
on the point of killing, [the impending] battle should be avoided by
artifice.
83. 0 Bl'ahminR, the characteristics of the IhaUJrga have
been briefly mentioned by me. I shall hereafter on the
clmractcristics of the l)ima.
'fhc Dimll
81. The l)ima should he constructed with a well-known
plot, and its Hero should be wellknown and of the exaltcd (ndatla)
type. It is to contain the Sentimentfl and to consist of foul'
Ads onlyl.
85-86. It should contain all the Sentiments except the
Erotic alllI the Comic, a plot (k(il'y(!yoni) with exciting Sentiments
Hnd various StateR, and it is [also] to include incidents such as an
--------------------
(Scc Keith, Skt. Dr. p. 266). Two othcr latc spccimcns of this ldnu
arc Vira-vijaYII and Avadhiita's SarvlI-vinoda-llataka.
Ston know, lD. p. 114).
79 (0.83; B.XVIlI.79). 80 (0.84n, 85a; B.XVIlI.80).
81 (0.8Sb-S6a; B.XVJII.81) 1 Sec below 90-93.
82 (0.84b, 86b; B.XVlII.82). 1 C. vadMpyuda8rayo for ,,dho'-
PYlldagro.
83 (0.87; B.XVlIl.83). ..
84 (0.88; B.XVlII.8.J.). 1 No old exalllple of thil type of drama is
available.
85-86 (0.89-90; B.XVIlI,8586).
4.7
810
THE NATYASASTRA [XX.81.
. earthquake
1
, fall of meteors, an eclipse of the sun 01' the moon,
battles, personal combat, dmllange, and angry conflict.
8788, The :pima Hhoultl abound in deceit and jugglary and
should have the energetic activity of many persons, and dissention
(bheda)1 among themselves, and it is to in elude sixteen characters
which may be gods, NagaR, and and
[besides this] the play is to be carefnlly made in the Grand and
the Energetic Styles and is to have Illany States to support it
2

89. The :pima has been describe(1 by me in all its charac-
teristics. I shall now about the c1mractel'istics of the
Vyayoga.
The Vyiiyoga
!}ll. The Vyayoga should be by experts with
one well-known Hcro as its basis, and it shouhl include a small
number of female characters nt1(l [the events reluted in it J will be
of one day's duration only!.
91. Many males are to take part in it as in the Snmavakara,
but it is not to have the latter's length, for it is to have only
one Act (anht).
9293. It should have a royal as its lIero and not a
divine personage, and it Bhould inclwle baltlr, perBonal combat,
challange and angry conflict. Thus the Vyayoga should ho made
with exciting its hasis. [ ,hall now iiprak of the
characteristics of the (Ailka).
}. O. reads 86a liS
2 O. yuddhp-praharm.la for Yllddh-iidl,ar.)alla.
87-88 (.91-92); B. XVIII .. 87-88). 1 B. bahu-pustolthfmayoga for
lJahupurulottMna-bheda.
C. for
89 (C.93; n.xVlIJ.89).
90 (0.94; B.XVlII.90). 1 Rh:isa'H l\I:ulhYllma. is itA solitary old
men. Prahlau!ln!lucva's Piirtha-parakram!\ (12th cl'nt.), Vatsaraia's Kira-
tarjuniya (l2th c(:nt.) and Snugandhikii-hllffll)n etc. arc very
late specimens of this type. Sec Keith okt. Dr. p. 265, I)usalkrl', Bhiisa.
p. 203. Dlitavii. Dutagha. P"fica. alld (Tm. canllot be CIIII("<1 Vyayoglls.
Cf. PUBalker, Bhiisa, pp. 186, 187, 190, 200. Maukllu, 'fypes of Skt,
Dr. p. 59-61.
91 (0.95; B.XVIII.9J). 92-93 (0.06-97; B.XVJII.92-93).
.XX.99]
TEN KINDS OF PLAY
Tho Utsr*kMka
94. The Plot in it is [usua.lly to be] well-known, but it may
sometimes be otherwise, and it is to be furnished with male
characters other than those who are divineI.
95-96. 'fhe should abound in the Pathetic
Sentiment; it will treat women's lamentations and despondent utter-
ances at a time when battle and violent fight.ing has ceased; it
should include bewildered movemenls [of mourners] and it must he
devoid of the Grand, the Energetic and the Graceful Styles and its
Plot should relate to one's fall (lit. end of the
Scenes with celestial Heroes
97. [Scenes of] all the plays which have celestial Heroes,
and which [treat] It battle, capture and killing [of enemies], should
he laid in 1.
!l8. Of all the (suh-continents) prescribed for the
gods why 1 is chosen [in this connexion]? Because
the entire land here is charming, sweet-runelling and of golden
colour.
flfI-IOO. [But scencs of their] garden party (lit. going to
a garden), sport, pastimc and cnjoying the cOlllpany of females,
are always to be laid in the other for there is neither
any sorrow nor any grief there. Theil' enjoyments should take
placc in the mountains which are connected with those in
the Putul}ic accounts, hut their [othet] deeds should begin here
(i. e. in
94 (C.91: B. XVIII.94). 1 Bhiisa's Urn. is a solitary example-this
type of drama. Sco Pusalker. Bhiisa, pp. 199, 200. Keith seems to be in
error when he says that a play within'a play is often called an Ailka. See
Skt. Dr. p. 268.
95-96 (C.99-100; B. XVIII.95-96). .1 C. kartrvYo aOhyudayimlas
tajitailJ for
97 (C.101; B.XVIlI.97). 1 This and three following couplets (97-
100) seem to be moro relevant after Nti. XIV. 26 which treats
topics.
98 (C.102; B.XVIll.98). ! C. tas1iliit for kasmat.
99-100 (0.103-104; B.XVIll.9Q-100).
TBlll NATYASASTRA [ XX. 101
101. The characteristics of an (Anka) have
exaustively explained by me. I shall now speak of the
Pl'ahasana with its characteristics.
The Pl'ahasana
102 The Pl'ahasana should be known to be of two kinds:
pure and mixed. I shall separately treat their characteristies
l

The pnre Prahasana
103-104, The Prahasana is known as pure {snddha.)1 when
it contains comic disfJutationR by Saiva gurlls and
Brahmins, abounds in joenlar reillarks by pOl'sons of ill l'cputr, and
gives nniformly to the Plot a picture of the language and the
of all these in passages descrihing thcil' special States. a
Tho mixed Prllhasan,l
105. That Prahasana is called mixed
l
in which
servants, parllsitcH (ri!a) rogues and unchaste women
appear with their imlllodest appearance, dress and movements.
101 (C.l05j n.XVIlI.I01).
102 (C.106j n XVIII.I02). 1 Latakil-nl!'la (12th
centnry), DhHrta-samagllmii (15th century) and Jagndi-
sVlIl'a's HiiHy,\qmva (date uncertain), etc. are wry late works (Sec Keith
Skt. Dr. pp. 261-262). The Matta-vilaSlI of Mahendra-vikrama-vlU'Juun
(620 A.C.) aud the llhagavad-lIjjllkiya ascribed to Baudhiiyanll Kavi.
lire fairly olt! specimellH of the PmhllslIna, See Keith Skt. Dr. Pll. 182.
Bhagavad-ajjukiya ed. P. Anujan Achan, Cochin, 1925.
103-104 (C.107-108j n.XVIII.103-104). 1 The word bhagavat
relates primarily to 1I Baiva saint. It is in this sense that the word has
bood nsed ill the Prahasall:l mmed nhagavad-ajjukiya and this speaks
for the antiquity of this work (Kee above 102 noto). A Baiva saint
appears in the Mattll-viliisa, the DhHrtn-nartaka nnd the Hiisya-clLQamaQi.
Both these Prahasanas one arc however late. See Keith, Bitt. Dr. pp. 182,
262,265. For some aspects of the 8aiva tonets see KarpHramafijari, cd
M. Ghosh, P!1. LXIII-LXIV .
t C.l'cads 103n
3 Pralmsllnas named in note 1 above may be taken as Rpccimoo of
the pure variety.
105 (C.I09j B.XVIlI.105). I Prahasanas like the Dhttl'ta-samiigamll
and the Hiisy:\rnava may be takcn as spocimens of the mixed variety.
Keith, Bkt. Dr. pp. 260-2fle.
-x.x. 112] KINDS OF PLAY 3'13
106-107. Some popular topic [of scandal] or incident of
hypocrisy should be introduced in the Pl'ahasana through the dis-
putations of pretenders. The Pl'ahasana shonld include [any of]
the types of the Vithi it may properly require
1
,
The Bhal}a
107 -108, I shall now speak of the characteristics of the
Bhal,la. The Bhal,la is to be acted by a single charactel', and it is of
two
T
kinds: that [with one's] recounting of one's own experience
and that [with one'sJ describing someone else's acts
ll
,
IOn. lThe which is to include] somebody else's
words addressed to oneself, should be acted by means of replies in
eOllrs[J of Conversations with Imaginary Persons (u,!.u,sa-1Jhu,.?iln) in
aecompaniment of [suitable] movement of the limbs.
110, The BhuJ,la should include characters of l'Jgues and
paraHites am} treat their difforent and it is always
to of one Act lIml should include mauy movements which
are to be acted by a rogue (dhurta) or a paraRite.
111. All the characteristics of the BhuJ,la have been des-
cribed by me according to the traditiou (il!I'!?1W,). I shall [no IV J
spoak of the characterbtics of the Vithi in due ordor.
The Vithi
The Vithi is to be acted hy two persons or onr,
An!1 it is to include characters of the slIperior, the middling 01' the
106107 (C.ltO-1Ila; n.XVllI.106107a). 1 C. reads 107a as
fufu<i 2 See below 112129.
107108 (C.lllb-1l2; n.XVlll. 107b-108). 1 Emend vividha into
dvividha (ms. cha in B.).
2 The four Bhiil)l\s (Ubhayttbhisiil'iki, Padma-priibhl'taka, Dhurta-
aud published under the title Caturbhiil)i
placed by F. W. Thomas between the 6th and the 7th century arc the
oldest available specimcn9 of this type (F .. W. Thomas, JR A S. 1922,
pp.2621f. F.\v. Thomas, Centenary Supplement J R A S. 1924 pp.)29-136;
S.K.De, in J R A S. 1926, pp. 63-90, Hist of Skt. Lit. pp. 241if. For
Bhiil]l\s sec Koith, KItto Dt. pp. 26H64. 109 (C.113; B.XVIU.109).
llO (C.114; B.XVlII.llO). 111 (0.115; B.XVIII.lll).
112113 (0.116-117; B.XVIII.1.12b-lI3a, 112a and its . n. 2).
874 THE NATYASASTRA
[xx.m
inferior type, and it may contain [any of] the Sentiments, and it
may include [any of J the thirteen typeR. I shall now speak of the
characteristics of all these.
Thirteen types of the Vithi
114-115. The thirtccn types 1 of the Vithi are: Accidental
Intcrpretation (ndl/hafyalc,(), Transfercnce (at'alar/ita), Ominous
Significance Incohercnt Chattcr ('(,slt/pl'a1apa,), Com-
pliment (1'l'Ol'tI'iM'O), (llali = Ila1ilia) Repartee (I"o,kkeli),
Outvying (Itrlhicala), Dcecption (thaln), Declaration (n!/ahal'a),
Crushing (111!''/ara), Three Men's Talk (tl'iyailt:, and Undue Combi-
nation of Words (Y(/I./(!a)
UG. [Any of theMPI thirteen tYPCH is always to be attaehcdto
the Vithi. I speak of their characteristics in dllC ordor.
Iuwrpretution
117. If, in order to' explain them men connect words of
obscure meaning with \lords other than [those intended by the
speaker] it becomes Accidental Interpretation (ntlyhat!/ltlw)l.

118. When ranytllingj occul'l'ing' in [relation to] sOlllctlJing,
will be lIladu to something cbe, it becomes [an inst.ance
olj Tranofcrcncc (al'tI/ul/ito)!.
Ominous significancc
1 U). That one attaches (lit. creates) out of misunderstanding
an auspiciolls or inauspicious meaning (lit. auspicious or inauspici-
ous rise) to the (lit. meaning) mentioned, is [an instance of]
Ominous Significancc (a
114-115 (0.118-119, Of. B'xVIlI.ll 3b 114). I Ailga in this con-
nmcion hIlS been translated liS 'division' (Haas. DIL p. 84). nut 'types'
seems to be u more suitable word. 116 (0.120; n.XVlII.1l5a).
117 (0.121, n XVIII 115b-1l6a). 1 HilUS translates the word 1\8
'Abrupt Dialogue' (DR p.81). For an example sec SD. 228; cr. Ag.
DR (III. 13-14) seems to define it differently.
llS. (0.132; nXVlII.1l6b-1l7a). I Haas translates it aA 'Conti-
nuanco' (Sec p. 85). For an ex:. See SD. 292; Ag, Cf. DRIll. 14b-15a
. 119 (C.123; B.XVlII.817b-1l8a). 1 The spelling a'IJasyandita
though accepted by SD. and DR. seelns to be wrong (See Ag.). Haas
-xx. 125 ] TEN KINDS OF PLAY
375
Inooherent Chattpr
120. When an irrelevant question (lit. sentence) is followed
by [an equally] irrelevant answer, it is [an instance of] Incoherent
Chatter (llsat-pl'alapn)1.
121. When to a foolish person a learned man speaks the
right words, but his words are not listened to, it is [an instance of]
Incoherent Chatter1.
Compliment
122. When comic and untrue words to be mu-
tual praise of two personR, are uttered in the interest of one [of
them] it is [an instance of] Compliment (lJrapanca)l.
Enigma and Repartee
123. An enigmatical remark that gives riRe to laughteL (lit.
followed by laughter) is called an Enigma Repartco
jakkeli = vli,kkclikii) arises from a single 01' twofold reply.
2
0utvying
124. When somcbody else';; words and those of one's own-
Relf, in course of a dialogue, lead to their lllutuallllodification, it L8
[an instance of] Outvying (adhirala.)l.
Deoeption
125. When after alluring one by rrplit'R, oppo-
"ite done (lit. takes place) through those very replics being COIl-
ll1caningleRs, it is [an illHtance of] Dt'CC'ptlon (dtala)l
. , - ."-
the word as 'Rc-interpretation' (pp. 84, 87) probably under
the inllurnoe of the SD. (528). DB. (III. lOa) has a different deflnition.
For lin eX[Ilupie sec Ag;.
120 (C.124). I We aocept the fenuing of IllSS. (Ia nnd da in B.
(under 119) whioh hilS the snpport 01 DR. HI. 20 aud SD. 530. Ag.
differs lind acoepts tho reading of 121 below. Seo Haag. p. 87.
121 (C.125; B.XVIIl.ll0). I Sec 120 note and Ag.
122 (C.126; B.XVIlI.123u-12Ia). I See p. 8,'); SD.
DR III. 15b.
123 (C.127; n.XVIIl.llSa, 120a). I Sec Huns, pp. 87 ; SD.529.
S See Haas, !l.86, SD. 525.
1240 (C.128; B.XVIlI.122u-123a). I Sea Haas, p. 86; SD. 526.
125 (C.129; B.XVII. 12:11 I See DR. 1711; Haas, p. 96 ; ::m. gives
two def. Ot this including the present one; sec 524-525,
376 TeE NATYASASTRA [XX. 126.
Deejllration
126. If anything [liable to occur] is described vividly in the
presence of the Hero and is similarly made to happen [there] with
out any fear, it is [an instance of] Declaration (v!Jaliara)l..
Crnshing
127. That due to an altercation one represents [another's I
merits as demerits by [showing] cause [for it] and 1,ice Vf,'.m,
is called Crushing (mrllrrt'a.) I,
Men's Talk
128. When exalted words with the Comic Sl'ntimrnt arC
shared by three [characters] it should be known Three Men'H
Talk (tri!lata) t.
Undue of WordA
129. Undue combination of words (!1t11)rja) according to
the wise, occurs due to ('xcitC'mcnt, confusion, quarrel, reviling and
many people's abusive worusl,
130-131 If in a play any of thcRe thirtcen types
l
with deal'
meanings, occur and they possess all tlie characil'rs ScntillJ(,lltR
anu States prescribed for them by the it is culletl the Vitlli.
It may he acted hy one or two perwns
2

126 (C.l30; B.XVIII. Ioot notes to 125a). 1 RR reading srems to
agrcc with the dd. given in DR. Ill. 20b and SD. 531. lIaas
the t 'fm as 'Humourous Speech'. See p. 88.
127 (C.131; D.XVU.l21b122a). 1 DR. III. 211\; SD.5:l2. IIaas
translates thc term as ; sec p. 88.
128 (C.l32; n.XVIII. foot note to 124). 1 DR III. 16 and SD. 52R
define this and they agrce with the reading of H. Onr
reading is sllpportcU by the Pil mAo in n. Haas the term as
'Triple Explanation'. See p. 84.
129 (C.133; n.XVIII.125b-126a). 1 C. sarambha for sal1}1'II11lbka
s C. oandha'lJt1i6.dam for 'lIzvadayuklam.
S DR. III. 18b and SD. 527 seem to def. it differently. Haas
tralLqjlltes the term as 'Abrupt Remark' see p. 87.
130-131 (C.134-135). 1 Ag. reads lilsyiihgas in the next chapter (his
XIX). It is possible that these were introdlleod later ill the NS. For the
mq. Ma of n. and some eommcntators llsing it ignore them altogethcr.
Siirndiitllnaya and others readR Jiisyiihgas differently. Sec KIlVi's IntI'. to
D. pp. XIXII. foot note.
.XX.IS6 ] TEN KINDS OF PLAY
S77
The Lisya
132. (Similar] other limbs are attached to the Nqaka in
connexion with the performance of the Lasya, and they owe theil'
origin to this (i. e. Nataka), and are to be aeted like the Bhal}a by
a single person.
133. The Lasya has a form similar that of the Bhana and
it iR to be acted by one person
1
Its theme is to be like
that of the and should relate to [loving] intimacy [with
anyone].
Tho twelve types of the Liisya
1;3 b-135. The [twelve] types of the LaRya are: Geyapuda
ARina, Pracchedaka, Trimu(,llw, Sa in-
dhava, Drimu(Jhaka, Uttamottamaka, Vicitrapada, Uktapratyukta
and Bhiivita (Bhiiva) 1.
GeYflpuda
HlG. When [the Heroine] seated
1
on her seat Hurroun
ded with inRtrUll1l'ntR and drums neal' her, and singers are
singing [hl'foJ'e her] without any accompaniment of these, it is
('alle(1 the Geyapacla (Rim pIe song). -
132 (C.136 K.XVIII. 169). 1 Lii,syiiilga is an on1 aet play which
requires lr&sya or a gentle form of dance for its representation; for this term
may be interpreted as liis!lam ail.ga.' yasyal! (that which has liisya as
its principal element). The trll liisyiiilgas Heem to be ouly so many varieties
of tho L'isya. al'r. 1I0t 'elements' as some Rcholars are apt to

2 The word <'illlyaitg<, may Rimilarly illwrpreted. Vi/hi seems
to be nothing but a particular kind of oue aet play (defined ill 112 boave)
and vilh!lailga Ill'l)' thol'rfol'e bo trllllRllItpd as 'li play of tIl(' Vithi tYlle'.
133 (C.1:n ; K. XVII. 182). 1 Sec above 1:l2 1l0te; lasya used in
this pagsagc mcalB Illerely !tisy'ii;'ga.
13i-135 (C.138-139; K. XVlIl. 17)-171). 1 SD. gives only
ton and BltP. (p. 245246) cleven lasyiii,gas, but DR. (III. 52-53) gives
their number as tell but does not define them.
136 (0.14) ; K- XVIII. 172). I Seo SD. 505. The seating posture
included in this and some of the other varieties of lasya need
appear to be puzzling. For tho Geatle Dance in this eonnexion did
not imply tho movement of the entire body. See Gilbert Murray, Euripides
and His Age, London, 1946, p. 150.
48
378 TBE NATYABASTRA [XX. 137-
137. If a woman sings in n stnnding
1
posture a song
dealing with the praise of \]('1' heloved and delinrateR'the same wit.h
the of her different it is ('a1l('<1 the Geyapada.
f<thitapathYII
138. If a separatell woman burning with tho fire of love,
recites anything in Prakrit while f'entcd on her seatI, it is [an
instance of] the Sthita-p:'.\hya.
Asinll
139. When one sits
1
w.ithout making any toilet
2
and is
overcome with anxiety and sorrow, and looks with oblique glancPR
it is [an instance of] the A8ina.

140. When a wOlllan in the guise of a I'pritpR !lOmt'-
thing swept!y in for the pleasnre of hpJ' fema!r friends, it
is [an instance ofl the
Pracchrdaka
14-\' WIll'n a [HPparated] woman painpd hy the lI1oon.light
prepares to go to Iwl' hplovcll CV('II if he h:1' dOllr hpr wrong, it
is [an instanec of] the Pr:we1ll'dakn 1.
'J'rimiilJhaka
142. A play :ul1l1'lled with pven IIwtru,.; and abonnding in
manly Statrs and COlllPO,;(d of words whidl am neither harsh
lal'ge, is ra1led the Trimii<Jhaka.
Saindhllvaka
14:1. When [one represent;;] a lovcr who has failed to keep
his and is llsing Prakrit [to exprcss his gl'ipf] through well-
performed Karm,lfl8, it is ran instance of] the Saindhavaka.
137 (0.141). I Sec above l-
138 (0.142 ; K. XVlII. 173 f.n.l. 1 Sce 3D. 506 ; also note 111bovr
of 136. Cf. K. XVIII. l7:l. BliP. ll. 245.1.17-18.
139 (0.143 ; K. XVIII. 174). I SD. 507 ; sec above 136 note 1. The
Gentle DaDe (IiMya) in conncxion will cOIl,ist of slowly moving
glances only. Of. BhP. p. 245, 1.19-20. ' aprasiidhita galra.
140 (0.144). 1 Of. SD. 51)7 ; see above IRG note 1. Cf. K. XVIII.
175, BhP. p. 215, l. 21-22.
141 (0.145; K. XVlJ. 176). 1 The dof. givpn in SD. (507) iR dilfmnt.
SD. reads the term as Trigil<Jhaka. Cf. BhP. p. 246 I. 1-2.
142 (C. 146 ; K. XVIIl. 177). 1 See BhP. p. 246, I. 3-4 .
. 143 (0.147). 1 Of. SD. 508. Of. K. XVIII. 178. BhP. p. 246. 156.
XX. 1501
T:ElN KINDS OF PLAY 379

144. Delineating a song of the Caturll$\'[L type which has
an ullflpicious meaning and which h'patH (lit.. deal' States and
Sentiments, with the pretenHion of effortR, is called tite
U ttamottamaka
145. The Uttamottamaka iH composed in various kindH
of Slokas ; it includes various Sentiments and is adorned with the
condition of Passion (hela).
Vieitrapada
146. If any woman burning with the fire of love soothes
her mind by seeing the portrait [of her lover] it is [an instance of]
the Vicittapada.
Uktapratyukta
147. The Ukta-pl'MYllkta a comhination of speeches and
thw to angel' or pI ('<1 RIlI'C, an(l it [HoIllPtimcR]
containR wor<1s of (,pnRIII'P. It. to hI, HPt to 1ll1lHi(.
Bhiivita
...
11H. If a WOIII;III who iN hll\'lling with thl' lil'p of love after
Neeing III'I' \wlo\'cd in ;J dl't'am, [11('1'1 diffl'l'pnt. StateR, it is
[an installc<' ofj the Bhi\vita.
1 H). TheRe are tllP ('haractl'riHtil'.' of the [different] typCH of
LURya growing out of angel' 01' that J had to tell you in
detail. If anything more has not. heen Ha.itl, it haR been due to
the fact that not.hing more i:-; required in thiH context.
150. The ruh.lH regarding the ten kinds of play with their
have been stated by mo. I now speak about
their bodies and the J unrtures with their
Here ends chapter XX of Bharata't.; which
treats of the 'fen Kinds of Play.
144 (C.148). Cf. SD. (509) which I'llads the term as Dvigiiq.ha. Cf.
K. XVIII. 179, nhP. p. 246, I. 78.
145 (0.149; K. XVIII. 180). .1 Of. SD. (5U9). Of. BhP. p. 246, I. 910-.
146 (C. laO ; K. 1'.207. r. \I. 12). .l SD. and llhP. omit this.
147 (C.I51 ; K. XVllI. 181) . .1 Sec BhP. p. 246. 1. 11-12. Cf. Sf). 5U9.
148 (C.152 i K. p. 207. f. n. 12.). I SD. omits this. See Bhl'. p. 246.
I. 1314. 149 (C.153 i K. 183).. 150 (0.154 ; K. 184).
CHAPTER TWENTYONE
THE LIMBS OF THE JUNCTURES
The five J uneturrR of thr Plot
1. The Plot has been called the body of the drama
(lit. poem). It is known to be divided into five .Junctures (sl1.ndhl:).
The two kinds of Plot
2. The Plot is of two kim!s: Principal (ii,lhikari/"a) and
Subsidim'y
Their drlinition
3. The ofJ acts which arc fabricated with a vic IV
to (lit, by reason of) the attainmcnt of particuiarj n'snlt, to
be known as the Principal Plot. other than consti-
tute the Subsidiary Plot.
4-5. The attainment of the result an{l itH exaltation which
the ingenuity of the playwright (lit. poet) plnns hy of the
associated charaders (lit. Hero('s) acting in ft l'('gular manner {lit.
resorting to rules}, constitute the Prineipal Plot on ac('ount of an
attainment of the result. And any incident (lit. anything) men"
tioned 01' helping any other [incident] in it, iH called the 8ubsi-
diary Plot.
The five stages of the Action
6. The exeltion of the Hero (lit. one who strives) towards
the result to bc alinined, is known to have five stngcH occllrring in
due order.
1 (C.l ; K. XIX. 1). .1 Also called 'lias/II. Cf. DR. I. 11, SD. 294-295.
S See DR. I. '22-23, SD. S80 lind NT;. 458 read sarl}pra-
for ete. See NL. 216-217.
2 (C.2 ; I}. XIX. 2). .1 See DR. 1. 11, SD. 295 and NL. 218 219.
B (C.3 ; K. XIX. 3). .1 Cf. DR.I. 12-13, SD. 296-297; NL. 223-224.
See above note 1.
4-5 (C.4-5 ; K. X[X. 4-5). .1 Sec above 3 note 1 and NL. 228-229.
2 See IIbove note 1 .
. 6 (C.7). .t C. one couplet (C. 6) before this. Uf.
NI;.55-56.
-XXI. 14] THE LIMBS OF THE JUNOTURES 381
7. Tlwse five stageR of the Action al'e known to arise in the
Nataka and the Prakmal,lu. [Their] Fruition (phala-yoga) relates to
duty (dh'.ll'l1W), enjoyment of pleasure (kamo) and wealth (artha).t
8. They a1'C: (prammM/a), Effurt (pmyatna),
Possibility of Attainment (pl'apti-sarnbh(o:a), Certainty of Attain-
ment (niYII/a phala-prajJt i) and Attainment of the Result
(phala-pl'lilJ/ i),
Beginning
9. That part of the play (lit, composition) which merely
l'l'('ordii eagel'lleSH ahol1t the fin'll attainment of the result with
rof('ren('e to the Germ (''-ija), iH called thc Beginning (aJ'arnuhn).
Effort
10. ving' toward::; an attainment of the Resuit
when the il:i not in view, allli f;howillg further cngcl'llCSS [about
it], is ealle(l thr. Efl(n'ts (ji/aynl,//a).
Possibility of Attaillmrnt
11. WllPn the attainment of the object iii slightly suggested
hy an ide:l, it iii 'to be known as the Possibility of Attainment

Certainty of Attainment
13. Wlwn one visualises in idea a sure attainment of the
rcsult, it is called Certainty of Attainment. (??tt!lata phnla-'}Jl'apti).
Attainment of the Result
13. When the intcnded result appeal'S in full at the end of
events [of a play land corrcsponds to them, it is called Attainment
of the Result (phala-yoylt).
14. Thesc arc the five succct>Hive stages of every action
begun by persons looking for results.
7 (0.8) I K. omits this.
8 (C.IO ; K. XIX.7). Of, DR. I. 19; SD. 324; NL. 57-58.
9 (C.l1 ; K. XIX. 8). 1. Cf. DR. 20; SD. 325; NL. 59-60.
10 (C.12 ; K. XIX. 9). Cf. DR. 1. 20; SD. 326; NL. 66.
11 (C.l:! ; K. XIX. 10). .1 Cf. DR. 1. SD. 327; NL. 6970.
12 (C.14 ; K. XIX. ll). .1 Cf. DR I. 21; SD. 328; NL. 77.
13 (C.14 ; K. XlX. 12). .1 Uf. DR. 1. 22; SD. 329; NL. 89.
14 (C.l5 ; K. XIX. 13).
382 THE NATYASASTRA [XXI. 15
15. Putting together lilt theHIl natul'lllly different stages
which come together [in a play] for the production of the result
conduces towards the fmilion.
Play to begin with the Principal Plot
16. The Principal Plot which has been described hefore
should be taken up at the Beginning [of a play], for it is to attain
fruition.
17. The Plot should either have all the Junctures (sandhi)
01' lack some of them. The [general] rule requires that all the
Juncture8 should occur in it, but dne to a [Rpecial] reason some
of them Illay be left out (lit absent).
Rules about the omission of Junctures
18, 1 one Juncture is to be omitted then the fourth one
goes; in case of an omission of the two JllnctUl'CH, the third and the
fourth are to be left out, lind in case of the three to be omitted,
the second, the third and the fourth should be given up.
19. In case of the Subsidiary Plot this rule will not apply;
for it is to serve the purpose of another [Plot]' Any event can be
introduced in this [Subsidiary Plot] without violating the rule.
The five Elements of the Plot
20. The five stages of the plot such as the Beginning
ete. have five corresponding Elements of the Plot.
(adha-l i J"al.rti)2.
21. The Germ (lJ(jn), the Prominent Point (hindll.), the
Episode (patalea), the Episodical Incident ([11'11 I.:nl''i) an (I the
Denouement (ka1yt.) are the five Elements of the Plot (Itttlta-
pralcrti), which should be reckoned and applied in propel' manner.
15 (C. 16 ; K. XIX. 14)
16 (C.l7 ; K. XIX. 15).
---------
17 (C.lS ; K. XIX. 16). .I. Emend .vatka/yam into tat karyam. See
NL. 442ft 18 (C.l9 ; K. XIX. 17).
19 CC.20 ; K. Xl X. IS).
20 (C.21 ; K. XIX. 19) I Sec DR. I. 19 : SD. 324. NL. 5758.
I Sec DB. I. 18 ; SD. 317; NL. 134-130.
2i (C.22 j K. XIX. 20). 1 See ab\lvc 20 note 2.
.XXI. 27] THE LIMBS OF THE JUNCTURES 383
The Germ
22. That which scattered in a Amall 1l1easlll'c, rxpandR itself
in variollf! ways and ends in fl'llition, if! called the Germ (I;i;ia)
of the Plot.
Tho Prominent Point
23. That which sustains the continuity (lit.
till the end of the play even when theehid ohject [of the play] is [for
the time being] suspended, is called the Pl'ominrnt Point (I!indlf).
The Episode
24. The event which is introduced in the int\'rrst of the
Principal [Plot] and is treated lilm it, is mllet! an Episode (piltakii).
The Episodical Incidpnt
2il. Whrn mrrely tIl!) re.'mlt of sueh an event is pl'f'srnted
for the purpose of anothm' (i. ('. the Prineil'al pIl>t) and it has no
8ccondary Jundllro (1/1/11"'111'/"11)1 it is ('allf'd thl' Episollirfll
Ineident (/!mr.1i )'/,) 2.
Drllonemf'lIt
26. Tlw clfortH made for tlip of t1w Pl'illl'ipal Plot
introduced [in play J hy the is eallot! the Dcnoucnwnt (ldi.l'!la).
27. Among these [Elem(>nts] that whi('h has others 'for
its support (lit. purpose) and to which the rrst are taken as
:mbol'llinnte, shoulll be mil.de prominent (lit. chief) and not the
remaining oneF.
22 (C.23 ; K. XIX. 21). 1 Cf. Dn. I. 17, SD. 318; NL. 136-137.
23 (C.24; N.XIX. 22). of. Dn. 1. 17; SD. 319; NL. giving a second
vinw about tho meaning of the bindu says:-"!oit ll', 'If:r
1lIlfT"'T I 'l!!T iti'li!1lr: 1I .... '{ij1j'fihiifll. I 'iI"llT '"
I 'f I 1'1" lfil<ilC!llllflfi!'
'ml{ (159fl'. 173tf.). Ther(l is a third view also ; NL. LS31f.
21. (C.2.5 ; K. XIX. 23). Cf. DR. I. L3; SD. 320; NL. gives
a second view about the mraning of the pata.kii as follows: "!"1
(l95ff.)
25 (C.26 ; K. XIX. 24). to thi.R, the pataki'! possessos
continuity. Amebandho naz'rantarycna pravarlanam (NL. 204).
Cf. DR. 1. ]3 ; SD. 321 NL. 199ff.
26 (C.27 ; K. XIX. 25). .L Of. DR.!. 16; SD. 323; NL. 209ff. Read
yastu (vl.#a, K.) aA 7JastU, C. NL. rrndH kii.ryam for 1'asiu.
27 (C.28 ; K. X1X. 26). 1 Cf. NL. 234ff.
384 THE NATYASASTRA [XXI. 28
Seeondary Juncture ill tho Episode
28. One or more .JunctureR should be applied in an EpiRode
(patalca). AR these serve the purpose of the Principal [Plot] they
called Secondary Junctures (anubandha,).
Limit of the Episode
29. The Episode should cOllie to nn end either at the
Develoment (Y(1,l'bhn) or at the Why '/ Because
its treatment is for the purpose of something else (i. e. the Prin-
cipal Plot).
The Episode Indication
30. When SOllle lIIatter being tnk!'ll in hand (lit. already
thought about), another mattl'r of Ri11lil:lr natu!'!' (lit. ehnl'llcte!'i,,
tics) is ,ugge,;ted tlJrough an :tccident:d idra (iiYlllllllka/ihum), it IS
called Episode Indication han{/).
The EpiRoue Indication
31. The sudden devl'io{lmcnl of a nOH1 llH'auillg ("I'thasall!'
plltti) du!' to all indirect HuggeHtioll, is ealle<i thl' First
Indication
The Seconu Episod,' Indication
32. Words completely earrying donl,lc meaning and ex-
pressed in a poetic language, arc called the Second Episode Indi-
cation.
The Third Episoue Indication
33. That which euggeRts with conrteRY the object [or a play]
in a subtle manner and in the forlll of a dialoglle, iH callod the
Third Episode Indication.
28 (C.29 ; 1):. XIX. 27). 1 Some rrnd anuoandlta ilK allusall'dlti; I"f.
DR. III. 2627.
29 (C.30 ; K. XIX. 28). 1 Emend !asmut into kasmlit.
30 (C.31 ; K. XIX. 29). 1 DR.C!. 14) mere!): delinrs the term lIud
ignores its varietie,. But SD, (298299) follows lind dcl1ncs them. Sec
NL.1000I00l. Sagaranandin saYH that these should not be applicil to
last J uneturc (nt'rvahalJa).
31 (C.32 ; K. XIX. 30). 1 gU1!avatY1lPao into fUl,1a-vi:tlyupa"
2 Sec SD. 300j NL. 1007.
32 (O.a3 ; K. XIX. 31). 1 Emend vacasutt'sayaO into vacalJ
See SD. 30l and NL. lOll> .
. lI3 (0.34 j K. XIX. 32). 1 See 302j NL. 1021-1022.
XXI. 41 ] THE LIMBS OF BE JUNOTURES 385
The Fourth Episode Indication
34. Words with a double meaning expressed in It well- knit
poetic language and having a reference to something [other than
what appears at first sight] is called the Fourth Episode Indication.
a5. The poetical composition meant to be acted should have
th6l- five Junctures and four EpiHode Indications (pataka-
"Iii ana klf)1. I "hall next spcak of the J uuctures.
The five .T unctures
3u. The five Junctures in a dmma arc the Openiug (!nul-Ita),
the ProgreRsion (p1'(lIimnl-ha), the Development (UIl1'bllll), the
Pause and the (ni'l'1:aha1J,n)l.
:17. The Principill [Plot] is known to be consisting of thH
fi\'c JunctnreR The remaining .Tuncturps arH to bH
hy the Junctures of tl](> Principal [Plot]'.
The Opening
BS. That part of a play, in which the cl'eation of the Germ
(lJ/ia) as 'the sonrce of many objects and Sentiments takes plac(l,
is called in consideration of its, body the Opening (111111<1111, lit. faee)l
The Progression
39. Uncovering of the Germ plac(ld at the Opening after
it has sometimes been pcrceptible and sometimes been lost, is called
the Pl'ogression (pra tim uldtt).
The Dewlopmrnt
40. The sprouting of the Germ, its attainment 01' 110n-
attainment and search for it, is called the Development (ya'l'bha)1.
'l'lw Pause
41. OnQ's pause (t'ima,rs(/. lit. deliberation) ovel' the Germ
(biia) that has sprouted in the Development (!l(/'J'bha) on account
----------- ---,- --- -----, ------- -----,----,-----
S40 (C.85; K.XIX.S8). .l See SD. a03; NL. 1033.
35 (C.86; K.XIX.84).
86 (C.87; K.XIX.35). .1 See DR. 1. 28-24; SD. 331-332; NL- 458.
37 (C.38; K.XIX.36). 1 These relate to the Subsidiary Plot.
38 (C.39; K.XIX.S7). I Seo DR. I 24-25; so.333; NL. 53M. qllows.NS.
89 ('.40; K.XIX.38). 1 Cf. DR. I. 30; SD. 3a4; NL. 684.
40 (C.41; K.XIX.39). I Cf. DR. I. 36; SD. 335; NL. 7l0.
41 (0.42; K.XIX.4U).
49
386
THE NATYASASTRA [XXI. 42
of some temptation, anger or distress, is called the Juncture of that
name (i.e. Pause}1.
The Conclusion
42. Bringing together the objectR [of thc Junclures] such as
the Opening (rnukha) etc. along with the Gcrlll (bija), when they
have attained fruition, is called the Conclusion (wil'va/ta,,!a)1.
43. These are Junctures of the Niitaka to be known by the
producers of a drama. They may occur in the Prakaral)a and
the other types of plays as well.
Junctures vary in different types of drama
44. The I)ima
1
and the Samavakiiru
2
are to have foul'
.Tunctures, and thc playwright should ncvcr make the Pause
(virna1'sa) in them.
45. The Vyiiyoga
1
and the Ih[imrga 2 are to have three
Junctures. There he lIO Development and Pause
(avarnal'sa = vimal'sn) in these two, anll the Graceful (/,ai8iki) Style
also haH no place in them.
46. The PrnhnsnnaI, the Vithi
2
, the Ailka
s
and the
Bhlil}a4. are to have only two Junclur('s which Bhould be the
(rnllkhn) and the Conclusion (nil'l:alMI1.w), and their Styl('
should be the Verbal one (uhara!t).
47. These are the Junctures to be adopted by the pro-
ducers in the ten type;:; of play, Listen now ahollt different kinds
of Tunctures which also will as it were mark their limits.
1 DR. 1. 53 calls this S]). 336; NL. 770fT, gives two more
delioatiolls of this Junetllrc. Read the second hemistich as 'I,fiI
u ,iii 11111:
.
42 (C.43; K.XIX.4l). I Emend the first hrmistich as follows:-
U"''I!lil1{ 'II?ll'lf Cf. DR. I. 48-49; SD. 337; NL. 554 f.
43 (C.44; K.XIX. (2).
44 (C.45; K.XIX.44a, 43b). I See NH. XX. 90ff.
45 (C.4.6; K.XIX.43a, 44b). I Sec NS. XX. 84ff.
46 (0.47-48; K.XIX. 45). I Sec NH. xx. l021f.
3 Sec ibid 94ft'. ' Sec ibid 107fT.
47 (C.48; K.XIX. (6).
2 Sec ibid 78ff.
2 See ilJZa. 64ff.
o See ibid 112fT:
.XXI.65]
THE LIMBS OF THR JUNCTURES
387
Subjuncture
48-50. The twentyone Sub-jlfnctures are as follows 1 : Con-
ciliation (sama,), Dissention Making Gifts (pradana),
Chastisement Killing (vadha), Presence of Mind (pratyut-
pannamatit'oa), Blunder in Addressing (gotra-skhalita), Rashness
(sahasa), Terror Intelligence (dhI), Deceit (maya), Anger
(1.rodhn), Strength (o]a,I), Concealment Errol' (I!hranti),
AEcertainment (a,Vltdhal'a1.t ll ) 2, Messenger (data), Letter (lekha),
Dream Portrait (citra.) and Intoxication (madn).
Altl'rnativc Junctures
ijl The events of the Junctures in theiL' respective pads
(pl'ades,?)1 will in due order sUlJport those Limbs [of the Junctures]
hy means of their own qualities.
sixfold needs of the Limbs of the Junctures
52-53. Expressingl the deRired object, non-omission of
any essential itelll in the Plot, accession to feeling in production,
concealment of the objects to be concealed, telling tales of
and disclosing things to be disclosed are the sixfold needs of the
Limbs described in the Sash'a 3.
Uses of the Limbs of the Jnnctures
54. Just as a man without all his limbs are unable to fight
a battle, so a play without the Limbs will be unfit for [successful]
production 1.
55. A play (lit. a poem) though it may be pOOl' as regards
theme (lit. meaning) will, when furnished with requisite Limbs,
attain beauty because of the brilliance of its production.
---- -"- ------------
48-50 (C.49-51: K.XIX.191b, l03b). 1 NL. 925ft'. seems to give this
passage more correctly with slight variation. The Sub-iunctures (sandhi-
lUi,!, sandkt") are to be distillgllishcd from the Secondary Junctures
(anubandka=anusandltz. DR. IlI.26 mentioned in 28 before.
Read hkavak for vadkali.
51 (C.52; K.XIX.47). 1 'Pradcsa to signify Sub-juneture
(sandkinalrJ sandkt) discussed in 5U above. See NL. 923.
51-53 (C.53-54; K.XIX.48-49). I Read vacana,!, for racanii.
2 Emend ii!;caryavad aMikkyatam into a$caryaz'ad aMikkyan4'!'.
I Cf. DR. I. 55; SD.407ft'.
54 (C.55; K.XIX.49a, 50f1.). 1 Cf. SD. 407ft'.
55 (C.56; K.XIX.50a, 51a).
THE NATYASASTRA [XXI. 56
56. And a play having lofty them!', but devoid of [n'quisite]
Limbs, will never capture the mind of the good [critics] because of
its [possible] pOOl' production.
57. Hence in applying the Junctures [in a drama] the
playwright should give them theil' Limbs properly. Now listen
about about them [in detail].
The sixtyfollr Limbs of the J lllletllrcs
58-59. The Limbs of the Opening (mnkhlt) are; bugges-
tion Enlargement (Jio,l'ilwm), Estttblishment (lJarirpyasa),
Allurement (viluuhann), Decision (yn/l'ti), Accession (prapti), Settl-
ing (.-:amadltalla), Conflict of Feeling (I!idltlilla). Surprise (pw'iulta-
mna), DisclosllI'e (ntiulte(/u), Acti\'ity (kara1}a), ami Incitement
(Medn). N OIV listen about the Limbs in the Progression I.
GO-lil. The Limbs of the Progrcssion (pl'llti1nltkha) are:
Alllorousness (viliisa), Pursuit Refusal (cidha!a),
mism (tiipltna), Joke (J/u,,/,'/l/u), Flash of Joke (1!(/'1'1nnt!!lnti), Moving
Forward (Pl'tlfjlwullla), PaciOcation (llll,rynpli,mna), Sweet Words
Thunderbolt (1!ajrll) 1.
li2-GJ. The Limbs of the DevelopuHmt (ylll'l!1/1l) arc: Mis-
statement Indication (mal'ga), Supposition (l'U/ m),
Exaggeration Progress (kmillUl), Propitiation
Yl'nitn), Deduction (1lIalln), Supplication ([lral'thal1"ii), Revelation
Quarrel UutwiUing (adhiuala), Dismay (ndceva)
and Consternation (nidnna)l.
(j46(i. The Limbs of the l'anse (cirlwrsa= tlt'nmr811,) are:
CenslIrll (apt! carla), Angty Words Insolenee (a.hhidrllflr)
Placation (Ii !I,ti), Assertion (IJ!/ltvas"ii!la), Reverllce (pmsa.nyn),
Helmke ('/l/Lt/i),' La.Hitude (khada), Opposition
(0.57; K.XIX,5Ib, 52IL). 57 (0.58;K.XIX.52b, 53a).
511-50 (0.59-60; K.XIX.5lb, 2511). T Sec DR. I. 25-26; SD. 338; NL.
552ff.
60-61 (0.61-62; K.XIX.55b. 57). 1 DR.}. 31-32 l'ends 8amana for
/apaILa; SD. 351. NL. 645ff.
61164 (0.63-65; K.XIX.58-59). I DR. I. 3i-38, omits prar/kana and
'lltarafltJ, ndds samOkrama, and as ; SD. 365. See NL.
72-AW. 114-66 (C.65-67; K.XIX.60-6l).
-XX.71]
TBE LIMBS OV TBE UNOTURES
8S9
Altercation (virodhana), Sumning up (adana), Concealment (cha-
dana), and Foresight (pral'ocana)l.
66-69. Tho Limbs of the Conclusion are: Junction (san
N
dhi), Awakening (vibodha), Assembling (gl'alhana), Ascertainment
(nin].aya). Conversation Confil'matiun (dhrti), Grati-
fication (prasada), Joy (annnda), Deliverance (samaya), Surprise
(apaguhana), Olevel' Speech Rr.tl'ospect (purva'l,c;Jcya),
'l'ermination of the Play and
These nre the sixty foul' Limbs of the Junctures [in a play]l.
Limbs of the Opening
fill. I shall now give their definitions in due orderl.
Suggestion
Suggestion is the origin of the object of the play.
2
Enlargement
70. Enlargement (pMil.ara) the amplification of the ohject
ol'iginate(P.
Establishment
Describing it (i. e. the object) thoroughly is called Esl:<thli8h
1116nt
Allnrem(>nt
71. The mentioning of good qualities is known as Allure-
lllent (vilol;luma p.
1 Emend vidra71a into aMidrava. DR. 1. 44-45. omits aMiara,ra,
klzeda. :lIld sudalta and addg 'llllirava, dmva eha/ana and
vlca/ana; SD. 378lf. follows except that a!J/uarazla thprc as
drava; cnudima shoulll be emended into siidana; NT ... 798lf.
66-68 (a.67-69; K.XIX.62-63). 1 Emend dyU!1: S('c 8D. 391 l"l'ads
k(-/i as dll("Ii. DR. I. 49-50 gives dh!,!i as 1:('11; pfirvaviikya as pftrva!Jklura.
upasal!lhiira as kavyasal!lkara. NL. 850ff. omits sandhi and vioodha, gives
dk('ti as dyutt; and instead of the first two gives arlha and anuyoga.
a Ct. DR. 1. 40; SD. 374; NL. 755.
69 (C.71; K.XIX.64b-95a). 1 C. reads before this anothcr couplet
which in trans. is as follows: the of the Gerlll, all thr8c
(i.e. 64 limbs) should mllke up the J unctllrcs properly and Lave
meanings. This docs not occlIr in K.
See NL. 5fi6; SD. 338 Cf. DB. I. 27.
70 (C.72; K.XIX.65b-66a). 1 Seo NL. 569; SD. 340 DR. 1.27.
SOIl NL. 575; SD. 341; DR. I. 27.
71 ('.73; K.XIX.89b-67a). I See DR. I. SD. 342; NL. 586:
390
THE NATYASASTRA
{ XXI. 72
Decision
Settling the issues is called Decision (yttlcti) 2.
Acccssion
72. Accession (Pl'iipti) is summing up the purpose of the
Opening (m!tkha)l.
Settling
Settling (sluna,l1tQ.J/a,) is summing up the purposc of the
Gcrm (bija)
2

Conflict of l<'eclings
73. Joys and sorrows oc('urring in a Hituation, IS calleLl
onftid of FI.Jclings ('i'idftalla)l.
Surprise
(pul'i6havana) is an cxcitement giving J'lHC to
curiosity
2

Disclosure
7 -t The sprouting of the purpose of the Gcrl1l (/)ija), is
called DisclosUl'e (wlblteda)1.
Activity
Taking up the matter in question is ealled Activity
Incitement
75. That which is me.tnt for disrupting an union is callcd
Incitement (iJhcda) 1.
These are the limbs of the Opening (mnkha).
Limbs of the Progression
I shall now speak of those of the Progl'cssion (Ul'lttirn1l1,ha).
2 Sec SD. 343; DR. I. 28; Haas translatlls it differently. SD. 343 and
NL. 593 seem to misunderstand this definition.
72 (0.74; K.XlX.67o-68a). 1 Emend sukkartkaO to mukkartkao.
Sec NL. 598-599. DR. I 28; and SO. 344 follows what seems to be a wrong
reading of the NH. 2 Sec NL. 605 f. Cf. DR,!. 28; SD. 345.
73 (C.75; K.XIX.68b69a). 1 Sec DR I. 28; SD. 346; NL. 609-610.
2 Sec NL. 617; Cf. DR. I. 29; SD. 347.
74 (0.76; K.XIX.69b-70). 1 See SD. 348; NL.620. Cf. DR. 1.29.
2 See SD. M9; NL. 628. Cf. BR. 1. 29.
, 75 (C.77; K.XIX.70b). 1 Sec NL, 626; SD. 350. Cf. DR. I. 29.
-XXI. 80] THE LIMBS OF THE JUNCTURES
391
Amorollsness
76. Amorousness ('vilasa) is the desire for the pleasure of
love (mti)1.
Pursuit
Pursuit (pa1'isarpa,)2 is the pursuing of an object once seen
and then lost.
Refusal
77. Refusal (vidhuta)1 is not complying with the request
made [by anyone].
Pessimism
Thinking about (lit, seeing) -some danger [in future] is called
Pessimism (tlipana)s.
Joke
78, The laughtel' which is meant for sports is called Joke
(1IIll'1nnp.
Flash of Joke
The langhtel' which is lDeant fOl' concealing one's fanlt ill
called Flash of Joke (wf1'1)ta-d!fnti)
2
,
Forward
7 fl. Speaking words which bring in other words after them
iR called Moving FOl'ward (Ji1'n [lamalla p.
Hindrance
A ppeal'ance of Rome calamity is called Hindrance (1Iil'od!La p.
Paeifieation
80. Conciliating an angry person is called Pacification
(par!fnViisal1a) I.
76 (0.78; K.XIX.7l). 1 See SD. a52; NL. 6501f. Of. DR. I. 32,
2 See SD. 353; DR. I. 32-33, Of. NL. 657.
77 (0.79; K.XIX.7 1 Of.NL 663; DR. I. 33; SD. 354 hns 'lJIiikrla
for 'lIliikftt a. \
2 Seo NL. 669 Of. SD. 355 defines it as upiiyatl.ar$ana. DR.
uefines sama instead of !dpana (I.33).
78 (C.80: K.XIX.73). 1 Cf. DR. I. 33; DR. 356; NL. 1310tr.
2 Of. DR. 1.33; SD. 357; NL. 672.
79 (C.80; K.XIX.74). 1 Read ullarollaram 11iikyam tu Move! pra-
gamanam. (;f. Nh 676; DR. I. 34; SD. 358. .
Sec NL. 683; DR. !.34; s1). 359 reads virodka for nirodka.
80 (0.82; K.XIX75). 1 Sec 687. Of. DR. 1.34; SD. 360.
892
THE NATYABASTBA [XXX: 81.
Sweet Words
Mentioning some favourable peculiarity is called Sweet
Words lit. flower)s.
Thunderbolt
81. Harsh words uUel'ed on oue's face is called Thunderbolt
(va.jm.)l.
Refcrenoc
Reference (lIpanyQ,sa) is a remark baRed on reason.
Mcetinlt of Castes
- 82. Coming together of the four castes if; ('ailed Mooting
of CaRtes (va1"l!,1Na,,!,hal'a)1.
These are the Limbs of the Pl'ogl'l.'ssion (pmtimllJ.lt").
Limbs of the Development
Now listen about thoile in the Development (grwMta).
Mis-stlltcm<'ut
8:1. [A ilpecch] founded on d('Ccir is ('aIled l\Iis-Rtateuwnt
1.
Indioatioll
Speal(ing out [one'R] l'pal intention (lit. J'rality) iR called
Indication (mQ,I'!I(1)2.

