Bharata Muni
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Nāṭyaśāstra chapter 5. Pūrvaranga Bharata Muni
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Question of the Sages
1-4. Having heard the words of Bharata, who continued the topic of drama, the sages rejoiced and said: “We have heard from You about the origin of drama and the jarjara, as well as about the removal of obstacles and the worship of the gods. Having grasped the meaning, we would like to know in detail (lit. exhaustively), O most excellent one, about the Preliminaries with all their characteristics; it behooves You, O brahmin, to explain [everything] for our understanding [in the same proper manner].”
Bharata replies
5-6. Hearing these words of the sages, Bharata thus spoke about the rules of the Preliminary Practices: “O blessed ones, listen to me. I speak of the Preliminary Stages, as well as of Pādabhāga (pādabhāga, see ch. 31), Kalās (kalā, a unit of time), and the Circumambulation (parivarta, walking-round) [which are related to them].”
Preliminary stages
Elements of preliminary preparation
8-11. Its various parts should be performed in the established order with the playing of drums and stringed instruments, as well as with recitatives (pāṭhya). Pratyāhāra, Avatāraṇa, Ārambha, Aśrāvaṇa, Vaktrapāṇi, Parihāṇana, Saṃghoṭana (ṣaṃghoṭanā), Mārgasārita and Asārita (āsārita) of the long, medium and short types — these are songs outside the performance, which are performed by people behind the scenes to the accompaniment of drums and stringed instruments.
12-15. Then, after the curtain is raised, dances and recitations should be performed with playing on all musical instruments, and some song of the Madraka class or one of the Vardhamānaka should be sung together with the Class Dance [suitable for it]. Then, at the Preliminary stage, the following should take place [one after another]: Utthāpana, the Circumambulation, the Blessing, Śuṣkāpakṛṣṭa, Raṅgadvāra, Cārī, Mahācārī, the Conversation of Three Men, and the Praise.
Pratyāhāra
Avataraṇa
The place for singers is called Avataraṇa (lit. “descending”).
Arambha
Āśravaṇa (Āśrāvaṇā)
The tuning of musical instruments for proper playing is called aśravaṇā.
Vaktrapāṇi
Parighattana
During Parighaṭṭana, the strings of the instruments are tuned properly.
Saṅghoṭana
Mārgasārita
The joint playing [in harmony with each other] on drums and stringed instruments is called Mārgasaritā.
Āsarita
Application of songs
The application of songs (gītavidbi) is intended for the glorification of the gods.
Uttapana
22-23. Now I will speak about the ceremony of Utthāpana (lit. Raising), which bears this name because with it the reciters of the Benediction begin the performance [of the play] on stage before anything else. Therefore some consider Utthāpana to be the beginning [of the action].
Circumambulation
23-24. The “circumambulation” (parivartana) is so named because in it the guardian deities of different worlds are glorified [by the Director] as he traverses the entire [stage].
Blessing
24-25. Blessing is so called because it must always include [and invoke] the blessing of gods, brahmins, and kings.
Śuṣkavākṛṣṭa Dhruva (Śuṣkāvakṛṣṭā Dhruvā)
25-26. When Avakṛṣṭa Dhruva (Avakṛṣṭā Dhruvā) consists of meaningless sounds, it is called Śuṣkāvakṛṣṭa. It indicates verses for the jarjara.
Raṅgadvāra (Raṅgadvāra)
26-27. Raṅgadvāra is so called because from this part begins the action, which includes Words and Gestures.
Chari and Mahachari
27-28. Cārī is so called because it consists of movements depicting the Erotic Sentiment, while in Mahācārī there occur movements delineating the Furious Sentiment.
A conversation of three men
28-29. The conversation of the Director (sūtradhāra), the Assistant (pāripārśvaka), and the Jester is called the conversation of three (trigata).
Praise
29-30. The invocation of success, made [by the director] after the proposal of the action (kārya) of the play with [proper] reasoning and arguments, is called praise (prarocanā).
The source of Bahirgītā (Bahirgīta) and its rationale
30-31. Now I will describe in detail Aśravana, which is part of Bahirgītā, and tell of its source and justification.
31-32. Now, when musical experts such as Nārada began composing songs in the seven forms, as well as in Citrā and Dakṣiṇā (Dakṣiṇa) Mārgās together with Upohana and Nirgīta (Nirgīta) in praise of the gods, all the gods and Dānavas in the assembly were compelled to hear how Nirgīta is performed with proper tempo and rhythm.
