Bharata Muni
MAY THERE BE GOOD NĀṬYA ŚĀSTRA /THE SCIENCE OF THEATRE/
recorded by the enlightened Bharata.
So, the first chapter of the Nāṭyaśāstra of Bharata.
1/ Having bowed with bowed head to the gods — the Progenitor /Brahmā/ and the Mighty Lord /Śiva/, this Nāṭyaśāstra, created by Brahmā, I shall proclaim.
2/ Once, when the wise Bharata, surrounded by his sons, had finished reciting prayers for the observance of a vow, during a time free from studies,
3/ the holy sages, led by the descendant of Atri, great in spirit, having subdued their senses with their minds, approached him and asked:
4/ “That Nāṭyaveda, equal to the Vedas, composed by the Blessed /Brahmā/ according to truth—how was it created by him, and for whom?
5/ How many parts does it have? What is its size, and how should it be applied in practice? All this now, O Noble One, must be truthfully told to you.
6/ Having heard the speech of those sages, the enlightened Bharata replied with these words, narrating about the Nāṭyaveda.
7/ “Be attentive, sincere, and with a gracious heart listen to the tale of the origin of Nāṭyaveda, of how Brahmā created it.
8/ In earlier times, during the Kṛta Yuga, under the rule of Svāyambhuva, brahmins were the moral measure. However, later, in the ensuing Tretā Yuga, governed by the wise son of the Sun /Vaivasvata/,
9/ coarse morals spread. When control over lust and greed was lost, envy, anger, and other delusions plunged the world into the cycle of happiness and misfortune.
10/ And so, the Gods and Dānavas, Gandharvas, Yakṣas and Rākṣasas, as well as the Great Uragas, who then dwelt on Jambudvīpa, which rested upon the Lokapālas,
11/ led by the mighty Indra, appeared before the Progenitor with such speech: “We desire something that can be represented, that can be seen and heard.”
12/ Indeed, for those born as śūdras, it is not customary to listen to the Vedas. Therefore, create another Veda, the fifth, for all classes.
13/ “So be it!” said Brahmā and dismissed the king of the gods. Then the Knower of Truth /Brahmā/ immersed Himself in recollection of the four Vedas. “Yes, these Vedas must not be heard by women, nor by śūdras, nor by other low-born ones. Therefore I shall create another Veda, a fifth, which may be heard by all,
14/ conducive to virtue, benefit, and glory, rich in teachings and wise sayings that will be instructive for the whole world.
15/ I will create a Science of Theatre, called the “Fifth Veda,” full of useful knowledge, teaching every craft, with a description of true events of antiquity.
16/ Thus having wished, the Blessed One /Brahmā/ recalled all the Vedas and then created the Nāṭyaśāstra, worthy of the four Vedas.
17/ He took the text from the Ṛgveda, the singing from the Sāmaveda, abhinaya from the Yajurveda, and rasa from the Atharvaveda.
18/ Exactly so, connected with the Vedas and Upavedas, the Nāṭyaveda was created by the Great Spirit, the Exalted, the All-Knowing Brahmā.
19/ Having composed the Nāṭyaveda, Brahmā said to the lord of gods /Indra/: “A true history has been created by me. Entrust it to the gods.”
20/ And it is precisely this Veda, called Nāṭya, that must be applied by you among the gods, who possess greater skill and dexterity, are gifted, and are capable of working without fatigue.”
21/ Having pondered that speech of Brahmā, Indra, with hands folded respectfully, replied to the Forefather:
22/ “In mastering, retaining, cognizing, and in its application, O Most Holy One, O Lord of Bliss, the gods are powerless; they are incapable in the matter of Nāṭya.
23/ Only those who have comprehended the secret of the Vedas, wise ascetics observing vows, only they are able to master, retain, and apply Nāṭya.
24/ Then, hearing Indra’s speech, the Lotus-born /Brahmā/ addressed me: “You yourself, together with your hundred sons, must accomplish this flawless creation.”