84. A liypothcsis with which novel meanings are combinlld,
is called Supposition (rupa.)l.
Exaggeration
A speech with an overstatement is ('ailed Exaggeration
(udaha1'lJlI"a)
9

---------------------------
Of. DR. 1.34; SD. 361; NIJ. 691.
81 (C.83; K.XiX.76). J into
Cf. NL. 697; I. 35 SD. 362.
, Sec N1J. 700; of. DR. I. 35; SD. 363ff. dffines it dit1'el't'ntly and
refers to the view of the NS as keei! tu ete.
82 (C.84; KN.XIX.77). I NL. 704ft dofines it liS fJarl)ilasyarthasya
liraskflro the matter expressed), and refers to the view of the
N8. /IS ealurYjil1n fJarlJanall,1 sa11lmela1lam api ke'Pl' fJart!ayanlt: SD.
364; DR. 1. 35.
83 (C.85; K.XIX.78). I Of. DR. I. 38; SD. 365; NL. 727.
I cr. SD. 366; NL. 780; DR. 1. 38.
'S4 (C.86; K.XIX.79). 1 Cf. DR. I. 39; SD. 367; NL. 785.
2 9f. NL. 788; DR. I. 39; SD. 361j.
XXI.89] THE LIMBS OF TllE JUNCTURES
39;$
ProireS8
85. Foreseeing of what is coming aftel'wards, is called
Pl'ogt'ess (krama)l.
Propitiation
Use of sweet words and gift, is caUed Propitiation (sarp,[J1'aha,)
2

Deduction
8u. Perceiving something by the name of It thing similar to
it in form, is called Deduction (annmana)l.
Supplication
Request for love's enjoyment (rati), rejoicing, festivity and
the like, is called Supplication {ZJ1'(il'thana)2.
Revelation
87. The unfolding [of the Get'm] in the Development
(!/Il/Nw), is called Revt'lation
Quarrel
An angry sprech is called Qual'rel
Ontwittillg
88. Cheating of a deceitful pel'son is caUed Outwitting
(,"'hiDaln)l.
Dismay
Fear arising from the king, an enemy or a robbel' is called
nimlOY (1tdre[la)2.
Panicky Commotion
89. Flul'l'y caused by feat from the king 01' fire is callrd
Pani('ky Commotion (1'id'l'ava)l.
arc the Limb::; in the Development (fIII1'Ii1W.).
Limbs of the PallflC
Now listen about those in the Pause (ammIl1'SI1, = rimal'Sa).
85 (C.87; K.XIX.80). I Emend MiivaklfJo into M1Jvita/x'o. Of. SD.
:69; NL. 740; DR. I. 39. 2 Cf. SD. 370; NL. 744; DR. I. 40.
'86 (C.88; K.XIX.81). I Cf. NL. 746; DR. I. 40; SD. 371.
Cf. SD. 372; DR. I. 40. NL. 749.
87 (C.89; K.XIX.82). I Cf. DR. J. 42 has SD ' 73 hIlS
NL. 751 has
88 (C.90; K.XIX. 83). I Of. SD. 375; DR. I. '0; NL. 7
Cf. SD. 376; NL. 761; DR. I. '2.
89 (C.91; K.XIX. 84a). I Cf. DR. I. '2; SD. 377.
50
894 THE NATYABABTBA [XXI. 90

90. Proclaiming anyone's fault is called Cengure (apafJada).l
Angry Words
Words spoken in anger are c:.Llled Angry Words
Insolence
91. Trangression of the superiors is called Insolence
(abM.dlava)1.
Placation
Allaying of disagreement [ with anyone] is called Placation
(ialr.ti)2.
AsseI:tion
92. A promise made on account of some reason is called
Assertion (vyarasaya) 1.
Reverence
Mentioning one's superiors is called Reverence (prasarlga)
2

Rebuke
93. Words spoken in contempt are called Rebuke (dynti)l.
Lassitude
Fatigue arising from a mental effort is called Lassitude (kheda).
Opposition
9l Obstruction to one's desired object is called Opposition
)1,
Altercation
Speaking and counter-speaking in excitement is called
Altercation (virodTtana)2.
90 (C.92; K.XIX.84b85a). 1 See NL. 801; Cf. DR. I. 45; SD. 378.
B See NL.1ID7, Cf. DR. 1. 45; SD. 379.
91 (C.98; K.XIX.86b86a). 1 Emend vidrava into abhidrava. SCI
SD.381 and DC. 1. 45, has drava in place of aMidrava.
J Emend virodhopagamo into virodhojoiJamo ; ef. NL. 819; DR. J
388.
K.XIX.87a-86b). 1 Emend prat,'itlljdo'1a into pratijitllhetu
SD. 380 DR. I. 47.
1. 46; SD. 884. NL. 826 dofines diifcrenely.
1 Cf. NL. 829; DR. I. 46, SD.382; SD. 885.
and SD. 886 has in place of this.
SD.'387.
.XXI.99]
THE LIMBS OF THE JUNCTURES
Summing up ,
95. Bringing together (lit. attaining) [all aspects] of the
Germ (bija) and the action is called Summing up (iidana)1.
Humiliation
Putting in insulting words fOt some purpose is called
Humiliation {sadana)2.
Foresight
96. That which represents the Conclusion (sa1p,hara) [in
ad vance] is called Foresight (pra1ocanii,)I.
These are the limbs in Pause (rtvarn,?,8a = virnarBa).
The Limbs in Conclusion
Now listen about those in thc Conclusion (s!t1p,hara =
nil'mha7!a).
Junction
97. The coming up of the Opening (nmklm) and the Germ
is called Junction (8anllhi)1.
Looking duly for
Awakening (vibodha)9.
Awakening
the Denouement (/rQ,1'ya) IS called
Assembling
98. Intimation of [the various aspects] of the Denouement
is called Assembling (grathana)l.
Ascertainment
Declaration of facts personally known is called Ascertainment
(niI'1./,Q,ya}1.
Accusation
99. That which is said to blame some one, is called
Accusation
----------------------
95 (C.97: K.XIX. 99). J. See NL. 8404, DR. 1. 48; SD. 389.
II Emend chadana into sad ana. See NL. 848. DR. I. 406 has wrongl>
eka/ana for sa(hna SD. 390 also has chMana wrongly,
96 (C.98:K.XIX.88a, 91a). I Sec SD. 388: NL. 850. DR. 1.47.
97 (C.99: K.XIX. 91b-92a). 1 Emend su/?llabijo into mukhabijo: cf.
DR. I. 51: SD. 392.
2 Cf. DR. 1. 51; SD. 393.
98 (C.100: K,XXI.92b93a), 1 Cf. DR. 1- 51, SD. 3940; NL. 8U.
2 Cf. S. 895; DR. I. 51 ; NL. 870.
99 (C.101: K.XIX.93b94a). 1 Cf. NL. 873; SD. -396, DR. I. 62
defines the Limb differently.
396 THE NATYA8ASTRA [XXI. 100
Confirmation
Turning to lise (lit. conquering) the object gained is called
(dllrti)l.
Gratification
100. Treating one with waiting upon or the iike,
Gratification (prasada) 1.
Joy
is called
Attaining objects [of one's desire] is called Joy (ananda)2,
Dclivercnce
101. Passing away of all misery, called DeIivcmnec
(samaya)f.
Surprise
Appearence of something wonderful IH called SUl'prise

Clever Speech
102. Words mentioning conciliation, gift and tlw likc arc
tailed Clever Speech 1,
Rctrosllcct
Retrospect is to be a L'det'cncc
to something spoken before,
Termination
10:1. Giving and receiving of a boon called Tel'iLJinalion
(k(il:ya-sa1{thara) 1,
Benediction
[A prayer seeking perfect] peace to the king and the countt'y
is called Benediction (p1asosti)9.
10!. With, a view to introducing 8entilllcnts (r(/In) and
!. Emend dyult'into dht'li Cf. DR 1. 53; SD, 397.
100 (C.102; K.XIX.94b95a), l Cf. NL. 879; :;D. 398; DR; T. 52.
Cf. NL. 881; SD. 399; DR. I. 52.
101 (C.I03;K.XTX.95b-96a). 1 Cf. DR. T. 52; SD. 400; NL 88a.
, Cf. NL. 889; SD. 401 : DR. T. 53.
102 (C.I04; K.XIX.96b97a). 1 Cf. SD. 402; DR. I. 53. Nh 891.
S Cf. NL. SD. 403.
lOS (C.I05; K.XIX.97a-98a). 1 See SD. 404; cr. NL. 893, DR. T. M.
Read nrpa.tIe'a. Cf. SD. 405, NL. 895, DR. I. 54.
I.U' (C.I06; K.XIX.98b-9911). I Cf. SD. 406; NL. 906.
-XXI. 109] THE LIMBS Oll' THE JUNCTUEES 397
States (bhava) an expert playwright should insert all these
Limbs into appropriate Junctures of his work'!,
105. Considering [the scope] of the Action 01' its condition
he may sometimes insert all the Limbs 01' a combination of two
01' three [of them] into the JunctUl'Os"l.
Five Explanatory Devices
lOG. The Supporting Scene the Intimating
Speech (culika), the Introductory Scene (pl'uvl'saku), the
tiona! Sccne (nid,avutam), and the Anticipatory Scene (II itkalnnT.ho)
al'e five Explanatory Devices I,
The Supporting Scene
107. The Supporting Scene should employ
tlw male charactm's, relate to the opening J unetUl'e
(1/wt.-h1l8nntlhi)3 only of the Nataka, and it is (to be] graeed (lit.
relined) by a prieHt, minister 01' Kaiicukin (arlllour- bOltrcJ-),
lOS. The Supporting Scene is of two kinds; pure and
mixed. Of thone the pure is made up of the middling characters
and the mixed of the inferior and the middling ones.
The Intimating Speech
109, When some points are explained by a :;uperiol', mid-
dling 01' inferior character from behind the curtain, it is called the
Intimating Speeeh (culika)1.
105 (U.107; K.XIX.99bl00a). 1 See above 104 note 1.
106 (C.108; K.XIX,lIJ4). I Cf. DR.J.58; SD. 308. NL. :393. HUllS
arthopaksepaka as "llltel'mediaoo Scenes", see p. 33. But tlw
'Explanatory arc all not complete scenes but parts of scenes,
vide ilZ/ra.
107 (C.109; K XIX. lOS). I Of. SD. 308; DR. 338; DR. I. 59 Emenu
lu sarl}sk(ta into sa'lSk('1al! NL. 362 . quotes
the view of C:ll'iiY:lI)a lIS follows: fil"ll'll'li "fif.
l'elates to the Pl'akllrmla and the Nataka only). It seems that such
the CIlSe at. a later of the of Indian drama. First it
related to the Niitakas only.
2 For II der;nitioll of the middling characoor see NI:i. XXXIV. 4
3 According to this direction the at the beginning of
Pauca. would be all ideal one. 108 (C.ll0; K.X1X.I06).
109 (C.lIl; K.XIX.I07). I Of. NL. 414 ./ 438.; DR. 1. 61; SD. 310.
398
THE NATYASAS'lBA' [ XXI. 110
The Introduotory
110. The Introductory Scene (pro'IJeBoka) in to the
Nitaka and the Prakaral)a, is to occupy a place betwoon two
Acts and to treat the summary of the Prominent Point (bindu)8.
111. The Introductory Scene should be known as not con-
sisting of the exploits of the superior and the middling characters
and there should be no exalted speech in it, and its language
should be Prakrit 1.
The Transitional
112. As in practice it. fallH between two ActK or within fill
Act, and relates to the purpose of the Germ (iJlj,,), it is called the
Transitional Scene (ai1i,'O,vatiil'a).
The Anticipatory Hcene
113. When the detatched urginning of an Act is t-i11111llla-
riscd befOl'l:hand by a male 01' a female character, it is calkd tite
Anticipatory Scene (aid'It'll!lddHt)l.
An ideal N:itaka
11,1-117. The playwright should write a having
---- ---- ----------- --- -----.. ---
110 (C.112; K.XIX.I08). J Cf. DR. J. 60-61; HD 309; NL. 307ff.
III (C.113; K.XIX_I09). 1 See XX. 32. Cr. DR. I. 60-61. SD.
309. C. givC8 one additional couplet after this. Bnt this (not oceuring in
K.) seems to give'no new information.
112 (C.115; K.XIX.ll.O). 1 Cf. DR. I. 62.63; SO. 311; NL. 398-399.
The def. is not very olear. The ailkavatlira seems to furnish an indication
of the subiect-matter of the nen Act. An of this seems to be
. the dialogue of the Ceti and Viisavadattii at the end of tlw Aot II. of
Svapna. This relatffi to the making of a garland by Viisavadatt:"i.
Another example dlay be A vimiiraka Hpeakillg lI:l(: 11'1111: I lliloeal,flll-
I 'I"I'l['II'lI:, n. 5-6_ This gi vee a olue to the
subieot-matter of the next Act which treats Avimiiraka's ('nt1'Y into tho
royal harem.
lIS (C.lI6; K.XIX 111). 1 The ar]kamuklta seems to relate mostly
to plays other than of the Nataka and the Pmkarava tY1108. Examples of
this are perhaps-the speeohes of the Bhata in the beginning of the Kllrl}aJ
and of the Diitagha., The reason for the abovo assumption is that
the rules prescribe for Niitakas only (see 107), nnd
prrJf}e8akas for both Niitakas and (soc 110). Cf. DR. I.
62; E\D. 312, 313i'NL. 408.' . .
114-117 (C.1l7-12lt; K;;JnX.112-JllI).
XXI. 122] THE LIMBS OF THE JUNCTURES
399
[different] Styles and minor Limbs (lJl"atyanga)t, Episode Indication
(pataka)2, Expla.natory Devices (athapmtihi!la) S arising from the
five stages having five Juncturcs (llandhi) 5, twentyone
Alternative Junctures
G
, sixtyfour Limbs (a1'/ga)\ thirtysix
GUl}flR (excellence)!! and figures of speech (ala7[tkara.)1,
many Sentiments 11, topics of many enjoyments, exaltcd speeches,
characters of great people, description of good conduct, and it should
be popular, wellknit in it!! Junctures, easy for production [on the
stage], composed with soft words and capable of giving pleasure.
118. The condition of the world arising from the happiness
and misery and connected with the activity of various people "hould
find a place in the Niitaka 1.
lID. There is no wise maxim, no learning, no art or craft,
no device, no action that arc not found in the drama
120. And the human natnre with its joys and sorrows
depicted throngh the lllcnus of representation such as Gestures,
[Word!', CORtullleaml Temperamentj is also called a drama
121. A mimicry of the past exploit:> of gods, sages, and
. human beingR f'hould be also called It drama 1.
122. As [thH rcpresontetl (nlJMn/'!/nle) and interpreted
(fJam!late) by the actors who after Rl1ppressing theil' own nature
make [for this pmpose] various 1l10yements of their different limbs,
it is called the Niitaka 1.
I Pratyailga has not b('C'n defined anywhcrC'. It is possible that
the l'C'ading is corrupt.
"Falaki! horo stands for pa!iikii-stlltmaka jm<t I\H "8hima" for
"Bhimasl'na", sec above 30lf.
ArtltapratikriYu, is only 1\ synonym of arlhaprakari. Sec
before 20lf. Sec before 61r. 5 See before 35ff.
6 See before 48lf. 7 See before 5Rlf. 8 Sec NS. XVII. 1ft'.
D See NS. XVU.96ff. 10 Sec xvn.43lf. I I Sr NH. VI.
11S (C. 121; K.XIX.1l6). 1 Cf. N8.1.120
119 (0.122; K.XIX.1l7). .1 See NS. 1.116
120 (C.123; K.XlX.llS). f Soc N8. 1.121
121 (C.124; K.XIX.1l9). 1 See NS. 1.120
122 (C.125; K.XIX.120). .1 This very clt'arly defines the I\rtistic
eharactcr of dramn.
400 THE NATYABABTRA [XXI. 123-
123. The Nataka is to be so composed as to include all
States, S('ntiments, inclination to all deeds, and the various condi-
tions [of men and nature)!.
124_ The various arts and crafts produced by human beings
may be applied in the Natnka
1
in theh' endless forms 1.
125. One is to construct a Nataka [only J aftpr observing
the human character, strength and of men, theil' [mode
of] enjoYI?ent and l'easoning
1

126. In succeeding ages men will be tiifficirnt in wisdom;
henre those who will be born [after us] will have small learning
and intellect.
127. When the world deteriorates, men's intrllert, activity,
[production of] crafts anti skill in artR will d windlr.
12S. Hence afte\' observing the strength and the
of human [pcling, onr. should rOlllposc the Nataka with an(1
rasily intelligible wonk
12!l. The plays (lit. poems) which contain I words
like cl'hiq.ifn! is repulsive (lit. do not shine) like a COlll'tezan in tlI('
company of a Brahmin hearing a Kamat;l(Jalu.
1:30. 0 I haye spoken about the Plot with itH
.JUllctnres and Limbs. I shall hereafter speak of the charadC'l'isties
of thr Styles.
HCI'e ends chapter XXI of Bhal':1ta's
which trrats of the Limbs of the .TUllctll\'l'H.
121 (C.126; K.XIx.12l). 1 Cf. NS. 1.11:\
124 (0.127; K.XIX.l22). I Emend ekakarma illto lokakarmrt.
125 (0.l28; K.XIX. 123). 1 This Pllts cmphllRis 011 depicting chnr!lc-
ters ill a drama.
126 (0.129; K.XIX.124). 127 (('.130; K.XIX.125).
128 (C.13l; K.XIX.126).
129 (0.132; K.XIX.l27). 1 BhiislI actulIlIy lISes tho root of verb
form in his Avi. (1II.l8.0).
13 I (C.133; K.XIX.128).
CHAPTER TWENTYTWO
THE STYLES
'l'he ol'igin of the Styles
1. I shall now explain in detail (tit. frolll the brginning) the
rise of the Styles (1'rtti) and [in relation to them] the origin and
the formation of dramas 1
When the lord Aeynta after rrdncing thr
nniversr into a [yast] ocrall and compressing the crrntion
[into a seell] by hill supernatural power, WilS lying on the cOl1ch of
snake, the two Asmas Madhn and maddened with the
pride of theil' strength challenged the god at once for battle 1.
4-13. Theso two, nftrl' making geRtnrcs of challeng<', (lit.
rubbing thl)ir arms) fonght tho lord (hhnla-
Iilt[i.1'ana, lit. the creator of with thrir fists and lrgs (lit.
knees), and while doing so they also assailed him (lit. one another)
with harl'h wordll and shook as it were the occan with theil'
reviling speech 1.
The origin of the Verbal Style
67. Hearing the various [abusive] wordH of t\trRe two who
were threatening
1
Druhil)a (Brahman) was slightly per-
tm'bed in mind and said, "Is it the M/ai'1I1i qlti tbt start with
these words [for the ftghtert<] and goeR 011 by
? Kill the two [at oncr]'''
8-10. Hearing these won}:.; of Pitamah:t (llrahnwn),
Madhusudana said, "Yes, I have ma<le this !JhU1'di" rrtti
1 (C.l; K.XX.O. 1 Siigarnnnndin expluins the as follows:
ilQ"lT lInfq sf",: I 'Ii"",
NL. 1044ff.
2-3. (C.2-3; K.XX.2-3). 1 The story of Niiriiyal)a's reducing the
t.hree worlds into 'a single ocean' occnrR in the Rim. VII. i2'; KUrnlfl
P. XIII. Seo JK. undor (8) and NiiriiYaJ)a (8).
4-5 (C.4-5; K.XX.4-5). I Madhll nnd Kaitabha chargcu NiiraY:lI.1f1
with tho theft of the Vedas. l{,am. VII. 72. JK. HllUPl' Kaitnbhn.
67 (C.6-7; K.XX.6-7). I Emend Earjatol! into tarjato!! (tar fa/lim, K).
8-10 (C.8-10; K.XX.8.1(l). .
51
402 THE NATYASASTRA [XXI. 11
for the purpose of my work. It will be the hhal'ati t'('tti of the
in w hieh wonlR will preponderate. I Rhall kill these two
ARmas today". So saying Hal'i with hi8 pCl-fect gCRtm'PR
l
and Ailgahiims
ll
seyerely fought these two Daityas who wern
experts in the method of battle.
11. At that time Hari's paring with the Sthanakas
l
on the
ground created a great bha/'a (burden) on the earth (I,ltumi); the
hhal'llti l'rtti (Verbal Style) was built on that ("'tamp.
The origin of the Grand Style
12. And at that [very] timp, by the rebounding of the bow
named Siirnga which was intensely brilliant, steady and full of
much s(!lI1'a {Rtrength} the sattvatiqtti (Grand Style) was made
l

'l'he origin of the Graeeeflll Style
13. When [in course of fighting] the god moved Rportively
with various Angahiiras and tied up his sikha (!.-esa ?) the kaisi1.i,
'/Iftti (Graceful Style) waR 'made 1.
The origin of the Energetie Style
14. Then from the various personal combats which were
full of energy and excitement, and which entailcd various Ciiris
the Energetic rrtti) was made
l

15. Whatever acts the god Brahman observed as arising
out of the different Styles (rrtti), were associate(F by him
(Druhil).a = Brahman) with words suitable to their meaning.
16. Whon the two Asm'as Madhll and Kaitabha were killed
by Hari Brahman spoke to him (Ni\r1iyal).a= who
was the Rubddupr of foes (wrindama.).
, ailgail, here means and ahgakararJ!.
2 See N8. IV.l9-27, 170fl'.
11 (C.ll; K. XX.U). I See NS. XI. 491f.
This is a clear instance of folk-etymology and docs not really
explain the origin of this Style. It possibly eomcs from the Bharata
tribe; soo N8. I. 41 f. n.
12 (C.12; K.XX.12). T See ove 11 note 2.
13 (C.13; K.XX.13). 1 See above 11 note 2.
14 (C.l4;.K.XX.14). 1 See abovllll note 2
. 15 (C.15; XX.K.15). I Emend pratyapftjayat into pralyayojayat
. 16 (C. 16; K.XX.16).
XXI. 25] TEN STYLES
403
The origin of the Nyaya
17-18. 0 god, thou hast killed the Danavas various
cleal', ('xpressive and graceful Ailgaharas ; hence this method of
combat [applicable] in throwing all kinds of missiles in
this world, will be termed as N yaya 1.
] 9. Even this fight made with the Ailgaharas which arose
from the Nyayasand observed them (Nyayas) [in practice] will be
called the N yaya! .
20. Then the high-souled Dl'UhiJ).a (Brahman) gave over to
the god,; this Style full of various States and Sentimentl'l, [for its
use] in the production of plays.
212:!. The name Style (l'rtti) was made a repository of the
various States and the Sentiments. Al).d whatever was made and
in whatever manner, the exploits of the god were utilised
hy the in fashioning the similar Styles arising from the
Wortis and the Gestures which have their origin in materials taken
from the four Vedas!, and which also have Words and Gestures as
their chief characteristics.
23. These Styles which were desired, wellborn and full of
various CuriR, were again, taken by me at DruhiI;Ht'S command,
[or tho purpose of making plays (lit poem)l.
2'*. Tho Verbal Style (bhiiratf, rrtti) was from the
tho Grand from tho Yajur-veda, tho Graceful (!.;,tisikt)
from the Sama Veda and the remaining one (i.e. the EnOl'getic or
(arabhati) from the Atharva [Veda]l.
25. The Style which is to be applied by the male characters
and not by females and which gives prominent place to speeches
1718 (C.17-18; K.XX.1718). I Sec N8. XI. 74ff.
19 (C.19; K,XX.19). I See N8. IV. 170ff. .
20 (C.20; K,XX.20a, 21a).
21-22 (C.21-22; K.XX.21b23a). I Emend na/yavcda into catun.cda.
23 (C.23; K. XX.20b, 23b). 1 Emend 23a as follows.
'if
24 (C.24; I This is a different story about the origin of
tho Vrtlt's. See before 214.
25 (C.25; K,XX.25).
404, THE NATYASASTBA [XXI.26.
made in Sanskrit, is used by the eponymous bhamtas (actors) as
bharati (Ve;bal)1.
The four varietics of thc Verbal Style
26. It has four varieties such as the Laudation (prato 'ana),
the Introduction (amukita), the VUhl and the Prahasana, and
these have became its componflnt parts (ai!ga)1.
The Laudation
27. The LaUllation (pl'M'OCll'/@ in the Preliminaries b to
attain success, good luck, victory and removal of all sins. 1
The Introduction
:!8:.l!J. That part of a play where an actl'ess
1
, the Jester or
the has a talk with the Director on Home relevent. top ie,
and thpy u;;e intercsting or adopt any type of the Vithi or
talk in any otlier way is called the Introduction (al/wldw)l, I
Hpeak in detail about its five val'ietirs (Iit. elements).
TI\p iiV<' v:\l'ietirs of the Introduction
ilO. The Aceidcntal Interpretation (nrlyhatyaka), the Open.
ing of the Story (htfhoyhal a), the Particular Presentation (/)J'I.!!/O-
Ilati/;f!,!la) the Personal BusineHs, (/Iraqtlal,a) and the 'l'ransferrenc()
(ru',!iyita) are the five varieties of the Introduction (a11!Ukha)l.
:n. Of tIwcc the of the Accidental Interpre-
tation (IIrlt/hCiI!Jrtl,,')1 and the Transferrence (nwlyilnp have becn
IlIcntioncll by LIle. I ,hall now ,peak in detail of the chal'llcterbtic:-;
01 the rcot.
of the f:ltory
:)1 [That Introduction] in which a character entel'R [the
stage] taking lip a remark of the I>il'ectlll' or its meaning, is called
the Opening of the Story (krttlull/!/hafn)l .
.. -_ .. _--------_.- ._._-----_._._-_._----- ----
1 J1J54tf. DR. II. 5 ; SU. 274, AP. modifies this deL by lidding
prnkl:/oktitlt, HilliS, on DR.JII. 5 (p.BI).
26 (C 26; K,XX 26). 1 Cf. NL. 1008-69; DR. IH. 5 ; 8D. 285.
27 (C.27: K,XX.27). 1 Cf. NL. I070-711f: DR III. 6 : SD. 286.
2829 (C.2829; K-XX.282!l). 1 Cf. NL.1l78-81, DR. 1lI. 7 ST>. 286.
30 (u.ao: K.XX.:lO). 'Cf. NIl. 11-8889 DR: III. 8, SU. 287.
31 (C 31: K,XX.31). 1 XX.ll7 Cf. NL. 1189 ;. DR Ill. H
SD.288. ,; Sec XX. m: NL. 1192, DR III. IS: ST>. 292.
: ;)2 (G.32j K,XX.H2). I Uf. NL, 1196: DU. HI. v: SD. 2B9.
-XXI. 89) TEN STYLES 405
Particular Presentation
33. When, over this production [0 the Introduction] the
Director imposes another production and then a character ,lCnters
[the stage], it is called the Particulal' Presentation (Pl'a,yogatisaya ),1
Personal Business
34, [The Introduction] in which the Director Rpeaks on
Home business in hand and taking cue from this (lit. with its help)
a charactel' enters the stage, it is C'alled the Pel'tional
(pml'rttaka)l.
R5. Taking up one of these typeR and giving double
meaning to it, the wise [playwright] should C'onstruct the Introduc-
tion by freely assembling difierent clial'acters 1.
36. The wise are thus to kuow the Introduction with differ-
ent baseR 1. The characteristiC's of the V ithi 2 and the Prahasana a
have been mentioned before.
37. These are the eight
1
different aspects (Iit. meaning;;) of
the Verbal Style I spoke of. I shall now explain the rules of the
Grand Style (salt calt) with its characteristics.
The Gl'!Ind i::ltylc
38. The Style which i" endowed with the sliUcafll quality,
the Nyayas, metres, and h:u,; exuberance of joy and an uuder-
eUl'1'ent of the State of Horrow!, is called Grand
The Gmnd Style known to consist of repl'escntation
by and and of btrength in speecheH and act:;
showing the rise of spirit.
33 (u'33; K-Xx.:n). I Hec NL. 1201-1202; DB. III. 11; folD. 2DO.
34 .).31; K.XX.32). i Cf. NL. :'-In. 2lJl; DR. m. 10.
35 (C.35; K.XX.35). 1 i.e. ./cotl'1' 01' the See 21;
above.
86 (C.a6: K.XX.3fi). 1 EIll0nd vl'z,bltdhii/1rf!yam into Plvidhii'xrayalll.
2 Sec NH. XX. lUff. :1 NN. XX. lOUr.
37 (C.37; KXX.37). .1 Pral'oc:tn'i. Vithi, Prahasanll and five
varipti<,s of AI1111kha. Hne b"fol'C' 26-:10.
:18 (0.38; K ,I Hh(})w that no path<>tic sllbkct-mattrr
should find a place ill this Stylr ..
2 Sec NL. 1234ff. SD. 416. DR. II. 53.
811 (0.311; K.XX.39).
406
THE NATYASASTRA [XXI. 40
40. It is to contain the Sentiments such as Heroic (vira),
the Marvellous (adbhuta) and the Furious (l'awlra) and to a small
extent (alpa.) the Pathetic (1c'LrU'1!/!.) and the Erotic (irngiim), and
characters in it should be mostly majestic and defying one another I .
The four varieties of the Grand Style
41. It is known to have the four varieties such aR challenge
(ltttlliipakll), Change of Action (pMivartal,a), Harsh Discourse
(
8Q
'f!lapal,a) and Breach of Alliance (sIL'f!ghata)1.
ChallcuKc
42. One's rising up with a view to conflict after saying "I
am getting up [for battlc, now ] me your own prowess" is
called the Challenge (ntthapaka)I.
Changc of 'Action
43. If after leaving the thing which caused the riKing
up, one takes to other things due to some need, it is called the
Change of Action (parival'taka)l.
Harsh Discourse
'H. Various kinds of words containing abuse or insult
whether these arise ft'om a challenge or not, arc called Harsh
Discourse (saJ!dapaktI)l.
Brcach of Alliance
45. The stoppi ng of an alliance for the sake of 11 friend,t
money or due to an accidl'nt Or [one's] own fault, is called Breach
of Alliance
46. These are the eight meanings
I
of the Grand Style that
I spoke of. I shall hereafter describe the characteristics of the
Graceful Style ,[.;aiSi1c'i vrth)l.
40 (C.40; K.XX.40). 1 See NL. 1271-1273).
41 (C.41; K.XX.4U. 1 Cf. mi.1I. 53 SD. 416, NL. 1274ff.
42 (C.42; K:XX.42). I Cf. NL. 1276, 4278. 'rhc trott on this point
8ccms to be corrupt. also cr. DR. II. 54; SD. 416.
43 (C.43; K.XX,43). 1 Cf. DR. II. 55; SD. 419; NT.. 1279-1282.
14 (C.4j,; K.XX.44): 1 Cf. DR. II. 54; SD. 418, NL. 1288.
45 (C.45; K.XX.45). 1 Read mt1rartha-karya.
Cf. NL. 1298-1299; Dlt. II. 55; SD. 417.
46 (0.46; K.XX.46). I Utthapaka, part'vartlaka, the two kinds of
sal!ltllpaka and the four kinds of sarY!-rhata. Sce before 41,44,45.
-XXI. 52] TEN STYLES
407
'rhe Graeeful Style
47. 'I'hat Style I'S called Graceful (' "") h' I .
tel! '!Suet w lC 1 Ii:!
i1peeiaJly intet'eRting on account of charming costumcs WOl'll
by [IZmmatis mostly womcn, and in which many
kinds of dancing and singing are included and the thcmefl acted
arc practiccs of love and are connected with (lit. al'ieing fl'Om) its
(lujoyment 1.
The four varieties of the Graeeful Style
48. The Graceful Style is said to have the foul' varieties
sneh as Pleasantty (narman), Beginning of Pl('asnrc (naJ'lna-
phUI:ill) Unfoldment of Pleasure and Covert
Plrasurc (na'l'lna-gaJ'bha p.
The three kiuds of
49. The Pleasantry (uarmn) which abounds in remarks
made in jest, is of threc kinds: that based on love, that with pure
laughter and that having Sentiments other than thc Heroic!.
50. The Plcasantty is known as conccl'lled with
acts of jealousy and angel', words of rcbuke, scif-repI'oach and
deception of others.
Beginning of Pleasantry
f) 1. The Beginning of Pleasantry (luL1'1I1a-splturja) is to be
known as thc fir8t meeting [of 10verRJ in whieh words and dl'esses
exciting love [are in ('vidence] hut whieh ends in fem
I

Unfoldment of P\eas:mtI'Y
52. The Unfoldment of Pleasantry is the
eaURe of the Sentiment contributed by small fraction of different
States (bhav(l) and not by any State as a whoie
l

47 (C.47; K.XX.47). I Cf. SD. ,m; DR. II. 47; NL. 1304ff.
48 (C.48; KXX.48). I Cf. DR. II. 48; SD. 411; NL. 1308tf.1
49 (C.49; K,XX.49). I Cf. DR. II. 4850; SD. 412; NL. 1310 defines
narma as f'l'lfoill'l. I .. i! ;
but the def. of the NS. as well has been referred to.
50 (C.50; KXX.50).
51 (C.51; K,XX.51). I Cf. NL. 1342-1343; DR. II. 51; SD. 413 ..
52 (C.52; KXX.52). I ct. DR. II. 51; SD. 414 ; NL. 1836 f.
t08 THE NATYASASTRA {XXI. 53
Covert PlraRlll'c
53. Whcn the Hero acts incognito out of any necessity
through his qualities such as intelligcnce, [gooo] appearance and
afit'etion, it called Covert Pleasure (na.71IIa-g!trbha)1.
ii J. Tlwsc arc the eight (lilferent meaning;; of the Graceful
Style that I wa" to speak aiJout. I hercafter descriiJe the Ener-
getic Btylc which is concerned with haughty Sentiment.
l
Tho Encrgctic Styl!'
iii). The Style which illdlHles mostly the qualities or it bolrl
perRon (ilmlihl1!,,) su('ll as speaking many dereption,
bragging and falRehood, t() he known En(ll'gcti(' (iiraIJlta!i)2.
5(j. The 8tyle ill which thl're it representation of falling
down 1, jumping, OI'el', of magic and conjuration, and
various kinliH of fighting, ('albl Energetic (firal)/w!l)2.
Til<' fOlll' yal'i\,tirR of t hr EU('l'gdic Style
57. It. has varieti('s f'twit :IN
COlllmotion (II rewa/II), Hai"illg Yal'iou,; J.\dings (ms/filthiil'oJla)
and Conflict
Compression
5S. Compression is fUl'llishcll with workman-
Rhip (liil/ol) ill tite tnll' :-l'!!Hl' of the and it includes the
53 (C 53; KXX.53). I to foiiigaranundin J.rabha(i is an
ailga of the Gaur!i vi(lti: NL. 1:\85. Cf. DR. n. 52; 8D. 415; NL. 1338
f. C. adds an additional tI(f. (C.51) of thiH, out it is wanting in K.
54 (C.55; KXX.5,1) 1 The three kinds of the three kind;;
of marma-garMa and 1zarmapkiirja and l1arma-sphola.
55 (C.56; K.XX.!i5). I 'Many words' mORU altercation Ot
yerbal duel. Cf. Nr. ... If. DR. II. 5657; SD. 420.
56 (C.57; KXX.56). Tho reading prastiiO in prastava' BOcms to be
corrupt. Emend this to vGstz'aO.
2 See above 56 note 2. C. adds one more def. (C.58) of llrabka!i
but this is wanting iu K. III trans. it will be as follows: That which
includes excitement due to all applicution of the sixfold policy
running away due to deception of the enemy, and that wlii"h relat.es
to [material] gain or loss, is called the Energetic Style.
57 (C.59; K.XX.57). I Cf. NL. 1356 f. DR. II. 56-57. SD.420.
58 (C.60; K.XX.58). 1 Cf. DR. II. 5758, SD. NL. 1358 f.
gives another def.
-XXII, 60]
TIlE STYLER
409
presentation of model works drawings, and dresses, and
relates to some condensed matter.
Commotion
fi\), Commotion (avapala,) is known to relate to the
nccm'rence of fear and jubilation, panic, fiul'l'Y, many kinds of
f;peaking, quick entrance and exist
1
,
Raising the Theme
60. That deed which is represented as being connceted with'
panic or no panic, and includes a combination of all the Sentiments
is ea.lled the Raising the Theme (ms/atthalJanll )1,
Conflict
(j 1. Conflict iR known to include excitement.,
lllany personal deception, Rplit and r mutual]
Htriking of weapons 1.
02. These are the Styles to be reckoned by the wise in
eonnexion with the drama. K ow listen about their application in.
(lii'f{')'Cnt Sentimenhl, which T am going to tell YOll.
Rt)'](>R according to Sentiments
fl3-64. The Style in the Erotic and Comic Sentiments
should he Gmccful and in the Heroic, the Furious and the
Marvcllous Sentiments it should be Grnnd. And in the Terrible,
tho Odious and the Furiou;:; Sentiments one should use the
Energetic Style, while the Verbal Style is applicable in the
Pathetic and the Marvellous Sentiments
J

(15. I have spoken properly about the Histrionic Represen-
tation dependent on WonlR, Gestures, Temperament and the Styles.
Now I shall treat of the Costumes and the Make-up used in the
production of plays.
Here ends Chapter XXII of Bhat'ata's
which treats of the Styles.
59 (C.61; K.XX.59). 1 Cf. DR. I. 59. SD. 423; NL, 1368f.
60 (C.62; K.XX.60). 1 Cf. DR. II. 59, SD. 420; NL. 1372f,
61 (C.63; K.XX.61). I Cf. DR. II. 50; SD. 421; NL. 1380.
62 (C.64j K.XX,62).
63-64 (C.65-66; K.XX.63-64). 1 Cf. NL. 1059-1562. DR. n. 62;
SD. 410. C. repeats after this two couplets from Ch. VII. ,(118-119) .
65 (C.69; K.XX.65),
52
CHAPTER TWENTYTHREE
THE COSTUMES AND MAKE-UP
Nl'Oessity of the Costumes and Make-up
1. I shall similarly speak in due order, 0 BrahminR,
about the Costumes and Make-up; for the product.ion [of a play J
depends on this!.
2. The ExtraneolH; Representation (aharyabhinllya) deals
with the rules of the CORtumes and Make-up (nppathya)2. Anyone
who wiRhes for the su('ce8S (lit. swell-being) of a dramatie
production should pay attention to these
l
.
3. The dm1natis personae are of different typei'll. Inclicated
6r8t
2
by their Costumes and Make-up they accomplish the rl'pl'r-
sentntion without much effort by mennR of Gestures and the likr.
FOIII' kinds of tlw Costumes amI Makr-up
4. The and Make-up (nepltthya) llre of foul'
kinds; model work (pllBfa)!, decoration (aia7!!ka1'o), painting
the limbs (an.ga-racana) and living creaturrs (sanji'l'Il).
The four kinds of model-work
5. [Of these] the model-work is of three kinds and of
various forms. They are: the .Joined Object the Indi-
cating Object (vyii)imll) and the Wrapped Object
6. The model work which iH made np of mat, clot.h, skin and
the like, is called the .roined Object (.ml1dhimtt)1.
1 (C.1; KXXI.l). 1 K. l'eabR Ib differ!'ntiy.
2 (C.2; K.XXI.3). 1 C. reads after this an
3 (C.4; K.XXI.2). 1 Niinll1lastka-niiniiOhft.tci yii niini,-
!Jkuta8rayus ca (Ag. p. 429).
2 Read pur'IJam (Pft1'7Ja, C.) (slieikalt, C. sadkdiilt)
"(C.5; K.XX1.4). I K. mukla for pusta.
K. natyanga-racana for lalhaitga-racana.
5 (C.6; K.XXI.5). I C. for 'lJesll'malt, K.
6 (C.7; K.XXI.6). I nir'IJ(#ak (Ag.
p.429).
.XXIII.12] THE COSTUMES AND MAKE-UP 411
7. That which is made by means of 11 mechanical device
(I/antra) is called an Indicating Object (vyajima,)l and that which iR
produced by wrapping, is called a Wrapped Object
8. HillR, carriages, lofty palaces, shields, arm ours, banner-
Htafl's and elephantsl which are constructed for use in It dl'amatia
performance are called model-work::; (ZJl!sia).
Decorations
U. Decorations (Itlll'f!l-kal'tI) are known to consi::;t of flower
gadands, ornament..'l and dl"apel'y which are differently used on
different parts of the lhuJl1an] body.
GarIalldH
10. Uadunds are of Jive : encircling spread
up (vitnta), grouped (sa'f!l"qlia!Ia) a , tiedround (gmnthima), and
hungdown (pmlam/Jitn).
Foul' kimlH of ornament
11. Ornamenti:; of the body are known by the wise to bo of
the four kinds: that to be fixed by piercing the limbR (avetlhya)I,
that to be tied up (/J(I,lbIlhnnI!flt), that to be worn and
that to be put round (arop!JIt)2.
Piercing ornaml'uts
12. [Of thes!.', the ornall1entR] to be fixed by piercing tho
limh8 are ear-l'ingf; (ku'w$aZo) and other ear ornamenti:l
1

Tied'lIil ornamelltH
And those to be tied-up (ultndhn,nt!/a) are the girdles (s/'on"b-
"iit'm) and the Ailgada (arm-band).
7 (C.8; K.XX17). I sftirasyakarlfakadrftPa/!
tena nt'r'TJ'/:#o (Ag. p. 430).
2 Read :7b as it'e'ffl II If II Ag. (p. 430)
as follows: upar jatu-sikstiidinii, nirvr,tto 'fJelf/imal!.
8 (C.9; M.XXI.8). I Emend nagal! into niigalJ.
9 (C.IO; K.XXI.9).
10 (C.ll; K.XXI.IO). I C.
K. tepitallJ for sfl1'I}gkfrtya. Ag. with C.
11 (C.lla; K.XXI. ll). I C. u.'Oetlya.
K. o,ropyaka, C. o,l'opaka.
12 CC.l8; K.XXI.l2), 1 The reading of 12b sesmR to Rlilrhtly
corropt.
412 THE NATYASASTRA [ XXIII. IS,
Worn ornaments
13. The ornaments to be worn are the anklets
(nupltj'a) as well as the wearing apparels.
Put-round ornamenm
And those [ornaments} to be put round (aroJlya) are the
golden neck-chain (hema8utl'a) and necklaces (ha'l'n) of different
kinds.
Ornamenm according to hllbitation and tribal origin
14. I shall now speak of the varieties of ornaments of
men and women according to their habitation and tribal origin.
for males :
Head ornamenm
15. The erestjewel ("u4anw,1}i)1 and the crown
are called ornaments of the head.
Ear ornaments
And the ear-ring (lilt1!4f1 la) 8, Mocaka (em'-pendant)4 and
ear-top (kila) are ornamentR of the ears.
Neck ol'Jlaments
16. The pearl-necklace (mnktamli) the ami the
[gold] thread (8utJ'a)2 are ornaments of the neck.
13 (C.l4; KXX1.l3). 14 (C.15; K,XXI.l4).
15 (C.16; KXXJ.l5). 1 To worn on the top of the head.
Cftrjijlmal.!Z7f siromadhye (Ag. 11.430).
3 To be worn above the forehead. Jlukulo lalii,(ordh1Jc (Ag. I.e.).
8 To worn in the lower lobe of the ear. KUIJr/alam adhara-
pl#ii,m (Ag. I.e.) .
'To be worn in the holf! in the middle of the par.
madhyaccht'dre uttara-karnikelt' prasiddham (Ag. I.e.).
16 (C.l7; K.XX116). I snake-shaped ornament, samud
gaitNarpadi rupatayii, prasiddham. (Ag. I.e.).
I Sulram-golden ncck-chain,sutrakam tligucclza-griva-SVJradilaya
prasiddkam (Ag. /.c.).
3 (va/ika, K). Ag. (I.e.) reads the term differently. He
SIlYS 'Detikefi
. . 4 Ahgu/t"-1f!udra-:Jn later times the two of thiR compound
word. (aiiguliya and mudra) gave rise to two different Rynonyms for
the (ring) by it,
-XXIII. 19] TilE COSTUMES AND MAKE-UP 113
]i'inger ornaments
And the Kataka [VatikaJ4 and thp lingel'-ring (ait!Jnli!/a.
lIw(i1'ii) are ornaments of the finger.
Ornament of the forearm
17. The Hastavi
t
and the are the ornaments of the
fore-arm
Wrist ornament;;
And the bracelet (l'ucika)8 and the Uccitika
4
are
of the wrist.
Ornaments above the elbow
18. The Keyura {armlet)1 and the Ailgada (arm-band)2 are
ornaments to be worn above the elbow.
Breast ornaments
And the three-stringed necklace (trilia1'a)3 is the ornament
of the breast.
19. The sUApended pearl necklace, the tl.ower-garland and
the like, are ornaments for the [entire] body.
Waist ornaments
And the 'l'arala 1 and the golden thread (Hutl'a)2 are
Ul'll<lments of the waist.
17 (C.18). 1 'fhis iR to be V(,l'y rarely mrntioned in Skt.
liwrature.
I This word is the same as Bengali Mia (bangl e).
3 'fhis seems to be a variant of the word rucaka. See llotH 4 below.
This word 8cems to be never met with elsewhere. Ag.'s frag-
mentary gloss on this word or rucaka is as follows: cakra itt' !tara-
g-olake 7Jt'tatiiYIJ. tata urdh1Je c/tRek Prast"ddhau (1) agralJahu-
sthane eta! (p. 430).
18 (C.19, K.XXI.17). I To be worn above the elbow Keyftre
karpara (kUr;ara)-syordh1Jatal" (Ag.l.e.), but ke yautt' itt'
keyuralIJ, on Amara II. 6,107.
To be worn above the keyftra. Tayor (=keyurayor) urdk1Jt
tv ahg-ada11l (Ai. t.c.).
3 T1'isarr:r-t,isaro muklaiatatrayeY}a (Ag. I.e.).
19 (C.20j K.XXI.18). 1 To be worn be10w the nav('l j taLra]laka/,!i
naMer alai] (Ag. I.c.)
I To be worn below the tarattlle(&. sftJrakam (Ag. I.e.).
114
THB NATYASASTRA [XXIlI.20
20. These arc the ornaments for males in case of the
and the I now Rpeak about the ornamcnts for
female::;.
Ornaments for females
Head ornaments
21-22. The Hikhapasu\ the Sikhajala
2
, the
(KhaI,lQapfitra), the Crest Jewel (cn4arna""i)', the l\fakarika
5
, the
pearl-net (mnldiiJ-jala)ti the
1
and the hair-net
arc ornaments of the head.
2223. The Tilaka 011 the forehead Bhould be produced by
many artistic toncheB, and group of desigti :J bove the
should imitate flowers.
Ear ornaments
23-25. The ornaments of the ear are the Kundala, the
Rikhipatra
1
(KhaQgapatra), the braid lof hairs], the and the
Mocaka
l
the Karl].ika', the Kal'l)avalaya
G
, the Patrakarl,likao, the
Karl,lamudl'a
7
that entwillcR the ear, the Karl].otkilaka (ear-top),
20 (0.21; K.XXI.19).
2122 (0.22-23u; K,XXI.20-2la). I 'fhis iR samt' a..; cfu.lapiiSa
mentioned in II. 2.
2 Ag. (p. 431) l'1'.ads it as .t'khiivyuta and <':<pluins this n(igagran-
!hiMir u/lfmzoaddho madhyekarl;I1'ki'j-sthiiniyam, and adds to p,xplain jJi'/r/i-
palra (=pi(lflapatra) M tasyaiva dalasandhan(1taya cilra-vacanani c.'I)
varlulimi Piitrani 8 Sell note 2 above.
The same as mentioned in 15 above.
6 Ag. reads this makarapatram.
S This is the same word which occurs in Megha, I. 64.
7 No head ornllment with this name seems to OMlIr anywhere elsc.
22-23 (0.24; K,XXII.21b-22a).
23-25 (C.23b, 25-26; K,XXII. 21a, 22b-24).
1 Ag. (l.c.) reads sikhapatra and explains this as s1'khflpatra mayura-
Picchukaro
2 guccha. K. for !carda. C. I Rocaka, O. lind K.
This was never met with before.
6 This is perhaps the sames as mod. Bengali kiinMla<.kijnjallJ<
kal'!"avalaa< karfJ4valaya.
This was never met with before.
; This ornament is still in me a'mong women of baekward classes.
-XXIII. 27 ] THE CORTUMES AND MAKE-PP 411.
the Vfll'iOUS kimlR of the with jewels an(l the
Kal'\lapiil'a
0

The Tilaka and the Patl'alekha 10 :11'0 Ol'l1ament,; of the
elwekRll.
Neck
26. The pearl-necklace, the snake-gl'OlIp (1'!laZtI-IJlli,kl i) 1, the
Mailjari
2
, the jewel-string
3
the jewcJ-n('('klaee
4
and the
5 arc of the neck.
27, The necklacc with two, tlll'cc or rOllt, wpll
:I \:gol<1J nhain iH the ol'llanwnt of til(' Ill'('k 1,
, w!'!'P possibly made with iI'ory.
" Tho W('ll-known rar ornament,
I" The ,ame as patrabhai;.ga (drawing IlrRign;; with
,!'cllt!'d pigments),
11 C. reads after this fonr additional :md Aomewhat corrnpt conplet"
(C.27b-3Ia) which may be trntatively tl'llnRlateu u" follows: And
the is to be known as the ornament of the breast. The two
oyes are to be tOIH,hed with collyrinm, and the lips fire also to be painted,
The fonr front teeth (of the upper and the lower rows) are to have
varying colours aR well as whitness. When covered with artificial
colours their beauty is enhanceu. Pearl-like teeth of beautiful young
women embellish their smile, find dyed with the colour of petalA
they will be lovely, and when dyed with emerald colour the !ips will
:.ttain the beauty of tender leflves. And their look will
l10nstitute their charm;;
26 (C,:nb-32ft; KXXI.2Ii), 1 All Ol'llflment with the snake-motif;
;;ee above 16 note 1. This WI\S nevel' met with bdorP..
2 Jffaitjari-This was nev!'!' met with b(forr,
"Ralnamiilt'kii-This to he dist.ingnished from ralnavali (see
note 4 below) which is a bigger necklace; for thr word miilt'kii menus a
small miilil.
, Ratnavali-Sell note 3 above,
Sfdra (lit, thread) evidently means a thin thread-like necklace
made of gold; cf. kanakasfdra in Paiicatantra I.
"27 (C.32b-33a). I K. omits this passage, The terms like dvisara
(wrongly dvirasa), IrisartJ (wrongly In'rasa) and cali't-sara (wrongly
calftrasa) mean respectively with two, three and four strinitA:
"
416
THE NATYASASTRA [XXIII. 28
Breast orMments
28. The necklaees with the most artistic work
1
are to be
ornaments of the hreastR.
The jewelled net if; thl' ornament, of thr hrOfIRts (01' thl'
hark)2.
Arm ornaments
The arm-band (ai/gar/a)l and the bangles (NdaYII)2 are
ornaments of upper (lit. the root of the) arms.
The V flrjuJ'a 8 amI the Svecchitika'l are ornaments of the
fore arm.
Finger ornaments
:30. Tlw Kataka 1, the Kalasakha
2
, the Hastapatra the Supu-
rnka and the ring (lllw/ran!/uliya/.'a)5 are ornaments of fingers.
Hip ornamrnts
:n. The K1lllCi
1
with a net of pearls. the Knlaka. l\{ekhalii.,
thr and the Kaliipa nre ornamrnts of the hip
32. TIHl KaiJci is 1':\ gil'<lh':1 of onr string, tho l\fpkhalli
of eight, the Rnsnnii. of Rixteen and the Knliipa 1 of
five strings.
28 (C. S3h-34a; K.XXI.26). 1 tliina-rattlak('1a (in K.) meaning made
up of many jewels'.
(in K.) meaning 'ornament8 of the hack'.
29 (C.34h-35a; K.XXI.28h, 28aJ. 1 K's reading is corrupt. See
above 18 note 2.
It is now-a-days called ananta in Bengal. Kiilidiisa's
(Megha, I. 2) had a kind of valaya in his (fore-arm).
3 This seems to connected with the lJaju Etill in nse among women
of rural areas in Bengal.
Svecck#z:.tu-This was not JlPard of bnfore.
30 (C.35b-36a; K.XXI.27b, 27a). 1 K. of 30a as sailkka-kalaPi.
ka!akaftl tatka syat patraj'firakam. Kafaka is met with in the sense
of an ornament of the wrists. 2 'fhi8 was met with before.
;, This was never met with beforo. '1 is howevrr an ornament
kasla-mlra (A pte). ' 'fhis was not met with before.
31 (C.36bc; K.XXI.29). 1 K. reads 31a differently. All the orna-
ments except kuJaka have been defined in 32 below. Kulaka seems to
be a girdle the special kind.
32 (C.:'7; K.XXI.30). 1 Kalapa seems' to have been used by
in the sense of a necklace (Kymiira I. '42).
-XXIII. 40 1 TilE COSTUMER AND MAFlKE-UP
417
!:I3. The pearl neeklace of the and the queens arc
of thirtytwo, sixt.yfoUl 01' one hundred and eight
Ornaments of thr ankles
fl4. The Nfipnl'fl, the KiIikh,li, the .Tewrl-Ilet (m.t1ll!jala)1
and the ringing are the ornaments on the ankles.
31i. The Pada.patrn is the ornament of the shanks (ia";bgha)
and the toe-rings that of the tOCR, and the Tilaka on the big too
are ornaments of the feet.
:)6. Similarly [an additional tleroration of the feet] will be
the lacdye applied on them in vl1l'iolls pntternR to impart to them
the natlll'n 1 ('olom of Asokn
37. These are the decorations of women frolll the
hail' to nails [of the feetJl. Considrring the States and the
Sentiments these are to bn applied [in diffpl'ellt parts of the body].
:18. Thesr ornamelltR (lit. works) having their origin in
ViHvakarman 2 al'r to applied also :lftrl' a eonsideration of
the hwlition (nf/mll" \, menRurenwnts (of thr wearer] anel her
physical form.
3!). [Tn drmllatic production] one is not entitled to decorate
the limbs fl'epJy and at one's will, with gold, pearls and jewels.
40. Utilised on account of wealth
1
, the jewelled orna-
ments put on in proper places will lend beauty to the limbs
2