Daityas and rākṣasas envy
33-34. Having heard these auspicious songs praising the gods, the daityas and rākṣasas felt envy.
34-36. Under these circumstances, they reflected [on this matter] and said to one another: “We are pleased to hear (literally, to receive) this Nirgīta accompanied by instrumental music; and the gods were pleased to hear songs in seven forms (translator’s note: see chapter 31, ślokas 220, 365) about their deeds. [But] we will listen only to Nirgīta and will always be satisfied with it. Then those daityas [and rākṣasas], pleased with Nirgīta, summoned its repetition.”
The gods approach Nārada to stop Nirgīta
37-38. This angered the gods, who said to Nārada: “These Dānavas and Rākṣasas are satisfied only with Nirgīta [and desire nothing else, such as songs]. Therefore, we wish that this performance [of Nirgīta] come to an end. What do you think about this?”
Nārada pacifies the gods
38-41. Hearing these words of the gods, Nārada replied: “Let Nirgīta, dependent on the music of stringed instruments, not cease, and this (Nirgīta) in combination with Upohana and accompanied by the music of stringed instruments shall have seven forms. Delighted (literally bound) by this Nirgīta, the Daityas and Rākṣasas will not be provoked and will not create any obstacles [to the performance of the play].”
41-42. This is called Nirgīta, to satisfy the vanity of the Daityas, while in honor of the gods it is called Bahirgīta.
42-44. It should be played by experts of the Citravīṇā (Citravīṇā) with Dhātus (see ch. 29, śl. 82), containing light and heavy strokes (akṣaras), as well as Varṇas (see ch. 29, śl. 8-22) and alaṅkāras (ibid., śl. 23). It is called Nirgīta because in it a combination of sounds carrying no meaning is sung, and for the satisfaction of the gods’ vanity it is called Bahirgīta.
The gods are pleased with Nirgīta (Bahirgīta)
44-45. Now will be given the cause of Nirgīta in its seven forms, as well as Utthāpana and the like.
45-54. Pratyāhāra gives pleasure to the rakṣasas (Yātudhāna) and the pannagas, while the Apsarases delight in Avatarana. The Gandharvas are pleased with the performance of Ārambha, and the performance of Aśravaṇa gives pleasure to the Daityas. Vaktrapāṇi gives pleasure to the dānavas, and in Parighaṭṭana [again] the hosts of rakṣasas are pleased. Saṅghoṭana satisfies the Guhyakas, and Mārgasārita gives pleasure to the yakṣas. When songs (gītaka) are sung, the gods enjoy them, and Rudra with his followers is pleased with the performance of Vardhamāna. Likewise, during the circumambulation (parivartana) the lokapālas (guardians of the worlds) rejoice, and the Moon god is pleased with the Benediction. During the singing of Avakṛṣṭā (Dhruvā), the Nāgas receive pleasure, and Śuṣkāvakṛṣṭā (Dhruvā) gives pleasure to the host of Pitṛs (ancestors). In Raṅgadvāra, Viṣṇu is pleased, and the ceremony of Jajara gives pleasure to the leaders of the Vighnas. From the performance of Cārī, Umā receives pleasure, and from the performance of Mahācārī the bhūtas are delighted.
So much worship of deities in various parts of the preliminary practices, from Pratyāhāra to [Mahā]cārī.
O best of brahmins, in the course of describing the various parts of the Preliminary Stages, I have named the gods who are pleased by them and mentioned [the individual] parts which they enjoy.
57-58. The performance of the Preliminary Actions, that is, worship of the gods, is praised by them (that is, by the gods) and contributes to the fulfillment of their duty, glory, and long life. And this presentation, with or without songs, is intended to give pleasure to the Daityas and Dānavas, as well as to the gods (literally, the inhabitants of the heavenly region).
Preliminary Actions of Caturasra
60-63. After the songs and Vardhamāna, one should sing the Utthāpanī (Ascending) Dhruvā, whose feet consist of eleven syllables: the first two, the fourth, the eighth, and the eleventh. It should be [sung] in Caturāśra (Tāla) and [should consist of] four feet and four sannipātas, as well as three kinds of tempo and three caesuras (caesura). Moreover, it should consist of four circumambulations and three Pāṇis (Pāṇi), and it should be in the Viśloka meter and in the same form of Tāla.
First circumambulation
Thus, connoisseurs will observe the execution of Sannipāta Tāla consisting of eight Kalās. And it is said that the circumambulation consists of four such Sannipātas.
