Bharata Muni
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1/ I will now set forth in full [the history of] the origin of the styles (vṛtti) and — in connection with them — the origin and composition of dramas.
2-3/ When Lord Acyuta (Viṣṇu), having compressed the universe into a single [boundless] ocean and gathered creation [into a seed] by the power of his supernatural might, reposed on a bed of the serpent, two asuras — Madhu and Kaiṭabha, intoxicated with pride in their strength, immediately challenged the god to battle.
4-5/ These two, having made defiant gestures (lit. having rubbed their hands), entered into battle with the imperishable Lord Viṣṇu (bhūta-bhāvana, lit. creator of beings) — with fists and feet (lit. knees); and in doing so, both sides reviled each other with harsh words and seemed to shake the very ocean with their abusive speech.
6-7/ Having heard the various [abusive] words of these two, who threatened [Viṣṇu], Druhina (Brahmā) was slightly troubled in spirit and said: “Is this not bhāratī vṛtti, which begins with these words [of the warriors] and gradually grows? Kill then both of them at once.”
8-10/ Having heard these words of Pitāmaha (Brahmā), Madhusūdana (Viṣṇu) said: “Yes, I created this bhāratī vṛtti for the accomplishment of my task. This will be the bhāratī vṛtti of the speaker, in which the word predominates. Today I will kill these two asuras.” Having said this, Hari (Viṣṇu), with pure and perfect gestures and aṅgahāras, fought fiercely with the two daityas, skilled in the ways of battle.
11/ At that time Hari’s procession across the earth with sthānaka supports created a great bhāra (burden) upon the earth (bhūmi); bhāratī vṛtti (the Verbal Style) was established upon this [foundation].
12/ And at that very same instant, from the resilient twang of the bow named Śaraṅga — brightly shining, steadfast — and from the abundance of serene sattva (power), was created sāttvatī vṛtti (the Elevated Style).
13/ When [during the battle] the god moved capriciously with various aṅgahāras and tied the knot of his śikhā (hair), the kaiśikī vṛtti (Graceful style) was created.
14/ Then, from the various forms of single combat, full of energy and excitement and entailing various cārī, the Energetic style (ārabhaṭī vṛtti) was created.
15/ All the deeds [of Viṣṇu], which the god Brahmā observed as produced by various styles (vṛtti), were combined by him (Druhiṇa = Brahmā) with words corresponding to their meaning.
16/ When both asuras — Madhu and Kaiṭabha — were slain by Hari (Viṣṇu), Brahmā addressed him (Nārāyaṇa = Viṣṇu), the tamer of enemies (arindama).
17-18/ “O god, you have slain the danavas with diverse, pure, expressive, and graceful aṅgahāras; therefore this method of personal combat, [applicable] to the hurling of all manner of missiles, shall be known in this world as the nyāya (nyāya).”
19/ The Nyāya are renowned because this battle was conducted with the aṅgahāra-s, which are connected to them and genetically related to them.
20/ Then the magnanimous Druhina (Brahmā) handed over to the gods this [style], filled with diverse psychological states and rasas, [for use] in the staging of plays.
21-22/ The name “style” (vṛtti) became a repository of diverse psychological states and rasas. And everything that was created, and in whatever manner it was created — the deeds of the god (Viṣṇu) were used by the sages in the creation of such styles, arising from Word and Gesture, which take their origin in the materials of the Nāṭyaveda and also have Word and Gesture as their chief characteristics.
23/ These styles — desirable, noble, full of diverse cārī — were again taken by me at the command of Druhina for the composition of plays (lit. poems).
24/ The verbal style (bhāratī vṛtti) goes back to the Ṛgveda, the Grand (sāttvatī) to the Yajurveda, the Graceful (kaiśikī) to the Sāmaveda, and the remaining one (that is, the Energetic, ārabhaṭī) to the Atharvaveda.
25/ The style that male characters, but not women, should employ, and which gives the main place to speeches in Sanskrit, is used by the eponymous bhāratas (actors) as bhāratī (Verbal).
26/ It has four varieties: Praśasti (prarocanā), Prastāvanā (āmukha), Vīthi (vīthī) and Prahasana (prahasana); they have become its constituent parts (aṅga).
27/ The glorification (prarocanā) in the Preliminary [rites] serves to achieve success, prosperity, happiness, victory, and the removal of all sins.
28-29/ The part of the play in which the actress, the Jester, or the Assistant converse with the Director on some topical subject, using entertaining words, or resort to some kind of Vīthī, or speak in another manner, is called the Introduction (āmukha) or, according to some, the Prologue (prastāvanā). I will describe in detail its five varieties (lit. elements).
30/ Random Interpretation (udghātyaka), Discovery of the Plot (kathodghātā), Special Presentation (prayogātiśaya), Personal Matter (pravṛttaka), and Transference (avalagita) — these are the five varieties of the Introduction (āmukha).
31/ Of these, the characteristics of Chance Interpretation (udghātyaka) and Transference (avalagita) have already been indicated by me. Now I will detail the characteristics of the rest.