33 (0.38, K,XXI31).
34 (C.39, K,XXI.32). 1 K. reads gka1Jlika IMam eva ca.
, Hollow bangles within which small stone bits arc lodged.
35 (0.40; K,XXI.33). 1 O. reads for
This was never met with before. Ag. (p. 431) reads tilaka tH

36 (0.41). 1 This passage is wanting in K.
37 (0.42; K,XXI34b, .34a). 1 Ag. (I.e,) anakkad-alaklaka-maa-
jJaryantam.
58 (0.43; K,XXI.35). .1 Ag. (I.e.) explains agama as upadanaka-
ral.la11l. ' An authority of arts and crafts (ai/pa).
39 (0.44; K.XXI.37i>-38a). .1 K. reads tarllt' saktyanusare'tJ
a
.
40 (0.45). .1 Rmd i,,'6/Iavato.. K. omits this passagE'.
53
418 THE NATYASASTBA [XXIII. 41
41. But in the production of plays there should not be a
IlRP of too mnny ; fol' thpRe by Rtifff'ning 1l10vpments will
('nURP fatigue lto artorR nJl(l
42. 'Veighrd down with hravy orn:unentR onr r:1Onot
move much, and one so wPighed down, is likely to be exausted and
to hr faintaing.
43. Hence [in a dramntic production] there Bhonhl he not
used Ol'namentR made of pure gold, but thoRO made of lac and
inlaid slightly with will not bring cxaustion [to the wearerH
in a play].
-t4. The rules of decoration arc optional
l
in eaRe of the
celestial beings (golls and goddesses) ; but the decoration of human
brings are to be made
45. The cc1l'lstial females nrc to he distinguished for thl'iL'
own roles hy means of ornaments and Costumes Hnited to the
Yfll'ious States.
,Hi. Women of the Yidyadh:uHs, the the
and the Apsllrasas, and the daughters of sages and gods are to Ill'
distinguished by their Costumes.
47. The same rule applies also to wOlllon of the
the GandharvaR, the the Asufas, the godly
and human
48. The Vidyadhara women Rhould be made to haye hairs
(sikha) tied in top knot decorated with string of lLlany pearls amI
elotheR [completely] white
l

H). Tlfe women Hnd the Apsarasas should haw
41 (0.46). I A very srnsible warning.
42 (0.44).. See abOI'C 41 note.
43 (0.48).
44 (0.49). I gods arc
45 (0.50). Read 45a as
46 (0.51, K.XXI.42),'
47 (0.52). l Roa(l i d. 57 below.
2 K. omits this passage.
48 (0.53, K. reads citra for 8udd/ta, C.
K.XXI.43).
.XXIII.56J THE COSTUMES AND MAKE-UP
ornaments of jewels, and the same will the dresses of [all] these,
except that the Y women are to wear the simple Sikha 1.
ii{J. The Naga women are to weal' like the goddesses I the
ornaments abounding in pearls and jewels, hut they arc olso havc
hood8
2
lin addition to these].
i) 1. The daughters of SagCH arc to wcar a singlc Vel)i of
the hail' on their head, and they should not be made to have too
much decoration.
8iddha WOlllPn
52. The Siddha WOmen Hhould have ornament" abound-
ing in pearl8 and emeralds, and their dresse:l should he of yellow
colour.
Galldhal'va women
53. Ol'll<1ments of the Gandharva women should he made
to abound in rubies. And they arc to carry it Vil)a in the ham\:'
and to have clothel-l of saffron colour.
W OJllCII
5J. The women al'() to have 8aflires as their
ornaments, and their teeth arc to he made white amI the
of black colonr.
Goddesses
;)0. The celestial women are to have lo,pis lnznli and the
pearls as their ornaments, awl their drcsses are to be made green
like [the colour of] the parrot's tail.
Monkey fmnajps
56. The women of the [godly] monkey,; are to have topaz
l
and [sometimes] In)Jis 7azuli as their ornamcnts, and their dresses
are to be made of blue colour.
1 Read S(J1IIas Iviisiim.for satnaslaniim (K). and yas tviisiim (C.)
50 (C.55, K.XXI.38b). 1 K. 50:1. 2 Head NlSijm (K).
5l (C.56, K.XXl.39 and 45). .1 Read Il!slim vcso (K). '
52 (C.57). 1 l!'or the Siddha women see Megha I. 14.
r,:1 (0.58).
54 (0.59).
55 (C.61).
Rr:l!l kur.vid before padtiue-lIIfl1.uo.
f,r. (C.60).
1 Pu 1parl6l'a = N IA. pokk-rii;:
THE NATYASASTRA [XXIII. 57
57. This should be the dL'psH of celestial women in their
love-making. But in other conditions their dresses arc to be
made white.
Human females acoording to their eountries
58. Human females are to have dresses and Ol'naments
according to their places of origin. Listen properly about them.
Women of Avanti and of Gaugll
59. The young women of A vanti arc to have curling hairs,
and the women of Gauga are to have hairs mostly curled and they
are to have the Sikhapasa anti the VCl}i.
Abhira women
60. The Abhira women are to have two Vel}is on their head
which should be covered with a [piece of] deep blue cloth.
Women of the North :East
61. The women of the North East are to hold up their
Sikhal}gas, and in dreHsing themselves they cover the body up
to their hair.
Womrn of' the Sonth
62. 'rhe women of the South arc to have Pllekhya with
Kumbhlpadaka, and Avarta on the fOl'ehl'lld
();J. Thull, ornanwntb, ,lIld IwiL'-eutliug Hhould
be regulated fOi' the remaining <l('eording to their habita-
tion and birth.
Ornaments tu be worn in the right plaer
64. An omament not put on in it" propel' place will create
57 (C.62; It.XXI.40a, 46). I Read dt"vya1JganaO ca.
58 (C.63; K.XXI.47, 40a).
59 (0.64; K.XXI.48). I Probably the distriet of and neigh-
bouring regions i.n modern Bengal.
60 (C.65; K.XXI.49). 61 (C.66; K.XXI.50).
62 (C.67; K.XXI.5l). 1 UIlekhya is probably eonnected with
Bengali ulki (tatto ).
Possibly !I speeial kind of tattoo a Some kind 01 circular mark.
63 (C.6Sb-6Ila; K.XXI.52). I K. omits 62a C. adds one hemistich
(C. 68a) 62, whieh in trans. is follows: CourtczlIlIs are to have
the decoration [of the body J aecording to their choice .
. 64 (C.6Vb-70a; K.XXL53).
XXIII. 72 J THE COSTUMES AND MAKEUP :121
no beauty; for by wearing a M<:kllftlii (girdle) on the breaRt
one will Cl'eate laughter.
Dresses to suit the condition of females
Oii. 8imilarly, the condition of females whose lover has gone
abroad and who arc afflicted with misery are to not to have a clean
dress, and they are to wear their hair as a single VeI}i of the head.
66. The dresses of women who are separated from their
lovers, should be white and they are not to wear many ornaments
not to cleanse their body
1
.
67. Such should be [the dresHcs] of women according to their
habitation and the condition [of exiHtencc 1- Now I shall speak
about the proper dresses of men.
Painting the
68. But in their (i.e. men's) case the producers of plays
Hhould first of all paint the IimbH, and then Costumes according
to their habitation should be provided.
Tho fonr original colours
(iU. The four original (lit. natural) colours are black, blue,
yellow and red; the limbs should be painted with these.
The colours
70. Them are besides these, the primary and the secondary
derivative colourH. I Hhall speak about. tIl(' ill whieh the
producer:> are to Illake them.
The primary derivativo
7 L Tho yellowish white ('''aryl/{,) colour i;;; marie lip of the
white and the yellow
l
, and the pegion (kalJOta) eolol1l', of the whit<>
and the blue
2

72. The lotu8 (pat/rna) colour j:; made up of the white and
the red, and the green (hal' it) colour, of the yellow and the hille.
65 (C.70b-71a, K.XXI.54).
66 (0.71b-72a, K.XXI.55). ' na 7Japt' hi (=md(j) yuta, (K).
67 (0.72b.73a, K.XXI.56). I VeSii desasamudOha7J(j (K).
flS (C.73, K.XXI.57). I C. omits 6Sb.
69 (K.XXI.5S). I C. omits this passag"':
70 (K.XXI.59). I C. omits this passage.
71 (0.748, K.XXI.60a, 6la). 1 O. nila fo!' pita. 2 C. omits. 7lb.
12 (0.7 ... 75a. K.XXI.80b-elb)
422 THE NATYASASTRA [ XXI. 78.
'13. The dark red cololU' iH made up of the blue and
t.ho rod, and the palored (!fIlUI'Il) OOIOlll', of the red and tho yellow.
74. Thoso are the primary derivative cololll'A. Bosides those
thore aro [many] Llerirative colours which luay be made
up of thrC'c or foul' [original] eolollls.
The Rccondary derivative colours
75. Of thCRO, tho strong colour Rhould form one part and
the weak colour two parts ; but the blue coloul' should bc taken :lH
dirocted below.
76 'fhe blue should form only one part while the other
col oms will form three parts, for th(; bluc is known to be the
strongest of colour.;.
n. Knowing those rules of colours which are to he pro
parcd by mixing tholll variouslyl) one should paint the body 01
different characters.
78. The paintcd hody together with tho ('hange of the
Costume is to .. be considcrcd as due to the conVl'ntion
rlha"/,tna) affecting thc '/I'alludis "UfSUIIIW
l

79-80. Just as [the ofJ a IlliLll Oil cntpl'ing tl\(' hody
of another being, renonnce, his own natl1l'e connected with iI
different body and another ehamcterl, so :1 POl'SOll hayin;.:
(lit. covered with) I'a (\iffel'cnt] coloill' and COHtUlllU atlopts till'
behaviour cOlllw('ted with tlw dotill's II\! will weal'.
Living beings
HI. AH they have breath, the gods, the Danavlls, til('
Gandharvas, fhe the and the Pannagas (N,i.gm')
, are called living heingR (1'I'iif]>i-n)l.
73 (C.75b-76a, K.XXI.62).
74 (C.76b77a, K.XXI.63).
75 (C.77b78a, K.XXI.64). 76 (C.78b79a, K.XXI.65).
77 CC.79b80a, 1 nanaSal!IYO/fa(C) for manasa1lJyoga(K).
78 (C.BOb-ala, K.XXI.67). 1 C. reads atter this an additional
couplet.
thia.
79-80 (C.82b-aaa, K.XXI.65). 1 Road paralikavalil Ol' par"Mhav(lrr"
al (C.84b-a5a, K,XX!.70). 1 C. reads an couplet after
-XXIII, 89 ) THE COSTUMES AND MAKE-UP 423
Lifel('HS objects
82, HillR, pnlarrR, nwrlumical (!I'I,lItfl'),
:ll'11101ll'R, a1l1l tlln \'arion..; WP,llllll1" :Irp known as
ObjcetR (lIjll'ii1yill)1.
LiErlrso.: ohjects in hUlllan form
Ri>,. Bnt whenpvPl' nf'rIJRR:1I'y (lit. <lne to 11 I'PaKon) they may
n"SlIlI10 :t lllllllnn form with ,.-\nit:lhl('l dl'e"s :Ind "perch :H'I'orlling to
thp dl'mnatie cOIwention i'll/a).
thr. limbs
RJ. A ftpJ' kaJ'ning tho I'ull' of lI1aking rololll', orw should
paint tho limhs ror the ,I/(II/I.o/is /11'/'.'IIIII1'-J ill kprping with 'thl'i!'
lwhitation, birth :m<1
1'01' gorls
R.-,. nOll,., as well':lR the Yaksa" :tllil tho AP':ll':l"ao.; ,hould
hI: painted IHldish yellow IUII/I /'II), anfl Rnllm, A rk,l. (thp Run)
])l'I1hirp (Brahll1an) anf] Skallll:l are t.o 11:1\'e tIl(' ('olour of go],!.
1"0. (tho 1\1oon), BrlwRpati. Ruki-a, VarUlpl. :lIld nw
stal'S, thr orran, tho Himalaya, and Gailga (thr GangcH) are to ho
mnde white in colol1l.
87. Ailgaraka [Mailgah = Mars] should be painted ml :Iud
Bndha and HutMnna (Agni) yellow and Nflrayail:l and Nara :1>'1
welJ as Vii.sl1ki should be dark blne
Colour for drllli-godR
88. The the Danavas, the the Gnhyakas,
tlw gods of hills, and the are dark blue in colonr.
RO. The the Gamlharras, the Bhiitas, the Panllagas
(NagaR), the VidyadlwraH, the Pitj'R and the Illollkeyo are of
various colol1l'i1.
82 (C.86b87u; K.Xxr.71). 1 Rrad
83 (C.87h-88a; K.XXI.72). 84 (O.ARb-8Da, K,XXI.73).
85 (O.89b-901l; K.XXT.7ol). 1 Rlj.\t! mdriirkad11lkil.la (T(.) for
rudralJ. sadruktiJal! (C .).
86 (O.90b-9b; K.XXI.75).
88 (C.92b-93a; K.XXI.77).
89 (O.93b.64a; K.XXI.78).
87 ((,.91b92D, K.XXI.76).
1 Presiding deity of 11i1Js (Ag.).
90 (O.94h-95a, K-XXI.7!).
424
TnI'] NATYAflABTRA l XXIII. 90
Colours for human being, in different
BU. Human IJPings who dwell on the Seven Cuntinenb
("'(1/Jia-'/lli/)(I) are to lip painted in the roloul' of hurnished gold.
!11. But, alllong tlw inlillhitants of .Tamhudripa where IllPl\
Ilf various eoloul'R !ivt', one ('xrept those who dwell in till'
North Kurn rrginn Rhnnld he giv('u the eololll' of gold.
92. Prople of
1
should have the white ('ololll' of
tllPil' body, and so shoulll thest' of Ketumala. But those of othC'1'
Continents sholll(1 he marie reddish yellow (rlalll'a) in {'oloul'.
ColOIiI'" fol' RhntaR and dwarfR
!J3. Bhlitas nnd the dwarf" arr known to hf' of various
poss!'" Ivld f:I('PR nn(1 lllay l\:lvr fap!,s of
Imtfalops and derl' as weill.
Colour" of dilferr,"t peop!c'" of
!JJ, List('11 no\\" about thp dificrent of (liP peoplt'
of King,.; there ,houhl hr of loIn, ('(llonr, OJ' r1i1rk
hlnr' or I'Clldi,,1t yellow lill ('olllpbionl
(}:i-9(i. And the happy morIa I, thl'ro al'e 10 he made of the
yellow (:J11.If m) ('(lloul'. Tho;;c who pl'nclice vile act" fir!'
of evil spirils, disraHcd 01' engaged in penan('e lind do not
perform sacrifice, (Ylljiut) and all' of inferior birth, should bc made
browll (a-.,illl, Iii. l!Ot fair). And the ;;ages should alwaYH hI' given
the coloul' of plum (el/dill'll). And such should be the colour of
sages observing penan('e (tal'(/S).
97. But ont ot any Il!'cessity and not according to one's
pleasure, colour, of pPI''I,ns I\lay Ill' vHl'ieri nc('ol'(ling to the habita-
tion, bil'th anrl
fl/'i. An pxpprt in ldl':lIwl(i('i produf'tion ,IJOuld paint persons
a.fter knowing theil', plat'e lof :I('tionj nnd time of action, birth and
the I'<'gion of the earth tlll'Y dwell in.
HI (C.95b-96a; K.XXI.80).
92 (C. n6b 97 a ;K.xXI.81). 1 Read
93 (C.97b-98a ;K.XXI.82). 1 K. reads this differently.
94 (C.98b-99a; K.XXI.83). 1 padmaz'arl]alJ for pailcavarfJak.
95-96 <C.99b; K.XXI.84-86a). 1 C. omits 95b-96,
'97 (C.100; K.XXI.86-87a). 98 (C.lOl; KXXI.87b-88a).
.XXIII. 100 1
THE COSTUMES AND MAKEUP
425
Colol1rs of difl'crrllt tribt'R
00. Kiriitas I, Barbarians
2
(1m /'im /'II), Andhras 3, Dl'tlmilas,4
Kii"io", Kosalas
G
, Plllindas 7 arl(l the inhahitants of the South
arc 1Il0Rtly known to be brown ('lsi/a lit. not
white),
lon, 8akas.l, YaYatJ:ls
2
, Pahravas (PallmvaR)3 and Viihlikafl
who elwell in the Korth he Illade almost
yellow ra).
lJ9 (C, I 02, K,XXI.88b89a), I mrlltionrd ill and tho
following pl'ohably "how th'lt th .. groups alloted a special cololll'
:11'\' lIP/Jroximatc1y of the Rallle complexion and not actllaJly of the colol1l'
mputianed, Thrs(' ,;prlll to give n vall1able information abOl1t
,OIllC "thllolo,dcal fratul'rg of allrirnt In<lia. Pre-Aryan people including
f h" Dr:widiaus (AIHlhl':I' aud I>ramil:l5) wrl'e not fail' in complexion.
'I'll(' separate u1l'utiou of t.ho Bouthernrrs aft,'r Audhl'as nnd Dramilas
(Dl'!wi.,las) taken "lol1g with somc Northrl'll tl'ibeH like the lind
R<'PIll to Khow that t!tp Il<'l'c the tradition of their
""c" living in tho North. Kirat:\-a hill tribe probably livin:t in the
lIimalayan rrgion ; ';0,(\ Mbh. XlI. 207,4:3.
, Barbara-Sollle none-Aryan tribe mentioned very rarely in Skt.
literature (1\lbh. XII. 207. 43). This may be a synonym of Mlcccha
well.
o Andllra-This tribe is well-known in history and literature.
Dramila-Known in PIIli liS Damila (modern Tamil).
5 KiiHi-Thc tribe after which the ancient kingdom of and
the city of that name was known.
\' KosaJ:\-Thc tribc giving nallle to the ancient kingdom of Kosala.
1 Pulinda-An aboriginal people li\'ing probably in the Vindhya
rpp:ion. Sec l\IaIlinatha on Raghu, XVI. 32; also Pal)ha 1.1. and 1.1.
, They mlly be members of Kolllnd other tribes living in the South.
100 (0.103; K.XXI.19b90a). I of nomadic tribps
from Central Asia who descended on the Indian plains in about 200
RC. ; mentioned in Manu 10, 44.
2 Yavllna-Probably the salllc as Yona in Asoka's edicts. They
seem to have been Peroo-Greeks and their descendants.
3 Pahrava (Pnhlav'.l)-UsnaJly taken to mean Pnrthians who annexed
the Western Pnnjab in about 140 A. C.
V,ihlika (B.ihlika)- of the region known as Balkh.
Read 'If .. "i fiIrn't q['<"t K. 11 f'!{Pi C.). Thq
tribes mcntioned hcre came to from their home in the North West,
54
426 THE NATYASASTRA
[ XXIII. 101
101. PaiicalusI, U(,1hras
s
, Magadhas4, AUga,;\
Vmigas
Q
and Kalingas
7
Bhould be m:l(lp dark or deep blue (syal/ll/)
in complexion,
Colouro 01' diif<'ren cU8tCS
Brahmins nnd should b(] always made 1\'11
(or re<i[lish yellow)l amI and rlal'k 01' deep blu(.
(.;!llill!(I,) in complexion
2

RII1<'R fol' the bl'nrd
103. Afll'I' painting the face and other limbs one should
provi(h! beards to after con8idering tlwir hahitation, activit)'
and age.
104. The IW;)nl al'cording to thC' (,\tange or States of PCI';tn>
shonl(l he of fOlll' shawn ((;lIlldha)I, hlnt'k 811lartly
donr. (rio'ira r awl hn;;hy (r(l III aSil , lit. hail'y)4,
101 (U,104; K.XXI, 90b-91n). 1 iR well-known ill MLh,
Hlirasrnll-Thc trib!' which oner ,dtke! arollnt! MathuJ'a. lt
gavo its name to the prillcipllll'kt. of thl' Indian urama
3 lll}hm (lJI}ra)-Tiw oE a trib!' ai't-'i' which the moderll
Orissa lias b('rn Ham,'1!. 81'0 Manu. 10; 4,1.
i l\Iiigadha-The tribl' aftel' whidl tltp al1l"jl'tlL cOl1ntry of Magadlta
was named,
5 Align-The tribe uftrl' which the ancient countl')' of Aliga w:"
named.
6 Vallga-Thc tribo aEtN' witic,h the uncil'l1t Valiga (South Ea,t
Bl'ngaJ) was uamed,
102 (0.105; K.X.XI91b-92:1). 1 Red (raktll, 0) or ydlow
eolonr (gllllrll, K) aSRigned to nralullins and probably show that
ut Olle timr, whcll the variou" thl':llrical cOllY<'ntiollS c),stalisrd, these t,,"O
of the society still retained t\wir original Indo-Iranian physic:ti
fcnturrs ono oE which WaH cl'rtainiy thr colour of their The dark
colour of the VlIisya, and ,imilal'iy shows in" all lik,lihood t!wt
these w{'rc not Aryans or Aryans or the pure t,)'lw. ' Sec note 1 ahovr,
103 (0,106; K.XXl.D2b-g3a),
104 (0,107; K.X.XI,9ab-1l-1a). 1 C.)-clp'lIn-shavcn,
sarvad(! vtisilalll, always treated with razor (Ag.).
2 ,';yiima-ordinarily black in colour; hut sre above.
3 Vicitra-cllt or donc in speciRI fashion. Ag. (\>.433) on this point
8U)'R: '!i1\<lIT 'if TIll'
reading,though corrupt scems to give the meaning suggested.
iii yatkotpann.atn (Ag. I.e.), 'bushy
.XXIII.1ll ]
THE COSTUMES AND MAKE UP
427
105. The beards of religious mendicants (iii/yin)! ministers,
priests and persons who are indifferent to sensual pleasure
2
01'
have consecrated themselves for any ritualS should bo made
[clean] shu ven.
106-lOi. The beards of celestial males sueh as the Sidllhas1
and the Vidyiidharas
2
, princes, officers of the king and
pet'sons who are foppish and proud of theil' vouth:l, shoulll be
made smartly done (vicitra.) by the produccre of
108. The beard of persons who coulll not fult1l thpir PI'O-
mis('s, are sorry and misemblo on that account 01' have been ,tl'lll'k
with any calamity, should be made black
1\19. The beard of :w:ctics and pl'lMn,; oh,;ervillg
;1 long-standing vow, ami of those who are hent on rovenge
l
Hhould
he made bushy (J'Oi/lWIl).
Hull''; for dill'rent Costllmrs
110. Thus the heard \m made of different killlk I
,hallllOW sprak of costUIIIC . ., mitcd to different occasions l.
111. Drapcry Huitcil to <iiffcrl'nt waYH of painting limhRt
may be of Illany kindR; but generally it is of throe varieties:
white, red and variegated (7:ic-itm.)2.
means as tlwy arc naturally g;rown'. The last three do not
SPCIll to be mutually rxclusivc.
105 CU.108; K,94.b,96a). I it 'If
S'lqr iI fll'li IlllrM1[T (Ag. p,433-434).
2 tfcr ifllll!fi!TllllilTiffl{ (Ag;. p.434).
3 It is even now the custom among 80m') HinduH is that they shave
themselves clean before themselves for some special kind of
daz'va and paz/ra rites.
106-107 (8.109'110; K.96b98a). T A class of demigods. Sec Kumiira.
1,5. i A class of demigods. Sec Bhart\'hllri's Vair. :jato
3 Ag. says (p. 434).
108 (C.lll; K.XXI 95).
109 (C.112; K.XXJ. 98b99a). I C. read:; 109b as fll"llf>1ll1mT'IIt
illflf'U which seems to be wrong. See above 106 where Siddhas
and Vidyadharas have been taken a8 clean shaven.
no (C.1I3; K.99blOOa). I C. repeats here 10.
III (C.115). T Sec above S5if. -. K. omits this.
428
THE NATYASASTRA
[ XXIII. 112.
112. Costumes are of three kinds : white, variegated and
soiled (rnalina). I shall now explain their difference according
to their use by producers.
113-114. In going to the temple of gods, observing SOllle
auspicious rite 01' a vow 01' at the conjunction of some
and stars or at the time of marriage
l
or any other SaCl'il'
mental rite, men and women should have white costumes and the
same is the rule for a tmder (pTiipa.'l!ilca)8 .
115. Costumes of gods, the Danavas, the thl'
Gandharvas, the Nagas, the king8, and people of
foppish nature
l
should he variegated (citm = 1,icifra).
116-117. Costullles of Kailcukins (armollr-bearer),
leaders of arllly, priests, the the VidyfLdharas,
adepts in SfLstms, Brahmins. Vaisyas and kin)!/
officers (Nthuni!ln)i should be made white in a dramatic pl'oduf'lioJl.
118. Costullles of lunatics, intoxicate(l persons, wayfal'Pl'i
and persons struck with calamity should be made soiled (mal illa).l
11 Costumes am) decorations of the sagl's, the .Jain
(Nirgmntha) anu the Buddhist (Stikya) monb, the Tridal].!Jis
1
and
Brahmins wellversed in the VedaK (sl"otri!la) be lllud('
nccording to their rcspeetive sectarian l'ulcK.
120. Costumes of the wandering ascdics (l'aricrui), gl'cai
sages and other ascetics should be lIladl', whenever necessary, with
dark red cloth 1.
-_ ..... __ ._ .. _-_. __ ._---_ .. _--- .. _---------------
112 (0.116; K-XXI. 100blOla).
113.114 (C.117118; K,XXI. lOlbl02a). 1 K. omits. 113. A".
(p.434) explain suddha
j Prl'pal.lIfla (C. prapatnt"kll. K. prayatO, prayatO) H0C l\1iigh.IV. 11.
115 (0.119; KlU2bl03a). I Emmd karkasao into k?l1Imka'.
116117 (C.120121; K103bJ05a). I The)' wern p08sibly illfrrior ill
rank to pradcsikas of Asoka. See n.M. Bal"llll, of Pt. 11.
Calcutta, 1943, p.242. 118 (0.122; K,XXI 1 05bl 06:1). I K. relu],
after this three more hemistichs (106bl07)
119 (0.123: K,XXl.lOS). I A sannyilSl'n who carrirs thlw staves
tied together and has control over his mind, speech nnd body. Sec Manu
12,.10. (Ref. Allte). For K.
(members of the sect.). 120 (C.121). I K. this.
-XXIII. 1281
TBE COSTUMES AND MAKE-UP
429
121-122. To the PMupatas should be givon a Yl'ricgated
dress, and costumes of persons of high family should be lIIade
according to their position. Besides this the ascetirs arc
to have the bark of trees and thc [animal] skin as their clothing.
122123. To persons engaged in guarding' the harem
be given armour and rlothl's of dnrk l'l'll culollI'.
The same should be the dresses of females when tlIPY attaiu spl'\ial
conditions.
124. CostumcB of the warriors sholllll 1)(' HlitalJle for
fighting a battle, !lnd they aro to be providld with IJIilliant
wcapons, armours, and bow,.;
12ii. Kings always be 1II:l<lc to han' ;1 1I1:11Iy-
culoured (IreAS; but wlll'n dlw to olllinous ajljll':\I';IlH'l' or allY "tal
they arc pngaged ill any jll'Opitiatol'Y I'ift th('il'
l'OstUlIll'S should be white.
1 :!U. 'rIms sll(mld il(: lIIade tlI(' of pl'l'wns (lit.
types men and wOlllen) of tIl<: 'UIJl'rio]', tk lIliddlillg :lI1d thl'
inferior according to thl'ir agl', birth and otlwl' ('ont!itioIlK
(lit. qualitie:<).
1:!7. These arc the I'lIles of ('o"tlllll(,'; ill a jlmt!III'-
tion according as attain dilll'fent condition,.;, :1I1f[ \lmdi('c
good 01' bad
u"" of
l:2R. SilLilal'ly dillel'l'nt lIIasb an' 10 liv 1101'"
for gods and mon according to their habitatioll, hirth and "gl:,
------------ ---- -----
121-122 (C.125, 127a; K.XXJ 1101>,1(9).
122-123 (C.126, 1271>; K,XXI. 109h-lJ(la, lila),
124 (C.128; K,XX I. III I>-ll 2a), 1 C. haddhatrt;'/,Ia [01' !lalldltatill/II.
125 (C.129; K,XXJ.lI2b-l1:1a). 1 1l'lljj":' AI.(, (P. 4H).
126 (C.l:lO; K.XXl.ll:lb-114a).
127 (C.lal; K.XXI.l14b-1l5a).
128 (C,132; K.XXI,1l5b-1l6a). I l'kt. Pllt!tsisaa=Skt.
(Karp J.). It is lIot laid down anywhrre wl1l'tlll'l' mask" aI''' io \w
lIsed in all types of play,.; and for all clml'llct!'I'>l. \,'m' a 1/11 iltis
the Iutroduction.
430 THE NATYABABTRA
[ XXIIJ.129
Three kinds of crown
12fl. [Tn the maRks] crowns for the gods and kings are
of time lends: ( = Par8vamauli), Mastaki and Kiri\l.I
130. Fol' the [in general], the Gandharvlls, the
the Pannagns and the the crowns of the Piirsvil-
mauli tYf!e h:wc been prescribed
l

131. And the Kil'W crown has been prescribed for the
sUIWl'iol' and the middling goth are to have crown of the
l\fauli (= ?) typr, while the common (lit. inferior) gods arc
to have Cl'Owns of the Piil'svamallli
l
type.
1 13:1. The kings shol1ld be given el'owns of the Mastaki
tyPt'. Whil(, the Yidy;1dharns, the Fliddhas and Ciiral)as 1 8hollld hI'
pl'ovic\l'd with e'I'own, mae]e up of of hairs
1 1:1 L The mil"ks of minist('rs, Kaiicukins (<11'1I10UI'
1)(>:11'('1'), il'iHkl'R of the mel'dlftlltx' guile], and priests Rhould he!
flll'niohC'e] with turhans t.
1:\+-1 :];l. A ntl tho IlHlsks of th(' :ll'lI1y-lradcl's
and the ('rown-prince should he combineej with a slllall crown
(111''/'',I-llIlIklll;,l, lit. half-crown).
1 ilil 1 :l(i. A H for the I'('st [of pcrsonR] the head [in the
1 shollld be Ir('al<'e] in dramatic production in relation to their
habitation, birth and age.
13li-137. The \I('ae\'; of bOYR "hould be adorned with the
Sikh:n:vJa
1
ami that of the sages have a crown of matted
hait
129 (C.13!la; K.XXI.1l6b-1l7a). I C. omitq 129b.
1:10 (KXXI.ll ib-lISa). 1 C. omits 130.
1:31 (C.13:-1b; K,XXl.l18b-1l9a). I C.lJirYl11lault
132-133 (C.IH, 1:151\, 188; K,XXl.ll!lb120). 1 K. viinariil,1iim.
Ciiml}:Ls lire demigods who siug the praise of superior gods. C. rcads
lifter this live more
133-134 (C.l3Sh-13ga; KK,XXI.l23). 1 Rcad
pal/alii (C. baddha-pal/iidi. K,
1:1-1-185 (C.139b-140; K,XXI,122).
1.35-136 (C.141; lCXXI.l27).
136-137 (U.142i K,XXI.l25) .. 1 Read airal! IJlRhatll!a-olltt'!#a1ll
.XXIII.145 J
THE COSTUMES AND MAKEUP
431
137-138. The masks of the the 1),ln<1\"a" and the
should be furnishe(l with brown hairs and twally beards.
1:18-139. The masks of the PiR:i.eas, the
spiritual aspirants, ascetics antI those who have not yet fulfilled
their vows should have long hair".
RnieR of di{f"I'('ut
1:l(!-141. The head [in the I of tIll' IllHldhi,ts monks
(S((i.'!la), experts in Vedie studies ("l'otriy"), the .Jain monks (Nir-
grantlm), wanderillg and those who hayp them-
"elYes for a ceremony he shaYl'n ell'all. A III I to
tlil'ir [respeetiye] sectarian doctrine (1'1"1111) thl' 1'l'llIaining ascl,ties
,houltl have their tWal1,; or shonld hal'p cnrling hair., or long
hairs hanging down.
:\fan'it'd wom0n, Oflil'l'rS of til(' king :1I111 nll'n of
foppish natmc should have on thpir hairs.
The ml'nial" shonld have three on tlwir
h\':ld or will haye the head clean "hal'01. And the .Ipsll'r shoul!l
have a bald head or head with the Kilkapada (lit. t:I'OW's foot) 1.
14:J-1 t J.. TIlliS after ('arcfully distinguishing these [persons 1
in different waY8. their conditions and nature Hhollid be rcpre,cnted
hy mcans of ol'llamcntH, difterl'nt ('O.,tnllll'S and
fllr giving rise to [pl"OpCI'] :)cnliments at the tillle of produt'tioll
[of a play].
U", After men and women Im'o becn t reatl'd liko this (lit.
made to attain theRo treatments), their limhs will hal'e to be painted
to Rllit their different roles.
(K. sims C. na gz"kha'.l,!aO). looks
of hair left on the sid('S of the hmd. 'l'hl'se arc three or flvI' ill case of the
(vide Aph, SoZ'.)
137-138 (0.143; K.XXI.12lJ. I R,'ml (C.
rl1inaz'a-daityallam, K. devadli1lavaO).
138139 (0.144; K.XXI.124).
139-1,101 (C.145-146). 14J.l42 (C.147).
142.143 (C.148; K.XXI.l26). 1 For kiikapada Hen AJlte s.v.
143-144 (0.149, 150a). 145 (C.mbI51a).
432
TaB NATYASASTRA
[XXIII. 146.
The Saiijiva
Hti. Now I shall speak of the characteristics of what
known as Salljiva( = living ohject). The entrance of [in
the !'Itage] is called 8aiijiva 1.
147-118. The animals may be fomfooted, twofoote(l aOil
with no foot (ilJllllln). Of Ihese, serpents al"e without foot, aud
men a1"l: two-footpil, :tll!l !lifferl'nt animals in the fOt'est or hUl11an
l'ettll'UHmts arc known to he fourfootl'(l.
(TFn of wm\lOnR
I-IR-I-H). In lighl, :lllgl'Y ("onttict (m,/?lplli'H or siege in :I
play tlH'y (p<'opit') :It"(! to hI! flll'tli"hl'd with difi't'l"rnt
liD1.-,II, W l'iI[lonH and :ll'IIIOIII'S he pro[lol"tionalt'
to Ihp ,1:11111"(' of 11H'11. T ,11:IllllOIV d('S('lihr 111('111 togplhrl' witll
til(' 1'1I1('s 1'01' Ih('il" llH',NlI'l'lIll'nt.
1 :",11-1 II l. 'I'llI' llhily,li ,,11011111 !lH'a,l1fl' twdvc '1':lla" th!'
KunIa (j,lvplill) (('11 allll tllU the (spih')' till'
'['omara :111,1 tlw ('igiJI
1
,
IGl-lii:l. '1'lw how I'h(Juld UW:I,lIl"e l'ight Tal:ls and il"
width RhOliid be two cnhit:.;. '\rl'o\\,,:, m:le\' and til(' Vnjm :;;hould
Ill' fOlll' 'r:LIa" long.
!:j:l-lr,8. Tile sword tdlOUld fOl'ty Ailgllli" and tIl!'
dise (I'(/ha) tweirc and the Prii"a the lattel"'" half.
146 (C.151b-152a; K.XX!.128). I This Rr<!IlIS to show clearly
that living: :llliIlJ:lIR brought on Mw "tagr. This was
howcYl'1' 1I0t the the grnrral rule. Spc XU!. 106-107.
1-17.148 (C.152b-153; K.XXI.129-1HOa).
H8-149 (Ul54; K.130b-J31a). I Ale mCO\ns the different types of
chnract<'rs mcntionpd before.
2 011 this point Ag. (\1.434) says: .f" I
"tTl '<l iflifr,ij I!<i 'ifli,rtii
149-150 (C.155; K.XXLI3Ib-132a).
150-151 (U.156; IC.XXI,132h-133a). T For the rueasnremcnt of
T:II:I sec 21 note.
151-15S K.XXI.l33b-134a).
(C.158; K ... \:XI.134h-135a).
-xx fIr. 161] THE AND MAKE-UP
433
153-154. The will measure like tho and the
rod (da1!4ft.) should measure twenty Ailgulis while the Kampana
(I\::lI,l'lpa) will be of the same measure.
15 H5il. The shield (cllnna) should be sixtccn Ailgulis in
width lInlf two cubits in Irngth, aUlI it should havc (hairR ?)
:llld bells attachcll to it. The (rider',; shil'ld) should hI'
thirty ailgnlis in width [:mll two cubits in ll'lIgth]l.
FRr, of other objpr.ts
15G-157. The J:ujara \ the 2, mask,;, 11m-
l'l'dla,;, ehowris, hannel'-stafls, awl waterjars (I!hr-h!/iil'll)
3
and
rH'I'Y othel' thi ng that men make of, arc to be
in the produetioll of a play.
1 :,S. The ('ha ractf'riHties of all ha I'f' h0l'n mrnt iOlll'd
by tho:-ip to whw'e Hl'h('l'r thpy hplong. Kow T Hhall "'pP:lk of the
cil:II':lI'trri"ti(''; of thp ,Tal'jam :l1Il1 the 1.
Bannpl'-stntf
1:-;\1. Trees plante(1 under the flstcriHm, on the
white soil have heell made eligible for Indm's banner-staff by
Yigvakarlll:m
1

The Jllrjara
lUO. Some of these trees Hhould be [fashioned into] the
.Jarjara by a carpcntcr. Tho branch of a tree may also be
lfaRhioned into] the Jal'jara
1

1GL But the bamboo will be most [for this
kind of work] and its length should be one hundl'cd and ('iglit
Ailgulis (4! cubit).
15:1-154 (0.159; I\:.XXI.l35h-13tia).
154-155 (0.160; K.XXI.l36b). 1 K. omit- 154b.
156-157 (C.161b-163:l; 1 See Ill. 73tr.
, See I. 58-61 note 2. 3 Sec N8. I. 58-61.
158 (C,163b-164a; K.XXI.139b). r Emend into dal}(/a-

159 (C.164b-165a; K.XXI.142). I IfIIIIII!j1ll1{
t ... (Ag. p.434)._
160 (C.l65b166a; K-XXL140b-141a). 1 See above 157-157 note
161 (C.166b-167a; K.XXI,141b,143a).
55
434
THE NATYASASTRA
[ XXIII. 102.
162. It should have five sections and fonr joints. But its
joints shonld not be very prominent (lit. thick), and it should not
have any branch and should not be worm eaten.
168-164. One should select (lit. take) as the Jarjara a piece
of bamhoo which is not worm-entcn 01' inferior to any other piece,
after smearing it with honey nnd ghec and worshipping it
rrgularly with and inc('nHc.
t641(jG. The crl'f'monies nUll theil' 01'(lrr
1
whieh have bl'rn
prescribed for [the consecration ofJ J bannerstaff should be
observed abo in case of the holy bamboo for converting it into
the Jarjara.
165-160. It lIlay have long and short sections (pIlJ'l'I/).
And if after <'arh of thrse sections a ring [appeal's] it is called til'
holy bamboo
1

lt6lG7. 'rhis is the rule in rOllnf'xinn with the charactf'l'is.
tics of the .Jal'jam. T shall 1I('1'('aftrl' o\lpak of that of till'

The
Ui7-1Gi'l. The be made of tlw
Bilva 01' the Kapittha tree 01' the ham boo, It should he
and have three honts and [good]
1GS-WO, That \"hich is neither worllleatcu nor diseased
and haB Klllall (lit. poor) branches, iH called the
169-170, He who will get frr8ilioned the 'Jatjara and the
devoid of the characteristicR, will certainly
Rllstain a great loss.
162 (C.167b168a; K.XXI.143b-144a).
]63-]64 (C.lti8b169; K.XXI.144b-145).
164-165 (C.171l; K.XXI.l46). 1 Sec III.73.75ff.
165-166 (C.171; K.XXI.147). I 1'1l(' reuuing of K. is COrrlll)t.
166-167 (0.172; K.XX1.148).
167-168 (0.173; K.XXI.l49). 1 1. 58-61 2.
2 Vakram. K.
(0.174; K.XXI.l50). I Mmzdasiik!tam, K, manria8Mam, O.
l69-170 (C,17.5; K.XXI.151).
.XXIII.IVa)
THE COSTUMES AND MAKEUP
430
The making of masks
170-171 Similarly one should preplll'C the Pati of the
which will have their special meaSUl'Cments or will mensure
thirtytwo Angulis 1.
171-173. The should be mndl
l
by the Bilvn.
paste on cloth. l\Iasks shoulll be made with ashes 01' husks
of paddy being mixed up with the or some waoory
fOI'm of it, after covering these with cloth smeared with the thick
Bilva-paste
1

173-1 H. The Pati made out of cloth smeared with the
Bilva-pasoo should neither be madc too thick nor too thin and
neither should it be made too soft.
174-175. After getting it (the Pati) dried up hy fil'C or the
sun one should pierce holes in it Recording to the I'lIlr, by meRns of
a sharp instrument, and t1wse hob should be made after dividing
it into two [equal] halves.
176. In the Pati sO prepared. an opening six Angulis long
amI an Anguli wide shoulll be made in the form of the fore-
head, and it should have [twoJ angles [at the two end].
177. Then [a pair of] openings two Angulis long and one
and a half a AngulP wide be made for the allli afoot
[this has boon done for] the checks [another opening] thrL'C
Angulis more [in length] are be made for the ears.
178. The opening for the ear being three Angulis 1 long
the same should be the length for the opening of the mouth,
------------ - -- -----------------
170-171 (0.176; K.XX1.l59). I We follow U. Ag. scorns to read
for aud he it as
If IlI/lf;; I '{II liT fir!ffill: 'H "IJ'lljIO fl('Qsiili
1l1I1II\II: (p. 435).
171-173 (C.177-178); K:XXI.153-1S'). I This passage IlIlcms to be
corrupt. The trans. is
173-l74 (0.179; K.XXI.l55).
174-175 (C.180-181a; K.xXI.156-1S7a).
176 (C.l81b-1821l; K.XXI.157b158a).
177 (C.182b-18311; K.XXI.158b-159a). I adhyardham.
178 (C.183b-184a; K.XXI.l50b:1601i). I Ir,aillulam,iO. ai/ru/awl, K.
486
THE NATYABASTBA [ XXIII. 179.
and the symmetrical neck should be made twche
Angulis long.
179-180. So much about the rules for the cutting openiugB
in the for the mask. Various forms of crowns set with
different kinds of jewels are to be set on them.
Other accessories
180-181. AmI at the production of a play (lit. hero) one
should use differently in relation to many kin(l,
of accessories (lpakara1!a) demanded by the art of theatre,
181-182. Now, all the manufactures or cmfts that an!
executed in this world including moving and illllllohile olljed"
are to be known as the accessories in [a porformance].
182183. [And to ohtain themJ one is to go to pcr:ion,
on whose special knolV ledge (lit. in whom) thpy depend, For
[obtaining) such accessories in it d1'lllllatic production Ulell havI'
no other means.
183-184. The measurement and deHtriptioll of an ohjt>..!
depend on a person who is [professionally] to make it 01' to devi,;\'
it through his art,
184-185. Large objects whieh require much iron arc not
favoured by on the stage; for their heavineH'; creates fatigue
[in actor8].
185-ISli. Imitation of any objm't which l'xi"ts in tili"
world full of living beings, in diffcrent vllrieticH may be included in
the accessories [to be used] in the performance of a drama,
186-187. But palaces, homes and vchicles though these are
[for the pel'fOt:mance] cannot be pl'oduced fol' the ,tage
realistically (lit. due manner).
2 Tala!; for ca vavalult, O. lalas ca viiyaii, K.
179-180 (0.184b-185; K,XXI.l60b161).
180l9l (0.186; K.XXI.I62).
182-183 (0,18B; K.XXI.164),
184-185 (0.190; K,XXI.l66\
186187 (C.192; K.XX1.l68).
181-182 l C,187; KXXI.I63).
183-184 (C,189; K,XXI.Hi5).
185186 (C.191i K.XXU67l.
187-188 (U,198; K,XXI.169).
. XXIII. 196 )
THE COSTUMES AND MAKEUP
The realistic and obieets
l8i -188. Some accessories [however] will be realistic
(lol,aJhal'lni), while others will be conventional ('Il04yad/ta/'ll!i). Any
thing following jts natural form is called realistic while any
deviation from the same will be known as conventional.
188-189. Accessories for use on the stage should not be
llIade with stone as wcll as iron and other metals, for these due
to their heaviness will cmate fatigue [in actors].
189-190. Light Ehould be made with lal', woud,
leather, cloth, leaves [of and sliced bamboo, for tlll'ir as
accessories in a dramatic production.
100 H12. Skeletoll fr,lmrs of LaBlll'r-"tafl's,
hilb, palaces, caves, horses, c1ephantH, :UHf
"honle! first he made with of HlicOll b:lluLou awl tlH'lI by
l'orerillg Hllch fr<lnws with painted c1otb, likclle:;:--!',; of ouch
are to be produced.
102-1 Wl. Bnl if it i, Bot found po:;,;iblc to ['loth Huitably
for pUI'pOSC then pallll-pl'OliLlCts
1
awl llIatH (k,z11Ij"y lIlay
i1h,o he instead
10B-191. Similarly wl':Ipons :II'U tu Ill' made with gnlss and
piet:l's of slil'etl bamboo, and with lilt: and Bltll,l(.!a (Blliil,lIJa)
1
other objeets shoulll he l'''prescnted.
194-105. Imitation legs, Iw:uls :llId hI' lHade
wit Ii lIlat and Bhcl,l(.!:1 (Bhiir;H,Ia).
195-Hlll. Variolls artil'les slionld [thllSJ ilu ,Hade with (':II,th
in imitation of their proper fOl'IllS.
196-l!l7. Various hills ane! shield,;, :trmOIlI'H,
188-189 (C.lU4; K.XXI.l70). lSV-lOO (C 195, K.XXI.l71).
190-192 (K.xXI.172ln .
192.193 (C.l96, K.XXI.174), 1 Triliyair t'lt' lii/apalmilt (Ag,
p.435). R?ad kiliitjair for kilajair.
193-194(C.197; K-XXI.175). 1 Eltel.lIla K, Mil/pIa c. IIIQJ (ilQJ)
(Ag. p. 435).
194-195 (C.l98; K-XXJ.176). 195196 (U.199; K.XX1.177).
196-197 (C.200, KK.XX1.l78a).
488
TBE NATYASASTBA
( X XIII. 197.
are to be made with cloth, bees-wax, lac and
sheets of mica.
197-108. And fruits and flowers growing in varioUl
region and the various vC8Rcls should be made with lac.
Making of ornaments
lOtl200. Ornaments be made with Blter.Hia
(Bhal,lfJa), doth, bees-wax thin copper sheets and mica sheet, of
blue as well uther colours, and their basis should be polished
coppor (sheets).
200-20 I. The different of crowns of which I spokl'
before, be made dal:zlicg with pieces of mica [8et on thmn I.
tiO that they may shin!) like jewds.
20!:l02. Tn casus of [all] these objects instructions giVl'Il
in the SlishitR [for thtii Illaking] have not been mentioncd. HI'l'e
one must act aecordillg to the dil'cetions of the :Kearya and he
guided by relevant reasoning.
202-20:3. This is tho rule of adion regarding the futlln'
Illortals, (that should he arloptl:d in (lramatic pl'Odnction). Becan.,e
want of sufficient strength will occur in men [of the fuLlU't)
gcneration ].
ZO:J-:2l)t Mortals of poor strength sitonlll not make an1
lnndnc] exertion, and hence it iH not desirable that their
crowns 01' Hhould be made with gold and jewels.
204-205. For in battle, personal combat, dance and casting
glances fL persons blll'dened with heavy weight will feel fatigue
and may even faint.
:105-20u. When the actol' overcome with pain or fatiguc
or is fainting his' pedol'm:tncc is spoilt. One may even endan-
gel' his life by making movements with difficulty under such
conditions.
197-19B (C.201; Cf.
1\)8-200 (0.202203; K.XXI.179-180). 200-201 (C.204; K.XXI.l81).
201-202 (C.204; K.XXI.18Z). 202-203 (0.296; K.XXI183).
203-204 (C.277; K.XX1.l84). 20"-205 (C.208; K.XXI.185a).
205206 (0.209; K.XXI.l85-186).
XXIII. 211]
THE COSTUMES AND MAKEUP
206-207. Hence ornaments arc to ba made with thin sheetK
of copper, colourcU shoots of mica, Bhcl)<,la (llhaJ}.Qa) and boos-wax
l

20i-201::l Thus by following the popular practice 01'
one's own discretion one iR to makn properly theah'ieal