The first circumambulation in the preliminary exercises should be performed at a slow tempo (sthitālaya, sthitalaya), and upon the completion of the third sannipāta within it (i.e., the first parivarta), one should play the drums.
Second circumambulation
68-69. All three should simultaneously come out [onto the stage] with handfuls of flower offerings. But before that, they should purify themselves, undergo initiation, and be furnished with charms for protection [against evil spirits]. They should be dressed in white, and the flowers they carry should [also] be white, and they should look with the gaze of Adbhuta and be in Vaiṣṇava Sthāna (see ch. 11) with the Sausṭhava (Sausthava) of the body.
Two Assistants should carry the golden pitcher and the jarjara, and together with them the Director should take five steps forward.
These five steps [are] intended for the worship of Brahmā, and the manner of their performance will be described [below] in detail.
They should slowly place two feet at a distance of three tālas from each other, and then raise [them one after the other] on each side and again lower [them] to the same [distance].
After completing the five steps in the manner described above, the Director and his two Assistants (literally, “the others”) must perform Sūci Cārī, moving first the left foot and then the right.
Then the Director should offer flowers in the Circle of Brahmā (Brahma-maṇḍala), which is another name for the center of the stage, where the deity should be present.
75-77. And after that, he [the Director] should reverently bow to Brahmā (lit. Pitāmaha) with the Lalita gesture, and to measure the duration of time during the salutation, he should touch the ground with his hand three times, and his steps should be [correspondingly] divided. The second circumambulation, which begins with the Director’s entrance and ends with the salutation [to Brahmā] and the use of the gestures [connected with it], should be performed in the medium tempo.
Third circumambulation
77-78. Next, during the third circumambulation, the Director must walk around the circle of Brahmā (i.e., the center of the stage), perform Ācamana (Ācamana), and take up the Jarjara. [The order of action is as follows:]
78-80. Quickly rising from the circle [of Brahmā], he should perform Sūcī (literally Vedha, Vedha) Cārī, first extending this foot forward (i.e., the right foot), and then the left. And then he should again raise the right foot, which was to the side, and perform Sūcī (Vedha) Cārī, thrusting forward first the left foot and then the right.
80-83. Walking around [the center of the stage], the Director should summon a person (i.e., one of the Assistants) carrying a golden pitcher and perform the ablution (śauca) [with water from this vessel]. Then he should perform Ācamana and sprinkle himself with water in the prescribed order. Thus, after properly completing the ablution, the Director should carefully take in hand the Jarjara, the destroyer of obstacles, and this act should be performed simultaneously with the beginning of the last Sannipāta [of this second Circumambulation].
83-84. The third circumambulation, beginning with the circumambulation of the center of the stage (i.e., the Brahma-maṇḍala) and ending with the taking of the Jarjara, should be performed at a fast pace.
Fourth circuit
84-87. After accepting the Jarjara to ward off evil, he should murmur [certain mantras] in eight kalās. Then he should perform the Sūcī (Vedha) Cārī, first extending the left foot forward and then the right, and then take five steps toward the musical instruments. And then he should again perform the Sūcī (Vedha) Cārī, extending first the left foot and then the right. The fourth circumambulation, which begins with taking the Jarjara in hand and ends with approaching the musical instruments, should be performed at a quick pace.
87-88. In this [pūrvaraṅga of the Caturasra type], the movements of the hands and feet will occupy sixteen kalās, whereas if it were a Triasra (Tryasra), such movements would occupy only twelve kalās.
88-89. [The director and two assistants] should make three salutations, touching the ground with the hand, and before that they should sprinkle themselves with water, but in the case of Triasra [the preliminary sprinkling with water] is not prescribed.
Parivartani Dhruva
89-90. Thus they should perform Utthāpana (literally “raising”). Then follows Parivartani (Circumambulation) Dhruva, which should be performed in Caturasra (Tāla) in medium tempo and with eight sannipātas.
90-91. A Dhruva (song) in which, in four feet of eleven syllables, only the last syllable is long is called Parivartani (strolling) Dhruva.
91-92. While this Dhruvā is being sung, the Director should move to the left in the Vārtika Mārga with a graceful step, accompanied by instrumental music, and should bow to the [various] deities in the directions corresponding to them.
92-93. And in the movement of the feet, [as mentioned above,] each step of the Master should consist of two Kalās, and the movement in each direction should consist of two Sannipātas.
