Bharata Muni
| ← Chapter 35 | Chapter 37 → |
The question of the sages
1-6/ Delighted by this, the sages, namely Atreya, Vasiṣṭha, Pulastya, Pulaha, Kratu, Aṅgiras, Gautama, Agastya, Manu, the wise Āyus, Viśvāmitra, Sthūlaśirasa, Saṃvarta, Pratimardana, Uśanas, Bṛhaspati, Vatsa, Cyavana, Kaśyapa, Dhruva, Durvāsas, Jamadagni, Mārkaṇḍeya, Galava, Bharadvāja, Raibhya, the venerable Vālmīki, Sthūlakṣa, Saṅkulakṣa, Kaṇva, Medhātithi, Kuśa, Nārada, Parvata, Suśarman, the two Ekadhanvins, Niṣṭhyūti, Bhavana, Dhaumya, Śatānanda, Kṛtavrana, Rāma Jāmadagnya, Jamadagni, and Vāmana, out of curiosity again addressed the all-knowing Bharata with these words:
7/ “The ancient Nāṭya Veda, about which you have told us, has been duly received by us through attentive listening.
8/ But you, venerable sir, must also remove any doubt that we may have on this matter. For who else can speak with certainty about the Nāṭyaveda?
9-10/ We intend to question you in greater detail about drama for our own edification, and not out of distrust, rivalry, or envy. We did not speak of this before (i.e., then), for one should not interrupt. Therefore, tell us exhaustively about the secret of drama.
11/ You have already said that the deeds of people constitute drama, therefore you must definitely tell about what was hidden from people.
12-14/ O best of brahmins (i.e., bull among the twice-born), tell us about the nature of the god who appears in the Preliminaries (pūrvaraṅga). Why is the sound of musical instruments applied there? What purpose does it serve in its application? Which god is pleased by this, and what does he do, being pleased? Why does the director, being himself pure, again perform an ablution on the stage? How, O lord, did drama descend (i.e., come down) to earth from heaven? Why did your descendants become known as śūdras?»
15/ The sage Bharata, having heard these words of the sages, addressed them again to set forth a matter that was secret.
Bharata said:
16/ «I will explain to you, O brahmins, that which you, people of excellent vow, ask about regarding the rules of the Preliminary Action. Listen to it properly.
17/ The preliminary action was described in continuation of what I have already said about the destruction of obstacles.
18-22/ Just as the body is covered with armor for protection against missiles, so sins of every kind are removed by means of homa. After I had thus removed sins and destroyed obstacles, worshipping the gods through japa, homa, words of worship and benedictions, and with songs of their beneficent deeds and postures, and with playing on all instruments, and with the sound of songs, they (i.e., the gods), pleased with the chanting of their praise, said: “We are exceedingly delighted with your performance; since it nandati [delights] people, bringing pleasure to the gods and asuras, this performance shall be called Nandī (Benediction).”
23/ When auspicious words, uttered with proper intonation accompanied by singing and instrumental music, fill the space, all misfortunes will vanish, and prosperity will reign there.
24/ In that space filled with the sound of musical instruments, there will be neither rākṣasas nor leaders of vighnas (vighna-vināyaka).
25-26/ Having heard the sound of Nandī, of recitations, songs, and the playing of instruments at weddings of all kinds and at sacrifices performed for the prosperity of kings, the fierce spirits will disperse. And this (i.e., the sound of Nandī) will be equivalent to the recitation of Vedic mantras.
27/ I heard from the god of gods (Indra) and then from Śaṅkara (Śiva) that music — vocal and instrumental — is truly a thousand times superior to bathing in sacred waters and japa.
28/ In places where instrumental music and theatrical performance, or singing and instrumental music, are heard, no adverse events will ever occur there.
29/ Thus I created the Preliminary Action as a rite of worship to the gods with hymns of praise and mantras.
