Bharata Muni
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1/ The plot (itivṛtta) is called the body of drama. It is known that it is divided into five parts (sandhi).
2/ The plot is of two kinds: the main (ādhikārika) and the secondary (prāsaṅgika).
3/ The aggregate of actions structured toward achieving a certain specific result should be known as the main plot. Actions of a different kind constitute the subplot.
4-5/ The achievement of the goal and its elevation, which the art of the dramatist accomplishes through connected characters acting in the proper order, is the main plot, directed toward the attainment of the result. Any event introduced to support another event in it is called a subplot.
6/ The hero’s striving toward the attainable goal, as is known, passes through five stages in the proper sequence.
7/ These stages of action are known as arising in Nāṭaka and Prakaraṇa. Their fruit is connected with dharma (dharma), enjoyment (kāma), and wealth (artha).
8/ The five stages are as follows: Beginning (prārambha), Effort (prayatna), Possibility of attainment (prāpti-sambhava), Certainty of attainment (niyatā-prāpti), and Acquisition of the fruit (phala-prāpti).
9/ That part of the play which merely awakens curiosity regarding the attainment of the great goal with respect to the Seed (bīja) is called the Beginning (ārambha).
10/ The hero’s striving toward a goal while it is not yet evident, and his steps that arouse curiosity about it, are termed Effort (prayatna).
11/ When the attainment of the goal is slightly indicated by some psychological state (bhāva) of the hero, this should be known as the Possibility of attainment (prāpti-sambhava).
12/ When the hero, owing to his psychological state, clearly perceives the certain attainment of the goal, this is termed Certainty of attainment (niyatā phala-prāpti).
13/ When at the end of the play’s events the proper fruit of intentional actions fully manifests, this is called the Attainment of the Fruit (phala-yoga).
14/ These are the five successive stages of any action undertaken by people in pursuit of a result.
15/ The bringing together of all these stages, which are by nature distinct and which unite in a play for the purpose of producing a result, contributes to the maturation of the Seed.
16/ The main plot, described earlier, must be taken at the beginning of the play, for it is to culminate in the fruit (that is, the attainment of the goal).
17/ The plot may either include all parts or lack some of them. The general rule requires that all parts be present; but for a special reason, some of them may be omitted.
18/ If one part is to be omitted, the fourth is skipped; when two parts are omitted, the third and fourth should be kept; if three parts are omitted, then the second, third, and fourth should be discarded.
19/ This rule does not apply to a subplot, for it serves the purposes of another plot. Any event may be introduced into a subplot without violating the rule.
20/ The five stages of the plot — Beginning (ārambha) and the rest — have five means of achieving the plot’s goals (artha-prakṛti).
21/ The Seed (bīja), the Living Drop (bindu), the Episode (patākā), the Incidental Occurrence (prakarī), and the Action (kārya) — these are the five elements of the plot, which should be considered and applied appropriately.
22/ That which, scattered in small measure, grows in various ways and culminates in fruit, is called the Seed of the plot.
23/ That which sustains continuity up to the end of the play even when the main goal of the play is suspended is called the Living Drop (bindu).
24/ An event introduced in the interests of the main plot and treated on par with it is called an Episode.
25/ When, for the needs of another (that is, the main plot), only the result of such an event is presented and it has no continuation, this is called an Episodic incident.
26/ The efforts directed toward the main plot, introduced into the play by experts, are termed Action (kārya).
27/ Among these means, that which relies on others and to which the rest are accepted as subordinate should be made the principal one, but not the others.
28/ One or more parts should be attached to the Episode. Since they serve the purpose of the main plot, they are called the Continuation (anubandha).
29/ The episode must end either in Development or in Pause. Why? Because its interpretation serves the purposes of something else (that is, the main plot).
30/ When, having taken up some matter, another matter of a similar nature is suggested by means of a chance idea (āgantuka-bhāva), this is called Indication of an episode (patākā-sthāna).
31/ The sudden development of a new meaning (artha-sampatti) as a result of an indirect hint is called the first Indication of an episode.
32/ Words carrying a double meaning and expressed in poetic language are called the second Indication of an episode.
33/ What is subtle and, in the form of a dialogue, politely hints at the subject of the play is called the third Indication of the episode.
34/ Words with a double meaning, expressed in harmonious poetic language and referring to something other than what appears at first glance, are called the fourth Indication of an episode.
35/ A play intended for staging should have no more than four Indications of an episode (patākā-sthānaka). Next, I will speak about what is composed of five parts.
36/ The five parts (sandhi) of the play: Opening (mukha), Unfolding (pratimukha), Development (garbha), Pause (vimarśa), and Conclusion (nirvahaṇa).