25/ And, having learned the Nāṭyaveda from the Progenitor, I taught my sons its proper application.
26/ Here are their names: Śāṇḍilya and also Vātsya, and Kohala, and also Dattila, Jātila and Ambaṣṭhaka too, also Tāṇḍu and further Agniśikha,
27/ Saindhava with Puloman, and Śadvālī with Vipula, Kapiñjala and Vadira, as well as the twins born of Dhūmrā /Dharā – Earth and Dhruva – the Pole Star/,
28/ Jambudhvaja, Kakajangha, and also Svarnaka and Tapasa, Kaidari and Shalikarna, Dirghagatra and Shalika,
29/ Kautsa and Tāṇḍayani, and also Piṅgala and Citraka, Bandhula and Ballaka, and further Muścika and Saindhavāyana,
30/ Taitila and Bhargava, as well as Śuci and Bahula, Abudha and Budhasena, and also Paṇḍukarṇa and Sukerala,
31/ Rijuka and Mandaka, Śambara and Vañjula, Magadha and Sarala, Kartara and Ugra,
32/ Tuṣara and Parṣada, Gautama and Bādarāyaṇa, Viśāla and Śabala, Sunāma and also Meṣa,
33/ Kāliya and Bhramara, and also Pīṭhamukha, Muni, Nakhakutta and Aśma-kutta, as well as Ṣaṭpada with Uttama,
34/ Padukā and Āpanahā, and also Śruti and Āśāsvara, Agnikunda and Ājyakunda, and Vītandmā and Tandmā as well,
35/ Kartārakṣa and Hiraṇyākṣa, Kuśala and Duḥsaha as well, and also Lāja, Bhayānaka, Bībhatsa with Vicakṣaṇa,
36/ Puṇḍrakṣa and Puṇḍranāsa, and also Asita and Sītā, Vidyudjihva and Mahājihva, as well as Śālankāyana,
37/ Śyāmayāna and Mathara, and also Lohitāṅga, Samvartaka, Pañcaśikha, Triśikha and Śikha as well,
38/ Śaṅkhavarṇamukha, Śaṇḍa and Śaṅkukarṇa also, Śakranemi, Gabhasti as well as Aśumāli and Śaṭha,
39/ also Vidyuta, Śatajangha, and also Raudra and Vīra. By the command of the Progenitor and from the desire for the welfare of the world,
40/ I assigned each of the sons a role on which he must focus and become skilled in it.
41/ O twice-born ones, I have decided to present the three vṛtti (styles) known to me — bhāratī, sāttvatī, and ārabhaṭī.
42/ And so, with a respectful bow, he informed Brahmā of this. But the Teacher of the Gods reminded me that there exists yet another style – kaiśikī /graceful/.
43/ “Speak, O best of the twice-born, what do you lack for this?” — thus he asked me, and I replied:
44/ “Let there be given to me, O Blessed One, that substance whose very nature corresponds to grace. I have seen the dance of the Most Blessed Blue-Throated One /Śiva/, his perfect execution of pure dance compositions and his inspired sentiments.
45/ And I saw that the elegant style corresponds to the feeling of love /Śṛṅgārarasa/, tender and beneficent.