U Be of weapons on the Rtage
20H-20!l. No missile SllOlIld hr re\msPI\ on thp stage :tnl\
no wrapon should piere(1or strike 3n),onl'. gimply
t()\wh a Kpot, and the weapons :tm to he only to make a
gr"tmc [of an attack]I.
20!)-2Jn. One should 1'l'leaso miHHib on the Htagc with
"kill 01' with skill ant! [so that they do IIOt hnrtV
21(J-211. Any [relevant] instl'Uetion whieh J llIay have
omitterl regarding the presl'nt top ie, is to he gathrrcd from the
jlopular (lit. people). This is all :i1lOut the Extl':lllPOllS
that 1 was to t{'11 you. 1 shall hpJ'palt!'J' sppak
of the Basie Representation on the stagl' (salllall!la!lii11hillaf/II).
Here ends ehapter XXIII of Bharata's
wiJieh treats of the Extraneolls Hepl'esentation.
206-201 ((;.2101121111; K.XXl.I86b-!87a). 1 We follow K,
201-208 (C.211b-212a; K,XXI.l87b-188a).
208.110tl (C.1l2b-21311; KXXIL189b-189al. 1 Wi' follow K.
209-210 (C.213b-214a; K.XXI.189b-HlOa). 1 C. rrads additional
hemistich after this.
210-211 (C.214e-215; K,XXJl90b-191).
CHAPTER TWENTYFOUR.
'rHE BASIC REPRESENTATION
Importance of Temperament
1. The Basie Representation ("UtllullyiJhi'll(lya)i is known
to depend on the Words, Gestures and Temperament (.Ifltl 111 j.
[Among thesl!J one should take special (,fIl'll abont Temperamrnt,'
for the dralliatic prodnetion has this as its basis.
2. The Histl'ionic Rrprcsrntation with an cxulJPrant Telli'
perament (slIttl'iih:r/"fa) is 8uppl'iOJ', the one with the Ipvel Tempol'.l
lI1l'nt (.<((111 aSIl I tva) i" middling, amI that with no [rxrrri,r 111'1
TpllIpernmrnt is infcrior.
Th" d"finition of Tempcramcnt
:1. Telllppl':ulIcnt (.<((1/ /'(/)1 is something invisihlr, but it gil't,
support (lit. ,heltc!') to the State's and the S!'utillH'uts hy Ill!'arh "I'
honipilation, tcars and similar other sigm llisplayell in propf'l'
places aU11 in harUlony with the Sentiments [to hr prodllCCflj.
It'''lUininn graces in the drama
15. The dramatic I!Xp('rt;; know the young Grace
lit. ornament) to be tho support of Smltilllents ill
:1. dt'ama
1
, ami ('oHsiRt of ehanges in re'poet of their faees and'
otlll'l' Of t1tl'HO, firstly the change of limb" is of
1 (C 1; K,XXII.l). 1 Ag. Hcems to have no very convincing
explanation as to why siimanyiiMinaya so Hc discllsses it
from points of view (pp. 4364:10). }t'rolll tho rontcxts of this
Chapter as W(,U as the def. given here and in 72 below, it appears that
the exprcssion 1\ of tIl<' four kinds of aMinaya (NS.
VI. 23) lind as such it should be distiuguishr>d from the citriJJJllinaya
(NS.XXVI.) which applios only to the pictorial representation of
particulllr obiccts and idcas. See NS.VI. 22 note.
2 (C.2; K.XXII.2).
3 (C.3; K,XXII.3). 1 See NS. VJ.22 notc.
'.\5 (C. 45; K.XXII.4-5). 1 K. reads 4a liS
l!illW ; Cf. DR. II. 30a; BhP. p.6. ).20 ; ND. p. 203.
Sec DR. II. SOb i ND. V. 203. .
-XXIV. 11)
THE BASIC REPRESENTATION
441
three kinds, next the natural (salwfa}3 change of t(,11 and
involuntary (a-yatnaja)' change, of seven
Physical GI';IoCes of women
(;. Feeling (hhiira), Emotion (hlil'll) and (/tpla)
:Irising from one another heing difi'errnt of TCm)ll'I'allll'lIt.
(,'allvll) [are Graces] connected with tliP, physical nat u 1'(' I,
The origin of these Graces
7. Temperament partake's of the nature of till' hody, :111<1
fpcling (Mtara) ariscs from Temperament, while Emotion (hiil'lI)
h'<l1lJ Feeling, and Passion (/tela) fr01ll Elllotionl,
l<\'cling
8. Sec VIr. 2. Cf. [Feeling (hhiil"') is the first tOlHh of
pmotion in a nature that was previously lInaffi'ded. DR. II. :mj.l
Emotioll
9. Temperament with excessivc Feeling (Miii I'a) [manifests
it;l'lfl in rolation to persons of the oppositl' s('x. Awl Emotion
(hal"') ,hould be marked ns relating to its various conditions.
l
10. In the same conncxion (lit. thrre) Emotion (hara)
should be known as arising from the mind (citta) alltl manifosting
itself in changes of eyes and and the Recaka of the neck,
indicative of the Erotic Sentiment.
l
Passion
11. Everyone's Emotion whirh depends on the Erotic Senti-
ment and expresses itself as gracefuimoremcnts (Za.Zital)hinl!!/II) is
called (hela) by the wise.
l
------------------------- --- - --- --------
3 See DR. II. 32-3:3:1; ND. p. 203. See DR II. 31; ND. p. 203.
6 (C.6; K.XXII.6). 1 Cf. DR. n. 30b.
7 (C.7; K.XXIIS). 1 Cf. DR 11. 33b-34b.
8 (C.S; K.XXll.8), 1 Uf. DR n. 33b; ND. p204. Bhl', p.S. 1..1-10.
9 (C.9; K.XXII.9). I See below 10, note 1. K. reads 9a as
11'1' ... fIIfbli' ..
10 (C 10; K.XXU. 10). 1 According to ND. (p.204) the hkuva
relates to 1\ slight manifestation of erotic feelin/iR through words lind
gestures, while the !lava to II very elear expression of one's elllotion through
various gestures.
11 (C.ll; KXXIJ.ll). Cf. DR. II. 34bj BhP. p.8, 1.13-14.
66
4.42
THE NATYASASTRA
[ XXIV. 12.
Natural Graces of women
12-1 R. Thr ten natural GrarPR (lIlll'f(tka1'
1I
) of WOll1pn nrC':
Sportive> ]\[imirl'Y (Iiln), Amorous Grstlll'r (1ila
8
11),
(fi,('hit.ti), (,il,}/.iI/1//a), Hystrl'iral Mooa (/,i/"ldibf'illl),
or Affeetioll Pretended Angel'
Affected Coldness (hibllUlm), Lolling (lalita) ana Want of
(1'ihrta)l.
Spol'ti Mimicr),
14. Imitating thp. hehn\'iour of a loyer by of
l'clev('nt \Voras, gestures and make-np ('lllI'l!!ioara, lit. ornamrllt)
which are delightful nnd inspircd by affcrtion, is callea Sportiw
Mimicry (li,la)!. _ i
Amorous
1;,. Relevant changes of the sperial kind relating to th,'
standing and sitting postures as well as to gait and the moyemrnt,
of IUlnl\s, (lye-hrowH and eyrs, [whirh occur at the Hight of tlJl'
helov(lcl] aL'e rall(ld Amorons Gostm'eR
Dishabille
lO. The great hpanty that rrslllts frol11 thr slightly rareJr"
placing of dothrR, ornaments an<l nnguputR, iR call1',l
Dishabill!' (I'icchitli}l.
Confusion
17. Inversion of V:tl'iOliH itelllR such as words, gesturr",
dresses, and make-up and Temperament dne to intoxicatiolJ,
passion and joy, is called Confusion (l'ibh!'al1l11)I.
to ND. (pp.204-205) tlm'e of womcn'R depend
on one anotill'l'. For ('xumplc till' kava dependH on the fJMva and
the kcla 011 the k(lva.
12-13 (C.12-13; K.xXII.l2-13). I DR. II. 37b; BhP. p. 9. 1. 5.
ND. p. 205.
14 (C,14; K.XXIl.l4). \ Cf. DR. II. 37bj nhP. p. 9. I. 5j ND.
p.205.
15 (C.!5j K.XXlI. 15). I Of. DR. n. 38a, BhP. p. 9, I. 6-7,
p.205
16 (C.l6j K.XXII.16). \ The word Pkt. ill form and eomef.
probabably from vikfipti. Cf. DR. II. 3Sbj BhP. p. p. 9. I. 8-9j ND. p. 205.
17 (C.l7j K.XXII. 17). Cf. DR. II. 39aj BhP. p. 9. 1. 10-11.
ND.p.205.
.XXIV. 23 )
THE BASIC REPRESENTATION
0143
Hysterical Mood
18. Combination of isolated of smiling, weeping,
laughter, fear, sickness, fainting, SOl'row and fatigue on account of
lcxcessive] joy, is called Hystel'icall\Iood (kilakir,,.it,t)1.
Manifestation of Alfretioll
l(). Manifestation of Affection (mo!!'!!lita) thl'Ough
Mimicry (Iii a), Amorous Gesture and the likt"
"hen at the mention of the beloved, one ueing in
thought of himl.
Preteudld Auger
20. Pretended Angel' (kl/!i't/nita) <lrisL's on accollnt of the joy
:lIId perplexity in [lover's] touching the hail', the hreast, the lip and
Ihl' like, and it is feigning dbtross when actually there is delight].
Aifeetro Co IdnesR
21. The indifference which women [to (Iwir lovers] on
:1l'l'Ullnt of vanity and pride, after they have realised their cherished
dc"il'c (i. n. l'onqllering the lover's heart), is called Affected
Coldness (bibuuka) 1.
Lolling
22. GJ'al'eful movement of hands, feet, bmws, eyeR, lips
III a de" hy women known Lolling (lalita)l.
Want of Responsll
23. That due to bashflllneii", pretence and nature women do
not make any reply [to her lover] even when they have heard his
1I'0rds, is called Want of ReRponHe (oihr/lI)l.
18 (C.18j K,XXII. 18). 1 Cf. DR. II. 3l1bj BhP. p.9, 1.12. MD.
p.206.
19 (C.l9j K.XXII.l9). : r.f. DR. II. 40u, BltP. p. 9, I. 1814j
ND. p. 206.
20 (C.20; K.XXII.20). 1 Cf. DR. II. 4Ubj BhP. p.9, 1.15-16j
ND. Po 206.
21 (C.20; K.XXII.21). J Cf. DR. n. 41:1j BhP. p. 9. b.17-18j
ND. p. 286.206.
22 (C.22j K.xXTT.22). !. (1f. DR. If. 4tb; BhP. p. 9, 1.1920j
ND. p. 206.
23 (C.23; K.XXII.23). J Cf. DR. 11. 4'JII; BhP. p. 9, 1.
NO. p. 206.
444
THE NATYASASTRA.
[XXIV.
Involuntary Graces of women
24. The Involuntary [Graces] are: Beauty (Bubha), Chal'lIl
(!ianti), Delicacy (madhul'ya), Radiance (dipti), Self-control
(dh(!iJ'!Ia), Courage (pragaZbhytt) and Dignity (aHdarya)1.
Beauty
25. Decoration of limbs on account of good phyoieal
form, youth and loveliness being renderd manifest after the enjoy
ment [of love), is called Beauty (soulta) 1.
Charm
26. Beauty which is full of a lover's passion, IS calle(1
Charm (kanti)!.
Radiance
A high degree of charm, is called Radiance (dipti).
Delicacy
27. Moderation in the movement [of limbs] in all COll-
ditions, especially in Radiance (I'ildi.) and in Lolling (lalita), io
called Delicacy (madhltrya)l.

28. A natural bent of the mind which in all lllatters io
free from rashness and boasting, is ('allot! Selfcontrol (dhai'l'!/(t)l.
Courage
:W. The quality of nut becoming agitated in speaking, ()I'
1\cting anything (lit. in practice), io ealled Courage
24 (C.24; K.XXn.24). 1 Cf. DR II. 31.
25 (U.25; K.XXII.25). 1 Uf. DR. 11 :1501; Bbl'. p. 8. I. 15-16;
Nil. p. 2U7. 'l'his drf. S{'PlUS to mc:ln that a young woman's loveliness
is augmented after she has had her tirst experience of love's enjoyment
and this augmeuted Idvdiness is called goo/IIi.
26 (U.26; K.XXU.26). I Cf. DR II. 35b; BhP. p. 8, J. 16.
S Cf. DR. II. 36a; BhP. p. 8, 1.17-18; ND. p. 21)7.
27 (U.27; K.XXn.27). 1 Cf. DR. II. 36s; BhP. p. 8. I. 19; NO.
1l.207.
(C.28; K.XXI1.28). 1 Ufo DR II. 37tL; Bhi'. p. 8; I. 21; MD.
p.21)7.
29 (C.29; KXXIl.29). 1 Cf. DR. II. 36b; BhP. p.S,1. 22; I!I1>.
p.2U'/.
XXIV.35)
THE BASIC REPRESENTATION
445
Dignity
Courteous bearing in all situation, called Dignity
by the wise.
30. These arc tender in ('ollllt'xioll with pel"
[onllanee of delicate nature, out [in other they (i.I'. the
Graees) except Amorous Gesture (l'iliis/t)l and Lolling arc
brilliant (d'tptct) 3
Eight of the male '('('1II1lC'rarlll'llt
31. Brilliant Character (sIJ!J/ta), (,r<lceflll Bearing (vila"I),
(t/lwlltlo'!Ja), (stltnil'!la), Gravity (!liiln-
l,hil'!III), SportivenesR (lalitit), Nobility ('Inda!'!!".) and Spirit,
are the difterent aKpects of the male Temperament 1.
Brilliant Uharackl'
3:l. Skill [in variouK thingK], 1lt'l'oi"rn, and energy, <lVerRiOIl
to mean acts and emulation of the best virtues constitute BrilIiant
Character (Sob/ta, lit. beauty)!.
Graecfnl Beariug
33. Eyes moving straight, gait gJ';lceful like that of a
hull, and smiling wordH Graceful Bearing (l'ilaSII)I.
Sci f-possession
:J.!. [f due to a [long] practice [in this dil'cetionJ ono',
,ClItic-Drgallti retain their firmness even when gl'ellt ehanges of the
natural state have occurred, it is ('ailed Self-possesion (miidhnl'!/il,
lit.

:35. Not reliqllishing any lIndert.lking relating to duty,
2 Cf. DR. II. 3sb, BhP. p.S 1.20-22 ND. p. 207.
30 (C.30; K,XXII.30). 1 See abovr 15.
1 See above 22.
31 (U.31; K.XXII.31).
p. 197.
32 (0.82; K.XXII.32).
p. 197.
38 (C.33; K.xxn.33).
ND. p. 197.
34 (C.34; K.XXII.34).
35 (C.3S; KXXII.SS).
3 See above 26.
1 Of. DR. II. 10, BhP. p.!I, 1.24; p. 10. 1. );
1 Cf. DR. II. lla; BhP. V 10, 1.2-3; MD.
1 Cf. DR. 11. lib; Ilb;BhP. p. lU, I. 4;
1 Cf. DR. II. 12a; BhI'. p. 10,1. 5.
446
THE NATYASASTRA
[XXIV.3G
wealth and enjoyment, irrespective of good ot' bad Ic:.;nlt,.
is called u Tenacity (sth((il'ya)l.
Gravity
:)6. Gravity (ualldJ!I/I'!lrl) is Homething due to an inlliltll"l'
of whieh [outwardl changes in caHt's of angcl', joy and tem' do
not occurl.
flportivenes8
il7. Erotic UIOVClIwuts allli I'of features] which ;1I'e
not deliberate anti whieh grow out of a tcntler nature, consliluh'
i:iportiveneHs (lalita,) 1.
Nobility
:l8. Making gift:.;, bllstowing favolll's and Hpeaking ,weI'!
IVordH to others as well aH to one's own men, is called Nobility

Spirit
39. That one docs not tolerate even at the riHk of one'>
life any reproach or iUHult Illade by Otl1l'I'H! is called Spirit (tl'ill .. ,) 1.
Histrionie RepreHOlleotlltion through the body
10. 0 tlw of I have Hpokcn bl'forc about 1111'
Hi"trionic through Temperament (."1111'(1)1, I
shall now explain in detail the through
the body
2

1 DR-ll. laa; BhP, p. iO.16 I(iv<'s the lA'l'm as dhat'rya, ND. p. 198.
36 (C.:l6; K.XXII,36). I Cf, DR. n. 12b; BhP. p. lU, I. 7; ND.
p.198.
87 (C.a7; K-XXII.37). 1 Uf. DR. n. 14a; Bbl'. p. 10. 1.8; ND,
Jl.19B.
38 (C.3S; K.XXII.:J8). 1 Ufo DR. TI. l4b; BhP. p.lU. I. IU ; ND.
p.197.
39 (C.39; K,XXII.39). 1 Ct. DR. II. lab, BhP. p. lO; I. 10; ND.
p. l!l7.
40 K.XX1T.40). 1 Spp above 1-311.
It j, rl1!'ioll" that tilt' :Iuthol' of th, i, MM"aya
ill II different mauuel' lInu rrckon, its two broad elasses: silttt,jka and
BMira IInll gives' their ,Hlb-divisions. For " four-fold division of the
flb4itlaya SIlO MS. VL 23.
-XXIV,471
THE BASIC REPRl1JSENTATION
447
41. This is sixfold: Words (I'ak!/Il), Suet., A liklll'U,
?I iitl'ayitn and Nivrttyailkum 1.
" ' Word,
.j'!, in S:lIl.,kl'it :lI1d Pl':lkrit rompo,rd ill \'1'1',1'
fir PI""" whrn flu'y lllranings giving' v:ll'ioll.'
I 1)Il-titllte the HiRtrionie HcprC'smtation hy "'111'<1,',
SUra
m, When thr, meaning of a HI'nt-rne!' OJ' tlip .'rntrnr'(' [itsplfl
I' illdi(,Hted first. hy T('lllpeI'Hmrnt and (l1"tlll'1':'. :1111 tlirn tlip
r,'rh:d U('pl'!'s('ntntioll is nlade, it is (':111(,.\ t'lkiL T ,
Alikul'l\
I L When one skilfully rcprc"ent., I,y III the
llIanner of the Sura the wor(h< which onl' Iws in one', IW:lrt,
it is ('illkd the llepl'csentation o[ AI'lkur:l 1,

.1.-" The l'l'prrsentation that i" madl' in dlle (11'111')' hy tll(l
11\':111, the face, shanb, thighs, hands and f(,pt in tIl<' nl<lnnp), of tlip
is known as till' Heprcscntation
1

NiitY<1yita
fO. Thp intimation of Histrionic Rrpl'rspntation whi('h Is
made at the Lrginning of a drama hy [dillcl'ent] for
(,Illiwning the time, and which lasts till thp coming togrthrr of t/tn
i';I'((I/!((fis persoj/(l(' on the stage] is callefl Nii\y:1yita
1

47. The Histrionic Heprcscntation of Dhruviis rdating
to tlw StateR and the Sentiments whieh am made liy means of
41 (0.'11; K.XXII.4l). I Cf, PailcliilgliOkt'naya, Miilavi.
1.ti.2,
42 (0.42; K.XXII.4Z). 1 This to br the ilw
;/ncikflbht"naya.
43 (0.43; K,XXII.43). I ThiR kind of rr.prcsmtation Illllinly to
"Ccompany songs anu uancr .
H, (0.44; K.XXIIA4), 1 This kind of represcntation is meant to
b" co mbincd with dance.
45 (C,45; K.XXII.45). 1 'rhis kind of rcprr.Jcntation is to accom-
pany recitativcs (pa(hya).
46 (0.46; K,XXII.46). 1 This is the of in connection
with songs Rnd danen before the beginning of the u1'amatic performance,
47 (0.47; K.XXlI.47).
TOE NATYASASTRA
[ XXIV. 48.
delineating joy, Hngel', grief and the like, is also to be known
aR
NivrttYRI'lkura
4k. Whrn one reprCRl'ntH worus of anothrr prlWIIl hy
Hlj(o;L it iR railed Nivrtyailkural.
Twd vc forms of th c Verbal Repr('Sentation
49-ii1. Thcse are the [histrionic] W!tYR c:mnecteu with
proprr StatcA an(1 ScntimentH thnt. arc :\\'ailablc for the Ruhjl'C't-
mattcr of plnys. The I'cpl'(,Rcmtntion of these, is to take til!,
following twelvc forlllR: Accosting (alalia), Prattling (pralli/,II).
Lament (l'iliipa), Repeated Speaking (annZiijlll), Dialogue (<lIl!I-
liil'a), Change of Word, (lIj'alapn.), Message (santiell(1,), Agreellll'llt
(lIfi,zI'SII), Command Pretext ("!ill jllul esa), Instl'lll'lillll
(IIJiadesa) and Statement (1I)ladI'8n)1.
ACcoRting
ii:l. A('('oHling (lilli/III) iK a ,('ulmrr 11K(d III addrl'.,,,illl(
[anyol1C']l.
Prattliul!
Irrelevant (lit. 1lH':ll1ing1eR,) \\'o\'(b are railed
(1II'Illlilll/)B.
J,amcnt
Gil. WOl'UK originating in a pathetic condition arc cali!'(1
Lan1C'nt (l'ilall!l}I.
Speaking
Speaking again ana again on anything lR called Repeated
Speaking (1lIlIllapa)2.
Dialogue
54. Dialogue (sa1!dapa) is made up of utterance and
counterutterance
l

408 (C.48j K.XXII.48). 1 This kind of representation is used by
the dancer who interpretes othm"s Rpreches.
49-51 (C.49.51j K.XXII.49-5l). 1 BhP. p. 10,1. 20-23.
52 (C.52j K.XXll.52). 1 Cf. BhP. p. 10, I. 24.
C. ibid p. 1)' I. 1-
53 (C.53; K.XXn.53). 1 Cf. BhP. p. 11, I. 2.
i See ilJid p. 11. 1. 3).
54 (C.54j KoXxn.54). 1 See BhP. p. 11, 1.4.
XXIV.59J
THE BASIC REPRESENTATION
449
Change of Words
Change of words (apalapa)2 is the alteration of words
before.
Message
iir;. "Speak this to him", is [an example of]
llildlslIp.
Agreemcnt
Saying "You have Raid what was utterNI by me" iR [an
(,x:nnph'lof Agrct'mcnt ("tid"S,,)2.
COlllmand
:'li. "T alone am speaking", is [an example] of Command
1.
Prctext
To Rpeak with the pm'pORC' of (leception, IS called Pretext
(1'IfapildI'811)2.
Instruction
iii. To Ray "Do this" 01' "Take this" is [an example] of
r n,;tl'llction (l/jiwlesa)l.
Statement
is [an example of] Statement (apadesa)2.
Another rlfLssificntion of the Verhal Representation
58. These m'c the forms [of sentences] that arc to create
the Verbal Representation. I shall speak [hereafter] of the
dtart1cteristics of the seven forms which it may have.
59. [A sentence may contain a statement whichJ treats
:tn act visiblc or invisible ; it lllay l'l'late
2 Sec i6id p. 11, J, 5.
55 (0.55; K.Xxn. 54c-55a). 1 Of. BhP. p. 11, I. 6.
, Sec Ib,a p. 11, I. 7.
56 (0.56; K.XXII.55b-56h). 1 Cf. BhP. p. 11, I. 8.
2 Of. ibidp. 11, l. I L
57 (C.578; K.XXII.56a). 1 ('f. BhP. p. 11, I. 9.
The texts omit'the dpf. of apadesa. which is given by BhP.
(p. 11, I. 10) and is as follows : .fl! 'lill.
58 (0.5700; K.XXII.57). 59 (C. 58; K.XXII.58).
57
450
THE NATYASASTRA [XXIV. 60
to the present, paKt or future time; it may affect one's ownself
(atmastha) or another (paras!ha).
60. "0 this [person] is speaking and I am not speaking"
is a statement whieh treats a visible act affects
anothl'r person (Jln i'aRtlw) and relates to the present time
l
.
(iI. "T am doing, 01' going or speaking" is a statement
which affects onr's relates to the present time and treats II
visible act
li2. "J shall do, go 01' speak" is a statement which affects
one's ownself, treats an invisible act and relates to the fnturo time.
61 "A II my mwmil's have heon killed by me", is a state-
ment wiJi('h affects one's o",ni'elf as well as others, and relates
to the past time.
fit "[The have been killed hy thee", is a state
ment which treats an invisible act, affects others, and relates to
the past time.
Ii:'). [pcr,.:on] i:.: "peaking, doing or going", is a state-
ment which affeels another, relates to the present time and treats
a visible act 1.
fiB. "He is going or doing" is a Rtatement which affC'CtR
another, rrlat(lR to the time awl a visihle actl.
li7. I'They will do, go or Rpeak", is a statement whieh
affects to the future time and treats nil invisible flct
l
.
G8. "That work to he done today by me together with
yon". is a statement whidl afi'crh; one's ownself aR well as another
and relateR to the prl'sput tinwl,
Gn. Anything that is on the stnge (lit. in drama)
under the corer of the. han!I, will affect one's ownself, relate to
something at ono's heart or will rrlate to an invi8ible act.
60 (C.59). 1 K. omits t1;iA. 61 (C.60; K.XXII.59).
62 (C.61; K,XXII.60). 63 (C.62; K.XXU.61).
64 (C.63; K.XXII.62). 65 (K.XXII.63). !- C. omits this.
66 (K XXII.64ab). 1 C omits this.
67 (K.XXII.64e65a). 1 C. omi ts this.
68 (C.64). 1 K. omits this. 69 (C.65; K.XXII.66b-67a).
-XXIV. 77]
THE BASIC REPRESENTATION
451
70. The seven forms of this (i, (', Verbal Representation)
will have many more varieties when tllPy will be modified accord.
ing to time, and persons who arc affected (tit, of the self and
others) ..
71. These are the ways of the Rrpresentation,
known to producers of u drama, Diffr!'ent kinds of rcprrsenta.
are to be made through these I,
The Basie RrpI'esmtatic11l
72. The Basic (siilll(in!fuhhin!!ya) is that
which is madA simultaneously by the head, the {aet', the fect, the
thighs, the shanks, the belly and the waist 1.
73, Exprts in acting arc to [a l'hamet(!l'l by
graceful movements of hands and delil'atc of limbs [in
gl'neral], which are to delineate the aud the States.
Histriollic R('\ll''',;''ntation
'4'ii. The acting (lit. drama) whil'h is LPcl'fonllcd] by
physical efforts which are not violent, Illll'ried 01' complex am! which
rest on propel' tempo (ltl!Jll), time (flilll) and the of
Kalas, and in which 'words are distinctly uttered without harshnesH
and hurry, is called "regular" (iibh!fanta.m),
Irrcgnlar Histrionic Hcpl'l'o('utation
76. When it is of the oppoHitc kind and observes free
movements and is not in harlllony with ,;ongs and instrumental
music accompanying it, is called "irregular" (iJah!fIl').
77. It is called "regular" (ahhyrwtol'lI, lit, inner) when it
conforllls to the rule (lit. within the I or rule) and 'irregular'
(bahy(t, lit. outside) when it b outside [the prescription] of the
Sastra_
70 (C_66; K.XXU65b-66a). 71 (C.67). 1 K. omits this,
72 (C.68; K.XXII.67b-68a). 1 Cf. 1 above.
73 (C.69; X.XXII.68b69a).
74 (C.70; K.XXII.69b70a).
75 (C.71; K. XXII.70b7] a). 76 (C.72; K.XXII.71b7211).
77 (C.73; K.XXn.72b73a).
THE NATYABASTRA [XXIV. 78
defined
78. As a performance is or marked, it is called
(characteristic mark). Hence it is of use in a drama.
Practice preferred to the Sistra
76. Those who have not received training from (Iit. lived
with) any or who hove no access to the Sastras,
resort to the "il'rl'gulur" [ways], which depend on merely the
practiceR [of the stage]l.
Representatiun of the sensual perception
80. A [actor] should represent sound, touch, form,
taste and smell by the sense-organs concerned, and by Gestures
deliueating their 1.
Rouud
81. By making a sidelong hic/,) gInner, bending the head
Ri<lewuYH and putting a hand ncar the cal', OIW represent
the HOlllld
Touch
8:1. By slightly narrowing down the raising the eye-
hrowH in the like 111i1l1l1(\1' as well as hy tou(,hing the shoulder and
the eheek, the one should represent the toueh
Form
sa. By holding on the head the Pamlm hand with its fingers
slightly moving, and looking intently [at HometiJingi with eyes, the
wise one is to represent the for III (tuIJlt).
Taste and Smell
81. By slightly narrowing down the ryes and ('xpnnding the
nOHtriiH in the like manner as well as by intently gazing [at
something] the wise one ie to tho taste and the
RllJcll (uand lw).
78 (C.74i K,XXII.73b74a).
79 (C.75; K,XXII.74b-75a). 1 Read the couplet as "I'!,,,,liflilm il'lf
.;; 11 I 111'11/ it !I 1I!il",.!r shows that the
. nr.cient India's artists did not follow the Siistras slavisl.ly.
80 \0.76; K,XXlI.75b-76a). 1 See also NS. Vllltr.
81 (C.77; K,XXIl.76b-77a). 82 (C.78; K,XXn.77b-78a).
83 (C.79; KXXlI.78b-79a). 84 (C.80; K,XXII.79b-80a).
-XXIV.93] THE BASIC REPRESENTATION 453
85. These are the gestures which arise from the activities
of the fivo sense-organs such as skin, eyes, noso, tongue and ears.
Importance of the mind
86. When an object of a sense-<lrgan is contemplated in
mind it gets represented [outwardly]' A person out of his mind
cannot know the ohject of senses which come through live sources.
The three asP0CtS of thn mind
87. With rcferl'llCe to the the mind haH
three attitudes [towards objects]. !lir,. favourable unfavourable
and indifferent (lI! adh!l1l8Iha).
TIll' favourable mind
88. Everything favourable shonld be J'('prcsented by the
happy movement of limbs, horripilation and the opening of the
mouth.
89. In ratiO of a favourable SOlUHl, fl I 1'111 , touch, smell 01'
tastc, one shoulll a happy face by concentmting the
r concerned] in mimP.
'l'Iw llnfavoul'abl" milld
no. By tU1'ning the heau, not using the ('ye:; and keeping
them fixed to the nUSl', one should represent whatever is unfavour-
able.
1'hl' indili'{'rent mind
() 1. A n indifferent attitude :;hould he represented by
!lot too lI1tH'h tll'light or to much ahhorrence, and by
keeping oneself in the Illilldling state.
02. The repl'cHcnt:ttioll of words like "[It, is done] by him",
"It is his", 01' "He doc, thi,;" which relate to invisible actH is [an
example of] indifferent attitude.
The meaning of "1ll'J'solllll"
93. The object whieh a person himself [celd iH railed
(atllwsl!ta).
- -
- - --------- --
85 (C.81; K.XXII.80b-81a). 86 (C.82; K.XXlI.81b-82a).
87 (C.83; K.XXII 82b83a). 88 (C.84; K.XXII.83b-84a).
89 (C.85; K.XXII.84b-85a). 1 The exprcssion used is ndriyair
malllJSa pruptair, 'by means of senses coming together with thc mind'.
90 (C.86; 9l (C.87; K.XXII.86b-87a).
92 (C.88; K.XXIl.87b-8811). 93 (C.89; K.XXll.88b.89a).
THE NATYASASTBA [XXIV. 94
The meaning of " External"
And anything which is to be described by another is called
"external" (pamstlta).
Desire
\)4-95. all the States proceed from passion which
combined with desire will be as having many forms such
as, desire for virtue (dhanna.kama), desire for wealth (artha-kanut)
and desire for liberation
Love
9596. The union of a man and 11 woman is called love
(I,aIM). This lovc which may end in joy or sorrow for all people, is
mostly to be observed as leading to happiness even in unpappy
AituatiollH.
Erotic Affair
fi7. The union of mon and women which finds them
sexually nnited iK known as an Erotic Affair (srilYiil'fl). This
benefits the two, and brings them happiness 1.
98. In this world people always desire happiness of
whidl women are indeed the source. These women arc of variolls
nature
l

Various tYl10S of womcn
fi9-100. Women are known to possess the nature of gods,
Asul'aR, Gandharvas, birds,
tigers, men, monkeys, elephants, deer, fish, camel, Makara,
asses, horses, buffaloes, goats, cows and the like
l

The woman of divinc type
A woman who has delicate limbs, steady alld soft
looks from the cornol' of' her eyes, is free from any disease, has
lustre, mnnificence, truth and simplicity, emits very little sweat, has
9495 (0.9091a; K.XXn.89b90a).
9596 (0.91; K.XXII.91b92a).
97 (0.92; K.XXII.92b-9311). .1 O. omits 96.
98 (C.93; K.XXII.93b94a). 1 Of. BhP. p. 109, 1. 9-10.
99;100 (0.94-95; K.XXII 94-96B). 1 See BhP. p. 109, 1.12-15.
10H02 (0.96-97; K.XXII.96b98r). I Of. BhP.ll. 109, 1.1619.
.XXIV.too )
THE BASIC REPRESENTATION
455
middling sexual passion, moderate food, s\\'(!t't 8('('nt and
is engaged in vocal and instrumental iii known to the
nature of a goddess
1

The woman of ARura type
10:HO.J-. A woman who lawil and practices
trickery. iA confirmed in anger, very crllel, fond of wine and llll'at,
always irascihle [in temper], very proud, fickle-mini lcd, very
eovetouR, harsh, fond of quarrel, 110(\ inconstant ill affl'('tion,
is to the nature of an Asum
1

The woman of GlluuharvlI tnll'
1O.i-lOli. A woman who roaming in mallY g:m\('ns,
is adorned with good nails and teeth, speaks with a smile,
bodied, has a slow gait, loves sexual pleasure, always pleas('(l to
hear music (gita, and l'o;!!lrl) and to witncAH danC<', is ('areful
about the cll'llnliness [of the body 1 and haR Roft skin, hail':;
and charming eyeR, is known to possess the nature of 1\ Gandharva
1

The W0Il1I111 of tYlll'
107-108. A woman who has large and broad red wide
eyes, hard hah's, lovos to sleep in day time, speaks loudly, has the
habit of hurting [one 1 with nails amI teeth, is c1iHposed tn angrr,
jralollRY and qnarrel, and like:; to roam at night, is said to POSRf'SS
the nnture of a 1.
'I'he woman of Ntiga typr
10lH to. A 1V0man who has a pointed nORC :111(1 sharp teeth,
Rlendol' body, l'('{1dish complexion of n blue lotnR, is fond of
sleep, very i1'ltseible, haR an obliqno (tirya/.') gait ana
effol'tR, tak!?a pleaRure in ltho company of] many pl'l'sons (lit.
beings), and loves sweet seent, garlands anel similar othl'1' ohjccts,
is said to possess the nature of a N iiga
1

103.104 (C.9S99; K.XXIl.98b.100o). I Cf. BhP. (po lOll, 1.2022)
here this tytle is tlaityaBiliJ.
105-106 (C.IOO.IOl; K-XXII.lOOb-l02a). I cr. BhP. p. lOB, 1.14.
107.108 (C.102.103j K.XXII.l02b104a). I Cf. BhP. p. 110, 18.11.
109-110 {C.I0H05j K.XXlI.104b106o}. I Cf. BhP. p. 110,1. 2l-22.
p. m, 1.1.
456
THE NATYASASTRA [XXIV,11!.
The woman of bird type
111112. A woman who has a very large mouth, energetic
character, loves streams; enjoys spirituous liquor and milk,
many offsprings, likes fruits, is always given to breathing and is
al ways fond of gardens and forests, is [very] fickle and talkntiVf',
is said to possess the nature of a bird 1.
The woman of type
113114. A woman who has more or less than the usual
number of fingers, is merciless during sexual acts, has the habit of
roaming in gardens and fields, and of tert'ifying children, is trearher
OUR, speaks with a r/ou/Jle entendre, behaves abominably dlll'ing
sexual acts, has a hairy body and loud voice, and is fon(1 of spiri-
tous liquor and sexual indulgence, is Raid to have the nature of a
Pisaca
1

The woman of type
115-116. A woman who sweats during sleep, lovl's quiet
rest in bed or scat, is [very] intelligent, fearless and fond of wine,
sweet smell and meat, takes delight on seeing the beloved one
after l\ long time, feels gratitude [to him], does not sleep for a long
timt.', is said to have the nature of a
1
,
The woman of tiger typr
1l7. A woman who takes hono1ll' Rilil dishonolll' in the
Ramp, spirit, has a rough Rkin and harRh Yoiel', wily, RpeakR
untl'Uth and haughty words and has tawny eye8, is said to haye
the nature of a tiger (1'yala) j
The type of human {email'
118119. A woman who lon's uprightness, is always clever
and very virtuous, has ,regular features (t'ihha/t'tail!(t), is gl\\teful
[to her benefaetors1 disposed to worship the elders and gods,
1ll1l2 (0.106.107a; K.XXII. 106b-10Sa). 1 Of. BhP. p. 1. 1212.
113114 (K.XXII.108b.llOa). 1 Emend Janiidhikailffult'lt into
linMhikllillUW!. Of, BhP. p 15-18,
(O.l07b-108; K.XXII. 110h-1121\). I :It medhii.-
'lJtth Mayallinii etc. Cf. BhP. p. 110, 1. 5-7.
117 (C. 109; K,XXI1.112b-ll3a). I Cf. BhP, p. 110, 110 1. 19-22,
1181l9 (C.1l0-111;K.XXII.l13b1l5a). I Cf. BhP. p. lll, 1. 34.
XXIV.l!l7 J TIlE BASIC REPRESENTATION
i57
always careful about duty as well material gain, alltl is free from
pride and fond of friend and has a good chal'llcter, is said to have
the nature of a human bl'ing.
The woman of monkey type
120-121. A woman who has It compact and small hody, is
impudent, has tawny iR fond of talkativ(', tickll>, and
encrgeti(', loyes [to rOam ahout inl tr!'eR, gartil'ns and forests,
rherishes highly even a kind act rdone to her 1 and is violent
in art, is to have the nature of a monkeyl.
The woman of fhphant type
122123. A woman who has a large chin and fOl'Chrad,
fleshy and bulky, tawny eyeR, hairy holly, is fond of sweet
Rceut, and wine, Ims irascible tcmpcr. steady energy. lovl!s
water, garden, sweet things and sexual intercourse, is said
to have the nature of an I'hphant
I

'fhe woman of del'r type
124-12;). A woman who has a small abdomen, flat nose,
thin shanks, large rl!d is fickle, has the hahit of quickly going,
of taking fright, timid, fond of songs and instrumental music,
irascible in tempel', llllstl'lldy in her efforts, is said to have the
nature of a deerl.
The woman of fish
126. A woman who has long, large and high is
fickle and without any twinkle in her eyes, has many servants and
offsprings, has liking for watel', is said to have the nature o.f 1.
The woman of eamel type
127-128. A wOlllan who has protruding too much
sweat, a slightly awkward gait, slender ahdomen, fond of
flowel'S, fruits, salt, SOUI' and pungent tasteR, has her waiRt and
sides hound, Rpeaks harsh and cruel words, has a high nnd
rough neck, is Raid to hare the nature of a carnell.
120-121 (C.112-113, K.XXII.ll5b.l17a). I Cf. RhP. p. 111, 1.57.
122-123 (C.114-115; K.XXII. 1l7b1l9a). I Cf. RhP. p. lll, I. 8-9.
(C.lt6117; K.XXU.ll\Jb Bla). I TIbP p. HI. I 10-13.
126 (0.118' I Cf. BhP. p.lll,l. 13-14.
127-128 (0:119-120; 1 Qt. BhP. p. 111, 1. is-16.
58
458
THE NATYASASTBA
[ XXIV.I2S.
The WOlllan of Makara type
129, A woman who is cruel and has a large bead, a Stellay
neck, a mouth wide open, very .Ioud voice and the babits of Dsb, i9
known to have the nature of a lVIakara 1.
The woman of ass type
130-131. A woman who has a thick tongue and lips, rough
and harsh worelR, iR violent dUl'ing Rexual acts, impudent, fond
of nail-scratehrs and biting [from her lover1 of her co-
wi veR, c1eYor, fiddl', slow in her gait, angry by nature afld has
many offspringR, is known to have the nature of an ass
l

'flIP woman of swine type
1112-133, A woman who has a large back, belly and mouth,
hairy and strong bo(ly, a VOl'y llfurolV forehead, is fond of ordinary
and hulbous rootR, has black teeth and ugly fac!', large thigh and
thiek hairR, mean habits and many offsprings, is said to have
thl' nature of a swine
1
,
The woman of horse type
13 A woman who is faithful, has symmetrical sideR,
and nl'ck, ,tmight and thick hairs, is charming,
munificent, liekle-lIIindcd, Rharp-tongued, quickly
lUoving, and to angel" amI passion, is sai(l to have
the nature of n, hotou
l

The woman of butl'alo type
13U137. A woman who haH broad back, bones, teeth, sideR,
belly, l"9ugh hairs, j" turhulent and hater of men, has II
sli{!;htly broad (lit. raised) mouth, large forehead and hips and is
fond of forests and RpOlting in water, has the nature of a buffalo
l

Thp WOlllan of goat type
1381 BO. A woman who is has small arms and
lnhuost rrel Rhort hands and feet, is covered with
129 (C.121; K,XXII.12.lb.12511). I Cf. BhP. p.111, 1. 1718.
130131 (C.122m; KXXII.l25b127a). I Cf. BhP. p. lll, 1. 1920.
132133 (C.124.125; K-XXII. 127b129a) .. 1 Cf. BhP. p.m, 1.
134135 (C.126.827; K XXII.129b131a). I Cf. BhP. p. 112, 1. 13.
136137 (C.128m; K-XXII.131b133a). I Cf. BhP. p.ll2, 1. 4-6.
'138139 (C.130131; 1 Cf. BhP. p. 112,1.79.
XXIV. 146 )
THE BAsra REPRESENTATION
459
fine hairs, and is timid, foolish, mad, fontl of l"e8tless,
swiftly moving, and has many is said to ha\'p the
nature of a goat
l
:
woman of hOl'S(' ty)JI'
140-141. A woman who is alert in
to yawning [often], is talkative and grateful, has a sUlull bl'alJling
face, short hands and feet, loud voicl', irascible ['temper], and
low manners, is said to have the nature of a hOl'se1
The woman of cow type
142-143. A woman who has lal'gp, plump and high hips,
thin shanks, short hands and feet, is kind to linn in her
efforts, favourable to children, engaged in alJ('C;;tors
and gods, always clean, respectful to faithful, and patient
in her sufferings. is 8aid to have the niltun! of a ('OW 1
Etiquette towards WOIllI'1l
144-14;). After knowing a W0I1Ial1'" llature lHIe should
appl'oeh her accordingly. For :[(,/,; donI' to it woman
according to her nature, even if tlwse are not many, will he
pleasing to hel', while great lllany such ad" wlwn they are
done with an ignorance of her nature (lit. othcl'wiHe), will not
satisfy her [at all].
14;i-140. An external love will :ll'iHB in a woman when Hhe
has been courted (lit. looked for) in a proper lIlanner. And certain
Etiquette (t!pacara) been prescribed for lllan and woman in
love [with each other].
140-147. Austerities al'e practiced for the Hake of virtue
(dhal"luar, and the [acquisition of] virtue is 1'0\' the purpose of
happiness. And happiness has itR source in women the enjoy-
ment of whose company is desired [by people in general J.
140-141 (C.132-1S3; K.XXII.133b-135a). 1 This def, seeilid to be
spurious ; see 134-135 above.
142-143 (C.134-135; K.XXII.l35b-137a), 1 Cf. BltP. p. 112,1. 10-12.
144-145 (C.136-137aj K.XXII.l39b-14b). 1 See BhP. p.112, 1.14-18.
145146 (C.137b-138a; K.XXII.l41b-142a).
146147 (C.138b-ma; K.XXII.U2b-14311).
460
THE NATYASASTRA
[ XXIV. 147.
Two e1asses of Etiquette
14714S, In the theatrical convention, Etiquette relating
to the [practice of] love (kamopacara) of men and woman is of two
kinds: external (bahya) and internal (abhyantara),
14fi-149. [Of these two], the internal [Etiquette] is to be
observed by kings in the And the external [Etiquette)
is to be observed by courtezans in the
The king's Etiquette towards women
14n 150. In this connexion I shall descrihe in detail the
rules of Etiquette for kings in their enjoyment [of women's love],
which have been drawn out from (lit. have from) the Aphor-
iHms of Eroties (kamasutl'a)l,
The c1nRscs of wonwn
150-151. Women who have the nature of various beings
are of three claRsrR : "homely" (ONbyflillla'l'lI, lit. inside) "public"
/,ahya, lit. outHide) and "mixed" (ilah!liJ,I)iI!lall/III'Q, lit. outside and
inside). A wOlllan brlonging to a high fUllIily iH a "homely"
(al)hyol!/1l1'1I ) and a iR a "public" (I'iihYII) woman.
152. A thOl'onghly trstpd (h1fl811Iu'n) woman, if she is a
maiden of high family, is of the mixl'd (1/{j,h!liiiJI1!ll!lItam)
153. A maiden of high family has no occasion to receive
the king's Etiquette, and a public woman is never de,ired hy a
king and she does not receive his I,
154. A king's Union takes place with a "homely" woman,
and a COlllmon man may unite with a "public" woman, while the
king may have Union with a heavenly comt('zan [as well]l,
147-148 (0 139bHOa; K.XXII.143b144a).
148149 (C.140a141n; K,XXlI.l44h-145a).

149150 (O.l41b14Qa). T This work seems to be lost and is not
the IJrrsent SIdra text 8Ecribed to On this sec the Introduction.
151 (0.142b 143; K,XXII.l45b146)
. ,152 (0.144; K.XXII.147). I K'g reading i_ fragmentary.
163 (0.145). 1 The reason is obvious. K. omits this
. 154 (0.146). I As in Vikram, K. this.
THE BASIC REPRESENTATION {61
Vi,), The conduct which (lit, that) is approved by [married]
women of high family will hold good in case of maidens too. And
[in love affairs] a courtezan too [will behave generally] like a
lady of high family 1,
The beginning of lovc
156, Love of the superior, the middling 01' the inferior kind
arises in men and women, from various causeR I,
157, Love [for a pprson] grows from hearing [about him],
seeing [him, hearing about his 1 personal beauty , [seeing his]
sportive movements of limbs and [hearing his] rhal'luing COllver-
sation
1
,
-.
158. An expert in this matter should tlwn ob,ervc the
various of lovc in men and wOlllcn who desire
company.
ono
15!l, A woman becomes overpowcrl'd with love on seeing a
young man who personal beauty as a:i other innate qllali-
tiLs, ami has beside,; the knowledge of vario\l:'; arb.; allli craftsl.
of loV<'
Hjll. The glance in which [the eyes arc] charming, tearful
dl'Oopillg and are throbbing, is calletl Kallya (lit. loving)
and it should be used herel.
161. The glanco in which the COl'llcr of the eyes arc moving
and having Rportful exprc,sionB, called Lalita (lit. sportive). It
llsed in women's partialloob
1

162. Due to love, one's ,"oice hecomes slightly
and the face covered with sweat-drops, and hairs in the body staml
on their end
1
,
-----_ ..... __ ._--
155 (0.147). I Of, liglliT etc. KS. IV. 2.1.
156 (C.148). I 'rhese thrpc kind, of love have heen dclined by
latcr fLuthors like Siil'adiitanuya; src BhP. p. 11:1,1.10-14.
157 (C,149). I K. omits this, lIi8 (C.150; K,XXII.148a).
159 (C.151), I K, omits this. 160 (0.152), I K. omits this,
161 (0.153), I K. omits this. Sec VIII.n.
162 (0.154), I K. omit, thill, Cf. BhP, p. 113, 1. 17-19.
462
THE NATYASASTRA
[ XXIV.l6S.
!:ligns of a eourtezan's love
163-16i:i. A courtezan is to be considered overpowered with
love when she expresses her passion by casting side-long glance"
touching their ornaments, itching the ears, scratching the ground
with her toes, showing the breasts and the navel, cleansing the naib
and gathering her hairHl.
Signs of love in a highborn lady
166-167. Similarly one shopld know that there are imli-
cations [of love] in a woman of high family, These are as follows;
she looks continuously with blooming eyes, conceals her smile,
slowly and with II down-cast face, gives reply with a smile, conceab
her sweats and appparance, has throbbing lips and is
!:ligns of a maiden's love
HiS. Thpse are the various signs with which a woman not
yet havillg the experience of love's pleasure (1'111i) will.express her
love IV hich has ten shlges 1.
Various stages of her love
t (j!)-171. First thero will bo Ii longing secondly
Anxiety (I' in/a), thil'llly Recollection (anllsmrti), fourthly Enumer-
ntioll of [the beloved one's] Ml'l'its (YnJ'!Akirllma), fifthly DiHtl'eso
(lid rl'!!"), Hixthly Lamentation (IJilapn), seventhly
(1b1!1IIli;IIl), eighthly Sickness (1!!lG"rhi), ninthly Stupor (jaqllta), and
tl'nthly ])p:tth (lIlllm/.w)l. These are the stages of love in case of
men well as of women. N ow heal' about the characteristics of
all
Longing
172. Longing arises from efforts born of desire
and wiHh [for the beloved onel and leads to the means of llleeting
[him]l.
163-165 C.155-157a; K,XXII.148b-1SO). 1 Cf. BhP. p. 113, 1. 3[),
lind p. n'i, 1. 12. .
166167 (C.157b-158ka; K.XXII.151-153a). I Cf. BhP. p. 113, 1. 17,
p. IB, I. I::;.
168 (C.159; K.XXII.l5Sb-154a). I Bhl'. (p.88) gives the numb r
I\S 'teri or twol ve'.
169171 (C.160162; K.XXII.l54b!57a). T Cf. BhP. (p. 88, 1.35)
two more stllg,'s (ida aod ulka(lthfil. Also d. KS. V.Hj NL.242Uf.
'1'72 (C.16S; K.XXII.157be). 1 ef., NL. 24027; BhP. p. 88, 1.
-XXIV. 179 ]
.TBE BASIC REPRESENTATION
463
17:1. One goes out o[ the place [whem the beloved one is]
or enters it or stays within his sight, and shows signs of amour in
the first stage of his love
l

Anxiety
174. Anxiety (cinta) shonld be indirated by Rpeaking to the
female Messenger (dii.ti) words such "By what means aud in
what lIIanner will there be an Fnion with (lit. obtaining! of) the
helovelj2 ?"
17ii. In the Recond stage [of love] one look with
half-closed eyeR and toueh the Valnya (bangles), the the
Nivi, the n:wel and the thighs
1
.
RccollectiPIl
176. Sighing again and again, thinking deeply of tlw hplOl'etl
(lit. desirccl) person and other engagCll1rntR, is mllerl
Rerolleetion (nI1ll811lrIiP.
177. Being engrossed in thinking of him (i. e. the heloved)
one docs not attain compo:iure in sitting 01' lying in bell, and
remains without doing' one', duty. The third stage [of love I
"houl,1 he expresser! like this 1.
Enumeration of Merits
IIH. To ('Xpi'(ISS hy means of sportfullllovemeut of
find glanee aml [OUI"I' effol'ts I the idea that. '(hpre is no one
dse like him', is ('ailed Enumeration of [the heloved one'R]
1 i!l. The rt'presentation [of love J in the fourth sttlge (i.e.
in the Enumeration of Merits) Rhollld be made hy hOl'ipillation
173 (0.164; K.XXII.158). I Cf. NL. BhP. p. 88, I. 17-20.
174 (C.165; K.XXlI.159) . I Relld sampraptilJ (samMrlmtiIJ. C;
sll1llunyalf K). 2 Cf. NL. 2'136ff; BhP. p. H8. 1.21-27.
175 (C.166; K.XXII.l60). 1 Cf. BhP. p.H9, 1. 8-5.
176 (C.167; K.XXII.l6l). 1 Cf. NL.2449; Bbl'. p. 89. 1. 7-8.
177 (C.xXXI.76; K.XXII.162). .l Of. NL.2449; BhI'. p. H9, I 9-11.
C:s relldinll of the portion of this chapter (XXIV.) gi\'en in pp. 281 (lino
27)-289 (lino S) is an unacknowledged copy of Ks reading of tho
slime. C.'s. own reading OMurs in pp. 348 (line 14H55 (line 8) as a part
of the chapter XXXI.
178 (C.XXXI.7?; K.XXlI.163). .l Cf. NL.2456; BhP. p. 8!l,1. 12-]4
179 (C.XXXI.78; K.XXlI.I64). .l Of. BhP. p. 89, 1.15-18.
464
THE NATYASASTRA
[ XXIV. ISO
wiping off teal's, ani! talking confidentially to the female
Messenger to relieve the pangs of separation 1.
Distross
180. That one iR not satisfied or plt'ased with sitting or
lying in bed and is always eagerly expecting [the beloved one] is
the stage of Distress (ndw!flt) in love
l
.
181. By anxiety, Highs, lassitude and burning
of the heart in an l'xaggeratcc1 manner,. one Rhould expreRR the
stage of DistresR 1.
Lamentation
182. Lamentntion (I"ilapa) is r<'presentpd by speaking
sorrowfully words snch as "He Rtood hl'l'e ; he Rat hel'P, and Iwrp
he approacheo me, etc
l
."
um. A lamenting woman is distressed by vel'y eagerly ex-
pecting [the beloved one]. <Inll out of uneasiness she moves from
one place of grief to anotherl.
Imanity
184. When a woman alwaYR cngnged in talking about
him (i. 0. tlH! beloved) and hates all [other] males. it iH a case of
Iusanity (nnillfil /(/).
18;,. '1'0 repl'l'Rcnt Imanity onc sometimc look with
fI steadfast gazc, sometimes IW<lve a dtr.p sigh, Hometimes be absO!'"
bed within oneself and w('C'p while walking about
1


180. Being devoill of all pleasurcs of love and of [any] ex-
pectation (about thcm'l one gets (l'!/iidhi)1.
180 (C.XXXI.79; ICXXn.165). 1 Cf. p.89, 1.19.22.
181 (C.xXXl.80; K,XXII.166). 1 See note of 180 above.
182 (C.xXXl.81; K.XXII.167). 1 Of. BhP. p. 90, I. 1-3.
An e.'{amplc ij1! ,r""il , ., !'f'lT ijl1 , ., n " l!lIT ij'f
,1irlIl!.. l'f !!!l1 ij, i'f!llll{ etc (Svapna 115, 24).
183 (C.XXXI. 82; K.XXII. 168). 1 Of. BhP. 90, 1. 48.
H4 K.XXll. 169b). i Cf. NL.2484ff'; BhP. p.90 1.915.
185 (C.XXX1.8'; XXII.170). 1 See ahoye 184 note.
186 (C.XXXI.85; K.XXII.l71). J Bhl'. p. 90. 1. 16-18. follows K.
.X2476) has fltaiiAa (disquietude) precedes unmiJda.
.XXIV. 1041 THE BARIC REPRESENTATION
4S:i
187. To f'present Sickness tire eighth Rtag!', one is to show
that the heart become" paralysed, the body is in fever, the h!'ad
aches hadly, and one does not have any tranquility!.
Stupor
188 In Stupor (ia4f1la) one docs not rPApond when ques
tioned, and does not IW:lr Or S(lC [anythingJ. It is a pnthetir
rondition in which one's mind is IlernugelP,
180, To represcnt Stupor one is to utter response (hll1?t) on
the wrong occasion, Hnll is to havr one's limhs relaxed and the
month gircn to excessive brl'nthing (lit. swaIJowed by hreathing)1,

1011. If oren after adopti ng aIJ the means [available for the
pnl'pos!'] the Union [with the heloved] (Ioes not take plael', then
bnrnt in the fire of love one's Death (till/faIl-II) place',
1 !H. Thus in case of hcr mceting (lit. getting) the beloved,
0110 should rpprl'Mmt, arconling to the Reience of Erotirs (l.amfllau.
If"), fllr thp H('roine aIJ thc stagrs of love cxrept the last one',
MnnifrRtation of mrn's loVt'
1 Evrn n man Rrpnratc<1 from iliR heloyed one will thuR
makr a of his lo\'c in diversr ways through different

