THE NATYASHASTRA A Treatise on Ancient Indian Dramaturgy and Histrionics Ascribed to Bharata Muni Translated by Manomohan Ghosh Source: https://www.wisdomlib.org/hinduism/book/the-natyashastra ====================================================================== ====================================================================== Title Page ====================================================================== --> Natyashastra (English) by Bharata-muni | 1951 | 240,273 words | ISBN-13: 9789385005831 Hinduism Natyashastra Buy now! The English translation of the Natyashastra, a Sanskrit work on drama, performing arts, theater, dance, music and various other topics. The word natyashastra also refers to a global category of literature encompassing this ancient Indian tradition of dramatic performance. The authorship of this work dates back to as far as at least the 1st millenn... Title Page (index) Next > THE NĀṬYAŚĀSTRA A Treatise on Hindu Dramaturgy and Histrionics Ascribed to Bharata-muni Vol. I. (Chapters I-XXVII) Vol. II. (Chapters XXVIII-XXXVI) Completely translated for the first time from the original Sanskrit with an Introduction and Various Notes by MANOMOHAN GHOSH M.A., PH.D. D. (Cal.) CALCUTTA The ROYAL ASIATIC SOCIETY OF BENGAL 1950 16 January, 2017 --> Last Updated: 16 January, 2017 $(function(){ if($(document).height() > $(window).height()){ $('.book.chapter').append('^ back to top ^') $('section.back > a').click(function(){ $(window).scrollTop(0); }); } }); /** * Derivation list */ /*$('a.deriv-link').click(function(){ $(this).closest('.words-group').find('.deriv-list').toggleClass('d-none'); });*/ ====================================================================== Dedication ====================================================================== --> Natyashastra (English) by Bharata-muni | 1951 | 240,273 words | ISBN-13: 9789385005831 Hinduism Natyashastra Buy now! The English translation of the Natyashastra, a Sanskrit work on drama, performing arts, theater, dance, music and various other topics. The word natyashastra also refers to a global category of literature encompassing this ancient Indian tradition of dramatic performance. The authorship of this work dates back to as far as at least the 1st millenn... Dedication < Previous (index) Next > Dedicated to the memory of those great scholars of India and the West who by their indefatigable study and ingenious interpretation of her Religion, Philosophy, Literature and Arts, have demonstrated the high value of India’s culture to the World at large and have helped her towards a reawakening and, political liberation, and who by their discovery of the Universal aspect of this culture have made patent India’s spiritual kinship with the other ancient nations of the World and have paved the way for an ultimate triumph of Internationalism. 16 January, 2017 --> Last Updated: 16 February, 2018 $(function(){ if($(document).height() > $(window).height()){ $('.book.chapter').append('^ back to top ^') $('section.back > a').click(function(){ $(window).scrollTop(0); }); } }); /** * Derivation list */ /*$('a.deriv-link').click(function(){ $(this).closest('.words-group').find('.deriv-list').toggleClass('d-none'); });*/ ====================================================================== Preface ====================================================================== --> Natyashastra (English) by Bharata-muni | 1951 | 240,273 words | ISBN-13: 9789385005831 Hinduism Natyashastra Buy now! The English translation of the Natyashastra, a Sanskrit work on drama, performing arts, theater, dance, music and various other topics. The word natyashastra also refers to a global category of literature encompassing this ancient Indian tradition of dramatic performance. The authorship of this work dates back to as far as at least the 1st millenn... Preface < Previous (index) Next > The preparation of an annotated English translation of the Nātyaśāstra entrusted to me as early as 1944, by the Royal Asiatic Society, has been delayed for various reasons which need not be recounted here in detail. But mention must be made of one important factor of this delay, viz., the inherent difficulty of this very old text which is not yet available in a complete critical edition. From my first serious acquaintance with it in 1925 in connection with the editing of the Abhinayadarpana (Calcutta, 1934) this work has always engaged my attention in the intervals of other duties. But it was only a few years ago, that I came to believe that the entire work could be translated into English. It was, however, only after making some actual progress in translation that I realised the difficulty of the task and understood to some extent at least why no complete translation of this very important text had so far not been made. However, I considered it a duty to make strenuous efforts and proceeded patiently with the work and finished at last translating the major portion of the Nāṭyaśāstra. I am now genuinely happy to place it before the scholarly public, not because it could be done in an ideal fashion, but because it could be finished at all. In handling a difficult old text like this it it natural that one has to offer conclusions and interpretations, here and there, which due to the absence of better materials cannot be placed on surer grounds. But whatever tentative assertions I have made, have been made after the most careful consideration with the expectation that they may prove helpful to others working in this field, and it may be hoped that their number has not been too many, and in a few cases where I myself had any doubt about the interpretation offered, the same has been expressly mentioned in the footnote. The chapters on music covering a little more than one fourth of the Nāṭyaśāstra still remain to be done. These when completed will be published in the second volume. As the work on it, is progressing very slowly and it cannot be said definitely when it will be finished, it was thought advisable to publish the portion of the translation already prepared. Though the musical terms occurring in the present volume remain undefined, the absence of chapters on music where they have been discussed, will not, it is hoped, seriously interfere with the understanding of the dramaturgy and histrionics treated here. For information regarding the plan and scope of the present work, the reader is referred to the Introduction, section I. For the purpose of this volume, works of various scholars have been helpful to the translator and they have been mentioned in proper places. But among them all, thè American Sanskritist Dr. G. C. O. Has deserves to be specially mentioned; for his plan of the translation of the Daśarūpa, has been adopted in a slightly modified manner in the present work. I am indebted to Dr. S. K. De, due to whose kindness I could utilise the unpublished portion of the Abinavabhāratī. It is also a great pleasure to acknowledge the uniform courtesy of different officers of the Society from 1947-1950, especially Dr. K.N. Bagchi, and Dr. Niharanjan Ray, the General Secretaries and Mr. S. K. Saraswati, the Librarian and Mr. Rakhahari Chatterji. the Superintendent of the office, whose patience I had to tax on different occasions in course of the publication. I am grateful to my father-in-law Sri Kali Charan Mitra who read the original draft of the first fourteen chapters of the present work and made suggestions regarding the language, and to my esteemed friend Dr. S. N. Ray, M.A., Ph.D. (London) formerly Head of the Department of English in the University of Dacca, for reading the proof of the first twelve formes and also for going through in Mss. the Introduction and for making welcome suggestions. I wish to mention here very gratefully the debt I owe to Dr. Kalidas Nag in connexion with the preparation and the publication of this work. But for his suggestion to undertake this work it might not have reached at all the stage of publication. Last but not the least it becomes my most cheerful duty to express my gratitude to Prof. Suniti Kumar Chatterji, who has also helped me otherwise in connexion with this work. This help and his constant encouragement have rendered this work less arduous than it might otherwise have been. I should here also apologise to the readers for the many misprints that have crept into the volume. They are requested to make kindly, the necessary corrections pointed out in the corrigenda. 25th November, 1950 The Translator 16 January, 2017 --> Last Updated: 16 January, 2017 $(function(){ if($(document).height() > $(window).height()){ $('.book.chapter').append('^ back to top ^') $('section.back > a').click(function(){ $(window).scrollTop(0); }); } }); /** * Derivation list */ /*$('a.deriv-link').click(function(){ $(this).closest('.words-group').find('.deriv-list').toggleClass('d-none'); });*/ ====================================================================== Abbreviations and Symbols ====================================================================== --> Natyashastra (English) by Bharata-muni | 1951 | 240,273 words | ISBN-13: 9789385005831 Hinduism Natyashastra Buy now! The English translation of the Natyashastra, a Sanskrit work on drama, performing arts, theater, dance, music and various other topics. The word natyashastra also refers to a global category of literature encompassing this ancient Indian tradition of dramatic performance. The authorship of this work dates back to as far as at least the 1st millenn... Abbreviations and Symbols < Previous (index) Next > a. ... The first hemistich of a verse. Abhi. Bhāsa’s Abhiṣekanāṭaka. AD. ... Nandikeśvara’s Abhinayadarpaṇa. A. dy. ... Arthadyotanikā, Rāghavabhaṭṭa’s commentary on the Śakuntalā. Ag., Abhinava ... Abhinavagupta or his commentary of the Nāṭyaśāstra. AMg. ... Ardhamāgadhī. Apte. ... Apte’s Sanskrit-English Dictionary Avi. ... Bhāsa’s Avimāraka. AŚ. ... Kauṭilya’s Arthaśāstra (ed. Jolly). AŚ. notes. ... Kauṭilya's Arthaśāstra (ed. Jolly). Vol. II. B. ... Baroda ed. of the Nāṭyaśāstra. b. ... The second hemistich of a verse. Bāla. ... Bhāsa’s Bālacarita. Bd. ... Bṛhaddeśī Bhāmaha. ... Bhāmaha’s Kāvyālaṃkāra. BhNC. ... Bhāsa-nāṭaka-cakra ed. by C. R. Devadhar BhP. ... Śāradātanaya’s Bhāvaprakāśana. C. ... Chowkhamaba (Benares) edition of the Nāṭyaśāstra. c. ... The third hemistich in a stanza. Cāru. ... Bhāsa’s Cārudatta. CSS. ... Chandaḥ-sāra-saṃgraha. D., Dattila ... Dattila’s work on music Daṇḍin. ... Daṇḍin’s Kāvyadarśa. def. ... Definition or definitions. De’s Ms. ... The Ms. of the Abhinavagupta’s commentary (Abhinavabhāratī) belonging to Dr. S. K. De. DR. ... Dhanañjaya’s Daśarūpa, Dūtagha. ... Bhāsa’s Dūtaghaṭotkaca. Dūtavā. ... Bhāsa’s Dūtavākya. Ex. ... Example or examples. Foundation. ... Nobel’s Foundation of Indian Poetry. G. ... J. Grosset’s edition of the Nāṭyaśāstra. GOS. ... Gaikwar’s Oriental Series. GS. I. ... Gītasūtrasāra (Bengali) GS. II. ... Gītasūtrasāra (English Summary) Haas. ... Haas’s translation of the Daśarūpa. I. Ant. ... Indian Antiquary. IHQ. ... Indian Historical Quarterly. ID., Ind. Dr. ... Sten Konow’s Indische Drama. Itihāsa. ... Hāldār’s Vyākaraṇa-darśaner Itihāsa. jdl. ... Journal of the Dept, of Letters, JK. ... Calcutta University. Vidyālaṃkāra’s Jīvanīkośa. K. ... Kāvyamāla ed. of the Nāṭyaśāstra. KA. ... Hemacandra’s Kāvyānuśāsana. Karṇa. ... Bhāsa’s Karnabhāra. Kavi. ... Ramakrishna Kavi or his commentary to the ch. XVII. of tha NŚ. KM. ... Kāvyamālā Series Kn. ... Catura-Kallinātha, a commentator of the Saṅgītaratnākara KS. ... Vātsyāyana’s Kāmāsūtra. Kumāra. ... Kalidasa’s Kumārasambhava. Kuṭṭa. ... Dāmodaragupta’s Kuṭṭanīmata. Lévi, ... Sylavain Lévi's Le Théâtre indien. Madhyama. ... Bhāsa’s Madhyamavyāyoga. Mālati. ... Bhavabhūti’s Mālatīmādhava. Mālavi. ... Kālidāsa’s Mālvikāgnimitra. Megh. ... Meghadūta MG. ... Coomaraswamy’s Mirror of Gestures. MH. ... Music of Hindostan MI. ... Music of India MM. ... Mirror of Music Mṛcch. ... Śūdraka’s Mṛcchakaṭika. Mudrā. ... Viśākhadatta’s Mudrārākṣasa. Nāś. ... Nāradīya-śikṣā Nātakalakṣaṇa. NL., ... Sāgaranandin’s Nāṭakalakṣaṇaratnakośa. ND. ... Rāmacandra and Guṇacandra’s Nāṭyadarpaṇa. NIA. ... New Indo-Aryan. Nitti-Dolci. ... Nitti-Dolci’s Le Grammairiens Prakrit. NŚ. ... Nāṭyaśāstra. P. ... Purāṇa. Pañc. ... Pañcarātra Pāṇ. ... Pāṇini. Piṅgala. ... Pāṅgala’s Chandaḥsūtra. Pischel. ... Pischel’s Grammatik der Prakrit-sprachen. Pr. P. ... Prākṛta-Paiṅgala. Pr. ... Prātiśākhya. Prak. ... Prakarana. Pratimā. ... Bhāsa’s Pratimā-nāṭaka. Pratijñā. ... Bhāsa’s Pratijñā-yaugandharāyaṇa. PŚ. ... Pāṇinīya-Śikṣā. PSM. ... Pāia-sadda-mahaṇṇavo. R., Rām. ... Rāmāyaṇa. Ratnā. ... Harṣa’s Ratnāvalī. ṚS. ... Kālidāsa’s Ṛtusaṃhāra. Śak. ... Kālidāsa’s Abhijñānaśakuntala. Sbh. ... Siṅghabhūpāla, a commentator of the Saṅgītaratnākara SD. ... Sāhityadarpaṇa. ŚD. ... Śārṅgadeva SM. ... Saṅgītamakaranda SR. ... Śārṅgadeva’s Saṃgītaratnākara. Śṛ. Pr. ... Bhoja’s Śṛṅgāraprakāśa. Svapna. ... Bhāsa’s Svapavāsavadattā. tr., trans. ... translation or translated. Uttara. ... Uttararāmacarita of Bhavabhūti. Ūru. ... Bhāsa’s Ūrubhaṅga. Vikram. ... Kālidāsa’s Vikramorvaśīya. Winternitz. ... Winternitz’s History of Indian Literature. N.B. (a) Numerals preceding the paragraphs of the translation relate to the serial number of couplets in the original. When the same number is repeated in two consecutive paragraphs, in the first place it will indicate the first hemistich and in the second the second hemistich. Roman figures relate to the chapter of the NS. (b) For the manner of referring to dramas, see under the Bhāsanātaka-cakra in the’Bibliography (Original Texts). (c) In the footnotes to the Introduction long vowels, cerebral sounds and the labial sibilant have been indicated by italics. 16 January, 2017 --> Last Updated: 16 February, 2018 $(function(){ if($(document).height() > $(window).height()){ $('.book.chapter').append('^ back to top ^') $('section.back > a').click(function(){ $(window).scrollTop(0); }); } }); /** * Derivation list */ /*$('a.deriv-link').click(function(){ $(this).closest('.words-group').find('.deriv-list').toggleClass('d-none'); });*/ ====================================================================== Introduction, Part 1 ====================================================================== --> Natyashastra (English) by Bharata-muni | 1951 | 240,273 words | ISBN-13: 9789385005831 Hinduism Natyashastra Buy now! The English translation of the Natyashastra, a Sanskrit work on drama, performing arts, theater, dance, music and various other topics. The word natyashastra also refers to a global category of literature encompassing this ancient Indian tradition of dramatic performance. The authorship of this work dates back to as far as at least the 1st millenn... Introduction, part 1 < Previous (index) Next > - Sub-Contents: (+ / -) Part 1 - The Present Work Part 2 - The Ancient Indian Theory of Drama Part 3 - Literary Structure of the Drama Part 4 - The Ancient Indian Drama in Practice Part 5 - Literature on the Ancient Indian Drama Part 6 - The Nāṭyaśāstra: The Text and its Commentators Part 7 - Data of India’s Cultural History in the Nāṭyaśāstra Part 8 - The Date of the Nāṭyaśāstra 16 January, 2017 --> Last Updated: 21 June, 2017 $(function(){ if($(document).height() > $(window).height()){ $('.book.chapter').append('^ back to top ^') $('section.back > a').click(function(){ $(window).scrollTop(0); }); } }); /** * Derivation list */ /*$('a.deriv-link').click(function(){ $(this).closest('.words-group').find('.deriv-list').toggleClass('d-none'); });*/ ====================================================================== Introduction, Part 2 ====================================================================== --> Natyashastra (English) by Bharata-muni | 1951 | 240,273 words | ISBN-13: 9789385005831 Hinduism Natyashastra Buy now! The English translation of the Natyashastra, a Sanskrit work on drama, performing arts, theater, dance, music and various other topics. The word natyashastra also refers to a global category of literature encompassing this ancient Indian tradition of dramatic performance. The authorship of this work dates back to as far as at least the 1st millenn... Introduction, Part 2 < Previous (index) Next > - Sub-Contents: (+ / -) Part 1 - The Present Work Part 2 - The Ancient Indian Theory and Practice of Music Part 3 - Literature on Ancient Indian Music Part 4 - More About the Ancient Indian Theory and Practice of Drama Part 5 - More Data of India’s Cultural History in the Nāṭyaśāstra 21 June, 2017 --> Last Updated: 21 June, 2017 $(function(){ if($(document).height() > $(window).height()){ $('.book.chapter').append('^ back to top ^') $('section.back > a').click(function(){ $(window).scrollTop(0); }); } }); /** * Derivation list */ /*$('a.deriv-link').click(function(){ $(this).closest('.words-group').find('.deriv-list').toggleClass('d-none'); });*/ ====================================================================== Chapter I - Origin of Drama ====================================================================== --> Natyashastra (English) by Bharata-muni | 1951 | 240,273 words | ISBN-13: 9789385005831 Hinduism Natyashastra Buy now! The English translation of the Natyashastra, a Sanskrit work on drama, performing arts, theater, dance, music and various other topics. The word natyashastra also refers to a global category of literature encompassing this ancient Indian tradition of dramatic performance. The authorship of this work dates back to as far as at least the 1st millenn... Go directly to: Footnotes. Chapter I - Origin of Drama (nāṭya) < Previous (index) Next > Salutation 1. With a bow to Pitāmaha[1] (Brahmā) and Maheśvara[2] (Śiva) I shall relate the Canons of Drama[3], as these were uttered by Brahmā. Sages question. 2-5. Once in the days of yore, high-souled sages such as, Ātreya[4] and others who had subdued their senses, approached the pious Bharata[5], the master of dramatic art during an intermission of studies. He (Bharata) then just finished the muttering [of Mantras] and was surrounded by his sons. The high-souled sages who controlled their senses, respectfully said to him, “O Brahmin, how did originate the Nāṭyaveda[6] similar to the Vedas, which you have properly composed? And for whom is it meant, how many limbs does it possess, what is its extent[7] and how is it to be applied? Please speak to us in detail about it all[8]”. Bharata Answers. 6. Hearing these words of the sages, Bharata spoke thus in reply about the Nāṭyaveda: 7-12. “Get yourselves cleansed, be attentive and hear about the origin of the Nāṭyaveda devised by Brahmā[9]. O Brahmins, in the days of yore when the Golden Age (Kṛtayuga) passed with the reign of Svāyambhuva [Manu], and the Silver Age (Tretāyuga) commenced with the career of Vaivasvata Manu, and people became addicted to sensual pleasures[10], were under the sway of desire and greed, became affected with jealousy and anger and [thus] found their happiness mixed with sorrow, and Jambudvīpā[11] protected by the Lokapālas (guardians of the worlds) was full of gods, Dānavas, Gandharvas, Yakṣas, Rākṣasas and great Uragas (Nāgas), the gods with the great Indra as their head, [approached] Brahmā and spoke to him, “We want an object diversion, which must be audible as well as visible. As the [existing] of Vedas are not to be listened to by those born as Śūdras, be pleased to create another Veda which will belong [equally] to all the Colour-groups[12] (varṇa).” 13. “Let it be so,” said he in reply and then having dismissed the king of gods (Indra) he resorted to yoga[13] and recalled to mind the four Vedas.[14] 14-15. He then thought: “I shall make a fifth[15] Veda on the Nāṭya with the Semi-historical Tales (itihāsa),[16] which will conduce to duty (dharma),[17] wealth (artha) as well as fame, will contain good counsel and collection [of traditional maxims], will give guidance to people of the future as well, in all their actions, will be enriched by the teaching of all authoritative works (śāstra) and will give a review of all arts and crafts.”[18] 16. With this resolve the Holy One from his memory of all the Vedas, shaped this Nāṭyaveda compiled from the four of them. 17-18. The recitative (pāṭhya) he took from the Ṛgveda, the song from the Sāma[veda], the Histrionic Representation (abhinaya) from the Yajur[veda] and Sentiments (rasa) from the Atharvaveda, [and] thus was created the Nāṭyaveda connected with the Vedas principal and subsidiary (vedopaveda),[19] by the holy Brahmā who is omniscient. 19-20. After the creation of the Nāṭyaveda, Brahmā said to Indra (lit. the lord of the gods), “Semi-historical Tales[20] have been composed by me; you are to get them [dramatized and] acted[21] by gods. Pass on this Nāṭyaveda to those of the gods who are skilful, learned, bold in speech and inured to hard work.” 21-22. At these words of Brahmā, Indra bowed to him with folded palms and said in reply, “O the best and holy one, gods are neither able to receive it and to maintain it, nor are they fit to understand it and to make use of it; they are unfit to do anything with the drama. 23.[22] “The sages who know the mystery of the Vedas and have fulfilled their vows, are capable of maintaining this (Nāṭyaveda) and putting it into practice.” Brahmā’s command and Bharata’s instruction to his sons 24. On these words of Śakra (Indra), Brahmā said to me; “O the sinless one, you with your one hundred sons will have to put it (the Nāṭyaveda) to use.” 25. Thus ordered I learnt the Nāṭyaveda from Brahmā and made my able sons study it as also [learn] its proper application. Names of Bharata’s one hundred sons 26-33.[23] [Names of my sons are] Śāṇḍilya, Vātsya, Kohala,[24] Dattila,[25] Jaṭila, Ambaṣṭhaka, Taṇḍu, Agniśikha, Saindhava, Pulomā, Śāḍvali, Vipula, Kapiñjala, Bādari, Yama, Dhūmrāyaṇa, Jambudhvaja, Kākajaṅgha, Svarṇaka, Tāpasa, Kedāri, Śālikarṇa,[26] Dīrghagātra, Śālika, Kautsa, Tāṇḍāyaṇi, Piṅgala, Citraka, Bandhula, Bhallaka, Muṣṭika, Saindavāyana, Taitila, Bhārgava, Śuci, Bahula, Abudha, Budhasena, Pāṇḍukarṇa, Kerala, Ṛjuka, Maṇḍaka, Śambara, Vañjula, Māgadha, Sarala, Kartā, Ugra, Tuṣāra, Pārṣada, Gautama, Bādarāyaṇa,[27] Viśāla, Śabala, Sunābha, Meṣa, Kāliya, Bhramara, Pīṭhamukha, Muni, Nakhakuṭṭa,[28] Aśmakuṭṭa,[29] Ṣaṭpada, Uttama, Pāduka, Upānat, Śruti, Cāṣasvara, Agnikuṇḍa, Ājyakuṇḍa, Vitaṇḍya, Tāṇḍya, Kartarākṣa, Hiraṇyākṣa, Kuśala, Duḥsaha, Lāja, Bhayānaka, Bībhatsa, Vicakṣaṇa, Puṇḍrākṣa, Puṇḍranāsa, Asita, Sita, Vidyujjihva, Mahājihva, Śālaṅkāyana, Śyāmāyana, Māṭhara, Lohitāṅga, Saṃvartaka, Pañcaśikha,[30] Triśikha, Śikha, Śaṅkhavarṇamukha, Ṣaṇḍa, Śaṅkukarṇa, Śakranemi, Gabhasti, Aṃśumālī, Śaṭha, Vidyut, Śātajaṅgha, Raudra and Vīra. 39-40. [Thus] at the command of Brahmā and for the benefit of the people I assigned to my sons different roles suitable to them. Performance begins with the three Styles 41. O Brahmins, I then prepared to give a performance (prayoga) in which was adopted the dramatic Styles (vṛtti) such as the Verbal (bhāratī),[31] the Grand (sāttvatī), and the Energetic (ārabhaṭī). 42-43. I then went[32] [to Brahmā and] after bowing, informed him [of my work]. Now Brahmā (lit. the guru of gods) told me to include the Graceful (kaiśikī) Style also [in my performance], and he asked me to name materials conducive to its introduction. 43-45. Thus addressed by the master I replied, “Give me instruments (lit. materials) necessary for putting the Graceful Style into practice. At the time of Nīlakaṇṭha’s[33] (Śiva) dance I have seen his Graceful Style appropriate to the Erotic Sentiment, and this requires beautiful dresses and is endowed with gentle Aṅgahāras[34] and has Sentiments (rasa), States (bhāva)[35] and action as its soul. Creation of Apsarasas for the Graceful Style 46-47. This Style cannot be practised properly by men except with the help of women.” Then the powerful Lord (Brahmā) created from his mind nymphs who were skillful in embellishing the drama,[36] and gave them over to me [for helping me] in the performance. 47-50. [Their names[36] are]: Mañjukeśī, Sukeśī, Miśrakeśi, Sulocanā, Saudāminī, Devadattā, Devasenā, Manoramā, Sudatī, Sundarī, Vidagdhā, Sumālā, Santati, Sunandā, Sumukhī, Māgadhī, Arjunī, Saralā, Keralā, Dhṛti, Nandā, Supuṣkalā and Kalabhā. Svāti and Nārada engaged to help Bharata 50-51. And by him (Brahmā) Svāti[37] together with his disciples was employed to play on musical instruments, (lit. drums) and celestical musicians (gandharva) such as, Nārada[37] and others were engaged in singing songs.[38] Bharata meets Brahmā again 51-53. Thus after comprehending the dramatic art (nāṭya) which arose out of the Vedas and their [different] limbs, I along with my sons as well as Svāti and Nārada approached Brahmā (lit. lord of the worlds) with folded palms and said that the dramatic art has been mastered, and prayed for his command. The Banner Festival of Indra and the first production of a play 53-55. On these words. Brahmā said, A very suitable time for the production of a play has come: the Banner Festival[39] of Indra has just begun; make use of the Nāṭyaveda now on this occasion.” 55-58. I then went to that festival in honour of Indra’s victory which took place after the Dānavas and the Asuras (enemies of the gods) were killed. In this festival where jubilant gods assembled in great numbers I uttered for their satisfaction the holy[40] Benediction (nāndī) containing blessings with words in their eightfold[41] aspects (aṣṭāṅga, lit. of eight limbs). Afterwards I devised an imitation of the situation in which the Daityas were defeated by gods [and], which represented [sometimes] an altercation and tumult and [sometimes] mutual cutting off and piercing [of limbs or bodies]. The pleased gods reward Bharata’s party. 58-61. Then Brahmā as well as the other gods were pleased with the performance and gave us all sorts of gifts[42] as a token of joy that filled their mind. First of all the pleased Indra (Śakra) gave his auspicious banner, then Brahmā a Kuṭilaka[43] and Varuṇa a golden pitcher, Sūrya (the sun-god) gave an umbrella, Śiva Success and Vāyu (the wind-god) a fan. Viṣṇu gave us a lion-seat, Kuvera a crown and the goddess Sarasvatī gave visibility as well as audibility.[44] 62-63. The rest of the gods, and the Gandharvas, the Yakṣas, the Rākṣasas and the Pannagas (Nāgas) who were present in that assembly and were of different birth and merit, gladly gave my sons speeches suited to their different roles [in the play]. States (bhāva),[45] Sentiments, [good physical] form, [proper] movement [of limbs] and strength as well as beautiful ornaments. Anger of the Daityas 64-65. Now when the performance relating to the killing of the Daityas and Dānavas began, the Daityas who came there [univited] instigated by the Vighnas (malevolent spirits) with Virupāksa as their leader, said, “we shall not see in this manner this dramatic; performance come forward”. 66. Then the Vighnas (evil spirits) together with the Asuras resorted to magical power and paralysed the speech, movement as well as memory of the actors. 67-68. Seeing this injury to them, Indra sat in meditation to ascertain the cause of break in the performance and found out that, surrounded on all sides by the Vighnas (evil spirits), the Director (sūtradhāra) together with his associates (actors) had been rendered senseless and inert. 69-70. Then with eyes turning in anger he adorned with all bright jewels rose and took up that best banner staff. With this Jarjara, Indra smashed to pulp the Asuras and the Vighnas who were hanging about the stage [for mischief]. 71-73. Then all the Vighnas together with the Dānavas having gone, the gods said in joy, “O [Bharata,] you have got a divine weapon with which all destroyers of a play have made jarjara (beaten to pulp). Hence it will have the name of Jarjara.[46] 73-75. The jealous Vighnas too who may come to do violence to actors will go away on seeing the Jarjara.” To the gods Śakra (Indra) then said with pleasure, “Let this be so; this Jarjara will be the protection of all the actors.” 75-76. [And afterwards], when the play was ready and Śakra’s (Indra’s) festival was going on in full force, the jealous Vighnas began to create terror for the actors. 76-78. Having noticed these attempts caused by the insult of the Daityas I, along with my sons, approached Brahmā [and said], “O holy one and best of gods, the Vighnas (the evil spirits) are determined to spoil this dramatic performance; so enlighten me about the means of its protection.” 78-79. “O the high-souled one,” said Brahmā then to Viśvakarmā,[47] “build carefully a playhouse of the best type.” 79-81. After constructing it according to this instruction he (i.e. Viśvakarmā) went with folded palms to Brahmā’s court [and said], “O god, please have a look at the playhouse which has [just] been made ready.” Then Brahmā, along with Indra and all other gods, went to have a view of the playhouse. 82-88. On seeing it Brahmā said to the rest of gods, “You ought to co-operate in the protection of the playhouse in its several parts [and of the objects relating to dramatic performance]: Candra (the moon-god) to protect the main building; the Lokapālas (guardians of the worlds) its sides, the Maruts its four corners, Varuṇa the space [within the building], Mitra the tiring room, Agni the stage, clouds the musical instruments, deities of four Colour-groups the pillars, the Ādityas and the Rudras the space between the pillars, the Bhūtas (spirits) the railing [of seats =dhāraṇī ], the Apsarasas its rooms, the Yakṣiṇīs the entire house, the ocean-god the ground, Yama the door, the two Nāga kings (Ananta and Vāsuki) the two blades of the door[48] (dvārapatra), the Rod[49] of Yama the door-frame, [Śivas’] Pike the top of the door. 88-93. Niyati and Yama (mṛtyu) were made two doorkeepers, and the great Indra himself stayed by the side of the stage. In the Mattavāraṇī was placed Lightning which was capable of killing Daityas, and the protection of its pillars was entrusted to the very strong Bhūtas, Yakṣas Piśācas and Guhyakas. In the Jarjara was posted Thunder (vajra) the destroyer of Daityas, and in its sections (parva) were stationed the best and powerful gods. In the topmost section was placed Brahmā, in the second Śiva, in the third Viṣṇu, in the fourth Kārtikeya and in the fifth great Nāgas such as Śeṣa, Vāsukī and Takṣaka.” 93-94. Thus for the destruction of the Vighnas, gods were placed in different parts of the Jarjara, and Brahmā himself occupied the middle of the stage. It is for this reason[50] that flowers are scattered there [at the beginning of the performance]. 95. Denizens of the nether regions such as, the Yakṣas, the Guhyakas and the Pannagas were employed to protect the bottom of the stage. 96. Let Indra protect the actor who assumes the role of the Hero, Sarasvatī[51] the actress assuming the role of the Heroine, Oṃkāraḥ[52] the Jester, and Śiva the rest of the characters. 97. He (Brahmā) said that the gods who were employed to protect it (i.e. the play) would be its guardian deities. Brahmā pacifies the Vighnas. 98-99. In the meanwhile gods in a body said to Brahmā, “You should pacify the Vighnas by the conciliatory method (sāma). This (method) is to be applied first, and secondly the making of gifts (dāna), and [these proving futile] one should afterwards create dissension (bheda) [among the enemies], and this too proving unsuccessful punitive force (daṇḍa) should be applied [for curbing them[53]]. 100. Hearing these words of the gods, Brahmā called the evil spirits and said, “Why are you out for spoiling the dramatic performance?” 101-103. Questioned thus by Brahmā, Virūpākṣa[54] together with the Daityas and the Vighnas, said these conciliatory words: “The knowledge of the dramatic art which you have introduced for the first time at the desire of the gods, has put us in an unfavourable light, and this is done by you for the sake of the gods; this ought not to have been done by you who is the first progenitor (lit. grandfather) of the world, from whom came out alike gods as well as Daityas.” 104-105. These words being uttered by Virūpākṣa, Brahmā said, ‘Enough of your anger, O Daityas, give up your grievance (lit. sorrow), I have prepared this Nāṭyaveda which will determine the good luck or ill luck of you as well as of the gods, and which will take into account acts and ideas of you as well as of the gods. Characteristics of a drama 106. In it (nāṭya) there is no exclusive representation of you or of the gods: for the drama is a representation of the States (bhāvānukīrtana) of the three worlds.[55] 107. [In it] sometimes there is [reference to] duty, sometimes to games, sometimes to money, sometimes to peace, and sometimes laughter is found in it, sometimes fight, sometimes love-making and sometimes killing [of people]. 108-109. This teaches duty to those who go against duty, love to those who are eager for its fulfilment, and it chastises those who are ill-bred or unruly, promotes self-restraint in those who are disciplined, gives courage to cowards, energy to heroic persons, enlightens men of poor intellect and gives wisdom to the learned.[56] 110. This gives diversion to kings, and firmness [of mind] to persons afflicted with sorrow, and [hints of acquiring] money to those who are for earning it, and it brings composure to persons agitated in mind. 111-112. The drama as I have devised, is a mimicry[57] of actions and conducts of people, which is rich in various emotions, and which depicts different situations. This will relate to actions of men good, bad and indifferent, and will give courage, amusement and happiness as well as counsel to them all. 113. The drama will thus be instructive[58] to all, through actions and States depicted in it, and through Sentiments, arising out of it. 114-115. It will [also] give relief to unlucky persons who are afflicted with sorrow and grief or [over]-work, and will be conducive to observance of duty as well as to fame, long life, intellect and general good, and will educate people. 116. There is no wise maxim, no learning, no art or craft, no device, no action that is not found in the drama. 117-118. Hence I have devised the drama in which meet all the departments of knowledge, different arts and various actions. So [O Daityas] you should not have any anger towards the gods; for a mimicry of the world with its Seven Divisions (sapta dvīpa)[59] has been made a rule of, in the drama. 119. Stories taken out of the Vedic lore as well as Semi-historical Tales [so embellished that they are] capable of giving pleasure, in the world, is called drama. 120. A mimicry of the exploits of gods, Asuras, kings as well as house-holders in this world, is called drama. 121. And when human nature with its joys and sorrows, is depicted by means of Representation through Gestures, and the like (i.e. Words, Costume and sattva) it is called drama.” Offering Pūjā to the gods of the stage 122-123. Then Brahmā said to all the gods, “Perform duly in the playhouse a ceremony (yajana) with offerings, Homa,[60] Mantras[61], (sacred) plants, Japa[62]: and the offerings in it should consist of eatables hard as well as soft (bhojya and bhakṣya)[63]. 124. Thus you all will have a happy adoration among the mortals. A dramatic spectacle (prekṣā)[64] should not be held without offering Pūjā[65] to the stage. 125. He who will hold a dramatic spectacle without offering the Pūjā, will find his knowledge [of the art] useless, and he will be reborn as an animal of lower order. 126. Hence [producers of a play] should first of all offer by all means, Pūjā to the [presiding] deity of the stage,[66] which is similar to the [Vedic] sacrifice. 127. The actor (nartaka) or his wealthy patron (arthapati) who does not offer this Pūjā or does not cause it to be offered, will sustain a loss. 128. He who will offer this Pūjā according to the rules and the observed practice, will attain auspicious wealth and will [in the end] go to heavens.” 129. Then Brahmā with other gods said to me, “Let it be so, offer Pūjā to the stage.” Here ends Chapter I of Bharata’s Nāṭyaśāstra, which treats of the Origin of Drama (nāṭya). Footnotes and references: [back to top] [1]: Pitāmaha (the Grand-father) is a Purāṇic epithet of the Vedic god Brahmā. For the Pitṛs (the Fathers) such as Aṅgiras, Bhṛgu, Dakṣa and Marīci and others, whose descendants peopled this earth, were his progeny. In the later literature and religion of India, Brahmā gradually recedes in the background and practically vanishes. His place is taken by Śiva, and Viṣṇu. [2]: Maheśvara (the Great God) is another name of Śīva, who is originally a pre-Vedic deity. Salutation to Śiva along with Brahmā, is very rare in Indian literature. [3]: By drama’ in this connexion is to be understood any play in its theatrical and literary character. For on this point Ag. (I. p. 7) says that the NŚ. is meant for the producer (of a play) as well as the poet (=playwright). [4]: Ātreya—There are two Ātreyas. One is a disciple of Yājñavalkya (Mbh.) and another that of Vāmadeva (Brahma P.), See Vidyalankar, Jīvanīkoṣa, sub voce. [5]: Purāṇas, except the Matsya (34.28-30) are silent on this Bharata. [6]: Nāṭyaveda—The ‘Nāṭyaveda’ according to Ag, is a synonym for the ‘Nāṭyaśāstra’, and is no Vedic work. [7]: pramāṇa= extent. Ag. takes the word in the sense of proof (pramāṇam atra niścaya-janakatvam), but he cites another view as well, which takes the word to mean ‘number’, [8]: From the five questions put in here, it is not to be assumed that the treatment of subjects mentioned will follow the order of these. [9]: The reference here is to the Nāṭyaveda alleged to have been composed by Brahmā in about 36000 ślokas. See Preface to NŚ. (B.) pp. 6-7., also Ag. (I, p. 8). [10]: grāmyadharma—Ag. explains the word differently. [11]: According to ancient Indian geography, the earth was divided first into four and then into seven dvīpas (continents). Jambudvīpa is one of them. It included Bhārata-varṣa or Bharata-varṣa, known at present as ‘India’. Viṣṇu P. (ch. 1-12). See H. Lüders, Varuṇa, Goetingen, 1951, pp. 288-292 and Winternitz, Hist, of Indian Literature, Vol. I. p. 548. [12]: This relates to the four classes such as Brāhmaṇa, Kṣatriya, Vaiśya and Śūdra. [13]: Yoga has been defined in Patañjali’s work as cittavṛttinirodhaḥ, It however begins with the concentration of mind. [14]: After 13, B. reads one additional couplet. But G. considers this passage to be spurious and puts it in the footnote. [15]: In the early Indian literature the itihāsa alone was considered as the fifth Veda. See Chāndogya Up. VII.?f. and 7., and Sutta-nipāta, II, 7 (sella-sutta). Kauṭilya too gives the same position to the itihāsas. See Winternitz, Vol. I. p. 313. [16]: On itihāsa see below. [17]: dharma also means virtue, law and custom etc. [18]: The word śilpa is very often synonymous with kalā. As the 64 kalās enumerated in different works include different arts and crafts, these two words may be translated as ‘arts and crafts.’ Śilpa, however, is sometimes to be distinguished from kalā, and then it may mean merely ‘a craft.’ [19]: The Vedas are all well-known, and there are at least four Upavedas, one being attached to each of the Vedas. They are as follow: the Ayurveda (the Science of Medicine) to the Ṛgveda, Dhanur-veda (the Science of Arms) to the Yajurveda, Gāndharva-veda (Musical Science) to the Sāmaveda, and Sthāpatya-śāstra (the Science of Architecture) to the Atharvaveda. [20]: Kauṭilya in his definition of itihāsa enumerates purāṇa and itivṛtta as belonging to its contents. An itivṛtta, according to Winternitz, can only mean an “historical event” and purāṇa probably means “mythological and legendary lore.” Vol. I. p. 518. Pargiter has, however, extracted solid historical facts from some of the extant Purāṇas (See his Ancient Indian Historical Traditions, London, 1922). According to the Indian tradition itihāsa is said to be an account of events that occured in the past, carrying in it instructions about duty, wealth, enjoyment of pleasure, and salvation. The same tradition assigns the position of itihāsa to the Mahābhārata the great Indian epic. It is possibly this itihāsa that has been connected with the Nāṭyaveda by the author of the śāstra. Hence it appears that Oldenberg’s theory about the original connexion between epic and dramatic poetry, is worthy of serious consideration. Nāṭyākhyaṃ pañcamaṃ vedaṃ setihāsaṃ karomy aham (15) seems to be very significant. Ag. (I. p. 13) explains setihāsam as itihāsopadeśakarūpaṃ saprabbedam. See Winternitz, Vol. I. pp. 100 ff, 312 n, [21]: See note on 14-15 above. [22]: The word muni is evidently to be derived from the Pkt. root muṇa ‘to know’ which is most probably not of Sanskritic origin. [23]: B. and G. read some of these names differently. The so-called sons of Bharata were probably authors who wrote on dramaturgy, histrionic art, dance and music etc. Śiṅgabhūpāla mentions the first four. See below notes 2-7. [24]: Kohala has again been mentioned in XXXVI, 69. Ag. has referred to his opinion several times and quoted from his work on nāṭya (Vol. I. pp. 140, 173, 182, 183, 185; Vol. II. pp. 26, 55, 130, 133, 142, 144, 146, 147, 151, 155, 407, 416, 421, 434, 452, 458, 459). Later writers like Dāmodaragupta. Hemacandra, Śārṅgadeva, Śāradātanaya and Śiṅgabhūpāla acknowledge him as an authority on drama and music (See S. K. De, Skt. Poetics, p. 25. f. n.) [25]: Ag. has quoted a passage from the work of one Dattilācārya (Vol. I. p. 205). He seems to be identical with this Dattila. See also note I above. [26]: Śālikarṇa is probably identical with Śātakarṇa referred to and quoted in the commentary of the Anargharāghava (p. 7. see Lévi, II. pp. 27, 65) and the N L. (p. 47, ed. M. Dillon). Cf. Śālivāhana=Sātavāhana. [27]: The N L. (pp. 46, 114) refers to and quotes from him. [28]: The Nāṭakalakṣaṇa (pp. 114, 121) refers to and quotes from this authority. So does SD (294). [29]: The N L. (pp. 4, 19, 144, 115) refers to and quotes from this authority. [30]: In 200 B. C. one Pañcaśikha was considered to be Indra’s musician. See IHQ, XXXII (1956) p. 122. [31]: The four Styles probably related to four tribes such as Bharata, Sāttvata, Keśika and Arabhaṭa. Among these Bharata and Sāttvata are well-known. The remaining two names might have been lost, Kaiśikī has a variant Kauśiki. See P. C. Bagchi. Bhārat-O-Madhya-asiā (Bengali) pp, 49-52. [32]: pragṛhya (=embracing) has been taken to mean ‘going to.’ [33]: Śiva is India’s traditional god of dance. See M. Ghosh (ed.) Abhinayadarpana, Calcutta. 1957, English Translation, p. 1. [34]: For aṅgabāras see IV. 16 ff. [35]: For details on States see VII. [36]: nāṭyālaṅkāra here may be taken also to mean nāṭyālaṅkāras mentioned in XXIV. 4-5. [37]: One Svāti has been mentioned in the Viṣṇu P. Nārada is also a well-known Purāṇic sage. He is mentioned as a musician in Bhāgavata and Vāyu P. See Vidyalankar. JK. sub voce. [38]: Ag. thinks gāna in this connexion means the playing of stringed instruments and flutes. [39]: This festival occurred on the twelfth day of the bright half of the moon in the month of Bhādra. It was a very popular festival in ancient India. Aśvaghoṣa mentions it in his kāvyas. Maha of dhvaja-maba is simply a Pkt. form of the word makha meaning ‘sacrifice’; cf. Indra-makha. [40]: Veda-sammita means ‘like the Veda’ i.e. ‘holy.’ [41]: The eight aspects of words are noun (nāma). verb (ākhyāta), particle (nipāta), prefix (upasarga), compound word (samāsā), secondary suffix (taddbita), euphonic combination (sandhi), case-endings and verbal suffixes (vibhakti). See XV. 4. [42]: Making gifts to dancers, singers and actors at a performance, is a very old custom in India. Such gifts were made by rich members of the audience, while the common people enjoyed the performance without any payment. This old custom is now dying out under the influence of modern theatres which realise the price of the entertainment beforehand by selling tickets. [43]: Kuṭilaka.—See XIII, 143-144, ‘a curved stick fit to be used by the Jester,’ In Kālidāsa’s Mālavi, occur bhuvaṅgama-kuḍila daṇḍakaṭṭha and daṇḍakaṭṭha (ed. Pandit, Bombay, 1889, IV, 150, 160). XXIII. 167-170 describes this daṇḍakāṣṭha connected with the Jester, It is to be noted that Kālidāsa does not use the conventional word for the Jestet’s staff. [44]: From now on the numbering of couplets is wrong in B. [45]: For details on States see VI. [46]: This is evidently an instance of folk-etymology. [47]: Viśvakarmā is the architect of the gods. He is very frequently met with in the Purāṇas. There was also a Vedic deity of this name. See Vidyalankar, JK, sub voce. [48]: Such deities are nowhere to be met with. [49]: See III. 1-8 note 5. [50]: See V. 74. [51]: Sarasvatī mentioned here seems to be the Vedic goddess of the same name. See Ṛk. I, 142.9 and JK. sub voce. [52]: Oṃkāra as a deity is very rarely to be met with. [53]: This is an ancient Indian political maxim. [54]: This name occurs in Rām. and Mbh. and in some Purāṇas, See Vidyalankar, JK. sub voce. [55]: A. K. Coomaraswamy has freely translated 106-109. (See MG, New York, 1936, pp. 16-17). [56]: All these lay stress on the educative aspect of dramatic performances. [57]: Aristotle also brings in ‘imitation’ to explain poetry and drama (See Poetics). [58]: See above 108-109 note. [59]: According to the later Purāṇic geography the world was divided into seven continents such as Jambu, Plakṣa, Śālmalī, Kuśa, Krauñca, Śāka and Puṣkara. Each of these continents was further subdivided into nine regions, and Bhārata (India) is a region of the Jambu continent. See note 3 on 7-12 above. [60]: homa—offering oblations to gods by throwing ghee into the consecrated fire. [61]: mantra—formula sacred to any deity. [62]: japa—repeating a mantra or muttering it many times, [63]: See Ag. [64]: Prekṣā (Pali pekkhā) occurring in Sikkhāpadas (c. 600 B.c.). [65]: pūjā—worshipping a deity with flowers, sweet scent, incense, music and offering of eatables. [66]: See XXXVI.12 16 January, 2017 --> Last Updated: 16 February, 2018 $(function(){ if($(document).height() > $(window).height()){ $('.book.chapter').append('^ back to top ^') $('section.back > a').click(function(){ $(window).scrollTop(0); }); } }); /** * Derivation list */ /*$('a.deriv-link').click(function(){ $(this).closest('.words-group').find('.deriv-list').toggleClass('d-none'); });*/ ====================================================================== Chapter II - Description of the Playhouse ====================================================================== --> Natyashastra (English) by Bharata-muni | 1951 | 240,273 words | ISBN-13: 9789385005831 Hinduism Natyashastra Buy now! The English translation of the Natyashastra, a Sanskrit work on drama, performing arts, theater, dance, music and various other topics. The word natyashastra also refers to a global category of literature encompassing this ancient Indian tradition of dramatic performance. The authorship of this work dates back to as far as at least the 1st millenn... Go directly to: Footnotes. Chapter II - Description of the Playhouse (nāṭyamaṇḍapa) < Previous (index) Next > 1-2. On hearing Bharata’s words, the sages said, “O the holy one, we would like to hear about the ceremony relating to the stage.[1] And how are the men of future to offer Pūjā in the playhouse or [to know about] the practices related to it, or its accurate description? 3. As the production of a drama begins with the playhouse (nāṭyamaṇḍapa), you should [first of all] give us its description.” Three types of a playhouse 4. On hearing these words of the sages, Bharata said, “Listen, O sages, about the description of a playhouse[2] and of the Pūjā to be offered in this connexion. 5-6. Creations of gods [observed] in houses and gardens are the outcome of their [mere] will; but men’s [creative] activity should be carefully guided by rules [laid down in the Śāstras]. Hence, listen about the method of building a playhouse and of the manner of offering Pūjā at the site [of its construction]. 7-8. There are three types of playhouse devised by the wise Viśvakarmā [the heavenly architect] in the treatise on his art (śāstra). They are oblong (vikṛṣṭa) square (caturaśra) and triangular (tryasra). Three sizes of the playhouse 8-11. Their sizes vary: they may be large (jyeṣṭha), middle-sized (madhya) and small (avara).[3] The length (lit. measurement) of these [three types] fixed in terms of cubits as well as Daṇḍas, is one hundred and eight, sixtyfour or thirtytwo. They[4] should [respectively] have [sides] one hundred and eight, sixtyfour and thirtytwo [cubits or Daṇḍas][5] long. The large playhouse is meant for gods[6] and the middle-sized one for kings, while for the rest of people, has been prescribed the smallest [theatre].[7] The table of measurement 12-16. Listen now about the measurement of all these theatres, which has been fixed by Viśvakarmā. Units of these measurements[8] are: Aṇu, Raja, Bāla, Likṣā, Yūkā, Yava, Aṅgula, cubit (hasta) and Daṇḍa. 8 Aṇus = 1 Raja, 8 Rajas = 1 Bāla, 8 Bālas = 1 Likṣā, 8 Likṣās = 1 Yūkā, 8 Yūkās = 1 Yava, 8 Yavas = 1 Aṅgula, 24 Aṅgulas = 1 Hasta (cubit), 4 cubits = 1 Daṇḍa With the preceding table of measurement I shall describe them (i.e. the different classes of playhouse). A playhouse for mortals 17. An [oblong] playhouse meant for mortals[9] should be made sixtyfour cubits in length and thirtytwo cubits in breadth. Disadvantage of a too big playhouse 18-19. No one should build a playhouse bigger than the above; for a play [produced] in it (i.e. a bigger house) will not be properly expressive. For anything recited or uttered in too big a playhouse will be losing euphony [for the hearers] due to weak resonance of the sounds uttered.[10] 20. [Besides this] when the playhouse is very big, the expression in the face [of actors] on which rests the Representation of States and Sentiments, will not be distinctly visible [to all the spectators]. 21. Hence it is desirable that playhouses should be of medium size, so that the Recitatives as well as the songs in it, may be more easily heard [by the spectators]. 22-23. Creations of gods [observed] in house and gardens are the outcome of their [mere] will, while men are to make careful efforts in their creation; hence men should not try to rival the creation of gods.[11] I shall now describe the characteristics of a [play] house suitable for human beings. Selection of a suitable site 24. The expert [builder] should first of all examine a plot of land and then proceed with a good resolve to measure the site of the building. 25. A builder should erect a playhouse on the soil which is plain, firm, hard, and black or not white. 26. It should first of all be cleared and then scratched with a plough, and then bones, pegs, potsherds in it as well as grass and shrubs growing in it, are to be removed. Measurement of the site 27a. The ground being cleared one should measure out [the building site].[12] 27-28. Under the asterism Puṣyā (Cancri) he should spread [for measurement] a piece of white string which may be made of cotton, wool, Muñjā grass or bark of some tree. Taking up the string 28-31. Wise people should prepare for this purpose a string which is not liable to break. When the string is broken into two [pieces] the patron[13] [of the dramatic spectacle] will surely die. When it is broken into three a political disorder will occur in the land, and it being broken into four pieces the master of the dramatic art[14] will perish, while if the string slips out of the hand some other kind of loss will be the result. Hence it is desired that the string should always be taken and held with [great] care. Besides this the measurement of ground for the playhouse should be carefully made. 32-33. And at a favourable moment which occurs in a (happy) Tithi[15] during its good part (su-kaṛaṇa)[16] he should get the auspicious day declared after the Brahmins have been satisfied [with gifts]. Then he should spread the string after sprinkling on it the propitiating water. The ground-plan of a playhouse 33-35. Afterwards he should measure a plot of land sixtyfour cubits [long][17] and divide the same [lengthwise] into two [equal] parts. The part which will be behind him (i.e. at his back) will have to be divided again into two equal halves. Of these halves one [behind him] should be again divided equally into two parts, and on one of these will be made the stage (raṅga-śīrṣa) and on the part at the back the tiring room. The ceremony of laying the foundation 35-37. Having divided the plot of land according to rules laid down before, he should lay in it the foundation of the playhouse. And during this ceremony [of laying the foundation] all the musical instruments such as, Śaṅkha (conchshell), Dundubhi[18], Mṛdaṅga[19] and Paṇava[20] should be sounded. 37-38. And from the places for the ceremony, undesirable persons such as heretics[21] including Śramaṇas,[22] men in dark red (kāṣāya)[23] robes as well as men with physical defects, should be turned out. 38-39. At night, offerings should be made in all the ten directions [to various gods guarding them] and these offerings should consist of sweet scent, flowers, fruits and eatables of various other kinds. 39-41. The food-stuff offered in [the four cardinal directions] east, west, south and north, should respectively be of white, blue, yellow and red colours. Offerings preceded by [the muttering of] Mantras should be made in [all the ten] different directions to deities presiding over them. 41-42. At [the time of laying] the foundation ghee[24] and Pāyasa[25] should be offered to Brahmins, Madhuparka[26] to the king, and rice with molasses to masters [of dramatic art]. 42-43. The foundation should be laid during the auspicious part of a happy Tithi under the asterism Mūlā (Lambda-Scorpionis). Raising pillars of the playhouse (nāṭyamaṇḍapa) 43-45. After it has been laid, walls should be built and this having been completed, pillars within the playhouse should be raised in an [auspicious] Tithi and Karaṇa[27] which are under a good asterism. This [raising of pillars] ought to be made under the asterism Rohiṇī (Aldeberan) or Śravaṇā (Aquillae) [which are considered auspicious for the purpose]. 45-46. The master [of dramatic art], after he has fasted for three [days and] nights, is to raise the pillars in an auspicious moment at dawn. 46-50.[28] In the beginning, the ceremony in connexion with the Brahmin pillar should be performed with completely white,[29] articles purified with ghee and mustard seed; and in this ceremony Pāyasa should be distributed [to Brahmins]. In case of the Kṣatriya pillar, the ceremony should be performed with cloth, garland and unguent which should all be of red[30] colour; during the ceremony rice mixed with molasses should be given to the twice-born caste. The Vaiśya pillar should be raised in the north-western direction of the playhouse (nāṭyamaṇḍapa) and [at the ceremony of its raising] completely yellow[31] articles should be used, and Brahmins should be given rice with ghee. And in case of the Śūdra pillar, which is to be raised in the north-eastern direction, articles used in offering should all be of dark[32] colour, and the twice-born caste should be fed with Kṛsarā. 50-53. First of all in case of the Brahmin pillar, white garlands and unguent as well as gold from an ear-ornament should be thrown at its foot, while copper, silver, and iron are respectively to be thrown at the feet of the Kṣatriya, Vaiśya and Śūdra pillars. Besides this, gold should be thrown at the feet of the rest [of pillars]. 53-54. The placing of pillars should be preceded by the display of garlands of [green] leaves and the utterance of ‘Let it be well’ (svasti) and ‘Let this be an auspicious day’ (puṇyāha). 54-57. After pleasing the Brahmins with considerable (analpa) gift of jewels, cows and cloths, pillars should be raised [in such manner that] they do neither move nor shake nor turn round. Evil consequences that may follow in connexion with the raising of pillars, are as follows: when a pillar [after it has been fixed] moves drought comes, when it turns round fear of death occurs, and when it shakes fear from an enemy state appears. Hence one should raise a pillar free from these eventualities. 58-60 In case of the holy Brahmin pillar, a cow[33] should be given as fee (dakṣiṇā) and in case of the rest [of the pillars] builders should have a feast. And [in this feast foodstuff] purified with Mantra should be given by the wise master of the dramatic art. And the priest and the king should be fed with honey and Pāyasa. Then the workers should be fed Kṛsarā[34] and salt. 60-63. After all these rules have been put into practice and all the musical instruments have been sounded, one should raise the pillars with the muttering over them of a suitable Mantra [which is as follows]: ‘Just as the mount of Meru is immovable and the Himālaya is very strong, so be thou immovable and bring victory to the king.’ Thus the experts should build up pillars, doors, walls and the tiring room, according to rules. The Mattavāraṇī 63-65. On [each] side of the stage should be built the Mattavāraṇī[35] and this should be furnished with four pillars and should be equal in length to the stage, and its plinth should be a cubit and a half high.[36] And the plinth of the auditorium (raṅgamaṇḍala) should be equal in height to that of the two [Mattavāraṇīs]. 65-67. At the time of building them (the two Mattavāraṇīs) garlands, incense, sweet scent, cloths of different colour as well as offerings agreable to Bhūtas should be offered [to them]. And to ensure the good condition of the pillars, one should give to the Brahmins Pāyasa[37] and other eatables such as Kṛsarā. The Mattavāraṇīs should be built up after observing all these rules. The stage 68. Then one should construct the stage after a due performance of all the acts prescribed by rules, and the stage should include six piece of wood. 69-71. The tiring room should be furnished with two doors.[38] In filling up [the ground marked for the stage] the black earth should be used with great care. This earth is to be made free from stone chips, gravel and grass by the use of a plough to which are to be yoked two white draught animals. Those who will do [the ploughing] work should be free from physical defects of all kinds. And the earth should be carried in new baskets by persons free from defective limbs. 72-74. Thus one should carefully construct the plinth of the stage (raṅgaśīrṣa).[39] It must not be [convex] like the back of a tortoise or that of a fish. For a stage the ground[40] which is as level as the surface of a mirror, is commendable. Jewels and precious stones should be laid underneath this by expert builders. Diamond is to be put in the east, lapis lazuli in the south, quartz in the west and coral in the north, in the centre gold. Decorative work in the stage 75-80. The plinth of the stage having been constructed thus, one should start the wood-work which is based on a carefully though out (ūha-pratyūha-saṃyukta)[41] [plan], with many artistic pieces such as decorative designs, carved figures of elephants, tigers and snakes. Many wooden statues also should be set up there, and this wood-work [should] include Niryūhas,[42] variously placed mechanized latticed windows, rows (dhāraṇī) of good seats, numerous dove-cots and pillars raised in different parts of the floor.[43] And the wood-work having been finished, the builders should set out to finish the walls. No pillar, bracket,[44] window, corner or door should face a door.[45] 80-82. The playhouse (nāṭyamaṇḍapa) should be made like a mountain cavern[46] and it should have two floors[47] [on two different levels] and small windows; And it should be free from wind and should have good acoustic quality. For [in such a playhouse] made free from the interference of wind, voice of actors and singers as well as the sound of musical instruments[48] will acquire volume. 82-85. The construction of walls being finished, they should be plastered and carefully white-washed. After they have been smeared [with plaster and lime], made perfectly clean and beautifully plain, painting should be executed on them. In this painting should be depicted creepers, men, women, and their amorous exploits.[49] Thus the architect should construct a playhouse of the oblong type. Description of a square playhouse 86-92. Now I shall speak of the characteristics of that of the square[50] type. A plot of land, thirty-two cubits in length and breadth, is to be measured out in an auspicious moment, and on it the playhouse should be erected by experts in dramatic art. Rules, definitions and propitiatory ceremonies mentioned before [in case of a playhouse of the oblong type] will also apply in case of that of the square type. It should be made perfectly square and divided into requisite parts[51] by holding the string [of measurement], and its outer walls should be made with strong bricks very thickly set together. And inside the the stage and in proper directions [the architect] should raise ten pillars[52] capable of supporting the roof. Outside the pillars, seats should be constructed in the form of a staircase by means of bricks and wood, for the accommodation of the spectators. Successive rows of seats should be made one cubit higher than those preceding them, and the lowest row of seats being one cubit higher than the floor. And all these seats should overlook the stage. 92-95. In the interior of the playhouse six more strong pillars capable of supporting the roof should be raised in suitable positions and with [proper] ceremonies (i.e., with those mentioned before). And in addition to these, eight more pillars should be raised by their side. Then after raising [for the stage or raṅgapīṭha ] a plinth eight cubit [square, more] pillars should be raised to support the roof of the playhouse. These [pillars] should be fixed to the roof by proper fasteners, and be decorated with figurines of ‘woman-with-a-tree’ (sālastrī—śālabhañjikā[53]) 95-100. After all these have been made, one should carefully construct the tiring room. It should have one door leading to the stage through which persons should enter with their face towards [the spectators]. There should also be a second door facing the auditorium. The stage [of the square playhouse] should be eight cubits in length and in breadth. It should be furnished with an elevated plinth with plain surface, and its Mattavāraṇī should be made according to the measurement prescribed before (i.e., in case of the oblong type of playhouse). The Mattavāraṇī should be made with four pillars by the side[54] of the plinth [mentioned above]. The stage should be either more elevated than this plinth or equal to it in height. In case of a playhouse of the oblong (utkṛṣṭa) type, it should be higher than the stage, whereas in a playhouse of the square type it should have a height equal to that of the stage. These are the rules according to which a square type playhouse is to be built. Description of a triangular playhouse 101-104. Now I shall speak about the characteristics of the triangular (tryasra) type of playhouse (nāṭyamaṇḍapa). By the builders, a playhouse with three corners should be built, and the stage in it also should be made triangular. In one corner of the playhouse there should be a door, and a second door should be made at the back of the stage. Rules regarding walls and pillars[55] which hold good in case of a playhouse of the square type, will be applicable in case of the triangular type.[56] These are the rules according to which different types of playhouse are to be constructed by the learned. Next I shall describe to you the [propitiatory] Pūjā in this connexion. Here ends Chapter II of Bharata’s Nāṭyaśāstra, which treats of the Characteristics of a Playhouse (nāṭyamaṇḍapa). Footnotes and references: [back to top] [1]: raṅga here means ‘the stage.’ It may also mean the auditorium as well as the spectators sitting there. See Kālidāsa; Śak. I. 4. 2. [2]: Except the cave (c. 200 B.C.) in the Ramgarh hill suspected by Th. Bloch (Report of the Archaeological Survey of India, 1903-4, pp. 123ff) to have been the remains of a theatre, there is no other evidence of the existence of a playhouse in ancient India. From the description of the playhouse in the present chapter we learn that it was constructed with brick walls and wooden posts probably with a thatched bungalow roof. The saṃgīdāsālā (saṃgītaśālā) mentioned by Kālidāsa in his Mālavi, was probably a playhouse. Large open halls called nāṭmandir often found in front of more recently built temples in Bengal and the neighbouring provinces may be connected with the extinct playhouse. This nāṭ-mandir or nāt-śālā is often met with in the medieval Bengali literature. [3]: Some are for identifying the oblong, the square and the triangular types respectively with the large, the middle-sized and the small playhouses, but Ag. very rightly objects to this. According to Ag.’s view there will be the following nine types of playhouse; (i) large oblong, (ii) large square, (iii) large triangular, (iv) medium oblong (v) medium square, (vi) medium triangular, (vii) small oblong, (viii) small square and (xi) small triangular. For a free translation of the passages in this chapter (8, 17, 19, 24-28, 33-35, 43-53, 63, 68, 69-92) relating to the construction of the playhouse see D.R. Mankad, “Hindu Theatre” in IHQ: VIII. 1932, pp. 482ff. [4]: They i.e., the large, the middle-sized and the small. [5]: As the measurements described are both in terms of cubits and daṇḍas (4 cubits), eighteen kinds of playhouse will be available. [6]: Ag. (I. p. 51) thinks that by gods, kings and other peoples mentioned in this passage, characters in a play have been meant. But this view does not seem to be plausible. So the other view, mentioned by him, which takes gods and kings etc. as spectators may be accepted. [7]: After this, B. reads three couplets which go rightly between 20 and 24. G. also holds the same view. [8]: The table of measurement given here agrees substantially with the one given by Kauṭilya (see IHQ. VIII. p, 482 footnote). [9]: A medium oblong playhouse is meant here. It is described in detail later on, See 33-38, 43-45, 63-65 below. [10]: See Ag. on this point. [11]: That is, mortals (men) should not build a playhouse of the biggest type which has been prescribed for gods. [12]: This hemistich is followed in B. and G. by one couplet which in trans, is as follows: The asterisms Uttaraphālgunī (Beta-Leonis), Uttarāṣāḍhā (Tau-Sagittarii). Uttarabhādrapadā (Andromedœ), Mṛgaśiras (Lambda-Orionis), Viśākhā (lota-Lībra). Revatī (Piseīum). Hastā (Corvii), Tiṣyā (Delta-Cancri) and Anurādhā (Delta-Scorpii) arc favourable in connexion with drama. [13]: svāminaḥ=paekṣāpateḥ, Ag. [14]: prayoktur-nāṭyācāryasya. (Ag.) [15]: tithi—a lunar day. [16]: karaṇa—a half of a lunar day, see below 43-45 note. [17]: See 17 above and the note 1 on it. [18]: dundubhi—a kind of drum. [19]: mṛdaṅga— a kind of earthen drum. [20]: paṇava—a small drum or tabor. [21]: pāṣaṇḍa—Derived originaly from pārṣada (meaning ‘assembly’ or ‘community’) its Pkt. form was pāsaḍa. With spontaneous nasalization of the second vowel it gave rise to Aśokan pasaṃda (Seventh Pillar Edict, Delhi-Topra), which is the basis of Skt. pāṣaṇḍa in the sense of ‘heretic.’ [22]: B. reads śramiṇa, but G. śramaṇa; the word means naked Jain monks. See XVIII. 36 note 2. [23]: kāṣāya-vasana—men in kāṣāya or robe of dark red colour; such people being Buddhist monks who accepted the vow of celebacy, were considered an evil omen, for they symbolised unproductivity and want of wordly success etc. See also XVIII, 36 note 2. [24]: ghee—clarified butter. [25]: pāyasa—rice cooked in milk with sugar. It is a kind of rice-porridge. [26]: madhuparka—‘ a mixture of honey’; a respectful offering prescribed to be made in Vedic times, to an honourable person and this custom still lingers in ceremonies like marriage. Its ingredients are five: curd (dadhi), ghee (sarpis), water (jala), honey (kṣaudra) and white sugar (sitā). [27]: karaṇa—half of the lunar day (tithi). They are eleven in number viz.—(1) vava, (2) vālava, (3) kaulava. (4) taitila, (5) gara, (6) vaṇija, (7) viṣṭi, (8) śakuni, (9) cutuṣpada. (10) nāga and (11) kintughna, and of these the first seven and counted from the second half of the first day of the śukla-pakṣa (bright half of the moon) to the first half of the fourteenth day of the kṛṣṇa-pakṣa (dark half of the moon). They occur eight times in a month. The remaining karaṇas occur in the remaining duration of tithis and appear only once in a month. See Sūrya-siddhānta—II.67-68. [28]: Before 46, G. reads on the strength of a single ms. one couplet which seems to record a tradition that the pillars should be wooden. [29]: white—symbol of purity and learning associated with the Brahmins. [30]: red—symbol of energy and strength, associated with the Kṣatriyas. [31]: yellow—symbol of wealth (gold), associated with the Vaiśyas. [32]: dark—symbol of non-Aryan origin associated, with the Śūdras. [33]: This kind of payment is probably a relic of the time when here was no metallic currency. [34]: kṛsarā. is made of milk, sesamum (tila) and rice. Compare this word with NIA. khīcaḍi or khicūḍi (rice and pulse boiled together with a few spices. [35]: matta-vāraṇi—The word does not seem to occur in any Skt. dictionary. There is however a word mattavāraṇa meaning ‘a turret or small room on the top of a large building, a veranda, a pavilion.’ In Kṣīrasvāmīn’s commentary to the Amarakośa, mattvāraṇa has been explained as follows: mattālambopāśrayaḥ syāt prāgrīvo mattavāraṇaḥ (see Oka’s ed. p. 50). This is however not clear. Mattavīraṇayor varaṇḥaka mentioned in Subandhu’s Vāsavadattā (ed, Jivananda, p. 33) is probably connected with this word, Śivarāma Tripāṭhī’s commentery on this work does not give any clear idea about mattavāraṇa or mattavāraṇayor varaṇḍaka. But the word mattavārāṇī may be tentatively taken in the sense of ‘a side-room’. Ag. seems to have no clear idea about it. See also Ag. (I. pp. 64-65), A Dictionary of Hindu Architecture, by P. K. Acharya (Allahabad. 1927) dose not give us any light on this term. [36]: According to a view expressed in the Ag. (I. p. 62) the plinth of the mattavāraṇī is a cubit and a half higher than that of the stage. The plinth of the auditorium is also to be of the same height as that of the mattavāraṇī. But nothing has been said about the height of the plinth of the tiring room. From the use of terms like raṅgāvātaraṇa (descending into the stage) it might appear that the plinth of the tiring room too, was higher than the stage. Weber however considered that the stage was higher. Indische Studien, XIV. p, 225 Keith, Skt. Drama, p. 360 ; cf, Lévi, Le Théâtre indien, i. 374, ii. 52. [37]: According to one reading iron (āyasam) should be placed below them (pillars). But this is inconsistent, see 50-53 above. [38]: Some scholars following Ag. are in favour of taking rāṅgapīṭha and raṅgaśīrṣa as two different parts of the playhouse (see D. R. Mankad, “Hindu Theatre” in IHQ, VIII. 1932, pp. 480ff, and IX. 1933 pp. 973ff. ; V. Raghavan, “Theatre Architecture in Ancient India”, Triveni IV-VI, (1931, 1933) also “Hindu Theatre”. IHQ, IX. 1933. pp. 991. ff. I am unable to agree with them. For my arguments on this point see “The Hindu Theatre” in IHQ. IX. 1933 PP- PP- 591ff. and “The NŚ and the Abhinavabhārati” in IHQ. X. 1934pp. 161ff. see also note 3 on 86-92 below. [39]: On this point the Hindu Theatre has a similarity with the Chinese theatre. A. K. Coomaraswamy, “Hindu Theatre” in IHQ. IX. 1933. p 594. [40]: See note 1 on 68. If raṅgaśīrṣa and raṅgapīṭha are taken to mean two different parts of the playhouse, the interpretation of the passage will lead us to unnecessary difficulty. [41]: ūha and pratyūha may also be taken as two architectural terms (see Ag. I. p. 63). [42]: niryūha is evidently an architectural term, but it does not seem to have been explained clearly in any extant work. Ag’s explanation does not give us much light. [43]: In the absence of a more detailed description of the different parts of the wood-work, it is not possible to have a clear idea of them. Hence our knowledge of the passage remains incomplete till such a description is available in some authentic work. [44]: nāgadanta means ‘a bracket’. The word occurs in Vātsyāyana’s Kāmasūtra, I. 5.4). [45]: On this passage see Ag. [46]: The pillars of the playhouse being of wood, the roof was in all probability thatched, and in the forms of a pyramid with four sides. Probably that was to give it the semblance of a mountain cavern. [47]: The two floors mentioned here seem to refer to floors of different heights which the auditorium, mattavāraṇī and the stage have. See 63-65 above and note 2 on it According to some old commentators dvibhūmi indicated a two-storied playhouse while others were against such a suggestion, See Ag. (l. p. 65). [48]: kutapa—This word has been explained twice by Ag. as musical instruments. See (I. pp. 73 and 186). But in two other places (I. p, 65) and (I. p. 214) he explains it differently. [49]: ātmabhogajām literally means ‘due to self-indulgence or enjoyment of the self’, Compare with this description the decorative paintings in the Ajanta caves. [50]: Caturasra gives rise to NIA, cauras or coras. [51]: The exact nature of this division is not clear from the passage. The view expressed by Ag. (I, p. 66) on this point does not seem to be convincing. [52]: The position of these ten pillars and others mentioned afterwards is not clear from the text. Whatever is written on this point in Ag.’s commentary is equally difficult to understand. Those who are interested in the alleged view of Ag., may be referred to articles of D. R. Manked and V. Raghavan (loc. cit.). See also D. Subba Rao’s article in the Journal of the Oriental Inst. Baroda. vol II. pp. 190ff. [53]: śālastrī=śāla-bhañjikā (see A. K. Coomaraswamy, ‘The Women and tree or śālabhañjikā in Indian literature’, in Acta Orientalia, vol. VII., also cf. this author’s Yakṣas, Part II. p. 11.). [54]: Both the sides are meant. There should be two mattavāraṇīs as in the case of an oblong medium (vīkṛṣṭa-madhya) playhouse described before (17.32.-35). [55]: It is not clear how the triangular playhouse will have pillars like those of other types. [56]: No mattavāraṇī has been prescribed in case of the Triangular playhouse. 22 January, 2017 --> Last Updated: 16 February, 2018 $(function(){ if($(document).height() > $(window).height()){ $('.book.chapter').append('^ back to top ^') $('section.back > a').click(function(){ $(window).scrollTop(0); }); } }); /** * Derivation list */ /*$('a.deriv-link').click(function(){ $(this).closest('.words-group').find('.deriv-list').toggleClass('d-none'); });*/ ====================================================================== Chapter III - Puja to the Gods of the Stage ====================================================================== --> Natyashastra (English) by Bharata-muni | 1951 | 240,273 words | ISBN-13: 9789385005831 Hinduism Natyashastra Buy now! The English translation of the Natyashastra, a Sanskrit work on drama, performing arts, theater, dance, music and various other topics. The word natyashastra also refers to a global category of literature encompassing this ancient Indian tradition of dramatic performance. The authorship of this work dates back to as far as at least the 1st millenn... Go directly to: Footnotes. Chapter III - Pūjā to the Gods of the Stage (raṅgapūjā) < Previous (index) Next > Consecration of the playhouse 1-8. In the auspicious playhouse constructed with all the characteristics [mentioned above] cows, and Brahmins muttering [proper Mantras] should be made to dwell for a week. Then the master of the dramatic art who has been initiated [for the purpose] and has put on new cloths, fasted for three days, lived away from his bed-room (lit. the dwelling house), has kept his senses under control and has [thus] become purified, will besprinkle his limbs with water over which purificatory Mantras have been muttered, and consecrate the playhouse. This [consecration] should take place after he has made obeisance to the great god Śiva, the lord of all the regions, Brahmā who sprung from the lotus, Bṛhaspati, the preceptor of gods, Viṣṇu, Guha (Kārtikeya), Sarasvatī, Lakṣmī, Siddhi, Medhā, Smṛti, Mati, Candra (Moon), Sūrya (Sun), Winds, Guardians of all directions, Aśvins, Mitra, Agni, and other gods, such as Rudra, Varṇas[1], Kāla[2], Kali[3], Yama, Niyati, the Sceptre of Yama[4], Weapons of Viṣṇu[5], the Lord of the Nāgas (Serpents), the Lord or the birds (Garuḍa), Thunderbolt, Lightning, Seas, Gandharvas, Apsarasas, Sages, Nāṭya-maids[6], Mahāgrāmaṇī (the great leader of Gaṇas)[7], Yakṣas, Guhyakas[8] and the hosts of Bhūtas. Having made obeisance to these, and other divine sages (devarṣi), he should with folded palms invoke all the gods to their respective positions, and say, “Ye, holy ones, should take us under your protection during the night, and ye with your followers should offer us assistance in this dramatic performance.” Offering Pūjā to the Jarjara 11-13. Having worshipped [thus] all the gods as well as all the musical instruments (kutapa)[9] he should offer Pūjā to the Jarjara[10] for attaining good success at the performance [and pray to it as follows]. “Thou art Indra’s weapon killing all the demons; thou hast been fashioned by all the gods, and thou art capable of destroying all the obstacles; bring victory to the king and defeat to his enemies, welfare to cows and Brahmins, and progress to dramatic undertakings”. 14-15. After proceeding thus according to rules and staying in the phayhouse for the night, he (the master of the dramatic art) should begin Pūjā as soon as it is morning. This Pūjā connected with the stage should take place under the asterism Ārdrā (Alpha-Orionis) or Maghā (Regulus) or Yāmyā (Musca) or Pūrvaphalgunī (Delta-Leonis) or Pūrvāṣāḍhā (‘Delta-Sagittarii) or Pūrvabhādrapadā (Alpha-Pegasi) or Aśleṣā (Hydrae) or Mūlā (Lambda-Scorpionis). 16. The stage should be illuminated and the Pūjā of the gods in its connexion should be performed by the master of the dramatic art (ācārya) after he has purified his body, concentrated his mind [to these acts] and initiated himself [to the Pūjā]. Installation of the gods 17. During the concluding moments of the day, which are considered to be hard and full of evils, and are presided over by Bhūtas, one should perform Ācamana[11] and cause the gods to be installed. 18-20. [Along with these gods] should be [taken] red thread-bangle (pratisarā)[12], the best kind of red sandal, red flowers and red fruits. [With these and] articles such as barley, white mustard, sunned rice, Nāgapuṣpa[13] powder and husked saffron (priyaṅgu)[14], the gods should be installed. The Maṇḍala for installing the gods 20. In this ceremony one should draw in proper place a Maṇḍala according to the manner prescribed. 21. This maṇḍala should be sixteen Tālas (hasta)[15] square and it should have doors on all its four sides, 22. In its middle should be drawn two lines vertically and horizontally (i.e parallel to the sides), and in the apartments made by these lines, should be installed the different gods. 23-30. In the middle of this (maṇḍala), should be put Brahmā who has lotus as his seat[16]. Then one should first of all put in the east Śiva with his host of Bhūtas, Nārāyaṇa (Viṣṇu), Indra, Skanda (Kārtikeya), Sūrya, Aśvins, Candra, Sarasvatī, Lakṣmī, Śraddhā and Medhā, in the south-east Agni, Svāhā, Viśvedevas, Gandharvas, Rudras and Ṛṣis, in the south Yama, Mitra with his followers, Pitṛs, Piśācas, Uragas and Guhyakas, in the south-west the Rākṣasas and all the Bhūtas, in the west the Seas and Varuṇa, in the north-west the Seven Winds[17] and Garuḍa with other birds, in the north Kuvera (Kubera), Mothers of the Nāṭya, Yakṣas with their followers, in the north-east leaders of Gaṇas such as Nandī, Brahmarṣis and the host of Bhūtas in their proper places. 31. And [in the eastern] pillar should be placed Sanatkumāra[18], in the southern one Dakṣa[19], in the northern one Grāmaṇī (lit. leader of Gaṇas)[20] and in the western one Skanda (Kārtikeya). 32. According to this rule all the gods in their [proper] form and colour should be placed in their respective positions. Offering Pūjā to the gods 33. After they have been installed with regular ceremony in suitable places they should be worshipped in a fitting manner. 