37/ The main plot, as is known, consists of five parts (sandhi). The remaining parts must be subordinated to the parts of the main plot.
38/ The part of the play in which the creation of the Seed (bīja) as the source of many objects and Moods (rasa) takes place is called, with reference to its body, the Opening.
39/ The uncovering of the Seed inherent in the Opening, after it alternately appeared and disappeared from view, is termed Unfolding.
40/ The sprouting of the Seed, its attainment or non-attainment, and the search for it are called Development (garbha).
41/ A pause (vimarśa, lit. reflection) over the Seed (bīja), sprouted in Development (garbha), due to some temptation, anger, or grief, is called a part of the same name (that is, a Pause).
42/ The bringing together of the objects of the parts — the Discoveries (mukha) and others — together with the Seed (bīja), when they have reached the fruit, is called the Completion (nirvahaṇa).
43/ These are the parts of Nāṭaka that directors of drama should know. They may also occur in Prakaraṇa and in other types of plays.
44/ In Ḍima and Samavakāra there must be four parts, and the playwright must never introduce a Pause (vimarśa) into them.
45/ In Vyāyoga and Īhāmṛga there must be three parts. In these two there should be no Development and Pause (avamarśa — vimarśa), and the Graceful (kaiśikī) style also has no place in them.
46/ In Prahasana, Vīthi, Aṅka, and Bhāṇa there should be only two parts — the Opening (mukha) and the Conclusion (nirvahaṇa), and their style should be Verbal (bhāratī).
47/ Such are the parts that producers must provide for in the ten kinds of plays. Now hear about the content of the parts, which are as it were their members.
48-50/ The content of the parts, which gives them their distinctiveness, is of twenty-one kinds: Reconciliation (sāma), Discord (bheda), Gift (pradāna), Punishment (daṇḍa), Killing (vadha), Presence of mind (pratyutpanna-matitva), Slip in address (gotra-skhalita), Audacity (sāhasa), Terror (bhaya), Imagination (dhī), Deception (māyā), Anger (krodha), Force (ojas), Concealment (saṃvaraṇa), Delusion (bhrānti), Establishment (avadhāraṇa), Messenger (dūta), Letter (lekha), Sleep (svapna), Portrait (citra), and Intoxication (mada).
51/ The events in the parts, in their respective places (pradeśa) in the proper order, will support the Members of the parts through their own qualities.
52-53/ Expression of the desired object, omission of no essential element of the plot, achievement of the quality of pleasantness in the production, concealment of things to be concealed, narration of wondrous tales, and revelation of what is to be revealed—such is the sixfold necessity of the Members, as described in the Śāstra (Śāstra).
54/ Just as a person lacking limbs is incapable of fighting in battle, so too a play deprived of the members of its parts will be unfit for a successful production.
55/ A play, though poor in its theme, furnished with the proper Members, will acquire beauty through the brilliance of its staging.
56/ A play with a lofty theme but lacking the proper Members will never captivate the minds of discerning critics due to its possibly weak staging.
57/ Therefore, when creating the parts in a drama, the playwright must endow them with Members in the proper places and with the proper moods. Now listen properly about them.
58-59/ Members of the Opening (mukha): Hint (upakṣepa), Expansion (parikara), Establishment (pariṇyāsa), Allurement (vilobhana), Resolution (yukti), Initiation (prāpti), Regulation (samādhāna), Clash of Feelings (vidhāna), Astonishment (paribhāvana), Disclosure (udbheda), Action (karaṇa), and Inflaming (bheda). Now hear about the Members in the Unfolding.
60-61/ Members of the Unfolding (pratimukha): Falling in love (vilāsa), Pursuit (parisarpa), Refusal (vidhūta), Pessimism (tāpana), Joke (narma), Flash of a joke (narma-dyuti), Movement forward (paryupāsana), Tender words (puṣpa), Lightning (vajra), Exile (upanyāsa), Meeting of estates (varṇa-saṃhāra).
62-64/ Members of Development (garbha): False assertion (abhūtāharaṇa), Indication (mārga), Supposition (rūpa), Exaggeration (udāharaṇa), Progressiveness (krama), Pacification (saṃgraha), Conclusion (anumāna), Entreaty (prārthanā), Revelation (ākṣipta), Quarrel (toṭaka), Outwitting (adhibala), Confusion (udvega), and Panic (vidrava).