CIlIIradcl'isties of 101'0
10:1. One should rcprf'scnt men as well aR women who are
('xpre8sing these stngeR of I'Jve hy hringing in their common
[i n pal'tieular RtageR 11.
WOIU.'U from tlw brlov(:il Ol\('
l!lHflli. All tho stages of 101'0 should be represented in
diverse ways hy anxiety, f,ighi', la:<sitnd<" weariness of the body, and
187 (C XXXI.86; K.XXII. 172). T Cf. BhP. p. 90, 1. 19-22.
188 ('.XXXI.81; K.XXII.173). 1 Cf. BhP, p91, 1. 16.
189 (C XXX1.88, K.XXn.174). 1 Sre above 188 note.
190 (C.XXXf,B9; K,XXIl.175). 'Cf. BhP. p. 91, 1 7-8,
10[ (C.XXXI. 9); K.XXlI.176). 1 Cf. NL.2:il')ff. BhP. p.91,1. 910.
192 (C.XXXI.Dl; K,XXII.177). 1 See above 182 note. '"
193 (C.XXXI.9Z; K,XXII.178). 1 K. reads after tllis two addi-
tioual (XXIJ,179-l80) oouplets.
194-196 (C.XXXJ.93-95; K.XXIJ.l81J83).
,
5!l
166
THE NATYASASTRA V. l! 7
following [the beloveu] 01' gazing [at him] or gazing [vacantly] at
the talking pathetically, touching [(liif"l'cnt
twhiting [wnw ohjedH] or dinging to some support and Rimilnr
otlwr ron,litionR and ari."ing frolll an ahsrn('{ of (Tnienl
(ri)'l'al nmbllO).
Rclirf in
l!l"i. Wll0n burning wry lIlut'h with tho fire of lore Olll'
will clotheR, ornalllPnt", ,rputH, a\lll garden,
whirh harp :1 ponling plli-rt.
Th!' r(,lImIt] M'-""'lIgrr
108. Ill-iug oYcr-po\\'cl'f,,1 with a hlll'l1ing love ;tn(\ affeell'!\
thl'Ol1gh its several one "hllllid Rrn(\ a f!'lIlnll' ]\[(',,0ng<-I' I tn
the beloved] tu ,peak of one', condition".
1 nn. One shonld a,k :I fCllllllc 11[, "cngpr to (';i\TY :l
message of love [to the hoiovedJ, She ["hol1ld ddivcr the s:i1ilrJ
with proper pourtesy [and tho like l aft(,1' saying is hel'
('on(\ition".
MIl'r tho Rub.,tallcc (iit. Il1Q:tninl!;) of t he h:l,
\10en c0ll11ll11l1icntl)l\ one Rhon1,1 t.hink of the of filifilling thl'
love. is the rille whol'r love iH to he pl':\cli"I,,1 sPI't't'tly.
Thp king'" Etiqurtt" to WOlll"tl
201. I shall now "pl'ak in detail abont tlw l'llics regarding
the practice of kings in relation to "homely" women and thosr
/'lllrs are taken ont the Srirnre of EroticR (kaIlHltfIJl/ro)l,
202. Happy and unhappy (,onditions whi('h orcllr [in (,Oll-
n<'xion with love] in pcrRollH of rariollR :1nll which :In'
assumed by kingR, at'c also follOlvc<1 by ('OJ\l11lon peopl".
203. King' ha'/e IlO difficnlty in obtaining IrOlllen;
llleans fol' this, is at their command. Awl Ihe love that grows out
of liberality becolllt's pleasing.
197 (0.XXX1.06; K.XXll.HH).
199 (C.XXXI.GS; K.XXII, 18ft).
21)1 (C.XXXI.IOI); K.XXU.J88)
allY pnrticl1br trpatisp.
202 ('.XXXI.101;
2O:l (C.XXXI.102; K,XXll.100).
(C.XXXl.!!7; Ie XXII. 185).
200 (C.XXXI.99; K.XXII.187).
I TI,i, dol', not spem to indicate
.XXIV. 210 1
Tfll!: BASIC Hl!:PRESBt-.TA'fION
461
204. Out of rCRpert for the queens and for fear of tlwil'
favonrite womcn, arc ocerctly to make 10l'e to maid,.
211;;. Though the 1ll:IY have waYti of making'
Ion', the making it will be [the Illo"q pleaoing lof alll-
20(j. That ,I 1V0lllall reoort,; to wily way'"', that one i" 81mt
out from her and she become available only with ditlil'lIlty, illlpart,;
the pleasurc to her IOYL'.
207. In caMO of women of tIll! hal'cnl, the king', Union
with them in day tilllc LIlily be perillitted, bllt in dealing
with cxternal women Gnion take plaeL' at night 1.
Rl'tI,.;on:i 1'o\' Conjugal l,'nioll
The following :iix are reason,,1 fOI' the Conjugal
Union : iit:hedllhl onlL'I' (I'" ,il'iiI;i), l desire for1 JlL'Ogeny
(I,ltala), of relation (I/ao /,tca), IJil'th of a child ({I(((S'tnt),
timc of iiorrow and of joy (11([1//1"./'/'):)'
21J\1 When the Conjugal Unioll (I'(i')llka) iK duc,
go to the bCII'ehalUbel' of it qneen el'en if LIlay be ill her
01' may uot be hi:; favonritc.
Eight of H('ruiw'
In t:ollucxiolL Heroinl'" (IIri!!i!.'!:!) arc knOlvn
to ul' or eight kiud, \1,<, "one (liws(111 up for Union" (/ii"rtk.,.
"lIiiu), "olle hy (l'i,.,dIO/k,l/,Iihi/ft), "onu Imving
her hll:;hand ill i'-uhjediulL" (.',,'u,/hiltll-(,f1w1rh"j), "onu
Lfroll1 her lovcr] by a IlllatTd" (i.',tiahanl",rila), "one 1'llI'<tged with
her lover" (l,hltl.l4itu), "OIlO dcceil'cd hy her lov0r" (rill/",z(t1Illha)
"OIlC with a sojollrning husband" an" "onc who
moves to her lover" {rtMtidil'il.'U)I.
204 (C.XXXI.l03; K.XXU.l!ll). 205 (C.XXXI.lO,1;K.XXlI.l92),
206 (C.XXXl.105; K.XXII.lVa).
207 (C.XXXI.106; K.XXU.194). 1 Ufo V. 1,16.
208 (C.XXXI.lI)7; 1\:.XX1I.19,'). 1 H,'" 11"IILTIII,tlra'. "'.IIi ['II tili
lJll&iage ill KA. (p. :)117) wll"l'n h,' ellui,'" .\J:. 1.('. Wl'b,ltilil'
This l'ultl, of the l'olljllgal UllilJll (1Jiisllklt) ,.,I'rllb t" havo lJurll
relaxed at the timl1 lI[ Viit"y;iyana. SI'<' K::\.III. ;l, Ii 1li:\.
:l09 (C.XXXI.lU8; K.XXI1.l96).
210-211 (C.XXXI.109.110j K 1 S[";
468
THE NATYASASTRA [ XXIV. 212.
'fhe Heroine up for Union
212. A wOlllan who in eager expectation of lore's plc:blll'l!
uccoratcs her:lelf joyfully when the Conjugal Union ('I'as((ka) I,
due, is a Heroine dresscd up 01' U nion sa,ijii) 1.
The Heroine diHtJ'c8HI'<i by sepal'atioll
21:':. A woman whose belovo!l one dOC'H not turn IIp on
account of iliR preoccupation with many other cngagements and
makes hel' sad, is a Heroine by ('I'il'ahl)t.
ita)!.
The Heroine having hl'l' hU:lband in Hubjretion
2t4. A woman whoRe husiJuml captivated by her eondlld
lVell as by lovc'H pleasure (.mfatll) from hpl', Rtny:i by her Ridl',
aud who has qualities, is a HI'I'oine having tlie husband
in sllhjcction (s rad hina/lha rll'!.-a) 1.
The Heroine separated by quan,pl
215. A Heroine separated hy quarrel (kaillhantltl'i/a) is a
woman impatient for her lover who has gone away (lue to a quarrel
or jealousy, anu does not return 1.
'rhe enragl,tl 1It'l'oillP
21 H. A woman whoKe belov!'d on!' on of attach-
ment for another female dOOR not come fo(the Conjugal Union
when it is dut', is nn enraged ("'lw1plifa) IIC'roine
1
.
Th(' tll'c!'iwJ Heroinl'
2 L 7. A woman whORe lover docH not come to her for a
eertaill reason eVl'lI when (he female l\[e",;cnger wa" sent to him
and a tl'yRt waH made, j" a dcceived Hewinc (l'il'J'i!la1iflll(i)t,
TIll' Ifcroilll' with a ojolll'llillg hu,bantl
mHo A wOlllan who,;c hUHband (lit. (he beloved one) i"
living uuroad on account of dllti('R and who wears bel'
\II\! (C.XXXI.lll; K.XXlI.199). 1 Cf. NL. DR II. 2t; BhP. p.99.
(C.XXXI.1l2; K.XXII.200). I Cf. DRII BhP. p. 100.
214 (C.XXXI.1l:l; K.XXll.20l). I Ci. NL.2jli8If; DR. II. 24; BhP. p. 99.
(U.XXXl.l14; f Cf. NL.2550; DR. II. 26; BhP. p. 99.
216 (C.XXXI.ll5; K-XXII.203). 1 Cf. NIJ.2j36If; DR. II. Bhl'. p. 98.
217 (C.XXXI.1l6; K.XXII.20t). 1 Cf. DR. II. 26; BhP. p.
218 (C.XXXI.ll7; K,XXII.205). 1 Cf. NL.2;};}6ff; DR n. 27; whieh uses
the the t:, 1\ Bill'. p. 100.
-XXIV. 2251 THE BASIC REPHESENTATION
hail' hanging i$ called a Hnoine with a i-ojullrning hll:-band
1.
I [,'I'uin., lUovinl( to h"l' 10\'1'1'
:21D. A lYomall will) Liue t\l In\'c 01' infatllati\>ll i" attracted
to her luver and gin'" up lIIolbty for going out to IIIL'\'t him, IS
mllell :.t Heroine secretly moving to her 10\'('1' (o/'/ds(trikii)l,
Ikpl'eo"lItatioll of th., dil\('r"lIt H"l'oillt'K
Heroines in a KiI!nka ,hould 11(' of tlIl':-\, \'uIHlitiuu,.
I ,hall s]loak of IhemalllwI.in\\.hil.htheprodlll.l.n;al.elul.(.I1I.\ ... (.nt
t1H'llll.
ElIl'aged, drcL'ived ami (IUUITt'lillg; lIeroilll's
Enraged (khll/plilii), llel'eived (I'ill/'d'd/nlhil,\,
allli Quarreling (l',dllitiill/"J'i/a) Heroinl'''; should be 1'l']JI'I'Hcnted
byanxil'ly, sigh", lasHitudl', bUl'ning of the hl'<II,t, with
female friends, looking' to DUll'" own l'olulition, weakness, llt'pres-
Hion, tears, of angel', giving up of ornaments and tuill!t,
sono\\' and wceping 1
The Heroinll with a husband
The Hcroine with a sojouming husband
M/lutl'ka) should abo bp represented with the,,\) statcs
l

'l'lw H"roiu!' haviug the husband in sujectiou
A Heroine haying the husband ill he I' suhjection
he rl'lll'l'"entcl[ with gaudy and brilliant dreose,;, [aeo beam-
ing with pleasUl'e and having; an execs" of physical cltarm
l
,
Diff"l'rnt of Hl'roinc moviug to hl'l' Jov!'r
225, Whethol' she lIlay he a eourter.en, a lady of high
family 01' a maid,ervant, the producers make the Heroine
move to her lover in tho specialmannol' dcsel'ihol1 below!,
21H (U,XXXll18; KXXII,2U6), 1 Cf. DR. Il. 27. sec
RhP, p.lO\).
(U.XXXl.11V; K-XXII.21)7). 1 Ya/hn /Jroyoklt:6kt'l!1 U.
fot' kiimatan/ram antkadha. K,
<C.XXXI.l20-12211; K,XXII.208-21I)a). I Cf. DR. n.28;
d, BhP. I)' mHOU.
22:\b (UXXXI.l22b; K,XXll.210b). I Cf. BhP. p. lOO.
224 (C.xXX1.l23; K,XXII.2lJ). I Cf. DR.H. 28. Cf. BhP. p. 99.
225 (U.XXXl.124j K.XXI1,jl12). I Cf. DR. II. 28. Cf. BhP: p. 100.
4(0
THE NATYASASTHA
[XXIV. 227
The Coul'tezan
:'!2G. [In going down to her lovor] the cOlll'tezan is to han'
IH'I' botly heautifnlly (lccorated with variolls and to
walk in the ('om puny of hm' :m(l with ea diHplay
of.] (Sllllufllalla) ami joy 1.
Thn woman of high family
rAnd in a situation]:t wOlllan of high family
will ('uvcr her face wilh <I veil, and walk timidly with hoI' limh"
contracted, and will [VCI'Y often] look Lack 1.
The hand-maid
228. Anll[ in the KitllationJ a hand-maid will walk with
unev('n Rteps (ltl'id,iha!lati) and pye" beaming with amorous joy, :md
will talk distortedly through intoxi('ation (1IIIld,t"khalifll.sll1!daj 1a).1
lIow to lllr"t a IOV"l'
If the hC'loved (lit. thi, onC') i" in bed and :;he fintl,
him manifr:;tly (,<IIV!I'II"'all/,) a:;lcep "llll l:;itonhl1 awaken him in the
llwnnl'l' I alll going to mention 1.
:230. A wOlllan uf high family is tl) awaken hilll by [the
S()\II}(1 on her urllalllcnt,;, the (,Ol1l'tczan by the ,;weet (lit. rool) Sl'ellt,;
anll the itamlmaid by fanning the l]plovell one with 11('1' dotllt's 1.
[Tn this t'onn('xion] the :;('oilling \r(l\'(]s of IVOIllPn
m'l' to be :;trong hut Hwrrt, and beautifully puriuato(l by sighs 1.
Thio i" 111(\ mle of love llIaking fUl' WOllH'11 of high
family and for the i'l1(taka to all the Btate,; [in a
Heroine]
--.. --------..
(K,XXll.21:l), 1 U('ad 226 as samadanil ca Cf.
BhP. p. 101. 1. HO: flD, 117.
227 (K.XXIl.214). '1 Read 227:1. as saI!llinri "te, Cr.
Nh2;;761l'; Bhl'. p. 100, 1. lu22. 117,
(C,XXX1.l25a; K,XXII.215). 1 Read 228a madaskhatila-
salllllip,. Cf. NL.2580tf; BhP, p. 101, I. n-15.
K.XXU.216). 1 Itead 229a as lO*il "n
tnil'l tl* ll>'r. n. BhP. p. 101, 1. 16.
2:1II 1 l'f. BhI'. p.lO]. I.
2:31 (C.XXXl.1i16), 1 It ,('I'IllS that (Ill<' tJl' two coupkt, bp"'1
'lost Ixofore this. We give merely a tentative trans. of it.
232 (K.XXII.218).
.XXIV. 23!J 1 THE BASIC REPRESENT.\TION
TIl<' Conjllgal Union
233. For a woman newly in loY(' 01' for PIlJ'ag:p(1 woman
w1ll'11 not coming [of her 011'11 a('cnl'(1}, tlit COlljng:11 Uni01l
he :\rl'angrl1 throngh some llH'anS 01' rXII],11.
2:]1. [A woman] rnjn)'" with plm:'\l\'r r;lriou" oma
Rcent" aUI1 g:uhIll1,; whi('h :\1\' :\1u1 are of
th!' kiuIJ,!;
2:1:;. ,fm<t as a lIlall tloeR not l'ome Ullllt'l' tlin ("lttl'ol ur
whrn hr has not [prrl'inn,;lyJ mrt allY wnllJ:lIl, :'0 nnitrd.
with thr h(lorc(1 woman [;;nell n persnnl hrroll1''.- dOlll,ly dl'!iglit(,1'.
at. thr. ('lIi,,"
At thc timc of COllju[!,al rniull (lit, II IIi lin or 10\'1')
tl!lre ,houl(1 be a1l1urous f('(;lings, gl"tl1l'l':', \\'(\It!" anll ;;portful
1ll0Y(,lllents of the ;;wecte,t kind (lit. a 'pl'l'ial quality of
RwcC'tne;;.,) ant! cRp(,(iall), looking: at ('[I('h otl)(,I' with low
l
.
Prcparation fol' tho. COil jugal 1'lIioll
:!:li. Whell till' ITt'I'O (i. I'. tho lH'loVl'd (11](') ('omr", :I
woman on h!'r part should mnke ;;Ollll' ;,p(,!'inl pl'I'p:ll'ation f'l!' tIll'
Conju:';;11 rnion whil'h will give rise to
A 1'11'1' wearing simple doth!'", putt illg on g::lrJand, :\I1el
using P('('Ilts "h( ,hould take up the mirror ag:ain ,lllll again
rVI't1 when Itnll (lone with it (lit. has hCl'ollH' Hl(('r,,,ful)1.
?:1!I. Tn prl'p:1l'ing fol' the Conjugal ('Ilion OlW ,110111,1 !lOt,
pllt Oil too many nl'l1:Ullf'llt" I'among thl"p) thl! and thl'
j'\llpllI':t "hieIt h:1\'0 a ,ollntl :lrl' ofttt1 to h!'
K.XXJl.21a). I K.', !'('a(lilli( \'1'1')' corrupt.
2:H (C.XXXl.128; K.XX,11.220). 1 C. supadc.:air 1'01' K,
235 (0.XXX1.I2ll; K.XX1U21). I !I"rr (0 som'l St'PlnS to
hayc been lost before rOlll'lct.
(C.XXXI.!:lO; K.XXH.222). 1 H,'!'() also pas.'age seems
ha\'e been lost before this conplet.
237 (C.XXXJ.1:\lj K.XXII,223). 'K. 2:',7a 011: Il .. it
-lIljl'l.
238 (C.XXXI.l:nj K.XXJI.221). 'K, read, as
W-IOOIIQllT1r-ll!.
239 (C.XXX1.I33j K.XXII.22::;). 'Vlisopacurc 1(. vu.sopacardC.
472
THE NATYASASTRA r XXIV. 240
Acts on the Rtngo
2-HI. [In I'(!presenting activities of women] them
HiJould be on the stage no ascending of the bcd-stead, no bath, no
URe of unguents and collyrium, no decoration of the body and no
handling of their breasts or hair1.
211. And women of the superior and the midc1ing types
shollll! not he shown as poorly <1mpec1 (lI/iul'rlii) or. wraring only
one piece of garment (l'ka1Jrl.<irft) and they should usc no colo\ll'
fol' their lips 1.
242. Snch a ],Ille [of (l!'C;;SCR] will Rnit only the wonll'n of
thc inferior of tllPir low natme. Bnt on certain
they too are not to be ]'rprpscnted like that
T

24:3. Men ana "'omen of the comter-an class ill a play
"IIOUld take np a flower after they Imc dressed themsPlvrs up (lit.
having taken ornaments).
ff a womall with a (Ic('oration [of hpr hodyJ f\wait"
thr :1r]'ival of hpr heloYl'll, Rhe sho\1!tl (,Iererly flni"h it so tlmt
lIothing contl'il]'Y [to pl'Oprictyllinds Pxp]'('ssion
1
.
Thr lIrroinr in rxprctanr),
Afte]' finishing th(' prrparation for the Conjugal
Union, the Heroine should sit down and expect [ewry moment]
the coming of the heloved (lit. Hero) while the Rouml of
of ntriking the K
1
.
After hraring the Roun(1 of [the expectrd] the
Heroine overcome [with joy) on [the ehance of] the beloved
240 (O.XXXI.l:J.I, Of. K. I This "I lOWS tho high moral
Rrn,r of the people of the time.
Z.E K,XXII.227). I 8"0 above 2\0 note
212 (G. XXXU:36, K.XXII.228). I That they might npIWrll' on
the stage poorly draped 01' with one picce of garment or might have
tlwi1' lips painted.
21,3 (C. XXXI.IS7, Cf. K.XXII.22D)
244 (C.XXXJ.l38, I Read the couplet liS follows:
f1fi'11i<I I li1\<;f'.lTJlfl!l<i illl
245 (C.XXXI.l39 of K.XXIU3l). I Nal,ka-K, niiYlkIl. O.
2.16 (C.XXXT.140; K.XXIIl.2Hb, I Ncilikii K. niiyikii C.
S'lI!lIIa-/z,:dayii, C. (trasla-/z,:dayii, K).
-XXIV_ I
THB BARIO REPRrSENT.\TION
cOlUing l'lln toward" the goatc [of the hOll':!'] Irith :t trembl-
ing [body] and with her heart about to stop (lit.
247. And holding the door-fL'llmo with her left hand, and
a door blade with the right one, Rhe should with straight eyes
look up for the arrival of the beloled.
248. Overcome with she should show rea,on-
able I,igns of] leal' when thp helove!l will fail to appeal' (lit. not
"f'l'ing thl' h('loV011), :lI1l1 ,hn11111 tl1m sail fnl' nHllJleu\'
249. 'l'hl'l1 after Il!'al'ing a deep sigh and lowering hAl' look
(lit. farr) Rhonili with a henrt drop Ilown
(lit. her on a
Due to :I delay of till' heloved "hould connpct
llit. ponder nrcI') hi, ('oming with ('au,:!', (Iit. con:<i<iPl'ationH) whirh
Illn)' he good 01' bad,
!:!:i1. She will think In,; follo\l's:] "Could the Iwiorcd haY!'
heen h0ltl up hy til1til'" to his "11}lC'l'iOl''', thr fl'irllll" 01' hy tlw
mini"ter,: I'Il;;a!!:!'!I ill al1ail'" III' thl' ,:tatl\ 01' ('ollill he ha\'P i)('(lu
t\rtaillcd som" LIVI)lIri(e wom:!!! ..
8ii2. Rhe "llOuld rcpl'e"cnt COllllf'('tcd with the
\'arioll" good or bad rau:'es [mentioned ahow.l by meanR of personal
omens like qlliv('ring 01' throbhing [of a particular limb J.
Personal omens
2:,):3. PcrHonal indicating OCCUl'renc{) fayourable to
womon will occur to thpir left while omenR in rase of a1\
nntlesit'cahic happening8 will take pineo 011 their right.
2,17 (c. XXXI W; K.xXll.232b, 2:13a).
'i" fq'.lHllf1j; WI' with K,
248 (C.XXXI.W; K,XXII.233b23411).
249 (C.xXXI.1j,3 j K.XXll.28-lb235a).
iisyail caiva, C.
2.iO (C.xXXI.I4.lj K.XXlI.215b-2.]6a).
251 (C.xXXI.145; K.XXII 236b-237a).
I K.'8 rf'adillg is corrupt.
I K, I'I'aus l!ayanam6u for
252 (C.XXX1.l46j K.XXllJ37b-2J8a). 1 K. reads 252 as
ilh I
253 (OXXXI. 147; K. XXII. 238b-239a). I C. for
K,
60
THB NATYASARTRA r XXIV, 2Gl
:!1>4, If the left eyE', eyebrow, forehead, lip, arm, breast 01'
thigh this will indicate the coming [of the
255. If these will throb differently I that will indicate some-
thing calamitons (lit. not desired). In case of perceiving such bad
omens she should at once faints.
256, AR long as the hploved haR not comp, her hand will
rest on her cheek, and being careleRs abont her toilet she shonld
go on weeping.
257, But afterwflrdH on Aeeing somr good omen indi-
('ating hiR arl'ival tho Hf'roine shonld I'cpl'esrnt -that the Iwlowrl
one haR drawn neal' by mennR of feeling T. his sllwl1.
Heroine's rrccptioll of thr beloved
2:;8. On soeing him (come] Rhonld joyfully get up and
proceed to receive thl] beloved and look at him with eyes
beaming in pleasure.
Receiving tho guilt.y lover
2ii!), But lin case of] the belove(\ Oll(' who has come with
the signs [of meeting another woman] an(l grren wounds
1
[received
from her] Rhe should point out [the man] aRsllIning the Ayata
posture (,Ithana) with Iwr hand in the hand of her female friend",
26(J. And the beloyed one being found guilty he Hhould be
given censure in due order by means of [nppropriate] g!'Rtlll'es
and reproachful words as well as by Jealous Anger (mana), Insult
(ut'ama1tlL), Filinting (sll1!!moh(/) 01' Dissimulation (a 1M I; iftha)1.
261263, Due to reasons Iik!' the applimtion of Dissimu-
lation. the lise of hidden IVol'lls 01' of laughter, eUl'ioHity, fiUl'ry,
calamity and acceding to a situation of fun and to his
254 (C.XXXI.l48; K-XXII,239h-2IOn),
255 (C.XXXI.l49j K.XXlf.2.iOb-241a). I That is, if tho right ey
and eyebrow etc, throb, 2 K. reads 255 !l as "ImS"lfll lII'elflit
256 (C,XXXI.150j K.XXII,2.nb-242a),
257 (C.XXX.lSlj K.XXII.242b-243a). I That is, by represcnting it
with ge.stures. 258 (C. XXXI.152j K-XXII,243b).
259 (C,XXXI.15a). I I',e. of biting and scratching, 8 K, omits thiflo
260 (C.XXXI.l54-155a, K.XXII.244-245a).
261-263 (C.XXXI.1551l-157I1j K.XXII.247-248). I K. reads dharm-
ilrflta-klima-:vole"u ..
-XXIV. 269)
THE BASIC REPRESENTATION
475
concealing any fuult, the Het'oine speak to
rven if [his guiltR require that] he should not lw spohn to.
263-264. Where there affection is fear And
where there is there oe(,lll'S lu\'e (1IIftdalla).
Causes of jealousy
The causes of thi8 (i,l. jealoll"Y) are fuul'fold : Depl'l'tisiun
(vttimanasya), Mixed Feeling (t'!/(r/!lw), Disgust (l'iIJl'i!/a) and
Anger (manYIt). listen about their uesel'iption.
Drpr,'.<siolJ
205. Deprl'""ion ((ail/laliltsu,,) llri:<es from s('ein!!; tllll
beloved one walking lazily ,lull to sleepincs" :lnd and
discovering signs [of his I'llion with another wOlllanl and fresh
wounds [received frolll the lattC'rj.
266. This should br I'l'prl'scnted with an intensely jealous
face, great trembling of limbs (ltH! to angel', and utterance of
\\'orlb like "ll is goocr', "It is niel)" and "It is
;\{ilC .. d Feeling
:!67. Mixed Feeling ("!I,tlika) l\l'i"cs clue to mixec)
with joy when helove(l (neal' by] even after ho
has heen treated with in"nlt.
2{jH. Mixec) Fl'l'lil1g hI' hy standing
firmly on leg,; with the left hand on the and the I'ip;ht
one I'iolently ge,ti('ulating.

269. Disgu;;t (1i",.i!lIl', will wllll1 he\.m'd OIH'
K. reads before this three hcmistichs Uj;;b-246) [IS e'llows: ,"iff<!
Iiit"tllll 111lililll!! , '! 'I
(Womeu's outbul'r,t of "pcech shonld \)(' ill G'lth" lin the
eases) : iu eonfidence, affrctioll, lovr, ,atisfartion, jny,
and infliction of abuse).
263-2640 (C.XXXI.I;;7!J-159aj K.XXl [,219-2;,1)).
1166 (C.XXXLl59bcj K.XXllo25l).
9&8 (C.XXXI.lSO;
967 (C.XXI.J6li K,XXII.253J.
W (C.XXXI.l62; K.Xxn.264).
269 (C.XXXI.163i K.XXll.m).
THE NATYASASTRA
[XXIV. 270'
Hays that "1 live while you live," I am your Klave" and "You
are Illy love," but helwyes ill a different manner.
2711. Representation of' Di>gnst should be made by a
cold treatment to the female Messenger, disregard for the letters
and indifference about giving reply to any question [made by
the beloved
l
J and also by shaking the head.
Angel'
271. Angel' (many") arises [in a woman] when the be-
loved one comes to her after his Union with a rival woman
and boasts about his good lnek in this matter, and discloses
tbe signs of sueh a Union.
272. Anger should be represented by giving up the Valayas
and throwing up the in a mannel' and by timid
and tearful eyeR.
On treating a at fault
2ii3 On seeing the beloved one standing lUuch ashamed,
and afraid dlle to his guilt., [Lhe Heroine] should harass him
with rebuke made up of words spoken in jealous [indignation].
27 -!. But no vory cruel words be uttered, and
very angry words Khould alRo be avoidpcl. [The Heroine] should
speak tearfully thing,; lefolTillg to hel'
'275-'2n This attitude should be by the middle
linger touehing the edge of the lower lip and a hand placed on the
and by looking with eyes uptnrned, 01' hy a in which
a hand is placed on the hip and the fingers are separated (t), 01' by
moving the heatl and bending it to Ree the nails 01' by a look of
Dissimulation 01' by beautiful fingC'r indicating threat.
270 (C.XXXI.lf4; K.XXII.256). lOr by the
271 CC.XXI.l (i5; K.XXlI.257).
272 (C.XXXJ.166j K.XXII.2bS).
273 (C.XXXI.167j K.XXII.251l).
2N (K XXII.2llO). \ It!! ((!Jy{dlkrodkana' iuto .,!Il capy
lIft'krodhallll" .
2752i7 ,C.XXXI.16S, 169aj XXIV. 26Sb-2.69; I{'XXJJ. 261-263).
1 Head 275a as for thl' rest we follow C.
XXIV. 2S7]
THE BAsra REPRESENTATION
After saying "YOlt ilre "You look well",
"Why are you tarrying", "Don't toueh l1Ie", "Go to the beloved who
iK in your heart", ., And go away", one should turn back and make
jokes with words which do not require any reply.
:!80. In ease of being taken forcibly by the dreHs, the hand
or the hair (lit. head) the woman should be softened even aftel'
seeing the guilt [of the beloved].
281. When t:tken by her hand, dre8s or hair the woman
shoulll slowly rele:tse herself from the beloved.
282. When taken by her hair, hand or dress the woman
enjoy (lit. take) his touch in such a way that the beloved
one docs not perceive it.
283. The woman should release her hair [from the
hands of the beloved) by standing first on her toes with limbs bent
ilnd then taking to the Apakranta Cari.
284. Her hail' being not released [due to efforts of the
beloved] the woman Hhoultl perspire on his toueh and say "Hl'1f1-
I I [ I
] ., I "G'" ,,'
et my Hill'S go , anl 0 away.
After hearing the angry words like "Go away" the
loyer (lit. lllan) shoul(l [first 1 go away and then come back to start
talking to her on any pretext.
2tl(j. Then tho wOlllan should make movements of her hand
while uttering "H1I1rt III OIL" , ami dlll'ing these movements she
should speak to him with an imprecation (SILp(J,t/ta).
287. In case of her clothes being taken away [by tae
beloved one] the woman should either l'ovt'l' her eyeR, 01' turn them
(i. e. eyes) to her back and covel' her Nivi.
278279 (C.270271; 1 K. 8oMana, C.
The trans. of 279 is tentative.
:lAIl (C.m: K.XXIU66). 281 (r.273j K.XXJJ.267).
282 (I!.2i4; K.XXll.268J.
(C.27'.; KXXIJ.2(9). i'\P" Nj" X l.sn
284 (U;276j K.XXll.270). 285 (C.2'17; K.xXl1271).
286 (0.278; K.XXJI.272). 287 (C.279j K.XXII.273). .
478
THE NATYASASTRA [XXIV. 288.
288. A woman harass 11l'[' [offending] 10Yer
till he will fall to hel' feet; but on falling at her
look to the female Mes:;enger.
Then the Heroine should embraee the beloved
and with the object of love's enjoyment she joyfully walk
[with him] to the bed. All these should be represented [only] by
songs with a gentle dance.
290-291. When in a play there is any speaking to the sky
depending on other men's speech, whieh relates to 10ve'B pleasures
and the Erotic Sentiment, then the same line of representation
should be followed by a woman.
292. The same Hhould be the rule of representation in
whatever [else] relates in a play to tbe inner ftppartment (harem)
and is connected with the Erotic Sentiment.
Acts forbidden on the stage
2\)3. One knowing the dramatic convention
should not represent sleeping on the stage. But somo need occur-
ring for it one should bring the Act to a clos6.
294-295. If out of any necesBity anyone sleeps alone. or
with anyone, no kiss or embrace 01' any other private acts su('h as
biting, scratching with nails, loosening the Nivi, the pn'sHing of
breasts and lips, should be presented on the stage.
296. Eating [anything] 01' sporting in water and lloing any
act should not be presented on the stage.
288 (0.280; K.XXII.274). 1 Read the passage aH follows: 11[111!
lilt!! j 1!lil
289-290 (0.281-282a; K.XXII.275-276a). I K. reads 290 with some
variation, In it is as follows: 'fhen the woman will tolrrntl' (lit.
accept) the touch of thfl beloved and holding him up pl'oprrly [from the
feet] lead him to the blod..
(0. K,XXII.2761l277). [ Emend
into The trans. is tentative.
2 Read Ma'Det kafJ1e (6ila'IJet /earya, C. na1et Rav1t. K).
292 C, 284; K.XXII,278). 298 (C.285; K.XXII.279),
?94-295 (C.285-287; K.XXIl.280-281). 1 This shows the high moral
toue of the Indian theatrical art. 296 (C.288j K.XXII.282).
-XXIV. ] TEE BASIC REPRESENTATION
29i. As a is to be witnessed by the father and the
son, the mother-in-law and the daughter-in-law [all together]
these acts should be avoided.
208. Experts should write Natakas with pleasant and not
very harsh words giving rise to good counsel.
Endearing terms of address for the beloved
Now heur about terms which women in 10vI' :lrp
to usc to their beloved ones when the Union tukes place.
300. Such terms art' "denr" (pl'i!/n), "beloved" (kanta).
"affectionate" (linItn), "lord" (lI(itha). "ma.Hter" (wl'ami7l), "life"
(ii1itn) and "joy" (nanda,na).
Angry terms of address for thp belovrd
311t. In case of angel' terlllR used may be "ill-natured"
"tyrant" lit. ill-doing), "deceitful"
"hostile" (vlimn), "indifferent" (l:i,/,u/nt), "shamelesR" (ni1'laj jn)
and "cruel" (ni.,(hll'l'a).
Endearing terms of addresA
:102. He who doeR nothing nnc1eRirabll', speaks nothing
improper, and always conducts himself nprightly is railed "dear"
(priya).
:J03. He in whose lips or [other parts of] the body no
sign of Union with another woman is visible is called "beloved"
(lian/a).
304. He who even in his anger does not cross words
[with the woman he loves] and does not use any harsh word
is calk)d "nffectionate" (rinita, lit. disciplined).
297 (C.289; K.XXII.283). I Sec above 294-295 note
298 (0.290; K.XXlI.284).
299 (0.291; K.XXII.285).
300 (0.292; K.XXII.286). I BhP. (p.l07, 1. 7-9) has eleven terms.
301 (1.293; K.XXII.287). I BhP. (p. 108,1. 10-11) has eight terms.
302 (0.294; K.XXII.288).
303 (0.295; K.XXII.289). I Of. BhP. p. 107,1.14-15.
304 (0.296; K.XXIl.290).
480
THE NATYASASTRA
[XXIV.305-
30j. He who mnintnins all intcrcourse with a woman by
sweet words (slima, lit. conciliation), gifts ((!.)'tha), providing,
enjoyment, caress and maintinancc, is called "lord" (lliitha).
306. He who is n well-wisher [of his beloved woman], is
nble to protrct hel', is not eon('Pited 01' jealolls, iR always u]Pl't
. . II] " t" ( ,.- l 'n)
on erery ocraSlOn, ra e( mas Pl' all I
:Wi. He who takeR to thl' her! to p!t>HBr the WOnlnll
tactfully by ,pl'ovi(ling I arcol'ding to hrl' nnd
is ('ailed "life" (iil'ita,).
noR. He who is high-horn, pntimt, clerel', kind, nlaRtrl' of
WOI'JR and fit to I,r alllong WOJ1lf'n ralle(] "joy"
(//(l1ldllll11).
:lOD. Thel'e \\'()J'(1s arc n;-;('(I to highten tho ehm'lIl of love's
C'ujoYIl1C'nt. I Rhall noll' of which indicate nn wnnt
of loye. Hcm ahont them.
Angry of allan',s ('xpJainN1
:\1U. Hc who i, (,l'IIPI. impatirnt. ('onrcitrd,
hmgging, girtn to rl'osRing worth ('1111('(1 "ill-nntnl'ed"
311. He who ont of indiscl'etion l'cxtmins :I woman's
movement 01' beats her or uses harsh words to her, is called a
"tyrant" (rlnracli/'a).
312. He who for his, own purpose speakR sweet words
but does not put tlwlll into praC'ticc is rallrd "<leeeitful
31:1. He who oren heing forbid,len to do anything dOCR
that r('ry thing, is ('allpd "hoRtile" (ra1l1il).
305 (0.297; K.XXJI.29l).
306 C. 298; K.XXll.292),
307 (C.299 K.XXII.293).
isjivitcsa, 'lord of Jie'.
308 (0.300; K.XXII.294).
809 (C,30!; K.XXII.295).
310 (C.302; K.XXII.296).
311 (C.303; K.XXII.297).
312 (C.304: K.XXII.298),
813 (C,305; K.XXII.299).
1 Cf. BhP. p. l07b. I. 16-17.
, Cf. BhP; p. 107b, I. 18-19.
I Cf. BhP. p. lOsb, 1, 45; the term here
I Cf. BhP. p, 10Sh, 1. 2-2.
I Cf. BhP. p. l08b, I. 14-15.
I Cf. BhP. p.109b, 1. 4.5.
I Of. BhP. p. 10Sb, 1. 20. p. 109b, I. 1.
I Ci. BhP. p. 108b, 1. 1 Hi.
-XXIV. 821) THE BASIC REPRESENTATION 481
314. He who has gt'een woundH [received from (\ another
woman] and is proud of it find remains silent [in conceit] is called
"indifterent" (vil'upn) 1.
:Jl5. He who approaches the woman more resolutply than
ever even when he is guilty her] and beat's the markR
of slIch a guilt and is fOl'bidden to appl'oach, is called "shameless"
(nirlaJirtl
l

:1[0. He who being guilty towal'ds her tries to enjoy a
woman's cmbmcc hy fol'(,c and does not think of concilating
hct', iH calletl "cruel"
:J 17. TheRe arc the ways of using words to indicate whether
:dover is deal' or not so. Tn diffel'ent cit'cumstfmces
1
one Bhould
usc the opposite [0 these ]1.
:11 N. TheRe should be the rules [of address] in songs with
a gentle danee as well as anything to be expressed in words fot' the
Erotic Spntill1cnt!.
131!). This is the rnle about the representation of incidents
relating to the harem. I shall now describe in detail the rules
rcg:lI'lling tlw go(lrll'RRl's (lit. C'plestial femalcs)l.
in human l'o]rR
Thp of godcb:'lpil iR always brilliant, their mind
iH alwaYR fnl! of joy awl thril' timo iH nlwaYK passed happily
a uti in RportR.
321. Cl'icstial malcR haye no jealollsy, angcr and maliC<'
ill lifo and they no propitiation of their femalrs.
314 (C 806; K.XXlI.300l. I Cf. BhP. p. 10Sb, 1. 14-15.
315 (C.307; K.XXIJ.:lOl). 1 Cf. BhP. p. 10Sb.l. IS-Ill.
316 (C.808; K.XXII.302). I Cf. BhP. p. 108b. 1. 20-21.
317 (C.309; K.XXII.303). 1 'rhat is, in irony
See SD. 107.
" K. reads 317b as if;,'ti'hif'!!1iT 'tiTllt 1Tv<ils;ijfq ifl7.it.
31S (C.310; K.XXII.304). I K. reads 318b as
ii'f
i
!,{.
819 (C.311; K.XXII.307). 1 K. rcpeatR before this 277a find the
following 'lim and XXII. 278 afterwards.
320 (C.312; K.XXII 308). 321 (C.313; K.XXII.309).
61
462
THE NATYASASTRA
[XXIV. 322
When el'lestial wouicn uuite with human beings
they are to assume all the States of a mortal.
323. When eelrRtial women sllstain a fall [from the
hraYPll) due to a em'Rt', thpy lire to be ullitpd with human maieR
an(1 should be approarlwd in a suitahle manner.
[Rrmnilling] invisihlr, Rhe should tempt them with
lll'r "oice and with [the Rcent of] flowers in hcl' decoration and then
revealing herself for a, llloment she (lisappeal'l.
32ii. Infatuation in a play grows out on coming to have
cll'eRROR, garlands [of and letters [srnt by them].
1120. LoYe growing out illfatlHltion will be pleasing, and
that [love] which is natural will Ill-ing about different enjoyments.
327. Being retlu('rd to human existence celestial maieR
should assume all the ",hid I arc propel' for lllen and
should behaye like thcllI.
H28. This should be the pr:ll'ticc in <:onncxion with kingly
Etiquctte in rt'lation to the hnrnm. The Etiquette in relation to
the outRidcl'R will be tl'entetl in l'llICK regarding COl1l'lpZanB (V(/ isika).
Hero ends Chaptpr XXIV of Dharata's
wllieh of the Rppl'csrntation
:122 (O.:H4; K.XXII :110). :12a (O.:1l5; KXXlI.:m).
a"!4 (C.316; KX:\ 1I.:1l2). 1 H":Hl pralob/w.1'rt (puln Ma11e/, K.
"Iruj>i ya Ma1}ct, <'.\
:1% (0.:117; K.XXJT.31 n.
:m (0.319;
(C.:l18; K.XX([.314).
:;2[< (0.320; ;K.XXIU16).
CHAPTER TWENTn'IVE
DEALINGS WrrH COURTEZAN8
TIl<' definition of a Gallant
1. One excelling 1 in all the (kllla) iH
called a Gallant (t'aisi!,n) 01' one is 80 calle<1 becauHc of his dealings
with the courtezunR
2. A lUan who IWH learnt all the arts (kala) 1 and is an
adept in nil the cmftA (silpll) 2 nnd can [besideR] captivate the
heart of women, is called a GallantS.
, Qualities of a Gallnnt
3. His thirty three [charactcristicJqualities lIrc briefly of
three classes: physical. extraneOllS (ahal'!/n) and psychological
lit. natural).
4-7. One who iH well-vor,<etl in the skilled in arts
and well formed, pleasant-looking, powerful, posseHsing self-
l:Olllll1ltlll\, desireablc age, <Ii'ess and pedigree, i::; friendly
1 (C.l; K.XXJll.1). 1 ThiH is [In instance of folk-ctymology.
Vatscsa the base of the participle should have given rise
to and not to vaiGika, 8ee BhP. p. 1U6, 1-10.
2 These lire g011crally consid0red to be sixtyfoul' in number.
Viitsyayana. KS. 1. 3. 34. Bllt the .hins have their number lIS
scventytwo (8eo Amulya Chandra Sen, "80cial Life in Jain Literature,"
Calcutta, 1933. pp. 12-15).
3 This etymology is rather sensible. j<'or vesa (residence of courte-
zuns) is connected with vcsYii (woman who is available for all the
IlIcmbers of the tribe or the settlement).
2 (C.2; K.XXIII.2). I See above 1 note 2.
2 The word kala is synonymou; with si/pa. For the most of
the sixtyfour items included by Vlitsyiiyulla (J.c.) arc nothing but
crafts. But when the two words are used' togethcr in a sentenco
s ilpa may be taken in the sense of 'craft' only.
a Another nallle for vaisika (Gallailt) seems to be vi (a. See K8.
1.4.16; SD.SU and also XXXV.74.
3 (C.3; K.XXIll.3).
4-7 (0.4-7; K.XXIIU-7). ) Sec BhP. p. 106,
484
THE NATYASASTRA [XXV. 8
sweet-telllpered (madhllra), munificent, patient, free frolll bl'flgging,
fcftrlc8s, accustomeu to use sweet worr!H, clever, prosperous, clean
[in his habits], expert in the pratt ice of love, honest, able to act
suitably to time and place, speaker of JlO) pitiful words, accustomed
to speak smilingly, eloquent, careful, Rweet-tongued, greedless as a
partner, full of faith, fit'ln in rCiiolve, withont tl'ust ('ven in accessible
women and lut8 a sense of self-respect, is called a Gallant.
S- [According to another authority] his six
qualities nre : that he shonld be devoted [in his love affail's], clean
[in his habits], self-possesRc(l, hone,!., intelligent anti able to talk
on variod topics (citl'1iNddhli!/i)l.
The female
9-10. A wise woman, femalo it i'emal(! or
a wOlllan of the stage
l
, an intelligent wom<ln, ;t female 1J0ighbol1I', a
female friend, a maid-scrvant, an 1l1llll<l1'l'ied girl, a ('ral'h-\voll1:tn
2
,
a It nun 3 ot' ;L female fortllne-teller [('an be employec1
as] 11 {duti)40.
Qualitif's of till' l\1e,sl'llg01'
11. A wise per;;on ,l[(mld lll'\'('l' cng;lge as;1
any persolls (lit. male ot' femall') who iH j"Hlli"h, IW;1I1tii'1l1, wealthy
or diseased 1. .
12. Any WOlUtIll Hilouhl be ('ngag(:d ;IS a when
she knows the art of encouraging [thn bdoved J, i, :lW('et ill her
word,;, able to act Rllitably to the occasion, chal'lning in het'
behaviour and is able to keep Rect'ets 1.
S (C.8; K.XXlIl.s). 1 H('ud Su 'fji1 i'fl/< ']'IIT '1m:
C; lind Ag;. have the COJ'l'('ct l'<'ading)'
9-10 (C.9-IO; K.XXlII.U). 'Ag. (p.4S0) rail.gopajivf1li
as rajakastri.
Cf. DR II. 29; SD. 157 8eparatc the words krirll
3 A Ilun of the heretical like the Buddhists. SI.'C note 4 below.
, Cf. Ki:l. V. 4. 2:3.
11 (C.ll; K.XXIlI.IO). 1 K. J'catlH 11:1 tliffclpntly. Cf. BhP.
p.94 (1.9-10) .
12 (C.12; K,XXllJ.l1). 1 Cf. KS. 1.5.28; i::lD. 158.
.XXV.20 DEALINGS WITH COURTEZANS 485
of the female Messenger
13. She should encourage [the beloved one] by mentioning
the various ways of seeing [the lover] and should communicate
the exact words [of the latter] and describe his condition 1.
14. Besides this the MesRcnger shonld make an exaggerated
statement about his birth, wealth and [capacity for giving] lovc' H
enjoyment and say what [various] should be done [to facilitate
the Union]!,
15. The Messenger should in various ways bring about for
the man an Union with a woman who is in love for the time
or a beloved woman who has been angry with himl.
16-17. The first meeting of men [with women] may be made
on a festive occasion, dl\l'illg night, in a. park, in the house of
:t kinsman, a 01' a femalC', 01' in a dinnel'-party
(nimnnt1'a1.!a), on the pretext of seeing a biek pertion, or in an
em pty hOllse! . .
18. After meeting a WOlllan in one of these waYR one
should ascertain froll1 diffl'rent marh whether she is friellilly or not.
The woman overcome with love
1!l. The WOtll(,n who from hOt nature is smitten with love
amI does not conceal her :LmOlO\l.' beha vioul' [at the sight of the
beloved] is said to be "overcome with love" (IlMLr/analltl'li).
'l'hc attached woman
20-2:1. When a women speaks of her loyer's a [good] quali-
ties to her friend, gives him her olVn money, his ft-iends,
hates his enemies, seeks to unite with him, becomes much plea SO!]
to see him, looks pleased after a talk about him, sleepH after he has
slept, kisses aftor he has kissed her, riH()s [in the morning] before
he up, puts up with suffering [for his RflkeJ, remain the same in
13 (C.l:!; K,XXlII.12). 1 ()f. K8. I.5 TIh!'. p. 91, 1.41a.
14 (U 14; K,XXlII.13). 1 Cf. KS. I. 5.28, BbP. p. 94, l.ll-13.
[5 (C.l5; K,XXIlJ,14) T Cf. BhP. p. 94,1.14-15.
1S-17 (C.lS-17; K.XXllI.15-1G). 1 Ag. (p. 480)
2c. Hhl'. p. [),t 1.16-19.
18 (C.18; K.XXIlI,m. 19 (C.l!); K.XXIlI.l8).
20-23 (C.20-23; K.XXIII.19-22). 1 Sec Bltp. p. 115, 1.28.
486
THE NATYASASTRA
[
happiness and miscry and never becomes angry, she is said to be
"attached" (annmkta)1. These indicate bel' characteristics.
The hostile ,voman
24-27. The characteristics of a hostile woman are as fol-.
lolYs: when kissed wipes off her mouth, speaks unpleasant
words, becomes l1ngl'y even when sweet words have been spoken to
her, hates his praiseR his (,HemieR, lies down on the bed
with her baek tlU'ned against him, goes to bed first, is never pleased
even after it great deal of honour [has been shown her], never puts
up with suffOl'ing, becollles angry without any provocation, does not
look at him 01' greet him. The woman who betrays these signs
be marked as "hostile" (I'imkta).
Winning back of heart
28 2a. [The following llIay lead to] the winning
(lit. taking) baek of 1Y0ll1en'" heart
l
: constant effort [in this direc-
tion], display of wealth, of good-will, proposal of giving
monoy2, [aetu:llly] giving giving up the service of l\1cssel)ger
(lit. intervcntion)3 :lnd tmnfCl'l'UIll:C of ilttadllncnt
Causcs of hORtility
:W31. A Illan 01' iI WOllliln becolllcH to tho lover
dlle to poverty, sicknc,s, llIiHet'Y, har:illllc:;", wilnt of leaming, going
abroad, o/Iundc(j cxC'c"sivo greed, [of
good con\luct], coming bark late [at day or night] and resorting to
undesireable acb
l

wiuning women's hearts
In cOllncxion with love, one's acts should be capable
of winning the heart (lit. attachlUl'nt) of women. Due to such acts
24-27 K.XXIH.2320:l). I UhP. p. 116. I. 1-5, J3, 6, also
7-12, H-JD.
2829 (U.2829; I Head 28a as

2 Ag. (p . 1s1) ('xplaill!; :Ii fullows: "lfillllllsi!\1l "qil)Ill:.
:1 Urad pl/II,ladhillam fo[' 71yad/,iNmimt, C. vyadhito yah. K.
.. Ai:(. (p. B t) cx:plaiui this II' "T'lI!lojt Cfi'llifl{.
aU-:Jt (U.:lOBl; K.XXlU.U8b-3IJa), I Ufo BhP. p. 117. I. S-ll.
CC.32; K.XXUI,'IOb-3h).
-XXV. 42] DEALINGS WITH COURTEZANS 487
It woman Illay be kept out of anger an(\ even if angl'y llIay be
pacified 1.
R3-3fi. A covetons woman should be won over by [making
her] a gift of money, a learned woman by knowlcllgr of a
dever woman by Rport.fnlncRR, a RenRitive woman by acting (0 her
desire, a woman who man hy Ktol'iPA to her liking, a girl
helow sixteen (lJaIa) by a of n tCfI'ified woman
by cheering her up, a proud woman hy servile attrnoanee nnrl a.
nohle lady by the practice of artH 1.
The three typcs of woman
f
36. Women, are by IHIt.ure of three e1aRses: superior,
midllling and inferior.
Tho s\lp0l'ior womun
37-39. The woman who remains nnperturbed when 8he has
heen offended, does not use har,h wOl'lh to her beloved, has a short-
lived angel', P08S(,RSCS skill in artH anll ('rafts, is deRircd by men for
her high birth, wealth, capacity fOI' giving enjoyment and the likr,
is an ('x port in the aets of lo\'o (!.'arrw./(wll'lI), is honest, posseSHes
physical charm, Lecomeil angry only when there is a [proper]
cause, RpcakB without malice and knows the proppr occasion [for all
is of the Ruperior (II t/aJ/liJ)l,
Tho middling woman
..to- H. Tho wOl)lall who tl('sir('s men and deHil'ClI by men,
i8 in the of love, of her is overcome with
malice and haR a sho\,t-livl,d angel', iR prowl, aud ran he pacified in
a mOll1l'nt, is of the miil(lling dasK (ma.rlhyaIi 1a)1.
Thc inferior WOlllan
42. The wOlllan who is angry without a suitable eanse, ill-
natured, vety proud, fickle, 1\(1l'"h and I'elllltills angl'y for a long-
time, is of the inferior class (rldhama)1.
-------------- -
I Read 32b. as yena ca prjyate otc.
33-35 (C.33-35; KXXIII.3115-33). I K. 54a.
36 (C.36; K.XXlII.34).
37-39 (C.37-39; K.XXlII.35-37). I Cf. BltP. p. 102, I. 15.
40-41 (0.40-41; K.XXIII.3S-39). I Of. BhP, p. 102, 1.6-9.
42 (0.42; K.XXIII.40). 1 qf. BhP. p, 102,1; 10-13.
488
THE NATYASASTRA [XXV. 43
Tho foul' stages of woman's youth
43. The youth of women when they IUlve tasted love's
plcaR{lrcR is manifested in fonl' through drcRseR, limbs and
thpir Jllo\'emrnts ;1S well ;1S [inner] qualities
1

