Bharata Muni
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Prakrit declamation
1/ Thus, I have briefly outlined the Sanskrit recitation. Now I will speak about the characteristic features of Prakrit recitation.
2/ Prākrit declamation implies variations and lacks refinement, presenting variations based on different conditions.
Three kinds of Prakrit declamation
3/ There are three categories: words identical to Sanskrit (samāna-śabda), distorted words (vibhraṣṭa), and local words (deśī).
4/ Words such as “kamala, amala, reṇu, taraṅga, lola, salila” appear equally in Prakrit and Sanskrit compositions.
5/ Sounds that undergo a change of form, a change of vowels, or a loss of –, especially in the middle of a word –, constitute distorted speech.
Vowels and simple consonants
6/ Sounds following “e” and “o” (ai, au), anusvāra, and certain consonants between “va” and “sa” are not found in Prakrit.
7/ Ka, ga, ta, da, ya and va drop out in Prakrit; the meaning is preserved through the remaining vowels.
8/ In Prakrit, “ra” does not precede consonants or follow them, except in words such as “bhadra, vodra, hrada, candra”.
9/ Kha, gha, tha, dha and bha always turn into “ha” in words such as mukha, megha, kathā.
10/ Śa becomes “cha” in words such as ṣaṭpada. The final syllable “kila” becomes “ra”; “khalu” becomes “khu”.
11/ It becomes “da” in words such as bhata, kuṭi, and tata; “śa” and “ṣa” become “sa”.
12/ In words such as “itara”, a non-initial “ta” turns into an indistinctly pronounced “da”; “da” turns into “la”.
13/ Dha in words such as vadha and madhu becomes “dha”; “na” becomes “na” everywhere.
14/ Pa changes into “va”, making “apāna” turn into “avāna”; “tha” changes into “dha”, except in the words “yathā” and “tathā”.
15/ Paruṣa turns into “farusa”; “mṛga” and “mṛta” both change into “mao”.
16/ Au in words such as “auṣadha” changes to “o”; “ca” in “pracaya, acira, acala” turns into “ya”.
17/ Simple sounds change as described; compound sounds follow different rules.
Compound consonants (combinations)
18/ Certain consonant combinations undergo established transformations: śca becomes ccha, psa – becomes bhya, tsa – becomes hya, thya – becomes dhya, śṭa – becomes ṭṭha, sta – becomes ṭṭha, sma – becomes mha, kṣṇa and śṇa – become ṇha, kṣa – becomes kha.
19/ Āścarya becomes “acchariya”; niścaya – becomes “nicchaya”; utsāha – becomes “ucchaha”; pāṭhya – becomes “paccha”.
20/ Tubhyam becomes “tujjham”; mahyam – becomes “majjham”; vindhya – becomes “vimjha”; daṣṭa – becomes “datttha”; hasta – becomes “hattha”.
21/ Grīṣma turns into «gimha»; ślakṣṇa – into «sanha»; uṣṇa – into «unha»; yakṣa – into «jakkha»; paryaṅka – into «pallamka».
22/ Metathesis occurs in the groups “hma” (brahman); in “bṛhaspati” “spa” turns into “pha”; “yajña” turns into “janna”; “bhīṣma” turns into “bhimha”.
23/ Consonants placed above others require separate pronunciation.
24/ These are the rules of pronunciation for Prakrit and Sanskrit, which must be studied. Next, I will examine the classification of local languages (deśa-bhāṣā).
Four types of language
25/ In drama, there are four types of language, using either refined (Sanskrit) or vernacular (Prakrit) recitation.
26/ Superhuman language (atibhāṣā), noble language (ārya-bhāṣā), common language (jāti-bhāṣā), and the language of other beings (yonyantari-bhāṣā) – are the languages found in plays.
Superhuman and noble languages
27/ The superhuman language befits the gods; the noble language befits kings. Both are characterized by refinement and are used in all seven parts of the world.
Everyday language
28/ The everyday language prescribed for use has various forms, contains many words of barbarian (mleccha) origin, and is used only in Bhāratavarṣa.