The leader’s ablution on stage
30/ Since the head tires from bowing on stage, the rule permits the leader to wash it with water.
31/ After the ablution, the leader must bow to Jarjara with mantras. All this was said in connection with the Preliminary action. Such is the reason for the ablution.
32/ Now I will tell you in detail how drama descended to earth from the heavens, for I am unable to conceal anything from you.
33-34/ All these my sons, intoxicated by the knowledge of Nāṭyaveda, over time began to practice an art that wearies the entire people with prakāśanas connected with laughter.
34-35/ And they deliberately staged in the assembly of spectators a play mocking the sages, unacceptable and full of evil deeds, encouraging rustic manners, cruel and inauspicious.
The curse of the sages upon the sons of Bharata
36-37/ Hearing this, the sages fell into extreme wrath and agitation and addressed them (i.e., Bharata’s sons), stinging them like fire with their words: “O brahmins, it is not fitting that we should be so mocked. What is this insult, and what is your intent?
38/ Since, owing to the pride of dramatic knowledge, you have given yourselves over to arrogance (avinaya), your evil knowledge will be destroyed.
39/ In the society of sages and brahmins, or when meeting them, you will appear as one who does not follow the Vedas and will incur the fate of śūdras.
40/ You will become true śūdras and accept their lot, and those born in your lineage will be impure.
41/ And your descendants will be dancers who will serve others together with their wives and children (i.e., all of them will become śūdras).»
42/ The gods, having heard about the origin of the curse on my sons, became alarmed and turned to the sages.
The gods intercede for the sons of Bharata
43/ Then the gods, led by Śakra (Indra), said: “If they are struck by misfortune in this way, the drama will perish.”
44/ The sages replied that drama would not perish, but the remaining part of their curse would take full effect.
The sons of Bharata address their father
45-46/ Having heard the words of the sages of formidable spirit, my sons were grieved and, desiring to put an end to themselves, came to me and said: “You have utterly ruined us, and for the fault of the drama we have been compelled to follow the way of life of śūdras.”
Bharata consoles them.
47-48/ To console them I said: “Do not grieve over this; the rule that the words of sages will never prove false is truly established by fate (kṛtānta); therefore you should not resort to destroying yourselves.” Being thus consoled.
49/ Remember (i.e., know) that this theatrical art was set forth by Brahmā himself. Therefore, transmit it to your disciples and others through its practice.
50/ Do not destroy this drama, created with great effort, resting on great things, bestowing merit, and rooted in the Vedas, their Aṅgas and Upaṅgas.
51/ Having performed a theatrical presentation according to the rules I heard from the apsarās, you must perform a purificatory rite (prāyaścitta).
Nahuṣa invites the celestial artists to the earth.
52/ Over time, a king named Nahuṣa acquired the heavenly kingdom through his policy, wisdom, and valor. He then ruled the kingdom and attained heavenly prosperity (vyuṣṭi).
53/ And having seen the musical performance (gandharva) and the drama of the gods, he was filled with desire.
54/ And he thought to himself about how to arrange in his own house (on earth) a theatrical performance of the gods, and he turned to the gods with a request to arrange such a performance, joining his palms: “Let the drama performed by the apsaras be presented in our house (on earth).”
The gods decline the request.
56/ But in response to this, the gods led by Bṛhaspati said to him: “A meeting of celestial maidens with mortals is nowhere prescribed.
57/ But since you are the lord of the heavens, you should give advice that would be friendly and fitting. Let the master [of this theatrical art] go there [to you] and bring you pleasure.
Nahuṣa addresses Bharata
58/ Then the king, with palms joined, said to me: “Venerable sir, I would like to see this theatrical performance, staged on the earth.
59/ I was promised before [by the gods] your service as a teacher. O best of brahmans, now I have received it directly [by addressing you].”
Urvaśī and the earthly drama
60/ In the house of my grandfather (Purūravas), this drama, together with his deeds, was described by Urvaśī to the members of the harem.