93-94. Then he will perform the Sūci (Vedha) Cārī, advancing first the left foot and then the right foot, placing the latter at a distance of two Tālas.
94-95. Thus, he must perform five steps with Atikrānta (Atikrāntā) Cārī and bow to the various deities in their respective directions.
95-97. First of all, he should bow to the eastern direction, which is presided over by Śakra (Indra). Secondly, he should bow to the southern direction, belonging to Yama. Thirdly, he should bow to the western direction, which is governed by Varuṇa. Fourthly, he should bow to the northern direction, whose protector is Dhanada (Kubera).
97-98. After bowing in all directions, he should perform Sūci Cārī, extending first the left foot and then the right, and begin the circumambulation.
98-99. Then, turning to face the east, the Director should bow to Rudra (Shiva), Brahma, and Upendra (Vishnu), taking three steps forward with “masculine,” “feminine,” and “neuter” feet [one after another].
99-100. The right foot is “masculine,” the left is “feminine,” and the right foot, slightly raised, is called “middle.”
100-101. Iśe (Śiva) should be worshipped with the male foot [extending it forward], while when worshipping Brahmā [one should extend forward] the middle foot.
Enter the Fourth
101-102. The circumambulation should be [completed], and then the Fourth Person (Caturtha-kara) should appropriately exit [onto the stage] with flowers [in hand].
102-103. And he must accordingly offer pūjā to Jarjara and to all the musical instruments (kutapa), as well as to the Director.
103-104. The movements of his feet during pūjā should be accompanied by drumming, and then songs should not be sung; only meaningless syllables (stobhakriyā) should be chanted.
The Singing of Apakṛṣṭa Dhruva
104-105. After performing the pūjā, the Fourth person (Caturtha-kāra) should depart. And then the Apakriṣṭa Dhruvā should be sung in Caturāśra (Tāla) and in slow tempo.
105-106. This Dhruvā should abound in heavy syllables, depend on Sthāyī-varṇa, and consist of eight Kalās, and its Tāla should be Avapānika.
106-107. Apakṛṣṭa Dhruva is a song consisting of four feet of ten syllables each, of which the fourth, fifth, seventh, and eighth will be short.
Blessing
107-108. Then the Director recites in a middle tone the Benediction, which should consist of eight or twelve feet.
108-109. (These are examples of blessing):
| namo’stu sarvadevebhyo dvijātibhyaḥ śubhaṃ tathā |
| jitaṃ somena vai rājñā ārogyaṃ gobhya eva ca |
Greetings to all gods. Blessed be the class of the twice-born. May the king and the cows attain good health through his Soma sacrifice.
109-110.
| brahmottaraṃ tathaivāstu hatā brahmadviṣas tathā |
| praśāstvimāṃ mahārājaḥ pṛthivīṃ ca sasāgarām |
Let the cause of the Brahmins prosper, and let their enemies be slain, and let the great king rule this land together with all the seas.
110-111.
| rāṣṭraṃ pravardhatām caiva raṅgaś cāyam samṛdhyatām |
| prekṣākartur mahān dharmo bhavatu brahmabhāvitaḥ |
Let this state prosper, and let this theatre prosper, and may the director of the theatrical performance attain virtues inspired by Vedic knowledge.
111-112.
| kāvyakartur yaśaś cāstu dharmaś cāpi pravardhatām |
| ijyayā cānayā nicyaṃ prīyantāṃ devatā iti |
Let the playwright (lit. writer of kāvya) attain glory, and let his virtue increase, and let the gods always be pleased [with him] through such a sacrifice.
112-113. After the reading of each of such blessing verses, the two Assistants should loudly and clearly say: “So be it.”
Śuṣkapakviṣṭa Dhruva
113-114. Thus, the blessing must be performed properly in accordance with the rules [mentioned above]. Then one should sing the Śuṣkapakriṣṭa Dhruva and the verses praising Jarjara.
114-113. This Dhruvā should consist first of nine long syllables, then of six short syllables, followed by three long syllables, for example:
115-116.
digle digle jhaṇḍe jhaṇḍe jam
bu ka va li ta ka te te jā.
Raṅgadvāra
116-118. After the correct performance of the Śuṣkapakriṣṭa Dhruva, he (the Director) should loudly recite one śloka in worship of the deity, during whose worship [the dramatic performance is to be held], and then [another śloka], paying homage to the king or the brahmins.