The language of animals
29/ The language of animals originates from domestic and wild animals, as well as from various species of birds, following traditional practice.
Two kinds of recitation
30/ Declamation in the everyday language for the four castes exists in two forms: vernacular (prakṛta) and refined (saṃskṛta).
Cases for Sanskrit declamation
31/ Self-possessed, passionate, frivolous, exalted, and calm types of heroes should use Sanskrit recitation.
Cases for Prakrit declamation
32/ These classes of heroes use Prakrit when circumstances require it.
33/ Even high-ranking persons, intoxicated by royal power or oppressed by poverty, should not use Sanskrit.
34/ For disguised persons, Jain monks, ascetics, mendicant wanderers, and magicians, Prakrit recitation is prescribed.
35/ Children possessed by spirits, women in female roles, persons of low birth, madmen, and phallic worshippers use Prakrit.
Exceptions to the rules of Prakrit declamation
36/ For wandering ascetics, sages, Buddhists, learned Brahmins, and those who have received instruction and wear the appropriate religious garments, Sanskrit is prescribed.
37/ Sanskrit recitation is prescribed for queens, courtesans, and women performers for special occasions and situations.
38-39/ The queens receive Sanskrit recitation when discussing matters of war and peace, the movements of the planets, and the signs of auspicious birds.
40/ Courtesans are prescribed Sanskrit for the amusement of a diverse audience and for the pursuit of the arts.
41/ Women artists are prescribed Sanskrit in the training of arts and the entertainment of kings.
42/ The pure speech of the apsarās is speech sanctified by tradition (Sanskrit), by reason of their communion with the gods.
43/ Apsaras may use Prakrit while on earth; mortal wives receive Prakrit when appropriate occasions require it.
44/ Barbaras (barbara), Cīnas, Āndhras and Drāviḍas should not use their native languages in dramatic performances.
45/ Pure representatives of the tribes receive the dialects current in Śūrasena.
46/ Producers may, at their discretion, use local dialects for performances intended for a specific region.
The seven principal dialects
47/ The seven principal dialects are: Māgadhī, Avantī, Prācyā, Śaurasenī, Ardhamāgadhī, Bāhlīkā, Dākṣiṇātyā.
48/ Additional minor dialects (vibhāṣā) include: Śākara, Abhīra, Caṇḍāla, Śabara, Drāviḍa, Oḍra, and the speech of forest dwellers.
The use of the main dialects
49/ Māgadhī befits the guards of the royal harem; Ardhamāgadhī befits servants, princes, and heads of merchant guilds.
50/ Prācya serves the jesters (vidūṣakas); Avanti serves the gallant rogues; heroines and their female companions uniformly speak Śaurasenī.
51/ For warriors, gamblers, and chiefs of the city guard, Dakṣiṇātya is prescribed; Bāhlīki – for the northern Khasas.
The use of secondary dialects
52/ Śakāri is applied to śakāras and similar groups; Cāṇḍālī is applied to pulkasas and comparable castes.
53/ Charcoal burners, hunters, and gatherers of firewood and leaves receive Śabari and the speech of forest dwellers.
54/ People who keep cattle receive Ābhīri or Śabari; forest dwellers receive Drāviḍī.
55/ Audri is applied to underground diggers, prison guards, and grooms; distressed heroes also use Māgadhī for self-defense.
Distinctive features of various local dialects
56/ Regions from the Ganges to the sea use dialects abundant in the sound “e”.
57/ Regions from the Vindhyas to the sea use dialects abundant in the sounds “na” or “ta”.
58/ Suraṣṭa and Avanti, north of Vetravatī, use dialects abundant in the sound “ca”.
59/ The inhabitants of the Himalayas, Sindhu, and Sauvīra receive dialects abundant in the sound “u”.
60/ The inhabitants of the banks of the Charmavatī river and the Arvuda mountain receive dialects abounding in the sounds “o” or “ta”.
61/ Such are the rules concerning the distribution of dialects in plays. Whatever has been omitted, the wise should gather from popular usage.
Thus ends the eighteenth chapter of the Nāṭyaśāstra, which treats of the rules for the use of languages.