Bharata Muni
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1/ A harmonious performance (sāmānyābhinaya), as is known, depends on words and gestures. Particular attention should be paid to sattva.
2/ A performance of the highest quality is based on abundant sattva; a performance of the middle level is based on even sattva; in the absence of sattva, the performance is inferior.
3/ Satttva is the invisible element that sustains psychological states (bhāva) through goosebumps (romāñca), tears, and similar manifestations in accordance with dramatic moods (rasa).
Female charms
4-5/ The charms of young women consist of three categories: changes in parts of the body (three kinds), natural changes (ten kinds), and involuntary changes (seven kinds).
Ten Natural Graces
12-13/ The ten natural graces of women are: playful imitation (līlā), amorous gesture (vilāsa), negligence in dress (vicchitti), confusion (vibhrama), hysterical mood (kilakiñcita), display of tenderness (mottaīta), feigned anger (kuṭṭamita), assumed coldness (bibboka), charm (lalita), and lack of response (vihṛta).
Definitions of individual graces
14-23/ Each charm receives a definition and instructions for theatrical application, including playful imitation, amorous gestures, carelessness in dress, confusion, hysterical mood, display of tenderness, feigned anger, affected coldness, languor, and lack of response.
Involuntary charms
24-30/ The involuntary graces are: beauty (śobhā), charm (kānti), elegance (mādhurya), radiance (dīpti), self-possession (dhairya), boldness (prāgalbhya), and dignity (audārya).
Aspects of male sattva
31-39/ Brilliant temperament (śobha), graceful bearing (vilāsa), self-possession (mādhurya), steadfastness (sthairya), seriousness (gāmbhīrya), playfulness (lalita), nobility (audārya), and spirit (tejas) are the various aspects of masculine sattva.
Presentation through the body
40-48/ The sixfold classification includes words, sūcu, aṅkura, śākhā, nāṭyāyitā and nivṛttyaṅkura, each of which performs a specific theatrical function.
Words are that which is uttered by the voice. Sūcā is an indication of something implied. Aṅkura is the sprout [of a hint] that appears following the sūcā. Śākhā is the branch [of action] that develops the aṅkura. Nāṭyāyitā is a stage convention applied in performance. Nivṛttyaṅkura is the reverse sprout, indicating a return to the previous theme.
Twelve forms of verbal representation
49-57/ Forms include address, chatter, lamentation, repeated speech, dialogue, alteration of words, message, assent, special mention, pretext, instruction, and indirect communication.
Definition of harmonious performance
72/ A harmonious performance is one in which effort is evenly distributed among the head, face, feet, thighs, shins, abdomen, and lower back.
Classifications of acting
74-77/ Described is the “correct” play with proper tempo and prescribed measures, as opposed to “free” play with arbitrary movements and an uncontrolled style.
Representation of sensory perception
80-92/ Techniques are given for gestures to represent sound, touch, form, taste, and smell, as well as mental attitudes (favorable, unfavorable, indifferent) toward sensory perception.
Love and the Erotic Mood (śṛṅgāra-rasa)
94-100/ The manifestations of desire in various forms are discussed (striving for virtue, wealth, liberation), noting that women possess the nature of gods, demons, celestial beings, and animals.
Female types by nature
101-143/ Detailed characteristics of women possessing the nature of goddesses, demonesses, celestial maidens, snakes, birds, spirits, tigresses, human women, monkeys, elephant cows, deer, fish, she-camels, aquatic creatures, she-donkeys, sows, mares, she-buffaloes, and she-goats.
Nature of the goddess: Such a woman is beautiful, endowed with many qualities, possesses a deep intellect, and is constant in love.
Nature of the demoness (āsurī): She is wrathful, cruel, fickle, envious, and prone to deceit.
The nature of the celestial maiden (gandharvī): She loves music, singing, and dancing, is skilled in the arts, and is attractive.
Nature of the nāginī (serpent woman): She is angry briefly, wayward, yet yielding to caress.
Nature of the bird: It is restless, talkative, frivolous, and prone to wandering.
Nature of the yakṣiṇī: She loves luxury, ornaments, pleasures, and is generous to her beloved.
Nature of the tigress: She is cruel, fierce, untamable, and swift to punish.
Human nature: She possesses ordinary feelings, is attached, and is moderately jealous.
Nature of the monkey: It is restless, playful, changeable, and curious.
Nature of the she-elephant: She is calm, majestic, slow, and constant in her affection.
Nature of the doe: She is timid, shy, gentle, and swift in movement.
Nature of the fish: It is cold, indifferent, silent.
Nature of the she-camel: She is vindictive, stubborn, and unclean.
Nature of the she-donkey: She is coarse, ignorant, and unrefined.
Nature of the pig: It is unclean, gluttonous, and lazy.
Nature of the horse: It is proud, hot-tempered, swift.
Nature of the buffalo-cow: She is dull, slow, heavy.
Nature of the goat: It is fussy, fickle, and light-minded.