118-119. After reciting the Jarjara-śloka in the so-called Raṅgadvāra (lit. “Entrance to the performance”), he should recite another śloka on the descent of Jarjara.
119-120. And after the jarjara has been lowered, he should perform the cārī, while the two Assistants should step back.
120-121. Then one should perform Addita Dhruva in medium tempo, Caturasra Tāla, and four Sannipātas.
121-122. A Dhruva (song) in which the first, fifth, and last syllables are long, while the remaining syllables are short in all four feet of twelve syllables, is called Ādityā.
122-123. I will tell of how to act, in accordance with the procedure adopted by Maheśvara (Śiva) and Umā, with [the manifestation of] various states and movements.
123-125. Having taken the Avahittha Sthāna (posture) and placing the left hand [first] palm down on the navel and freely holding the Jarjara on the [other] palm, the Director should make five steps, his left hand showing the Pallava gesture; and during the movement he should pass one Tāla at each step and gracefully move the limbs.
125-127. After that, he should perform Sūci-cārī, extending first the left foot and then the right. Then the Director (literally “expert”) should recite a śloka whose main theme is love. And after reciting this Cārī-śloka and completing the circumambulation, he should, turning his face forward, step back with the steps described earlier.
127-128. And after handing over Jarjara to one of the Assistants, he should perform Mahācārī according to the rules set forth below.
128-130. During this Cārī, the Dhruvā song should be of the Caturasra type, in a fast tempo, and it should contain four Sannipātas and eight Kālas. In this Dhruvā song, the feet should consist of eleven syllables, of which the first, fourth, seventh, tenth, and last are long, while the rest are short.
130-131. (Example of Caturasra Dhruva):
| pādatalāhati-patita-śailaṃ kṣobhita-bhūta-samagra-samudram |
| tāṇḍava-nṛttam idam pralayānte pātu harasya sadā sukhadāyi |
Let the ever-delightful Classy Dance of Hara (Śiva), which after the destruction of the world crushed the hills with the stroke of its feet and stirred the ocean with all the creatures dwelling in it, always grant you protection.
131-132. Then he should approach the drums (bhaṇḍa), and then perform Sūcī Cārī followed by a change of Vikṣepa.
132-133. After that, he should gracefully and at a fast pace move his feet and, keeping them at a distance of three tālas, take five steps. There he should again perform the Sūcī (Vedha) Cārī, first extending the left foot forward and then the right.
134-135. With the movement of the foot [as described above], he should move backward, facing forward, and again he should take three steps forward in the same manner, and then he should again perform Sūcī Cārī, extending the left leg forward and the right leg behind it.
135-137. Then he should recite a verse evoking the Furious Sentiment, bringing his feet together, and then, taking three steps, he should summon the two Assistants, and when they approach, the Narkutaka Dhruva should be sung. While singing this Dhruva, he should perform the Sūci (Vedha) Cārī, extending first the left foot and then the right.
A conversation of three men
137-138. Then, in the case of a play in the verbal style (bhāratī vṛtti), a conversation of three men should take place. During this conversation, the Vidūṣaka should suddenly arrive and deliver a speech consisting mostly of irrelevant words, in order to evoke a smile from the Director.
[In this conversation] one should touch upon some disputable topic (vitanda) with a sharp remark (ganda) or a mysterious utterance (nalika) [of some kind], as well as such questions as who [is there] and who won, constituting the plot of the play.
In the “Conversation of Three Men,” the Assistant converses with the Fool, who finds fault with his words, which, however, are supported by the Director.
Praise
Then the Director (lit. connoisseur) should deliver the Praise and the address [to the spectators], and for the success of the performance (lit. stage) the subject of the play should be mentioned again.
After performing all these actions, all three participants (i.e., the Director and two Assistants) should perform Sūci (Vedha) Cārī, and they should exit together, performing any cārī except Aviddha.
Preliminary information about Triasra
143-144. Thus, O brahmins, the preliminary practices such as Caturasra should be performed; now I shall speak of the type Triasra. Its usage is similar, and its constituent parts are the same; the only feature that distinguishes it from Caturasra is the shortened measure of Tāla.
145-146. [In it] śamyā should consist of two Kalās, and Tāla — of one Kalā, and again, Samyā should consist of one Kalā, and Śannipāta — of two Kalās. With such a measure of Kalā, Tāla, and tempo, the preliminary actions of Triasra, which include Utthāpana and other similar actions, should be performed.