34. Gods [in general] should be given white[21] garlands and unguents, while Gandharvas, Agni and Sūrya should be given garlands and unguents of red[22] colour, 35. After being treated [thus] in due order and manner, they should be worshipped according to rules with suitable offerings. 36-39. [Offerings suitable to different gods and goddesses are as follows]: Brahmā Madhuparka,[23] Sarasvatī, Pāyasa,[24] gods like Śiva, Viṣṇu, and Indra sweetmeats, Agni rice cooked with ghee, Candra and Sūrya rice cooked with molasses. Viśvedevas, Gandharvas and sages honey and Pāyasa, Yama and Mitra cakes and sweetmeats, Pitṛs, Piśācas and Uragas ghee and milk, host of Bhūtas raw and cooked meat, wines of different kinds and grams covered with thick milk. Consecration of the Mattavāraṇī 40-44 Similar shall be the rules regarding the Pūjā in connexion with the Mattavāraṇī. [Offerings to be made to gods and demigods are as follows]:[25] Rākṣasas raw and cooked meat, Dānavas wine and meat, the remaining gods cake and Utkarikā[26] and boiled rice, gods of seas and rivers fish and cakes, Varuṇa ghee and Pāyasa, Sages various roots and fruits, the wind god and birds different edible stuff (lit. bhakṣya and bhojya), Mothers[27] of the Nāṭya, and Dhanada (Kuvera (Kubera)) with his followers eatables including cakes, and Locitās.[28] 45. These different kinds of foodstuff should be offered to them and the Mantras to be uttered at the time of making offering to different gods will be as follows:— 46. (The Mantra for Brahmā), O the god of gods, the most lordly one, the lotus-born one, the grand-father [of the worlds] accept this my offering consecrated by the Mantra. 47. (For Śiva) O the god of gods, the great god, the lord of Gaṇas[29] and the killer of Tripura, accept this my etc. 48. (For Viṣṇu), O Nārāyaṇa, Padmanābha, the best of the gods, with unrestrained movement, accept this my etc. 49. (For Indra), O Purandara, the lord of gods, the thunder-bearer, the maker of the hundred exploits, accept this my etc. 50. (For Skanda), O Skanda the leader of the celestial army, the blessed one, the dear son of Śiva, O the six-mouthed one, accept this my etc. 51. (For Sarasvatī) O the goddess of the gods, the very blessed one, the dear wife of Hari, accept this my etc. 52. (For goddesses Lakṣmī, Siddhi, Mati, Medhā) O Lakṣmī, Siddhi, Mati and Medhā, ye who are honoured by all the worlds, accept this my etc. 53. (For Māruta) O Māruta, you who know the might of all the creatures and are the life of all the world, accept this my etc. 54. (For Rākṣasas) O the great Rākṣasas, the great-souled ones, the sons of Pulastya, born of different causes, accept this my etc. 55. (For Agni) O Agni, the mouth of the gods, the best of the gods, the smoke-bannered one, the eater of things offered in sacrifice, accept this my offering given with love. 56. (For Candra) O Soma, the lord of all the planets, the king of the twice-born ones, the favourite of the world, accept this my etc. 57. (For Sūrya) O the maker of day, the mass of heat, the best among the planets, accept this my etc. 58. (For lords of Gaṇas such as, Nandīśvara) O the great lord of Gaṇas, among whom Nandīśvara is the foremost, accept this my etc. 59. (For Pitṛs) I bow to all the Pitṛs, do ye accept my offering. (For Bhūtas) I always bow to all the Bhūtas who may have a liking for offerings. 60a. (For Kāmapāla) O Kāmapāla, I always bow to thee to whom this offering is made. 60-61. (For Gandharvas) O Gandharvas, amongst whom Nārada, Tumburu and Viśvāvasu[30] are the foremost, accept this my best offering. 61-62. (For Yama and Mitra) O Yama and Mitra, the gods who are adored by all the worlds, accept this my etc. 62-63. (For Nāgas) I bow to all the Pannagas in the nether region, who are devourers of wind, give me success in dramatic production after I have worshipped you. 63- 64 (For Varuṇa) O Varuṇa, you who is the lord of all waters and has the swan as your mount, be pleased along with the seas and rivers, after I have worshipped you all. 64- 65. (For Garuḍa) O the son of Vinatā, the high-souled one, the lord, the king of all the birds, accept this my etc. 64-66. (For Kuvera (Kubera)) O the superintendent of [all] wealth, the king of Yakṣas, the guardian of the world, the lord of riches, ye along with Guhyakas and Yakṣas accept this my etc. 66- 67. (For mothers of the Nāṭya) O mothers of the Nāṭya such as Brāhmī and others, ye be happy and pleased to accept my offering. 67- 68. (For others) O weapons of Rudra, ye accept my offerings. O weapons of Viṣṇu, ye too accept [things given by me] out of devotion for Viṣṇu. 68-69. O Yama, the Fate, the dispenser of death to all creatures and the end of all actions, accept my offerings. 69-70. Ye other gods who are occupying the Mattavāraṇī, accept this my etc. 70-71. To all other gods and Gandharvas too, who occupy the heavens, the earth, the middle region and the ten directions, these offerings are made (lit. let these be accepted by them). 71-72. Then an [earthen] jar[31] full of water with a garland of leaves in its front, should be placed in the middle of the stage, and a piece of gold should be put into it. 72-73. All the musical instruments covered with cloth should be worshipped with [sweet] scent, flowers, garlands, incense and various eatables hard and soft.[32] Consecration of the Jarjara 73-74. Having worshipped all the gods in due order, and offering Pūjā to the Jarjara [in the following manner] one should have the obstacles removed. 74-76. [One should fasten a piece of] white cloth at the top [of the Jarjara], blue cloth at the Rudra joint, yellow cloth at the Viṣṇu joint, red cloth at the Skanda joint, and variegated cloth at the lowest joint.[33] And garlands, incense and unguents are to be offered to it (the Jarjara) in a fitting manner. 76-77. Having observed all these rites with incense, garlands and unguents one should consecrate the Jarjara with the following Mantra: 77-78. “For putting off obstacles thou hast been made very strong, and as hard as adament, by gods such as Brahmā. 78-79. Let Brahmā with all other gods protect thy topmost part, Hara (Śiva) the second part, Janārdana (Viṣṇu) the third part, Kumāra (Kārtikeya) the fourth part, and the great Pannagas the fifth part. 80-81. Let all the gods protect thee, and be thou blessed. Thou, the killer of foes, hast been born under Abhijit (Vega), the best of the asterisms. Bring victory and prosperity to the king!” Homa or pouring ghee into sacrificial fire 81-82. After the Jarjara has thus been worshipped and all offerings have been made to it, one should with appropriate Mantras perform Homa and pour (ghee) into the sacrificial fire. 82-83. After finishing the Homa he should with torches lighted [in the place of sacrifice] do the cleaning work which is to enhance the brilliance of the king as well as of the female dancers. 83-84. After having illumined the king and the dancers together with the musical instruments one should sprinkle them again with water sanctified by the Mantra, and say to them: 84-85. “You are??? in noble families and adorned with multitudes of qualities, let whatever you have acquired by virtue of birth, be perpetually yours.” 85-86. After saying these words for the happiness of the king, the wise man should utter the Benediction for the success of the dramatic production. 86- 87. [The Benediction]: Let mothers such as Sarasvatī, Dhṛti, Medhā, Hrī, Śrī, Lakṣmī, and Smṛti[34] protect you and give you success. Breaking the Jar 87-88. Then after performing Homa according to rules with ghee and the proper Mantra, the master of dramatic art should carefully break the jar. 88-89. In case the jar remains unbroken the king (lit. the master) will have a cause of fear from enemies; but when it is broken his enemies will meet with their destruction. Illumination of the stage 89-90. After the breaking of the jar, the master of the dramatic art should illuminate the auditorium with a lighted lamp. 90-91. Noisily, that is, with roaring, snapping of fingers, jumping and running about, he should cover the auditorium with that lighted lamp [in his hand]. 91-92. Then a fight[35] should be caused to be made [on the stage] in accompaniment with the sound of all the musical instruments such as conch-shell, Dundubhi, Mṛdaṅga and Paṇava. 92-93. If the bleeding wounds [resulting from the fight] will be bright and wide, that will be a [good] omen indicating success. Good results of consecrating the stage 93-94. If the stage is properly consecrated it will bring good luck to the king (lit the master) and to people, young and old, of the city as well as of the country. 94-95. But when the auditorium is not consecrated in proper manner it will be indifferently held by gods, and there will be an end of the dramatic spectacle, and it will likewise bring evil to the king. 95-96. He who willfully transgresses these rules [of consecration of the stage] and practises [the dramatic art], will soon sustain loss and will be reborn as an animal of lower order. 96-97. Offering worship to the gods of the stage is as meritorious as a [Vedic] sacrifice. No dramatic performance should be made without first worshipping the deities presiding over the stage. When worshipped, they (these gods) will bring you worship, and honoured they will bring you honour. Hence one should by all efforts offer Pūjā to the gods of the stage. Evils following non-consecration of the stage 98-99. Never will fire fanned by violent wind burn things so quickly, as defective rites will burn quickly [the master of the dramatic art]. 99-100. So the stage should be worshipped by the master of the dramatic art who is purified, disciplined and proficient in the rules of the art and initiated into the practice of it and has quiet of mind. 100-101. He who with an agitated mind places his offering in a wrong place, is liable to expiation like one who pours ghee into the sacrificial fire without proper Mantras. This is the procedure prescribed for worshipping the gods of the stage. It should be followed by producers [of plays] in holding a theatrical show in a newly built playhouse. Here ends Chapter III of Bharata’s Nāṭyaśāstra, which treats of Pūjā to the gods of the stage. Footnotes and references: [back to top] [1]: varṇas—No gods called varṇas are to be met with in any other work. They may be taken as deities ruling specially over the four varṇas of people. [2]: Kāla—There are several legendary heroes (gods, sages and Astras) of this name; see Vidyalankar, JK. sub voce. [3]: Kali—There are many legendary heroes of this name, see JK. sub voce. [4]: Sec note 5 below. [5]: Weapons of Viṣṇu appear as deities in the Act, 1 of Bhāsa’s Bāla. [6]: nāṭyakumārī—Such goddesses are possibly mentioned nowhere else. [7]: mahāgrāmāṇī—The great leader of Gaṇas. It is very difficult to accept Ag’s identification of mahāgrāmaṇī with Gaṇapati (mahāgrāmaṇir gaṇapatiḥ). For īn 58 below occurs the term mahāgaṇêsvara (in the plural number) indicating the different leaders of Gaṇas who followed Śiva. One of such leaders has been mentioned there as Nandīśvara (Nandin). Besides this the term Ganeśa (the leader of Gaṇas) has also been applied to Śiva in 47 below. In describing piṇḍībandhas the piṇḍī of Gaṇeśvara has been named as daskṣayajña-vimardinī (IV.260). This too shows that the words gaṇeśvara, grāmaṇī or mahāgrāmaṇī meant simply the leader, one of the leaders or the great leader of Gaṇas. The fully developed Gaṇapati seems to be non-existent at the time when the NŚ. was composed. Our. suspicion in the matter seems to be corroborated by the variant tathā grāmādhi-devatā recorded in the ms ṭha of B. for mahāgrāmaṇyaṃ. Gaṇapati seems to be a late entrant into the Hindu pantheon. He is not mentioned in any one of the old Purāṇas. Only the Varāha, Vāmana, Garuḍa and Brahma-vaivarta P. which are late, know the deity (Winternitz, Vol. I. pp. 566-568, 573, Vidyalankar, JK. sub voce). Yājñavalkya mentions Gaṇesa (Hindu Law and Custom, pp..42-44). [8]: Kālidāsa makes no distinction between Yakṣa and Guhyaka, See Meghadūta, 1 and 5. [9]: See below 72-73 note 3. The reading saṃprayujya in all editions and mss. seems to be wrong, It should be emended as saṃprapūjya. [10]: See 73-81 below. [11]: ācamana—ceremonial rinsing of the mouth by sipping water from the palm of the hand. [12]: pratisarā—sūtra-vinirmita-granthi-mantaḥ kaṅkaṇaviśeṣaḥ, Ag. (i. p. 74). [13]: nāgapuṣpa =the campaka tree (Apte), but Ag. says nāgapuṣpaṃ nāgadantaḥ. [14]: priyaṅgu =saffron, and not the fruit of the priyaṅgu creeper. [15]: hasta in this passage is to be interpreted as hasta-tala or tāla i.e., the interval between the tips of the thumb and the middle-finger stretched in opposite directions. SR. VII. 1046, Otherwise it will be impossible to accomodate the maṇḍala on the stage which is eight cubits wide (See II. 33-35). The ancient commentators like Śaṅkuka and others pointed out how absurd it would be to take hasta in the passage in the sense of cubit. (see Ag. I. p. 75). [16]: According to Ag. a lotus is to be described in the centre of maṇḍala. [17]: For the seven winds see the Vāmana P, (see Vidyalankar, JK. sub voce). [18]: Sanatkumāra—ane of the great ṛṣis, and a son of Brahmā. [19]: Dakṣa—one of the lords of the creation (prajāpati), son of Pracetas. There were other Dakṣas besides. See Vidyalankar, JK, sub voce. [20]: See above 1-8 note 7. [21]: See above 1-8 note 7. ‘White’ here seems to be the symbol of purity and good grace. [22]: ‘Red’ here seems to be the symbol of energy. [23]: madhuparka—see above II, 41-42. note 3. [24]: pāyasa—see above II. 41-42 note. [25]: See above. [26]: utkarikā =a kind of sweetmeat. [27]: These goddesses (nāṭyamatṛkās) seem to have been ignored by the Purānas. [28]: locitā—This word seems to be connected with the NIA locī, luei. [29]: It should be marked here that Śiva has been called Gaṇeśvara, a term applied in later times to Gaṇapati only. [30]: Three ancient masters of music. [31]: For the significance of this jar see below 87-89. [32]: This passage with some minor variation has been repeated in B. and G. But this is out of place there. For the order in which musical instruments (kutapa) and the Jarjara should be worshipped see 11-13 above. [33]: For identifying the joints see 78-79 below. [34]: These are the seven Nāṭya-mātṛkās. See 23-30 above. [35]: The significance of this fight is not clear. 05 February, 2017 --> Last Updated: 16 February, 2018 $(function(){ if($(document).height() > $(window).height()){ $('.book.chapter').append('^ back to top ^') $('section.back > a').click(function(){ $(window).scrollTop(0); }); } }); /** * Derivation list */ /*$('a.deriv-link').click(function(){ $(this).closest('.words-group').find('.deriv-list').toggleClass('d-none'); });*/ ====================================================================== Chapter IV - Description of the Class Dance ====================================================================== --> Natyashastra (English) by Bharata-muni | 1951 | 240,273 words | ISBN-13: 9789385005831 Hinduism Natyashastra Buy now! The English translation of the Natyashastra, a Sanskrit work on drama, performing arts, theater, dance, music and various other topics. The word natyashastra also refers to a global category of literature encompassing this ancient Indian tradition of dramatic performance. The authorship of this work dates back to as far as at least the 1st millenn... Go directly to: Footnotes. Chapter IV - Description of the Class Dance (tāṇḍava) < Previous (index) Next > Brahmā writes the first play and gets this performed. 1. After having worshipped [the gods presiding over the stage] I said to Brahmā, “Tell me quickly, O the mighty one, which play should be performed?” 2. [In reply] I was told by the Lord, “Perform the Amṛta-manthana (the Churning of the Ocean)[1] which is capable of stimulating efforts and of giving pleasure to gods. 3. I have composed this Samavakāra[2] which is conducive to [the performance of] duties (dharma), to [the fulfillment of] desire (kāma) as well as [to the earning] wealth (artha).” 4. When this Samavakāra was performed, gods and demons were delighted to witness actions and ideas [familiar to them.] 5. Now, in course of time Brahmā (lit. the lotus-born one) said to me, “We shall present today the play before the great-souled Śiva (lit. the three-eyed one).” 6-7. Then on reaching along with other gods the abode of Śiva (lit. the bull-bannered one) Brahmā paid him respects and said, “O the best of the gods, please do me the favour of hearing and seeing the Samavakāra which has been composed by me.” 8. “I shall enjoy it,” said the lord of gods in reply. Then Brahmā asked me to get ready [for the performance]. 9-10. “O the best of the Brahmins, after the Preliminaries connected with the performance had been completed this (Samavakāra named the Amṛta-manthana) as well as a Ḍīma[3] named the Tripuradāha (the Burning of Tripura)[4] was performed in the Himalayan region which consisted of many hills and in which there were many Bhūtas, Gaṇas2 and beautiful caves and waterfalls.” 11. Then all the [Bhūtas] and Gaṇas were pleased to see actions and ideas familiar to them, and Śiva too was pleased and said to Brahmā: 12. “O the high-souled one, this drama (nāṭya) which is conducive to fame, welfare, merit and intellect, has been well-conceived by you. 13- 14. Now in the evening, while performing it, I remembered that dance made beautiful by Aṅgahāras[5] consisting of different Karaṇas.[6] You may utilize these in the Preliminaries (pūrvaraṅga) of a play. Two kinds of Preliminaries 14- 16. In the application of the Vardhamānaka,[7] the Āsārita,[8] the Gita[9] and the Mahāgīta you will depict properly the ideas [by means of dance movements]; and the Preliminaries which you have [just] performed are called “pure”. [But] when these dances will be added to them (pure Preliminaries) they will be called “mixed”. Aṅgahāras 16-17. To these words of Śiva, Brahmā said in reply, “O the best of the gods, tell us about the use of the Aṅgahāras.” 17-18. Then Śiva (lit. lord of the world) called Taṇḍu and said, “Speak to Bharata about the use of the Aṅgahāras.” 18- 19. And by Taṇḍu I was told the use of the Aṅgahāras. I shall now speak of them as well as of the various Karaṇas and Recakas.[10] 19-27. The thirtytwo Aṅgahāras are as follows:—Sthirahasta, Paryastaka, Sūcividdha, Apaviddha, Ākṣiptaka, Udghaṭṭita,,Viṣkambha, Aparājita, Viṣkambhāpasṛta, Mattākrīḍa, Svastikarecita, Pārśvasvastika, Vṛścika, (Vṛścikāpasṛta) Bhramara, Mattaskhalitaka, Madavilasita, Gatimaṇḍala, Paricchinna, Parivṛttarecita, Vaiśākharecita, Parāvṛtta, Alātaka, Pārśvaccheda, Vidyudbhrānta. Uddhṛtaka, (Udvṛttaka) Alīḍha, Recita, Ācchurita, Ākṣiptarecita, Saṃbhrānta, Apasarpita, Ardhanikuṭṭaka. Uses of Aṅgahāras 28-29. I shall now speak about their performance dependent on the Karaṇas[11]. [And besides this] “O the best of the Brahmins, I shall tell you about the movements of hands and feet that are proper to the Aṅgahāras. Karaṇas 29- 30. All the Aṅgahāras consist of Karaṇas[12]; hence I shall mention the names of the latter as well as their descriptions. 30-34. The combined [movement of] hands and feet in dance is called the Karaṇa: Two Karaṇas will make one Mātṛkā, and two, three, or four Mātṛkās will make up one Aṅgahāra. Three Karaṇas will make a Kalāpaka, four a Śaṇḍaka, and five a Saṃghātaka. Thus the Aṅgahāras consist of six, seven, eight or nine Karaṇas. I shall now speak of the hand and feet movements making up these (Karaṇas). 31-55. The Karaṇas are one hundred and eight in number and they are as follows: Talapuṣpapuṭa Vartita, Valitoru, Apaviddha, Samanakha, Līna, Svastikarecita, Maṇḍalasvastika, Nikuṭṭaka, Ardhanikuṭṭaka, Kaṭicchinna, Ardharecita, Vakṣaḥsvastika, Unmatta, Svastika, Pṛṣṭhasvastika, Diksvastika, Alāta, Kaṭisama, Ākṣiptarecita, Vikṣiptākṣipta, Ardhasvastika, Añcita, Bhujaṅgatrāsita, Ūrdhvajānu, Nikuñcita, Matalli, Ardhamatalli, Recakanikuṭṭita (Recita-), Padāpaviddhaka, Valita, Ghūrṇita, Lalita, Daṇḍapakṣa, Bhujaṅgatrastarecita, Nūpura, Vaiśākharecita, Bhramaraka, Catura, Bhujaṅgāñcita (ka), Daṇḍakarecita, Vṛścikakuṭṭita, Kaṭibhrānta, Latāvṛścika, Chinna, Vṛścikarecita, Vṛścika, Vyaṃsita, Pārśvanikuṭṭana(-kuṭṭaka), Latāṭatilaka, Krāntaka, Kuñcita, Cakramaṇḍala, Uromaṇḍala, Ākṣipta, Talavilāsita, Argala, Vikṣipta, Āvṛtta (Āvarta), Dolapāda, Nivṛtta, Vinivṛtta, Parśvakrānta, Niśumbhita, Vidyudbhrānta, Ātikrānta, Vivartitaka, Gajakrīḍita, Talasaṃsphoṭita, Garuḍaplutaka, Gaṇḍasūcī, Parivṛtta, Pārśvajānu, Gṛdhrāvalīnaka, Saṃnata (Sannata) Sūcī, Ardhasūci, Sūcīviddha, Apakrānta, Mayūralalita, Sarpita, Daṇḍapāda, Hariṇapluta, Preṅkholita, Nitamba, Skhalita, Karihasta, Prasarpita (-pitaka), Siṃhāvikrīḍita, Siṃhākarṣita, Udvṛtta, Upasṛta, Talasaṃghaṭṭita, Janita, Avahitthaka, Niveśa, Elakākrīḍita, Urūdvṛtta, Madaskhalita, Viṣṇukrānta, Saṃbhrānta, Viṣkambha, Udghaṭṭita (Udghaṭṭa), Vṛṣabhakrīḍita, Lolitaka (Lolita), Nāgāpasarpita, Śakaṭāsya, Gaṅgāvataraṇa. 56. [These Karaṇas will be used] in dance, fight, personal combat, walking as well as movements in general. Foot movements which have been prescribed for the exercise of Sthānas[13] and Cārīs,[14] will apply also to these Karaṇas.[15] 57. And application of the Nṛtta-hastas[16] which have been prescribed for dance, is generally implied in the Karaṇas. 58. I shall treat the Cārīs suitable for [representing] fight at the time of discussing the foot movements. The master [of dramatic art] should apply them on any occasion according to his histrionic talents. 59. In the Karaṇa the left hand should generally be held on the chest, and the right hand is to follow the [right] foot. 60. Listen [now] about the movement of hands and feet in dance in relation to that of hip, sides, thigh as well as to chest, back and belly. 61. The Sthānas, the Cārīs and the Nṛtta-hastas mentioned [before] are known as the Mātṛkās, the variations of which are called the Karaṇas. Definition of Karaṇas 62. Talapuṣpapuṭa—Puṣpapuṭa hand held on the left side, the foot is Agratalasañcara, the side is Sannata (Nata).[17] 63. Vartita—Vyavṛtta(= Vyavartita) and Parivartita hands bent at the wrist, then these hands placed on thighs. 64. Valitoru—Śukatuṇḍa hands to make Vyavartita and Parivartita-karaṇa, and thighs as Valita. 63. Apaviddha—the [tight] hand with Śukatuṇḍa gesture to fall on the [right] thigh, the left hand held on the chest. 66. Samanakha—the two Samankha[18] feet touching each other, two hands hanging down, and the body in a natural pose. 67. Līna—the two Patāka hands held together in Añjali pose on the chest, the neck held high, and the shoulder bent. 68. Svastikarecita—two hands with Recita and Āviddha gesture held together in the form of a Svastika, then separated and held on the hip. 69. Maṇḍalasvastika—two hands moved to unite in the Svastika gesture with their palms turned upwards in a similar manner, and the body in the Maṇḍala Sthāna (posture). 70. Nikuṭṭaka—each of the hands to be moved up and down[19] alternately between the head and another arm, and the legs also moved in a similar manner. 71. Ardhanikuṭṭaka—hands with Alapallava[20] gesture bent towards shoulders, and legs moved up and down. 72. Kaṭicchinna—the hip serially in the Chinna pose, two Pallava hands held alternately and repeatedly on the head. 73. Ardharecita—hand with Sūcimukha[21] gesture to move freely, feet to move alternately up and down, side in Sannata (i.e. Nata) pose. 74. Vakṣaḥsvastikā—two legs on each other in the form of a Svastika, the two Recita hands brought together in a similar manner on the chest which is bent (nikuñcita). 75. Unmatta—feet to be Añcita and hands to be Recita. 76. Svastika—hands and feet respectively held together in the Svastika form. 77. Pṛṣṭhasvastika—two arms after being thrown up and down coming together as a Svastika, two feet also to come together as a Svastika with Apakrānta and Ardhasūcī Cārīs. 78. Diksvastika—turning sideways and towards the front in course of a single (lit. connected) movement, and forming Svastika with hands and feet. 79. Alāta—after making Alāta Cārī[22] taking down hand from [the level of] the shoulder,[23] then making Ūrdhvajānu Cārī.[24] 80. Kaṭisama—feet to be separated, after the Svastika Karaṇa, of the two hands one to be placed at the navel and the other at the hip, and the sides in the Udvāhita[25] pose. 81. Ākṣiptarecita—the left hand on the heart, the right hand Recita and thrown up and sideways, and then the two hands to be Recita with Apaviddha (Āviddhaka) gestures. 82. Vikṣiptākṣiptaka—hands and feet first thrown up, then again thrown down. 83. Ardhasvastika—the two feet to make the Svastika, the right hand making the Karihasta gesture, and the left one lying on the chest. 84. Añcita—in the Ardhasvastika the Karihasta to be alternately in Vyavartita (Vyavṛttā) and Parivartita movement, and then bent upon the tip of the nose. 85. Bhujaṅgatrāsita—the Kuñcita feet to be thrown up, the thighs to have an oblique Nivartana (Nivṛtta) movement, the hip and the thigh also to have the same movement. 86. Ūrdhvajānu—a Kuñcita foot to be thrown up, and the knee to be held up (lit. stretched) on a level with the chest, and the two hands to be in harmony with the dance. 87.[26] Nikuñcita—feet to be moved as in the Vṛścika-karaṇa, two hands to be bent at the sides, the right hand to be held at the tip of the nose. 88. Matalli—making a whirling movement while throwing back the two feet (left and right), and moving hands in the Udveṣṭita and Apaviddha movement. 89. Ardhamatalli—feet to be drawn away from the position in the Skhalita-karaṇa[27], left hand Recita, and afterwards to be put on the hip. 90. Recitanikuṭṭita—the right hand to be Recita, left foot Udghaṭṭita (= Nikuṭṭita)[28], and the left hand with Dolā gesture. 91. Pādāpaviddhaka—the Kaṭakāmukha hands with their back against the navel, and feet to be in Sucī and [then] the Apakrānta Cārī. 92. Valita—hands to be Apaviddha, feet to be in Sūcī Cārī Trika turned round [in the Bhramarī Cārī]. 93. Ghūrṇita—the left hand in Valita and moved round, the right hand with Dolā gesture, and the two feet to be drawn away from each other from Svastika position. 94. Lalita—the left hand with Karihasta gesture, the right one to be again turned aside (apavartita), two feet to be moved up and down.[29] 95. Daṇḍapakṣa—observing Ūrdhvajānu Cārī, Latā hands to be placed on the knee. 96. Bhujaṅgatrastarecita—the feet to be in Bhujaṅga-trasta Cārī, the two hands to be Recita and moved to the left side. 97. Nūpura—the Trika to be gracefully turned round, [in the Bhramarī Cārī] the two hands to show respectively Latā and Recita gestures, and the Nūpurapāda Cārī with the feet. 98. Vaiśākharecita—hands and feet to be Recita, so the hip and the neck, and the entire body in Vaiśākha Sthāna (posture). 99. Bhramaraka—Svastika feet in Āskipta Cārī, hands in Udveṣṭita movement, and Trika[30] turned round [in the Bhramarī Cārī]. 100. Catura—the left hand with Añcita, (i. e. Alapallava)[31] gesture, the right hand with Catura gesture, the right feet in Kuṭṭita (i.e. Udghaṭṭita)[32] pose. 101. Bhujaṅgāñcita—the feet in Bhujaṅgatrāsita Cārī, the right hand Recita, the left hand with Latā gesture. 102. Daṇḍakarecita—hands and feet to be freely thrown about on all sides like a staff (daṇḍa), and the same hands and feet to be Recita afterwards. 103. Vṛścikakuṭṭita—assuming the Vṛścika-karaṇa and the hands with Nikuṭṭita movement.[33] 104. Kaṭibhrānta—the Sūcī Cārī, the right hand with the Apaviddha (Āviddha) gesture and the hip to be moved round. 105. Latāvṛścika—a foot to be Añcita and turned backwards, and the left hand to be with Latā gesture its palm and fingers bent and turned upwards. 106. Chinna—the Alapadma hand to be held on the hip which in Chinna pose, the body in the Vaiśākha Sthāna (posture). 107. Vṛścikarecita—assuming the Vṛścika-karaṇa, the two hands in the form of a Svastika gradually to be Recita and to show Viprakīrṇa gesture. 108. Vṛścika—the two hands bent and held over the shoulders, and a leg bent and turned towards the back.[34] 109. Vyaṃsita—assuming Ālīḍha Sthāna, the two hands to be Recita and held on the chest and afterwards moved up and down with Viprakīrna gesture. 110. Pārśvanikuṭṭaka—Svastika hands to be held on one side, and the feet to be Nikuṭṭita.[35] 111. Lalāṭatilaka—after assuming the Vṛścika.-karaṇa a mark (tilaka) in the forehead to be made with a great toe. 112. Krāntaka—bending a Kuñcita leg behind the back, the Atikrāntā Cārī, then the two hands to be thrown down. 113. Kuñcita—a leg to be first Añcita and left hand to be held on the left side with its palm upwards. 114. Cakramaṇḍala—the inner Apaviddha (Aḍḍitā)[36] Cārī with the body bent and held down between the two arms hanging straight. 115. Uromaṇḍala—two feet drawn away from the Svastika position and used in Apaviddha (Aḍḍitā) Cārī and hands in Uromaṇḍala gesture. 116. Ākṣipta—hands and feet to be thrown about swiftly in this Karaṇa. 117. Talavilasita—foot with the toe and the sole turned upwards and held high on the side, and the palm of hands bent. 118. Argala—feet stretched backwards and kept two Tālas and a half apart, and hands moved in conformity with these. 119. Vikṣipta—hands and feet to be thrown backward or sideways in the same way. 120. Āvarta—the Kuñcita feet put forward and the two hands moved swiftly to befit the dance. 121. Dolāpāda—the Kuñcita feet thrown up, and two hands swinging from side to side in a manner befitting the dance. 122. Nivṛtta—hands and feet first thrown out, and the Trika to be turned round and the two hands to be Recita. 123. Vinivṛtta—observing the Sūcī Cārī, the Trika to be turned round and hands to be Recita. 124. Pārśvakrānta—observing the Parśvakrānta Cārī, throwing out hands towards the front, and moving them in a manner befitting the dance. 125. Niśumbhita—a foot bent towards the back, the chest raised high, and the hand held at the centre of the forehead (tilaka).[37] 126. Vidyudbhrānta[38]—foot turned backwards and the two hands in the Maṇḍalāviddha[39] gesture stretched very close to the head. 127. Atikrānta—observing the Atikrānta Cārī, the two hands stretched forward in a manner befitting the dance. 128. Vivartitaka—hands and feet to be thrown out, the Trika to be turned round and hands to be Recita. 129. Gajākrīḍita—the left hand bent and brought near the [left] ear, and the right hand in Latā gesture and the feet Dolāpāda Cārī. 130. Talasaṃsphoṭita[40]—a foot to be swiftly lifted up and put forward, the two hands showing Talasaṃsphoṭita[41] gesture. 131. Garuḍaplutaka—the two feet to be stretched backwards and the two hands—right and left—to be respectively with Latā and Recita gestures, and the chest raised up. 132. Gaṇḍasūcī—the feet to be in Sūcī position, the side to be Unnata, one hand to be on the chest and the other to bend and touch the cheek. 133. Parivṛtta—the hands raised in Apaveṣṭita gesture, the feet in Sūcī position, the Trika is turned round (in the Bhramarī Cārī). 134. Pārśvajānu—one foot in Sama position and the opposite thigh raised, and one Muṣṭi hand on the chest. 135. Gṛdhrāvalīnaka—one foot stretched backwards and one knee slightly bent and the two arms outstretched, 136. Sannata—after jumping, the two feet are to be put forward in Svastika form and the two hands to show Sannata[42] (i.e. Dolā) gesture. 137. Sūcī—a Kuñcita foot to be raised and put forward on the ground, and the two hands to be in harmony with the performance. 138. Ardhasūcī—the Alapadma hand is held on the head, the right foot is in Sūcī [Cārī] position. 139. Sūcīviddha—one foot of Sūcī Cārī being put on the heel of another foot, the two hands to be respectively put on the waist and the chest. 140. Apakrānta—after making the Valita thigh, Apakrāntā Cāri is to be performed, the two hands to be moved in harmony with the performance. 141. Mayūralalita—after assuming the Vṛścika Cārī two hands to be Recita, and the Trika to be turned round [in the Bhramarī Cārī]. 142. Sarpita—the two feet to be moved from the Añcita position and the head with Parivāhita gesture, and the two hands are Recita. 143. Daṇḍapāda—after the Nūpura Cārī, Daṇḍapāda Cārī should be observed and the Āviddha hand should be shown quickly. 144. Hariṇapluta—after observing the Atikrāntā Cārī one jumps and stops, and then one of the shanks are bent and thrown up. 145. Preṅkholitaka—after observing the Dolāpāda Cārī (= krama) one is to jump and let the Trika turn round in the Bhramarī Cārī and come at test. 146. Nitamba—arms to be first thrown up and hands to have their fingers pointing upwards and the Baddhā Cārī to be observed. 147. Skhalita—after observing Dolāpādā Cārī, hands with Recita gesture to be turned round in harmony with this. 148. Krihasta—the left hand is to be placed on the chest, the palm of the other hand to be made Prodveṣṭita-tala, the feet to be Añcita. 149. Prasarpitaka—one hand to be Recita and the other with Latā gesture, and feet to be Saṃsarpitatala (= Talasañcara). 150. Siṃhavikrīḍita—after observing the Alātā Cārī one is to move swiftly and hands to follow the feet. 151. Siṃhākarṣita—one foot to be stretched backwards and hands to be bent and turned round in the front and again to be bent. 152. Udvṛtta—hands, feet and the entire body to be moved violently (lit. thrown up) and then Udvṛttā Cārī to be observed. 153. Upasṛtaka—observing Ākṣiptā Cārī and hands in harmony with this Cārī. 154. Talasaṃghaṭṭita—observe the Dolāpādā Cārī two palms will clash with each other and the left hand to be Recita. 155. Janita—one hand to be on the chest, the other hanging loosely and observing Talāgrasaṃsthitā (Janitā) Cārī[43]. 156. Avahitthaka—after observing Janitā-karaṇa raising hands with fingers spread out and then letting them fall slowly. 157. Niveśa—the two hands will be on the chest which should be Nirbhugna and the dancer should assume Maṇḍala Sthāna (posture). 158. Elakākrīḍita—jumping with Talasañcara[44] feet and coming to the ground with the body bent and turned. 159. Ūrūdvṛtta—a hand made Āvṛtta (Vyavartita) and then bent and placed on the thigh, shanks made Añcita[45] and Udvṛtta. 160. Madaskhalitaka—two hands hanging down, the head assuming the Parivāhita gesture, the right and the left feet to be turned round in Āviddhā Cārī. 161. Viṣṇukrānta—a foot stretched forward and bent as if on the point of walking, and hands to be Recita. 162. Saṃbhrānta—a hand with Āvartita (Vyavartita) movement placed on the thigh which is made Āviddha.[46] 163. Viṣkambha—a hand to be Apaviddha,[47] Sūcī Cārī, foot to be made Nikuṭṭita and the left hand on the chest. 164. Udghaṭṭa—feet to be in Udghaṭṭita[48] movements and hands in Talasaṃghaṭṭita movement[49] are to be placed on two sides. 165. Vṛṣabhakrīḍita—after observing the Alāta Cārī two hands to be made Recita, and afterwards these should to be made Kuñcīta and Añcita. 166. Lolita—hands on the two sides to be Recita and Añcita, and the head Lolita and Vartīta. 167. Nagāpasarpita—to draw back feet from Svastika position and the head to be Parivāhita and hand to be Recita. 168. Śakaṭāsya—beginning with body at rest, advancing with a Talasañcara[50] foot and making the chest Udvāhita. 169. Gaṅgāvataraṇa—foot with the toes and the sole turned upwards, hands showing Tripatāka with the fingers pointing downwards and the head being Sannata.[51] The Aṅgahāras 170. I have spoken of one hundred and eight Karaṇas. I shall now describe the different Aṅgahāras.[52] 171-173.[53] Sthirahasta—stretching two arms and throwing them up, taking up Samapāda Sthāna, the left hand stretched upwards from the level of the shoulder, taking up afterwards the Pratyālīḍha Sthāna, then observing, successively the Nikuṭṭita, Ūrūdvṛtta, Ākṣipta, Svastika, Nitamba, Karihasta and Kaṭicchinna, Karaṇas. 174-176. Paryastaka—observing Talapuṣpapuṭa, Apaviddha, and Varṭita Karaṇas, then taking up Pratyālīḍha Sthāna, then assuming Nikuṭṭaka, Ūrūdvṛtta, Ākṣipta, Uromaṇḍala, Nitamba, Karihasta, Kaṭicchinna, Karaṇas, 176-178. Sūcīviddha—after showing Alapallava (Alapadma) and Sūcī (-mukha) gestures assuming one after another Vikṣipta. Āvartita, Nikuṭṭaka, Ūrūdvṛtta, Āksipta, Uromaṇḍala, Karihasta, and Kaṭicchinna Karaṇas. 178-180. Apaviddha—Apaviddha and Sūcīviddha Karaṇas, then observing Udveṣṭita-karaṇa with hands and turning the Trika, showing with hands Uromaṇḍalaka gestures and assuming Kaṭicchinna Karaṇa. 180-182. Ākṣiptaka—assuming successively Nūpura, Vikṣipta, Alātaka, Ākṣipta, Uromaṇḍala, Nitamba, Karihasta and Kaṭicchinna Karaṇas. 182-184. Udghaṭṭita[54]—moving Udveṣṭita and Apaviddha (Aviddha) hands and the two feet to be Nikuṭṭita, and again changing them to Uromaṇḍala gesture and then assuming successively Nitamba, Karihasta and Kaṭicchinna Karaṇas. 184-187. Viṣkambha—hands by turns made Udveṣṭita, feet are successively made Nikuṭṭita and bent, then assuming Ūrūdvṛtta-karaṇa hands to be made Caturasra[55] and feet Nikuṭṭaka, assuming then Bhujaṅgatrāsita-karaṇa hands to be made Udveṣṭita, assuming Chinna and Bhramaraka Karaṇas while Trika is to be moved, then Karihasta and Kaṭicchinna Karaṇas to be assumed. 187-190. Aparājita—assuming Daṇḍapāda-karaṇa, hands having Vikṣipta and Ākṣpita[56] movement, then assuming Vyaṃsita-karaṇa the left hand moving along with the left foot, then hands being Caturasra and feet having Nikuṭṭaka movement, assuming Bhujaṅgatrāsita-karaṇa and hands having Udveṣṭita movement, then assuming successively the two Nikuṭṭakas (i.e. nikuṭṭa and ardhanikuṭṭa) Ākṣipta, Uromaṇḍala, Karihasta and Kaṭicchinna Karaṇas. 190-192. Viṣkambhāpasṛta—assuming Kuṭṭita and Bhujaṅgatrāsita Karaṇas, Recīta hand to show the Patāka gesture, then to be assumed successively Ākṣiptaka, Uromaṇḍala, Latā, Kaṭiccheda Karaṇas. 192-195. Mattākrīḍa—assuming Nūpara-karaṇa by turning Trika, then assuming Bhujaṅgatrāsita-karaṇa assuming next Recita-karaṇa with the right foot, and then assuming successively Ākṣiptaka, Chinna, Bāhyabhramaraka, Uromaṇḍala, Nitamba, Karihasta, Kaṭiccheda Karaṇas. 196-197. Svastikarecita[57]—hands and feet are Recita, then assume Vṛścika-karaṇa and again repeat this movement of the hand and feet, and then Nikuṭṭaka-karaṇa and the Latā gesture alternately with the right and the left hand, and then Kaṭicchinna-karaṇa 197-200.[58] Pārśvasvastika—assuming (Dik-) svastika from one side and then the Ardhanikuṭṭaka, all these to be repeated on the side, then the Āvṛtta (Vyāvartita) hand to be placed on the thigh, then to assume successively Ūrūdvṛtta, Ākṣipta, Nitamba, Karihasta and Kaṭicchinna Karaṇas. 200-202. Vṛścikāpasṛta—assuming Vṛścika-karaṇa holding the Latā band to be held on the nose, after moving the same hand in Udveṣṭita movement, then assuming successively Nitamba, Karihasta and Kaṭicchinna Karaṇas. 202-204. Bhramara—assuming successively Nūpurapāda, Ākṣipṭaka, Kaṭicchinna, Sūcīviddha, Nitamba, Karihasta, Uromaṇdala and Kaṭicchinna Karaṇas. 204-206. Mattaskhalitaka—assuming Matalli-karaṇa and moving round the right hand and bending and placing it near the [right] cheek, then assuming [successively] Apaviddha, Talasaṃsphoṭita, Karihasta and Kaṭicchinna Karaṇas. 206-208. Madavilasita—moving with Dolā hands and Svastikāpasṛta feet, making hands Añcita as well as Valita and then assuming successively Talasaṃghaṭṭita, Nikuṭṭaka, Ūrūdvṛtta, Karihasta and Kaṭicchinna Karaṇas. 208-210. Gatimaṇḍala—after assuming Maṇḍala Sthānaka and making the hands Recita and the feet Udghaṭṭita assuming successively Matalli, Ākṣipta, Uromaṇḍala and Kaṭiccheda Karaṇas. 210-212. Paricchinna—after the Samapāda Sthānaka[59] assuming Paricchinna (i.e. Chinna)-karaṇa then with Āviddha foot assuming Bāhya Bhramaraka1 and with the left foot assuming Sūcī-karaṇa and then observing [successively] Atikrānta, Bhujaṅgatrāsita, Karihasta and Kaṭicchinna Karaṇas. 212-216. Parivṛttakarecita—holding on the head hands in loose Svastika form and then after bending the body, the left hand to be made Recita, and raising the body, again the same hand to be made Recita, after this hands to show Latā gesture and assuming successively Vṛścika, Recita, Karihasta, Bhujaṅgatrāsita, Ākṣiptaka Karaṇas, then have Svastika foot; all this to be repeated after turning back completely, then asssume [successively] Karihasta. 