46/ But men are not capable of performing this. Here a woman must appear.” And then, with unprecedented concentration of thought, the Supreme Being created the apsaras,
47/ skilled in the adornment of Nāṭya, and gave them to me to take part in the performance. Here are their names: Mañjukeśī /she who possesses beautiful hair/, Sukeśī /with long hair/ and Miśrakeśī /with variegated hair/, as well as Sulochanam /possessor of beautiful eyes/,
48/ Saudāminī /resplendent like lightning/, Devadattā /gift of the Gods/, Devasenā /outshining the host of gods/, Manoramā /delighting the heart/, Sudatī /generous/, and also Sundarī /beautiful/, and Vidagdhā /consuming/, and likewise Vipulā /mighty/,
49/ Sumālā /possessing a wonderful garland/, and also Santati /constant/, Sunandā /happy/, as well as Sumukha /with a beautiful face/, Magadhī /knowing the Prakrits/, Arjunī /she who has fair skin/, Saralā /honest/, and also Keralā /soft/, and Dhṛti /courageous/,
50/ also Nanda /joyful/, and Sapuśkalā /loud-voiced/, and further Kālā /tender/. All of them were given to me. Svāti and his disciples, of their own accord, began to play each on his own musical instrument,
51/ and Nārada and the other gandharvas sang in harmony with them. Thus, having deeply studied this Nāṭya,
52/ I, together with all my sons, as well as Svati and Narada, approached Brahma, the cause of all Vedas and Vedangas. With hands folded in prayer, I wished to learn how I should further apply Nāṭya.
53/ “We have mastered nāṭya and understood it. Tell me, what should I do next?” Having heard these words, the Progenitor replied:
54/ “The auspicious festival in honor of the Banner of the Great Indra begins. A most fitting moment for the performance has arrived.
55/ “Here and now this Veda, called Nāṭya, must be presented.” And at that celebration in honor of the Banner, on the occasion of the destruction of the asuras and dānavas,
56/ and the victories of the Great Indra, I first uttered the prayerful blessing of Nandī—a wondrous creation of the Vedas, consisting of eight lines,
57/ and then reproduced in the form of a performance how the daityas were defeated by the gods.
58/ I showed how the danavas were put to flight with howls, and how their bodies were pierced and cut in battle. Brahmā and the gods were satisfied with the performance.
59/ Then each of the gods presented a gift to me and my sons. First, the delighted Indra gave his auspicious Banner.
60/ Brahma - the crooked staff for the jester /kutilaka/, Varuṇa - the auspicious pitcher, Sūrya - the umbrella, Śiva - the magic, Vāyu - the fan,
61/ Viṣṇu — the throne, Kubera — the diadem, acoustics — the goddess Sarasvatī.
62/ The other gods who were at that assembly, as well as the gandharvas, yakṣas, rākṣasas, and pannagas,
63/ each was given what most corresponds to their kind and occupation, namely: the ability to speak, the ability to feel, and the ability to create rasa, as well as beauty of form and power of expression. Thus the celestials, pleased with me, bestowed gifts upon me and my sons.
64/ However, at the very beginning of the performance narrating the destruction of the daityas and dānavas, all the daityas united in agitation.
65/ Led by Virūpākṣa (he who has different eyes) and encouraged by vighnas (obstacles), they said: “We will not tolerate this performance. Get out!”
66/ These same asuras and vighnas, by their mystic power, bound the speech, movements, and memory of the actors.
67/ Seeing the sūtradhāra /the one who holds the thread, i.e., the chief actor who manages the entire performance/ prostrate, Indra reflected:
“What calamity has befallen the performance?” He plunged into thought.
68/ When he saw all the participants of the performance surrounded by vighnas, and among them the motionless sūtradhāra, as if dead,
69/ He instantly rose and seized the mighty shaft of the tall Banner. His body, ever gleaming with luxurious jewels, became radiant with fury.
70/ With one shaft of his Banner, the king of the gods ground to dust the bodies of the vighnas and asuras present on the stage.
71/ Then, rejoicing at their destruction, the celestial beings said:
72/ “Oh, what a wondrous weapon this is, reducing to ashes. You have incinerated everything the danavas wrought.
73/ Since you have reduced this staff of the Mighty Banner of vighnas and asuras to dust, let it now be called Jarjara /the destroyer/.
74/ And if the surviving villains approach to do harm, then upon merely catching sight of the staff of your Banner, called Jarjara, they will immediately vanish.