The primary youth
H. The primary (1
'
1'l1Iltallla) youth which has;111 rnthll8i
aSlll for Fexnal ads, is rharnctcrist'd by plump rhepkR,
hips, lips and firlll breasts whirh arc conducive to (lit. charming
in) love's
Tlw srcondnry YOllth
45. 'r1Je secondary (dirli!/Il) youth which affords the best
pleaRnre of love is charaeterised by full and round limbs, plump
breasts and Rlcllder wnbt
1
.
The trrtiary Youth
4(j. The tertiary (Irt/YIl) youth whieh creats the utmost hrii-
lianec [in women ] full of all kinds of beauty, exciting sexual
desire and is m:Hldpning and riel! ill variolls qualities I,
The youth
j7-4R. quartcnfll'Y (wtf(J'thll) youth which is tho enemcy
of pi (':1 ,lll'P, com!';: whell the primary, the secondary anti til<!
tprti:ll'Y haye gOl1e by [one artel' another J. It iH chamc-
hy r('duced phy,ieal ehal'lIl due to Rllllkpll (lit. pair!) chrpkH,
\\'n1l !:tel;: of for sexl1al ads
l

TI .. lliwiotll' in tho primary yo lith
,i!) A ,,'OIlI,1ll ill her first youth is to lin known :I" one who
(':Il1not take 1ll11l'h i, neithrr pleasctl or tliRpleflsed with her
rival" (fe111ale;;), anll attaehrd to of mild qunlitieRl,
Behaviour in the Hecondary youth
GO. A WOlll:ln in her SCrOll(l:try youth takes offence lightly,
4:3 (C. 43; K.XXIII,41). 1 Cf. BhP. p. 103, I. 10.
4-t (C.44; K.XXlII.42), I Cf. BhP. p. 103, I. 11-16.
45 (0.45; K.XXlII.43). I Cf. BhP. p. 10i, I. 21l.
46 (9.46; K,XXllIA4). I Cf. BbP. p. 104, 1. 13-14.
47-48 (C.47-'!8; K,XXm.4546), I Cf, BhP. 105, ]. 1-6,
49 (0.49; K,XXlII.H). 1 Cf. Bbl', p. IOt, \. 2.6.
5b (0.50; K.XXlU.48).
-xxv. 56 I DEALINGS WITH COUR'lEZANS 489
and her anger and malice is also not great, amt in her anger she
remains silentio
Behaviour in tho tertiary youth
51. A woman in her tertiary youth is an expert in love's
plcaHllres, full of malice for her rivals, haR many qnalities and
not secretive about her proud acts 1.
Behaviour in the youth
52. A woman in her quartenary youth is capable of capti-
vating a man, has no malice to her rivals even if she is an expert
in love's enjoyments, and she always desires to remain unscparated
[from her beloved]l.
Five typcs of men
fig-fi!, Thrse are the folll' stages of youth for the Hrroine
in a drnm:!. I shall now drsclihe the typrs (lit. qualities) of men
with regrl\'(l to thrir love-affairs (lamilallll'll)l. With reference to
their dealings (lit. application) with woman they are of five typeR,
sncll flS "exc('Ilent" (mill/'a, lit. elevel'), "superior" (nttmnll,),
"middling" (madh!frwla), inferior" (at/hama) , and "too old"
(Ra7!!/I'/'a /'pld hn) 2.
The cyccllcnt man
G5. A man is to be known as "excellent" when he is sym-
pathetic, able to endnre hardship, skilled in pacifying angor in con-
nexion with love, expert in sexual acts and is honest.
The Aupcrior mall
GG-::i7. A Illan is to be known as "superior" when hr. dO(>R
not do anything displeasing, is exalted (tlhi1'orlattn)1, sweet-tongllr.ll,
dignified, and knows thoroughly the mysteries of [humanJ feelings
(lit, heart). One who is swcet [in mannrl's], munificent and frrlB
love, but is not overcome by passion, and when insulted by a woman
gets disgusted with her, is [to be hnown as] a "superior" man.
I Cf. BhP. p. 104, I. 13-18.
51 (C.st; K.XXIII.49). 1 Cf. BhP. p. 105, I. 1-4,
52 (C.52; K.XXIII.50). I Of. BhP. p. ID5, I. 8-10.
,')3-54 (C.53-54; K.XXlTI.51). 1 K. omits 5ll.
2 Cf, I3hP. 91. I. 201f. 55 (C.55; K.XXIJI.52).
56-57 (C.56-57; K.XXUJ.53.). I The term is uS,cd ill lab'r ehlAsifica-
tiolls of Herocs. Cf. DR. II. 3-611, RhP. p. I. 2-3.
62
490
TBE.NATYASASTBA
[XXV; 58.
The middling man
58. A man who takes in every way the [emotional] stateR
of a woman with ralmness and is disgusted with her on discQvel'ino'
"
any fault of her, is to be known as "middling".
[In. A man who makes a gift in propel' time, does not hare
much angnr even when he is iURultcd, uut on discovering her act of
desccit gets disgusted with a woman, iH to be known as "middling". J
The inferior man
60-61. A Illan who shamelessly approaches a woman with
a stead['lst love even when she has insulted him and loves hoI'
more in spito of a friend's adviee to the contrary even
when he has come to know directly of her deceit, is to i)e known
as "inferior".
The too old man
G2-G3. A man who dol'S not care for fear or angel', is
foolish, natl11'ally inclined to women
I
(?), obdurate, sham?lcss in
aets of love, rough in love-quarrels land] in striking connected
therewith, a laughing stock (lit. play thing) of women, is to
be known as "too old".
Psychological approach to women
(14. Women are of different nature
l
and their are
Hence a wise ,man Hllouhl know them prop<'['ly
hefol'p approaching them.
(ir,. A man Rhonhl <iPrll with it woman according to tlw
Science of El'otics (l.all/alanttil) after he liaR m<'<lsmcd her feclingR
through different acts.
GG. Such aets are: Conciliation (siim(t)l, Gift (pradana =
58 (0.58; K.XXIII.54).
59 (0.59; K.XXIII.55). I K. reads this as follows: l'flil.m
f.I'" 'lri'l'llll{ 1
6061 (0.60-61; K.XXm. 56-57).
62-63 (0.62-63; K.XXIII. 58-59). I Read prak(tipyasakta-!Jh(ivr/x ca.
64 (0.64; K.XXlIl.60). I K. nrmfililu, C. .
65 (0.65; K.XXIII,6I).
66 (C.66; K.XXIII.62). I Cf. BhP. p. 2l4. I. 7. These terms hllve
been from the
. xxv. S]
DEALINGS W.ITU OOUllTEZANS
dana), Dissention (bheda), Chastisement (darJda) and Indifference
to women.
Conciliation
67. Expressing one's attachment by saying "I am yours",
"You are mine", "1 am dear to you and you are dear to me" is
called Conciliation
Gift
68 Giving wealth, according to the measure of one's
property as occasions arise, and concealing the salllC under some
pretext is called Gift (pradal1a;, dana}l.
Dissention
69. Showing the faults of one's deal' one by tiOtlle device is
DiHsention (iJheda).
Chastisement
RCH training onc' K movement or beating one iti called Chasti tie-
lllcnt (rla'l!r/o,).
Application of Conciliation and Gift etc.
70. An indifferent woman is to be re.united by Concilia-
tion, a covetous one by giving wealth, and a woman attached to
another pcrson should be won over by Dissention.
71. When from her indifferent attitude a woman begins to
behave wickedlyl she should be chastised with slight beating,
and rcstraint of her movement.
72. If after an exaustive adoption in due order of means
as Conciliation and the like, a woman does not come under
control then a clever man should be indifferent to her.
Reading a woman's heart from her behaviour
73. It is from the expression of her face or from her eyes
01' from the movement of her limbs that one is to know whether
11 woman hates a man or loves him 01' is indifferent to him.
67 (0.67; K.XXm.6S).
68 (C 68; K.XXIII.64).
69 (0.69; K.XXlII.65).
71 (0.71; K.XXIU.67j.
yanalll
72 (0.72; K.XXIII.68).
r 'fhat is, in joys and sorrows (Ag.).
70 (0.70, K.XXm.66).
I Ag. explains this as dcsiinlara[pa]liiYii.
73 (0.73; K.XXIIL69).
492 THE NA!rYASASTRA [XXV.7f,
A courtezan's mercenary treatment of men
n Courtezans except when they belongs to gods or the
king aro always available for lUoney to a lUan whether he is
doar to them or not.
7.j7u. [To them] n man [giving money] beoomes dear even
if they hated him before, becomes dearer than ever if she already
was dear to them, appears to be well-behaved even if he is wicked,
and to be posRessed of good lllany qualities even if has llone.
On seeing him their eyeballs dance [in joy] and they smile as
it were with eye8, and due to silllulation of [proper] feeling their
faces put up a pleasant colour.
77. Hence after understanding the feeling or its waut ill
womcn one should approach them according to the methods men-
tioned in the Sciencc of Love (kallwtantra)l.
78. Passion arises in them after they havc been tl'catc(1
properly or they havo been scparated after tho Union just as
fire eomos out of the wood.
7!l. This is the tmrlitional method of dealing with women
so far as Gallants are con(:erned. This shouhl he utilised in suit-
able measlll'O in tho Nataka or the Prakaral,lu.
80, 'fhi, is the method of dealing with to be
followed by the experts. N ow abuut the Special Re-
presentation.
Here eIlllH the Chapter XXV of Bharata's
which treats of the Extemal Manners.
--------_. __ ._------_._--
74 (0,74; K,XXllI.70),
75-76 (C.75-76; K,XXlII.71-72).
77 (K,XXIII.743). I 0. omits this passage which is mN'ely a
VUrillllt of 65 (K,Gl).
78 (C.77; K.XXIII.74).
80 (0.79; K.XXlII.76).
79 (C.78; K,XXlII.75).
CHAPTER TWENTYSIX
SPECIAL ATION
Special Representation
1. The peculiarity (I!ihn) which [i" required] from time
to time one in the use of Gestures anll WOl'lb etc!, and which has
yet been left unmentioned is known as the Hcprcscntation
(citrauhiMya)
2
.
Day, night ami season etc.
24, To indicate morning and evening, clay and night,
seasons 1, extreme darkness, wide expanse of water, directions,
planets, stars, and anything that is Hlightly fixed, one is to make
the following gestures: two hands l'aiocll with Patiika
2
and
SVllstika I gcsturcs, Udviihita hcacP looking upwards with various
eyes [fitting each occasionJ.
Objects on the ground
5. With same
l
gestures of the hand, and of the head to-
gether with th0 eyes looking l10wlIwards one to indil:ate [objrdH]
resting on the ground.
Moonlight, happinc,s and air dc.
U, To indieate moonlight, happinc,;:" :Iil', Il,LVOlll' (faw) and
sUlcll, one is to usc gestures forrcprcsenting tonch anclhonipiliation.
1 (C.1; KXXV.l). 1 AilgiJdyablllitayasj'uti'a, K (.-lilgabhittayana-
syeha. C.).
2 Ag. (p. 487) makcs a scholastic disClission on the jnstilication
of the term citraohinaya. But this docs not to bc convincing.
The term seems to hint lit the pictorial effect of the direct 01' indirect
nse of gestures and may be explained abhinayasaya,
See XXIV.l note.
2-4 (C.2-4; K.XXV.2-4). 1 K. read,; 3b as .jj";.:t O>.1lill'l ijillili'l ctc.
and 4 as 1I1lif. I
Sec IX.17-26 3 Sec IX.134 4 Sec VIII.27
5 (C.5; K.XXV.5). ) As described above.
6 (C.6; K.XXV.6).
494
THE NATYASASTRA [XXVI. 7-
The sun, dust and smoke ete.
7. To indicate the sun, dust, smoke and fire one is to cover
one's face with clothes. And heat of the ground and heat [of any
other kind] are to be indicated hy 11 desire for a shady place.
The midday sun
8. The lIlidday sun is to be indieatell by looking upward
with and the riHing or the setting sun by a represen-
tation of the idea of depth.
Pleasant objncts
n. To indicate anything plea;.;ant and happy, one is to UHe
gC8tures for rcprc8entiog the tou('h of one'B body together with
horripilation.
Sharp objectA
to. And to indicate thiugH of "harp nature one is to use
gestures for representing tonch of one's limbs and uneasiness and
to narrow down his mouth.
Del'p antI otalt(d feeling
11. To im1i('atc these in ('onnexion with lleep and (!xalte(1
{('dings one is to have the i of the limbs and a dislJlay
01 pride ami conceit.
N 0cklacc lUlU etc
12. To imlieate a n(,l'klacc and a Howcr garland one is to
hohl the two Arab hanus
l
in the place where the throad iH
held and then to spparate them from the
2
position.
T he idea of entirety
13. To indicate the sense of "entirety" one is to move on
the index finger, look round and press the Alapallava hand
l

Audible or visible objects
14. To indicate anything audible or visible whether it re-
lateR to the speaker or to the perBon spoken to, or to anyone else,
one shoulll point to the em's and eyes respectively.
7 (C.7: K.XXV.7). I Rajo-dllit1nunalul!lS !atlta, C. (rajadharma-
nilau lalka. K).
B (C.8; K.XXV.8).
11 (C.ll; K.XXV.ll).
12 (C.12; KXXV.12).
]3 (C.13; K.XXV.l3) .
. 14 (C.14; K.XXV,l4).
H (C.9; K.XXV.O).
I Sec NH. IX.88-1J 1.
1 NH. IX. 46-52.
r Sec IX. gO.
10 (0.10; K.XXV.lO).
Sec NS. IX.134.
XXVI.22] SPECIAL REPRESENTATION
495
Lightning and shooting stars etc.
15. Lightning, Rhooting stars, thunder, sparks [of 6re] and
flame should be indicated by. mlaxt'd limbs and vacant eyes.
Repugnant objcets
Hi. 1'0 indicate anything repugnant to oneself, one is to
practice
1
and Parli.vrtta ( . Parivartita)2 Karm:wH of hantls
:lnd to bend the head and to look obliquely, or to avoid contact.
Hot wind and heat etc.
17. 'fa indicatc hot wind, heat from the sky, warding off
of dust, insects Dnd bees one should covel' one's face.
LionB and bears etc.
18. Lions, bears, monkeYR, tigers and other beasts of prey
should be indicated by holding Padmakosa
1
hands downwanlB
in the form of a SVflstib.
Worshipping BuperiorR
19. 1'0 intlic:tte worshipping the feet of the superiors (qn1'1b)
one ShOllhl hold Tripntuka
1
and Svastilm
2
hands, and taking up of
the goad 01' tllfl whip should he indieated by Svastika and
[mukhaJ8 hamk
NllUlcralR
1. l'\ulllrrals from one to ten should be indicated by
fingers [of rqual number]. Multiples of tens, hundreds and
thousalHls are to he indieatccl by tho two Pataka
1
hands.
:!2. Any nUllll]('l' ahove ten should be iUlliC'atrd in<1irectly
and along with the general mcaning of the scntence which
includes it {?}.
15 (C.15; K.XXV.l5).
16 (C.16; K.XXV.16J. 1 Sec Nfl. IX 208.
17 (('.17; K'xXV.17).
18 (C.18; K.XXV.l8). 1 Src NH. IX.SO.
2 Nfl. IX.210.
19 (C.19; K.XXV.19). 1 Src NH. IX.26:\2. 2 Sec Nfl. IX.134.
3 Sec NH. IX.61-64. 20 (C.20; K,XXV.20).
21 (C.21; K.XXV.21). 22 (C.22; K,XXV.22).
496
THE NATYASASTRA [XXVI. 23
U and banners ete.
23. \ ancl bannet'-staffs and the different
wrnpons he indicnterl by reprosentation of the holding of
nny staff.
Memory nnd me<litation etc.
2,1. Memory ana meditation should be represented by in
clieating attDntion, downcast eyes, slightly bent head and the
left hanrl with the 1 gesture
2

Height
:.!5. Height
1
should be indicated by the representation of
o/f."pring through making the head Udvrihita
2
and the hamlR
3 on the right ,ido,
and cr,Ratioll etc.
2(i. The idl':1 of pa!it, dcstrnetion 01' listrned,
is to hl' indicated hy C':lrrying frolll the left the Arrila
1
hanel on the
heael.
The alltumn
27. Autuilln :illOUld be indicated by representing a compo
of all the RPll."l'S, tranquility of all tlw directions and a view
of diffcl'cnt
The early winter
28, Early wintrr (hl'i/lrmtrl.) Rhoulcl be indicated by the
snpPl'ior and tlw Illidrllilld: throngh narrowing down
their limbs and :;o(,king the Slln, UI'C and [warm] clothing.
2f'. The should be indicated by the inferior eharncter8
through gl'Oaning (/.'uJ'W(/.) clicking (sit/cara) and trembling of
the head and the lips and the chattering of teeth.
23 (C.23: K.XXV.23). I dlalra K. (cz'lra. C.)
2,t (C.24: K.XXV.24). I K. 24b as 'IiIIl'<i1i 111
3 Soo IX.lO!),
25 (C.25:" K XXV.25). 1 K. reads this eonp\t't as ,mf,ri f'l1{: Wi""
I
2 See NH. VIlI.27. 3 Sec NH. IX.105.
26 (('.26; K.XXV.26). I C. ' Seo NS. IX.46-52
27 (0.27: K.XXV.m. 28 (C.28: K.XXV.28).
29 (0.29: K.XXV,29),
-XXVI. Su 1 SPECIAL REPRESENTATION
497
:10. The superior charactcrs also llIay soillctimcs indicate
wint!'r in manner if dUfl to arcioent thry are in a miserablp
condition.
'fhe winter
31. One is to indicate the winter hy the rcprcsentation
of smelling the flowers, drinking wine
l
and of feeling an un-
plpllRllnt wind.
The spring
The spring Cnasanta) is to he indicated by the represen-'
t<ltion of acts of rejoicing, enjoyments and festivities and a display
of various
The Bummer
33. The summer is' to he indicated through the repre-
,rnMion of the hC'ut of the earth, fans 1, wiping off sweat and
f('pling the hot wind.
The rains
::1-. The rainy season is to he indicated through
ihe l'O[lrelientation of the Kadamba, the Nimba and the
flowers, greC'n grass, lndragopa insects and gt'OllpS of peacocks!.
1'he raiuy night
:15. A night in the rainy season
1
should be indicated by
ihe loud sound of the masses of douds, falling showers of rain,
aq well as lightning and thunder.
Seasons in gcnprlll
3(). Each soason should be Indicated by the sign,
nctivity 01' scenery which is propel' to it or whatever is [specially]
desired or uvoided (lit. undesired) in it.
30 (0.30; K.XXV.30).
31 (C.31; K.XXV.31). I Emend madhudananl into madhuputtii!;
Sf>r V. 5 and 10. 32 (0.32; K.XXV.a2).
K.XXV.3:1). I :savijaflailh K. (suvijanatlh C).
34 (0.34; K.XXV.34). I K. 34b as ctc.
35 (0.35; K.XXV.35). I O. K)
36 (C,36; K.XXV.36).
498
THE NATYASASTRA [XXVI. St.
:W. These seaRons according to the necessity should be indi-
cated with proper SentimentAl as being full of happiness for those
who are happy, and full of distrrss for those who are afHicted.
The States
38. The Statrs (hhara.)1 should be indicated hy the re-
pres('ntation of the Determinants (vi 11 ham)2 and similarly the
are indicated (lit. aecomplished) by the representation
of Consequen'ts (flll1(,hltal'cr,)n.
The Determinants
39. Acts connected with the Determinants should be re-
presented hy llleans the and the States relate to
the feeling of one's own and the Determinants relate to an
exhibition of another perRon [in relation to the selfF.
10 A preceptor, a. friend, an affectionate companion (sak/ta),
a relation from the u10ther's or the father's side who lIlay come
and be a annonnced
1
[proprrly] is ('ailed a
The Conseqnent,
41. The honour shown to him
1
by from the 8e:lt, by
offering him presents (al'lfhya) and a seat and by using respectful
wordR, iR called the (annlihaca).
a7 (0.37; K.XXV.37). J. praju'i,filu yathurasam, C.
vt'rahiinzetan'K).
38 (C.38; K,XXV.:lil). I K. bl'forc this til(' following: '-Ii[
1I Ifillrn 11'111.11{. (He illlbul'<l
with a pleasnnt 01' otherwisc, looks nndor its influence ('\,crything
liS permeated with it). Besides this K. reads 38 as follows:
f"'iII'II1,! I For the def. of omJ.1la see
NS. VII. 1-3. See NS. VII. " NS. VJI. 4-5.
39 (C 39; K.XXVJO). lAg. (p. 491) I'cads iitmlmteOhavanam foJ'
f,tmubkinayallam in the tpxt and explains the Ramo as \1111 '111111-
.. 1 "IlTi'IlQ''Ull! 11111 \I'Ifli
If.fiII I "'Ilir: ifot if 'tI 1I1i''Ii, !111'fitf1! 1I'1i'ii'll lJ1!Iii it
\llIf!!.
40 (0.40; K.XXVAl). 1 Ag. (I.e) seemR to read iivtsya for iivedya.
ThiR is only all (' xamplc of OM of tho many which mfly
lead to one of the many States .
. 401 (C.41; K.XXV.42). IOne?f the persolls mentioned in 400 above.
XXVI. 50 1 SPEOIAL REPRESENTATION
499
42. Similarly in other cases also, from an observation of
different incidents [in a play] one should find out the Determinants
and the Consequents from actions [related to them].
43. Reply to a message given to the Messenger is [also]
called a Consequent.
44. In these ways the StateR, the Detel'minants and the
Consequents are to be represented by men as well as women.
Genoral directions for tho representation
45. In the representation of their olVn nature" men shoulll
assume the posture (sthana)l and woman the Ayata 2 or
the Avahittha
3
postures in relation to [appropriate] actions.
4H. [But J there occurring special need for the same, other
postures may [also] be introduced for the representation of different
States in special (lit. different) types of plays. "
Men's and women's efforts
47. Efforts of lIlen should be chal'aderised by patience as
well aH sportive limbs, and those of women by delicate Anguhal'lls.l
Women's movements of limbs
48. Women's movement of hands, feet and other limbs
,Iwuld be graceful (lrdita) while men's llIovement of tihollld
be restrained (rlltim) as well as vehement (wldltata)l.
Meaning! of words
4"9. RepreHentation of the meaning of words are to be made
differently by men and women. I shall exphlin them in. detail in
connexion with the States and the Consequents.
Joy
50. One should indicate one's joy by embraeing the
[other'sJ body, by smiling eyes as well as by horripilation!.
42 (C.42; KXXV.43). 43 (C.43; K.XXV.44).
44 (C.44; K.XXV.45). 45 (C.45; K.XXV.46). 1 See NS. XI.5l-52.
See MS. XIII.157-170. See NS. :'lJt'd. 46 (K.XXV.47).
47 (C.46; K.XXV.48). I Sec MS.IV.170tf.
48 (C.47; K.XXV.49). 1 K. adds after this one additional
hemistich. 49 (C.48; K.XX.V.50b-51a).
50 (C.49; K.XXV.51b52a). 1 tatllo/tukasana, K. (tatkatpakatMltt).
500
tHE NATYASASTRA
[XXVI. 51
51. An lIctress (nat/tiki) should indicate joy by sudden
horJ'ipiiation, tearful eyes, smiling words and a loving attitude.
Anger
l>2. One should indicate anger by upturned red eyes, biting
of lips, [u!,>cp) breathing and trembling limbs.
Jealous Anger of \VolDen
53-5 t Jealous Ang('l' of women should be
indicated by tearful eyes, touching of the chin and the lipA,
Mhaking of the head, knitting of the keeping silent.
curling of the fingers, leaving of garlands and and
the Ayata postUl'C (sfhal/.a)l.
Men's Borrow
55. Men's sorrow should be indicated by much breathing
alld thinking witJI a downctlRt face and looking up towards
the 8ky [in It pensive mood].
WOIDCIl'S sorrow
rl6. Women's should be indicated by weepingl,
sighing, heating the breast, falling ou the grollnd aneI striking
[the hody against] the ground.
57. Crying
l
which has been mentioned beforu as at'ising
frolll t('al's of joy and fl'om jealousy should he appJic(! in oaHe of
women anti of the inferior male characters.
Men's fear
;is. Men's fear Ilhould be indicated by auts of constcr;Hltion
and of dismay (n,(/'('!JIl), fall of weapons [from
thoil' handH], of ticlf-contl'oi and the like.
fear
Women's fear shollid be indicated hy eyes with
51 (C.50; K.XXV.52b53a). 52 (C.IH; K,XXV.53b.54a).
:i:\-51. (C.5253: K,XXV.54b5611). 1 XIII.157.170.
5:i (l'.54; K.XXV.561J 57a).
56 K.XXV::'7b-58,\). 1 fl.ditail! Hilasitail! (r/ltlifllill ca s1IIi
''us, C. mdttail! sVaSanall!, K,).
;,7 (0.56; K.XXV.58b.59a). I flldt1am, K. sahi/am, O.
M (C.5;; K.XXV.59b.60a).
59-60 (0.58.59; K.XXV.60b-62a).
_XXVI,67]
SPECIAL REPRESENTATION 501
moving eyeballs, throbbing and shaking glancing sideways
for fear (lit. terrified heart), looking for someone to rescue them,
weeping loudly and putting their arms round the man [staying
close by].
Women's intoxieated condition
61. Intoxicated conditions (lit. intoxication) which have
been mentioned before should be applied to women, and lllen of
the inferior type. Adoption of gestures (lit. form) in such cases
should be delicate and graceful.
62. Women's intoxication Rhouhl be indicated hy rolling of
eyes, uttering of irrelevant words (vilapn '" lJralapa) and shaking
of limbs.
6:1. These are the rules to be followed in a theatrical pro-
duction for the representation of men'B 01' women's States when
occasion 01' these will arise.
1l4. J n a theatrical production the StateR of WOnlon :lrc all
to be made graceful (lalita,) and that of lllen l'ntiolVcti with
control (tlhail'!Ja) and Equanimity (1I1adlwl'!/iI).
l'arrotH and
65. Parrots, and sillall Linb like al'e to be
indicated by two moving finger:; in the Tl'ipataka hand.
Big
66. But like crane,; and whidl
arc naturally big arc to be indicated by propel' RecakaH nlld
Ailgaharas 1.
Asses aud c:llIlPls (te.
ti7. camels, bnttdoeH and
the like should be indicated by Gaits and gcsturcH to
them]1.
61 (C.60; K.XXV.62b-63a).
63 (C.62; K.XXV.64b-65a).
65 (C.64; K.XXV.66b-67a).
62 (C.61; K.XXV.63b-64a).
64 (C.63; K.XXV.65b-6611).
66 (C.65; K.XXV.67b-68a). 1 K. J'cadR 66b a,q

67 (C.66; K.XXV.68b-69a). 1 K. reads as follows:
lR:I'I. I
502
THE NATYASASTRA [XXVI.
Hhiitas and Pisacas cte.
6869. Bhiltns, Pisiieus, Diinavlts and
when they are not be indicated by the
But when they are should be indicated by [the repre-
sentation of] fear, uismay and :tRtonishment 1.
70, When they r('main gous are to be indicated
accoruing to the neccKRi ty by making ohuisanec to them nnd by
lIlovements to the States.
Gl'cptill\( all illvisible l"'i'son
707!. a llliin when Iw is illvi,.,ible is to be indio
cated hy touching tho head with the Aliila halHF rai:;pd frolll
the side.
Grm:tillg god; and ('tc.
It i2, (Jrc('tillg god;:, (Un!'II), and IadieK j,., to
be indicated by the Katakiil'Hl'(lhnmana 1 or the KapobL IUlIl(P
ltollching the head similady J.
n-73. Go(lH awl honourable per:iOnK when thoy appear
"houl(1 be inclie:ltvd hy obei";;lIH'U to thelll and by the
deep illthwllce l tlH'Y have 0\,(:1' the sIIlTollll\lings!.
A crowd alld friends etc.
7B-7.J. A gt'l'nt l'l'owd, fril'IUIB, alld roguuK aru to be
indieatell hy llIean:; of the Pal'inwl.vJahL haml.
MOllntains and tall trc('1'i etc,
74-7:;. l\IountninK in connexion with their height, and tall
treu:; are to be indieated by lifting upwards the hand Ii.
Wide cxpanl'ic of water
7:>-76 A \yide explanse of seawater
i
is to be indicated by
two Patiika hands thrown ont and heroiRlll, haughtiness,
68-69 (C.67-68aj K.XXV.69b, 70b-7la). 1 K. adds after 68a the.
6970 (C.68b-69aj KXXV.72).
7071 (C.69b70!lj K XXV.73). 1 See IX. 46-52.
717:: (C,70b-71a; K.XXV.7,L). IX.U6. 2
7273 (C.71bc; K.XXV.75).
7374 (C.72; K,XXV.76). 1 tlec NH.IX.l96.
74-75 (C.7:); K.XXV.77).
75-76 K.XXV.78-79). I Emend siigaramnanum into
sataromMasum.
.XXVI.83 \
SPECIAL REPRESENTATION
603
pride, magn:mimity nnd gr9wth upwards ilhould be illdieated
B
by placing the Aritla hand on the forehead.
77-78. Thc two hands
1
turned away from the
and held Ollt qllickly at a will indicate anything
mllrle open
A hOllHC and <'to
78-7!!. A house, a hole 01' eave iR to be indica.trd
hy holding slightly stretched hatHIs which hare their palms upturned
and which point downwards'.
IJovC!liek, OUl'iJOO and
7f1S0. who arr 10veRick or under a cl11:,\e. possessed
of some evil Rpirit or I'nfeebled ill mind foyOl', should he ropro-
Rl'nte!! hy rRl1itable] 1l10VemontH of thoir faeo and othor limbRl.
A swing .
8()F!2. A Rhould bn indicatrd hy the ropresentation
of ifH movoment" agitation of tlHl and the holding of tho
HtringR. It is by aeting like thiH (lit. then) that the moving
Hwing will be pprceptihle fto the Hp(,(tatorH], and PI',['sonR ocellpying
their HeatH [jllRt aftrr a Rwing']' will be taken aH
lIloving in a Hwing.
F!2-H:;. T Hh"llnow HJlPak of [the illl\iratioll of] "Spenking to
the Rky" (akll,.;nl'(/t'Il,ua), "Spl'aking Aside" (li,l.nwI/trfn). "Conecaled
KJlPaking" (111111 1'li,1' if II 1.lr.) ami "Privatl' Pprl'lonal (i(wo,nlil-cr).
Hpcllking to thl1 Sky .
8:: Hi. A(hlrpsRing sOllwone staying at a. (listan('(l OJ' not.
appPlll'illg ill 01' indil'rrtl,l' addl'(,RRillg to ROIll('onr who ill
not clORe by, is called Speaking to the This
2 Road (K.) for l(I)Tflift.
77-78 (K.XXV.80). 1 NK.lX.8G.
2 C. omitq but K's reading i" slightly corrupt.
78-79 (C.75c; K.XXY.8l:!-8lh). I Head 78b liS ,lit'
O. (flml! ITcWil1j, K).
79.80 (C.76; 1 K. reads 80:1 liS fll'41 it
8082 (0.77-78; K.XXV.84-85).
B2-8:3 (0.79; K.XXV,86h87a).
8:3-85 (C.SO-Bl; K.XXV,97b-S!)II). 1 "'l'lflllll"'''lfs:(;ft)''Itfll! ..
qrit , mllOQil.; 'l(lI'l/:l( ff 1!Q,fi" 1q1l!11i
(Ag. p .. '93).
504
THE NATYASASTRA [XXVI.85-
mode of Kpeakiug will rthe substance of] a dialogue by
Illf'ans of rcplies related to variouR [imaginery 1 questions (lit.
which may arise out of the play2.
Spr.aking Aside
8;;-86. When ovcrwhelmetl with excessive joy, intoxication,
madness, fit of passion repngnance, frnr, astonishment, angel' and
one speaks out words which arc in one's mind (lit. heart),
it is railed Speaking Aside (iitlilll!Jata).
Concealed Spr.aking
And Concra!ed Speaking is related to secrecy.
Pri yate PcrRonal Address
87-8/). When out of necessity persons standing close by are
[supposed] not to heal' what is spok()n to someone elsr, this
(:onstitlltes Private Personal Addrf'3S (ja1Iantil.a.)1.
Thinking within oll0self
It l'datc,; to ROIllPthing within one's self (lit. Iwart) which is a
mattet or ddibl'mtion
2
and flrling
S
anI] [which is] indeed a kilJ(!
of Sp<'nking AHide (allll(IUlllrI).
R8-l)O. WOl'lls in a pIny, whieh nrc cOllncct.rt\ with RPcracy
should he Rpok!'ll ill ('ill', pJ'N'pdc(] by "HO, so".
M0ntiolling that alrrady
l)O-nl. Whim (HIP i, to from necessity of something
2 K. rasabhi!zrao.
8r.-86 (C.82u; KXX V.8Dh-tlfl). 1 tIl(> lirst three hplllistiehs as
follow,",: .. I I '1'111

87-88 (C. 82b-83; K.XXV. 9Ia-92). 1 It is because both the Janiin-
tika and the apaviiritaka are supposed to be inaudible to others on the
stage Ag. (p.424) quotes II vi ow on tl10ir distinction as follows: "'''lIlT!
lH'l-m Of'll?< II" II'!! !!\ml!
"'f{lll ,"<flit 'ill'.! '" ""it lI .. flfvi'll tgllll{.
And iI Inte writ('I' "ny;; :" li\1li !llIIlfIfl!('Ii'l
Nn. p.:ll. Bllt all this d(lI's not 800m to fit in well with the
o,[:Implrs of tIll' apavl"iritaka.lll'ailabln ill UI'l\Dlas. Cf. L()yi. [l.61.
2 C. (sailikalpam, K.).
a bk1lvastha1ll C. K). -
Sa-90 (C.84 85; KXXV.D3-lH). ,1 K J'0l\ds 88b dilfcrently.
90-91 (C.B6; K.XXV.95).
-XXVI. 95] SPECIAL REPRESENTATION 505
which has occurred earlier, for avoiding repetition thi:> should be
[similarly] spoken in one's ears.
9(191. Without making any cOlliu&ion (lit. mistake) [among
these] one should resort. to Speaking to the Sky (akasa-vacana),
Private Personal Address ('ianii;ntika,) and Speaking Aside (iilma-
!lata) which will [relate sometimes] to a visible or an invisible
person and [sometimes] to one's ownself Or others!.
Representing Concealed Speaking
9192. Concealed Speaking (apat'aritaka) and Private
Personal Address 0anantika) should be indicated by a Tripatiika
hand covering [the speaker]l.
Repetition of words
fJ2(l;3. Words which are uttered due to fright, calamity,
angel' and intense sorrow are to be repeated 1.
93-94. [In such cases] words such as "tell", "well done",
"ah", "alas", "go away", "what", "let me go", "no" and "speak"
should be repeated twice 01' thrice
l

Suspension of representation
9495. Distorted or incomplete words used [in a play]
should not be represented by gestures
l
for explaining them (lit. for
the sake of definitionp.
Observing propel' States
\)596. The State (bhava) which is propel' to a superior
[character] 'should not be applied to a middling one; and similarly
the State which is propel' to a middling [character] should not be
applied to an inferior one
l

9091 (C.86; K.XXV.9S).
I Read this passage as follows:
(C. K. for ; C. Ifrti:, K. 'mIll for
The trans. is tentative.
9192 (C.87; K.XXV.96). I Cf. DR. I. SSb; BhP. p. 219, I. 21.22; ,
SO. 425. Levi. p. 61.
9293 (C.88; K.XXV.1l4). I K. r.eoos punaruktam 11a ie.tv iha.
9394 (C.89; K.XXV.ll5). I K. roads 93b IlS 1l11lf') ij'i" ill! f1!I
'If.
94-95 (C.90; K.XXV.114l. I K. reads Pratyailganinam, C. pratYa-
ilrr.,,,1am, K. C. K,
95.96(0.81; K.XXV.118),
64
506
THE NATYASASTRA [XXVI. 96.
90-97. By menns of different and Sentiments which
. arise from movements proper to the superior, the middling and the
inferior characters, a play will attain (lit. wish for) attractiveness.
No movement in the of sleeping
fli-OR. In the somnolent eonrlition the States
should not he repreRented hy any movement of hands. As in the
representation of the Temperament, this should be done through
Rpeeeh (lit. the meaning of words) only 1.
Declamation in sleep
98-90. Declamation in the somnolent condition
should' proceed wilth a slow voice; words in it should be
[sometimes] distinct and ] indistinct and sometimes
their senses should be rcpentpd twiee, nnd it should [also] depend
on the recollection of tho pnst [ e"rntH).
Derlamation of ola people
90-100. DecInmntion of old people should be made with a
faltering voice and dropping of syllables [now nnd then}; and
Children's words
that of children should ho marie with lisping (lcaZast'ara)
which will leave syllables l1nfinishe(P.
declamation
100-101 Indistinct declamation (kal./
,
) at the time of dying
should be made with syllables produced by relaxed .and heavy
speech-organs (kara1J.l1) ; it should be fl faltering voice resembling
tho sound of [small) bells and it should be accompanied by
hiccough, [hard] breathing and [the action of] phlegm.
101102. Occurrence of a swoon when followed by hiccough
and [hard] breathing is considered silllilar to death. To indicate
it the declnmation should contain repetition 1.
---._-----_ .. -- --- - .. --- -- -- .. __ ._---
96-97 (C.92; K,XXV). I Read bhavarasair
K. C.).
9798 C.93; K.XXV.97). 1 K.'a reading seems to have boen as
follows: \ilirfiril I m: etc.
98-99 (C.94; K.XXV.98).
99-100 (0.95; K.XXV.IOl). 1 C. 6ul
1J(lsQ'!Iyuktam, K. 1001Ol (C.96; K.xx.V.99).
(C.9?i f Read the paS881e liS foUowa;
XlVI.1OS] SPECIAA REPRESENTATION
507
Representation of death
l0210S. Representation of death which may al'ise fl'om
different conditions will be of different nature. [For example]
it is indicated by throwing out all the hands and feet,
and sometimes by a paralysis of movement of all,the Umbs
l

Death from disease
10;110:1:. Death from an attack of disease should be
represented by an occurrence of hiccougb, [hard] breathing and
imperceptible movement of limbs which should bc rQlaxed
1
.
Death from drinking poison
toHOf>. Death from drinking poison should be represented
by throwing out of hands and feet and other limbs, and the power
of the poison will lead to the quivering action of the [different]
parts of the body.
The eight stages in death IroDI poison
11)5107. The fir8t Htage of the action of poison is the
general weakness of the body, the tremor, the third II
burning sensation, the fOUl'th hiccough, the fifth froth [in the
mouth], the sixth breaking of tho neck, the seventh paralysis ami
the eighth death 1.
Weakness
107108. Eyes with sunken eyebalb [depressed] cheeks,
lips, belly and shoulder and of arms will represent
[general] Weakness 1.
Tremor
108-109. Tremor (vepatlm) be represented by
Hhaking simultaneously according to the situation head, the
hands and the feet 01' one of these limbs separately.
i1ll'lTlitit!ft lfi'litl! I "Ifi!I{(? )q:l\"Ifq (1'-1'11'1-
1If1Iii'ItI) ew. C.
102-103 (C.97b-98aj K.XXV.I02). 1 Read sannais tatka
lalM zaJraiq, C. sa!lrais latka karyaq, K.).
103-104 (C.98b-99aj K.XXV.I0S). I K. reads 104a as follows:
tlrmliIIf!.. 104-105 (C.99blOOa, K.XXV.I04).
105107 (CjlOOb-l02I1j K.XXV.105106). I Readkarsya,
107108 (C.I025103!1j K.XXV.I07). I C. (Pmvrd-
dka-IAlaIIe, K). 108109 (C.I03boj K.XXV.I(8).
008
THE [ XXVI. 109
Burning spnsation
100-110. Burning sensation (daha) Rhould be represented
by shaking violently the entire body, scartching the [different]
limbs and throwing out the hands and other Iimbs
l

Hiecough
110-111. Hiccough (hikka) should be represented by re-
peated blinking of eyes, belching, vomitting, convulsion
and uttering of indistinct sounds.
Froth in the mouth
11 0-111. Froth (phella.) [in the mouth] should be re-
presented together with belching, vomitting, licking the COrnel'S of
the mouth, and lack of movement of the eyes.
Breaking of the neek
111-112. Breaking of the neck =
should be repreRented by the shoulder touching the cheek and
the lowering of the head.
Paralysis
Paralysis (ia4ata) Rhonld he ),p,presented hy inaction of all
the ns 1,
Death
lHH lk Death (mamrpa) whether it is due to a growth
of diseaRe or to snake-bite should be represented, according to
the dramatic convention by the closing down of
the eyes.
114-115. These particular representations should be com-
bined with suitable Temperament (Rattva) and States ,(bh'iiva)1, and
109-110 (C.I04; K.XXV.l09). 1 K. reads sarvanga-vepanar/J vepa-
Iltus tu for sarvllngavepanoti-fJejanena, C).
UO-ll! (C.I05; K.XXV.110).
111-112 (r..l06a; K.XXV.lll). 1 C. omits 112a and reads the passage
8S follows : fll:l'it"lllflllsf'lfmlll.
112-113 (C.I06b; I{.XXV.112). I C. omits 112b whieh K. rMds
88 follows: """,,"'IlIf.nf":lI.
11S-114 (C.I07;K.XXV.llS) .
(C.108; K.XXV.1l9). 1 salifJdMlIva, C. for s4r'Da6/zTWfJ, K.
-XXVI. 128) SPEOIAL REPRESENTATION /s09
[representation of] other popular [objects and ideas] should be
learnt (lit. accomplished) from the people.
General directions
1151Hi. Just as the garland.makor makes garlands frol11
various kinds of /lowers, the drama should be produced similarly
by gestures of different limbs, and by Sentiments and States.
116117. Movements and Gaits that have been prescribed
by the rules for a character which has entered the stage
1
should be
maintained by the actor without giving up the [particular] Tempe.
rament till he makes an exit.
117 -118. Now I have finished speaking about the represen
tation to be made through Words and Gestures. Things omitted
here by me should be gathered from [the usage of] the people 1.
The triple basis of drama
118-11\). The people, the Vedas and the spiritual faculty
(adhyatrna) are known as the three authorities. The drama is
mostly based on objects related to the last two (the Veda and
the adhyatrna).
119.120. The drama which has its origin in the Vedas,
and the spiritual faculty (adhylttrna) and includes [proper] words
and metl'e, succeeds when it is approved of by the people. Hence
the people are considered as the [ultimate] authority on the drama! .
. 121. A mimicry of the exploits of gods, sages, kings as well
as of householders in this world, is called the drama 1.
122. When human character with all its different States 18
represented with [suitable] Gestures it is called the drama.
People supplying norm to the drama
Thus the events (1)al'ta) relating to the people in all
115116 (0.109; K.XXV.120).
116117 (0.110; K.XXV.120. I O. 'for falira-
f!ravrftasya, K).
117118 (O.lll; K.XXV.122). I K. reads1I7b as folJows: 'l1Ifli! 111(7
!lfll. 118119 (0.112; K.XXV.128).
119120 (0.118; K.XXV.12'). 1 K. omits 120b.
121 (0.114; K.XXV.125). I 800 NS. I. 120
122 (0.115; K.XXV.126). 123 (c.Ii6; KXXV.127.).
510 (XXVI,I114'
thl!ir diWl!rent oonditions, may be (lit. should be) included in It
play, by those well-versed in the Canons of Drama (nQ,4y
,
weda).
124. Whatever Sastras, laws, arts and activities are
connected with the human usage (lokadAarma,) may be produced
(lit. called) as a drama.
125. Rules regarding the feelings and activities of the
world moveable as weH as immoveable cannot be forlllulated (lit.
a8cel'tained) exhaustively by the Sastl'a.
126. The people have different dispositiC!ns, and on theil'
diBpositions the drama rests. Hence playwrights and producers
(lJ1'ayolctr) should take the people as their authority [as regards the
rules of the art}
127. Thus they (prayuklf) should pay attention to the
feelings, gestures and the Temperament in representing the States
of various characters [that may appear in the drama]!.
128. The lllen who know in this ordor the art of Histrio-
nic Representation and applies it on the stage, receives ill this"
world the highest honour for putting into practice the theory or
dl'ama (lIll4l1atattva) as well as [tue art of] acting (abldnay,t)1.
120. These are to be known as the modes of representation
dependent on Words, Costumes, Make-up and Gestures. An
expert in dramaHc production should adopt these for the u c c e s ~
[in his undertaking]l.
Here ends Chapter XXVI of Bharata's Natyasastra
which treats of the Special Representation.
124 (C.117; K.XXV.128). 125 (C.118; K.xx.V.129).
126 (C.1l9;K.XXV.130).
127 (0.120). 1 K. omits thill.
128 (C.121; K.xXV.13l). 1 C. reads aftc.r this an IIdditiOllal couplet.
129 (C.122). 1 K. omits this.
CHAPTER TWENTYSEVEN
SUCCESS IN DRAMATlu PRODUTION
1. I shall now describe the.leaturesofthe two kinds of Success
(.,iddlii) relating to the drama. For the production of a drama is
wholly meant for (lit. based on) attaining the Success in itl.
The two kinds of Sueeess
2. The Su('cess [in the dramatic production] which aIiseR
from Words, Temperament and Gestures and which relates to
various States and Sentiments is of two kinds: divine (daiviki),
and human
Thr human Success
n. [Of these two) the human [Success] has ten features,
and the divine [SuccesR] two; and they (i. f. such features) consist
[mostly] of various Temperaments expressed vocally (t,ail?na.yi)
and physically (iiiri'i'i).
The vocal Success
4. Slight Smile (smita)2, Smile (al'dhahasa)l and Exees-
Laughter (atiltasn)3, 'welldone' (sudhn), 'how wonderful' (aho),
'how pathetic' and tl1111UltUOIIS applause (pm'l?(ddhnnarla,
swelling uproar) are the signs of the Success expressed vocally
( l'ailmayi).
The physical Success
5. Joy expressed in horripilation
the rising up from the seat (abliyttthiiwl), and the giving awayl
1 (C. K. same). I This chapter discusses the appreciation of
theatrical productions by spectators who include persons of various types
posseRsessing different psychological and cultural traits.
\I (C. K. same). I 7Jaksalt7Jai!ga. These three constitute tho
Dasic Representation. Sec Nd. XXIV. 3 (C. K. same).
4( C K. same). I Seo NS. VI. 52.
3 The ardnana.'a seems to be tho slime as nasi/a, Bmile; BOO note 1
above. 3 See note 1 above.
is (C. K. same). 1 The age-long custom in .India.. was that the
wealthy amoog the spectators 00 beinl very highly pleased with II
dramatic performllllce did lit once' take out from their OWn body tho
512
THE NATYASASTRA [XXVII. G
of and of rings are signs of the
Success expressed physically ('lilin).
O. When actors produce the Comic Sentiment slightly
dependent on words of do!tblc entendre the spectatOl's should
always receive the same with a Smile (81nita).
7. When they (i.e. the actors) have a laughter not very
clear, or words which do not directly cause laughter the spectators are
always to receive the same with a Smile (a1'dhahasya).
8. Laughter created by the bragging of the Jester or by
some artifice (silpa)1 should always be received by the spectatorR
with an Excessive Laughter (atihasya).
9. [Representation of deeds] which relate to the practice of
virtue and is endowed with excellence, should be greeted by tho
Rpcctators with the word "well-done" (sadhn).
10. Similarly, "how wonderful" should be uttered by the
spectators in connexton with States like Astonishment (vis1nct!llt)
and in course of the Erotic, the Marvellous and the Heroic
Sentiments.
11. But in the Pathetic Sentiment they should utter
with tears "how pathetic.". And in caseH of Astonishment there
Hhould always be II tumultuous applause (prltl;rddhanarla., lit.
swelling uproar).
12. In cases of insulting words used in acting a play they
should be attentively received with horripilation (lit. throbbing
hairs) by the spectators whose curiosity has been evoked I.
costly shawls, other wearing apparels or ornaments to give them way
to the talented actors. Cf. also NL. 2289f. I See noto 1 above.
6 (C. K. same). 1 C. K.
3 This prescription "imply points out what should aotually happen.
7 (C. K. same). I See above 2 note 2.
8 (C. K. same). I 'lJidi4akocckeka, K. 'lJidi4akocckeda, C.
I l!'or example, the art of comic make-up.
9 (C'. K. sat/Ie). I dkarma/adao, C.laroajadaO, K.
.10 (C. K. same). 11 (C. K. same).
12 (c. K. same). 1 'rhe trailS. teotati ve,
.XXVII. 19) SUCCESS IN DRAMATIC PRODUCTION li13
1314. If the play is a brilliant one with [a plot containing]
cutting and piercing [of limbs], fight, portentuous calamity, tertific
happening or minor personal combat, it should be received by the
dever spectators with tears and rising up [from the seat, and with
shaking the shoulder and head].
15. This is the manner in which the human Success
1
getA
expressed. Now listen about the divine which I am
going to describe.
The divine Success
16. The Success [in dramatic production] which inclndes an
oxcessive [display] of tho Temperament, and expresses the States
[clearly]1 is to be'tnkcn by the spectators as divine (rlaivi).
17. When there is no noise, no disturbance, no unusual
occurrence [during the production of a play] and the auditorium is
fnll [of the Success is called divine
1

Three kinus of Blemishes
18. These arc the varieties of the Success to be known by
the spectators as human and divine. I shall hereafter of
the Blemishes (yhata) coming from gods (del'n).
19. Blemishos [in the production of a playJ are of three
kinds; [that coming] from gods
1
, from the actors themselveR
13140 (C. K. same).
15 (C. K. same). 1 This "human" Success seems to relate to the
common "human" beings or average spectators, and they should be com
pared with men occupying the gallery of a modern theatre. They are
generally moved by outwaru anu not deep of a dramatic per
formance. See below 16 note.
16 (C. K. same). ! 'rhose are the deeper aspects of a dramatic
performanC('.
17 (C. K. same). The "divine" Success seems to relate to cultured
spectators who generally take interest in deeper and more subtle aspects
of a dramatic performance anu liS such lire above ordinary human beinllS
and may be called "divine".
18 (C. K same).
19 (C. K. same). I "Gods" here the' source of various
See 20 below.
65
514
THE NATYASASTRA
[XXVII. 20-
(atman)2, and from an enemy (para)s. Sometimes a fourth variety
of it is what comes up due a pOl'tentuous calamity.
Blemishes from gods
20. Blemishes from gods are: [strong] wind, fire, rains,
fear from an elephant or a serpent, stroke of lightning, appearance
of ants, insects, ferocious and other animals.
Blemishes from an enemy
21. Blemishes created by an enemyI are: all round
screaming, buzzing noisy clapping, throwing of cowdung,
clods of earth, grass and stones [in the place of performance J.
22. Blemishes created by an enemyl are by the
wise to be due to jealousy, hostility [to the party injured], or being
partial [to the party's enemy 1 or receiving bribe from the latter
(arthabheda,)8.
23. Blemishes resulting frolll portents (lIuf}latika) aro those
due to earthquake, stOl'llI, the falling of mcteOl'R and tho Iikpl.
Self-mad!' BlelllisheA
I shall now describe Blemishes arising from the actors
themselves (iifma-sanl1/ttlia).
24-25. Un-naturalness [in the actingj, wrong movement [of
the unsuitahilityof a role [to an actor] C1I!bhum'ihttva)1, loss
a Their acts of omlllisAion or commission are these Blemishrs,
See below 24-25. 8 See below 21-22.
20 (C. K. same).
21 (C. K. same). 1 The rival grOllps of actors who contested for
rewards from their patrons, b<'Came enemies to one another; soc below 721f.
a This kind of improper and dishonest acts somrtimcs occurs also
now-a-uays in meetings supporting candidates from rival political
parties. Human has not much changed since the was
compiled more than sixteen hundred years ago.
22 (C. K. same). See abovo 20 note 2.
'It sooll!s that the leaders of actors did not scrnple even to bribe
individnal spectators to gain their ends.
23 (C. K. same). .1 It is possible that due to snperstitions fellt'
arisin;! from an appearance of these natnral phenomena confusion
oecurrrd during the performance.
24-25 (C.24,25b-26, K.24-25). rAg. (p. 509) explain this 8S anya-
(f) S'DiRara.
.XXVII. 28) SUCCESS IN DRAMATIC PRODUCTION Q15
of memory [of the actors], speaking other words
2
(wlt!l(wacana i.e.
those not in the play), [aetcll"s] cry of distl'ess, want of proper
hand movements (vilvlstat'va), falling off of thfl crown and other
ornaments, defects in playing the drums shyness
of speech (vagbhIti), laughing too much and crying too much will
be taken as Blemisllfls to the Success
4