216-219. Vaiśākharecita—along with body the two hands to be made Recita and all this is to be repeated with the body bent, then observe Nūpurpāda Cārī and Bhujaṅgatrāsita, Recita, Maṇḍalasvastika, afterwards bending shoulder Ūrūdvṛtta, Ākṣipta, Uromaṇḍala, Karihasta and Kaṭicchinna Karaṇas are to be assumed. 219-221. Parāvṛtta—assuming Janita-karaṇa and putting forwards a foot, then assuming Alātaka-karaṇa and turning the Trika, [in the Bhramrī Cārī] afterwards the left hand bent and on the cheek, then assuming Kaṭicchinna Karāṇa. 221-223. Alātaka—assuming Svastika, Vyaṃsita [in it hands being Recita], Alātaka, Ūrdhvajānu, Nikuñcita, Ardhasūcī, Vikṣipta, Udvṛtta, Ākṣipta, Karihasta and Kaṭicchinna Karaṇas one after another. 223-225. Pārśvaccheda—holding Nikuṭṭita hands on the chest assuming Ūrdhvajānu, Ākṣipta, Svastika Karaṇas, Trika to be turned round, then Uromaṇḍala, Nitamba, Karihasta and Kaṭicchinna Karaṇas to be assumed. 226- 227. Vidyudbhrānta—assuming Sūcī-karaṇa using the the left foot first, and Vidyudbhrānta-karaṇa using the right foot first, then Sūcī-karaṇa with the right foot moved first, and Vidyudbhrānta with the left foot moved first, afterwards assuming Chinna-karaṇa, and turning round the Trika, then Latā and Kaṭicchinna Karaṇas. 227- 229. Udvṛttaka—assuming Nūpurapāda Cārī hanging the right and the left hands by the side, and with them assuming Vikṣipta-karaṇa, with these hands assuming [again] Sūcī-karaṇa, and turning round the Trika [in Bhramari Cārī] and then assuming Latā and Kaṭicchinna Karaṇas. 229-231. Ālīḍha—assuming Vyaṃsita-karaṇa, striking the hands on the shoulder, and then Nūpura K, with the left foot [moving first], afterwards Alāta and Ākṣiptaka Karaṇas with the right foot [moving first] and then making Uromaṇḍala gestures with hands and assuming Karihasta and Kaṭicchinna Karaṇas. 231-233. Recita—showing Recita hand, bending it on one side and making the [same] Recita movement and then repeating this movement after bending the entire body, assuming successively Nūpurapādā, Bhujaṅgatrāsita, Recita, Uromaṇḍala and Kaṭicchinna Karaṇas. 234-235. Ācchurita—assuming Nūpura Cārī, turning the Trika round, assuming Vyaṃsita-karaṇa and again turning round the Trika, then assuming successively Alātaka-karaṇa from the left [side] and Sūcī, Karihasta and Kaṭicchinna Karaṇas. 236-238. Ākṣiptarecita—Svastika feet to be in Recita and so the Svastika hands, then with the same (i.e. Recita) movement they should be separated, and with the same Recita movement they are to be thrown up, then assuming successively Udvṛtta, Ākṣipta, Uromaṇḍala, Nitamba, Karihasta and Kaṭicchinna Karaṇas. 239-241. Saṃbhrānta—assuming Vikṣipta-karaṇa throwing out the left hand with Sūcī gesture, the right hand placed on the chest, Trika to be turned [in the Bhramarī Cārī] then assuming successively Nūpura, Ākṣipta, Ardhasvastika, Nitamba, Karihasta, Uromaṇḍala and Kaṭicchinna Karaṇas. 242-243. Apasarpita—observing Apakrāntā Cārī and assuming Vyaṃsita-karaṇa with the hands moving in Udveṣtita manner, then assuming successively Ardhasūcī, Vikṣipta, Kaṭicchinna, Udvṛtta Ākṣiptaka, Karihasta and [again] Kaṭicchinna Karaṇas. 244-245. Ardhanikuṭṭaka—observing swiftly Nūpurapādikā Cārī, hands to move in harmony with the feet and Trika to turn round [in the Bhramarī Cārī], then hands and feet to make Nikuṭṭita movement, afterwards assuming Uromaṇḍala, Karihasta, Kaṭicchinna and Ardhanikuṭṭaka Karaṇas. The Recakas 246. I have spoken of these thirtytwo Aṅgahāras; I shall now describe the four Recakas[60]; please listen about them: 247. Among the Recakas the first is that of the foot, the second is that of the waist, the third is that of the hand and the fourth is that of the neck. 248. The term Recita [relating to a limb] means moving it round separately (i.e. not in any Karaṇa or Cārī) or its drawing up or its movement of any kind separately. 249. Pāda-recaka—Going from side to side with wavering feet or with differently moving feet, is called their Recaka. 250. Kaṭi-recaka—Raising up the Trika and the turning of the waist as well as its drawing back, is called the Kaṭi-recaka. 251. Hasta-recaka—Raising up, throwing out, putting forward, turning round and drawing back of the hand is called its Recaka. 252. Grīvā-recaka—Raising up, lowering and bending the neck sideways, and other movements of it are called its Recaka. 253-254. Seeing Śaṃkara (Śiva) dance with Recakas and Aṅgahāras, Pārvatī too performed a Gentle Dance (lit. danced with delicate forms), and this dance was followed by the playing of musical instruments like Mṛdaṅga,[61] Bherī, Paṭaha, Jhañjhā, Diṇḍima, Gomukha, Paṇava and Dardura. 255. [Besides on this occasion] Maheśvara (Śiva) danced in the evening after the break-up (lit. destruction) of Dakṣa’s sacrifice[62] with different Aṅgahāras and in conformity with proper time beat (tāla) and tempo (laya). 256. Gaṇas like Nandī and Bhadramukha seeing then [in course of this performance of Śiva], Piṇḍībandha[63] [of different dance forms] gave names to them [and imitated these] well. 257-263. Names of Piṇḍīs specially attached to different gods and [goddesses are as follows]: Śiva—Vṛṣa, Nandī—Paṭṭisī, Caṇḍikā (Kālī)—Siṃhavāhinī, Viṣṇu—Tārkṣya, Svayambhu—(Brahmā)—Padma (lotus), Śakra (Indra)—Airāvatī, Manmatha—Jhaṣā, Kumāra (Kārtikeya)—Śikhī (peacock), Śrī (Lākṣmī)—Ūlu (owl), Jāhṇavī (Gaṅgā)—Dhārā, Yama—Pāśa, Varuṇa—Nadī, Dhanada (Kuvera)—Yākṣī, Bala (-rāma)—Hala (plough), Bhogins (serpents)—Sarpa, Ganeśvaras (the lords of Gaṇas)[64]—Dakṣayajñavimardinī, The [Piṇḍī] of Śiva, the killer of Andhaka[65], will be Raudrī in the form of his trident. The Piṇḍīs of the remaining gods and goddesses will be similarly named after (lit. marked with) their own banners. 263-264. After inventing the Recakas, Aṅgahāras and Piṇḍīs, Śiva communicated them to the sage Taṇḍu[66] who in his turn made out of them dance together with songs and instrumental music; and hence this dance is known as Tāṇḍava (i.e. of Taṇḍu’s creation). Sages speak. 265. Use of Gestures etc. (abhinaya) having been devised by the experts, for drawing out the sense [of songs and speeches in a play], what led to the making of dance (nṛtta), and what is its nature? 266. Why is dance made in connexion with the Āsārita songs?, It does neither relate to its meaning nor reflect its spirit. 267. [In answer to these questions] it is said that the dance is occasioned by no specific need; it has come into use simply because it creates beauty. 268. As dance is naturally loved by almost all people, it is eulogised as being auspicious. 269. It is eulogised also as being the source of amusement on occasions of marriage, child-birth, reception of a son-in-law, general festivity and attainment of prosperity. 270. Hence the host of Bhūtas have ever praised the Pratikṣepas[67] which are used in songs and in regulating the division of dances. 271. Śiva (lit. god) too was pleased to say to Taṇḍu, “Perform this dance in connexion with the singing of songs. 272. The Class Dance (tāṇḍava)[68] is mostly to accompany the adoration of gods, but its gentler form (sukumāra-prayoga) relates to the Erotic Sentiment. Vardhamānaka 273. Now while coming to discuss the Vardhamānaka I shall describe rules regarding the performance of the Class Dance as it was performed by Taṇḍu. 274. As in its performance Kalā and tempo (laya) attain vṛddhi (increment) due to the increment of Akṣaras it is called the Vardhamānaka. Āsārita 275. After setting down the musical instruments (kutapa) the producers [of plays] should get the Āsārita performed. 276. Then after the Upohana has been performed to the accompaniment of drums and stringed instruments, a female dancer should enter [the stage] with the playing of stringed instruments and drums. 277. This playing of the [instrumental] music should be in pure Karaṇa and Jāti. And then a Cārī should be performed with steps in accompaniment of music. 278. On entering the stage with flowers in her hands the female dancer should be in the Vaiśākha Sthāna (posture) and perform all the four Recakas (i. e. those of feet, hand, waist and neck). 279. Then she should go round the stage scattering flowers from her hands to gods, and after bowing to them, she should make use of different gestures. 280. Instrumental music should not be played when there is any song to be delineated by gestures, but at the performance of Aṅgahāras drums must be employed. 281. The playing of drums (lit. instrumental music) during the Class Dance should be Sama, Rakta, Vibhakta and distinctly heard on account of clear strokes and should be properly following different aspects of the dance. 282. After following the song [with her dance] the dancer should make her exit and others [like her] will enter [the stage] in the same manner. 283. These other women will in due order form Piṇḍīs[69] and till all these are formed they will perform the Paryastaka. 284. After forming [Piṇḍīs] these women will make their exit, and during the formation of the Piṇḍīs an instrumental music which has various Oghas and Karaṇas should be played, and it should be similar to the music at the time of the Paryastaka. 285-287. Then this Upohana should be again performed as before, and the Āsārita too; a song also should be sung and a female dancer should enter the stage in the manner described before, and she should delineate [the meaning of the song in the second Āsārita by suitable gesture] and translate the subject-matter (vastu)[70] into a dance. 288. After finishing the Āsārita the female dancer should make her exit, and then another female dancer should enter the stage and make a similiar performance. 289. Thus at every step the rules of Āsārita should be followed by singers as well as players of the instrumental music. 290 [During all these performances] the first foot[71] of the song should be sung once, the second twice, the third thrice, and the fourth four times.[72] 291. The Piṇḍīs have four varieties: Piṇḍī [proper] Śṛṅkhalikā, Latābandha, and Bhedyaka.[73] 292. The name Piṇḍī or Piṇḍībandha is due to its being a Piṇḍī (lump), a cluster (gulma)[74] is called Śṛṅkhalikā,[75] and that which is held together [as it were] by a net, is Latābandha,[76] and Bhedyaka[77] is to be the [separate] dance of individuals. 293.[78] The Piṇḍībandha is to be applied in the first (lit. shortest Āsārita), Śṛṅkhalā at the Layāntara, the Latābandha in the middle one, and the Bhedyaka in the longest (i.e. Āsārita). 294. Origin [of Piṇḍīs] is twofold: Yantra and Bhadrāsana.[79] These should be learnt and properly applied by the producers [of plays]. Chandaka 295. In the Vardhamāna the producer should thus use [dances]. I shall speak again about the rules regarding the performance of Chandaka songs. 296-297. I shall now speak of the dance and the instrumental music that should accompany songs consisting of the Vastu[80] as well as of their (Aṅgas). During the performance of this song and music, a female dancer should enter the stage; at that time all the drums are to be sounded and all the stringed instruments are to be played with Kṣepa and Pratikṣepa.[81] 298. First of all, the entire words of the song should be represented by gestures, and next the same should be shown by a dance. 299. Directions given above regarding the dance, use of gestures and the instrumental music will apply equally to the subject matter of the songs in the Āsārita. 300. This is the rule with regard to songs consisting of the Vastu. Now listen to description of songs made by Aṅgas. 301. Rules regarding the dance, use of gestures and the instrumental music which apply to words [of songs] are equally applicable in case of Chandakas which are composed of their Aṅgas (limbs). 302. During the Mukha and the Upohana the instrumental music should be played with heavy and light Akṣaras (strokes) by keeping them distinct (lit. separate). 303. When in course of a song some of its parts are repeated, the parts uttered first should be delineated by gestures and the rest are to be translated into dance. 304-305. When in course of a song some of its parts are repeated, it should be followed by the instrumental music which observes the rule of three Pānis and three kinds of tempo. On an occasion like this the instrumental music should follow the [proper] tempo. 305-308. The Tattva, the Anugata and the Ogha relate to the Karaṇa. Among these, the Tattva is to be applied in slow tempo, the Anugata in medium tempo and the Ogha in quick tempo. This is the rule regarding the instrumental music. [Different] parts of the song in case of a Chandaka are to be repeated. This is always the rule in [combining] the dance, gestures and the song, in case of songs composed in metre (nibaddba) commencement (graha of the playing of drums) should take place at their end, but in the repetition of the parts [of a large song] such commencement should take place from the beginning. Gentle Dance 309. This should be the procedure in performing the Āsārita songs. Now consider the Gentle Dance relates to the adoration of gods, 310. The Gentle Dance with the Erotic Sentiment [relates to] a dialogue between a man and a woman when they are in love. Occasions suited to dance 311. Now listen, O Brahmins, about occasions in plays when dance should be introduced in course of songs. 312. Experts should apply dance when the principal words of a song [in a play] as well as its [ornamental adjunct known as] Varṇa[82] comes to a close or when any character attains good fortune [in a play]. 313. And dance should take place on an occasion in a play when something connected with love occurs between a married couple, for it (the dance) will be a source of joy. 314. Dance related to the meaning of the song should also take place in any scene of a play when the lover is near and a [suitable] season or the like is visible. Occasions when dances are prohibited 315. But dance should not be applied to the part of a young woman who is enraged (khaṇḍitā),[83] deceived (vipralabdhā);[84] or separated [from her lover] by a quarrel (kalahāntaritā).[85] 316. Dance should not be applied also at a time when a dialogue is going on with a female friend or when the beloved one is not near at hand, or has gone abroad. 317. And besides this when one realises the appearance of one of the seasons or the like from the words of a Messenger, and feels eagerness or anxiety on account of this, no dance should be applied. 318. But if during the performance of any part of the play, the heroine is gradually pacified, dance is to be applied till its end. 319. If any part of a play relates to the adoration of Śiva (lit. the deity) one should perform there a dance with energetic Aṅgahāras which he himself Maheśvara (Śiva) created. 320. And any love-song mentioning relations between men and women should be followed by a dance with delicate Aṅgahāras which Pārvati (lit. the goddess) created. Playing of drums 321. I shall now speak of the rules about the playing of drums which should follow four-footed Narkuṭaka,[86] Khañjaka[87] and Parigītaka. 322. Playing of drums should begin with the Sannipāta Graha at a time when a foot of the Dhruvā of the Khañja or the Narkuṭa class has been sung. 323. In course of a Dhruvā which consists of even number of feet with equal number of syllables, the drum should be played with the Graha by the fore finger after its [first] foot has been sung. 324. [After performing the Dhruvā song with the playing of drums as directed above] this song should be repeated with proper gestures [to delineate it], and it should be again sung, and at the end of its last foot drum should be played. When drums are not to be played 325. Drums should not be played at a time when the principal song or its Varṇas have been finished or it is beginning afresh. 326. During the Antara-mārga which may be made by Trantris or Karaṇas, the Class Dance should be followed by drums as well as the Sūcī Cātī. 327. One who will perform well this dance created by Maheśvara (Śiva) will go [at his death] free from all sins to the abode of this deity. 328. These are the rules regarding the Class Dance arising out of its application. Tell me what more I am to speak now about the rules of the Nāṭyaveda. Here ends Chapter IV of Bharata’s Nāṭyaśāstra, which treats of the Characteristics of the Class Dance. Footnotes and references: [back to top] [1]: The legend about the churning of the ocean occurs in the Mbh. (I. 17-19) and the Viṣṇu P. (1) See Winternitz, Vol. I pp. 389, 546, [2]: See XX. 69 ff. [3]: ḍima—one of the plays of the major type; for its characteristics see XX. 84 ff. [4]: Tripuradāha—As Śiva killed an Asura (demon) named Tripura, by burning him by one of his fiery arrows he is called Tripurāntaka. See JK. sub voce. [5]: aṅgahāra—major dance figures which depend on minor dance figures (karaṇas) The word means ‘movement of limbs’. See Ag. (I. p. 91). [6]: See below 29-30 note 1. For details about the Aṅgahāras see below 16 ff, ff. [7]: See V. 12-15 note 3. [8]: See V. 21 note 1. [9]: See V. 60-63 note 3. [10]: 18-19 1 See below 247ff. [11]: 28-29 1 For details about karaṇa see 30ff below. [12]: 29-30 1 karaṇa—minor dance figure. See Ag. (I 93) [13]: See XI. 49 ff. [14]: See XI. 2 ff. [15]: B. G. read one hemistich more before 56a. It does not occur in some mss. Ag. records this fact. Though these 108 karaṇas constitute general dance, which is sometimes interpolated in the acting to fill up its gaps, they (karaṇas) may be also used to embellish the movement of limbs in fights of any kind. See Ag. (I. pp. 96). [16]: For nṛttahastas see IX. 177 ff. [17]: For the sake of convenience, constituent parts of the karaṇas have been separately mentioned. This method has been followed by A. K. Coomaraswamy in MG. [18]: samanakha feet has nowhere else been mentioned in the NŚ. [19]: nikuṭṭita=nikuṭṭana. Ag. (I. p. 103) quoted the definition of nikuṭṭana from Kohala as follows: “unnamaṇaṃ vinamanaṃ syād aṅgasya nikuṭṭanam”. [20]: For kuñcita B.G. read añcita, But Ag. (1. p. 204) read kuñcita and means by this word the alapallava gesture. [21]: By apaviddba Ag. (I. p. 105) means the sūcīmukha gesture. [22]: caraṇa = cārī. [23]: vyaṃsayet= aṃsād viniṣkramaṇaṃ kuryāt (Ag). [24]: krama = cārī. [25]: udvāhīta side is nowhere else mentioned in the NŚ. [26]: NŚ, does not know any caraṇa or cārī of this name, while a K. of this name occurs, and one karaṇa is very often used to define another karaṇa; see texts for 84 above, 103 and 107 below. In all these cases some mss. read karaṇa instead of caraṇa. [27]: khalitāpasṛtān pādāu feet drawn away from the position of the skhalita K. [28]: According to Ag, udghaṭṭita = nikuttitā for which see above 70 note. [29]: See IX. 191. [30]: Trika used here and many times afterwards means the trikāsthi (sacrum) the lowest point in the vertibral column where the two other bones of the legs meet. [31]: This is Ag’s interpretation of Añcita. [32]: This is Ag’s interpretation. [33]: See above 70 note. [34]: Ag. interprets the passage differently. [35]: See above 70 note. [36]: According to Ag. apaviddha = aḍḍitā cārī for which see XI. 22. [37]: Ag. interprets differently. [38]: Ag. interprets differently. [39]: Nowhere defined in NŚ. [40]: Ag. interprets the passage, differently. [41]: Defined nowhere in NŚ. [42]: According to Ag. Sannata = Dolāhasta. [43]: According to Ag. Talāgrasaṃsthitā pāda means Janitā cari. [44]: Same as agratalasañcara, see X. 46. [45]: Defined nowhere in NS. [46]: Defined nowhere in NŚ. [47]: Defined nowhere in NŚ. [48]: Defined nowhere in NŚ. [49]: Defined nowhere in NŚ. [50]: 168 1 See above 158 note. [51]: 160 1 The term defined nowhere in NŚ. [52]: 1701Aṅgahāra defined nowhere in NŚ. [53]: 171-1731 Definition of the aṅgahāras have been translated like the karaṇas; above see. 62 note. Aṅgahāras are mostly combinations of the karaṇas. [54]: In the definition of aṅgahāras this term has been equated with nṛtta or dance. [55]: Defined nowhere in NŚ. 187-190 [56]: Defined nowhere in NŚ. [57]: 196-1971 In the translation of this K. Ag. has been followed. [58]: 197-2001 In the translation of this K. I have followed A g. [59]: 210-2121 According to Ag (1. p. 152) bāhya bhramaraka seems to mean a cārī of that name. But it seems that by this bhramaraka, the movement known as bhramarī has been meant. See M. Ghosh AD. 289ff, also A. K. Coomaraswamy. MG. p. 74. [60]: For the relation between Recakas and the Aṅgahāras and the use of the Recakas see Ag. [61]: mṛdaṅga, bherī, paṭaha, diṇḍima, dardura and paṇava are drums of different sizes and shapes, and made of different materials such as clay, wood etc. For bherī, paṇava and gomukha (possibly a horn) have see the Bhagavad-gītā, ch. 1.13. Jhañjhā means large cymbols. [62]: The story of the break-up of Dakṣa’s sacrifice occurs in two different forms in the Bhāgavata and the Varāha P. See JK. under Dakṣa. [63]: Piṇḍībandha—Ag. (1.170-171) explains the word. But it is difficult to make any definite idea about the piṇḍībandha or piṇḍī from his explanation. But a later work on dramaturgy discusses this word (Bh P. p. 264). From this, the meaning of the word seems to be a term relating to group-dance. For more about pinḍībandha see 257-262, 284-285, 291-294 below. [64]: Gāṇeśvarī means relating to Gaṇeśvaras or lords of hosts; see above III.31, 58 and III.1-8 note 7. [65]: The story of Śiva’s killing the Asura Andhaka occurs in Rāmāyaṇa, Harivaṃśa and several Purāṇas. See JK. sub voce. [66]: Taṇḍu’s name does not seem to occur in any extant Purāṇa. It is just possible that the name of this muni has been derived from tāṇḍava, a non-Aryan word which originally may have meant dance. [67]: pratikṣepa—Ag. (I. p. 182) defines the term and points out that the NS. does not mention this. [68]: Tānḍava has been translated by some as ‘wild dance’ (Haas, Daśarūpa, p. 5), but the adjective seems to be misleading. From the present chapter of the NŚ, it appears that the word meant ‘class dance’ which has been codified. It is to be distinguished from the folk-dance mentioned in later works. Tānḍava was no exclusively male dance. For the illustrations of the karaṇas taken out of old has reliefs and printed in the Baroda ed. of the NŚ. show that these were performed by women as well. These karaṇas were evidently elements of tāṇḍava; lāsya performed by women was only a gentler form of the tāṇḍava. [69]: See above 282 note 2. [70]: For vastu (padavastu) see Mālavi. II. 0, 5, 8, 13, 14. [71]: Vastu here means padavastu. See above 285-287 note. [72]: These āsāritas were distinguished by the kalās of time they required. According to Ag. (1.185) the shortest āsārita takes up seventeen kalās, the medium āsārita thirty-three kalās and the longest āsarita sixty-fìve kalās. [73]: See notes 256 above from a passage in the Bh P. (p. 246). It is quite clear that the piṇḍībandha relates to the grouping of dancers. Of these the gulma is a general collective dance, the śṛṅkhalā is the dance in which partners hold one another’s hands, the latā is the dance of two putting their arms around each other, and the bhedyaka is the dance of each one separately away from the group. [74]: See above 291 note. [75]: BhP. does not identify the gulma and the śṛṅkhalikā. [76]: See above 291 note. [77]: See above 291 note. [78]: Distinguishing features of the three āsāritas have been given in note to 290 above. [79]: This passage is not clear. Ag’s explanation (I. p. 193) of the yantra and the bhadrāsana is not convincing. [80]: See above 285-287 note 1. [81]: For pratikṣepa see above 270 note 2. [82]: See XXIX. 17-30. [83]: See XXiV. 216. [84]: ibid. 217. [85]: ibid. 215 [86]: See XXXI. 466 XXXII. 321 ff. [87]: Sec XXXI. 466; XXXII. 466 18 March, 2017 --> Last Updated: 16 February, 2018 $(function(){ if($(document).height() > $(window).height()){ $('.book.chapter').append('^ back to top ^') $('section.back > a').click(function(){ $(window).scrollTop(0); }); } }); /** * Derivation list */ /*$('a.deriv-link').click(function(){ $(this).closest('.words-group').find('.deriv-list').toggleClass('d-none'); });*/ ====================================================================== Chapter V - Preliminaries of a Play ====================================================================== --> Natyashastra (English) by Bharata-muni | 1951 | 240,273 words | ISBN-13: 9789385005831 Hinduism Natyashastra Buy now! The English translation of the Natyashastra, a Sanskrit work on drama, performing arts, theater, dance, music and various other topics. The word natyashastra also refers to a global category of literature encompassing this ancient Indian tradition of dramatic performance. The authorship of this work dates back to as far as at least the 1st millenn... Go directly to: Footnotes. Chapter V - Preliminaries of a Play (pūrvaraṅga) < Previous (index) Next > The Sages question. 1-4. On hearing the words of Bharata who continued the topic of drama, the sages were pleased in mind and said, “We have heard from you about the origin of drama[1] and the Jarjara[2] as well as [the means of] stopping obstacles,[3] and the worship of gods.[4] Having grasped the meaning we would like to know in detail (lit. exhaustively), O the very splendid one, about the Preliminaries with all their characteristics; it behoves you, O Brahmin, to explain [everything] for our understanding [the same properly].” Bharata answers. 5-6. Hearing these words of the sages, Bharata spoke thus about the rules of the Preliminaries: “O the blessed ones, listen to me. I am speaking about the Preliminaries as well as of the Pādabhāga,[5] the Kalās[6] and the Walking-round[7] [which relate to them]. Preliminaries defined 7. As it is first performed at the beginning (pūrvam) in the stage (raṅga) it is called the (pūrvaraṅga)[8] Parts of the Preliminaries 8-11. Its different parts are to be performed in due order with the playing of drums and stringed instruments as well as with Recitatives (pāṭhya). Pratyāhāra,[9] Avataraṇa[10], Ārambha[11], Āśrāvaṇā[12], Vaktrapāṇi[13], Parighaṭṭanā[14], Ṣaṃghoṭanā[15], Mārgāsārita[16], and Āsārita[17] of the long, the medium and the short types, are the songs outside the performance of a play to be sung by persons behind the curtain[18] to the accompaniment of drums and stringed instruments. 12-15. Then after removing the curtain[19], dances and recitals[20] are to be performed with the playing of all musical instruments, and some song of the Madraka[21] class is to be sung, or one of the Vardhamānaka[22] class along with the Class Dance [suitable to it] should be applied. Then should take place [one after another] during the Preliminaries the following:—Utthāpana[23], Walking round[24], Benediction[25], Suṣkāpakṛṣṭā[26], Raṅgadvāra[27], Cārī[28], Mahācārī[29], Three Men’s Talk[30] and Laudation[31]. 16.[32] I shall now explain in due order the characteristics of all these which are to be included in the ceremony of the Preliminaries. Pratyāhāra 17. Arranging of the musical instruments (kutapa) is called the Pratyahāra*. Avataraṇa The seating of singers is called the Avataraṇa (lit. coming down)*. Ārambha 18. The commencement of vocal exercise for singing (parigīta) is called the Ārambha (lit. banning).[33] Āśrāvaṇā Adjusting the musical instruments for playing them in due manner is called the Āśrāvaṇā.[34] Vaktrapāṇi 19. Rehearsing (lit. dividing) the different styles (vṛtti) of playing musical instruments is called the Vaktrāpāṇi.[35] Parighaṭṭaṇā The strings of instruments are adjusted duly during the Parighaṭṭaṇā.[36] Saṃghoṭanā 20. The Saṃghoṭanā[37] is meant for rehearsing the use of different hand-poses [for indicating the time-beat.] Mārgāsārita The playing together [in harmony with one another] of drums and stringed instruments is called the Mārgāsārita.[38] Āsārita 21. The Āsārita is meant for practising the division of kalās (kalābhāga).[39] Application of songs And the Application of songs (gītavidbi)[40] is for singing the glory of gods. Utthāpana 22-23. I shall now speak about the Utthāpana (lit. raising) ceremony which is so styled because from this, the reciters of the Benediction start (lit. raise) first of all in the stage the performance [of the play]. Hence the Utthāpana is considered by some to be the beginning [of the performance]. Walking-round 23-24. The Walking-round (parivartana)[41] is so styled because in it, the guardian deities of different worlds are praised [by the Director] walking all over [the stage]. Benediction 24-25. The Benediction[42] is so called because it must always include [and invoke] the blessing of gods, Brahmins and kings. Śuṣkāvakṛṣṭā Dhruvā 25- 26. When an Avakṛṣṭā Dhruvā is composed with meaningless sounds it is called Śuṣkāvakṛṣṭā.[43] It indicates verses for the Jarjara.[44] Raṅgadvāra 26- 27. The Raṅgadvāra is so called, because from this part commences the performance which includes Words and Gestures. Cārī and Mahācārī 27-28. The Cārī is so called because it consists of movements depicting the Erotic Sentiment, and in the Mahācārī occur movements delineating the Furious Sentiment. Three Men’s Talk 28-29. The conversation of the Director (sūtradhāra), the Assistant (pāripārśvaka) and the Jester[45] is called the Three Men’s Talk (trigata). Laudation 29-30.[46] An appeal with a view to success which is made [by the Director] after suggesting the action (kārya) of the play in hand with [proper] reasoning and arguments is called the Laudation (prarocanā). Origin of the Bahirgīta and its justification 30-31. I shall now describe in detail the Āśrāvaṇā which is included in the Bahirgīta and shall speak of its origin as well as its justification. 31-32. Now when songs in seven forms[47] and in Citra[48] and Dakṣiṇa[49] Mārgas together with the Upohana[50] and the Nirgīta[51] were started by musical experts like Nārada in praise of gods, all the gods and the Dānavas, in the assembly were made to hear the Nirgīta[52] performed with proper tempo and time-beat.[53] Daityas and Rākṣasas provoked to jealousy 33-34. Now on hearing these happy songs praising the gods, the Daityas and the Rākṣasas were all provoked to jealousy. 34-36. Under these circumstances they pondered [over the matter] and said to one another: “We are glad to hear (lit. accept) this Nirgīta in accompaniment of the instrumental music; and the gods were pleased to hear the songs in seven forms[54] about their exploits. [But] we shall hear the Nirgīta only and shall always be pleased with it. Then these Daityas [and Rākṣasas] pleased with the Nirgīta urged for its repeated performance.” Gods approach Nārada to stop the Nirgīta. 37-38. This enraged the gods who said to Nārada, “These Dānavas and Rākṣasas are pleased with the Nirgīta only [and do not want anything else i.e. songs]. Hence we wish this performance [of the Nirgīta] to come to an end. What do you think of this?” Nārada pacifies the gods. 38-41. Hearing these words of the gods Nārada replied, “Let the Nirgīta dependent on the music of stringed instruments be not stopped, and this (nirgīta) combined with the Upohana and accompanied by the music of stringed instruments will have seven forms. Enraptured (lit. bound down) by this Nirgīta the Daityas and the Rākṣasas will not be provoked, and they will not create any obstruction [of the performance]. 41-42. This is called the Nirgīta to satisfy the vanity of the Daityas while in honour of the gods it is called the Bahirgīta. 42-44. This is to be played by experts in the Citravīṇā[55] with Dhātus[56] containing light and heavy strokes (akṣara) and Varṇas[57] and Alaṃkāras[58]. It is called the Nirgīta because in it there is sung a combination of sounds carrying no sense, and to satisfy the vanity of the gods it is called the Bahirgīta”, Gods are pleased with the Nirgīta (Bahirgīta). 44-45. The reason behind the Nirgīta in its seven forms as well as the Utthāpana and the like, will now be given. 45-54. The Pratyāhāra pleases the Rākṣasas (Yātudhāna) and the Pannagas, while the Apsarasas are delighted with the Avataraṇa. The Gandharvas are pleased when the Ārambha is performed, and in the performance of the Aśrāvaṇā the Daityas take delight. The Vaktrapāṇi pleases the Dānavas and in the Parighaṭṭanā the hosts of Rākṣasas are [again] pleased. By the Saṃghoṭanā Guhyakas are satisfied, while the Mārgāsārita pleases the Yakṣas. When songs (gītaka) are sung the gods enjoy them, and Rudra with his followers is pleased by the performance of the Vardhamāna. Similarly in the performance of the Walking-round (parivartana) Lokapālas (the guardians of the worlds) are delighted, and the Moon-god is pleased with the Benediction. During the singing of the Avakṛṣṭā (Dhruvā) Nāgas are pleased, while Śuṣkāvakṛṣṭā (Dhruvā) pleases the host of Pitṛs (ancestors). In the Raṅgadvāra Viṣṇu is pleased, while the Jarjara ceremony pleases the leaders of Vighnas. On the Cārī being performed Umā takes pleasure while in the performance of Mahācārī the Bhūtas arc delighted. 55. So much about worshipping the deities in different parts of the Preliminaries beginning with the Pratyāhāra and ending in the [Mahā] cārī. 56. O the best of Brahmins, in course of describing the different parts of the Preliminaries I have named the gods pleased by them, and mentioned [the individual] parts of it in which they take delight. 57-58. The performance of the Preliminaries which means worshipping the gods, is praised by them (i.e. gods) and is conducive to duty, fame and long life. And this performance whether with or without songs, is meant for pleasing the Daityas and the Dānavas as well as the gods (lit. denizens of the celestial region). 59. I shall tell you [afterwards] while discussing the rules of Dhruvās[59] the characteristics and function of performances with or without songs as well as of the Vardhamāna.[60] The Caturasra Preliminaries 60-63. After performing the songs[61] and the Vardhamāna,[62] one should sing the Utthāpanī (Raising) Dhruvā[63] which has in its feet of eleven syllables the first two, the fourth, the eighth and the eleventh as long. It should be [sung in] the Caturasra (Tāla)[64] and [should consist of] four feet and four Sannipatas[65] as well as three kinds of tempo[66] and three caesura.[67] Besides this it should consist of four Walking-rounds and of three Pāṇis,[68] and it should be in the Viślokā[69] metre and in the same kind of Tāla. 64. The Tāla in question should consist consecutively of Śamyā[70] of two Kalās, Tāla of two Kalās, Śamyā of one Kalā and Sannipāta of three Kalās. First Walking-round 65. Thus a Sannipāta Tāla of eight Kalās should be observed by the experts. And it is said that a Walking-round is made up of four such Sannipātas. 66. The first Walking-round in the Preliminaries should be made in slow tempo (sthitalaya) and on the termination of the third Sannipāta in it (i.e. the first parivarta) drums should be played. Second Walking-round 67. On the termination of the first Walking-round the second one (i.e. Walking-round) having commenced in medium tempo, the Director [and the two Assistants][71] should enter [the stage]. 68-69. The three should simultaneously enter [the stage] with handfuls of flower-offering. But before that they should get themselves purified, initiated and furnished with charms for protection [against evil spirits]. They should be clad in white, and flowers carried by them should [also] be white, and they should be looking with the Adbhuta glance[72] and be in the Vaisnava Sthāna[73] with Sausthava of the body. 70. The two[74] Assistants should carry a golden pitcher and the Jarjara, and with them by his side the Director should put forward five steps. 71. These five steps [will be] for the purpose of worshipping Brahmā, and the manner of putting them forward will be described [below] in detail. 72. They should slowly place their two feet three Tālas[75] apart and then raise [them one by one] on each side and again put them down at the same [distance], 73. After going five steps[76] in the manner described above, the Director and his two Assistants (lit. others) should perform the Sūcī Cārī with left foot moved first and the right foot afterwards. 74. Then the Director should offer flowers in Brahmā’s Circle (Brāhma-maṇḍala) which is another name for the centre of the stage where the deity is supposed to be present. 75-77. And afterwards he (i.e. the Director) should respectfully bow to Brahmā (lit. Pitāmaha) with Lalita gesture,[77] and to measure the length of time during the salutation he should thrice touch the ground with his hand, and his steps should be [suitably] divided. The second Walking-round which begins with the entrance of the Director and ends with the salutation [to Brahmā] and use of gestures [related to it], should be performed in medium tempo. Third Walking-round 77-78. Next during the third Walking-round the Director should go round the Brahmā’s circle (i.e. the centre of the stage), perform Ācamana and take up the Jarjara. [The manner of taking it up is as follows:] 78-80. Rising up quickly from [Brahmā’s] Circle he should perform the Sūcī (lit. Vedha) Cārī with this foot (i.e, the right foot) put forward first and the left foot afterwards. And then he should again raise his right foot which was on the side and perform the Sūcī (Vedha)[78] Cārī putting forward the left foot first and the right foot afterwards. 80-83. Going round [the centre of the stage] the Director should call the person (i.e. one of the Assistants) who carries the golden pitcher[79] and perform ablution (śauca) [with water from this vessel]. He should then perform Ācamana and sprinkle himself with water in due order. Thus after performing properly the ablution, the Director should carefully take up the Jarjara, the destroyer of obstacles, and this act should be performed along with the beginning of the last Sannipāta [of this second Walking-round]. 83-84. The third Walking-round beginning with going round the centre of the stage (i.e. Brāhma-maṇḍala)[80] and ending with the taking up of the Jarjara should be performed in a quick tempo. Fourth Walking-round 84-87. After taking up the Jarjara to ward off evils he should mutter [some Mantras] in eight Kalās. Then he should perform the Sūcī (Vedha) Cārī by putting forward the left foot first and the right foot afterwards, and then, move five steps towards the musical instruments. And then again he should observe the Sūcī (Vedha) Cārī by putting forward the left foot first and the right foot afterwards. The fourth Walking-round which begins with the taking up of the Jarjara and ends with an approach to the musical instruments, should be made in a quick tempo. 87-88. In this [pūrvaraṅga of the Caturasra type] movements of hand and feet, will occupy sixteen Kalās while it being of the Tryasra type such movements will occupy Twelve Kalās only. 88-89. [The Director and the two Assistants] should make three salutations by touching the ground, with the hand, and before this they are to sprinkle themselves with water, but in case of the Tryasra [Preliminaries such sprinkling] has not been prescribed.[81] Parivartanī Dhruvā 89-90. In this manner they should perform the Utthāpana (lit. raising). Then comes the Parivartanī (Walking-round) Dhruvā which should be performed in the Caturasra (Tāla) and medium tempo and with eight Sannipātas. 90-91. The Dhruvā (song) which has only the last syllable long in its four feet of eleven syllables, is called the Parivartanī (Walking-round) Dhruvā. 91-92. During the singing of this Dhruvā the Director should move leftwards in the Vārtika Mārga[82] with graceful step in accompaniment of instrumental music and should bow to [different] deities in directions belonging to them. 92-93. And during the foot movement [mentioned above] each step of the Director should consist of two Kalās and movement in each direction should consist of two Sannipātas. 93-94. Then he would observe the Sūci (Vedha) Cārī putting forward the left foot first and the right foot afterwards and putting the latter at a distance of two Tālas. 94-95. In this manner he should go five steps with the Atikrāntā Cārī,[83] and bow to different deities in directions belonging to them. 95-97. First of all he should bow to the eastern direction presided over by Śakra (Indra). Secondly he should bow to the southern direction belonging to Yama. Thirdly he should bow to the western direction ruled by Varuṇa. Fourthly he should bow to the northern direction of which Dhanada (Kuvera) is the protector. 