32/ [Such an Introduction], in which a character comes [on stage] picking up the Stage Manager’s line or its meaning, is called the Opening of the Plot.
33/ When, over this [type of] Introduction, the Stage Manager superimposes another [type of] staging, and then a character comes out [onto the stage], this is called a Special Presentation.
34/ [Such an Introduction], in which the Director speaks of some pressing matter, and a character comes on stage using it (lit. with its help) as a pretext, is called a Personal Matter.
35/ Skillfully developing that which proves appropriate, the wise [dramatist] should construct the Prologue (āmukha), without burdening it with [a multitude of] characters and speeches.
36/ Thus the wise should understand the Introduction with its various foundations. The characteristics of Vīthi and Prahasana were indicated earlier.
37/ These are the four varieties of the Verbal style, of which I have spoken. Now I shall set forth the rules of the Elevated style with its characteristics.
38/ A style endowed with the quality of spirit (sattva), with nyāyas, [proper] meters, and distinguished by an abundance of joy and the suppression of the state of sorrow, is called the Elevated.
39/ Connected with plays expressing the spirit of (sattva), the Elevated Style, as is known, is composed of representation through Word and Gesture.
40/ It must contain rasas — such as the Heroic, the Marvelous, and the Furious, and to a small extent also the Pathetic and the Erotic; the characters in it must be for the most part majestic and challenging one another.
41/ It is known that it has four varieties: Challenge (utthāpaka), Change of Action (parivartaka), Stern Conversation (saṃlāpaka), and Breaking of Alliance (saṃghāta).
42/ The rise for conflict after the words “I rise [to battle], now show your own might” is called a Challenge.
43/ If, having abandoned the object that served as the occasion for the rise, one turns to other matters out of some necessity, this is called Change of Action.
44/ A dialogue containing various words of abuse — whether they arise from contempt or not — is called the Severe Speech.
45/ Breaking an alliance for the sake of politics in favor of a friend, whether due to chance or one’s own fault, is called the Breach of Alliance.
46/ These are the four varieties of the Elevated style, of which I have spoken. Next, I will describe the characteristics of the Graceful style.
47/ That style is called the Graceful (kaiśikī), which is especially attractive due to the charming costumes worn by [the characters] — predominantly women — in which diverse kinds of dance and song are included, and the enacted themes are connected with amorous experiences and arise from the enjoyment of it.
48/ It is said that the Elegant style has four varieties: the Jest (narma), the Beginning of Pleasure (narma-sphurja), the Disclosure of Pleasure (narma-sphoṭa), and the Hidden Pleasure (narma-garbha).
49/ A joke abounding in remarks made in jest is of three kinds: based on love, connected with pure laughter, and containing rasas other than the Heroic.
50/ The joke is known as connected, as a rule, with acts of jealousy and anger, mixed with words of reproach and performed under the guise of self-reproach and through the deception of others.
51/ The beginning of the joke should be understood as the first meeting [of the lovers], in which there are words and attire that excite love, but which ends in fear.
52/ The revelation of the joke is the cause of the arising of rasa, brought about by brief touches of various psychological states, and not by any one of them in full.
53/ When the Hero, out of some necessity, acts incognito through his qualities — such as intellect, [pleasant] appearance, and attachment — this is called Hidden Pleasure.
54/ These are the four varieties of the Graceful style, about which I was to speak. Next, I will describe the Energetic style, connected with the arrogant rasa.
55/ A style that includes for the most part the qualities of a bold person (ārabhaṭa) — such as verbosity, deceit, boasting, and lying — should be understood as Energetic.
56/ The style in which the fall of the model (pusta), jumps, climbing over, piercing, acts of magic and sorcery, as well as various methods of combat are presented is called the Energetic [style].
57/ It has four varieties: Compression (saṃkṣiptaka), Confusion (avapāta), Elevation of the Plot (vastūtthāpana), and Collision (saṃpheṭa).
58/ In accordance with the play’s intent, the Compression includes the corresponding crafts — diverse models, designs, and costumes — for the condensed representation of the Plot.
59/ It is known that Confusion is connected with the emergence of fear and rejoicing, panic, bustle, diverse speeches, and swift exits and entrances.
60/ An action that includes panic or is connected with providing refuge [to someone] and embodies a combination of all rasas is called the Elevation of the Plot.
61/ It is known that the Collision (saṃpheṭa) includes excitement, numerous battles, personal duels, deceit, betrayal, and abundant blows with weapons.
62/ Such are the styles that the wise should take into consideration in connection with drama. Now hear about their application in the various rasas — that which I intend to tell you.
63-64/ In the Erotic and Comic rasas, the style should be Graceful; in the Heroic and Marvelous rasas — Elevated. In the Terrible, Odious, and Furious rasas, the Energetic style should be applied, while the Verbal style suits the Pathetic and Marvelous rasas.
65/ I have duly set forth the Theatrical Performance, dependent on Word, Gesture, and Sattva, which culminate in the styles. Now I shall proceed to the Costumes and Makeup used in the staging of plays.
Here ends chapter XXII of Bharata’s Nāṭyaśāstra, which treats of the styles.