Ten stages of love
169-191/ The ten stages develop sequentially: longing, anxiety, remembrance, enumeration of the beloved’s virtues, torment, lamentation, madness, illness, stupor, and death.
Tomlenie (abhilāṣa): The longing to see the beloved, to hear his voice, and to be in his presence.
Anxiety (cintā): Unceasing thought of the beloved, worry about his condition.
Memory (smṛti): Recollection of happy moments spent together.
Enumeration of virtues (guṇakīrtana): Praising the qualities of the beloved before friends.
Terzanie (udvega): Physical torment, loss of appetite and sleep.
Lament (vilāpa): Plaintive speeches addressed to the moon, wind, and birds.
Madness (unmāda): Loss of sanity, talking to inanimate objects.
Disease (vyādhi): A bodily ailment caused by the pangs of love.
Ocepenenie (jaḍatā): Immobility, indifference, loss of sensitivity.
Death (maraṇa): The ultimate state when all life forces are exhausted.
Eight types of heroines (nāyikā)
210-219/ Categories include:
Svādhinapatikā (having her husband under her control) — a woman whose beloved is submissive to her and follows her desires.
Vasakasajjā (one dressed for a rendezvous) — a woman who has adorned herself and awaits the arrival of her beloved.
Virahoddhata (suffering from separation) — a woman tormented by the absence of her beloved.
Kalahāntaritā (separated by quarrel) — a woman who has quarreled with her beloved and repents.
Khaṇḍitā (angry) — a woman who is angry at her lover for infidelity.
Vipralabdhā (deceived) — a woman whose lover did not come to the rendezvous.
Proṣitapatikā (whose husband is away) — a woman separated from her beloved, who has departed to distant lands.
Abhisārikā (going to the beloved) — a woman setting out for a rendezvous with her beloved.
Forbidden stage actions
239-241/ On stage there should be no climbing onto a bed, bathing, applying ointments and collyrium, adorning the body, or combing the hair.
Also on stage it is forbidden to show the performance of natural needs, kisses on the lips, and embraces [of excessive intimacy].
Causes of jealousy
262-270/ Four categories: dejection, mixed feeling, disgust, and anger, each with a characteristic theatrical representation through gestures and facial expressions.
Depression (viṣāda): Silent sorrow at the sight of traces of betrayal on the beloved’s body.
Mixed feeling (khandita): The simultaneous experience of anger and love, tears and smiles.
Disgust (dhṛgvibhrama): Turning away from the beloved, unwillingness to see him.
Anger (manojvālanta): A violent outburst of anger with reproaches and tears.
Terms of endearment
297-306/ Seven tender addresses: dear, beloved, gentle, lord, master, life [of mine], and joy [of mine]; each is connected with specific qualities of behavior.
Mīla (priya): This is what they call one who is pleasant in manner and faithful in love.
Beloved (kānta): One who is beautiful in appearance and sweet-spoken.
Tender (dayita): One who is caring and attentive to the feelings of others.
Lord (āryaputra): One who is noble by birth and exalted in character.
Lord (svāmin): One who is courageous and authoritative.
Life (jīvita): That without which existence is impossible.
Joy of my eyes (nayanānirvṛti): One whose sight brings delight to the eyes.
Angry addresses
299-314/ Seven wrathful designations, including malevolent, tyrant, deceiver, hostile, indifferent, shameless, and cruel, with defining characteristics for theatrical embodiment.
Zlonravny (durshila): One who commits actions that cause pain without remorse.
Tirana (nirdaya): One who knows no compassion and is merciless to a woman’s feelings.
Deceiver (kathaka): One who says one thing but does another.
Hostile (viraktacetana): One whose heart has grown cold and turned toward another.
Indifferent (udāsīna): One who is unconcerned with the feelings of the beloved.
Bessstydny (nirlajja): One who does not conceal their infidelity.
Cruel (nṛśaṃsa): One who finds pleasure in suffering.
Final rules
320-328/ The concluding instructions concern celestial women in human roles, their psychological states when united with mortals, and rules of conduct distinct from earthly relationships.
320/ Celestial women performing human roles should represent the psychological states of earthly women, but with greater grace and self-possession.
321/ When a celestial maiden is united with a mortal, she must simultaneously exhibit the pride of her divine nature and the tenderness born of love.
322-324/ All forms of harmonious presentation should be applied with consideration for the character’s nature, the circumstances of the play, and the nature of the mood (rasa) that is to be evoked.
325/ An experienced actor must know that all psychological states and moods presented on stage originate in the real life of people.
326/ Therefore, people, the Vedas, and spiritual ability are the three authorities of drama; drama is for the most part based on the latter two.
327/ But people are the highest authority of drama, for drama is an imitation of human deeds.
328/ The one who knows the art of performance and applies it on stage attains the highest honor for the practice of dramatic theory and acting.
Here ends Chapter XXIV of the Nāṭyaśāstra of Bharata, which treats of the harmonious performance.