97-98. After bowing to these directions he should perform the Sūcī Cārī putting forward the left foot first and the right foot afterwards and begin the Walking-round. 98-99. Then with his face towards the east the Director should bow to Rudra (Śiva), Brahmā and Upendra (Viṣṇu) while going forward three steps by ‘masculine’, ‘feminine’ and ‘neuter’ feet [one after another]. 99-100. The right foot is ‘masculine’ and the left foot is ‘feminine’ while the right foot not much raised is called ‘neuter.’ 100-101. Īśa (Śiva) should be bowed to with the masculine foot [put forward first] while in bowing to Brahmā the neuter foot [should be so put forward]. The Fourth Man enters. 101-102. The Walking-round should be [finished] thus, and then the Fourth Man (caturtha-kāra) should duly enter [the stage] with flowers [in his hands], 102-103.[84] And he should duly offer Pūjā to the Jarjara and to all the musical instruments (kutapa) as well as to the Director. 103-104. His foot-movements during the Pūjā should be made to accompany the playing of drums, and there should be no song sung then, but only meaningless syllables should be chanted (stobhakriyā).: Singing of the Apakṛṣṭā Dhruvā 104-105. After offering the Pūjā the Fourth Man (caturtha-kāra) should make his exit. And then should be sung an Apakṛṣṭā Dhruvā[85] in Caturasra (Tāla) and slow tempo. 105-1.06. This Dhruvā should abound in heavy syllables and depend on the Sthāyi-varṇa[86] and be made up of eight Kalās, and its Tāla should be Avapāṇika. 106-107. The Apakṛṣṭā Dhruvā is a song consisting of four feet of ten syllables of which the fourth, the fifth, the seventh and eighth will be short. Benediction 107-108. Then the Director will recite in a medium tone the Benediction which should consist of eight or twelve feet.[87] 108-109.[88] (These are the specimens of Benediction): namo’stu sarvadevebhyo dvijātibhyaḥ śubhaṃ tathā | jitaṃ somena vai rājñā ārogyaṃ gobhya eva ca || Tr. Salutation to all the gods. Blessed be the twice-born class. Let the king and the cows attain good health by his Soma-sacrifice. 109-110. brahmottaraṃ tathaivāstu hatā brahmadviṣas tathā | praśāstvimāṃ mahārājaḥ pṛthivīṃ ca sasāgarām || Tr. Let there be an advancement of the cause of the Brahmins, and let their enemies be killed, and let the great king rule this earth together with all the seas. 110-111. rāṣṭraṃ pravardhatām caiva raṅgaś cāyam samṛdhyatām | prekṣākartur mahān dharmo bhavatu brahmabhāvitaḥ || Tr. Let this state prosper, and this theatre[89] flourish and let the producer of the theatrical show attain virtues inspired by the Vedic knowledge. 111-112. kāvyakartur yaśaś cāstu dharmaś cāpi pravardhatām | ijyayā cānayā nicyaṃ prīyantāṃ devatā iti || Tr. Let the playwright (lit. writer of the kāvya) attain fame, and let his virtue increase, and by this kind of sacrifice let the gods be always pleased [with him]. 112-113. After the recitation of each of such Benedictory poems, the two Assistants should loudly and distinctly say, “Let this be so.” The Śuṣkāpakṛṣṭā Dhruvā 113-114. The Benediction should thus be performed duly according to the rules [mentioned above]. Then should be sung the Śuṣkāpakṛṣṭā Dhruvā and verses praising the Jarjara. 114-113. This Dhruvā should consist of nine long syllables first and then six short syllables followed by three long syllables, e.g. 115-116. digle digle jhaṇḍe jhaṇḍe jam bu ka va li ta ka te te jā. Raṅgadvāra 116-118. After properly performing the Śuṣkāpakṛṣṭā Dhruvā, he (the Director) should recite in a loud tone one Śloka in adoration of the deity in course of whose worship [the dramatic performance is going to be held], and then [another Śloka] paying homage either to the king or to the Brahmins should be sung. 118-1,19. After reciting the Jarjara Śloka in what is called the Raṅgadvāra (lit. entry into the performance) he should again read another Śloka in lowering the Jarjara.[90] 119-120. And after the Jarjara has been lowered,* he should perform a Cārī, and the two Assistants should step backwards. 120-121. Then the Aḍḍitā Dhruvā[91] should be performed with the medium tempo, Caturasra Tāla and four Sannipātas. 121-122. The Dhruvā (song) which has the first, the fifth and the last syllables long and the remaining syllables short in all its four feet of twelve syllables, is called the Aḍḍitā. 122-123. I shall relate its application according to the procedure adopted by Maheśvara (Śiva) and Umā when performing it in the past with [the display of] different States and movements. 123-125. After assuming the Avahittha Sthāna (posture),[92] and placing the left hand [first] with its palm downwards on the navel and holding the Jarjara loosely on his [other] palm,[93] the Director should go five steps, with his left hand showing the Pallava gesture; and while going he should cover one Tāla at each step and move his limbs gracefully. 125-127. Afterwards he should perform the Sūcī Cārī by putting forward his left foot first and the right foot afterwards. Then the Director (lit. the expert one) should recite a Śloka with love as its subject-matter. And after reciting this Cārī Śloka and performing the Walking-round, he should with his face towards the front, withdraw backwards with steps described before. 127-128. And after placing the Jarjara in the hands of one of the Assistants, he should perform the Mahācārī in accordance with the rules laid down below. 128-130. During this Cārī the Dhruvā song should be of the Caturasra type and in quick tempo, and it should have four Sannipātas and eight Kalās. This Dhruvā song should have feet of eleven syllables of which the first, fourth, seventh, tenth and the last are long and the remaining ones short. 130-131. (An example of the Cāturasra Dhruvā): pādatalāhati-patita-śailaṃ kṣobhita-bhūta-samagra-samudram | tāṇḍava-nṛttam idam pralayānte pātu harasya sadā sukhadāyi || Tr. Let the ever-pleasing Class Dance of Hara (Śiva) after the destruction of the world, which smashed the hills by the impact of his feet and agitated the ocean with all creatures living in it, always give you protection. 131-132. Then he should step towards the drums (bhāṇḍa) and afterwards perform the Sūcī Cārī followed by a change of the Vikṣepa. 132-133. Afterwards he should move his feet gracefully with a quick tempo, and keeping them three Tālas apart, he should go five steps. There again he should perform the Sūcī (Vedha) Cārī with his left foot put forward first and the right one afterwards. 134-135. And with the foot movement [described above] he should move backwards with his face towards the front, and again he should go three steps forward in a similar manner, and then he should again perform the Sūcī Cārī with his left foot put forward first and the right foot afterwards. 135-137. Then he should recite a couplet calling up the Furious Sentiment while bringing his feet together, and then after going three steps he should call for the two Assistants, and on their coming up, a Narkuṭaka Dhruvā should be sung. At the time of singing this Dhruvā he should perform the Sūcī (Vedha) Cārī by putting forward the left foot first and the right foot afterwards. Three Men’s Talk 137-138. Then in case of a play in the Verbal Style (bhāratī vṛtti) the Three Men’s Talk should take place. During it (this Talk) the Jester should suddenly come in and deliver a discourse consisting mostly of irrelevant words to excite the smile of the Director.[94] 139. [In this discourse] should be brought in some controversial topic (vitaṇḍā) with an abrupt remark (gaṇḍa) or an enigmatical utterance (nālikā) [of some kind], and questions such as who is [there] and who has won, leading to the plot of the play (lit. the poem). 140. In the Three Men’s Talk an Assistant talks with the Jester who finds fault with his words which are, [however,] supported by the Director. Laudation 141. Then the Director (lit. an expert) should put in the Laudation and the appeal [to members of the audience], and for the success[95] of the performance (lit. the stage) the subject of the play should again be mentioned. 1142. After putting into practice all these rules, all the three persons (i.e. the Director and the two Assistants) should perform the Śūci (Vedha) Cārī, and they should go out together while performing any Cārī other other than the Āviddha one. Tryasra Preliminaries 143-144. Thus, O Brahmins, should be performed the Preliminaries of the Caturasra type; now I shall speak of that of the Tryasra type. Its use is similar and its component parts are the same; the only feature that distinguishes it from the Caturasra one, is its abridged measure of Tāla. 145-146. [In it] the Śamyā should consist of two Kalās and the Tāla of one Kalā, and again the Śamyā is to consist of one Kalā and the Śannipāta of two Kalās. With this kind of measurement of Kalā, Tāla and tempo, should be performed the Tryasra Preliminaries which include the Utthāpana and such other items. 147. The Dhruvā (song) which has the fourth, the eighth, the tenth and the last syllables long in all its four feet of twelve syllables, is called the Utthāpanī Dhruvā of the Tryasra (type). 148. In the Tryasra Preliminaries an expert dancer should abridge the instrumental music, movements [of persons], Dhruvā songs and their Tāla. 149. The actions and movements [of a dancer] are to be made of two types—elaborate and abridged—according as the instrumental and vocal musics are such. 150-151. It is said that each movement of hands and feet should be of two Kalās’ duration, and in any Walking-round in the Caturasra (Preliminaries) the hands and feet should be moved sixteen times, while in the Tryasra Preliminaries they are to move only twelve times. 151-152. This is the measurement of both (i.e. of hand and foot movements) in the Preliminaries. But in the Walking-round, the foot movement should consist of three steps only, but in bowing to [the different] directions in the Caturasra Preliminaries, one should go five steps. 153. [But all these matters] should be performed in the Tryasra Preliminaries according to the measure of Tāla as the master of the art thinks fit. Hence to avoid repetition no [elaborate] direction about the same has been given, [here]. 154. O the best of Brahmins, thus should be performed the pure Preliminaries of the Caturasra and the Tryasra types, which relate to a play depending on the Verbal Style. Mixed Preliminaries 155. So much about the pure Preliminaries (Caturasra and Tryasra) which I was to describe. I shall now tell you how the producers may turn them to one of the mixed (citra) type. 156-157. During the Utthāpanī Dhruvā when the Walking-ground has been decorated with flowers given by the Fourth Man and [the stage] resounded with the well measured loud songs of musical experts, divine Dundubhis (drums) should be played again and again.[96] 158. [And in the mixed Preliminaries thus begun] clusters of white flowers should be scattered all over [the stage], and the Aṅgahāras should be performed by [dancers dressed as] goddesses. 159-160. The Class Dance which has been described above with its [Piṇḍīs], Recakas, Aṅgahāras, Nyāsas and Apanyāsās should intervene the separate feet of the Benedictory poems. This rule should be put into practice by those who would turn pure Preliminaries into mixed ones. 161. After the ‘pure’ Preliminaries have been duly made ‘mixed’, [all the dancers dressed as] goddesses should make their exit. 162. After the exit of all the female dancers the other parts of the Preliminaries should be performed. 163. This is the manner in which the pure Preliminaries should be changed into mixed ones. But in the Preliminaries, be they of any type, there should not be too much dance and song. 164. If [at the beginning of a performance] songs, music and dance continue for too long [a time] they tire out the artistes as well as the spectators. 165. Tired [persons] can neither attain or give help in attaining a clear impression of the Sentiments and the States, and because of this, the rest of the performance (i.e. of the play itself) cannot [properly] excite feelings. 166. After performing the Preliminaries, be they Caturasra or Tryasra of the pure or mixed type, the Director along with his Assistants should make their exit from the stage. Introduction of the play 167. After the Preliminaries have been duly performed[97] in the manner described, the Introducer (sthāpaka)[98] should enter [the stage], and he should resemble the Director in every respect (lit. in quality and form). 168. He should assume the Vaiṣṇava Sthāna (posture)[99] and have the Sauṣṭhava[100] of the body, and on entering the stage he should observe the foot movements which the Director had used. 169. At the entrance of the Introducer, the Dhruvā should be made suitable to the occasion (lit. meaning) and it will be either Caturasra or Tryasra and be in medium tempo. 170. Then he should perform a Cārī in praise of gods and Brahmins in accompaniment with the recitation of Ślokas containing sweet words and evoking various Sentiments and States. 171. After thus pleasing the spectators (lit. the stage) he should announce the name of the play-wright (lit. the poet), and then he is to start the Prologue (prastāvanā) which relates to proclaiming the theme of the play (lit. the poem). 172-173. Then by mentioning (lit. having recourse to) a god in a divine [play], a man in a human [play] and a god or a man in [a play] where gods and men [meet, he] should proclaim in different ways the subject of the play [lit. the poem] by variously alluding to its Opening (mukha) and Seed (bīja). 174. After introducing the play the Introducer (lit. the Brahmin who makes the introduction of the play) should go out [of the stage]. Thus should be performed the Preliminaries according to the rules. 175. If any producer of a play will perform the Preliminaries according to the rules laid down, nothing inauspicious will happen to him, and [after his death] he will reach the heavenly region. 176. [On the contrary] whoever produces a play in an wilful violation of the rules [in this matter] will sustain a great loss, and will [after his death] be reborn as a creature of lower order. 177. Fire fanned by a strong wind does not burn [anything] so quickly as does the wrongly made production. 178. In this manner the Preliminaries of two different extents (pramāṇa) should be performed by the people of Avanti, Pañcāla, Dākṣiṇātya and Oḍra regions. 179. O Brahmins, these are the rules regarding the Preliminaries. Tell me properly what other rules relating to the Nāṭyaveda should be discussed now[101]. Here ends Chapter V of Bharata’s Nāṭyaśāstra, which treats of the Preliminaries to the production of a play. Footnotes and references: [back to top] [1]: See I. 13-18. [2]: See I. 69-73. [3]: See I. 54.68. [4]: See III. [5]: pādabhāga—See XXXI, 247. This is a term relating to tāla. [6]: kalā—unit of the time measure in music. See XXXI. 1-4 See Ag. (I. 211). [7]: parivarta. On this see below 23-24, 65-89. [8]: BhP. defines pūrvaraṅga as follows: kalāpātāḥ pādabhāgāḥ parivartāśca sūribhiḥ | pūrvaṃ kriyate yadraṅge pūrvaraṅgo bhavedataḥ (SR. p. 742). The definition in the commentary of DR. (III. 2) is corrupt. [9]: See below 17. [10]: See below 18. [11]: See below 18. [12]: See below 18. [13]: See below 19. [14]: See below 19. [15]: See below 20. [16]: See below 20. [17]: See below 21. [18]: From this statement it appears that the first nine items of the preliminaries were performed behind the curtains on two doors of the tiring room. [19]: See 8-11 note 10 above. [20]: Recitals of the Benediction (nāndī) and the Laudation (prarocanā) etc. [21]: madraka—a class of songs. [22]: vardhamānaka—a class of songs with dance. See XXXI 76-101; XXXII.; 259 ff. 224ff. [23]: See below 22-23. [24]: See below 23-24, 65-89. [25]: See below 24-25, 107-113. [26]: See below 25-26, 113-116. [27]: See below 26-27. [28]: See below 27-28, 119-120. [29]: See below 27-28, 127-130. [30]: See below 28-29, 137-141. [31]: See below 29-30, 141-142. [32]: It appears that these items of the Preliminaries to be performed behind the curtains of the tiring room have been made needlessly elaborate. But it is not so. In ancient times people due to different conditions of their life, were not so much punctual in coming to the theatrical show. They did not come to it all at once and at any fixed time. Quite a long time passed before they all assembled. Hence from behind the curtain the Director offered to the early-comers whatever they could, while preparing for the actual performance. Ag. (I. p. 215) says that nine items of the Preliminaries were meant for a [common] women, children and fools. The same practice about the Preliminaries may be observed even now in case of the Yātrās or the open air theatrical performances in Bengal. [33]: ārambha—See XXIX, 131 ff. [34]: āśrāvaṇā—For details about the performance of this see XXIX, 135ff. [35]: vaktrapāṇī—For details about the performance for this see XXIX. 157ff. [36]: parighaṭṭanā—For the performance of this see XXIX. 148-150. [37]: sāṃghoṭanā—For the performance of this see XXIX. 143ff. [38]: mārgāsārita—For the performance of this see XXIX. 151ff. [39]: āsārita—For the performance of this see XXXI, 62ff; 170ff. [40]: See XXX. 200ff. [41]: parivartana—parivarta see below 65ff, [42]: For its specimens see below 107ff. [43]: See below 113-115. [44]: B.G. read between 25b and 26a two prose lines. [45]: The Jester’s role is assumed by one of the Assistants. See below 70 where two Assistants enter along with the Director. For details of the Three Men’s Talk see below 137-141. [46]: For details about the Laudation see below 141-142. See also Ag. for the meaning of siddhenāmantraṇā. [47]: See XXXI. 220ff; 365ff. [48]: See XXXI. 358 [49]: See XXXI. 357. [50]: See XXXI. 138ff. [51]: Another name for bahirgīta. See below 33-42. [52]: nīrgīta—instrumental music. [53]: For different aspects of the tāla see XXVIII. 18-20, and XXXI. [54]: The seven forms—On this see Ag. (1. p. 224) [55]: cītraviṇā—nāṭyoparañjanārthā yā vīṇā; a kind of vinā (Ag.) suitable for being played during the performance of a drama. But Ag. ignores XXIX. 120 which describes a Viṇā of this name, [56]: See XXIX. 82ff [57]: See XXIX, 8-22. [58]: See XXIX, 23ff. [59]: See XXXII. [60]: Before this couplet (59) B. reads one additional śloka (B. 60). [61]: See XXXI. 200ff. [62]: See note 4 on 12-15 before. [63]: The term utthāpanī dhruvā does not occur in the Dhruvādhyāya (XXXII.). [64]: See XXXI. 7 [65]: See XXXI. 39. [66]: See XXXI. 3 [67]: See XXXI. 486-488. [68]: See XXXI. 493-495. [69]: See XXXII. 148. [70]: Cf. XXXI, 173. [71]: Entrance of the two Assistants is implied in this passage. See below 68-69. [72]: See VIII. 48. [73]: See XI. 50-52. [74]: One of the Assistants is to assume the role of the Jester in the Three Men’s Talk. See above 28-29, 137-141. [75]: Jarjara—see III, 73ff. [76]: tāla—a unit of length. The distance from the tip of the middle finger to the wrist. See III, 21 note. [77]: See IX. 201. [78]: According to Ag. (I. p. 233) Vedha—Sūcī Cārī. [79]: See above 70. [80]: See III, 23-30 note. [81]: This and the preceding (87-88) passage should properly go after NŚ. 64 for they relate to the Utthāpana which should come before the Walking-round; see 22-23 above. [82]: See XXXI. 491-492. [83]: See XI. 29. [84]: See III. 11-13. [85]: One of the six kinds of Dhruvās, See XXXII. 155-160. [86]: See XXIX. 19. [87]: For different interpretations of pada see Lévi, pp. 132-133, II. 25-26. Rāghavabhatta’s quotation from Ag. in his Śākuntalatīkā (p. 6) does not occur in the published Abhinavabhāratī. [88]: See Lévi, p. 133. [89]: According to Ag. this means the actors and their associates. [90]: B. reads is jarjarasya vināśanam and G. (vināmataḥ). But these give no relevant meaning. [91]: See below 121-122, also XXXll, 11, 388. [92]: Defined in XIII. 164-165. [93]: Mss. read tulādhṛtam. But its meaning is not clear. It is just possible that the original reading has been changed. We therefore emend this to talādhṛtam. [94]: See D. R. III. 36. [95]: See Ag. on B. 30 for the meaning of siddenopanimantranā=siddhanā mantranā. [96]: The text here seems to be corrupt. [97]: The reading prayujya in this passage is defective; for the nominative to this prayujya cannot be sthāpaka (Introducer). Dhanañjaya (c. 10th century) clearly says that the sūtradhāra (the Director) having gone out after the Preliminaries (pūrvaraṅga), another actor enters to introduce the drama (III. 2). The same is the opinion cf Sāradātanaya (c. 1175-1250). See the Bh P. p.228, lines 56. Viśvanātha also expressed a similar opinion. See the SD. VI. 26. Hence this has been emended. It seems that Bhāsa cut down the Preliminaries and made an end of the practice of getting the play introduced by the sthāpaka, This assumption will explain why Bāṇa wrote sūtradhāra-kṛtārambhaiḥ etc. (Harṣacarita, Introduction, 15). [98]: Ag. says sūtradhāra eva sthāpakaḥ, cf. note 1 above. [99]: See XI. 50??. [100]: See XI. 89b, 91a. [101]: The portion of this chapter following this couplet is not from the hand of the author of the NŚ. Its translation is given as an Appendix. 23 March, 2017 --> Last Updated: 16 February, 2018 $(function(){ if($(document).height() > $(window).height()){ $('.book.chapter').append('^ back to top ^') $('section.back > a').click(function(){ $(window).scrollTop(0); }); } }); /** * Derivation list */ /*$('a.deriv-link').click(function(){ $(this).closest('.words-group').find('.deriv-list').toggleClass('d-none'); });*/ ====================================================================== Chapter VI - Sentiments (rasa) ====================================================================== --> Natyashastra (English) by Bharata-muni | 1951 | 240,273 words | ISBN-13: 9789385005831 Hinduism Natyashastra Buy now! The English translation of the Natyashastra, a Sanskrit work on drama, performing arts, theater, dance, music and various other topics. The word natyashastra also refers to a global category of literature encompassing this ancient Indian tradition of dramatic performance. The authorship of this work dates back to as far as at least the 1st millenn... Go directly to: Footnotes. Chapter VI - Sentiments (rasa) < Previous (index) Next > The sages question. 1-3. After hearing about the rules regarding the Preliminaries, the great sages continued their inquiries and said to Bharata, “Answer five of our questions. Explain how the Sentiments enumerated by experts in dramatic art attain their [special] qualities. And why are the bhāvas (Psychological States, lit. feelings) so called, and what do they bhāvayanti (make us feel)?. Besides these, what are the real meanings of terms, such as, Digest (saṃgraha)[1], Memorial Verse (kārikā) and Etymology (nirukta)”? Bharata answers. 4. At these words of the sages, Bharata continued speaking, and mentioned in reply to their question the distinction between the Sentiments and the Psychological States. 5-7. And then he said, “O sages, I shall tell you in detail and in due order about the Digest, the Memorial Verse and the Etymology. I am not able by any means to exhaust all the topics about drama; for knowledge,[2] and arts and crafts[3] connected with it are respectively manifold and endless in number. And as it is not possible to treat exhaustively (lit. to go to the end of) even one of these subjects which are [vast] like an ocean, there cannot be any question of mastering them all. 8. [Hence] I shall tell you about the Digest on Sentiments, Psychological States and such other matters, which has its concents embodied in a small number of Sūtras but which promotes inference [in connection with the subject]. Digest, Memorial Verse and Etymology defined 9. When subjects taught in detail have been compressed and brought together in [a number of] Sūtras and their Bhāṣyas (commentary), these constitute according to the learned a Digest. 10. The Digest [of the Nāṭyaveda treats] the Sentiments, the Psychological States, the Histrionic Representation, the Practices (dharmī), the Styles (vṛtti), Local Usages (pravṛtti), Success (siddhi), the notes (svara), the instrumental music (ātodya), songs and the stage. 11. When a rule (lit. meaning) is explained (lit. uttered) briefly in a Sūtra with a minimum (lit. small) number of words, it is called the Memorial Verse which shows the meaning [of the rule clearly].[4] 12-13. Etymology is the definitive meaning which arises in connexion with various nouns, is helped by dictionaries (lit. vocabularies), and the rules of grammatical interpretation, includes the significance of the root involved as well as the reasons modifying it, and is helped by various findings [of Śāstras], and this meaning [of a noun] is established [mainly] from a consideration of its root [and pratyaya or affix]. 14. O the best of Brahmins, [the subjects included into] the Digest which I mentioned earlier, will now be discussed in detail with the necessary Memorial Verses and Etymologies connected with them. Eight Sentiments 15. The eight Sentiments[5] recognized in drama are as follows: Erotic (śṛṅgāra), Comic (hāsya), Pathetic (karuṇa), Furious (raudra), Heroic (vīra), Terrible (bhayānaka), Odious (bībhatsa) and Marvellous (adbhuta)[6]. 16. These eight are the Sentiments named by Druhiṇa (Brahmā). I shall now speak of the Durable and the Complementary Psychological States and the Sāttvika ones[7]. Durable Psychological States 17. The Durable Psychological States (sthāyibhāva)[8] are known to be the following: love, mirth, sorrow, anger, energy, terror, disgust and astonishment. 18-21. The thirty-three Complementary Psychological States (vyabhicāribhāva)[9] are known to be the following: discouragement, weakness, apprehension, envy, intoxication, weariness, indolence, depression, anxiety, distraction, recollection, contentment, shame, inconstancy, joy, agitation, stupor, arrogance, despair, impatience, sleep, epilepsy, dreaming, awakening, indignation, dissimulation, cruelty, assurance, sickness, insanity, death, fright and deliberation. These are defined by their names. Eight Sāttvika States 22. Paralysis, Perspiration, Horripilation, Change of Voice, Trembling, Change of Colour, Weeping and Fainting are the eight Sāttvika States.[10] Four kinds of Histrionic Representation 23. Four kinds of Histrionic Representation are Gestures (āṅgika)[11], Words (vācika)[12], Dresses and Make-up (āhārya)[13] and the Representation of the Sattva (sāttvika).[14] Two Practices 24. Practice of Representation (dharmī)[15] in a dramatic performance is twofold: realistic (lokadharmī, lit. popular) and coventional (nāṭyadharmī, lit. theatrical). Four Styles And the Verbal (bhāratī), the Grand (sāttvatī), the Graceful (kaiśikī) and the Energetic (ārabhaṭī) are the four Styles.[16] Four Local Usages 25-26. Āvanti, Dākṣinātyā, Oḍramāgadhī and Pañcālamadhyamā are the four Local Usages (pravṛtti)[17] in a dramatic performance. Success The Success[18] in the dramatic performance is of two kinds: divine (daivikī) and human (mānuṣī). Notes 27-29. And [musical] notes such as, Ṣaḍja, Ṛṣabha etc. are seven[19] in number, and they fall into two groups: human (śārirā, lit. from body) and instrumental (vaiṇava, lit. from the Vīṇā).[20] Four kinds of musical instrument The musical instruments are of four kinds: stringed (tata) covered (avanaddha), solid (ghana), and hollow (suṣira). Among these, the ‘stringed’ means an instrument with strings, the ‘covered’ means a drum, the ‘solid’ a cymbal and the ‘hollow’ a flute. Five kinds of Dhruvā 29-30. Songs which relate to Dhruvās are of five kinds:[21] entering (praveśa), casual (ākṣepa), going out (niskrama), pleasing (prāsādika) and intermediate (āntara). And the playhouse is of three types: oblong, square and triangular. Sentiments explained In that connexion I shall first of all explain the Sentiments (rasa). No [poetic] meaning proceeds [from speech] without [any kind of] Sentiment. Now the Sentiment is produced (rasa-niṣpattiḥ) from a combination (saṃyoga)[22] of Determinants (vibhāva), Consequents (anubhāva) and Complementary Psychological States (vyabhicāri-bhāva). Is there any instance [parallel to it], [Yes], it is said that, as taste (rasa) results from a combination of various spices, vegetables and other articles, and as six tastes are produced by articles such as, raw sugar or spices or vegetables, so the Durable Psychological States (sthāyibhāva), when they come together with various other Psychological States, attain the quality of a Sentiment (i.e. become Sentiment). Now one enquires, “What is the meaning of the word rasa”? It is said in reply [that, rasa is so called] because it is capable of being tasted (āsvādyate). How is rasa tasted? [In reply] it is said that just as well-disposed persons while eating food cooked with many kinds of spice, enjoy (āsvādayanti) its tastes, and attain pleasure and satisfaction, so the cultured people taste the Durable Psychological States while they see them represented by an expression of the various Psychological States with Words, Gestures and the Sattva, and derive pleasure and satisfaction. Thus is explained [the Memorial Verse ending with] tasmān nāṭyarasā iti.[23] For in this connexion there are two traditional couplets: 32-33. Just as connoisseur of cooked food (bhakta) while eating food which has been prepared from various spices and other articles taste it, so the learned people taste in their heart (manas) the Durable Psychological States (such as love, sorrow etc.) when they are represented by an expression of the Psychological States with Gestures. Hence these Durable Psychological States in a drama are called Sentiments.[24] Relation between Sentiments and Psychological States. 2 Now one enquires, “Do the Psychological States come out of the Sentiments or the Sentiments come out of the Psychological States?” On this point, some are of opinion that they arise from their mutual contact. But this is not so. Why? It is apparent that the Sentiments arise from the Psychological States and not the Psychological States from the Sentiments. For [on this point] there are [traditional] couplets such as: 34-35. The Psychological States are so called by experts it drama, for they make one feel (bhāvayanti) the Sentiments in connexion with various modes of dramatic representation. Just as by many articles of various kinds, auxiliary cooked eatable (vyañjana)[25] is brought forth, so the Psychological States along with different kinds of Histrionic Representation will cause the Sentiments to be felt. 36. There can be no Sentiment prior to (lit. without) the Psychological States, and no Psychological States without the Sentiments [following it], and during the Histrionic Representation they result from their interaction. 37. Just as a combination of auxiliary cooked eatables (vyañjana) and rice, imparts good taste to the food [in totality], so the Psychological States and the Sentiments cause one another to manifest themselves (bhāvayanti). 38. Just as a tree grows from a seed, and flowers and fruits from a tree, to the Sentiments are the source (lit. root) of all the Psychological States, and likewise the Psychological States exist [as the source of all the Sentiments], Eight Sentiments from four original ones Now we shall describe the origin, colours, [presiding] deities, and examples of these Sentiments. Sources of these [eight] Sentiments are the four [original] Sentiments e.g. Erotic, Furious, Heroic and Odious.[26] 39. The Comic [Sentiment] arises from the Erotic, the Pathetic from the Furious, the Marvellous from the Heroic, and the Terrible from the Odious. 40-41. A mimicry of the Erotic [Sentiment] is called the Comic,[27] and the result of the Furious Sentiment is the Pathetic, the result of the Heroic Sentiment is called the Marvellous, and that which is Odious to see, results in the Terrible. 42-43. The Erotic Sentiment is light green (śyāma), the Comic Sentiment white, the Pathetic (Sentiment) grey (kapota), the Furious Sentiment red, the Heroic (Sentiment) yellowish (gaura), the Terrible (Sentiment) black, the Odious (Sentiment) blue and the Marvellous (Sentiment) yellow. Presiding deities of Sentiments 44-45. Viṣṇu is the god of the Erotic, Pramathas of the Comic, Rudra of the Furious, Yama of the Pathetic, Mahākāla (Śiva) of the Odious, Kāla of the Terrible, Indra of the Heroic, and Brahmā of the Marvellous Sentiments. 1 Thus have been described the origin, colours and deities of these [Sentiments]. Now we shall explain the Determinants, the Consequents, the Complementary Psychological States, their combination, definition and examples. We shall now enumerate the Durable Psychological States in different Sentiments. The Erotic Sentiment (śṛṅgāra) Of these, the Erotic (śṛṅgāra) Sentiment proceeds from the Durable Psychological State of love (rati), and it has as its basis (lit. soul) a bright attire; for whatever in this world is white, pure, bright and beautiful is appreciated in terms of the Durable Psychological State of love. For example, one who is elegantly dressed is called a lovely person (śṛṅgārin). Just as persons are named, after the profession of their father, mother or family in accordance with the traditional authority, so the Sentiments, the Psychological States and other objects connected with drama are given names in pursuance of the practice and the traditional authority. Hence the Erotic Sentiment has been so named on account of its usually being associated with a bright and elegant attire. It owes its origin to men and women and relates to the fulness of youth. It has two bases: union and separation. Of these two, the Erotic Sentiment in union arises from Determinants like the pleasures of the season, the enjoyment of garlands, unguents, ornaments, [the company of] beloved persons, objects [of senses], splendid mansions, going to a garden, and enjoying [oneself] there, seeing [the beloved one], hearing [his or her words], playing and dallying [with him or her]. It should be represented on the stage by Consequents such as clever movement of eyes, eyebrows, glances, soft and delicate movement of limbs, and sweet words and similar other things. Complimentary Psychological States in it do not include fear, indolence, cruelty and disgust. [The Erotic Sentiment] in separation should be represented on the stage by Consequents such as, indifference, langour, fear, jealousy, fatigue anxiety, yearning, drowsiness, sleep, dreaming, awakening, illness, insanity, epilepsy, inactivity, fainting, death and other conditions. Now it has been asked, “If the Erotic Sentiment Has its origin in love, why does it [sometimes] manifest itself through pathetic conditions?” [In reply to this] it is said, “It has been mentioned before that the Erotic Sentiment has its basis in union as well as in separation. Authorities on ars amatoria (vaiśikaśāstra) have mentioned ten conditions [of the persons separated from their beloved ones, which are pathetic]. We shall discuss them in the chapter on the Harmonious Histrionic Representation.[28] The Pathetic Sentiment relates to a condition of despair owing to the affliction under a curse, separation from dear ones, loss of wealth, death or captivity, while the Erotic Sentiment based on separation relates to a condition of retaining optimism arising out of yearning and anxiety. Hence the Pathetic Sentiment, and the Erotic Sentiment in separation differ from each other. And this is the reason why the Erotic Sentiment includes conditions available in all other Sentiments. 46. And the Sentiment called Erotic is generally happy, connected with desired objects, enjoyment of seasons, garlands and similar other things, and it relates to [the union of] man and woman. There are besides two Āryās related to the preceding Sūtra: 47-48. The Erotic Sentiment arises in connexion with favourable seasons, garlands, ornaments, enjoyment of the company of beloved ones, music and poetry, and going to the garden and roaming there. It should be represented on the stage by means of composure of the eyes and the face, sweet and smiling words, satisfaction and delight, and graceful movements of limbs. The Comic Sentiment (hāsya) Now the Comic (hāsya) has as its basis the Durable Psychological State of laughter. This is created by Determinants such as, showing unseemly dress or ornament, impudence, greediness, quarrel, defective limb, use of irrelevant words, mentioning of different faults, and similar other things. This (the Comic Sentiment) is to be represented on the stage by Consequents like the throbbing of the lips, the nose and the cheek, opening the eyes wide or contracting them, perspiration, colour of the face, and taking hold of the sides. Complementary Psychological States in it are indolence, dissimulation, drowsiness, sleep, dreaming, insomnia, envy and the like. This (Sentiment), is of two kinds: self-centred and centred in others. When a person himself laughs, it relates to the self-centred (Comic Sentiment), but when he makes others laugh, it (the Comic Sentiments therein) is centred in others. There are two traditional Āryās here: 49. As one laughs with an exhibition of oddly placed ornaments, uncouth behaviour, words and dress and strange movements of limbs, it is called the Comic Sentiment. 50. As this makes [other] persons laugh by means of his uncouth behaviour, words, movement of the limbs and strange dress, it is known as the Comic Sentiment. 51. This Sentiment is mostly to be seen in women and men of the inferior type, and it has six varieties of which I shall speak presently. 52. They are: Slight Smile (smita), Smile (hasita), Gentle Laughter (vihasita), Laughter of Ridicule (upahasita), Vulgar Laughter (apahasita) and Excessive Laughter (atihasita). Two by two they belong respectively to the superior, the middling and the inferior types [of persons]. In persons of the superior type 53. To persons of the superior type belong the Slight Smile and the Smile, to those of the middling type the Gentle Laughter and the Laughter of Ridicule, and to those of the inferior type the Vulgar Laughter and the Excessive Laughter. There are Ślokas on this subjects: 54. The Slight Smile (smita) of the people of the superior type should be characterized by slightly blown cheeks and elegant glances, and in it teeth are not be made visible. 55. Their Smile (hasita) should be distinguished by blooming eyes, face and cheeks, and in it teeth should be slightly visible. In persons of the middling type 56. The Gentle Laughter (vihasita) should have slight sound, and sweetness, and should be suitable to the occasion, and in it eyes and cheeks should be contracted and the face joyful. 57. During the Laughter of Ridicule (upahasita) the nose should be expanded, eyes should be squinting, and the shoulder and the head should be bent. In persons of the inferior type 58. The laughter on occasions not suitable to it, the laughter with tears in one’s eyes, or with the shoulder and the head violently shaking, is called the Vulgar Laughter (apahasita). 59. The Excessive Laughter (atihasita) is that in which the eyes are expanded and tearful sound is loud and excessive, and the sides are covered by Hands. 60. Comic situations which may arise in the course of a play, for persons of the superior, middling or inferior type are thus to be given expression to. 61. This Comic Sentiment is of two kinds: self-centred and centred in others; and it relates to the three types of persons: superior, middling and inferior, and has thus [on the whole] six varieties. The Pathetic Sentiment (karuṇa) Now the Pathetic (karuṇa) Sentiment arises from the Durable Psychological State of sorrow. It grows from Determinants such as affliction under a curse, separation from dear ones, loss of wealth, death, captivity, flight accidents or any other misfortune. This is to be represented on the stage by means of Consequents such as, shedding tears, lamentation, dryness of the mouth, change of colour, drooping limbs, being out of breath, loss of memory and the like. Complimentary Psychological States connected with it are indifference, langour, anxiety, yearning, excitement delusion, fainting, sadness, dejection, illness, inactivity, insanity, epilepsy, fear, indolence, death, paralysis, tremor, change of colour, weeping, loss of voice and the like. On this point there are two Āryās: 62. The Pathetic Sentiment arises from seeing the death of a beloved person, or from hearing something very unpleasant, and these are its Determinants. 