61/ But when the members of the harem were overcome with grief over the death of the king, who had gone mad because of her disappearance, this [theatrical art] was lost.
62/ I desire that it be again revealed on earth during the sacrifices performed on various days of the moon, so that a happy and auspicious state may arise.
63/ Therefore, plays involving many characters, staged in my house through the graceful movements of women, will add glory to your name.
Bharata fulfills this request and sends his sons to the earth.
64-67/ “So be it,” I said in reply to King Nahuṣa and summoned my sons, and spoke to them and to the gods conciliatory words to the following effect: “This King Nahuṣa asks us with folded palms that you descend to the earth for your own good to stage a drama there. When a drama is staged there, I will put an end to your curse, and you will no longer be despised by brahmins and kings. Therefore descend to the earth to stage a drama there, for I cannot disregard the words of this earthly king.”
Koḥala — successor of Bharata
68-69/ For all of us and for the magnanimous Nahuṣa, the Self-Existent (Brahman) declared that success in drama would depend on his authoritative instruction (aptopadeśa). The rest will be set forth by Kohala in his supplementary treatise (uttara-tantra), which will also treat of further rules for the application of theatrical art, memorial verses (kārikā), and etymologies (nirukta).
70/ For the sake of entertainment, this Śāstra was established by me in the heavens with the help of the apsarās, the sage Svāti, and Nārada.
The sons of Bharata descend to the earth
71/ Then, O brahmans, they descended to the earth into the house of Nahuṣa and, in due order, devised the staging of various plays with the help of women.
72/ After that, my sons produced offspring with earthly women and composed for them even more dramas (i.e., works) on various themes.
73/ Having produced sons and developed the plays in the proper order, they were allowed to return once more to the heavens.
74/ Thus, through the curse, the theatrical performance was brought down to earth, and subsequent generations of dramatic artists (bharata) arose.
Kohala and his associates
75-76/ Kohala and others, together with Vātsya, Śāṇḍilya and Dhūrtila (Dattila), remained on this earth for some time as mortals and put into practice this Śāstra, which develops the intellect of men, recounts the deeds of the three worlds, and serves as a model for all other Śāstras.
The value of the Nāṭyaśāstra
77-79/ He who always hears the recitation of that Śāstra, which is auspicious, joyful, proceeds from the mouth of Brahman, is most sacred, pure, beneficent, and destructive of sins, and who puts into practice and carefully observes the performance of a drama, will attain the same blissful goal which is ultimately reached by knowers of Vedic knowledge and performers of sacrifices or givers of gifts.
The value of a theatrical performance
80/ Of all the king’s duties, this was proclaimed to bear the greatest fruit (mahāphala). Of all forms of charity, the most renowned is that which allows people to enjoy a theatrical performance free of charge.
81/ The gods are never as pleased by worship with incense and garlands as they are delighted by the performance of dramas.
82/ A person who duly attends performances of music (gandharva) and dramas will, after death, attain a happy and worthy path in the society of brahmanical sages.
Folk practice complements the rules of drama.
83/ Thus, in connection with the performance of dramas, many practices sanctified by the Śāstras have been described. Everything that remains unmentioned should be incorporated into practice by experts based on observation of the people (i.e., their customs).
Final blessing
What else should be said? Let the earth be full of grain and forever free from diseases. Let there be peace for cows and brahmins, and let the king thus protect the entire earth.
Here ends chapter XXXVI of the Nāṭyaśāstra, treating of the descent of drama to the earth.
Bharata Muni
Let there be beauty. Thus, the 37th chapter of the Nāṭya Śāstra, as told by the sage Bharata.
1/ Once a king named Nahuṣa, endowed with life-wisdom and strength of spirit, attained the kingdom of the gods.
2/ Having seen the performances of Nāṭya and Gandharva there, he began to reflect:
3/ “How wonderful it would be if one could see this Nāṭya in my earthly palace!”