75/ «So be it!» Indra then replied to the gods, «Jarjara, which has now protected the performance, will henceforth protect all servants of Nāṭya.»
76/ However, when the praises continued at the lavish festival of the Mighty God, the surviving vighnas instilled fear in the actors.
77/ Having seen the intention of those daityas, born of the corruption of their natures, to insult Nāṭya, I, together with my sons, approached Brahmā with these words:
78/ “O Most Fortunate One, the vighnas are resolute in destroying everything connected with Nāṭya. O lord of the gods, point out the right means to protect it.”
79/ Then Brahmā commanded Viśvakarman /the creator of all/: “Build a perfect edifice for Nāṭya, O Wise One.”
80/ And in a short time Viśvakarman built a house for Nāṭya — beautiful and unlike any other house.
81/ And, having come to the assembly hall, and having folded his hands in prayer, he said: “O Lord, the house for Nāṭya is ready, and it is for you to inspect it.”
82/ Right there, Brahmā together with the mighty Indra, the other gods, and all who were present, went to see the building of Nāṭya.
83/ Brahmā examined that house and said to all the gods: “Each of you, in the part most befitting him, shall protect this house of Nāṭya.
84/ Chandramas (the moon) let him watch over the protection of the entire building, the Lokapālas (the four supports of the world) should protect the four sides, and the Maruts (the winds) — the spaces between them.
85/ Let the place of the theatrical dressing room be under the protection of Mitra, the top of the building be guarded by Varuṇa, Vahni /fire/ should protect the altar, and the musical instruments are guarded by all the celestials.
86/ The four varṇas correspond to the four pillars, while the ādityas and the rudras correspond to the space between them.
87/ Bhūtas /spirits/ will stand guard over the dressing rooms, in some rooms let the apsarās patronize, and in others—yakṣiṇīs, while the floor remains under the protection of the Great Ocean.
88/ The doors of the rooms are given over to the guardianship of Chance and Time, and at their panels let the two great nāgas of immense power take their stand,
89/ at the threshold of the house of Nāṭya will lie the staff of Yama, above it his spear, and the gatekeepers will be Mṛtyu /death/ and Niyati /fate/.
90/ Near the stage let the great Indra himself be seated, and in the mattavāraṇī his Thunderbolt, the destroyer of the daityas.
91/ Bhūtas, yakṣas, piśācas and guhyakas, all possessing great power, be the support of the columns of the mattavāraṇī.
92/ May the thunderbolt of Indra, the slayer of the daityas, protect the jarjara, and may the kings among the gods of immeasurable might guard its chati—
93/ Thus, in its upper part will be placed Brahma, in the next Shiva, in the third Vishnu, in the fourth Skanda, and in the fifth the Great Nāgas — Śeṣa, Vāsuki, and Takṣaka. Exactly in this way should the gods be arranged in the Jarjara for the destruction of vighnas.
94/ As for the stage, in the center stands Brahma himself /which is why flowers brought in the palms are scattered there/.
95/ those who live in the lower world, yakṣas, guhyakas, and pannagas respectively will guard her lower part.
97/ May Indra protect the hero, and Sarasvatī the heroine; the clown shall be guarded by the syllable OṂ, and all others by gracious Śiva.
98/ “The deities appointed for protection will also be the patrons.” — thus spoke Brahmā.
99/ Meanwhile, all the gods said to the Progenitor: “These agitated vighnas must now be pacified by you.”
100/ First, one should apply admonition, secondly - generosity, after these two - sow discord among them, and the punishment will be carried out by itself.
101/ Having heard the speech of the Gods, Brahmā addressed the vighnas: “Lords, why do you rise up for the destruction of everything connected with Nāṭya?”
102-103/ Having heard Brahmā’s words, Virūpākṣa spoke on behalf of the daityas and vighnas: “This Nāṭya, created by the Most Fortunate One at the desire of the gods, presents us in an unfavorable light in favor of the gods. Thus it was made by the Existent One.