63. This is to be represented on the stage by Consequents like weeping loudly, fainting, lamenting and bewailing, exerting the body or striking it. The Furious Sentiment (raudra) Now the Furious (raudra) Sentiment has as its basis the Durable Psychological State of anger. It owes its origin to to Rākṣasas, Dānavas and haughty men, and is caused by fights. This is created by Determinants, such as anger, rape, abuse, insult, untrue allegation, exorcizing, threatening, revengefulness, jealousy and the like. Its actions are beating, breaking, crushing, fighting, drawing of blood, and similar other deeds. This is to be represented on the stage by means of Consequents, such as red eyes, knitting of eyebrows, defiance, biting of the lips, movement of the cheeks, pressing one hand with the other, and the like. Complementery Psychological States in it are presence of mind, determination, energy, indignation, restlessness, fury, perspiration, trembling, horripilation, choking voice and the like. Now one enquires, “Is it to be assumed from the [above] statement about Rākṣasas that they only give rise to the Furious Sentiment, and that this Sentiment does not relate to others?,” [Reply]. “No, in case of others too, this Sentiment may arise. [But in case of Rākṣasas] it is to be understood as their special function. They are naturally furious, for they have many arms, many mouths, standing and unkempt hairs of brown colour, and prodigious physical frame of black complexion. Whatever they attempt, be it their speech, movement of limbs or any other effort, is by nature furious. Even in their love-making they are violent.[29] It is to be easily inferred that persons who imitate them give rise to the Furious Sentiment from their fights and battles. On these points there are two Āryās: 64. The Furious Sentiment is created by striking, cutting, mutilation and piercing in fights, and tumult of the battle and the like. 65. It should be represented on the stage by special acts, such as the release of many missiles, cutting off the head, the trunk and the arms, 66. Such is the Furious Sentiment viewed [by experts]; it is full of conflict of arms, and in it words, movement and deeds are terrible and fearful. The Heroic Sentiment (vīra) Now the Heroic (vīra) Sentiment, relates to the superior type of persons and has energy as its basis. This is created by Determinants, such as presence of mind, perseverance, diplomacy, discipline, military strength, aggressiveness, reputation of might, influence and the like. It is to be represented on the stage by Consequents, such as firmness, patience, heroism, charity, diplomacy and the like. Complementary Psychological States in it are contentment, judgement, pride, agitation, energy (vega). determinatin of purpose, indignation, remembrance, horripilation and the like. There are two Āryās [on these points]: 67. The Heroic Sentiment arises from energy, perseverance., optimism, absence of surprise, and presence of mind and [such other] special conditions [of the spirit]. 68. This Heroic Sentiment is to be properly represented on the stage by firmness, patience, Heroism, pride, energy, aggressiveness, influence and censuring words. The Terrible Sentiment (bhayānaka) Now the Terrible (bhayānaka) Sentiment has as its basis the Durable Psychological State of fear. This is created by Determinants like hideous noise, sight of ghosts, panic and anxiety due to [untimely cry of] jackals and owls,[30] staying in an empty house or forest, sight of death or captivity of dear ones, or news of it, or discussion about it. It is to be represented on the stage by Consequents, such as trembling of the hands and the feet, horripilation, change of colour and loss of voice. Its Complementary Psychological States are paralysis, perspiration, choking voice, horripilation, trembling, loss of voice, change of colour, fear, stupefaction, dejection, agitation, restlessness, inactivity, fear, epilepsy and death and the like. On these points there are two traditional Āryās: 69. The Terrible Sentiment is created by hideous noise, sight of ghosts, battle, entering an empty house or forest offending one’s superiors or the king. 70. Terror is characterized by looseness of the limbs, the mouth and the eyes, paralysis of the thighs, looking around with uneasiness, dryness of the drooping mouth, palpitation of the heart and horripilation. 71. This is [the character of] natural fear; the artificially shown fear also should be represented by these conditions. But in case of the feigned fear all efforts for its representation should be milder. 72. This Terrible Sentiment should be always represented by tremor of hands and feet, paralysis, shaking of the body, palpitation of the heart, dryness of the lips, the mouth, the palate and the throat. The Odious Sentiment (bībhatsa) Now the Odious (bībhatsa) Sentiment has as its basis the Durable Psychological State of disgust. It is created by Determinants like hearing of unpleasant, offensive, impure and harmful things or seeing them or discussing them. It is to be represented on the stage by Consequents, such as stopping movement of all the limbs, narrowing down of the mouth, vomitting, spitting, shaking the limbs [in disgust] and the like. Complementary Psychological States in it are epileptic fit, delusion, agitation, fainting, sickness, death and the like. On these points there are two traditional Āryās: 73. The Odious Sentiment arises in many ways from disgusting sight, tastes, smell, touch and sound which cause uneasiness. 74. This is to be represented on the stage by narrowing down the mouth and the eyes, covering the nose, bending down the head and walking imperceptibly. The Marvellous Sentiment (adbhuta) 1 The Marvellous (adbhuta) Sentiment has as its basis the Durable Psychological State of astonishment. It is created by Determinants, such as sight of heavenly beings or events, attainment of desired objects, entry into a superior mansion, temple, audience hall (sabhā), and seven-storied palace and [seeing] illusory and magical acts. It is to be represented on the stage by Consequents, such as wide opening of eyes, looking with fixed gaze, horripilation, tears [of joy], perspiration, joy, uttering words of approbation, making gifts, crying incessantly hā, hā, hā, waving the end of dhoti or sārī, and movement of fingers and the like. Complementary Psychological States in it are weeping, paralysis, perspiration choking voice, horripilation, agitation, hurry, inactivity, death and the like. On this point there are two traditional Āryās: 75. The Marvellous Sentiment is that which arises from words, character, deed and personal beauty. 76. This is to be represented on the stage by a gesture of feeling [sweet] smell, joyful shaking of limbs, and uttering hā, hā, hā sounds, speaking words of approbation, tremor, choking voice, perspiration and the like. Three kinds of the Erotic, the Comic and the Terrible Sentiment 77. The Erotic Sentiment is of three kinds, viz, of words, dress and action. And the Comic and the Terrible Sentiments are likewise of three kinds, viz, of limbs, dress and words. Three kinds, of the Pathetic Sentiment 78. The Pathetic Sentiment is of three kinds, viz that arising from obstruction of lawful deeds, from loss of wealth and from bereavement. Three kinds of the Heroic Sentiment 79. The Heroic Sentiment is likewise of three kinds, viz. that arising from making gifts, from fulfilling one’s duty (dharma) and from fighting [one’s enemy]. Three kinds of the Terrible Sentiment 80. The Terrible Sentiment is also of three kinds, viz feigned fear, fear from a wrong action, and fear from an apprehension of danger. Three kinds of the Odious Sentiment 81. The Odious Sentiment is of three kind, viz, nauseating, simple, and exciting. Of these, the Sentiment from a sight of stool and worms is nauseating, and the sight of blood and similar objects is exciting. Three kinds of the Marvellous Sentiment 82. The Marvellous Sentiment is of two kinds, viz. celestial and joyous. Of these the celestial is due to seeing heavenly sights, and the joys due to joyful happenings. 83. These are eight Sentiments and their definitions, I shall hereafter speak of the characteristics of the Psychological States. Here ends Chapter VI of Bharata’s Nāṭyaśāstra, which treats of Sentiments. Footnotes and references: [back to top] [1]: For an assumed chronology of saṃgraha, kārikā, nirukta, sūtra and bhāṣya mentioned here see S. K, De, Skt. Poetics, Vol. I. pp. 28ff. [2]: jñānāni vyākaraṇādīni śāstrāṇi (Ag). [3]: śilpāni citrapnstādi-karmāṇi (Ag). [4]: One additional characteristic of the kārikā may be that it should be generally composed in metres like āryā or anuṣṭup, e.g. the Sāṃkbyakārikā. [5]: rasa—A.K. Coomaraswamy is for translating the word as ‘flavour’ (M G. p. 17). [6]: Later writers on Skt, poetics add one more rasa (śānta) to this number. [7]: bhāva—A.B. Keith translates this word as ‘feeling’ or ‘emotion.’ See Skt. Drama, p. 319, A. K. Coomaraswamy and others translate it as “mood” (loc. cit.). Haas translates it as ‘State.’ See DR. p. 108. [8]: sthāyibhāva—Keith translates the term as ‘dominant emotion’ (Skt. Drama) and Haas as ‘Permanent State’ (DR.) and others as ‘permanent mood’ (e.g. S. K. De, Skt Poetics, Vol. II. p. 26). [9]: These are also known as sañcāri-bhāva which was translated as ‘transitory emotion or mood’. See SD. [10]: sāttvika-bhāva—The word sāttvika cannot be properly translated into English. Keith does not make any such attempt (see Skt. Drama) Haas translates the sāttvika-bhāva as ‘Involuntary States.’ But this seems to be very misleading, for the NŚ. takes sattva to be connected with manas. (see VII 93), and most of the later writers follow this work in this respect. So the author of the ND. (III. 153) writes “avahitaṃ manaḥ sattvaṃ tat prayojanaṃ heturasyeti sāttvikaḥ; mano'navadhāne hi na śakyante eva svarabhedādayo nāṭyena darśayitum.”. The NŚ. has also a definition of sattva which is as follows: “dehātmakaṃ bhavet sattvam” (XXIV. 7). The author of the BhP. elaborately defines the term sattva and discusses the psychological process connected with its use; see (pp. 13-14). Viśvanātha in his SD. (164) defines sattva as follows: “sattvaṃ nāma sātmaviśrāmaprakrāśakaro kaścanāntaro dharmaḥ”. [11]: āṅgikā—means Gestures of special kind defined in the śāstra; see VIII-XII. [12]: vācika—means words suitable for representation of the different States (bhāva) composed by the playwright. See XV-XXII. [13]: See XXIII. [14]: See XXIII. See XXIV. [15]: dharmī—This word has not been very correctly used. But the meaning is clear; for details about dharmī see XIII. 69-81. [16]: Haas translates vṛttis as Styles of Procedure (DR. p. 67). The four Styles are translated by him as Eloquent (bhāratī), Grandiose (sāttvatī), Gay (kaiśikī) and Horrific (ārabhaṭī). We follow Keith’s translation (Skt. Drama, p. 326). For details about vṛttis see XXII. lff. [17]: pravṛtti—Haas translates this word as ‘Local Characteristics,’ (See DR, p. 74). The five geographical names (Avanti, Dākṣinātyā, Oḍra, Magadha and Pañcāla) indicate that these were the parts of India where dramatic show gained special popularity. For details about pravṛttis see XIV. 36-56. [18]: siddhi (success)—For details about the Success see XXVII. lff. [19]: See XXVIII. 21, 10. [20]: See XXVIII. 1-2. [21]: See XXXII. 60 ff. [22]: The NŚ. nowhere explains the terms niṣpatti and saṃyoga of this definition and does not include the sthāyibhāva in it (the def.). Hence the theory of rasa has come to be interpreted differently in later times by Lollata, Śaṅkuka, (Bhaṭṭa) Nāyaka and Abhinavagupta. [23]: See below 33-34. [24]: For a discussion on Bharata’s theory of rasa see Skt, Poetics, Vol. II. PP-25ff. [25]: The reading of this passage seems to be confused. If it is really an instance of textual corruption it may be said to have been sanctified by time; for Bhoja who refuted Bharata’s view on bhāvas giving rise to rasas, relied on this text. Cf. V. Raghavan, Śr. Pr. p. 26. [26]: According to Indian practice, boiled rice is the principle food (anna), and the various preparations from vegetables, meat and fish are only auxiliary eatables (vyañjana). [27]: Bhoja criticises this view of the author of the NŚ. in his Sr. Pr. See Ramaswamy Sastri, Bh. P. introduction p. 28; also V. Raghavan, Śr. Pr, 27. [28]: An example of this is the Prahasana. [29]: See XXIV. [30]: Cf. Bhaṭṭikāvya, VIII. 98. [31]: These were considered omens of impending calamity. 24 March, 2017 --> Last Updated: 19 July, 2017 $(function(){ if($(document).height() > $(window).height()){ $('.book.chapter').append('^ back to top ^') $('section.back > a').click(function(){ $(window).scrollTop(0); }); } }); /** * Derivation list */ /*$('a.deriv-link').click(function(){ $(this).closest('.words-group').find('.deriv-list').toggleClass('d-none'); });*/ ====================================================================== Chapter VII - Emotional and other States ====================================================================== --> Natyashastra (English) by Bharata-muni | 1951 | 240,273 words | ISBN-13: 9789385005831 Hinduism Natyashastra Buy now! The English translation of the Natyashastra, a Sanskrit work on drama, performing arts, theater, dance, music and various other topics. The word natyashastra also refers to a global category of literature encompassing this ancient Indian tradition of dramatic performance. The authorship of this work dates back to as far as at least the 1st millenn... Go directly to: Footnotes. Chapter VII - Emotional and other States (bhāva) < Previous (index) Next > Bhāvas (Psychological States) explained 0. Now I shall speak of the bhāvas (Psychological States, lit. feelings). An anquiry in this connexion is, “Why are the bhāvas so called? Is it because they bhāvayanti (pervade) and are hence called bhāvas?” It is said in reply that bhāvas are so called, because through Words, Gestures and Representation of the Sattva they bhāvayanti (infuse) the meaning of the play [into the spectators]. Bhāva is an ‘instrument,’ of causation; for words, such as bhāvita, vāsita and kṛta are synonymous. An expression like, ‘O, all these things are bhāvita (pervaded) by one another’s smell or moistened by one another’s juice,’ is current even amongst the common people. Hence the root bhāvaya means ‘to cause to pervade.’ On this point there are the following Ślokas: 1. When the meanings presented by Determinants and Consequents are made to pervade (gamayte) [the heart of the spectators] they are called bhāvas. 2. As in these, the inner idea of the playwright is made to pervade [the mind of the spectators] by means of Words, Gestures, colour of the face and Representation of the Sattva, they are called bhāvas. 3. As they cause the Sentiments relating to various kinds of Histrionic Representation to pervade [the heart of spectators], they are called bhāva (States) by those who produce a drama. Vibhāvas (Determinants) explained “Now, why is the word vibhāva used?.” [Answer]: “The word vibhāva is used for the sake of clear knowledge. It is synonymous with kāraṇa, nimitta and hetu. As Words, Gestures and Representation of the Sattva are vibhāvyte (determined) by this, it is called vibhāva (Determinant). Vibhāvita [also] means the same thing as vijñāta (clearly known). On this point there is a Śloka: As many things are vibhāvyate (determined) by this through Words, Gestures and the Representation of the Sattva, it is named vibhāva (Determinant). Anubhāvas (Consequents) explained “Now, why is the word anubhāva used?” (Answer) “Because this anubhāvayati [the spectators] (i.e. make them feel afterwards) [the effect of] the Histrionic Representation by means of Words, Gestures and the Sattva, it is called anubhāva (Consequent). On this point there is a Śloka: 5. As in it the play (lit. meaning) is anubhāvyate (made to be felt) by means of Words and Gestures, it is called anubhāva, and it relates to words as well as to [gestures and movements of] major and minor limbs. Now we have explained that the Psychological States are related to Determinants and Consequents. Thus are Psychological States created. Hence we shall discuss the definitions and examples of the Psychological States together with their Determinants and Consequents. Of these, the Determinants and the Consequents are well-known among the people. They being connected with the human nature, their definitions are not discussed. This is for avoiding prolixity. On this point there is the Śloka: 6. Determinants and Consequents are known by the wise to be things which are created by human nature and are in accordance with the ways of human nature and with the ways of the world. Now the the Durable Psychological States are eight in number. The Complementary Psychological States are thirty-three and the Sāttvika States are eight in number. These are the three varieties of the Psychological States. Hence we are to understand that there are forty-nine Psychogical States capable of drawing out the Sentiment from the play, The Sentiments arise from them when they are imbued with the quality of universality (sāmānya, lit. commonness). On this point there is a Śloka: 7. The Psychological State proceeding from the thing which is congenial to the heart, is the source of the Sentiment and it pervades the body just as fire spreads over dry wood. Durable and other Psychological States It is said in this connexion: “If the forty-nine Psychological States being represented by Determinants and Consequents coming into contact with one another become Sentiments when they are imbued with the quality of universality, how is it that Durable Psychological States only are changed into Sentiments [and not others]?, [In reply to this] it is said: “Just as among persons having same characteristics and similar hands, feet and belly and celebrity, some due to their birth, manners, learning and skill in arts and crafts, attain kingship, while others endowed with an inferior intellect become their attendants, in a similar manner, Determinants, Consequents and Complementary Psychological States become dependent on the Durable Psychological States. Being the shelter [of others] the Durable Psychological States become masters. Similarly other Psychological States (lit. feelings) reduced to subordination take sheter (shelter?) with them (i.e. the Durable Psychological States) due to superior merit [of the latter]. Those becoming their retinue are the Complementary Psychological States. “Is there any parallel instance?” [Answer.] “Just as only a king surrounded by numerous attendants receives this epithet and not any other man be he ever so great, so the Durable Psychological States only followed by Determinants, Consequents and Complimentary Psychological States, receive the name of Sentiment. [On the point] there is a traditional Sloka: 8. Just as a king is superior to other men, and the preceptor is superior to his disciples, so the Durable Psychological States are superior to the other Psychological States. Durable Psychological States Characteristics of these which are known as the Sentiments have been mentioned before. Now we shall discuss the marks of the Psychological States common to them. First of all we shall take up [the case of] the Durable Psychological States. Love (rati) Love (rati) which has pleasure as its basis, is caused by Determinants like seasons, garlands, unguent, ornaments, dear ones, enjoyment of a superior residential house, and absence of opposition [from any one]. It is to be represented on the stage by Consequents such as a smiling face, sweet words, motion of eyebrows, and glances and the like. There is a Śloka [on this point]: 9. Love arises from the attainment of desired objects. Because of its agreeableness, it is to be represented on the stage by sweet words accompanied by [suitable] gestures and movements of limbs. Laughter (hāsya) Now, Laughter (hāsya) is caused by Determinants such as mimicry of others’ actions, incoherent talk, obtrusiveness, foolishness and the like. It is to be represented on the stage by means of Smile and the like. On this point there is a traditional Śloka: 10. Laughter arises from a mimicry of other people’s actions. It is to be represented on the stage by the learned with Smile, Laughter and Excessive Laughter. Sorrow (śoka) Sorrow (śoka) is caused by Determinants such as death of the beloved one, loss of wealth, experience of sorrow due to any one’s murder or captivity and the like. It is to be represented on the stage by Consequents such as shedding tears, lamentation, bewailing, change of colour, loss of voice, looseness of limbs, falling on the ground, crying, deep breathing, paralysis, insanity, death and the like. Weeping here (i.e. in a play) is of three kinds: [weeping) of joy, [weeping] of affliction and [weeping] due to jealousy. On these points there are traditional Āryās: 11. Weeping in which the cheeks are blooming in joy, the body is horripilating, there are words of remembrance, and tears are not concealed, is called weeping of joy. 12. Weeping in which there is a loud sound, copious shedding of tears, uneasiness of the body, want of steady movements and efforts, lamentation after falling on the ground, and rolling on the earth, is called weeping due to affliction. 13. Loud weeping of women in which the lips and the cheeks are throbbing and the head is shaking, the eyebrows and the glances are moving in anger, is called weeping due to jealousy. 14. Sorrow relates to women, persons of the inferior type, and it has its origin in affliction [of any kind]. With relation to it, persons of the superior and the middling types are distinguished by their patience and those of the inferior type by their weeping. Anger (krodha) Anger (krodha) is caused by Determinants such as insolence, abusive language, quarrel, altercation, opposing [persons or objects] and the like. It is to be represented on the stage by Consequents such as swollen nose, upturned eyes, bitten lips, throbbing cheeks and the like. 15. Anger is of five kinds, viz., anger caused by enemies, superior persons, lovers, servants, and feigned anger. On this point there are traditional Āryās: 16. One should show anger against control by the enemy with knitting of eyebrows, fierce look, bitten lips, hands clasping each other, and with threatening arms, shoulder and chest. 17. One should show anger against control by superiors with slightly downcast eyes, wiping off slight perspiration and not expressing any violent movement. 18. One should show one’s anger to the beloved woman by a very slight movement [of the body], by shedding tears, and knitting eyebrows and with sidelong glances, and throbbing lips. 19. Anger to one’s servants should be represented on the stage by means of threat, rebuke, dilated eyes and by casting angry looks of various kind. 20. Anger which is shown with a view to the realization of an ulterior motive and which mostly betrays marks of effort, is called feigned anger, and it relates to (lit. moves between) two Sentiments. Energy (utsāha) Energy (utsāha) relates to persons of the superior type. It is caused by Determinants such as absence of sadness, power, patience, heroism and the like. It is to be represented on the stage by Consequents such as steadiness, munificence, boldness in an undertaking, and the like. On this point there is a Śloka: 21. Energy which has effort as its basis and which grows out of alertness and such other qualities, should be represented on the stage by acts of vigilance and the like. Fear (bhaya) Fear (bhaya) relates to women and persons of the inferior type. It is caused by Determinants such as acts offending one’s superiors and the king, roaming in a forest, seeing an elephant and a snake, staying in an empty house, rebuke [from one’s superiors], a dark rainy night, hearing the hooting of owls and the cry of animals that go out at night, and the like. It is to be represented on the stage by Consequents such as, trembling hands and feet, palpitation of the heart, paralysis, dryness of the mouth, licking the lips, perspiration, tremor, apprehension [of danger], seeking safety, running away, loud crying and the like. On this point there are Ślokas: 22. Fear arises from an embarassment due to offending one’s superiors and the king, seeing terrible objects and hearing awful things. 23. This is to be represented with tremor of the limbs, panic, drying up of the mouth, hurried movement, widely opened eyes and such other gestures and actions. 24. Fear in men arising from terrifying objects should be represented on the stage by actors (lit. dancers) with slackened limbs and suspended movement of the eyes. There is also an Āryā on this point: 25. This (fear) should be represented on the stage with tremor of hands and feet, and palpitation of the heart, paralysis, licking the lips, drying up of the mouth, loosened limbs, and sinking (visaṇṇa) body. Disgust (jugupsā) Disgust (jugupsā) relates to women and persons of the inferior type. It is caused by Determinants such as hearing and seeing unpleasant things, and the like. It is to be represented on the stage by Consequents such as, contracting all the limbs, spitting, narrowing down of the mouth, heart-ache and the like. On this point there is a Śloka. 26. Disgust is to be represented on the stage by covering the nose, contracting all the limbs, [general] uneasiness and heart-ache. Astonishment (vismaya) Astonishment (vismaya) is created by Determinants such as illusion, magic, extraordinary feats of men, great excellence in painting, art-works in parchment and the like. It is to be represented on the stage by Consequents such as wide opening of the eyes, looking without winking of the eyes, [much] movement of the eyebrows, horripilation, moving the head to and fro, the cry of “well done,” “well done,” and the like. On this point there is a Śloka: 27. Astonishment arising from joy due to extraordinary acts should be represented by means such as joy, tears, fainting and the like. Complementary Psychological States (vyabhicāriṇa) Durable Psychological States are to be known as described here. We shall now explain the Complementary Psychological States. “Why are these called vyabhicāriṇaḥ?” [In answer] it is said that vi and abhi are prefixes, and the root cara means ‘to go,’ ‘to move. Hence the word vyabhicāriṇah means ‘those that move in relation to Sentiments towards different [kinds of objects.]’ ‘Move in’ implies carrying. It is questioned, “How do they carry?” In answer it is said, “It is a popular convention to say like this, just as the people say, “The sun carries this nakṣatra (star) or that day.” It does not, however, mean that these are carried on arms or shoulders. But this is a popular belief. Just as the sun carries this star, so is to be understood that the Complementary Psychological States [carry the Sentiments]. These Complementary Psychological States as mentioned in the Digest are thirty three in number. We shall describe them now. Despondency (nirveda) Despondency (nirveda) is caused by Determinants such as, being reduced to poverty, getting insulted, abusive language, anger, beating, loss of beloved persons, and the knowledge of the ultimate (lit. essential) truth and the like. It is to be represented on the stage by Determinants such as weeping, sighing, deep breathing, deliberation and the like, on the part of women, and of persons of the inferior type. On this point there is a Śloka: 28. Despondency grows out of being reduced to poverty, and loss of dear ones, and it is to be represented on the stage by deliberation and deep breathing. On this point there are two traditional Āryāsg: 29. Despondency arises from loss of dear ones, poverty, disease, envy from seeing the prosperity of others. 30. A despondent man has the eyes bathed in tears, face and eyes miserable due to heavy breathing, and lie is like a yogi absorbed in meditation. Weakness (glāni) Weakness (glāni) proceeds from Determinants such as, vomitting, purgation, sickness, penance, austerities, fasting, mental worry, too much drinking, sexual indulgence, too much exercise, walking a long way, hunger, thirst, sleeplessness and the like. It is to be represented on the stage by Consequents such as a weak voice, lustreless eyes, pale face, slow gait, want of energy, thinness of the body, change of colour and the like. On this point there are two Āryās: 31. Weakness grows out of vomitting, purgation and sickness, penance, and old age. It is to be represented on the stage by thinness of the body, slow gait and tremor [of the limbs]. 32. Weakness is to be represented on the stage by a very weak voice, weakness of the eyesight, poor gait, constant slackness of the limbs. Apprehension (śaṅkā) Apprehension (śaṅkā) has doubt as its basis, and it relates to women and persons of the inferior type. It is caused by Determinants such as theft, giving offence to the king and the like. It is to be represented on the stage by Consequents such as constantly looking on, hesitating movement (avakuṇṭhana), dryness of the mouth, licking the lips, change of facial colour, tremor, dry lips, loss of voice and the like. There is Śloka on these points: 33. Apprehension in the Terrible Sentiment is due to robbery, and the like, and in case of the Erotic Sentiment it is due to [a possible] deception on the part of the lover. Some authorities prescribe (lit. desire) in this case a concealment of appearance which is to be characterized by [adoption of] clever tricks and gestures. There are two Āryās in this connexion: 34. Apprehension is of two kinds: viz. that arising from one’s own self and that arising from another person. That arising from one’s own self is to be known from one’s look and efforts. 35. A man with Apprehension has a dark face, a thick and protruding tongue, slightly trembling limbs, and he constantly looks sideways, Envy (asūyā) Envy (asūyā) is caused by Determinants such as various offences, hatred, other people’s wealth, good luck, intelligence, sports, learning and the like. It is to be represented on the stage by Consequents such as finding fault with others, decrying their virtues, not paying any heed to these, remaining with downcast face, knitting eyebrows in disparagement, and abusing others in the assembly [of men]. On these points there are two Āryās: 36. Envy arises in a person who is displeased to see other people’s good fortune, wealth, intelligence, and exuberence of sportiveness. 37. It is to be represented by a distorted face, knitting eyebrows, face turned away in jealous anger, decrying other people’s virtues and showing hatred towards them. Intoxication (mada) Intoxication (mada) is caused by drinking of liquor and similar other things. It is of three kinds, and has five Determinants. There are the following Āryās on this point: 38. Intoxication is of three kinds, viz. light, medium and excessive. It has five causes which should be represented on the stage. 39. While intoxicated some sing, some laugh and some use harsh words while others sleep. 40. Among these, persons of the superior type sleep, those of the middling type laugh and sing, and those of the inferior type cry or use harsh words. 41. Light intoxication is characterised by a smiling face, pleasant feeling, joyful body, slightly faltering words, delicately unsteady gait, and relates to persons of the superior type. 42. Medium intoxication is characterised by drunken and rolling eyes, drooping arms or arms restlessly thrown about and irregularly unsteady gait, and relates to persons of the middling type. 43. Excessive intoxication is characterised by loss of memory, and incapacity to walk due to vomitting, hiccup and cough, and a thick protruding tongue and spitting, and relates to persons of the inferior type. 44. A character who [acts] drinking on entering the stage is to show that his intoxication is increasing, but the character who enters the stage as drunk should show that his intoxication is decreasing. 45. But the intoxication should be stopped by exit when there is panic, grief and increase of terror due to some cause. 46. On account of these special conditions, intoxication disappears quickly just as grief passes away on hearing the happy news of [sudden] prosperity. Weariness (śrama) Weariness (śrama) is caused by Determinants such as walking a long way, exercising of limbs and the like. It is to be represented on the stage by Conseqents (Consequents?) such as gentle rubbing of the body, [deep] breathing, contraction of the mouth, belching, massaging of the limbs, very slow gait, contraction of the eyes, making Śītkāra and the like. There is an Āryā on this point: 47. Weariness in man is caused by walking [a long distance] and exercising [the limbs], and it is to be represented on the stage by [deep] breathing, tired gait and the like. Indolence (ālasya) Indolence (ālasya) is caused by Determinants such as nature, lassitude, sickness, satiety, pregnancy and the like. And it relates to women, and men of the inferior type. It it to be represented on the stage by Consequents such as aversion to any kind of work, lying down, sitting, drowsiness, sleep and the like. On this point there is an Āryā: 48. Indolence arising from lassitude as well as nature should be represented on the stage by discontinuance of all activity except taking food. Depression (dainya) Depression (dainya) is caused by Determinants such as poverty, mental agony and the like. It is to be represented on the stage by Consequents such as want of self-command, dullness of the body, absent-mindedness, giving up of cleansing [the body] and the like. There is in Āryā on this point: 49. Depression of men proceeds from anxiety, eager expectation and misery. Different modes of representing it on the stage includes giving up of cleansing [the body] in any way. Anxiety (cinta) Anxiety (cinta) is caused by Determinants such as loss of wealth, theft of a favourite object, poverty and the like. It is to be represented on the stage by [deep] breathing, sighing, agony, meditation, thinking with a downcast face, thinness of the body and the like. There are two Āryās on this point: 50. Anxiety of men arises in various ways from the loss of wealth, theft of a favourite object, and a heart full of expectation. 51. It is to be represented on the stage by sighing, deep breathing, agony, and absent-mindedness, giving up of cleansing [the body] and want of self-command. Distraction (moha) Distraction (moha) is caused by Determinants such as accidental injury, adversity, sickness, fear, agitation, remembering past enemity and the like. It is to be represented on the stage by Consequents such as want of movement, [excessive] movement of [a particular] limb, falling down, reeling, not seeing properly and the like. There is a Śloka on this point: 52. Due to seeing a robber in an unexpected place or from panic of different kinds distraction occurs in a man when he finds no help [near by]. There is also an Āryā on this point: 53. Distraction occurs due to adversity, accidental injury, memory of past enmity. It is to be represented on the stage by suspension of the activity at all senses. Recollection (smṛti) Recollection (smṛti) is remembering every condition of happiness and misery. It is caused by Determinants such as health, troubled night, disturbed sleep, seeing parallels, having an example, thinking, constant practice and the like. It is to be represented on the stage by Consequents such as nodding of the head, looking down, raising up the eyebrows and the like. On this point there is a Ślokā and an Āryā: 54. One is said to be recollecting something when one remembers past happiness and misery which were either conceived in mind or did actually occur and was forgotten, 55. Recollection arising from health, or relating to the Vedas and Darśanas is to be represented on the stage by raising or nodding of the head and raising the eyebrows. Contentment (dhṛti) Contentment (dhṛti) is caused by [Determinants such as] heroism, spiritual knowledge, learning, wealth, purity, good conduct, devotion to one’s superiors, getting excessive amount of money, enjoying sports, and the like. It is to be represented on the stage by Consequents such as enjoyment of objects gained, and not grumbling over objects unattained, the past, [objects] partially enjoyed and lost and the like. On this point there are two Āryās: 56. Contentment arising from spiritual knowledge, purity, wealth and power, is always to be represented on the stage by an absence of fear, sorrow end sadness. 57. When one enjoys attained objects such as [sweet] sound, touch, taste, form and smell, and is not sorry over their non-attainment, one is said to have Contentment. Shame (vrīdā) Shame (vrīdā) has improper action as its basis. It is caused by Determinants such as repentance on account of transgressing words of superiors or disregarding them, nonfulfilment of vows and the like. It is to be represented on the stage by Consequents such as covered face, thinking with downcast face, drawing lines on the ground, touching clothes and rings, and biting the nails, and the like. There are two Āryās on this point: 58. When a man, after he has done anything improper, is seen by those who are pure, he becomes repentant and is ashamed. 59. The ashamed man will cover his face, draw lines on the ground, bite the nails and touch clothes and rings. Inconstancy (capalatā) Inconstancy (capalatā) is caused by Determinants such as love, hatred, malice, impatience, jealousy, opposition and the like. It is to be represented on the stage by Consequents such as harsh words, rebuke, beating, killing, taking prisoner, goading and the like. There are two Āryās on this point: 60. When a man does anything like killing or beating any one without any forethought, he is said to be inconstant because of his not being definite in his action. Joy (harṣa) Joy (harṣa) is caused by Determinants such as attainment of a desired object, union with a beloved person, mental satisfaction, favour of gods, preceptor, king, and husband (or master), receiving [good] food, clothing and money and enjoying them, and the like. It is to be represented on the stage by means of Consequents such as brightness of the face and the eyes, using sweet words, embracing, horripilation, tears, perspiration and the like. There are two Āryās on this point: 61. Joy is caused to a man when he has attained any object or obtained anything which was unobtainable or has met his beloved one or has his heart’s desire fulfilled. 62. It is to be represented on the stage by brightness of the eyes and the face, loving words, embrace, delicate movement of the limbs, and perspiration and the like. Agitation (āvega) Agitation (āvega) is caused by Determinants such as portents, wind or rains, [outbreak of] fire, running about of elephants, hearing very good or very bad news, stroke of calamity and the like. In this connexion portents include [a stroke of] lightning and [falling] of meteors or shooting stars, eclipse of the sun and the moon, and appearance of cornels. It is to be represented on the stage by looseness of all the limbs, distraction of the mind, loss of facial colour, surprise and the like. [Agitation] due to violent winds is to be represented by veiling [the face], rubbing the eyes, collecting [the ends] of clothes [worn], hurried going and the like. [Agitation] due to [heavy] rains is to be represented by lumping together of all the limbs, running, looking for some covered shelter, and the like. [That] due to [an outbreak of] fire is to be represented by eyes troubled with smoke, narrowing down all the limbs, or shaking them, running with wide steps, flight and the like. That due to running about of elephants is to be represented by hurried retreat, unsteady gait, fear, paralysis, tremor, looking back and the like. [That] from hearing something favourable is to be represented by getting up, embracing, giving away clothes and ornaments, weeping, horripilation and the like. That due to hearing anything unpleasant is to be represented by falling down on the ground, lamentation, rolling about [even] on a rough surface, running away, bewailing, weeping and the like. And that due to a stroke of calamity (vyasana) is to be represented by sudden retreat, taking up weapons and armour, mounting elephants and horses and chariots, determination and the like. 63. Agitation of these eight kinds has hurry as its basis. This is characterised by patience on the part of persons of the superior and the middling types; but agitations of the inferior type is marked by flight. On this point there two Āryās: 64. Agitation occurs over an unpleasant report, disregard of instruction, throwing a missile, and panic. 