4/ And, folding his palms in reverence, he addressed the gods: “Let this Nāṭya, together with the apsaras, be in my home.”
5/ And the gods, led by Bṛhaspati, answered him: “the celestial maidens cannot be united with maidens born of men.”
6/ But happiness and good fortune must be yours, O conqueror of the heavens. Therefore, let the teachers of Nāṭya descend to the earth and there accomplish what is desired for you.
7/ Then, having come to me with palms joined in humility and having praised me, King Nahuṣa said: “O Lord, I wish to establish this Nāṭya on earth.”
8/ O best of the twice-born, may this blessed knowledge received from you be revealed, foremost, guiding onto the path.
9/ In our grandfather’s house, among the inhabitants of the harem, that Nāṭya, created by Pitāmaha, was performed while Urvaśī lived among them.
10/ But Urvaśī died, and the king, mad with grief, died too, and then all the women of the palace died of longing, and with them the art of Nāṭya vanished.
11/ I want to bring back this light again. I will perform the rituals on the corresponding lunar days with blessings and offerings.
12/ Let it flourish there, in my home, among people, this gathering of many characters, feminine grace, and wondrous tales.
13/ Then I said: “So be it, O king of the Earth.” And my sons appeared, equal in antiquity to the gods.
14/ This very king Nahuṣa respectfully asks us to go together with him to the Earth, in order to establish Nāṭya there.
15/ This will put an end to your curse, if everything is done correctly, and you will not be insulted by kings or brahmans.
16/ Having found yourself there, on the surface of the Earth, show the art of stage performance. For it is impossible not to fulfill the king’s request.
17/ And it is precisely Nāṭya, proclaimed by the Self-Existent One, that will enable both all of us and King Nahuṣa to attain their goals through the realization of the self.
18/ The rest, however, Kohala will complete in the “Uttaratantra,” also composing it in the form of kārikā and nirukta.
19/ And the apsaras, as the source of play and music, will remain with me, Svati, and Narada in the celestial world.
20/ Then, having found themselves in the domains of Nahuṣa, in his palace, my twice-born sons took earthly women as wives.
21/ There they delighted, the best of the twice-born, in human form, filled with great love for their wives.
22/ Having produced offspring and taught them their art, my sons, forgiven by Brahmā, again attained the heavens.
23/ Thus on the surface of the earth, the knowledge of Nāṭya will remain in the lineage of Bharata after the descent of my children.
24/ With them, for some time yet, will remain Kohala, Vatsa, and Śāṇḍilya until the complete purification from the results of their unlawful thoughts and inappropriate actions.
25/ This science, originating from the sacred rituals performed in all three worlds, containing within itself all other sciences, blessed, playful, is necessary precisely for people, for the growth of their consciousness, since it arose from the mouth of Brahmā.
26/ The person who performs Nāṭya and lives it himself, or the one who merely listens to it, which always bestows knowledge, is like a scholar,
27/ and attains the position of those who have known the Vedas, who perform sacrifices and give generous gifts.
28/ Of all riches, the opportunity to witness a performance is extolled, yielding a fruit that is the best of all possible fruits.
29/ A beneficent performance satisfies the gods more than offerings of wonderfully fragrant flower garlands.
30/ He who rightly understands Nāṭya attains the virtuous worlds of Īśvara and Gaṇeśa.
31/ Thus, the science of the rules for performing the Nāṭya ritual has been expounded, various recommendations have been given, and what is not indicated here may be added later, based on human experience, and should be approved by knowledgeable people.
What else can be added beyond that?
May the Earth be free from poverty and disease.
May brahmins and cows be serene.
May there be kings who protect the Earth.
Thus in the Nāṭyaśāstra of Bharata is the 37th chapter, which tells of the secret.
Subscribe to read other posts about Nāṭya https://t.me/natyashastra 🙏