104/ O Great creator of worlds! You must not incline toward either these or those. Both the gods and the dānavas have all originated from you.
105/ To this speech of the daityas, Brahmā replied thus: “Enough of your wrath, innocent daityas; abandon despair.
106/ The Nāṭyaveda created by me refers to the interconnection of karma and bhāva, the choice between good and evil, and pertains both to you and to the gods.
107/ And finally, here there is in fact no preference for you or the gods, but its subject is the being of all three worlds.
108/ Sometimes it is genuine faith, sometimes a prank; at times it is a pursuit of gain, at times mastery over one’s own senses; battle gives way to comedy, and death follows love.
109/ Faith is for those who turn to faith, love for those thirsting for pleasures, healing for those of bad character, and for the virtuous — power.
110/ To the faint-hearted—audacity, to the proud warrior—might, to the fool—insight, wisdom—to the scholar,
111/ to kings - amusement, firmness - to one suffering misfortune, to those living for sustenance - wealth, satisfaction - to one agitated by fantasy.
112/ This Nāṭya created by me, which reproduces what takes place in all three worlds, containing within itself various situations, filled with many bhāvas,
113/ relating both to the fates of the best of heroes and to the lot of base and mediocre people, including good counsel, creating joy, contentment, and other benefits,
114/ narrating about rasa, bhāva and karma /about experienced emotions, about every movement of the soul and the results of all deeds/ - this Nāṭya will henceforth exist in the Universe.
115/ Bringing relief to those oppressed by insult, saddened by care, exhausted by grief, and to the poor—this Nāṭya will exist as long as time exists. Conducive to virtue and glory, granting healing and happiness, increasing wisdom and giving birth to teachings for the worlds—this Nāṭya will exist.
116/ There is no knowledge, no skill, no science, no art, no magic, no ritual that is not shown in this Nāṭya.
117/ Therefore, gentlemen, you should not be angry with the gods. The life-reproducing Nāṭya of the seven islands /Saptadvīpa/ will exist.
118/ Whom does this Nāṭya that I have created represent? It shows in full everything that happens both with the devas /gods/ and with the asuras, as well as with kings, commoners, and divine sages.
119/ What is called Nāṭya? When the nature of the created worlds, subject to the alternation of happiness and unhappiness, is presented through abhinaya /mimicry and pantomime/ — this is called Nāṭya.
Representing Vedic revelations and scholarly knowledge, stories true and imagined, and freeing from cares—this Nāṭya shall exist.
Containing all truths perceived by ear, and truths inscribed in codes, customs left by ancestors, and useful inventions, bearing entertainment — this Nāṭya will exist among the living.”
120/ Then the Progenitor commanded all the gods to perform, according to the rules, the triple sacrifice in the inner space of this building for Nāṭya.
121/ “Let this sacrifice be proper, with gifts appropriate in each case, food pleasing to those gods to whom it is offered, and a libation consecrated by prayer.
122/ All who come into the world of mortals attain good through sacrifice. But without performing a sacrifice on stage, one should not even begin a performance.
123/ For one who, without honoring the gods of the stage, participates in a performance, all his knowledge will prove fruitless, and henceforth he will be born as an animal.
124/ Therefore, the performers of Nāṭya must, necessarily and with all diligence, perform worship on the stage with an offering corresponding to each deity.
125/ If an artist, even one possessing wealth and honor, does not offer sacrifice, then as a result he achieves the opposite—he loses everything.
126/ The one who performs the sacrifice according to the rules and with concentration, having obtained the happiness and wealth of this world, attains the highest.
127/ Having spoken thus, Lord Brahmā, surrounded by the gods, commanded me: “Perform the rite of sacrifice to the deities of the stage!” Such is the first chapter in the Nāṭyaśāstra of Bharata, called The Origin of Nāṭya.
Continuation – in the following publications https://t.me/natyashastra 🙏