65. Agitation due to an unpleasant report, has as its Consequents assuming a sad look, and that due to a sudden appearance of enemy is to be represented by clash of weapons. Stupor (jaḍatā) Stupor (jaḍatā) is caused by Determinants such as cessation of all activity, hearing of a much desired thing or a [very] harmful thing, sickness and the like, It is to be represented on the stage by Consequents such as not uttering any word, speaking indistinctly, remaining absolutely silent, looking with a steadfast gaze, dependence on others and the like. There is an Āryā on this point: 66. A man is called stupid when due to senselessness he cannot distinguish between good and evil as well as happiness and misery, and remains silent, and dependent on others. Arrogance (garva) Arrogance (garva) is caused by Determinants such as king-ship, noble birth, personal beauty, youth, learning, power, attainment of wealth ond the like. It is to be represented on the stage by Consequents such as contempt [for others], harassing [people], not giving reply [to one’s question], not greeting [others], looking to shoulders, flurry, contemptous laughter, harsh words, transgressing [commands of] the superiors, rebuking and the like. There is an Āryā on this point: 67. Arrogance of persons of the inferior type due to acquisition of learning, youth, personal beauty, royal power and attainment of wealth is to be represented by movement of the eyes and the limbs. Despair (visāda) Despair (visāda) is caused by Determinants such a non-fulfilment of the work undertaken, natural calamity and the like. It is to be represented on the part of persons of the superior and the middling types by Consequents such as looking for allies, thinking about means, loss of energy, absentmindedness, deep breathing the like. And on the part of persons of the inferior type it is to be represented by running about aimlessly looking down, drying up of the mouth licking the corner of the mouth, sleep, deep breathing, meditation and the like. There are two Āryās on this point: 68. Despair arises from nonfulfilment of the work begun, being taken at the time of committing theft, and giving offence to the king and like. 69. In case of persons of the superior and the middling types this is to be represented by mental distraction and thinking about various means, and in case of persons of the inferior type sleep, deep breathing, and [aimless] reflection are to represent it. Impatience (autsukya) Impatience (autsukya) is created by Determinants such as separation from beloved persons, remembering them, sight of a garden and the like. It is to be represented on the stage by Consequents such as sighs, thinking with downcast face, sleep, drowsiness, desire for lying down and the like. There is an Āryā on this point: 70. Impatience arises from the loss of beloved persons or from remembering them. This is to be represented on the stage by thinking, want of sleep, drowsiness, dullness of the body and the like. Sleeping (nidrā) Sleeping (nidrā) is caused by Determinants such as weakness, fatigue, exhaustion, intoxication, indolence, [too much] thinking, too much eating, [soporific] nature and the like. It is to be represented on the stage by Consequents such as heaviness of the face, stretching the limbs, rolling of the eyes, yawning, rubbing of the body, deep breathing, relaxed body, closing the eyes, bewilderment, and the like. There are two Āryās on this point: 71. Sleep comes to a man through weakness, fatigue, exertion, [too much] thinking, natural tendency [to sleep] and keeping awake throughout the night. 72. It is to be represented on the stage by Consequents such as heaviness of the face, closing the eyes, or their rolling, stupor, yawning, massaging of the body and the like. Epilepsy (apasmāra) Epilepsy (apasmāra) is caused by Determinants such as being possessed by a god, a Nāga, a Yakṣa, a Rākṣa, a Piśāca and the like, and a memory of such beings, eating food left after somebody’s partaking of it, staying in a deserted house, non-observation of proper interval of time [in taking food, in sleeping etc.], derangement of humours (dhātu)[1] and the like. It is to be represented on the stage by Consequents such as throbbing, trembling, running, falling down, perspiration, foaming in the mouth, hiccup, licking [the lips] with the tongue, and the like. On this point there are two Āryās: 73. Epilepsy occurs in a person when he is possessed by Bhūtas and Piśācas, when he remembers these beings, [eats] Ucchiṣṭa[2], stays in a deserted house, disregards proper interval of time [for taking food etc.], and is impure [in body]. 74. Falling down suddenly on the ground, trembling, foaming in the mouth, and rising up while senseless, are conditions during Epilepsy. Dreaming (supta) Dreaming (supta) is caused by Determinants such as interruption of sleep, enjoying objects of senses, infatuation [of any kind], spreading the bed on the ground, dragging the bed over the ground and the like. The dreaming which occurs in sleep is to be represented by Consequents such as deep breathing, dullness of the body, closing the eyes, stupefaction of all the senses, dreams and the like. There are two Āryās on this point: 75. Dreaming occurs due to interruption of sleep, enjoying objects of senses and infatuation [of any kind]. It is to be represented on the stage by closing the eyes, deep breathing, dreaming dreams and talking while asleep. 76. Dreaming is to be represented on the stage by deep breathing, imperfectly closing eyes, stupefaction of all senses and absence of all activity. Awakening (vibodha) Awakening (vibodha) is the break of sleep, and it is caused by Determinants such as digestion of food, bad dreams, loud sound, sensitive touch and the like. It is to be represented on the stage by Consequents such as yawning, rubbing the eyes, leaving the bed, and the like. There is an Āryā on this point: 77. Awakening is caused by digestion of food, [loud] sound, [sensitive] touch and the like. It is to be represented on the stage by yawning, rubbing the face and the eyes, and the like. Indignation (amarṣa) Indignation (amarṣa) is caused to persons abused or insulted by those having superior learning, wealth or power, It is to be represented on the stage by Consequents such as shaking the head, perspiration, thinking and reflecting with a downcast face, determination, looking for ways and means and allies, and the like. There are two Ślokas on this points: 78. Indignation grows in energetic men who have been abused or insulted in an assembly by those having superior learning and wealth- 79. It is to be represented on the stage by energy, determination, reflection with a downcast face, shaking the head, perspiration and the like. Dissimulation (avahitthā) Dissimulation (avahitthā) is the concealment of appearance. It is caused by Determinants such as shame, fear, defeat, respect, deceit and the like. It is to be represented on the stage by Consequents such as speaking like another person, looking downwards, break in the speech, feigned patience and the like. There is a Śloka on this point: 80. Dissimulation is due to impudence, deceit, fear and the like. It is to be represented by carelessness about an action, and not speaking much in reply or in addressing [others]. Cruelty (ugratā) Cruelty (ugratā) is caused by Determinants such as arrest of robbers, offence to kings, offending words and the like, It is to be represented on the stage by Consequents like killing, imprisoning, beating, rebuking and the like. There is an Āryā on this point: 81. Cruelty occurs when a robber is arrested or the king is given affence. It is to be repressented on the stage by Consequents such as killing, imprisoning, beating, rubuking and the like. Assurance (mati) Assurance (mati) is caused by Determinants such as thinking about the meaning of many Śāstras and considering the pros and cons of things. It is to be represented on the stage by Consequents such as instructing pupils, ascertainment of [any] meaning, removal of doubt and the like. There is a Ślokā on this point: 82. Assurance comes to men when they are well-versed in the meaning of many Śāstras. It is to be represented on the stage by Consequents such as instructing pupils and explaining the meaning [of Śāstras]. Disease (vyādhi) Disease (vyādhi) owes it origin to [an attack of three humours such as] wind (vāta), biles (pitta) and phlegm (kapha).[3] Fever and similar other illnesses are special varieties of it. Fever is of two kinds, viz. that with a feeling of cold (śīta) and that with a feeling of heat (dāha). Fever with a feeling of cold should be represented by Consequents such as shivering, tremor of the entire body, bending [the body], shaking of the jaws, narrowing down the nasal passage, dryness of the mouth, horripilation, lamentation and the like. And that with a feeling of heat, is to be represented by throwing out clothes, the hands and the feet, desire [to roll on] the ground, [use of] unguent, desire for coolness, lamentation, crying and the like. The other types of sicknesses are to be represented on the stage by Consequents such as narrowing down the mouth, dullness of the body, [deep] breathing, making [peculiar] sounds, crying, tremor and the like. There is a Śloka on this point: 83. Sickness in general should be represented on the stage by looseness of the limbs, throwing out the limbs and narrowing down the mouth due to illness. Insanity (unmāda) Insanity (unmāda) is caused by Determinants such as death of beloved persons, loss of wealth, stroke of adversity, derangement of [the three humours]: wind (vāta), biles (pitta), phelgm (śleṣmā), and the like. It is to be represented on the stage by laughing, weeping, crying, talking, lying down, sitting, running, dancing, singing and reciting [something] without any reason, smearing [the body] with ashes and dust, taking grass, Nirmālya[4]. soiled cloth, tags, potsherd and earthen tray as decoration [of the body], many other senseless acts, and imitation of others. There are two Āryās on this point: 84. Insanity occurs owing to death of beloved persons, loss of wealth, accidental hurt, wind (vāta), biles (pitta), phlegm (kapha), derangement of the heart in various ways. 85. Insanity is to be represented by laughing, weeping, sitting, running and crying without any reason, and [other] senseless acts. Death (maraṇa) Death (maraṇa) comes through disease as well as accidental injury. Of these two kinds of death, that from sickness is caused by Determinants such as a malady of the intestine and the liver, colic pain, disturbance of humours, tumours, boils, fever, cholera, and the like. And that due to accidental injury is caused by weapons, snake bite, taking poison, [attack of] ferocious animals, injury due to falling down from elephant, horse, chariot and other vehicles. I shall now speak of the different methods of their representation on the stage. Death from disease is to be represented on the stage by Consequents such as looseness of the body, motionlessness of the limbs, closed eyes, hiccup, deep breathing, looking for family members, speaking indistinct words and the like.[5] There is a Śloka on this point: 86. Death due to disease is to be represented on the stage by one mark viz. loose body and inactive sense-organs. But death due to accidental injury is to be represented on the stage in different ways: e.g., [death due to] wound by weapons is to be represented by Consequents such as suddenly falling down on the ground and the like. In case of snake-bite or taking poison [there is a gradual] development of its symptoms which are eight in number, viz. thinness (of the body), tremor, burning sensation, hiccup, foam at the mouth, breaking of the neck, paralysis and death. There are two traditional Ślokas on this point: 87-88. The first symptom of the development [of the effect of poison] is thinness of the body, the second tremor, the third a burning sensation, the fourth hiccup, the fifth foaming at the mouth, the sixth breaking of the neck, the seventh paralysis and and the eighth death. There are besides two Āryās ou this point: 89. Death due to [an attack of] a ferocious animal, elephant, horse, or falling from chariots and mounts, and wound by weapons should be represented by absence of any further movement of the body. 90. Thus death occurs under various conditions. It should be represented by suitable words, gestures and movements. Fright (trāsa) Fright (trāsa) is caused by Determinants such as flash of lightning, a meteor, thunder, earthquake, clouds, crying or howling of big animals and the like. It is to be represented on the stage by Consequents such as, shaking of narrow limbs, tremor [of the body], paralysis, horripilation, speaking with a choked voice, talking irrelevantly, and the like. There is a Śloka on this point: 91. Fright is caused by a very terrible sound and the like. It should be represented on the stage by looseness of limbs and half-shut eyes. Deliberation (vitarka) Deliberation (vitarka) is caused by Determinants such as doubt, cogitation, perplexity and the like. It is to be represented on the stage by Consequents such as various discussions, settling the definition, accepting the deliberation and the like. There is a Śloka on this point: 92. Deliberation which arises from discussions and which has doubt as its basis, is to be represented on the stage by shaking of the head, the eyebrows and the eyelashes. These are the thirty-three Transitory States; they are to be produced in a play by men and women of the superior, middling and inferior types in conformity with [proper] place, time and occasion. 93. These thirty-three are known as the Transitory States. I shall now explain in detail the Sāttvika States.[6] Sāttvika States Now it may be asked, “Are these States called Sāttvika, because other States (Determinants, Consequents and Transitory States) are said to be devoid of Sattva?” [In answer] it is said that the Sattva in this connexion is [something] originating in mind. It is caused by the concentrated mind. The Sattva is accomplished by concentration of the mind. Its nature [which includes] horripilation, tears, loss of colour and the like, cannot be mimicked by an absent-minded man. The Sattva is desired in a play because of its imitating human nature. If the question is, ‘Is there any example in support of this view?’ then it may be said that in theatrical practice, situations of happiness as well as misery should so purely accord with the Sattva behind them that they may appear to be realistic (yathāsvarūpa). How can sorrow which has weeping as its basis, be represented on the stage by any one who is not sorry?, And how can happiness which has joy as its basis be represented on the stage by any one who is not happy? Hence the Sattva being desired [in acting] in connexion with certain States the latter are called Sāttvika. This Sattva is explained by the fact that tears and horripilation are respectively to be shown by persons who are not [actually] sorry or happy. 94. The eight Sāttvika States are as follows: Paralysis, Perspiration, Horripilation, Change of Voice, Trembling, Change of Colour, Weeping and Fainting. Among these, Perspiration (sveda) 95. Perspiration (sveda) occurs as the result of anger, fear, joy, shame, sorrow, toil, sickness, heat, exercise, fatigue, summer and massage: Paralysis (stambha) and Trembling (prakampa) 96. Paralysis (stambha) occurs as being due to joy, fear, sickness, surprise, sadness, intoxication and anger, and Trembling due to cold, fear, joy, anger, touch [of thebeloved] and old age. Weeping (asra) 97. Weeping (asra) occurs as being due to joy, indignation, smoke, collyrium, yawning, fear, sorrow, looking with a steadfast gaze, cold and sickness. Change of Colour and Horripilation (vaivarṇya) 98. Change of Colour (vaivarṇya) occurs as being due to cold, anger, fear, toil, sickness, fatigue and heat, and Horripilation (romāñca) due to touch, fear, cold joy, anger and sickness. Change of Voice (svara-sāda) and Fainting (pralaya) 99. Change of Voice (svara-sāda) occurs as being due to fear, joy, anger, fever, sickness and intoxication, and Fainting (pralaya) due to too much toil, swoon, intoxication, sleep, injury, astonishment and the like. Representation of the Sāttvika States 100. These are to be known by the wise as the eight Sāttvika States. I shall speak afterwards about actions which will represent these States. 101. Paralysis should be represented on the stage by being inactive, motionless, dispirited like an inert object, senseless, and stiff-bodied. 102. Perspiration should be represented on the stage by taking up a fan, wiping off sweat and looking for breeze. 103. Horripilation should be represented on the stage by repeated thrills, hairs standing on the end, and by touching the body. 104. Change of Voice should be represented by broken and choking voice, and Trembling by quivering, throbbing and shivering. 105. Change of Colour should be represented by alteration of colour of the face by putting pressure on the artery, and this is dependent on the limbs. 106. Weeping should be represented on the stage by rubbing the eyes and shedding tears, and Loss of Consciousness by inaction, motionlessness, imperceptible breathing and [finally] by falling on the ground. Application of States to different Sentiments (rasa) 107. These are the forty-nine States of the three kinds mentioned by me. Now you ought to hear of the different Sentiments to which they are applicable. 108-109. All the [forty-nine] States except indolence, cruelty and disgust are applicable to the Erotic Sentiment (lit. raise the Erotic Sentiment by their own name). 110. Weakness, apprehension, envy, weariness, inconstancy, dreaming, sleeping and dissimulation are the States applicable to the Comic Sentiment. 111. Discouragement, anxiety, depression, weariness, weeping, stupor and death are the States applicable to the Pathetic Sentiment. 112. Arrogance, envy, energy, agitation, intoxication, anger, inconstancy and cruelty are the States applicable to the Furious Sentiment. 113-114, Presence of mind, energy, agitation, joy, assurance, cruelty, indignation, intoxication, horripilation, change of voice, anger, envy, contentment, arrogance and deliberation are the States applicable to the Heroic Sentiment. 115. Perspitation, trembling, horripilation, choking voice, fear, death, change of colour are the States applicable to the Terrible Sentiment. 116. Epilepsy, insanity, despair, intoxication, death, sickness and fear, are the States applicable to the Odious Sentiment. 117. Paralysis, perspiration, loss of consciousness, horripilation, astonishment, agitation, stupor, joy and fainting are the States applicable to the Marvellous Sentiment. 118. These Sāttvika States which depend on the various kinds of Histrionic Representation are included into all the Sentiments by experts in the production of plays. 119-1120. No play in its production can have one Sentiment only. If in an assemblage of the many States, Sentiments, Styles (vṛtti) and Local Usages (pravṛtti) [in the production of a play] any one item has varied representation, it should be considered the Dominant Sentiment and the rest the Transitory ones. 121. That which stands on the principal theme [of the play] and is combined with Determinants, Consequents and Transitory States is the Dominant Sentiment. 122.[7]This Dominant Sentiment should be represented with an exuberence of the Sattva, but the Transitory States by mere physical gestures (lit. form), for they are to support the Dominant Sentiment [and as such should not excel it]. 123. [Independent representation of] a variety [of Sentiments] does not displease and such a variety is rare in practical life (lit. amongst people). But a mixture of different Sentiments will, however, bring pleasure [to the spectators] when such is carefully represented. 124. In [the production of] plays the Dominant, the Sāttvika and the Transitory States which are supporters of the Sentiments and which are accomplished through many objects and ideas, should be assigned to male[8] characters.[9] 125. The Sentiments and the States in plays are thus to be created. One who knows this well will attain the best Success [in the production of a play]. Here ends Chapter VII of Bharata’s Nāṭyaśāstra, which treats of the Representation of the States. Footnotes and references: [back to top] [1]: They are three in number viz. wind (vāyu), bile (pitta) and phlegm (kapha). [2]: That which is left over in the plate after a person has finished his meal. [3]: See the Kāśyapasaṃhitā, XXVII. 6. [4]: Remains of a flower-offering to a deity, which is supposed to purify a person who takes it with reverence. [5]: Earlier writers on the Hindu drama wrongly believed that NŚ. excluded scenes of death from the stage. See Keith, Skt. Drama, pp. 222; also M. Ghosh, “A so-called convention of the Hindu Drama,” IHQ. IX. 1933, pp. 981ff. Windisch thought that Śūdraka in his Act. VIII violated a rule in showing the murder of Vasantasenā by Śakāra (Der griechische Einfluss in indische Drama, Berlin, 1882. p. 43). [6]: See above note 1 on VI 22. [7]: A disregard of this principle is liable to cause undue prominence to minor characters in a play and thereby to frustrate the principal object of the playwright. [8]: puṃsānukīrṇāḥ (puṣpāvakīrṇāḥ B.G.). [9]: An analysis of the plays of the best kind, known to us seems to explain this rule. For in almost all of them superior roles are assigned to men who can better be made the vehicle of different and complex psychological states. 25 March, 2017 --> Last Updated: 19 July, 2017 $(function(){ if($(document).height() > $(window).height()){ $('.book.chapter').append('^ back to top ^') $('section.back > a').click(function(){ $(window).scrollTop(0); }); } }); /** * Derivation list */ /*$('a.deriv-link').click(function(){ $(this).closest('.words-group').find('.deriv-list').toggleClass('d-none'); });*/ ====================================================================== Chapter VIII - Gestures of Minor Limbs ====================================================================== --> Natyashastra (English) by Bharata-muni | 1951 | 240,273 words | ISBN-13: 9789385005831 Hinduism Natyashastra Buy now! The English translation of the Natyashastra, a Sanskrit work on drama, performing arts, theater, dance, music and various other topics. The word natyashastra also refers to a global category of literature encompassing this ancient Indian tradition of dramatic performance. The authorship of this work dates back to as far as at least the 1st millenn... Go directly to: Footnotes. Chapter VIII - Gestures of Minor Limbs (upāṅga) < Previous (index) Next > The sages question. 1-2. Through your kindness we have heard in due order everything relating to the origin of the States[1] and Sentiments[2]. We shall now like to know also what the experts say about the different kinds of Histrionic Representation, their meanings and different subdivisions. 3. O the blessed one, you are also to tell us accurately what kinds of Histrionic Representation are to be applied to which [places or occasions] by persons aiming at Success. Bharata answers. 4. On these words of the sages, Bharata spoke thus relating to the four kinds of Histrionic Representation. 5. “O sages, I shall now speak to you in detail so that the Histrionic Representation becomes properly explained to you. [3] We shall speak of [the fact that] the abhinaya (Histrionic Representation) is of four kinds. The question is, “Why is it called the abhinaya?” It is said in reply to this that the abhinaya is derived from the prefix abhi, and the verbal root nī meaning ‘to cause to get’ (to attain), and the sufix ac attached to these two. Hence a [full] answer to this should be made after a consideration of the root and its meaning. There is a Śloka on this point 6. As the root nī preceded by abhi means ‘carrying the performances (prayoga) of a play [to the point of direct] ascertainment of its meaning,’ so [the word made out of them] becomes abhinaya (carrying towards). Meaning of abhinaya 7. Abhinaya is so called because in the performance [of a play] it together with the Śākha[4], the Aṅga[5] and the Upāṅga[6] explains the meaning of different [things]. Four kinds of abhinaya 8. O Brahmins, the Histrionic Representation of a play takes place in four ways, and on this [Representation] the plays of different types rest. 9. O Brahmins, this Histrionic Representation is known to be fourfold: Gestures[7] (āṅgika), Words, (vācika) Dresses and Make-up (āhārya) and the Sattva. Gesture (āṅgika): its three varieties 10. Of these, the Sattva has been described before[8], along with the States; now listen first of all above the Gestures. 11. The Gesture is of three kinds, viz. that of the limbs (śārira), that of the face (mukhaja) and that related to [different], movements of the entire body (ceṣṭākṛta) including the Śākhā, the Aṅga and the Upāṅga. 12. Dramatic performance in its entirety relates to the six limbs including the major and the minor ones, such as head, hands, lips, breast, sides and feet. 13. The six major limbs (aṅga) are head, hands, breast, sides, waist and feet, and the (six) minor limbs (upāṅga) are eyes, eyebrows, nose, lower lip and chin. 14. Producers of plays should reckon the Śākhā, dance (nṛtta) and the Aṅkura as the three aspects of the Histrionic Representation. 15. The Gestures are called the Śākhā;[9] pantomiming through them is the Aṅkura[10] and that which is based on the Karaṇas[11] and consists of the Aṅgahāras[12] is called dance (nṛtta). 16. O Brahmins, listen first of all about the different gestures of the head, which are included in the facial gestures and which support many Sentiments (rasa) and States (bhāva). Gestures of the head (śiras) and their uses 17-18. The gesture of the head is of thirteen[13] kinds, viz. Ākampita, Kampita, Dhuta, Vidhuta, Parivāhita, Udvāhita, Avadhuta, Añcita, Nihañcita, Parāvṛtta, Utkṣipta, Adhogata, and Lolita. 19. Ākampita: Moving the head slowly up and down is called the Ākampita. Kampita: When the movements in the Ākampita head are quick and copious the same is called Kampita.* 20. (Uses): The Ākampita head is to be applied in giving a hint, teaching, questioning, addressing in an ordinary way (lit. naturally), and giving an order. 21. The Kampita head is applicable (lit. desired) in anger, argument, understanding, asserting, threatening, sickness and intolerance. 22. Dhuta and Vidhuta: A slow movement of the head is called the Dhuta, and when this movement is quick, it is called the Vidhuta. 23. (Uses): The Dhuta head is applicable in unwillingness, sadness, astonishment, confidence, looking sideways, emptiness and forbidding. 24. The Vidhuta head is to be applied in an attack of cold, terror, panic, fever and the first stage of drinking. 25. Parivāhita and Udvāhita: When the head is alternately turned to the two sides it is called Parivāhita, and when it is once turned upwards it is known as Udvāhita: 26. (Uses): The Parivāhita head is applicable in demonstration, surprise, joy, remembering, intolerance, cogitation, concealment and [amorous] sporting. 27. The Udvāhita[14] head is to be applied in pride, showing height, looking high up, self-esteem and the like. 28. Avadhuta: When the head is lowered once after turning it up it is called Avadhuta. (Uses): It is to be applied in [communicating] a message, invoking [a deity], conversation and beckoning [one to come near]. 29. Añcita: When the neck is slightly bent on one side the Añcita head is the result. (Uses) It is applicable in sickness, swoon, intoxication, anxiety and sorrow. 30-31. Nihañcita: When two shoulders are raised up the neck bent on one side, the Nihañcita head is produced. (Uses): It is to be used by women in pride, Amorousness (vilāsa),[15] Light-heartedness (lalita)[16] Affected Indifference, (bibboka),[17] Hysterical Mood, (kilakiñcita),[18] Silent Expression of Affection (moṭṭāyita),[19] Pretended anger, (kuṭṭamita),[20] Paralysis and Jealous anger (māna). 32. Parāvṛtta: When the face is turned round, the Parāvṛtta head is the result. (Uses): It is to be used in turning away the face and looking back and the like. 33. Utkṣipta: When the face remains is raised up, the Utkṣipta head is the result. (Uses): It is used to indicate lofty objects and application of divine weapons. 34. Adhogata: The head with the face looking downwards is called Adhogata. (Uses): It is used in shame, bowing [in salutation] and sorrow. 35. Parilolita: When the head is moving on all sides, it is called Parilolita. (Uses): It is used in fainting, sickness, power of intoxication being possessed by an evil spirit, drowsiness and the like. 36. Besides these there are many other gestures of the head, which are based on popular acting. These are to be used according to the popular practice (lit. nature). 37. I have spoken about the thirteen gestures of the head. Now I shall discuss the characteristics of the Glances. Thirty-six Glances (dṛṣṭi) 38. Glances expressing the Sentiments[21] are Kāntā, Bhayānakā, Hāsyā, Karuṇā, Adbhutā, Raudrī, Vīrā, and Bībhatsā. 39. Glances to be used in the Dominant States are Snigdhā, Hṛṣṭā, Dīnā, Kruddhā, Dṛptā, Bhayānvitā, Jugupsitā and Vismitā. 40-42. Glances to be used in the Transitory States such as Śūnyā, Malinā, Śrāntā, Lajjānvitā, Glānā, Śaṅkitā, Viṣaṇṇā, Muktā, Kuñcitā, Abhitaptā, Jihmā, Lalitā, Vitarkitā, Ardhamukulā, Vibhrāntā, Viplutā, Ākekarā, Vikośā, Trastā and Madira, make up their number thirty-six.[22] Glances to express the Sentiments 43. I shall now explain the characteristics of these Glances in connexion with the various Sentiments and the States, and shall describe their functions. 44. Kāntā: When with a feeling of love a person contracts his eyebrows and castes a sidelong look, he is said to have a Kāntā (pleasing) Glance which has its origin in joy and pleasure. It is used in the Erotic Sentiment. 45. Bhayānakā: The Glance in which the eyelids are drawn up and fixed, and the eyeballs are gleaming and turning up is called Bhayānakā (terrible). It indicates a great fear and is used in the Terrible Sentiment. 46. Hāsyā: In the Hāsyā (smiling) Glance the two eyelids are by turns contracted, and they open with the eyeballs moving and slightly visible; it should be used in representing jugglery. 47. Karuṇā: The Glance in which the upper eyelid has descended, the eyeball is at rest due to mental agony, and the gaze is fixed at the tip of the nose, and there is tear, is called Karuṇā (pathetic). 48. Adbhutā: The Glance in which eyelashes are slightly curved at the end, eyeballs are raised in wonder, and the eyes are charmingly windened till the end, is called the Adbhutā (of wonder). 49. Raudrī: The pitiless Glance in which the eyeballs are rough, red, raised, and the eyelids are still and the eyebrows knitted, is called Raudrī (cruel), and it is used in the Furious Sentiment. 50. Vīrā: The Glance which is bright, fully open, agitated, serious, and in which eyeballs are at the centre of the eye (lit. leyel) is called Vīrā (heroic), and it is used in the Heroic Sentiment. 51. Bībhatsā: The Glance in which the cornets of the eyes are nearly covered by eyelids, the eyeballs arc disturbed in disgust and the eyelashes are still and close to each other, is called Bībhatsā (odious). Glances to express Dominant States 52. Glances defined here are known to occur in relation to the Sentiments. I shall now explain the Glances relating to the Dominant States. 53. Snigdhā: The Glance which is not much widened (lit. medium widened), is sweet, and in which eyeballs are still, and there are tears of joy, is called Snigdhā (loving); it is used in love (lit. grows out of love). 54. Hṛṣtā: The Glance which is moving, slightly bent and in which eyeballs are not wholly visible (lit. entering), and there is winking, is called Hṛṣtā (joyful); it is used in laughter. 55. Dīnā: The Glance in which the lower eyelid is slightly fallen, eyeballs are slightly swollen, and which is moving very slowly, is called Dīnā (pitiable); it is used in sorrow. 56. Kruddhā: The rough Glance in which eyelids are motionless and drawn up, eyeballs are immobile and turned up, and the eyebrows are knitted, is called Kruddhā (angry); it is used in anger. 57. Dṛptā: The steady and widely opened Glance in which eyeballs are motionless, and which shows forth (lit. emits) prowess is called Dṛptā (haughty); it is used in showing energy (lit. grows out of energy). 58. Bhayānvita: The Glance in which the eyes are widely opened, the eyeballs are mobile in fear and are away from the centre [of the eye], is called Bhayānvitā (awestricken); it is used in fear. 59. Jugupsitā: The Glance in which eyelids are contracted but not joined together, and the eyeballs are covered and are turning away from the object coming in view (lit. the place in view) is called Jugupsitā (disgusting); it is used in disgust. 60. Vismitā: The level Glance which is fully blown and in which eyeballs are throughly turned up and the two eyelids are motionless, is called Vismitā (astonished); it is used in astonishment. Glances to express Transitory States 61. These are the Glances relating to the Dominant States, that I have just defined. I shall now explain the characteristics of the Glances in the Transitory States. 62. Śūnyā: The Glance which is weak and motionless and in which the eyeballs and the eyelids are in ordinary position (lit. level), and which turns to the space and is not attentive to external objects is called Śūnyā (vacant). 63. Malinā: The Glance in which ends of the eyelashes are not shaking and ends of the eyes are pale, and which is characterised very much by half-shut eyelids, is called Malinā (pale). 64. Śrāntā: The resting Glance in which eyelids have been let down due to fatigue, corners of the eyes are narrowed, and the eyeballs are fallen, is called Śrāntā (tired). 65. Lajjānvitā: The Glance in which ends of the eyelashes are slightly bent, the upper eyelid is descending in shyness, the eyeballs are lowered due to shame, is called Lajjānvitā (bashful). 66. Glānā: The languid Glance in which the eyebrows and the eyelashes are slowly moving and eyeballs are covered [under the eyelids] due to fatigue, is called Glānā (lazy). 67. Śaṅkitā: The concealed Glance which is once moved, and once at rest, slightly raised, obliquely open and in which the eyeballs are timid, is Śaṅkitā (apprehensive). 68. Viṣaṇṇā: The bewildered Glance in which eyelids are down wide apart in dejection, and there is no winking and the eyeballs are slightly motionless, is called Viṣaṇṇā (dejected). 69. Mukulā: The Glance in which eyelashes are slightly trembling, the upper eyelids are of the Mukula type and the eyeballs are opened in happiness, is called Mukulā. 70. Kuñcitā: The Glance in which ends of eyelashes are bent due to the eyelids being contracted and the eyeballs are also contracted, is called Kuñcitā (contracted). 71. Abhitaptā: The Glance in which the eyeballs are slowly moving due to the movement of the eyelids, and which indicates much distress and pain, is called Abhitaptā (distressed). 72. Jihmā: The Glance in which the eyelids are hanging down and slightly contracted and the eyeballs are concealed, and which casts itself obliquely and slyly is called Jihmā (crooked). 73. Lalitā: The Glance which is sweet, and contracted at the end [of the eye] and which is smiling and has movement of the eyebrows, and shows signs of love is called Lalitā (amorous). 74. Vitarkitā: The Glance in which the eyelids are turned up for guessing, the eyeballs are full blown and moving downwards is called the Vitarkitā (conjecturing). 75. Ardhamukulā: The Glance in which owing to joy the eyelids are of the Ardhamukulā: type, the eyeballs are half-blown and slightly mobile is called Ardhamukulā. 76. Vibhrāntā: The Glance in which the eyeballs are moving and so are the eyelids, and the middle [of the eye] is wide open and full-blown, is called Vibhrāntā (confused). 77. Viplutā: The Glance in which the eyelids [first] tremble and then become motionless and the eyeballs are [again] disturbed, is called Viplutā (disturbed). 78. Ākekarā: The Glance in which the eyelids and the corner of the eyes are slightly contracted and joined together, and is half-winking, and the eyeballs are repeatedly turning up, is called Ākekarā (half-shut). 79. Vikośā: The joyful Glance in which the two eyelids are wide open and there is no winking and the eyeballs are not immobile, is called Vikośā (full blown). 80. Trastā: The Glance in which the eyelids are drawn up in fear, the eyeballs are trembling and the middle of the eye is full-blown due to panic, is called Trastā (frightened). 81. Madirā: The Glance in which the middle of the eye is rolling, the ends of the eyes are thin, the eyes are bent, and the corners of the eyes are fully widened, is called Madirā (intoxicated). It is to be used in representing light intoxication. 82. In medium intoxication this Glance should have its eyelids slightly contracted, the eyeballs and and the eyelashes slightly mobile. 83. In excessive (lit. the worst) intoxication the Glance should have [either too] much winking or no winking at all, and the eyeballs in it should be slightly visible, and it (the look) should be turned downwards. 84. These are the thirty-six Glances due to the Sentiments and the Dominant States described by me. Now listen about their uses. Uses of Glances expressing Transitory States 85. Glances due to the Sentiments are to be used in representing them, while Glances due to the Dominant (States) should be used in expressing these. Now listen about the uses of Glances due to the Transitory States in representing these (States), 86-93. Śūnyā (vacant)—in anxiety and paralysis (motionlessness). Malinā (pale)—in discouragement, change of colour. Śrāntā (tired)—in weariness and depression. Lajjānvitā—(bashful)—in shame. Glānā (lazy)—in epilepsy, sickness and weakness. Śaṅkitā (apprehensive)—in apprehension. Viṣaṇṇā (dejected)—in despair. Mukulā—in sleeping, dreaming and happiness. Kuñcitā (contracted)—in envy, undesirable object, objects visible with difficulty and pain in the eye. Abhitaptā (distressed)—in discouragement, accidental hurt and distress. Jihmā (crooked)—in envy, stupor and indolence. Lalitā (amorous)—in contentment and joy. Vitarkitā (conjecturing)—in recollection and deliberation. Ardhamukulā—in joy due to an experience of [sweet] smell or touch. Vibhrāntā (confused)—in agitation, hurry and confusion. Viplutā (disturbed)—inconstancy, insanity, afîliction of misery and death. Ākekarā (half-shut)—in looking to a distant [object], separation, and consecration by sprinkling (prokṣita)l. Vikośā (full-blown)—in awakening, arrogance, indignation, cruelty and assurance. Trastā (frightened)—in fright. Madirā (intoxicated)—in intoxication. 94-95. Here I have finished the proper description of thirty-six Glances; now listen about the [additional] Glances, and gestures of the eyeballs, the eyelids and the eyebrows due to the Sentiments and the States. Eyeballs (tārā) 95-96. Eyeballs have gestures of nine kinds: Bhramaṇa (moving round), Valana (turning), Pāta = Pātana (relaxing), Calana, (trembling), Saṃpraveśana, (drawing inside), Vivartana, (turning sideways), Samudvṛtta (raising up), Niṣkrama (going out) and Prākṛta (natural). 