26. Attack of insects and ants
1
wholly spoils the Success,
while the falling oft of the crown and other ornaments will spoil
the tumultous applause [in appreciation of the production J.
27. Blemishes in the shape of an appearance of animals!
Rhould be disregarded. But shy speech [of the actors] and the
wrong playing of the drullls will [however J wholly spoil the Success
ll

Blemishcs without remedy
28. The two [kinds of] Blemishes IV hich cannot be remedied
in the production of a play (lit. poem), are faults due to a natural
ealamity, and the running out of water from the
lAg. (J.c.) explains this as k('iam anyena pa/kaniyam anyaft
palka/iii anyavacanam.
, Ag. (1. c.) explains as arlalvall! ht' ckadmana p radarsanad
asiddkilJ.
, C. reads one fragmentary hemistich 25.
26 (C.26b-27a; K.26b28a). lAg. (p. 509) probably read ill his
text
27 (C.27b-28bj K.28b). 1 Ag. (p. 509) reads it as paSu-praveso and
comments on it as : filfff"ll'ilrnlll
'ilrn: 'Ill1!f'fCll{, qlll: 1i<'lT
1I1'1lfOl'lf "Ill
2 C. reads one additional hemistieh between 27a lIud 27b. K. omits 27b.
28 (C.29; K.32). lAg. (p. 508) says on this lfiTI!! tlI
iii! lI"f <lm,,",ifi{ . eto. Nilt/I'ka (text
nalt'ka) is a measure of time. See N8. XX. 66 note 1. The ancient
Indian devioe for measuring time consisted of a water vessel of partioular
size with a well-defined tube (naq,lklt) at its bottom. Time requireu for the
complete running out of water from it, was known liS a ltM,ikit (ltiJlf,i),
I II 1!!lll!l11T
I (See AS. II. 20 j also AS. notes, p .. 27). Here naq,ika is used in the
sense of the water-vessel used for measuring time. On the neecssity of
time-keeping see below 39 and MS. XX.23, 6568.' Ag's explanation
not aoom to be olear.
516
THE NATYASASTRA [XXVII.2\).
Palllable sources of Blemishes
2!J-tlO. 'Palpable (lit. large) 80l11'ceR of Blemish in a play
are: repetition, defective use of compound words
wrong usc of case-endings (riuhakl ibhetla), want of propel' euphonie
oombination use of incoherent words (ttl/arUm), faulty
use of three genders, confusion between direct and indirect happen-
ings lapse in metre, interchange of
long and short vowels, and observing wrong caesura
1

BI. Absence of [proper] nows of sweetness o[
notes (vi!/ukta-l'ii,ga), and of wealth of noteR, and ignorance of voice
registers (sthaIMt) and of tempo (la!/a) will disturb musical rules
[in the production of a play Jl.
32. Non-observance of BallIa, Marga and Marjana, giving
hard strokes!, and ignorance about the beginning (lit. taking)2 and
the stopping lit. release) will Apoil the beauty (1'rtStl.)a of
the music of drums
4

33-3u. Omission due to loss of memory, and defective
enunciation in the declamation, putting on ornaments ill wrong
places, falling off of the crown, not putting on any ornament
1
, want
of hand-movements owing to an ignorance about mounting 01'
29-30 (C.30-31, K.30-3!). 1 Actors and actresses at the time of the
N8. usually being slleakers of Middle Indo-Aryan (Prakrit) and not trained
scholal'R, there oecured all sorts of lapses in their Sanskritic recitation and
declamation. Hence is to be justified the humorous reference to the nata
(actor) in the following traditional couplet: til{if;f(
_ I II (Hliidar, Itihiisa, II. 143). which
in trans. is as follows: Where would the vulgarly-used words have gone
for fear of hunter-like grammarians, if there were no mouth caves of
astrologers, actors, gilllants, singel's and physicillns P
31 (C.32; K.27). 1 For the technical terms of music used here
see NS. XXVIII.
32 (C.33; K.29). 1 IJakutaprakara, K. ca. C).
, paks, K. (Z'/:ka, C.).
S Read rasam for C. and K.
, K. (jJuRpataJa. C). For fIlchnical termR of music
used horo MS. XXXIII. .
:i 1:Jj (C.3437; K.S3-36). '.1 for 6kifa'll'l.
-XXVII.4lJ SUCCESS IN DRAMATIC PRODUCTION 517
dismounting horses, asses, camels,
aerial cars ('pimana) and vehicles [in general], wrongly holding or
llsing weapons ,anu arillours, entering the stage without the crown,
hcadgear or clothing. or entering too lat1'2 are the Blemishes which
should be marked in proper places by the clever experts, but they
should leave out of consideration the sacrificial post (yftlJn), taking
up of the fire-wood (t'II!/(tn(t), KURa grass ladle (srlte)
and othet vessels (uha1Jrja,) [relating to a sacrifice].
Three grades of Blemishes
37. An expert in dramatic production should record
Blemishes as "mixed" (mism), "total" (sa)'vayaftt) and "partial"
but should not record [merely] the Success or the
Blemishes [without any detailed information about these].
;38. The total Success or an all round Blemish expresses
itself in Illany But a matter affecting merely one aspect [of
the production] should not be reckoned for lowering the order.
:1D. After the putting down of the .Tarjara [by the Director]
ill a dralllatie production, the ({Jl'lisnikn)l should always
achieve in due manner the accuracy of timing (nii4ika8iddhi)2 and
of recording (le!.:hyasiddhi) Lof all Blemishes as well as gOOdH points].
Wrong Benediction
40. When during a god's festival anyone foolishly recites a
Benedictol'Y Slob in honollr of the wrong god it is to be recorded
as his in the 1.
Interpolation is a Blemish
41. When anyone interpolates the compoHition of une
2 drapravcso, K. (ct'rprayoga, C.).
37 (C.38; K.37). tRead siddker for siddkair, C. and siddkya, K.
, Read na gnillas ca for na gkiilasya, C. vidkano va, K.
3 K. rends 37b differently.
38 (C.39). 1 Read ekadesajalo (ekadeJajatam, C). K. gives 38a
in a mutilated form.
39 (C.40; K.39). I See below 62-69 notes. See above 28 note.
40 (C.41; K.40). 1 Read 40a, as 'Ii ilft qaft
VIR{. 41 (C.42).
li18
THE NATYABABTRA [XXVII. 42.
playwright into that of another it is also to be recorded by the
experts as his Blemish 1.
42. When anyone knowingly (lit. not out of ignorance)
interpolates (lit. mixes) in [his] play the name of another author
then his Blemish in it being dEfinite, should be recorded in due
ordor1.
-13. When anyone prOlll1l'es 11 play using costumes and
languages in violation of the [reg:U'lling the same laid down
in the Sastra] then his Blemish about the same should be recorded
l

Limitation of human efforts in a play
H. Who iH able to observe fH'operly the rules of [construc-
ting] plays or prol\ueing [them on the Htage]? Or who can be bold
or keen (lit. rageI') enough in mind to [claim to] undl'rstand pro-
perly all that have been Raid 1 ?
4:i. Hence one should illdude in plays words whieh have
deep significance, are appoved of by the Vedas well as the peoplp,
and arc acceptable to all persons 1.
46. And no play (lit. nothing) can he devoid of any merit
I This seems to clearly that theatrical Directors did not hesitate
Homotime,; to insert paHsagcs taken from one playwright'8 work into that
of another to add to the effect of the latter. K. this passagc.
!2 ((j.43). I J"rom this it appears that the practice of putting ill
the nanl!' of the author of a play in the Prologue was
not a old OIl('. 'rhis sepm" to explain tl\(' absence of the
uame in dramatic the works ascribed to Bhiisa. K. does not have
this passage.
43 (C.44; K.4l). I From a closp study of aVlIlable plays it does not
that the rules down in the Sastra wore vcry scrupulously
followed, 01' it is also likely that the rules regarding the usc of different
languages in II play, changed with the linguistic development as well
as other conditions conneCted with the usc of ]anguagrs.
44 (C.45; K.47). 1 This seems to point out that no Siistra clln exhaus-
ti vdy lay down all the rules which can never be made very clear and
precise, for many things in theatre relate to so many fluctuating factors.
45 (0.46; K.4S). TOne shonld mark the stress put on the V cdlls and
the popular in conncxioll with the Niitya. See NS. XXVI. 118-120
. 46 (C.47 i K.44). .
.XXVII. 54] SUCCESS IN DRAMATIC PRODUCTION 519
or totally free from faults. Hence fanltH in the production of a
a play should not be made much ofl.
47. But the actor should not [for that reason] be
careless about Words, GeHtures and CostumeR
l
of minor import-
ance (lit. non-essential) as well as about [minor] Sentiments and
8tate8
2
, dance, vocal ana instl'll\1lental mUHic and popular usages
S
of the same kind [relating to the performance].
Spectators of a performance
48. These lire rthe rilles] defining the characteristics of the
Success. I shall hereafter dcscribe that of [an ideal] spectator
l
.
4!J-ii2. Those who are possessed of rgoo(l] character, high
birth, quiet beh:wiour and learning, arc desirous of fame and virtue,
impartial, ;ulmn('c<l in age, proficient in drama in all its six limbs,
alert, hone"t, nnaffed('d by pm'sion expcrt in playing the four
kinds of lll11sical instrulllcnts, aequainted with the Costumes
and 1\1 ake-np, the rub of dialects, the folll' kindH of Histrionic
Rcp"esentation, gmlllluar, prosody, and various [otherl Hiistl'HS, are
very virtuolls. experts ill different arts and crafts, and have fine
scnse of the f\l'ntimcnts ant! the should be made spectators
1
in witnessing a dramn
2
.
fi3. Anyonc who has (lit. is charaeterised by) unruffled
senses, is honest, expert in the discussion of pros and cons,
det.ector of faults illld nppreeiatol' [of merits], is considered fit to be
a spectator in n drama.
M. He who attains gladness on seeing a person glad, and
sorrow on seeing him sorry and feels miserable on seeing him
miserable is considered fit to be a spectator in a drama I.
I This is It very wise conDspl for the hnsty critics of !I play.
47 (C.48; K.45). 1 lIepathye, K. ( 0).
rasaMMlam:ttagife, K. K).
3 lokayukte, K. ('yukty!!, 0),
48 (C 49; K.46). I (prek.?aI,IUlIam, O.praSnikanam. K).
49-52 (C.50-53; K.47-50). 1 . 0; prasnika, K.
53 (0.54; K.SI). I
54 (0.55; K.52). 1 'rho critic must be It man with sympathy.
520
THE NATYASASTRA [ XXVII. 1i5.
55-56. A II these various qualities are not known to exist
in one single spectator. And because objects of knowledge. are
RO numerous and the span of life is so brief!, the inferior common
(lit. men) in an assembly which consists of the superior, the middl-
ing and the inferior members cannot be expected to apperiate the
performance of the superior ones.
57. Hence an individual to whom a particular dresR,
profession, speech and an act belong aR his own, should be consi-
dered fit to appreciate the same.
Varions classes of spectators
58. Different are the (\ispositions 01 women and men,
young and old who may be of supcrior, middling or inferior talents,
and on such dispositions [the of] a drama rests.
Disposition of spectators
59. Young people are pleased to Ree [the presentation of]
love, the learned a reference to some [religiolls 01' philosophical]
doctrine
l
, the Reekers of money [topics of] wealth, and the passion-
less in topics of liberation
GO-61. Heroic persons arc always pleased in the
and the Terrible SentimentR, the personal combats and battieR, and
the old people in Purav.ic legonds, and tales of virtue. And [the
common] women, children and tM uncultured men (mu1'ldta) are
always delighted with the Comic nnd [remarkable]
Costumes and Make-up (nclJathyap.
(j I-G2. Thus the man who is fit to assullle a particullll'
role by imitating the States of the latter, can be considered a
spectator possessing the [necessary] qualifications.
Assessors in a performance
62-M. These' should be known as spectators in eonnexion
with a drama. But there being any controversy
55-56 (C.56-57; K'.53-54). 1 K. reads 55b as follows

57 (C.58; K.55). 58 (C.59a, 60bj K.56).
59 (0.59b-60aj K.57). 1 samaya;rite, C. (samayan7Jite, K.).
60-61 (C.61; K.58). ' 1 K:omits 61a 61-62 (0.62; K.59).
62-64 (C.63-64; K.60-61). 1 This is a very elaborate arrangement '
for juUging ill every detail the Success of a performance.
-XXVII. 701 SUCCESS IN DRAMATIC PRODUOTION 521
about the performance of individual actors, the following are the
Assessors (pra8nika) : an expert in sacrifice (yainavit), an actor
(nartaka), a prosodist (chandovit), a grammarian {sabdavit}, a king
(rajan), an expert in archery painter (citra'vit),
courtezan (ve8ya), musician (gandh(wva) and a king's officer
Heal' about them.
64-68. An expert in sacrifice will be an Assessor in the
[representation of] sacrifice (yajna,yoga,), an actor in general His-
trionic Representation, a prosodist in complicated metres, a
grammarian in a lengthy declamation, a king in connexion with
[personal] dignity, in dealings with the harem and in royal (lit.
his own) roles, the archeI' in the of the pose;
and a painter is a very suitable Assessor of movements for saluta.
tion and other acts, of wearing clothes and ornaments, and of
Dresses and Makc-up which are at the root of dramatic produc-
tion i the courtezan will be an Assessor in matters relating to
the enjoyment of love, and a musician in the application of notes
(svara) and observance Time (tiila,) , and an officer of the king in
[the matter of] showing courtesies. These are the ten Assessors
of a dramatic performance.
69. When there is a controversy among the persons
ignorant of the [Natya}Bfistra they (i. e. the persons named above)
are to pronounce justly the faults as well as the merits [of
individual actors Jl. Then they will be known as Assessors of
whom I have spoken to you.
70. When there occurs any learned controversy about the
knowledge of the Siistra the decision should be made on the
testimony of the books (lit. Bastra).
64-G8 (C.65-68). I Emend (C). into ,:?vasa-.
69 (C.69). I The significance of this rule seems to be that when in
judging a drama the Common people G. e. who are not acquainted with
the rules laid down in the Siistra) fail to decide, the specialist Assessors
mentioned above are to be called in. This passage is wanting in K.
70 (C.70). This rule seems to show that when the specialists in
theatrical practice diifered, th('y WAre to. refer to the Sastra or the
traditionally handed down compiled in books. K. omits
passage
66
THE NATYA8ASTBA
{XXVII. 71
Controversy about a periormanee
71. Controversy arises when the actors (Mal'ata) have the
desire of mutual contest at! the instance of their masters or for
[winning] money and the Banner (pa/aka) [as rewards].
Procedure in deciding controversies
72. In course of deciding a controversy one should
observe [the performance of the partiesJ without any partiality.
The decision about [the award ofJ the Banner
l
should be according
to the stipulation made (pa1Jam lq'/l'a)2 [beforehand]'
Recording of Blemishes
73. Blemishes affecting the SUCceRs should be recorded with
the help of reckoners (g(1,1Jllka) by these persons (i.e. Assessors)
who are seated at ease, have clean intention, and whose intelligence
is [ge.lerally J rclied on [by thl] public J1.
Ideaf position of Assessors in a performance
74. Assessors
l
should neither be too neal' [the stageJ nor
too far [from it]. Their seats should be twelve cubits (six
apart from it.
75. They are to notice the points of the Success mentioned
before, as well as the Blemishes! which may occur during the pro-
duction of a drama.
Blemishes to be ignored
76. Blemishes which may be accidental (lit. can sed by the
71 (C.71). 1 All example of this is the contest between the two
nii!yiiciiryas in the Malavi.
The Indian literary tradition records the fact of Bhasa's winning
Banners, possibly on the occasion of dramatic contests. Seo
Introduction, 15.
72 (C.72). 1 Read paliikiisar(l'Oytf'IJaharam (sa'Oya'IJaharam, C.).
II This stipulation may have the following forms: the Success in
producing any particular play, or any new play, or a new play with II
particnlar do :linating Sentiment will :entitle one group of actors or its
leader to the award of the Banner. K. omits this passage.
73 (C.73; K.62a). 1 K. omits 73a.
74 (C.74; K.62b-63a). 1 into praBnikat1J.
75 (C.76-77a; K.63b-64a). 1 ghiitaB ca, for yiil,. kii ca, O
. 76 (C.77b-78a; K.64b-651\),
.XXVII. 51 1 SUOOESS IN PRODUCTION 528
godS)I, the portents or the enemy are not to be recorded by the wise
[observers). But the Blemishes relating to the pJay2 as well
as the Blemishes arising from [the actors] themselves
s
should
he recorded.
Proeedure of awarding the Banner
i7. AHer mentioning him to the king the BannaI' should be
given to a person whose Blemishes, have been reckoned as few
in number but points of the Success as many.
78. If expert actorsl are found to be of equal merit (lit.
work and quality) in the production of a drama, the Banner should
he awarded first to one whose Success
2
is greater, or in case
of equal success
s
[of the two contestants] [the award should be
lIlade] at the king's command'.
79. If the king bas similar admiration for the two rivals,
then both of them should be awarded [the Banners]. With an eye
to all these rules one should provide (in the production of a play] for
the recitation, the [distribution ofJ roles and the Sentimentsl..
HO. Thus cultured persons who are well-acquainted with
with the rules [of theatrical production] and capable of appreciating
lIlerits
1
should sit at ease with an unruffled mind and see to the
proper judgementS [in awarding the Banners].
81. The are to point out (lit. take) the [measure
1 dai7Jotpatasamfdtka. K. (daivolpannasamartka, C.
2 tkata, K. (yasla, C.). Blemishes relating to a play seems to be its
literary drawbacks. It is likely that in dramatic contestq choice of defectwe
plays brought discredit on the contestants. 8 See above 24-25.
77 (C.75; K.65b-66a).
78 (C.78b-79a; K.66b). 1 Read lJliaraia4 ca.
2 Depending on the vocal applause as well as the silent approbation of
spectators. .8, sammasiddkau, K .. (samasiddka, C.). '7Jajnaya
C. ; K. omits 77a and reads 77b with some variation.
79 (C.79b-80a; K.67a). 1 K. omits 79b.
80 (K.68). 1 Read for K.
\I Read. S'lJaslkacittaih for S'lJasvac/taih K.
3 Read 'lJyavakara4 ;amanjasalj for v;avakara4.samail}'asarr), K.
81 (K.69). I Emend into
TilE NATY!SASTRA [XXVII. 82
of] achievement as well as the slightest of faults
2
which may relate
to the theory of theatrical production 3.
82. Hence producers I [of plays] should know [properly]
about Co-ordination (sama), Charm of Limbs (ailgamadhnl'ya),
Recitatives roles (prakrti), the Sentiments (rasa), 80ngR
(yalta), instrumental music (radya), and the Costumes and Make-
up (nello,thya)l.
Co-ordination
8il. Gestures which are simultaneouslyl made in a
play in harmony with the different a,pects of the arts in course
of the Dhrllvil songs and of dances
2
is called Co-ordination (sama).
84. When in course of the performance [of a play] Gestures
of different limbs major and minor, are accompanied by songs
with propel' Time (tala) and tempo (laya) and by the playing of
drums it is called Co-ordination.
Charm of Limbs
85. The position ill which the chest is not bent!, the
two arms are Catul'asra and spread out (a!fata}2 and the neck is
Aiicita, gives rise to the Charlll of Limbs (an!lamadhnl'!la,).
86. And as for the remaining subjectsl which are to be
mastered (sadhya)2 by the actors (sii/lhaka) they have been
discussed before. But they are to look after the instrumental music
(vadya)8, the roles (pl'lll':rti, lit. the origin) and the songs (!lana).
87. The Success arising from the Gestures and the various
Sentiments should be expressed out of joy through all the
signs (lit. the places) of the same.
----------- - -- --------------- --------
3 Read for K.
3 Read prayotasamaYa8ritfl! for
82 (C.80b; K.70). 1 prayoktrMil} C. (prayalnatalj, K.).
i C. omits 82a). 83 (C.81; K.71). 1 samantiit, K. samar/hah, C.).
dnru7Jiinii(yaprayogc, C. K.). 84 (K.72).
85 (C,82; K.7S). 1 ant'rMugnam, C. (sanirMugnam, K.),
a "sroyatau Mujau, C. sraki:taukafau, K.
86 (C,83; K,.74). 1 These are pii!nya, rasa and nepalnya ; sec
XIX., VI. and XXIII. siidhyam. C. K.) .
.!' Read Prak(,tayo tanam for C.
I\ad 'lJiidyaY(' j;liinam, K. 87 (C.84; K.75).
.XXVII.97] SUCCESS IN DRAMATIC PRODUCTION 025
Suitable times for dramatic performance
8i-l. Producers [of piaYH] should know the time (klilll) fot' a
performance (cam), which depends on various to
he [generally] day and night 1. Listen now when a perfol'mance may
take place during these two periods.
89. The performance in the evening, the midnight ami the
dawn belongs to the night'.
90. The performance in the forenoon and the afternoon
belongs to the day.
Time of performance according the subiect and the Sentiment
91. 1 shall now speak how these times are suited to
[different] Sentiments after ult1ntioning the time (l.'ala) to which
a performance belongs.
92. [The performance J which is pleasant to the ear and is
on a tale of virtue (dharma), whether it is pure (snddha)
or mixed (vilq,ta), should he held in the forenoon.
93. That which is rich in instrumental music, includes
the story of strength and energy, and carries [a chance of] abundant
success should he performed in the afternoon.
94. That which relates to the Graceful Sty'le, the Erotic
Sentiment and is full of vocal and instrumental music
l
should
be performed in the evening.
95. The drama which relates to the magnanimity [of
the Hero], and contains mostly the Pathetic Sentiment should
be performed in the morning and it will scare away sleep.
96. The drama Rhould not be performed in the midnight
01' at noon 01' at the time of the Sandhya prayer 01' of taking meals.
fJ7. Thus after looking into the time, place and the
basiH (plot) of a play one should bring about its production
according to the StateH and the Sentiments it contains,
88 (0.85; K.76) I Read 88b liS r,,;itI{1!.
89 (r.B7; K.77). .1 reads 89a as 11111 ,,1lIli " and 89b
correspondingly. 90 (C,86; K,78). 91 (088; K,79). 92 (0.89; K.80).
93 (C 90; K.2l). 94 (C.91; K.B2). .1 C.
11('Iya'Uadliragiladkyam, K. 95 (0.92; K.83) 96 (0.93; K.84).
97 (0.94; K.85). 1 O. butpartladam ea
sami/efya I u, K. parf}lUiatll in K. may be a wrong reading for P"f1!at/am
(assembly). .
526
raE NATYASASTRA [XXVII. 98
Emergency performances are independent of time
98. But when the patron (lit. master) orders, the time and
place are not to be taken into eonsideration and the performance
should be held without any hesitation.
fig. Propel' Co-ordination (lit. eo-ordinated production)
Brilliancc [of Pageant] (,mmftldhi), and actors capable of [good]
production are the three [points of] merits [in a performance].I
Qualities of an actor
100-101. Intelligence, physical beautyl, knowledge
of Time (tala) and tempo (laya), appreciation of the States and
the Sentiments, [proper] age, curiotiity, acquisition [of knowledge
and artsJ, [theirJ retention, vocal Iltusic, dances, suppression of
stage-fright, and enthusiasm will be the requisite qualities of an
actor (patm).
All ideal performance
102. That which good instrumental music,
good songs, good recitatives UR well aR Co-ordination of all acts
prescribed by the Sastra, is called an [ideal] production.
Brilliance of Pageant
103. Use of propel' ornaments, good garlands, clothes and
propel' painting 01' the Make-up [for the gives rise to
Brilliance of Pageant (sa1JLrddhi).
The best performance
10-J.. According to the producers of plays tho best (lit. the
ornament) [of the performance] occurs when all these factors
combine,
105. Thus I have spoken to yon properly of the charac-
teristics of the Success. Now I shall speak to you about the
different branches of music (atodya" lit. instrumental music)l.
Here ends Chapter XXVII of Bharata's
which treats of the Success in Dramatic Production.
98 (C.95; K.86). 99 (C.96; K.87). I See below 103.
100-101 (C.97-98; K.88-B9). I su;upat'IJam, K. (s'lJarftpat'IJam ca, C).
102 (0.99; K.90). 103 (C.100; K.91), 104 (C.lOI; .K92).
105 (0.102; K.93). I The Chapters XXVID-XXXIII which
tl'eat 01 Ule' tJwOl'y and pmcticc of the different branches of music, will
be published ill the second part of the present work.
CHAPTER THIRTY FOUR
TYPES OF CHARACTERS
Three types of character in a drama
1. Whether male or female, characters (pl'ah:ti) in general
[in n play] are of three types: the superior, the middling and the
inferior
1
.
A superior male eharaeter
2:3. A man who has controlled his senses, is wise, skilled
in various arts and C'mfts, honest, expert in enjoyment
l
, brings
('Ollsolation to the poor, is versed in different Si\stl'aS, grave, liberal,
patient and mnnificient, is to be known as:1 "Ruperior" (ntto1nn)
chm'arter
2

A middling male character
3-4. A mnn who is an expert in dealing with people, well
versed in boob on arts and cmfts as well as in has
wisdom and [of mnnners] is to be known as a "middling,
(madhyama) character.!.
An inferior male eharaeter
57. A man who is harsh in words, ill-mannered, low
spirited, of small intelligence, irascible, violent, can kill his friend,
can kill anyone cruelly, is treacherolls, haughty in words, ungrate-
ful, indolont, export in insulting the honoll red persons, covetous
for women, fond of quanel, doer of evil deeds and stealer of others'
property, is to be known as an "inferior" (adharna) character.
Similarly female characters too are of three kinds
1
.
A female character
8-10. I shall now spoak in due ordol' of female characters.
A woman who has a tender nature, is not fickle or cruel,
.... _-_._-----_._-_._-_.--- -- ._ .... _--.-- ._-------
1 (C.1b-2s; K,XXIV.l). 1 C. reads before this one additional couplet.
2.3 (C.2b-4a). I Emeud Okagatak.?11 into Mogadak,fa,
2 Cf. K. XXIV. 86b-8Ss).
3.4 (C.4b5a). 1 Cf. K.XXIV. 88b-S9.
5.7 (C.56.7a). J Of. K,XXIV. S9b-92n.
B.10 (C.Sblln). .1 Read sm#aOka.,,'nya,
028
THE NATYABABTRA [ XXXIV. 11
speaks smilinglyl, is obedient to her superiors (gUt'11)
2
, bashful,
good-mannered, has physical charm as well as high birth, and other
natural qualitieA, and is grave and patient, is to be known as a
(uttama) character3.
A middling female character
11. A woman who does not possess these qualities to a
great extent and always, and has some slight faults mixed with
them, is to be known as a "middling" (marlhyama) character.
An inferior female eharaeter
12, Description of the inferior male characters will generally
apply in case of female characters of that type.
A milred character
13. A hermaphrodite is to be known as a character of the
"mixed" and inferior type. Maid-servants and the like
are also characters of the mixed type.
14. The Jester, the Sakara
j
and all others like them in a
play, are eharacters of the mixed typeD.
So much about the characters which may be male, female
and hermaphrodite.
The four types of the Heroe
Hi 16. I shall now escri be their classes 1 according to their
conduct. Among three [characters], Heroes (nayaka) are known
to be of foul' classes, and they belong to the superior and the
middling
2
types and have various characteriRtics.
17. The Hero iR described as being of four kinds : the self-
controlled and vehement (dhi1'odrlhata), the self-controlled and
light-hearted (dhim-lalitn), the self-controlled and exalted (dhiro-
daita) and the self controlled and calm (dhira-praeanta).
2 Read gUrUrJa'f!l vacane. 3 Of. K.XXIV. 109-110a,
11 (llb-12a). 12 (l2b-13a).
13 (l3b-14aj K.XXIV.lOb, lOa).
14 (l4bej K.XXIV.ll). 1 K,d. 8aRaras caiva ca.
2 Read sal!lkin;zij prah;tir for sal!lkif'Y}a niitake. .
15-16 (0.15-16j K.XXIV.l2ab. 2). 1 'Oi61zagam, K. ('Oidkanam, 0).
" madkyotlamayam, O. (tatroitamayam, K.)
l7 (0.17j K.XXIV.S).
.XXXIV.24] TYPES OF CHARACTERS 529
18-20. Gods Ilre srlf-('ontl'olled and vehement (tlhil'orlrlhata),
kings are self-controlled and light-hearted (dhil'alalita)l, the coun-
cillors are the self-controlled and exalted (dhi'l'odatta), and Brahmins
:lnd merchants are the and calm (dhi1'a7JTasanta) classes
of Heroes. To these again belong the four classes of .Testers.
The four types of Heroines
20-21. These are always the Heroes in dramatic works (lit.
poetical composition). I shall now speak of the Heroines who are
of fonr classes: It goddess, a queen, a woman of high family and
a courtezan .
21-22. These may, according to their characteristics, be of
fOil I' typ<,w: self-controlled, (rllIil'a), light-hearted (lalita), exalted
""at/a) and modest (niblq'ia) 1.
22.2;). Godde8ses may possess all these qualities, and
women of high family may be exalted and modest, while the cour-
trxnns and the crafts-women lighthearted and exalted
l

Two classes of employment for characters
24. The characters [in a play] are of two kinds: external
(bah!fa) and internal (abhya lIia,rap. I Hhall now drscribe their
('/ml'acteristics
2

18-20 (C.l8j K.XXIV.4). -'- syur dkidalita nrpa&. K. (laMas tu
n('Pal] C,).
20-21 (C.19; K.XXIV.5). 1 C, reads after this, three and a half addi-
tional (corrupt) eoup!Pts (C.20-23a) which may be tentatively translated
as follows: 'fhey (Jesters) are serially [of two types} lowborn lind cultured.
They are to be attached to god" kings, ministRrs, and Brahmins. And in his
Reparation [from the bnlovrul a friendly maidRervnnt clever in conversa-
tion, who feels distressed at his misfortunn should bn attached to the king.
Among many (tit. in the lllultiplicity of) male characters in a play,
the chief ono is called the Hero. When in a play (lit. there) more [male
characters} than one meet the misfortune and get back the prosperity, ther,
one whose conditions appear remarkable should be taken as the Hero.
21-22 (C.23b-24aj K.XXIV.6-8,\). 1 C. omits 20b-21 and reaus 208
as follows l{1I !I ;jqT We with K.
22-23 (C,24b-25j K.XXIV.8b-9). 1 K. 22b as follows
U'ITTIfT 'mIT 1j.u1'M! r'l,
24 (0.26; K.XXIV.l2b). t; Read prakflro dvivtitk'alJ $mrla1l
2 K. omits 24b.
67
680 THE NATYASABTBA [XXXIV. 25.
25. [The character] which has dealings with of the king
[only], iR called internal and one who deals with the people outsidQ
(the king's palace] is called an external character.
Female inmates of the harem
26-29. I Rhal! now describe the claRses and function of
womrn who live in the harem and have dealings with the king.
They m'e the chief queen (1nlllta-devi), otl1l'r qu('ens his
high-born wivt's (.'l'limini), ordinary wive@ (.,tha!lilli)I, con('ubilles
(hholf/ini), craft;-woll1en (gill'al,ajirp,), actresses (nli!,t!{illii)2 dancers
(nltl'tllkt), maids in constant attendance maids of
work (pariral'kal, maids in con,tant movement (.Iancal'ika),
maids for running errands Mahattaris (matron),
01 d dameR (Nihart/a) .AyuktikiiS and (overseer), Pratibiilis (usher),
maidens (knmari).
The chief queen
30-32. The chief qneen (mltha lelJi) is one who has been
consecrated on her head, is of high birth and character, posses8cd
of accomplishments, advanced in age, indifferent to her rivals, froo
from anger and malice, and who fully understands the king's chal'dc-
tel', has sympathy in his joy and sorrow, is always engaged in
propitiatory rites for the good of the [royal] husband, calm,
affectionate, patient., a.nd benevolent to the inlJlates of the harem
l
.
Other queens
33-34. Those [wives of the king] who have all these quali-
ties except that they are denied pl'oper consecration
1
, and who in
spite of being proud of good fortune, are engel' for enjoying
affection
2
, are always brilliantly dl'essed, jealous of their rivals and
splendid on account of theiL [young] age, physical charm and
[many other] called queens (devi.)3.
25 '.27; K.XXIV.l3).
26-29 (0.28-:\1; K.XXlV.14-]7). 1 stnllyini 0, (sln1Jpita, C). Cf. BhP.
p. 289, I. 14-18. 2This shows that kings in aucient times had II large num-
ber of wives. According to the Ceylon tradition Rindusiira had wives
(sea BarulI, Inscriptions of Asr.krI. p.276). In Svapna. (VI.9) Udflyanll refers
to the sixteen wive, of his S Cf. Pllii. na/akittlli.
:10-82 (Ca2-34; K.XXIV.IS-20) . .1 Of. BhP. p. 290.1. 15-18
.33-34 (C.3S-36; K,XXIV.21-22) .1 saisallJskara;s lu C.(banumiina,K.)
2 K. reads 33b as 3 Of. BhP. p. 290,1. 19-21.
TYPHa OF 631
High-born wives
30-36. Daughters of generals or of ministers or of nny other
officers when they (i. e. their daughters) are elevated by the king
through the bestowal of affection and honour, and become his
fu I'ourite due to good ma.nners and physical charm, and attain im-
pOltance through their own merits, are known as the highborn
wives (svamini)l.
Ordinary wives
37-39. Ordinary wives (sthayirJI) of the king fire the
wOlllen who have physic:tl ch:trm and young age, is violent [in
ocxual acts 1 full of amorous g('stures and movements, expert in the
t'njoyment of love, jealous of rivals, honest, and who know the
llIind of the husband, are expert in writing and painting, follow
the wishes of the king always, and are free from anger, sleep,
'indolence and cruelty, [always] alert and ready [to act] and capable
of showing honour to persons according to their status 1.
Concubines
40. Concubines (hhllgini) to a king are known as well
hehaved, gentle [in manuels]. not very haughty, and they are
indifferent [to rivals), modest, affectionate but not held in high
honoul'l.
Women artistes
41-42. Those women who are coversant with various IIrts,
likilled in various crafts, know the different branches of the art of
perfumemaking, and are skilled in different modes of painting,
know all about the comforts of beds and seats, and are sweet in
clever, honest, pleasant-looking, distinct [in their words1
honest and mode8t, are known as women-artistes (silpa1cijl'j1ca)!.
Actresses
4:3-44. Women who have knowledge of notes (sval'a), time-
beat (tala) and caesura (!I.lti) [in a song]. are with a
master of the art (acarya), clever, skilled in acting (niilya), capable
8536 (C.87-38; K.XXIV.2324). I K. reads 36b as
\!Ilflflftfll ft er.nu.. BhP. has nothing analogous. See p. 290.
87-39 (C.39; K.XXIV.25-27). .1 C. omits 38-39. BhP. has nothing
analogous, See p. 290. 40 (K.28). I C. omits this.
4l-4.S (C.40b41a, K.XXIV.29-S0). C. omits "U. 43-4.4 (C.41b-42).
532
THE NATYASASTRA [XXXIV.4{.
of speaking according to the occasion, have young age, and beauty
of form, are known to be actresses (nala1a,ya)I.
Dancers
44-48. Women who are expert in the representation of
Passion (hela) and Feeling (bhava), know [well] thc representation
of the Temperament (sattva), have sweetness [of manners], are
skilled in playing musical instruments, have beautiful limbs, arc
conversant with the sixty four arts and crafts, are clever and always
bold, free from indolence, inured to hard work, capable of practising
various arts, and skilled in dancing and singing, and due to their
young age superior to all other women standing neal' by, in the
beauty of form and in the bl'illiancc of appearance, are known tiS
dancers {nartaki}l.
M aids in constant attendance
48-49. Women who do not under any condition leave the
king, tire maids in constant attendance
Maids of special work
49-51. Those women who are clever, skillful, regular, and
who know the art of making bcd, scrving wino and victuals, sham-
pooing, preparing and applying perfumes, decomting one with
ornaments and garlands, arc to be known as maids of special
work (par icarika)1.
Maids in constant move
51-GB. ThoHC women who [always] roam about in different
parts [of the palace], temples, pleasure and strike
1 K'.s slightly different reading in trans. will be as follows: A woman
who knows to brgin [a song] and to stop it, and the proper tempo to be
followed in it, can represent the Sentiments and the States, understand
other people's intention anti is obedient to the teacher, clever, expert
in acting, skilled in discnssion, conversant with the playing of drnms and
other musical instrnments, is called an actress .
. 44-48 (C.44-45; 47;.K.38b, 83a, 84). 1 K. reads between 47a amI
8n additional couplet.
48-49 (C.48a; K.XXIV.35). T C. omits 40a.
49-51 (('.48b-50a). .I. K'.s reading which is slightly different will
in trans, bA as follows: A woman who is in ohargo of the king's um-
brella, brd and scat, lIud looks after the cooked food, shampooing, toilet,
wearing of ornaments and garlands is his maid of special work (partcfmkfJ).
Of. AS. II. 27, 41. 51-53
XXXIV.58] TYPES OF OHARAOTERS
the [bell indicating] the Yiima
1
and are prohibted intercourse
by the playwrights, are to be known as maids in constant move
(sanc(i1'ilca).
Errand girls
53-5-1. Women who are empIJyed by kingR in secret
comIlllSSlOns connected with his love affairs and are often to
be sent [in some such work] are to be known as errand girls

Mahattaris
5455. Women who for the immunity of the entire harem
[from evils] and for [the king's] prosperity takes pleasure in
[singing] hymns [to go;ls] and in performing auspicious ceremony,
are known as Mahattaris (matrons).
Pratiharis
55-56. Women who lay before the king any business 1'e-
lated to various affairs [of the state] such aR treaty wal'
(vigraha) and the like, are called Pratihiiris {usher}.
MaidellH
;)6-57. Girls who have no [experi!Jnce ofJ love's umon
(l'atisa'l!!!I()!la) and are quiet, devoid of rashness, modest and bash-
ful are said to be maidens (Immo,l'I).
Old dames
57-58. Women who know the manners of the departed
kings and have bccn honoured by them! and who know of the
character of all (members of the hurcm]2 are said to be old dames
(v!,ndha).
Ayuktikas
58-60. Women who are in charge of the HtOl'eS, the weapons,
the fruits, roots and grains, who examine the [cookedJ food for [the
king) and are in charge of (lit. thinkers of) the scent, ornaments
----------_._._._. __ .. __ ._._-----------
1 yiima=a period of threehours.
5354 (C.52bc; K.XXIV.42).
.1 Read the passage as I 'Jtllt.r
i!l1: illJ'II"ITft.I;T:. 54-55 (C. 53; K.XXIV.43).
55.56 (K.XXIV.44). 5657 (K.XXIV.45).
57.58 (C. 54; K.XXIV. 46). I C sarvaraja.m
K.). sarvcl1IuearitajFmo, C. (purvarnjopacarajna, K.); .
58-60 (C.5557a; K.XXIV.3637).
684
'rHE NATYASASTBA
[XXXIV.61_
and garlands and clothes [he is to use]. and who have under them
lIlany persons and are clever, are said to be Ayuktikas or Yuktikiis
(overseer). These are in general the women of the rroyal] harem.
Qualities of women to be employed by the kiDg
61-0J. The qualities of those women who are to be
employed [by the king] should be as follows: they should not be
rash, restless, covetous and vcry cruel in mind; they are to be quiet,
forgiving, satisfied; they must have conquered anger and contl'Olled
senses, they should have no passion; they am to be respl'ctabll',
free from all female attachc(P and devoted
2
[to the king]
and free from womunly prides.
Others inmat(s of the harem
64-60. The who ,constitute the third class
of should he employed ill a !'tlyal hon.,ehold for moving
ubout in the harem. But Snatakasl, Kaucnkills as well
arc to be placed in different
parts (kaJt1al of the hal'PIll, Persons who are eunuchs or have
givrn up sexual Hhould always be made the inmates of the
Im'elll in a Niitaka. The i::lniilaim be made to observe
Aryan IIHUlnL'rs. In errands relating to the polity the Kaucukill
should be employed, and ill l'l'rauds relating to love-affairs
(l.-iil17a"/i,ra) the are to be engaged. The Aupasthayika-
Nil'lllllt;l<,1aH are to be engaged ill sending out women aud in any
place for the protection of lllaidens and girls
2

'iO, And lllaids in constant attondance should be employed
by kings in ng giflS
1
to wOlllen [they love J ; wonwn well-
in all kintls of dante and in the of diffel'pnt limbs [in
dallec and ading] shonld be placed in the [royal] theatle
2

61-6-1 ((C.57b-60; K.XXIY 47-48). I Here occnrs an expression
natlilpars!'asamutthitu* which cannot be explaiued.
2 K. omits 4a and reads the rest with II slight variation.
vanita-madavarjita, K. C.).
64-6'9 (C 61,63a; K.XXIV.50-54). .1 K. e).
I C. omits 66-68 and K. 69b.
70 (C.64!1; K.XXIY.55). TRead danakaryesu for mana" (texts).
K. reads 70n and 70b the foliowing 1;-

.XXXIV.76)
TYPES all' OBARAOTERS 11811
The V
7t. Those women who have poor vitRlity and the eunuchs
wh:> have the nature of women and are voieeless from birth are
known as
Tho NirmuQQas
72. eunuchs who look like males and have nothing
fpminioe in theil' nature and have no knowledge of sClCual acts arc
called
Tl:e Kaiieukins
7374. ThoRe who have Ip:ll'ning, trllt.hflllneSR, 31'1' fl'ee from
the sexual paRRion, and have derp knowledge and wisdom, are
known as the [Whcn thl y arpJ Bl'ahmins by birth,
clewr, old and free from Rexlial passion, kings are always to
employ them to look after the needs of the qlleenR
1

75. TheRe are the eighteen classes of inmates of the [king'H]
harem. I shall now speak of persons who move about in public.
External persons
76-77, They aro : the king (rajall), the leader of the army
tho chaplain (Jllll'odhas), tho miniRters (111 cw tl'in)l ,
councillors judges (preul viraka) and the wardens of princes
{liumal'adhikrla)2 fln!l many other mombers of the king's court
71 (C.64b65; K. XXIV.56). 1 The reading is corrupt.
72 (K.XXIV.57). 1 K. omits thi".
73-74 (C.65b66a; K.XXIV.58). 1 Though the later have
opinrd that the Kaiicllkill should be a Brahmin, the author of tho did
not recognize any sueh rule. Bhiisa too scems to follow him. In Dutava
(1. 5, 9) the Kiilicukiya falls at the feet of Duryodhnna. So we may
infer that the Kane. was not a Brahmin who eould not degrade himself
by falling at the feet of II Fo!' latol' def. of the Kai1e. soo N8.
XIII.1l211a notes. 2 C. omits 73 and K., 74.
75 (e.66b-67I1j
7677 (C 67b69aj K.XXIV.60-6!). 1 AS. (I 8 and 9) distingu:"ll<'S
between amiltya and mtzntrzn. Kimandakiya N:tisara (VIII. I) ai" dopR
the ht'Cr Il\It
l
lority to be id"dli,"';
with .,ac/va j IV. 25, a'), a1. Accnr,ling to sativa, mal'i.'ilj
lind al1fJtya arc three diff. funcionarieR. $ee II. 94, 95, 103.
s Read tatM. for kumarakl;las tallll!. K.
THE NATYASASTRA . [XXXIV. 78
I shall speak of their characteristics, please listen
about them.
The king
78-82. A king be [physically 1 strong. intelligent,
truthful, master of the senses, clever, eloquent, high-minded, honest,
far-aighted, greatly energetic, grateful, sweet.-tongued, skillful; and
he should take a. vow of proctecting his subjects and must know
how to divide duties [amongst his officers]; and he should be
always ready to act, alert, advanced in age and be an adept in the
Smrti and the ArthaHastra literature, expert in detecting enemy'R
weakness and the must understand one's mind from his appearllnce,
he should be wellprotected, capable of taking logical
view of anything, and a patron of various arts and crafts, and an
expert in the Niti literature.
The leader of thr army
828'1, One who is trnthful and possesses a good character,
is active (lit. has given up idlcncsR), swecttongue(1, knows
the rilles regarding the weakness of the enemy, an(l the propel' time
for marching against him, haR It knowledge of the Arthasiistm and
everything about wealth, is devoted [to the king], honoured in the
society f1n(1 haH a knowledge of the time and place, should be made
the JemIe]' of the army
Councillors
Sl-Si'). Those who fire intelligent, full of policy, heroic, sweet
in speech" wellversell in the ArthaRiistra, attached to the subjects
[of the king] and arc followers of hws (dhar1na) should be
appointed Conncill ors (Itmatya) by the kingl.
5 Read K. for 1IIi1ny1! jneyn, C.
7882 (C.69b-73a). 1 K. XXIV.6266 seems to read the passage with
Rome significant variation. On this Be tho Introduction.
82-83 (C.XXlV.67G8). I The def. of the chaplain (purodhas) and
the minister (mall/fin) seems to be lost. See above 7677 note.
84-85 (C.73b74). I (K,XXIV.6970a) reads the passage ditferently
in trans, it will be as follow.: The counoillors and the
(mantrin) are to be characterised by tho [following] qualities:
they should besides being follow-countrymen (of the king] and devoted [to
him], high-born, intelligent, VirtUOllS and well-versed in the Vedas
(sruti) as well as in polity.
-XXXIV.85] TYPES OF CHARACTERS
537
Judges
85-87. Those who know [well] about commerce and money,
arc intelligent, conversant with many departments of knowledge,
impartial, followers of laws, able to discriminate between good
lind bad deeds, forbearing, self-controlled, overcome anger, and
have the same respect for all people, are to be appointed as judges
(pl'Mvivaka) by
Courtiers
87-90. The members of the court (sabhastlil'a) should
be appointed after consulting the views of Brhaspatil who thinks
that the following are the qualities required for this office: they
be always ready for work, alert, free from indolence,
undaunted by hard worlr, affectionate, forbearing, modest,
impartial, skillful, trained in polity and good manners, deeply con-'
versant with the art of agrumentation and all other branches of
knowledge, and not affected by sexual passion and the like.
Next I shall tell you about the rules regarding the distribution
roles in a drama.
Here ends Chapter XXXIV of Bharata's
which treats of the Types of Different Characters.
85-87 (C.7576; K XXIV.70b72a). 1 The de. of the warden of the
princes expected here seems to be lost. See above 7677.
87-90 (C.7779; K.XXIV.72b-73, 74b, 75a). 1 Read 89a, as
'W"'IilIi (capadhuryam- K. for cap" K. 0 radikai
thanam,- K. for 0 ravikalpanam, C.
CHAPTER THIRTYFlVE
DISTRIBUTION OF ROLES
I. I shall [now] speak of the distribution of roles in a
play or of the kinds of men by which different roles are to be
represented.
General principles of distribution
2. After considering together froUl their gait, speech and
movements of the limbs as wdl as their strength and nature
l
,
experts are to employ2 actors to represent different roles
[in a play]8.
3. Hence the selection of actol's should be preceded by
an enquiry into their mel'itR. The Director (lit. the maRteI') will
not eel difficultyl in the choice [if RUch a procedure is followed].
4. After ascertaining their natural aptitudes he is to
distribute roles to different actors 1.
The role of gods
56. PersonH who have all the lilllbs intact, well-formed
and thick-set, who are fuli-grown (rayo'nvit(() not fat or lean or talI
or lazy, who have vivacity, pl(lnsant voice and good appearance,
should be employed to represOlt the role of gods 1.
The role of the the Danavas etc.
7-8. Person.s who nre fat, and have a large body and
a voice like the peal of thunder (lit. cloud), furious looking
.. -----.---- --
1 (C. K. same). Ivihhagam (vinya.lam, K.).
t K. reads lb. with a slight variation:
2 (C.2a; K.2). r sattvasilailJ, K. (sattval;ila', C.).
, Emend K. into yujyad.
3 2b. and the following thirteen couplets have been omitted by C.
.. S(K.3). I Literally, 'this will not bring weariness to the intellect
J
. of the Director.' 4 (K.4). r This passage is slightly corrupt.
. 5-6 (K.5-6). 1 This seems to be comparable to the Hellenic
!:Oneeption of gods.
7S (10.S). I Of. BhaHi, II. 30.
-xxxV. 16]
DISTRIBUTION OF ROLES
eyes and naturally knit eye-brows should be employed to
represent the role of the the Diinavas and the Daityas,.
for the performance of male actors [should be] in conformity
with their limbs and movements. .
The role of kings
9-11. Actors (blw1'I1ta,) of the best kind, who have
beautiful eyes, eyebrows, forehead, nose, lips, cheeks, face, neck
and ('very other limb bC'autiflll, and who are tall, possessed
of pleasant appearance and dignified gait, and are neither fat
nor lean and are wt>ll-hclJaved, wise and steady by nature,
should be employed to l'epl'Cpl'()Hcnt the role of kings and
princes {kwnara)l.
'rhe role of arlOy-Imdcrs and conncillors
12-13. Persons who have well-formed limbs, distinct
speech, are neither tall not' fat!., are ht'roic, skilled in debate,
eloquent, ready-witted and not deficiont [in anything] should be
employed to represent the role of tho lradet's of the army
(senapati), and the councillors (rtmat!/a)2.
The role oj' the Kailcukill :lnd tho Srotriyu.
14. Persons who have ul'own eyes, long nose and who
arc either short or tall [in stntul'e] RllOUld ue employed to represent
the roles of the Karrrllkin (arll1oUl'-hral'Ol'), the 8rotriya (maRtel'
of the Vedas) and the like!..
The role of minor characters
15. [n other cases too, similar dramatic convention has
been prescribed; roles should he assigned after considering the
latter's age and physical conditionS.
16-17. [For example] persons who 31'0 slow-moving, very
dwarfish, hunch-backed, nnconth. odd-faced and fat, who have
9-11 (K.9-11). I KingR, lind army-leaders etc. whlch the
author had in view seem to have bocn of I ndo-Iranian origin.
12-18 (K.12-1S). I This to moan 1\ medium hcigllt. Sec
above 9-11 note 1. Amiilua here so('ms to include manlrt'n
14. (K.l4). .1 See above 9-11 note 4.
IS (C.8; K.lv). I Read natyadkar1Jti pl'asasyale.
9 daiiJ1JaslMnurfift!lJa K. C.).
16-17 (C.2b4aj K.16-1?).
040
THE NATYASASTRA [XXXV.1B-
expressionless (lit. motionless) eyesi, one eye blind
2
, small chin
and low nose, ugly raiments, evil nature, deformed body and are
born of slaves should be employed in the role of slaves (diisa).
The role of fatigued persons
18 A person who is naturally thin, Rhould be employed in
a play {lit. there}1 to represent the tired characters.
Tho role of persons without disease
A fat person should be employed to represent the persons
without any diseaseD.
Sproial eases of assigning roles
19. If, however, such persons are not availablr. the Director
(lit. the master) should exercise discretion to employ [ Aome one]
after a consideration of the latter's nature and movement as well
as the States [to be represented].
20. Such persons' natural movements whether good, bad
or middling should he regulated by a contact with the Directof
(lit. the master)1 and then they will properly represent [all]
the States
2