A Dhruva (song) having the fourth, eighth, tenth, and final syllables long in all four feet of twelve syllables is called Utthāpanī Dhruva Triasra.
In the preliminary actions of Triasra, the experienced dancer should follow the instrumental music, the movement [of people], the Dhruva song, and their Tāla.
Actions and movements [of the dancer] should be of two types — complex and abbreviated — depending on what the instrumental and vocal music are like.
150-151. It is said that each movement of the hands and feet should last two Kālas, and in any circumambulation in Caturaśra (Preliminary Actions) the hands and feet should move sixteen times, while in the Preliminary Actions in Triasra they should move only twelve times.
151-152. This is the order of movements (i.e., movements of the hands and feet) in the Preliminary Actions. But in the Circumambulation, the movement of the feet should consist of only three steps, and when bowing to [various] sides in the Preliminary Caturasras, five steps should be made.
[But all these actions] should be performed in the preliminary actions of Triasra in accordance with the size of the Tāla, which the master of art considers suitable. To avoid repetition, no [detailed] instructions were given [here] on this matter.
O best of brahmins, thus should one perform the pure preliminary actions of the Caturasra and Triasra types, which pertain to plays of the Verbal style.
Mixed Preliminary Actions
156-157. During the Utthāpana Dhruvā, when the Promenade is adorned with flowers presented by the Fourth Person, and [the stage] resounds with measured loud songs, the divine Dundubhis (drums) should play again and again.
159-160. The class dance described above, with its [pindi], recakas, aṅgahāras, nyāsas (Nyāsas) and apanyāsas, should occupy separate feet of the verses of the Benediction. This rule should be put into practice by those who wish to turn pure preliminary actions into mixed ones.
After the “pure” Preliminary actions have been duly transformed into “mixed” ones, [all dancers dressed as] goddesses should leave the stage.
After all the dancers have left, the remaining parts of the preliminary dances must be performed.
In this way, pure preliminary exercises should be replaced by mixed ones. But in the Preliminary actions, whatever they may be, there should not be too much dancing and singing.
If [at the beginning of a performance] songs, music, and dances continue for too long, they tire both the artists and the spectators.
Weary [people] can neither attain nor assist in attaining a clear impression of the Sentiments and States, and because of this the rest of the performance (i.e., the play itself) cannot [properly] arouse the emotions.
After the performance of the Preliminary Actions, whether Caturasra or Triasra, of pure or mixed type, the Director together with his Assistants should leave the stage.
Beginning of the play
After the Preliminary Actions have been duly performed, the Director (sthāpaka) should come onto [the stage], and he should resemble the Producer in all respects (literally in quality and form).
He should assume the Vaiṣṇava Sthāna (posture) and the Sauṣṭhava of the body, and upon entering the stage he should perform the foot movements used by the Director.
At the entrance of the Sūtradhāra, the Dhruvā should be made appropriate to the occasion, and it will be either Caturasra or Triasra, and it should be performed in the medium tempo.
Then he should perform Cārī in honor of the gods and Brahmins, accompanying the recitation of ślokas containing sweet words and evoking various Sentiments and States.
Having thus delighted the spectators, he should announce the name of the playwright (literally, poet), and then begin the Prologue (prastāvanā), which pertains to the proclamation of the play’s theme.
172-173. Then, having mentioned the god in the divine [play], the man in the human [play], and the god or man in the [play] where gods and men [meet], he should proclaim in different ways the subject of the play, referring to its Opening (mukha) and Seed (bīja).
After the performance of the play, the Leader (lit. brahmin, who introduces the play) must leave [the stage]. Thus, the preliminary actions must be performed according to the rules.
If any stage director performs the Preliminary Rites according to the established rules, nothing unfavorable will happen to him, and [after his death] he will attain the heavenly region.
[On the contrary] he who stages a play with a deliberate violation of the rules [in this matter] will incur great losses and [after his death] will be reborn as a being of a lower order.
Fire fanned by a strong wind does not burn [anything] as quickly as a wrongly performed play.
Thus, the Preliminary actions of two different degrees (pramāṇa) should be performed by the inhabitants of the regions of Avanti, Pañcāla, Dakṣiṇātya, and Oḍra.
O Brahmans, such are the rules of the Preliminary Actions. Tell me, what other rules pertaining to the Nāṭyaveda should be discussed.
Thus ends Chapter V of Bharata’s Nāṭyaśāstra, which deals with the preliminary stages of staging a play.
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Continuation – in the following publications https://t.me/natyashastra 🙏