64-66/ Members of the Pause (vimarśa = avamṛśa): Condemnation (apavāda), Angry words (saṃpheṭa), Insolence (abhidrava), Reconciliation (śakti), Statement (vyavasāya), Mention (prasaṅga), Offense (druti), Fatigue (kheda), Opposition (niṣedhana), Quarreling (virodhana), Summing up (ādāna), Humiliation (sādana), and Foresight (prarocanā).
66-68/ Members of the Conclusion: Connection (sandhi), Awakening (vibodha), Interweaving (grathana), Establishment (nirṇaya), Conversation (paribhāṣana), Assertion (dhṛti), Pacification (prasāda), Joy (ānanda), Deliverance (samaya), Astonishment (upagūhana), Skillful Speech (bhāsana), Retrospection (pūrva-vākya), Conclusion of the Play (kāvya-saṃhāra), and Benediction (praśasti). These are the sixty-four Members of the parts in a play.
69/ Now I will give their definitions in the proper order.
A hint (upakṣepa) is the inception of the subject of the play.
70/ Expansion (parikara) is the intensification of an arisen object. Its detailed description is called Establishment (pariṇyāsa).
71/ Mentioning good qualities is known as Allurement (vilobhana). Resolving questions is termed Solution (yukti).
72/ Initiation (prāpti) is the bringing together of the goal of Opening (mukha). Regulation (samādhāna) is the bringing together of the goal of the Seed (bīja).
73/ The joys and sorrows arising in a situation are called the Clash of Emotions (vidhāna). Astonishment (paribhāvana) is an agitation that gives rise to curiosity.
74/ The sprouting of the goal’s seed (bīja) is called Unfolding (udbheda). The undertaking of the matter in question is called Action (karaṇa).
75/ That which is intended for the destruction of unity is called Inflaming (bheda). Such are the Members of Opening.
76/ Being in love (vilāsa) is the desire for amorous play (rati). Pursuit (parisarpa) is the chase after an object once seen and then lost.
77/ Refusal (vidhūta) is disagreement with a request made by someone. Reflection on impending future danger is called Pessimism (tāpana).
78/ Laughter intended for amusement is called a Jest (narma). Laughter intended for concealing one’s own fault is called a Flash of jest (narma-dyuti).
79/ The utterance of words that entail other words is called Moving Forward (pragamana). The occurrence of a certain calamity is called Obstacle (nirodha).
80/ The pacification of an angry person is called Appeasement (paryupāsana). The mention of some favorable quality is called Gentle words (puṣpa, lit. flower).
81/ Harsh words spoken to one’s face are called Lightning (vajra). A Reference (upanyāsa) is a remark based on an argument.
82/ The convergence of the four estates is called the Meeting of Estates. Such are the Members of Unfolding.
83/ Speech based on deception is called False assertion (kapaṭāśraya). Uttering one’s true intention is called Indication (mārga).
84/ The hypothesis with which new meanings are associated is called the Supposition (rūpa). Speech with exaggeration is called Exaggeration (udāharaṇa).
85/ Foresight of what will come later is termed Progression (krama). Contact for the purpose of applying gentle words and gifts is termed Protection (saṃgraha).
86/ Identification of something by a name similar to it in appearance is called Inference (anumāna). A request for amorous pleasure (rati), joyful celebration, and the like is called Supplication (prārthanā).
87/ The unfolding of the Seed in Development (garbha) is called Revelation (ākṣipta). Angry speech is called Quarrel (toṭaka).
88/ Deception through a trick is called Outwitting (adhibala). Fear arising from a king, an enemy, or a robber is called Confusion (udvega).
89/ The turmoil caused by fear of the king or fire is called Panic Confusion (vidrava). Such are the Members of Development (garbha).
90/ The proclamation of someone’s guilt is called Condemnation (apavāda). Words spoken in anger are called Angry words (saṃpheṭa).
91/ Transgressing the limits established by elders is called Daring (abhidrava). Entering into conflict with anyone is called Force (śakti).
92/ A promise made for a certain reason is called a Declaration (vyavasāya). Speech about one’s elders is called a Mention (prasaṅga).
93/ Words spoken with contempt are termed an Insult (druti). Fatigue arising from mental effort is termed Weariness (kheda).
94/ The obstacle to a desired object is called Opposition (niṣedha). Speech and reply in excitement are called Altercation (virodhana).
95/ The bringing together of all aspects of the Seed (bīja) and the Action is called the Summary (ādāna). The insertion of insulting words for some purpose is called Humiliation (sādana).
96/ That which expresses in advance the goal of the Completion (saṃhāra) is called Foresight (prarocanā). Such are the Members of the Pause (avamṛśa = vimarśa).