21. In other cases too similar dramatic convention has
been and rolcs should he assigned to persons after
considering their native place (de8I1') and costume (1!P8(1).
The role of ehnl'nctcrs with extra 01' speeial limbs
22-2rl. caRe of characters which have many many
heads, and uncouth faceR, and faces of allimals including beasts
of prey\ asses
2
, camels, horses and like, the Director (lit. the
1 Read for K.
2 K. C.).
18 (0.4b-5aj K.l8l. 1 lalra C. lapa(h)/;ranle K.
2 prao, C. K. Hi (C.5b-6aj K. 19).
20 (C.6b-7bj K.20ab.). 1 fatlta co,ryayogena. K. (fa/Ita canyayo-
gena, C.).
;. 2 C. 6b and 7a seem to be variant of each other. Seo K. 20a
which we accept. 21 (C. 8). I K. omits this.
22-23 (C.9-10j K.XXVI.l3b-15a). .l 8vapadafJaktroa ca, K. 3fJii.
padasiTf}na8 ca, C.
2 lallta K. fJaral}il$ latlzii, C
24 (O.lli
XXXV. so 1 DISTRIBUTION OF ROLES 541
master} should, according to his discretion, have the masks (lit.
them) made by means of clay, wood lac and leather.
The first entry of a character
24. After concealing his identity (lit. his own forlll) by
means of painting and make up one should entor the stage in hiH
natural State (Ultava)l, .
The result of proper impersonation
25-26. If in the production of a play a person is to be
assigned 1 a role which fits in with his nature and physical forID,
then he [very naturally] representR it (lit. l'endCrR his States).
[He will be] like a man who renounces his own natlll'fl together
with the body, and asslimes another's nature by entrl'ing into
the latter's body.
The psychological preparation for impersonation
27. Thus after thinking within himself that "I am he"
a wise actor should represent the States of another person by
speech, gait, movements and gestures 1,
Three kinds of impersonation
28. Human characters according as they are represented on
the stage [by actOl'sJ fall into three classes: natural (nnItI'UI!a),
ullnatural (l'irii.I'ii.) n { ~ imitative (I'U/Jiill/tsilrilp).
The natural imporsonation
29. When women impersonate female characlcl'R and men
male ehm'aeters, and their ages are similar to that of the characters
represented, the impersonation is called "natural" (ftnUl'!tpa)l.
The nnnatura] impersonation
30. When a boy impersonates the role of an old mun,
or an old man that of a boy, and betraYR his own nature in
acting, the representation is called "unnatural" (vil'upa).
1 The implication of this is not elear.
25.26 (0.1213; K.XXVI.lab-lBa). I prayojyam, K. prayukt!l1lt, C.
Of. NS. XXIII. 79.
27 (0.14; K,XX\TI.l8b 19a). 1 A very practical instruction.
28 (C.15; K.XXVI.l).
29 (C.17; K.XXVI.2). 1 C. reads 38 before this with a SJigl,t
variation. 30 (C.18; K.XXVI.3).
THE NATYASASTRA [XXXV. 81
Imitative impersonation
3132. When a man impersonates a woman's character
l
the impersonation is called "imitati'Ve" (rupanusal'i1Ji). [Following '"
this very principle] a man's character may, at one's option, be
represented by a woman. But in cases of Ruch an inversion of
roles (lit. mutual efforts), one should see that persollS employed arc
neither old nor ugly (lit. should make them old or ugly).
Suitability of women in some roles
33-3(1. Characters of delicate nature
l
are always! to be
represented by women, and hence
8
such roles of gods and mortals
[arll to be representedj' likewise. [For] just as among
the godR drama depends on [femaleR like] Rambha,
Un'ilsi and the like, similarly among the mortals lolcp-)
too the same rule holds good in the harem of kings. And
[hence] teachers (acal'ya)
6
should instruct women [in actingl
according to the Siistras.
35-36. As amorousness (vila8It) is natural in women
they poss('ss likewise naturally graceful limbs which are easily
accessible to the But the men's Lolling (lalita) should
deppnd on deeorative movements (alaI.v,Ct,/'(/').
Training for women in different roles
:17. A good Director (lit. wise illiln) shonld not get wOillen's
roles supervised by himself (syayam). Dut masC'uline (lit.
production depending on men when assigned to women should
be carefully directed [by him].
Result of proper assignment of roles
38. Roles assigned to of various nature, and 3e,
----------.-----_._.
3132 (C.1920; K.XXVI.4-5). 1 As in the Shak(,spcarian stage.
Ag. (p. 502) explains oaZisll as 'lJiropa (ugly).
33-35 (O.21-23n; K.XXVL6-8.). I Mumikal!l sukumaram, C. Mu-
.. ,4!kam, K.) ni/yam, C. 'lJt't/am, K. ! a/yarl/tam C. ilyarlkam K.
C. prakrtinam, K. 6 Cf. Vikram:m.
6 The trans. is tentative.
35-36 (C.24b25; KXXV1.l2-13a). 1 Sec Nti. Xl. 88-91.
37 (0.268, 56c; K.XXVLlOa-llb).
S8 (C.16; 26b;K.XXVllOb-lla).
-XlXV. of 548
who depend on limbs will very much embellish a
performancel:.
Result of employing women for acting
39. Dance and music (sa'f!l-gita) without fatigue is always
[considered] a quality in women, and a dramatic production 'attains
l
partly the sweetness and partly the strength due to this
2

40. A woman who is an adept in the pi'actice of love
and is an expert in [representing] love-affairs appears through
her graceful acting on the stage like a creeper
full of various charms on account of its [many] flowers.
41. Hence [a Director] should always bestow undivided
attention to the [women's] exercise (yogya) [in dance and music].
For without such an exercise the States, the Sentiments and the
cannot be produced [by them] in the least
l

The two types of dramatic production
The prodnction of 11 drama which includes many
States and S(l)ltiments is of two kinds: delicate (.mknrnam) and
violent (aviddha)l.
The delicate type of production
The Na!alm, the Pmkaral].a, the Bhut;lll, the Vithi,
and the Ailka arc known to be of the delicate type
l
For they
depend [for their production on the impersonation of] human
beings only.
I Read this couplct as follows: I[mflll!l1!ll I

3D (C.27; K.XXVI.9). 1 Majate; K. (Mavatt; C.). Read nii/YaI!!
(Jrayoge ca for Izii!yaT(l proyogena, C. K. The passage is corrupt.
40 (0.28). 1 'l'his shows the bonefit of engaging actresses. The
employment of boys to represent women on the stage was considerably II
handicap with Shakespcare in depicting female characters. On this sec
"Shakespeare's Dramatic Art" (p. 54) in A Companion to Shakespeare
Studies, Cambridge, 1946, K. omits this.
41 (C. 29). I K. omits this. This passage seoms to show the high
standard of acting in the ancient Hindu theatre.
42 (C.30; K.XXVI.20, XIII.44). I B,ec MS. XIV. '56.
43 (9.31; I 6.eeNS. XIV. 61.
THE NATYASASTRA [XXxV.H
44. This delicate type of prQduction is pleasing to kings.
Hence plays of this class when they are found to posses [chiefly]
the Erotic should be produced by women [only, for
the enjoyment of kings]I.
45. The play in which there occurs violent fighting, great
speed [of movement] and much excitement, should be enacted not
by females but by males.
46-47. If a play includes ordinary (lit. not exalted) inci-
dents and no hurried or violent movement of limbs, and requires
the observance of llroper tempo, Time and reglliated utterance of
syllables and of well-separated words, and docs not abound in all
the eight Sentiments in their exuberence
I
, then it may be made to
he produced by women
2

The violent type of production
48-4!l. The play which requires pncrgetic (i'ilJiddhn) Ailga-
hiu'us 1 to represent cutting, piercing, and challenging, and includes
[a rcprcscntatation ofJ the use of magic and occult powers as well as
artificial objects and costumeR, and has among its rlramatis per-
sonae many males and small number of females who are of quiet
nature, and mostly the Orand and the Energetic Styles are applied
in its production, is of the violent (aviddha) type.
50. By the expert producers, the playR of the J)ima, the
Samavakara, the Vyayoga and the Ihamrga classes are known
to be of the violent' type
l
.
51. Production of plays of this type should be made by
[an impersonation of] gods, the Diinavas and the who
are majestic, and endowed with heroism, energy and strength
1

44 (0.26; K.XXVI.22). J An instance of such a play occurs in
Priyadul'sikii, Act. TIL, 45 (0.32; K,XXVI.23).
46-47 (0.338; K.XXVI.24-25), I Read anastarasa-banulam for
_ K.; 2 O. omits these two
1, 48-49 (0.33-34; K.XXII.45-46). I Read yfJ& cavziidnailganaranlu
tor na cavidyaiigabhavas lu, O. lalra vziidnanganararfJ I u, K. See NS.
'XIV. 378.
50 (0.85; K.XIlI.47). 1 Read SOb as etanyavtiidnasfJmjnani, K. ete.
See N'S. XIV. 59. '51 (0.36; K.XIIL48). .1 See xiV:60. '
.xxxv, 57)
DISTRIBUTION OF HorJES
5{5
,-;2, one Hholl1d misign of different in
the production of a play, Now T how Ihe tll'Hma b to
J)() produced with the hdp of tIll! CosttlliJrs and ]\fakl'-lIp,
'fhp, t)'pical impersonation of II king
;,:l-:il'i. How nre the kingly (jllnlitic
'
,.; to lin I'Pple;<('nted hy
n limite(lnlllllhcl' (1/7/10.) of Til ('annexion it has ])(lpn
thnt when tIll! 11l'1l111utie conYCntiollS 1'a\\l11 into ]wing alllong
lhe peop\C', the dl'i\l\1:t fUl'l1ishell with all' Iho:;(', by
mo. And hence th() aclor (1I1I(a) coverClI with paint ant! decorated
with ornaments will reveal the of kingship when he will
a gmve and dignified nttitude
1
And lhlls a prrRon will
ue CaR it were) the refuge of the Seven Grcat Divisions (srtlJ/ati1'iI1a)
of the earth.
51l57. Coverell with pnints [in the role of a king and
having mild movement of tho limbs
1
the actor lltl(lel' instl'llction
of toacher should assulllo the pose, anti then be will
look like a king, and [Ol'dinfll'ily] the king also looks likc an aetor2 .
Jnst as the aetor is to be like a king, so the king is to be like
an aetor3.
The StateR arc to be r0pres('ntcd (liL nccomplished)
Ily the both by means of similar graceful movements and
the HimiJar of limbs!, ,Just as nn actor uuder instruc-
tion of the teal'her illllminatrH thr ,:0 the king too should
always be naturally brilliant [in his dress and demeanour]'
------- -----------------
52 (C,S7; K.XXVJ.26a).
5355 (C. 3840; K.XXIV.76-78). 1 gumbltirya/ldaryaO K. glim.
bhiryaltaryaO, C.
56-57 (0. K,XXIV, 79-80). 1 The 561\ ue
liS follows: ITri!i 'liril, C.),
(san/am) in place of kartavyam ill the next hemistich in K.).
'fhis iA II very elevrl' stat('ment. The king though he is nothinp
but an ordinary human being, of(;(>n aSSUllles consciollsly or unconsciollsly
an extraodil1llry IIppenrance. a See above note 2.
58-59 (K.XXIV.8l-82a). 1 (text,OvI! forOviit).
69
1i4R
THE NATYASASTRA
f XXXV. 59.
Impersonation of the attendants of gods
;i9-60. The attendants of gods
1
shoulrl be lIlade like those
of kings, and in the drama they lire to be given the costume, the
languoge
D
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 hy
IIssociating him with suitable age throug'h the makeup!.
(i 1-62. Thus o!le should llIake a selection of persons fol'
repreRenting kingly mannerR. 1 speak hrreafter of the qualities
desirable in producers.
The characteristics of n Director
J n this eonnexion, I shall speak of the qualities of a Director.
An enumeration of his qualities will rOllstitute these rharacteristirs ;
they are: complete l'efinment of spcl'ch, knowledge ahout the Tala,
rules for timing of songR, and of the thOry rclating to Illusical
notes am1 to the playing of ll1usieal instl'llInents
1

li3-68. One who is an expClt in playing the fonl' kiu(lK or
musical instrument, well-trained in rites prescribed in the
with the practices of difiQl'(lIlt religious Rerts and with
polity and the science of wea.lth, expert in tlt'1 mHIWel'S of cOIII'te-
zans, and in poetics
l
, knows the varions convpntional Gaits 2 and
movements, throughly apprrciates [all] the States (bllal'a) and tho
Sentiments ('/'as!!'), is an export in prodncing plays, acquainted with
various arts and crafts, convel'sant with the I'I1ll's of prosody and
the metrical feet, and is clever in studying the different Bastras,
acquainted wit.h the scillllce of Btard and planets and with the
working of the human body, knows the extent and customs of the
earth, its continents and. divisions, mountains and people, and the
descendants of different royallincs
3
, is fit to attend to the Bastras
relating to his works, eapable of understanding them and of giving
5960 (U.43; K.XXIV. 82b83a). I divYiinafll, K. dravyiinatll, C.).
)f' :1 ; K. (desaMii'lii, C.).
nO-G} !}i . XXIV.S3b-S4a). I This passage seems to be a variant of 25.
W.44 lind PI'OAC; K.XXIV.84b lind prose). I K. reads the
()\"o<,' 1''' . differently.
. 6H"(C.4S.S0; K.XXIV 9398). 1 K., C.
, K. C.): 3 prasft/t'vit, K. prasftfivan, C,
XXXV.75) DISTRIBUTION OJj' ROLES
5-17
instruction [011 the subjects:!; should be made a teachet' (lilJal'ya)
and a Director
The natural qualities of a Director
6\)71. Now listen to me speaking abont the natural quali-
ties [which he shouhl pORsess]. He shonld be possessed of memory
aud judgement, be persevering, dignified, poetical, free t'01l1 diseasl's,
sweet [in his mannersj, forbearing, self-possessed, sweet
words with a smile, free from angel' and greed, truthful, impartial,
honest and resourceful (pratilJlallta). These are his natuI'II1
Iinalities.
Characteristics of all Assistant to the Director
7172. A pcrtion of the middling type who has slightly lesH
ll!llllLl'r of qualities than that the Director is to should
be known as an Assistant (plii'ipal'b'IJilat) to tho Director.
Characteristics of an actor
72-73. An actor (na!a) sllOulll be lively [lit.. bright], pos-
of good acquainted with theatrical ami
their possessed of [good] memory, COllversant with the rules
lof the theatre] and an expert in his own workl.
Oharacwristics of the Parasite
7;3-74. Possessing the qualities which the Director
d hal'a) lms with regard to the. theatrical production
1
tho Parasite
should be an expert in dealiug with cOUl'tezllllH, HIVcet-
tempered, impartial, poetic, capable of seeing the pros and cons
in any argument and be eloq ucut alltl clever.
Charaoteristics of the Sakiira
75. The SakuraI who is to change his nature of ton will
, The position of the Direotor (stdradkiira) seems to be comparable
to that of retzsseur. See Th. Komisariesky, 1'he Theatre, London. 1935,
PI>. 15,18,19. 69-71 (0.51-5311; K.XXIV.99-10ltl).
71-72 (C.53b-54a; K.XXIV.IO Ib-l02a).
72-13 (C. 54b-55a; K.XXIV. l02b-103a). I Cf.
The Theatre, p. 20.
73-74 (C.55bcj K.XXIV.I03b-104). I Emend yuktal!
ProJ()fz'1}QIf into yuktal! sarva eva proJ()fC ca.
75 (C.06; K.XXIV.105). I Rometiml1fl r.(HlIlf'Ctrd with
'*le Keitu, i:!kt. Dralna, p. 69.
sarva eva
548 TrfE NATYASASTRA [XXXV. 76
genemlly be dressed with gaudy (lit. brilliant) clothes and orna-
ment8, and will be angry without any reason and be pacified like-
wise, and he will speak the Magadhi dialect.
Charaeteristics of the Jester
7(i. The Jester should be short in stature, hunch-
backed, twice-born
l
, baldhea.ded ana twany-nycd.
Chnraetcristics of the servant
77. The servant should be fond of cmfts (I,ala), gar-
rulous, uncouth in form, using scents, expert in distinguishing
between who are to be honol1l'ed 01' not to be honolU'c!l
CharacLeristicH of the courter.an
78-:-11. Thus I now of the nature of female
chamcters who [many] natural as well as acquired (lit. other J
qualities 1, '1'he COlll'tezltn (galJika) be skilled in acting
and have the following qualities: she should bc alwnYR engaged in
attending [fOl' kal'lling] and in tho application of the art,
and be endowed with sportiveness, Emotion (lwra), Feeling-
(hhai!!l), Temperament (satt'17rt), good mannerR, and sweetncK8,
and he acquainted with the sixtyfolll' arts and expert in
dealingR with the king2, free from female and RhOllld have
Rwcet and endearing words, and be ullreserved, clever and 1II1COll-.
qlJ(>rrd hy fatigueS.
Charact<'ristics of the tYl;ieal Heroine
81-83. A woman with the following (jualiti('s be
made the Heroine: sho should be endowed with a good physical
form, good character, young age, Hwcetncss and strength,
ami she Hhonld be shilling, tender, sweet, nttering charming words
with a lovely voice, llll:itcady (lit. perturbed) in the exercise
(yl)uya)I and should be conversant with tempo (laya) and Time
(/ ala,) and the SentimentR.
" 76 (C.;'7; IC\.XIV.I06l. 1 d,'J/anmii, K. d7,,'i}/tV(l, C.
77 ICXXIV.l 07).
78-81 (C.5!16.Z:1; I('XXIV.I08; 111-113). I C. 78 (K.XXIV.
' C. K.
. "K. l'""d, I.w "t\llit.iollall'ollpl<'l.,.. 1)('[(11'" 79
. J 81-ill (C.Glbli.h; ICXXlV. I 11-116). 1 yo!y(IY(UII,U.(Mlil.uJallglzaz's).
XXXV.Sll 1 DISTRIBUTION OF ROLES 549
Women disqualified for being Hcroincs
83-83. But women with the following characteristics should
110t be made Heroines lit. character)l in a play:
smiling on wrong occasions
2
, having violent gaits and efforts,
persistent anger, bl:ing anvays haughty and unreserved and ulll'uly3
[in their manners], ha vi :g all kinds of diseases and larking garlands
and scent [to adorn their botly].
Members of the typical theatrical party.
SiJ-St->. 1 shall hcreaftC'r speak of different ltIombors of the
theatrical party (bhal'flta). [Theyaro:] Bharatas (actors) becauHe
of their following Bharata (the author of the Canons of Drama)!
the Jo,lcl' tho (Ianri/lit), the actor-dancor
(iI,'H, the Dil'octOl' (.<ftll'wlkara), playwright (nalyakam), the
makor of head-goal's (mnl,:n!al:ala.)3, the maker of ol'llaments' and
th() dyer (rllju/.-a), tho painter (dl'rakal'a) the eraftsllIan
(1.(lrnp, (Wliin)r., and Kusilavas 7 who are to be known,
o DrahmiuH, by their lIamos.
8tl-SO. As he conducts
l
tho rperfol'lIl:tnco of a] drawa by
aeliug in mauy role:; :w(1 by playing many musical instrumentH
and by providing many hOllsehold (lIpaka.rar.Mt) he
ealled Bharata or a member of the theatl'ical party.
Characteristics of the Jester
80-91. Oue who betakes himself to variolls plaees (lit,
connected with the movement of all kinds of characters and
creates L tlll'reby]I pleasure for them a11d 80metimes takes shelter
83-85 (C.64b-66a; K.XXIV.117-118). 1 Read 85a liS llli mn If
2 astMnaO; K. (as/kanao, C.).
a tatka caniDhrtodbkatii K. (f. n.); tad(i tu niMI:tvdMa/u, K.
tatkodz'!,tiodOkatu sadiJ, U.
85-S8 (C.66b-69a; of. XXXV.21-22). 1 C. readH 85a as followR:
f1r""lilQiliIU 'iilfll'll1 2 lauripo, K. (tau,riko, K.). .
" for kulak{Inlka", C.
Rellu tatk{iMaral.la for IatMharal.la, C.
" !1!f",,,: in Nllyaeandrikii on AS. nok.
[1. 97. d Sen note;' above. I kunttiavUs ca, C.
88-89 (C.69bc; K.XXXV.2:l). i Read uddhared for udiharo, K. c.
'S9-91 (0.70-71; K.XXXV.24-25). 1 89-91 seelll to be corrupt ..
550 THE NATYASASTRA [XXXV. 91-
with women [for tho samc purpose] and who is rClld}""witted,
a maker of funs, and. whoso 8poeclt is always connected (lit.
adorned) with the disclosUl'e of extremely humerous ideas, is
called the ,Jester
Characteristics of the
!H 92. One who is an expert in playing all kiIl(b of musical
instruments and has taken [specially] to Tiirya, is called Tiirapati
1
,
Tiiryapati 01' Tauripli (master-musician).
Meaning of the w(\l'd 'Nata'
9,HJ3. The meaning of its root JULin is to act (lit. acts), and
hence, as he acts (represents) the affairs of men with the Sentiments,
the i::)tates and the 'l'empcmlllenl, he is [called] an Actor (Ittl!a.)!.
The Benediction defined
93-\1.-,. As ono addresses hy it the people with Rweet words
of blessing and <luspieious it i:i called the Benediction.
llecitusc ill the pel'forlllance of it drallla olle speaks through it
in many ways of the welfare L of people by llIeans of reading
pmycl's in Prakrit 01' i::)anski'it, it is called Bcnediction
2

CharllCteristics of the Director
Ui)nu. One who from the illgtl'lIction o[ the
the prilleiplell (Niilrn) of sougs (yiiltll), instl'lllllclltal musie ('!,'adyn)
and the RecitativeR, [and fill thcrlcJ in conformity with one another
iH called the Director (8iUnt,lllara, lit. holller of principlcn).
Characteristics of the playwright
96-97. Ab one assigns [in a play] the [diffurent] States
together with tho [differcnt] Temperaments to diffcrent characters 1,
one is called the play-wright (nli!yakara)2 .
. - --- -_. -- --,----
91-92 (0.72: K.XXXV.26). L 8urapalt; C. for turapatt; K.
92-9:3 (0.73; K.XXXV.27). I l!'or aLLother det. sec below 97-93.
93.95 (C.7475; K.XX:s:.V.Z8-29). .1 nanyo, U. for n{mdyo, O.
These two dei. of the Benediction (nlindi) seeUl to be Ollt of place
1"or the other def. see V. 24-25; 107-113 .
''19596 (C.76; K.XXXV.SO).
96-91 (C.77; K.XXXV.31l. I Read for villa/po, C.
'1IikaJpait,; K.
2 His duty tv compose II play OIL lilly given theme. He iR
to clllployoo. by theatrical companies.
.XXXV.97)
OF ROLES 5lil
Characteristics of the Actor.
1l7-98. Anyone who can act (lit. perform) a piny according
to the rules for the applieation of the fOlll' kin(]'" of mURie, is callcel
an Artor
Characteristics of the AetresR
98-99. A IVOlllan who knows ai)out the playing of drums
the tempo, the Time and is able to create the Sentiments and iR
heautiful in all her limbs, should be made an Actress
The maker of headgears
gll-lOO. He who makes masks and various special
(heSSOR together with head-gears = jll'lltiM'I'II1.:a) suited to
(lit. arising from) the variolls characters, is called the maker of
he:ulgears
Tho makrl' of ornaments
WO-l 0 1. One who makes ornaments accorcling to variouR
I'Ull's is called the maker of ol'Oaments (aiJha'fM.!ldwl) ; [each of
the makers the diffcrent is to be designated according
to the name of the material he uses 1.
The mllkcr of garlands
101-102. He who mak(ls fiv<1 kinds of garland IS called
the of gal'larHIH (1II'ill!/alqt).
The costumer
And lin who eostnrncs is called tho oostumer
/.or( fa).
The painter and the dyer
One who knows painting, is a painter (citral.'ara), and
from his knowledge of dying (1'IInjwlla) it person is called a dyer
(I'tlial.-a)l.
97-98.(0.78; K.XXXV.32). I K. reads 98a liS ""f\;: 'I:':"\:!'-'r 'iflli"
98-99 (C.7
1
:.
1 K. omits this. word naq.aiii (==nii!a1.iY) nr "li" ill t'l'atimii.
1.4.7. 99-100 (C.80; K.}"XX I.
100-101 (C.80; K.xXXV 34). 1 Thc (,I: dliR ,<,,1"111('1';,' 1
is not apparent.
101-102 (C.82-83n; K.XXXV.35-36a). I '1'1,,: "m,d 0)(:"1\11".: "I
Indo-;'\ryan in the Brl\oC of 'washermau'.
55!!
THE NATYASASTRA [ xxxv. 103-
The
l0310t One who faHhionR different objectH Ollt of
laC', stolle, iron rind wood, is .('alled tt cmftHman (,,,U/II).
'l'he Kmlilll\,11
He who knows the prinl'iplcR of applying the different
hranchrs of instl'l1lllental IllII"ic (alol lf/II.) and is an expert in
in playing them, Hn(l who clever, rconf'(1 (anlda/II),
free from is calle(1 the
The other mrmberR of the party
104-105. The l1Ian who to an art (sill)(l), a profession
01' a practice and has ncquircd proficiency in it, is calIed
by its name. So much about the communities (iati) known in
connexion wilh the rules of theatre as the Natas1 who relate to
various accessories [needed] in the production of various types
of plays.
106. I have spoken about the assignment of roles and
about the producers of a drama according to their fllllction, and
have delivfJred the Canons of Drama. PlraHe mcntion, 0 sagrs,
what more is to be said now
l

Here ends Chap\cr XXXV of Bhal'ata's
which treats of the Distribution of Roles.
103104 (C.83b84; K.XXXV.36b:m. 1 K. rmus 1O,h dif!(n'rnt]y.
'fhe etymology of kllr.ilava hllq very milch exel'ciscd the ingenuit.y of
Illodrrn Rchobl's, See Keith, Skt. Dr.llun. p. 30
104-104 (('.85.86; K.XXXV.38-:M 1 Even the ll('ople of
the Nata community play dl'llnll, !lolls flow,']'garlaml" aml paint
pic.tllres. I06(C.87). I K. omits
CHAPTER THIRTYSIX
'I'HE DESOENT OF DRAMA ON THE EARTH
Sages question
1-2. Being pleased, the sages again spoke out of curiosity
to the omniscient Blmrata as follows: "The ancient Natyaveda
which you have recounted, has been properly comprehended by us
listening it attentivelyl.
:1. [But] you, revered sir, should also satisfy (lit. explain) any
[furtherj curiosity (lit. doubt) we may have in this matter. For
who else can speak definitely about tho Natyaveda ?
4-5. We shall enquire from yon [more] abont the drama for
ollr enlightenment and not out of distl'l1st or rivalry or jealousy.
We did not speak earliC'l' {lit. then} lest it should interrnpt you then.
Ro to us vely abont the mystery of the drama 1.
G. Yon have [already1 that exploits of the people
('onstitnte the (Il'allla; hrn('r Y011 pprak dpfinitdy abont
the 1'(>:4 of thi ahont the people, whirh are still nnknown
(lit. hi<hlm).
7-!l. 0 the he,t Bmhmin (lit. the bull of the twice-born)
tell l1S abont the ('haraeter of the god who appears in the Prelimi-
naries. Why is he worshipped, and what doC's he do when
worshipped (lit. meditated upon)? Al:e gods pleased with it. and
what do they do on being pleased? Why does the Director
1-2 (0.6-7; K.l-2). 1 C. before this five couplets, giving the
names of the sage, as followH : Pulllstya, Pulllha, Kratll,
Aligiras, Gautamll, AgRstya, Mallu, AruYllt,
SaqJvarta, Pratimardana. Rrahaspati, VatslI. OYllv'1na. Kasyapa,
Dhruva, Durvasas, Jnmadagni, Miirkal)q.cya, Giilava, Bharadviija, RlllvYI'I
Viilmiki, KIlI,lVa, Kusa, Niirada, f'll':oU'-
man, the two EkadhanvillH, Bhavana, Dhllllmya, Satiiv:lllda,
Kj'tafllna, Jiimadagnya Rima, and Jamadagni Va mana. Theso hO';'Vfl.
seem to be all interpolation. 3 (0.8;
4-5 (0.9-10; K.4-5). I K.reads 5b liS
lJ1i l!l(TII!I. (0.11; K.6).
7-9 (0.12-14; K.7-9).
70
!J64
TOE NATYASASTRA [ XXXVI.lO.
being himself clean, perform ablution again on the stage?l How,
o lord, the drama has come (lit. dropped) down to the earth from
heaven? Why have your descendants been known as Siidras ?"2
Bharata's reply
10. Bharata said, "I shall tell you, 0 men of excellent vows,
the inner mooning of (lit. confidential) the story about the Prelimi-
naries. Listen it properly.
The Preliminaries and their uses
11. The Preliminaries hare been deseribcd by me in conti-
nuation of whatever I have Rai(1 [rarlier] about the destruction of
obstacles 1.
12-16. Just as the body is covered
l
with armours for
warding off missiJes
2
, so the sins of all kinds are ('hecked by
Homa
8
After I have thus destroyed the obstacles and wnrded off
sins by worshipping the gods with Japa, Homa, words of adora
tion and blessing, and songs about their deeds and attitude, the
playing of all musical instruments and the [sweet] sound of [other]
songs
4
[as well], they (the gods) being pleased with the singing of
the praise said, 'We arc exceedingly delighted with this performance
of yours; as it pleases the people after pleasing the gods and the
Asuras, this pel'forman('e will be called the Benediction'.
17. The region which is ,resounded with music [vocal and
instrumental] and in which speech with charming intonation can be
heard (lit. arise) will destt'Oy [all] evils and will bring prosperity.
18. As far as the space is filled with the sound of musical
inRtruments, 80 far there wiII stay there no or leaders
(vinii.yaka) of
19. In marriages of all kinds
1
and the sacrifices performed
I See V. 8083.. K. omits Ib but reads 9b whieh is lacking
;Jli. C. 10 (C.15; K.ll). Ii (C.16; K.12). 1 Sec 1'4'S. V.
.. 12-16 (C 17-20; K.13-17). I sariravaraIJarl!. K. sariracaraIJat'f}, C.
2 sastral}am. K. (siistral,lam,C.). 8 nutenaiva, K. (sm(tenaiva, C.
, rilasvanena ca, 'K. gitasvanani ca, C.). 17 (C.21; KI8).
18 (C.22 j K.19). 1 Read ISb liS 'I f,. 'I 'II
" 1JIl\!lf.!! f,. Ii 'I K., 'lli f4iN!{ " 'II C. \
. 19 (C.23; K.20). I avane Ca vivane cal
.XXXVI.251 THE DESOENT OF DRAMA
555
for the pl'osperity of the king, the ferocious beings wiII make
themselves scarce on hearing the sound of the Benpdiction.
20, The instrumental music, or the drama 1 01' the songs
together with the instrumental music, will be equal [in importance]
to the exposition of the Vedic hymns 2,
21. I havc heard from the god of gods (Indra}l and after-
wards from SaIpkara that mllHic Ivocal and instrumental] is
superior to a bath [in the Ganges] 01' Ja paH for a thousand times
2

22, The places in which thero occur tho instrumental music
and dramatic perfol'mance!, 01' the song and instrumontalmusic,
will surely! never know any kind of inauspicious happening.
23. Thus I have devised the Preliminaries as a ceremony
of adoration for worshipping the deities with laudatory verses and
Mantras
l

i The ablution of the Director on the stage
24. As the head
l
becomes fatigued by bowing on the
stage, the rule permits the Director to bathe it with wateri.
25. After the ablution the Director should worship the
.farjara with Mantras. All this has been said in connexion of the
Preliminaries 1. This is the reason for the ablution.
20 (0.24; K.21). I nlilyam, K. (srutvii, ('.).
2 This scems to show that in th .. beginning. the V cdic people
w<'re not favourably disposed to the dramatic performance. l!'or
on this see the Introduction.
21 (0.25; K.22). 1 Of. 20 note. 2 above.
This seoms to indicate that not only the early Vedic people who
cared little for the asceticism, but other religious sects as well, did not
favour the dramatic performance. This Illay be the reason to put the thea-
trical performances which included music above the religious practices of
such soots. For more about this sec the Introduction.
22 (0.26; K.23). 1 Read alodyaniilyaS c, 1" "Ii:",:t'f/,\!k;. I).
nii!yasya, K. Read niscayallt for C ;1i(I/,,:I:, Ji..
23 (0.27; K.24). I This seems to show th"t .. :,' ,ll'lliUil
connected with a particular religious
24 (O.28a; K.25). I Read 114 for siraslI " ';ifUtll/,>i, K.
0, omits 24b. See below 25 1I0t<'.
25 (K.26). 1 O. omits this th4l. Sue V. I U-Sil.
556 THE NATYASASTRA [XXXVI. 26
I shall now tell you in detail how the drama came (lit .
. dropped down) to the earth from Heaven, for I am unable to
withhol{anything from you 1,
Bharata's sons offended the sagl'S by caricature
27-29. All these sons of mine
l
being intoxicated with [the
knowledge ofJ the tit'ed the entire people with the Pm.
hasanas
2
connected with laughter. In course of time they devised a
play (lit. art) which treated the indulgence in vulg,lt' passions. And
by them was produced in the iltiscmbly of the people a drama (lit.
poem) which was unacceptable, full of wicked inspirer of
vnlgar cruel, unworthy of any praise and in which they
caricaturetl the sages
D
by means of buffoonery (hha1J4a).
The sages curse Bharata's sons
3031. On hearing thiR, the sages were extrem(>ly angry
and excited, and Rpoke to them of Bharata) hurning them as
it were [with their words], '0 Bmhmins, it is not proper that we
should be thuR caricatured. What is this insult [forJ, and what
is your intention t
32. Asl, due to pride in the knowledge [of the drama]
you have resorted to arrogance (,wi:na.!/(I) you!' evil knowledge
will get dctitroyed.
26 (C.28; K.27). I 26b which is fraglllrntal'Y ill K. should be
reconstructed ami emended as followH: [1lf!i r"qf1!ri 1lI"lij J
C. gives only the tlw Eccond half of 26b. itH 28b.
2729 (K.28-S0). I mama de ta11ayWt; C. for sarvamelat IvajiJ, K.
2 Read sarvalokalll prallasaniiir for sarvaloka-prahasanair, C, K.
3 Read supakarma for silpakarma mama6hyadlzat, C,
This seems to indicate that the early Indian theatre sometimes
resorted to sex-appeals just like the cinametographic shows of the
modem times.
6 n'il]iJm K. for aillakaraYJ,am; C.
f, In this caricaturing there might have bi'Rn some jllstification. Sec
XX. 103-104 and notp. All this may be Mid to show clrarly that
I,h. ii; .\lIIil as an puhlic was recognised early.
:)031 (C.32-33; K.3l-32).
3,2 (C.34; K.:33). I 'ya,mnt, K. (tasmU/, C.)
.XXXVI. 48 1 THE DESCENT OF DRAMA 557
3:3. In the community of the sages and Brahmins, or in
meeting them you will appear as being no followers of the
Vedas and will attain the conduct of the Siidras.
34. You will becoUle mere and attain their functions,
:llld those to be born in yonI' line will be [toOJ1.
35. Those actors (nttJ'lnka) who are already bo1'll in your
line will be 8iidms, and so will be those together with their women,
boys and young men, who associate with them'.
30. Tho gods on learning the origin of tho on Illy
became anxious and went to the sages.
Gods intercede in favour of Bharntll's sonH
il7. Then the gOd8 with (Indm) aK their leader said
that, afllicted with this misery the drama would perish 1.
m3. 'fhe said in reply that the drama would not
but the remaining portion only of their curse will take
effect in its entirety.
Bharatll'H SOilS approach their father
:lll-jO. On heal'ing these words of the very Hpiritctl
Illy hecauw [very J anti with a de8ire to defend them-
they approaeited me in angel' ,ll1el Raid, 'We have been
mined /Iv yon, for the fault of the dl'allll1 we have been endowed
with the' ehal'acter of
Bh aram pacifics thcm
For their eonsolution I said, '1)0 not to be HOl'ry for
it; the l'Illc that wOl'(IB of tll\l HageB will nGver [il'OVO untrue, haH in-
deed becn made by Fate (l.-rtantrt); AO yon should not turll to the
dctitruction [of the art). 'These al'e my words of consolation.
43. Know this dramatic art that has been described
33 (C.35; K.34). 34 (C.36; K.S5a). T K. omits 3411.
35 (C.37; K.35b86a). 36 (C.38; K.36b-37a).
37 (C.39; K.S7bS8a). 1 Read 37b as follows: W'ff lII'iTil",-,
a8 (C, 40; K.38b-39a).
39-40 (C41-42; K.39b-41a). 1 Read 8uial!, for SU1'l'q" C. and tata1J, K.
41-42 (C.43-44; K.4Ib-42). 48 K-43).
THE NATYASASTRA
[XXXV. 44
by Brahman [himself], and teach it to your dbciplcs and others
through application .
. g. Do not deRtroy this drama wbieh has been devised with
gl'tlHt difficulty and which great tbings, brings great merit
and llas itH origin in the and the Upailgas of the Vedas
l
.
45. After holding the dt'ulJlatit: purfortllance according
to the rules which I heard fl'OlJI the you an are to
undergo a plll'ilicatory ceremony
invitrs divine nrtiRtrs to the earth.
46. In eOUl'Re of time a king nallled attained the
kingdom of Hcaven through his polity, intc,lligl'ncc and prowess
2

47. He then governed the kingdolll and felt a divine
desire, And on Heeing the musical performance (Ul'andhaTVa)
and the drama [of the gods] he became anxious Labout these].
48. He thought
l
within himself how the dramatic pm'for-
tIlance by the gods Hhould take placc in his hOllse
3
[on the earth]'
4fJ. 'l'hen for HlWh it perfol'llmnce the king said to the
gods with folded palmR: 'Let the drilma [produced] by thc
Apsarasas be performed in OUt (i. e. on the (;rtrth).'
reiccted the rcquest
50. But in reply, the gods with as their leader
said to him: The meeting of divine damsels all!1 mortals has
not been prescribed I:anywhere].
51. As you are the lord of Heaven you Hhould he given an
advice which is both good and pleasant. Let the [of the
dramatic art] go there (i.e. at your place) and please you.'
44 (C.46; K.44). T'Cf. above 20 notes.
45 (C.47; K.45). 1 Emend 45a as follows: l!!/T
46 (C.4S; K.XXXVII.lb-2a). t mentioned in tho
Ram., Mbh. and several- PUral.JaS, was possibly lin historical person. Sec
sub woce. 2 K. reads one fragmentary hemistich before this.
:'ii,' 47 (0.49; K.XXXVII.2b-3a).
48 (C.50; K.XXXVIJ,3b-4a). 1 Read so'cintayat lu for sa ct'n
C. ,:t!acinliisu, K, 2 Read Qhawed tU1lagar}iall h;talf for Qhawed
iii sasamOkarmalh O. ihaved divt' tieval'Q eva satl. K .
- B mama, K. rire unmanalt. C.) 49 (0.51; K.XXXVII.4b-5a).
(C.62; K.XXXVII.5I>-Sa). . 61 (C.03; K.XXXVIl.6b-7a).
-XXXVI. 58] THE DESOENT OF DRAMA 009
approaohes Bharata
52. Then the king with folded palms said to me,
, '0 revered sit, I should like to see this dmmatic pe rformance
established on the earth.
53. I have been promised earlier the help of your pro-
fessional service (acal'!/lIka)1. 0 the best of Brahmins, I have now
got it directly (1'!!alctabhalJQ3/,ayarp, /crtva) 1.
and the mundane drama
54. In the of my grandfather (PururavnA) this
(drama] together with hiH work has been described by UrvaRi
to the memberH of the harpm.
55. But when the memberH of the harem were distressed
hy the death of the king who IUl'Dmi mad i due to her disappearance
from the earth, this (dramatic art) was lost.
56. I wish this again to be openly produced on the earth,
so that the sacrifiees to be done on different days of the moon
(titlti) may he rcndered anspiciouR and happy.
;)7. Hence plays (halld/III, lit. eomposition) relating to
many characters produced in my house through the graceful move-
ments of women, will add to your fame'. '
Bharllta grants reqlwRt and sends his sons to the rarth
58-61. 'Let this be so' said I then [in reply] to
the king, and I called my sons along with the gods in a spirit
of conciliation and said to them:
'This king begs us with folded palms that you
may go down with your associates to the earth to produce the
drama there. The drama being properly produced there, I
Ahall mak.e an end of your curse and you will no longer be
be by Brahmins and kings. So go down to the earth to
52 (C.54; K.XXXVn.7b-8a).
53 (C.55; K.XXXVlI.8b-9n). I Rmd 53n as follows:
It 54 (C.56; K.XXXVII.9b-lOa).
55 (C.57; K.XXXVlI.IOb-lla). I Scr P.IV. 6,7 Ref, JK.
56 (C. 58; K.XXXVII. Ilb-12a). 57 (C.59; K.XXXVII,19b-13a).,:\
58-61 (C.60-63; K.XXXVlI.13b-17a),
560 NATYASASTRA XXXVI.
produce dramas there, [for] I shall not be able to disregard the
words of this earthly king,
.Kohala is the successor of Bharata.
62-63. For us and for the self-born one (Brahman)
has spoken in brief on the dramatic art which depends on his own
instruction. The rest will be uttered by Koltala 1 in his su.pple-
mentary treatise (nttara-lllntrll) which consists of th> application
tion [of the rules], the Memorial Verses (ka1'i/.n) and the Etymolo-
gies {nimlcta}.
H This Rastl':l fol' the purpose of divCl'sion (lit, toy) has
been by me in Heaven with the help of the Apsarasas
ann the sages Svati and Narada,
Bharata's Rons come down to the earth
(iii. Then, 0 Brahmins, they went <lown to Ih!' rarth in thi'
house of nnd devis('d in due ordrr the produf'tion of various
pla.ys with the help of women,
GG. Then they, Illy sonR, hegot progrny in lI'OIlU'n of tht' (':1l'tl-
and for them more dmmns (lit.. (,I'rntion) on various
G7 .. Aft(lr begetting sons and dr-rising plays in dur ordrl'
thr-y wrl'r prl'mittl'd to return again to Hrnvrn.
GR, through a cm'se the drnmntic ptll'formnncc has hern
brought down to the earth, and the fntnre generation of the dra-
matic (hhn1'afa) emne into being.
Kohala and his IIssociawA
6(l-70. Kolmla Viitsya 1, Biil,l?ilya
2
, Dhiirtila {Dattilaf)3
and others stayed in the p'lI'th for somotime aA mortals and put
into p\'llctice this which augments the intellect of men,
deals with the deeds of the Three Worlds and is an epitoms
of all other PastraR.
----- ._----_._------.--.---_ .. _-
62-63 (C.64-65; I\'.XXXVIT.17b-19a). \ the Introduction,
t9 (0.66; K.XXXVII.l9b,20a), 65 (C.67; K.XXXVl[.20b-21a),
66 (C,63; K.XXXVIl.21b-22a). 67 (C.69; KXXXVII,22b-23a).
68 (C.70; K.XXXVII,23b-24a).
89-70 (71-72; K.XX:X:VIJ.24b-26a). 1_3 See the Introduction,
-XXXVI. 77]
DESCENT OF DRAMA
061
V lillie of the
71-7;). He who always hears the reading of this
which is Rportflll, originating fl'om Bl'ahmHn'K mouth,
1'C1'y holy, pure, good, dt'stl'uctiI'C or ;;in;;, and who tlliR into
practice 01' witnesR(,s the perfol'lllanrc [of a drama] will attnin the
olllllO [blessed] goal which the milstpl'S of the Vedic path anel the
masters of the Vedic lol'c, the pm'f0rlUcl'K of sacrifiC'os OJ' the givers
of gifts, will [in the end] attain.
V IIlue of the dramatic show
74. Of all the dnties of the this has hecn proriilimed
the bost result (lIUlkiip/wlrr,). For of all kil1(ls of gifts, a
free gift of the [drilmatic] [to people] haH heen most praised.
75. 'fhe gods :l1'!1 never so pleased on heing worshipped
with the scents and garland;: as they are delightrrJ with the
performance of
76. The lllan who properly attendH the performanee of Illllsic
ganrlha'l'1'a) 01' dl'i1JnilK will [aftpl' death) attain the happy
,mel meritorious path in the rompnny of the Brnhminic
The popula!' sn(lp\emrnts dmmatic
77. Thus lllany f;anctioned hy the have been
described in connexioll with the pet'fOl'lllanCe of dmmas. Whatever
remainR nnlllentioned be inrlude(l into practice hy ('xperts
:rOm an observation (lit. imitation) of people (i.l'. their IlHHge).
The l,'inal Benpdictioll
What more Hhould I Ray? Let th() earth for all time be free
from diseases. Let tliel'o he pCHrc to cows :lnd to Brahmins,
and let the king give protection to this entil'e earth.
Here the ends Chapter xxxvr of
which treats of the Df'Rrent ()f DmlllH on the Emth.
71.73 (C.13-75; K.XXXVII.26b, 27,28). I K. omitR 71b i\nd gives
+.he balf of 7111)- 74 (C_76; K XXVII.29). 75 (C.77; K,XXXVII.30)-
76 (0.78; K.XXXVIl-3\). 77 (0.79; K.XXXVII.32).
ADDITIONS AND CORRECTIONS
Page XLVI liue last Rl'ad 'dcpruds'
" XLVIII " 14 " 'XXVu. 63-61l'
"LXIV" 140 "
"LXXII " 16 " 'corresponding'
" 3 (from the bottom) Read 'about' aftor 'doubt', and
'of' for 'are'
" LXXIII" 3 Read 'summed'
Page 1 line 13 Road 'Pitamaha' for 'Pitmaha'
" 3" 26 " 'Brahmal}a' for
5 " 140 Omit the fullstop. after 'ordered'
6 3 (from the bottom) Read SD. (294)
7 " 2 Rend 'Dhayiinaka' for 'Bhyanaka'
" 7 " 15 " 'Need of the Gracoful Style'
" 8 ,. 4 " 'for practising the Graceful Style'
" 9 " . .\ (from tho bottom) Read 'caso-endings' for 'nominal'
" 11 " 13 Read 'said' for
" 14 " 20 " 'of the gods' for 'of the Daityas'
" 16 ., 9 (f!'Om the bottom) Relld 'reads one' for 'readBOne'
" 19.. 7 Read architect' for 'architocht'
" 19 " 12 " {avara)l for (avara)
" 19 " 23 Omit 'According' from here and put it beforo'to
Ag.' s' in the next line.
" 19 " 25 Read 'medium' after (iv)
" 27 " 2 (from the bottom) Carry 'and' after rali/api/IM
" 29 " 12 ( " " ) Read for 'lilllll
" 31 " 17 Put 1 at the end of the line.
" 3 (from the bottom) Read B. 102b for 1026
. , 340 " 10 ( ,,) Read 'rather' for 'very'
" 9 ( " " ) Add the following: Yiijiiavalkya
who has been assigned to the 4000 A.C, by Jolly,
mentions (See Hindu Law and Customs,
pp.402404)
" 4 (from the bottom) Read samprayujya
" 35 " 17 Read 'lS-20' for 'IS',
" 35 " 2 (from the bottom) Omit '.I. See 'diagram I.'
" 37 " HI Put a comma after (sweet meats'
" 400 " 20 " 'Then an' for 'Then a'.
" 57 " 23 Omit '(Vaktra)' after 'Aviddha' (for 'ividdha')
2S Pot '(krama)' after 'Cari' last, Omit 'Deli lied
DOWhere in the
Page 58 line
" 67 I,
II 73 "
" 76 "
II 82 II
" 86 "
" 97 "
3 (from the bottom) Read 'TlIliigrao,.
6 ( " " ) Read Harival\lSII for Hraival\lsa.
12 ( " " ) Relld (sukU1ltflra) for (sukmiiral.
2 ( " " ) Put '(p.194)' aft(!r Bh? and 'See
also' berorr SR. and Read for IIfml\'I.
" (from the bottom). Add after 'dmma' tlw following:
Stlar probably is developed from cdra (vi'l/.ii).
6 (from the bottom) Pnt before 'n. rcadR'.
24 25 Read prayujya for prajujya
"105,, 7 Close tli" bl'ackpt after 'mpaning'.
I, lOS " (from buttom) Head family' for 'famiiy'.
), 9 Relld'tmditional [Iutl,ol'ity',
,,111 " 9 'Exce8siv(" for 'Vil)lent'
II 17 " middli ng type'
,,113 ,,1
"U8 " 11 " 'bhavila' for 'bbli711'la'
,,119 " 9" 'Determinant' for 'Ditc-l'miullllt.'
,,127 " J5 " 'Mouth' for 'Manto'
,,128 " 18 " 'Jutoxir.ation' for 'Jotoxicatiou'
,,130 " 5,6,12 Correct tl,(1 misspelt 'Depression'
,,132 " 18 Omit the comma after 'bitillg'
,,134 " 14 Read prakrli-vyasana
,,140 " 9 (from the bottom) Iusert 'and' after 'potsherd'
,,141 " 2 Read 'is' for 'in'
,,142 " 10 Omit the fullstop aftfl' and insert 'and'
,_ " 11 (from thr. bottom) read 'stRgr' for 'tage'
_, 145 " 10 ( " " ) Insert 'and' afkr 'oleeping'
,,146 "
,,150 "
,,152 "
,,164 "
,,165 "
,I 168 "
,,173 "
,,174 "
"
I, 224 ,I
JJ " "
16 R"ad 'Sentiment'
17 " 'deprnrl' fol' 'depends'
II " for
I {) Omit Rud insert 'up' after 'raised'
[, (t't'om the bottom) Rend 'Purt,la' (filII)
6, 18 Read 'liIi' for 'lips'
10 Add the following after 'will' [enhance the (IliaI'm
of the night]
I:l Read 'With' after the fullstop.
7 (frl)m the bl)ttom) shift 'from' before' KUl)qata'.
2 ( ,,) Read' Andre ct'.
11 ( " " ) Read llf,!'li'tlllfilitllil I
2 (,' ) kartcukin.
), 230 " 16 Read 'gait of women'
,,240 ,) 17 ,,'distant place'.
( Q)
Page 248 line 17
;, 253 " 19
,,255 " 14
" ltkkyala.
" for
" 'eombinps' for 'eombine'.
,,272 " 17 ,,'bahllmiina' fOil 'bhulDiinl\'
,,277 " 19 ,,'gacchet' for 'gaceet'.
II 284" 5 ,,'shouldpts" for 'shoulders'.
" 4 (from the bottom) Read before this as follows: T For
long ('ars as signs of beauty see the Buddha images of
the Mathura school belonging to 100 B. C. onwards.
,,287 " 4 (from tl,e bottom) 'Halayudha's'.
,,294 " 9 Rrad 'fall upon' for 'rise from'
"F28 " 13 " 'jugglers' for 'jugglar's
"3HO,, at the bottom. Add after notes the following. See
Introduction, srction VJIl pal'a 4.
,,331 " 18 R!'ad 'lean"rs' .
.. 333 "
h 3:15 "
II 336 "
,,337 ,J
"
,,342 "
,,34'i "
,,351 "
II 381 ,.
" " "
Ii (from the bottom) Read 'dOl'S not ehllngp,' for 'changes'
21 Rpad
7 ,. 'rxtant' for 'extent'
(at the bottom) Read before 'Ex.' the following
charioteer addressing him 1.) I
2 (from the bottom) Add the following after th e
fllilstop :
Magadhan prince is referred to as Dkaddamulta by
the female ascetic in Svapna. 1. 7. 20. For the use
of Madramteklta in inscriptions see Select Inscrip
tions, no. 72. and Keith, Skt. Drama. p, 89.
11 Read 'may also' for 'are to'
12 Omit 'mistress (Mat/ilJi) and'.
8 (from the bottom) Read 'Jayasenll' for 'Jayasenii'.
6 (from the bottom) Read 'nn mama' for 'nama rna'.
7 Read 'a Supporting' for Uti 'Explanatory',
11 (from thr bottom) 'a supporting' for 'an
Explanatory',
,,3&2 I, 4 Read 'those' for
,I 366 " 21 Add after 'available' the following: 'unley the
Paiiearitra is to he taken as slloh' (See !D. p. 52).
,,368 " 13 Insert 'of' Rfter 'usc'.
II ., " 13 (from the bottom) Read
II 369 " 13 Read 'are' for 'is' at the end of the line.
,,370 .. 23 " 'basiB'! for 'basis'.
" " " 7 (from the bottom) Insert after 'men' the followinll:
'unless Karl,la' tn be tflKM al luch (S. ID.
p.6i),
Pllie 388 "
,,397 Jl
.,
(U)
line up to bOttotp '+
.nw111ll1: lit Ilifil: 'Illm(ll Ag ) .
line (at the top) Read XXI. 71 for XX. 71.
12 (from the bottom) Omit 'but parts of seeues'.
9 ( .. " ) Read saf!lSktlah,
I) ( " " ) Add the following': 'Also ef. NS.
XX.38.
,,404 " 19 'Kathodghiita',
. " 408 line 18 Read 'the Theme' for for 'Varions l!'eelings'.
,,411 " 14 " 'samrhalyaka'.
,,420 " 10 "Gau<Ja I for Gau<J1I
20 " UUekhya I
21 "Kumbhipadllka', A vllrta"
,,425 " 21 " non-Aryans
h 25 "Add 'See N8. XVIII 44 note I
4 (from the bottom) Read B. C, for A, C,
,,431 ,. 26 line the bottom at Read (j1l/amukutW
,,431 " 7 (from the bottom) Add 8S following :
The of the Buddha images may probably be
an imitation of tho crown of matted hair,
., 469 " 13 Read 'their lover' for 'her lover'
,,486 II 14 " women's heart. for 'woman's heart'
" 22 " 'self-esteem' for 'self-catcen'
., 488 ., 19,20 ,. 'quarternary'
,,419 " 8 (from the bottom) Read 'known' for 'hnown'
II 2 ( " " ) Add after the fullstop the
following:
The husband's conjugal1'ight of punishment such
as blows with a chord or rod. is often referred to in
the Sm\'ti literature (Manu, 8, 299f, SaJiJtha, 4. 16
etc.) See Jolly, Hindu Law Rnd Customs, p. 145, see
also III. S,
'" Ii 'one' after 'time'
,. II 7 (from the bottom) Read 'abhinayasya'.
,,50ll " 21 Read 'great' for 'gl'oot',
., 508 ,,11 ., '111-112' for '110-111',
" 15 " 112113 for 111-1l2.
,,521 ". 19 Put 'of before 'Time',