97/ The phenomenon of the Opening (mukha) and the Seed is termed the Union (sandhi). The proper search for the Action (kārya) is termed the Awakening (vibodha).
98/ A message about various aspects of Action is called the Weaving (grathana). A statement of facts personally known is called the Establishment (nirṇaya).
99/ That which is uttered with the purpose of censuring someone is called an Accusation (paribhāṣaṇa). The recourse to the use of an acquired object is called an Achievement (kṛti).
100/ Treating someone with expectation and the like is called Pacification (prasāda). The attainment of the objects of one’s desire is called Joy (ānanda).
101/ The cessation of all sorrow is called Deliverance (samaya). The appearance of something wondrous is called Wonder (upagūhana).
102/ Words that mention reconciliation, a gift, and the like are called Skillful Speech (bhāṣana). A retrospective is understood as a reference to something said earlier.
103/ Giving and receiving a gift is called the Completion (kāvya-saṃhāra). The prayer for perfect peace for the king and the country is called the Blessing (praśasti).
104/ For the introduction of Moods (rasa) and Psychological States, the skilled playwright should insert all these Members into the appropriate parts of his work.
105/ Given the scope of the Action or its condition, he may sometimes insert into the parts all the Members or a combination of two or three of them.
106/ Auxiliary scene (viṣkambhaka), introductory speech (cūlikā), opening scene (praveśaka), transitional scene (aṅkāvatāra), and anticipatory scene (aṅkamukha) are the five Explanatory devices (arthopakṣepaka).
107/ The auxiliary scene should involve characters of middling status, pertain only to the opening portion (mukha-sandhi) of the Nāṭaka, and be adorned by a priest, a minister, or a Kañcukin (kañcukin, chamberlain).
108/ The auxiliary stage is of two kinds: pure and mixed. Of these, the pure one is composed of characters of middle station, and the mixed one — of lower and middle ones.
109/ When any points are clarified by a character of high, middle, or low status from behind the curtain, this is termed an Announcement speech (cūlikā).
110/ The introductory scene (praveśaka) in relation to Nāṭaka and Prakaraṇa occupies a place between two acts and treats a brief exposition of the parts.
111/ Since in practice it is situated between two acts or within an act and is connected with the purpose of the Seed (bīja), it is called the Transitional Scene (aṅkāvatāra).
112/ When the isolated beginning of an act is summed up in advance by a male or female character, this is termed the Anticipatory Scene (aṅkamukha).
113-116/ The playwright must create a Nāṭaka, comprising various Styles and minor Members (pratyaṅga), Indication of an episode (patākā), Explanatory devices (artha-pratikriyā), arising from five stages (avasthā), having five parts (sandhi), twenty-one distinctions of parts, sixty-four Members (aṅga), thirty-six lakṣaṇa, qualities (guṇa) and figures of speech (alaṃkāra), many Moods, themes of many pleasures, elevated speeches, characters of great men, description of worthy conduct; and it must be accessible to the public, coherent in its parts, suitable for staging, composed of soft words, and capable of giving pleasure.
117/ The state of the world, arising from happiness and sorrow and connected with the activity of various people, should find its place in Nāṭaka.
118/ There is no wise saying, no teaching, no art or craft, no device and no action that would not be found in drama (nāṭya).
119/ And human nature with its joys and sorrows, embodied through the means of representation — Gestures, Words, Costume, and Sattva (sattva) — is also called drama (nāṭya).
120/ Imitation of the past deeds of gods, sages, and people should also be called drama.
121/ Since it is presented (abhinīyate) and interpreted by actors who, having suppressed their own nature, produce various movements of their various limbs for this purpose, it is called Nāṭaka.
122/ Nāṭaka must be created in such a way as to include all Psychological states, Moods, inclination towards all actions, and various conditions of people and nature.
123/ Those arts and crafts that are the fruits of unique efforts should be applied in Nāṭaka in their countless forms.
124/ Nāṭaka should be created only after observing the character of people, their strength and weakness, their manner of enjoyment and reasoning.
125/ In the coming ages, people will for the most part be modest in intellect; therefore, those born after us will possess little learning and a weak mind.
126/ When the world declines, the mental faculties of people, the creation of crafts, and skill in the arts will diminish.
127/ Therefore, observing the strength and weakness of human feeling, one should create Nāṭaka with pleasant and easily understandable words.
128/ Plays containing coarse words, like cekrīḍita, repel one, as a courtesan in the company of a brahmin with a kamaṇḍalu (kamaṇḍalu).
129/ O brahmins, I have spoken about the plot with its parts and limbs. Next, I shall speak about the characteristics of the Styles.