96- 98. Bhramaṇa (moving round)—turning round the eyeballs at random. Valana (turning)—moving (the eyeballs) obliquely. Pātana = Pāta (relaxing)—relaxation (of the eyeballs.) Calana (trembling)—tremor (of the eyeballs.) Saṃpraveśana = Praveśa (drawing inside)—drawing (the eyeballs) in. Vivartana (turning)—turning the eyeballs sideways in a sidelong glance. Samudvṛtta (raising up)—raising up of the eyeballs. Niṣkramaṇa (going out)—going out [as it were of the eyeballs.] Prākṛta (natural)—eyeballs in the natural (glance.) Uses of eyeballs 99-101. Now listen about their uses in [different] Sentiments and States. Bhramaṇa (moving round), Valana (turning) and Samudvṛtta (raising of eyeballs)—in the Heroic and the Furious Sentiments. Niṣkramaṇa (going out), and Valana (turning of the eyeballs)—in the Terrible Sentiment. Saṃpraveśana (drawing of the eyeball)—in the Comic and the Odious Sentiments. Pātana (relaxed eyeballs) in the Pathetic Sentiment. Niṣkramaṇa (going out of the eyeballs)—in the Marvellous Sentiment. Prākṛta (natural) eyeballs—in the remaining Sentiments (lit. States). Vivartana (turning sideways of the eyeball)—in the Erotic Sentiment. 102. These are the natures of eyeballs based on the popular practice. They are to be applied [suitably] to all the different States. Additional Glances 103-107. I shall speak about the varieties of Glance in special relation of these (lit. there). These are of eight kinds, viz. Sama (level), Sācī (sidelong), Anuvṛtta (inspecting), Ālokita (casual), Vilokita (looking round), Pralokita (carefully looking), Ullokita (looking up), and Avalokita (looking down). Sama (level)—the eyeballs are in a level position and at rest. Sācī (side-long)—the eyeballs are covered by eyelashes. Anuvṛtta (inspecting)—Glance which carefully observes any form. Ālokita (casual)—(the eyeballs) in suddenly seeing any object. Vilokita (looking round)—(eyeballs) in looking back. Pralokita (carefully looking)—turning (eyeballs) from side to side. Ullokita (looking up)—(turning the eyeballs) upwards. Avalokita (looking down)—(turning the eyeballs) towards the ground. These are the gestures of eyaballs in relation to all the Sentiments and the States. Eyelids (puṭa) 108-111. Now listen about the gestures of eyelids which follow the movements of eyeballs. They are: Unmeṣa (opening), Nimeṣa (closing), Prasṛta (expanding), Kuñcita (contracted), Sama (level), Vivartita (raising up), Sphurita (throbbing), Pihita (resting), and Vitāḍita (driven). Unmeṣa (opening)—separating the eyelids. Nimeṣa (closing)—bringing together the eyelids. Prasṛta (expanding)—separating the eyelids widely. Kuñcita (contracted)—contracting the eyelids. Sama (level)—eyelids in a natural position. Vivartita (raising up)—raising up the eyelids. Sphurita (throbbing)—when the eyelids are throbbing. Pihita (resting)—when the eyelids are at rest (lit. closed). Vitāḍita (driven)—when the eyelids are struck ([accidentally]. Use of Eyelids 112-115. Now listen about their uses in different Sentiments and States: Vivartita (raising up)—in anger. Nimeṣa (closing)—in anger. Unmeṣa (opening)—in anger. Prasṛta (expanding)—in objects causing wonder, joy, and heroism. Kuñcita (contracted)—in seeing undesired objects. [sweet] scent, flavour and touch. Sama (level)—in love. Sphurita (throbbing)—in jealousy. Pihita (resting)—in dreaming, fainting, affliction due to storm, hot smoke, rains and collyrium and eye-disease. Vitāḍita (driven)—in accidental injury. These are the uses of eyeballs and eyelids in expressing the Sentiments and the States. Eyebrows (bhrū) 116-120. Now, listen about the gestures of eyebrows, which accord with those of the eyeballs and the eyelids. [They] are seven in number and are as follows: Utkṣepa (raising), Pātana (lowering), Bhrukuṭī (knitting), Catura (clever), Kuñcita (contracted), Recita (moving) and Sahaja (natural). Utkṣepa (raising)—raising of eyebrows simultaneously or one by one. Pātana (lowering)—lowering of eyebrows simultaneously or one by one. Bhrukuṭī (knitting)—raising the root of the eyebrows. Catura (clever)—slightly moving and excending (?) the eyebrows in a pleasing manner. Kuñcita (contracted)—slightly bending of eyebrows one by one or the both at once. Recita (moving)—raising of one of the eyebrows in an amorous way. Sahaja (natural)—the position which the eyebrows maintain by nature. Uses of Eyebrows 121-125. Now I shall speak about their uses in [expressing] the Sentiments and the States. Utkṣepa (???ing)—in anger, deliberation, passion, sportiveness, in seeing and hearing only one eyebrow is raised, and in surprise, joy and violent anger both the eyebrows are raised up. Pātana (lowering)—in envy, disgust, smile, and smelling. Bhrukuṭī (knitting)—in objects of anger, dazzling light. Catura (clever)—in love, sportiveness, pleasing [object], [pleasing] touch and awakening. Kuñcita (contracted)—in manifestation of affection, pretended anger and hysterical mood. Recita (moving)—in dance. Sahaja (natural)—in simple (anāviddha) conditions. Nose (nāsā) 126-128. Gestures of the eyebrows have been described; now listen about those of the nose. They are of six kinds: Natā, Mandā, Vikṛṣṭā, Socchvāsā, Vtkūṇitā and Svābhāvikā. Natā—lobes cling for a while [to the base] Mandā—lobes are at rest. Vikṛṣṭā—lobes are blown. Socchvāsā—lobes when air is drawn in. Vikūṇitā—lobes in the contracted nose. Svābhāvikā—lobes in the natural nose. Use of Nose 129-132. This is the description of the gestures of the nose. Now listen about their uses: Natā—in slight weeping at intervals. Mandā—in discouragement, impatience and anxiety. Vikṛṣṭā—in strange smell, breathing, anger and fear. Socchvāsā—in sweet smell and deep breathing. Vikūṇitā—in laughter, disgust and envy. Svābhāvikā—in the remaining conditions. Cheeks (kapola or gaṇḍa) 132-134. Cheeks are of six kinds: Kṣāma (depressed), Phulla (blown), Pūrṇa (full), Kampita (trembling) and Kuñcita (contracted) and Sama (natural). Kṣāma (depressed)—(cheeks are) fallen. Phulla (blown)—(cheeks are) raised. Pūrṇa (full)—(cheeks are) expanded. Kampita (trembling)—(cheeks are) throbbing. Kuñcita (contracted)—(cheeks are) narrowed down. Sama (natural)—as (cheeks are) by nature. Uses of Cheeks 135-137. Cheeks have been described. Now listen about their uses. Kṣāma (depressed)—in sorrow. Phulla (blown)—in joy. Pūrṇa (full)—in energy and arrogance. Kampita (trembling)—in anger and joy. Kuñcita (contracted)—in horripilation (sensitive) touch, cold, fear and fever. Sama (natural)—in the remaining conditions. Lips (uṣṭha) 137-139. Gestures of the lips are six in number. (They are): Vivartana (narrowing), Kampana (trembling), Visarga (spreading out), Vinigūhana (concealing), Sandaṣṭaka (biting), Samudgaka (contracting). Vivartana (narrowing)—lips narrowed down. Kampana (trembling)—throbbing (of lips). Visarga (spreading out)—to spread out (lips). Vinigūhana (concealing)—drawing in (of lips). Sandaṣṭaka (biting)—(lips) bitten by teeth. Samudgaka (joining)—moving the lips together. Uses of the lower lip 140-142. These are the gestures of the lower lips; now listen about their uses. Vivartana (narrowing)—in envy, pain, contempt, laziness and the like. Kampana (trembling)—in pain, cold, fear, anger, japa and the like. Visarga (spreading out)—in women’s amour, affected indifference and painting of lips. Vinigūhana (concealing)—in making efforts. Sandaṣṭaka (biting)—in manifestation of anger. Samudgaka (contracting)—in pity, kissing and greeting. Chin (cibuka) 143-146. So much about the gestures of lips; now listen about those of the chin; (they are): Kuṭṭana, Khaṇḍana, Chinna, Cukṣita, Lehita, Sama and Daṣṭa. Kuṭṭana—when the upper teeth clatter with the lower ones. Khaṇḍana—when (the two lips) repeatedly come together with each other. Chinna—when (the two lips) very closely meet each other. Cukṣita—when (the two lips) are held widely apart. Lehita—in licking the (lips) with the tongue. Sama—when (the two lips) slightly parted from each other. Daṣṭa—when the lower lip. is bitten by the teeth. Uses of the chin 146-149. Kuṭṭana—in fear, cold, attack of old age, and sickness. Khaṇḍana—in muttering mantras (japa), studying, speaking and eating. Chinna—in sickness, fear, cold, (taking) exercise, and angry look. Cukṣita—in yawning. Lehita = Lehana—in greediness. Sama—in a natural position. Daṣṭa—in angry efforts. So much about the gestures of the chin in relation to the teeth, the lips and the tongue. Mouth (āsya) 149-156. Gestures of the mouth are: Vidhuta, Vinivṛtta, Nirbhugna, Bhugna, Vivṛta and Udvāhī. Vidhuta—the obliquely open (mouth). Vinivṛtta—spread out (mouth). Nirbhugna—(the mouth) very much crooked Bhugna = Vyābhugna—(the mouth) slightly spread out. Vivṛta—the mouth with the lips kept apart. Udvāhī—(the mouth) turned up. Uses of the mouth Vinivṛtta—in women’s envy, jealousy, anger, contempt and bashfulness and the like. Vidhuta—in restraining, saying ‘not so’ and the like. Nirbhugna—in looking into depth and the like. Bhugna—in being ashamed, despondency, impatience, anxiety, summoning. It is natural for the ascetics. Vivṛta—in laughter, sorrow and fear. Udvāhī—in sportiveness and pride of women, in saying ‘go away,’ and disregard, in saying ‘so indeed’ and angry words. 156-157. The experts should also use the mouth in conformity with the varieties of Glances such as, Sama and Sācī and the like mentioned by others. Colour of the face (mukharāga) 157-158. The colour of the face according to the circumstances (lit. meaning) is of four kinds: natural (svābhāvika) bright (prasanna), reddened (rakta) and dark (śyāma). Uses of the colour of the face. 159-160. Natural face—in a natural and indifferent (mood). Bright face—in wonder, laughter and love. Reddened face—in intoxication and in the Heroic, the Terrible and the Pathetic Sentiments. Dark face—in the Terrible and the Odious Sentiments. 161-162. The colour of the face should be thus used to represent the States and the Sentiments. The acting done with the Gestures of the Śākhā[23], the Aṅga and the Upāṅga is good, but without proper colour of the face it will not be charming (lit. beautiful). 162-163. Even a few Gestures when combined with the proper colour of the face will double their charm (lit. beauty) just as the moon will enhance the charm of the night. 163-164. Glances too when combined with the proper colour of the face will clearly express the different States and the Sentiments, and on this (i.e. the colour of the face) the Histrionic Representation rests. 164-165. The colour of the face suitable to the representation of the States and the Sentiments, should follow every gestures of the eye (Glance), the eyebrow and the mouth. So much about the colour of the face which is the basis of the States and the Sentiments. Neck (grīvā) 166-167. I shall now tell you, O Brahmins, about the gestures of the neck. They are of nine kinds: Samā, Natā, Unnatā, Tryasrā, Recitā, Kuñcitā, Añcita, Valitā, and Nivṛttā. Description and uses of neck gestures 167-171. Samā—the natural neck. (Uses): in meditation, natural pose, and muttering of mantras. Natā—(neck with) face bent down. (Uses) in wearing (lit. binding) ornaments, putting one’s arms round (lit. taking) somebody’s neck. Unnatā—neck with the face upturned. (Use): in looking up. Tryasrā—neck with the face turned sideways. (Use): in carrying weight on the neck, and sorrow. Recitā—the neck shaken or moved. (Uses): in emotion (hāva), churning and dance. Kuñcitā—the neck with the head turned back. (Uses): in pressure of weight and in protecting the neck. Añcitā—the neck with the head turned back. (Uses): in hanging [to death], arranging hair and looking very high up. Vāhitā—the neck with the face turned sideways. (Uses): in looking with the neck turned round. Nivṛttā—neck with the face towards the front. (Use): in (indicating) going towards one’s own place. 172-173. These are the many varieties of the neck gestures according to their [expressing different] customary states of men. Gestures of the neck are all to follow the gestures of the head, and the head gestures also are reflected in those of the neck. So much about the description of the gestures of the head and the connected minor limbs (upāṅga) and their uses. Now listen about the gestures of the remaining limbs (aṅga), which I am going to describe. Here ends Chapter VIII of Bharata’s Nāṭyaśāstra, which treats of the Gestures of Minor Limbs. Footnotes and references: [back to top] [1]: See VIII. [2]: See VI. [3]: This portion till the beginning of 6 is originally in prose. [4]: See 15 below. [5]: See 13 below. [6]: See 13 below. [7]: More properly ‘gestures and postures.’ [8]: VII. 92. [9]: From Śārṅgadeva’s definition (SR. VII. 37-38) we learn that the śākhā means the flourish of the gesticulating hand (kara-vartanā) preceding one’s speech, whereas the aṅkura means such a flourish following it. [10]: See IV. 299 ff. [11]: See IV. 170 ff. [12]: See IV. 170 ff. [13]: The AD. has nine gestures of the head. See ed. M. Ghosh, 49-65, and A.K. Coomaraswamy, MG. pp. 36-38. [14]: G. names the head movement as ādhūta. [15]: SeeXXIV. 15. [16]: See ibid 22. [17]: See ibid 21. [18]: See ibid 18. [19]: See ibid 19. [20]: See ibid 20. [21]: The AD. has only eight glances, see ed. M. Ghosh, 66-78, and A. K. Coomaraswamy, MG. p. 40. But curiously enough the names of the eight glances in the AD. even if referred by Coomaraswamy’s text to the Bharataśāstra, does not occur in the NŚ. which has no less than thirty-six glances. Besides the eight glances Coomaraswamy’s text records (loc. cit.) forty-four glances which include those mentioned in the NŚ. [22]: See note 1 to 38 above. [23]: See 11 and 15 above. 25 March, 2017 --> Last Updated: 01 October, 2017 $(function(){ if($(document).height() > $(window).height()){ $('.book.chapter').append('^ back to top ^') $('section.back > a').click(function(){ $(window).scrollTop(0); }); } }); /** * Derivation list */ /*$('a.deriv-link').click(function(){ $(this).closest('.words-group').find('.deriv-list').toggleClass('d-none'); });*/ ====================================================================== Chapter IX - Gestures of Major Limbs ====================================================================== --> Natyashastra (English) by Bharata-muni | 1951 | 240,273 words | ISBN-13: 9789385005831 Hinduism Natyashastra Buy now! The English translation of the Natyashastra, a Sanskrit work on drama, performing arts, theater, dance, music and various other topics. The word natyashastra also refers to a global category of literature encompassing this ancient Indian tradition of dramatic performance. The authorship of this work dates back to as far as at least the 1st millenn... Go directly to: Footnotes. Chapter IX - Gestures of Major Limbs (aṅga) < Previous (index) Next > Bharata speaks. 1-3. So much about the minor limbs such as head, eyes, eyebrows, nose, lips and cheeks, and their description that I was to tell you. I shall now define the gestures of [major limbs] hands, breast, sides, belly, waist, thighs and feet and their proper use.[1] In this connexion I shall [first of all] explain the gesture of hands and the like, that are used in the production of a play. You are to listen how they are to be applied [in acting]. Sixty-seven gestures of hands (hasta) 4-7. Gestures of single hands (asaṃyuta-hasta)[2] are twenty-four in number: Patāka, Tripatāka, Kartarīmukha, Ardhacandra, Arāla, Śukatuṇḍa, Muṣṭi, Śikhara, Kapittha, Kaṭakāmukha,[3] Sūcyāsya (Sūcīmukha), Padmakośa, Sarpaśiras, Mṛgaśīrṣa, Kāṅgula, Alapadma (Alapallava), Catura, Bhramara, Haṃsāsya, Haṃsapakṣa, Sandaṃśa, Mukulā, Ūrṇanābha and Tāmracūḍa. 8-10. Gestures of combined hands (saṃyuta-hasta)[4] are thirteen in number: Añjali, Kapota, Karkaṭa, Svastika, Kaṭakāvardhamānaka,[5] Utsaṅga, Niṣadha, Dola, Puṣpapuṭa, Makara, Gajadanta, Avahittha and Vardhamāna. 10-17. Dance-hands (nṛtta-hasta)[6] are Caturasra,[7] Udvṛtta, Talamukha, Svastika, Viprakīrṇa, Arālakhaṭakāmukha, Āviddhavakra, Sūcyāsya, Recita, Ardharecita, Uttānavañcita, Pallava, Nitamba, Keśabandha, Latā, Karihasta, Pakṣavañcitaka, Pakṣapradyotaka, Garuḍapakṣa, Daṇḍapakṣa, Ūrdhvamaṇḍalī, Pārśvamaṇḍalī, Uromaṇḍalī, Uraḥpārśvārdhamaṇḍalī, Muṣṭikasvastika, Nalinīpadmakośa, Alapallava, Ulbaṇa, Lalita and Valita. These are the sixtyfour[8] gestures of hands. Gestures of single hands (asaṃyuta-hasta) 17-26. Now listen about their definition and uses. Patāka (flag)—the fingers extended and close against one another, and the thumb bent. (Uses): To represent an administration of blows, scorching heat, urging, attainment of happiness and arrogant reference of one’s ownself[9] this hand is to be raised on a level with the forehead. To represent the glare of heat, torrential rain and shower of flowers two Patāka hands with the fingers separated and moving, are to be joined together. A shallow pool of water, present of flowers, grass and any design [lit. object] made on the ground are to be represented by two such hands separated from the Svastika position. The same Patāka hands with their fingers pointing downwards are to be used to represent anything closed, made open, protected, covered, dense or private (to be concealed). This very hand with its fingers pointing downwards and moving up and down, is to express the speedy movement of wind and [ocean] waves, [ocean waves] breaking against the shore, and an objection. The Recaka of this hand should be used to represent encouragement, many [in number], a great crowd of men, height, beating of drums, and flight of birds upwards. And anything washed, pressed, cleansed, pounded, or holding up a hill or uprooting it, should be represented by the palms of two such hands rubbing each other. This is also the manner of representing man and woman.[10] 26-32. Tripatāka (flag with three fingers)—the third finger of the Patāka hand to be bent. (Uses): It is to be used in representing invocation, descent, bidding goodbye, prohibition, entrance, raising up [anything],[11] bowing [in salutation], comparing,[12] suggesting alternatives, touching [the head with] auspicious objects or putting them on the head, putting on a turban or a crown and covering the mouth or the ears. This very hand with its fingers pointing downwards and moving up and down is to be used in representing flight of small birds, stream, snake, bees and the like. And with the third finger of the Tripatāka should be represented wiping off tears, drawing a Tilaka or Patralekhā[13] and touching of hairs. 32-37. Two Tripatāka[14] hands held like a Svastika represent adoration of the feet of venerable persons (guru)[15]. Two such hands are to meet each other’s end for representing marriage. Separated and moved to the forehead they indicate a king. When obliquely forming a Svastika they represent planets. To indicate an ascetic they arc to be raised with palm turned forward. To represent a door they are to face each other. Submarine fire, battle and sea-monsters are to be indicated by two Tripatāka hands, first raised near one’s face and then moved with the fingers pointing downwards. With these very hands should be indicated jumping of monkeys, waves, wind and women. To show the crescent moon this hand should put forward its thumb, and to indicate a king’s march [against his enemy] this hand should turn itself towards the back. 38-40. Kartarīmukha (scissors’ blades)—the forefinger of the Tripatāka hand is to bend backwards. (Uses): This [hand with its fingers] pointing downwards will represent showing the way, decorating the feet[16] or dying them,[17] and the crawling [of babies]. With fingers pointing upwards it will represent biting, horn and letters. And when the fingers in it are turned differently (i.e. the middle finger is bent backwards) it will represent falling down, death, transgression,[18] reversion, cogitation and putting [anything] in trust. 42. And with the two such (saṃyuta) hands or one such (asaṃyuta) hand should be represented an antelope, yak, buffalo, celestial elephant (airāvata), bull, gate (gogūra) and hill-top. 42-44. Ardhacandra (crescent moon)—the fingers and the thumb so bent as to make a curve like a bow. (Uses): With this should be represented young trees, crescent moon, conch shell, jar (kalaśa), bracelet, forcible opening, exertion,[19] thinness and drinking. With this [very] Ardhacandra hand women should represent girdle, hip waist, face, Tālapatra[20] and earring. 45-50. Arala (bent)—the forefinger curved like a bow, the thumb also curved and the remaining fingers separated and turned upwards. (Uses): With this should be represented courage, pride, prowess, beauty, contentment, heavenly [objects], poise, act of blessing and other favourable states. And this, again, will represent woman’s gathering of hairs or scattering them and looking carefully over their entire body. The preliminaries to the marriage by bride’s going round the bridegroom[21] and [marital] union[22] are to be represented by two Arāla hands moving around each other and their fingers meeting in the form of a Svastika. And with similar hands should be represented circumambulation, round objects, great crowd of men, objects arranged on the ground.[23] In calling any one, in making offering to the manes, saying too many things, in censure and rebuke etc., wiping off sweat and enjoying sweet smell, the Tripatāka hands have been prescribed before by me, but women are to use the Arāla hand to represent these. 51-53. Śukatuṇḍa (parrot’s beak)—the ring-finger (third finger) of the Arāla hand is bent. (Uses): With this should be represented words such as ‘(It is) not I’, ‘(It is) not you’, (It should) not be done, invocation, farewell, and saying ‘Fie (upon you)’ in contempt. 54-55. Muṣṭi (fist—fingers have their ends [bent] into the palm and the thumb [is set] upon them. (Uses): It is used to represent beating, exercise[24] exit, pressing,[25] shampooing,[26] grasping sword and holding spears and clubs. 56-57. Śikhara (peak)—in this very hand (muṣṭi) the thumb raised. (Uses): It is used to represent reins, whip, goad, bow, throwing a javelin (tomara) or a spike *(śakti), painting the two lips and feet and raising up hairs. 58-59. Kapittha (elephant-apple)—the forefinger of the Śikhara hand to be bent and pressed by the thumb. (Uses): It is to represent weapons such as sword, bow, discus, javelin (tomara), spear (kunta), mace, spike (śakti), thunderbolt and arrows, true and wholesome deeds. 60-63. Kaṭakāmukha—the ring-finger and the little finger of this Kapittha hand to be raised and bent. (Uses): It is used to represent sacrifice,[27] oblation,[28] umbrella, drawing up reins, fan, holding a mirror, drawing [patterns],[29] powdering, taking up big sticks, arranging a pearl necklace, wearing garlands, gathering the ends of clothes, churning, drawing out arrows, plucking flowers, wielding a long whip, drawing out a goad, a rope, and representing a woman. 65-71. Sūcīmukha—the fore finger of the Kaṭakāmukha hand to be stretched. (Uses): I shall tell you briefly of its various uses as the forefinger [in it] is raised and bent, moving sideways, shaking, moving up and down, and moving up without any rest. By moving the forefinger upwards [in this hand] are to be represented discus, lightning, banners, blossoms, earring,[30] zigzag movement, a cry of approbation,[31] young serpent, young sprout,[32] incense, lamp, creepers,[33] Śikhaṇḍa,[34] falling down, curve and roundness and with the forefinger raised this [hand] again should be used in [representing] stars, nose, [the number] one, club and stick. And [this hand with the forefinger] bent should meet the mouth to represent a being with teeth, and by the circular movement of this hand one should represent the taking away [a man’s] everything. And the forefinger in this hand should be quite near the eats in yawning, and by the mouth lowered to represent long study and long day. And the same should be curved near the face to represent a sentence. And to indicate ‘no’ or ‘speak’ the forefinger should be stretched, shaken and moved up. 72-75. This hand should be shaken to represent anger, perspiration, hair, ear-ring, armlet and decoration of the cheeks. And to represent pride, ‘I am,’ enemy, ‘Who is this’ man? and in scratching of the ear it should be held near the forehead. [And two Sūcīmukha hands] should be united to represent the union [of men], and be separated to indicate separation, and to represent a quarrel the two hands should be crossed, and to show bondage they are to press each other. The two Sūcīmukha [hands] facing each other and held separately on the left side will represent the close of the day, and held on the right side they will indicate the close of the night. 76. This hand moved in the front will indicate [any] form, stone, whirlpool, mechanical contrivance and a hill, and to represent the serving up of meals the same movement of the hand pointing downwards is required. 77. To represent Śiva this hand pointing downwards is to be held close to the forehead and to indicate Śakra (Indra) this hand is to be raised [to the forehead] and held across it. 78. By two such hands the orb of the full moon is to be represented, and to indicate the rising of Śakra (Indra) (i.e. raising his banner) it should be held close to the forehead. 79. [This hand] moved all around will represent the orb of the moon, and to indicate Śiva’s [third] eye, it should be held on the forehead and [in case of] Śakra’s (India’s) [eyes it should be] raised obliquely, 80. Padmakośa (lotus-bud)—the fingers including the thumb to be separated and their ends to bend, but not to meet one another. 81. (Uses): To represent Bilva and Kapittha (elephant-apple) fruits and the breasts of women [this hand is to be used]. But to represent accepting [these fruits] or flesh, this hand should be slightly bent at its end. 82. [This hand] should be held [to represent] offering Pūja to a deity, carrying tribute, casket, offering the first funeral cake,[35] and a number of [small] flowers, are also to be indicated by the Padmakośa hand. 83. Two such hands with moving fingers meeting at the wrist and turning backwards will represent the fullblown lotus and water-lily. 84. Sarpaśiras  (snake-head)—the fingers including the thumb to be close to one another and the palm to be hollowed. 83. (Uses): It is used to represent the offering of water, movement of serpents, pouring water [on anything], challenging [for a duel], motion of the elephant’s frontal globes (kumhba) and the like. 86. Mṛgaśīrṣa (deer-head)—the Sarpaśiras hand with all its fingers pointing downwards, but the thumb and the little finger raised up. 87. (Uses): It is moved to represent here, now, “It is,” to-day, able, shaking (ullasana), throw of dice, wiping off perspiration and pretended anger. 88.[36] Kāṅgula—The middle and the fore-fingers and the thumb to be separated and the ring finger to be bent but the little finger raised. 89. (Uses): By this are to be represented immature fruits of various kinds and angry words of women. 90. Alapallava (Alapadmaka)—all fingers turned towards the palm, standing on its side and separated from one another. 91. (Uses): It is to be used for indicating prevention, words like “Of whom are you,” “It is not,” “nonsense” and a woman’s allusion to herself. 92. Catura—the four fingers stretched and the thumb bent near the middle finger. 93. (Uses): It is to be applied in representing policy, discipline, penance, cleverness, a young girl, a sick person, perfidy, gambling, proper words, salutary truth, and tranquillity. 94. By one or two such hands moved round should be represented openness, deliberation, moving, conjecture and shame. 95. By the combined Catura hands are to be represented lotus-petals compared with eyes, and ears of deer. 96-98. Besides these, the Catura hand is to indicate sports, love, brilliance, memory, intelligence, judgement, forgiveness, nutrition, consciousness, hope, affection, reasoning, union, purity, cleverness, sweetness, favourableness, softness, happiness, good conduct, its want, question, livelihood, propriety, dress, soft grass, a small quantity, wealth, defeat, sexual intercourse, merit and demerit, youth, houses, wives and various colours. 99. [To represent] while it (the Catura hand) should be held up; red and yellow are indicated by moving it round, and blue by pressing [one such hand with another]. 100. Bhramara (bee)—the middle finger and the thumb crossing each other, the forefinger bent, the remaining two fingers separated and raised. 101. (Uses): It is used to indicate the plucking of flowers with long stems such as lotus blue, and white water-lily, and earring. 102. It should fall down with a sound to represent rebuke, pride of power, quickness, beating time and producing confidence. 103. Haṃsāsya (swan-beak)—the forefinger, middle finger and the thumb close[37] to one another and the remaining fingers stretched.[37] 104. (Uses): It with the slightly throbbing end is used specially to indicate fine, small, loose, lightness, exit, and softness. 105. Haṃsapakṣa (swan-wings)—the three fingers stretched, the little finger raised and the thumb bent. 106-108. (Uses): It is used to indicate pouring libation of water, and things connected with smell, acceptance of a gift, Ācamana and taking meals by Brahmins, embrace, excessive stupor, horripilation, touch, unguent and gentle massage. It may again be used to indicate according to the Sentiment, amorous action of women relating to the region between their breasts, their sorrow and touching of their chin. 109. Sandaṃśa (pincers)—the forefinger and the thumb of the Arāla hand crossed and the palm a little hollowed. 110. The Sandaṃśa (hand) according to the Sentiments and States, is of three kinds, viz. that [held] in front, that near the mouth and that on one side. 111-115. (Uses): In representing the plucking of flowers, taking up grass, leaves, hairs or thread and holding or pulling out an arrow or thorn the Sandaṃśa should be held in one’s front. And to represent taking off a flower from its stem, the wick [of a lamp], [collyrium] stick, etc. filling up [any vessel with any thing], in saying ‘fie [upon you]’, in anger, this should be held near the mouth. To represent taking off the sacred thread, piercing a hole [in pearls and similar objects], bow-string, fineness, arrow, and objects aimed at, yoga, meditation and small quantity [two] such hands should be combined. This shown by the left hand held on one side and slightly turning its tip is used to represent softness, abuse and envy. It is used also to indicate painting, colouring one’s eyes, deliberation, stem, drawing Patralekhā and squeezing of lac-dye by women. 116. Mukulā (bud)—the fingers bent and close to one another and their tips meeting together in the Haṃsāsya hand. 117-118.[38] (Uses): It is used to represent the making of offerings in worshipping a deity, bud of a lotus or a water-lily, throwing a kiss (viṭa-cumbana), contempt, miscellaneous things, taking meals, counting of gold coins, narrowing of the mouth, giving away [anything], quickness and buds of flowers. 119-120.[39] Ūrṇanābha (spider)—the fingers of the Padmakośa hand [further] bent. (Uses): It is used to represent holding one by hair, receiving stolen goods, scratching one’s head, skin disease, lions, tigers and such other animals, and seizing a stone. 121-122. Tāmracūḍa (lit. copper-crest i.e. cock)—the middle finger and the thumb crossed, the fore-finger bent, the remaining [two fingers] at the palm. (Uses): It should fall down with a sound to represent rebuke, beating time, inspiring confidence, quickness, and making signs. 123. This hand is also to be used to indicate small fractions of time such as Kalā, Kāṣṭhā, Nimeṣa and Kṣaṇa as well as talking to a young girl and inviting her. 124. When the fingers in a hand are close to one another, bent and the thumb is set on them, the same is [also] called the Tāmracūḍa hand. 125. By this hand are to be indicated hundred, thousand and lac of gold coins, and when the fingers in it are suddenly made to move freely it will represent sparks or drops. Gestures of Combined hands (saṃyuta-hasta) 126. O the best of Brahmins, these are the single hands described by me. Now hear about the combined hands which I am going to describe. 127. Añjali—Putting together of the two Patāka hands is called Añjali. (Uses): It is used to greet gods, venerable persons (guru) and friend. 128. In greeting gods it is to be held on the head, in case of venerable persons like father, teacher etc. it is to be held near one’s face, and for greeting the friends it is to be placed on the chest and in case of the remaining persons there is no fixed rule. 129. Kapota (pigeon)—Two (Añjali) hands meeting on one of their sides will make the Kapota hand. Listen about its uses. 130. (Uses): It is to be used to indicate an approach with inimical intention, bowing and talking to a venerable person. To indicate cold and fear, women are to hold this hand on their breasts. 131. The hands [showing the Kapota gesture] released after the meeting of fingers will indicate anxious words, or ‘This much can be done’ or ‘Nothing more can be done.’ 132. Karkaṭa (crab)—When the fingers of the hands are interlocked the Karkaṭa hand is produced. 133. (Uses): It is used to indicate the bees-wax, massaging of the limbs, yawning just after awakening from sleep, a big body, supporting the chin and holding a conch-shell [for blowing it]. 134. Svastika—Two Arāla or Vardhamāna hands upturned and held together at the wrists on the left side will form the Svastika. It is to be used by women. 135. (Uses): When the hands are separated from the Svastika position, it will indicate directions, clouds, the sky, forests, seas, seasons, the earth and similar [other] extensive things. 136. Kaṭakāvardhamānaka—When one Kaṭakā (mukha) hand is placed on [the wrist of] another Kaṭakā [mukha] hand, the Kaṭakāvardhamānaka hand will be produced. (Uses): It is to be used in movements connected with love-making and in bowing [to a person]. 137. Utsaṅga—When the Arāla hands are contrarily placed and are held upturned and bent, the Utsaṅga hand will be the result. (Uses): It is used to indicate feeling of touch. 138. It is also used to indicate acts of anger and indignation, in pressing of hands similar to women’s acts of jealousy. 139. Niṣadha—When the Kapittha hand surrounds the Mukulā hand the Niṣadha hand is made. 140. (Uses): It is used to indicate collecting, acceptance, holding, a doctrine, and to indicate brief truth the two hands are to press (each other). 140. Ka-Kha: Niṣadha—The left hand holding the [right] arm above the elbow and the right hand similarly touching the left arm with a clenched fist will make a Niṣadha hand. 140. Ga, (Uses): It is to indicate patience, intoxication pride, elegance, eagerness, valour, arrogance self-conceit, haughtiness, motionlessness, steadiness and the like. 141. Dola—When the two shoulders are at ease in a Karaṇa and the two Patāka hands are hanging down the Dola hand is produced. 142. (Uses): It is to be used in indicating hurry, sadness, fainting, fit of intoxication, excitement, state of illness and wound by a weapon. 143. Puṣpapuṭa—Two Sarpaśiraḥ hands with their fingers close to one another meeting on one side very closely will give rise to the Puṣpapuṭa hand. 144. (Uses): It is to be used to indicate the receiving or carrying of rice, fruits, flowers, foods and lawfully obtained money of various kinds and the carrying and removing of water. 145. Makara—When the two Patāka hands with their thumbs raised are turned down and placed on each other the Makara hand is produced. 146. (Uses): It is used to indicate lion, tiger, elephant, crocodile, shark and fish and other carnivorous animals. 147. Gajadanta—Two Sarpaśiraḥ hands touching the opposite arms between the shoulder and the elbow will give rise to Gajadanta hand. 148. (Uses): It is to be used to indicate the carrying of the bridegroom and the bride, excessive weight, clasping a pillar and uprooting a hill or a block of stone. 149. Avahittha—When the two Śukatuṇḍa hands meet each other on the breast and are bent and then slowly lowered, the Avahittha hands will be the result. 130. (Uses): It is to be used in indicating weakness, sigh, showing one’s body, thinness [or the body] and longing [for a beloved]. 131. Two Haṃsapakṣa hands turned down will be the known as the Vardhamāna (Uses): It is to be used to represent the opening of objects like latticed windows. 152. The two kinds of hands (single and combined) described briefly may be used elsewhere also in conformity with the rules laid down here. General rules regarding the use of hand gestures 153. In acting, hand [gestures] should be selected for their form, movement, significance, and class according to the personal judgement [of the actor]. 154. There is no gesture (lit. hand) that cannot be used in indicating [some] idea. I have profusely described whatever forms (lit. gestures) are usually seen [to be associated with different ideas]. 155. There are besides other popular gestures (lit. hand) connected with other ideas, and they also are to be freely used along with the movements inspired by the Sentiments and the States. 156. These gesture? should be used by males as well as females with proper regard to place, occasion, the play undertaken and a suitability of their meaning. Different movements of hand gestures I shall now describe the varied movements which these gestures (lit. hands) [should] have in connexion with [different] Sentiments and States. 158-160. [These movements are]: drawing upwards, dragging, drawing out, accepting, killing, beckoning, urging, bringing together, separating, protecting, releasing, throwing, shaking, giving away, threatening, cutting, piercing, squeezing and beating. 161. Hand gestures according to the theory of Histrionic Representation are to have three kinds of general movements, viz. upwards, sideways and downwards. 162. These movements of hands should at the time of their use, be embellished by means of [suitable] expressions in the eyes, the eyebrows and the face, Spheres of hand gestures 163. The experts are to use the hand gestures according to the popular practice and, [in this matter] they should have an eye to their movement, object, sphere, quantity, appropriateness and mode. 164. Hand gestures of persons of the superior type should move near their forehead, that of the middling type of persons at about their breasts while the inferior persons [should move their hand gestures in regions] below this. Quantity of gestures 165. In the superior persons, hand gestures should have scanty movement, in the middling ones there should be medium movement, while in the acting of the ordinary persons, there should be profuse movements of hand gestures. 166. For relevant purposes the hand gestures of persons of the superior and the middling types should conform the definition given [in the Śāstra] while gestures of persons of the inferior type should follow the popular practice and their [own] natural habit. 167. But when [specially] different occasions or times present themselves, wise people should make contrary uses of the hand gestures. 168-171. While a person is to represent himself as sad, fainting, terrified, overcome with disgust or sorrow, weak, asleep, handless, inactive, drowsy, inert, sick, attacked with fever, seized with panic, attacked with cold, intoxicated, bewildered, mad, thoughtful, practising austerities, residing in a cold region, prisoner under arrest, running very swiftly, speaking in dream, suddenly moving away and bursting nails he is not to use hand gestures, but he should resort to the Sāttvika Representation as well as to the change of voice suitable to the different States and Sentiments. 172. At the time of verbal acting (i.e. when the actor will speak his part) the eyes and the look are to be directed to points at which the hand gestures are moving, and there should be proper stops so that the meaning may be [clearly] expressed (lit. seen).1 173. These are the hand gestures connected with the various kinds of Histrionic Representations. I shall now speak of Dance-hands (i.e. gestures to be used in dance). Dance-hands (nṛttahasta) 174. Caturasra—two Kaṭakāmukha hands held forward eight Aṅgulīs away [from one’s chest,] the two shoulders and elbows on the same level. 175. Udvṛtta—the two Haṃsapakṣa hands waved like a palm-leaf (fan). Its alternative name is the Tālavṛnta (palm-leaf). 176. Talamukha—the two hands from the Caturasra position to be held obliquely facing each other. 177. Svastika—the Talamukha hands crossed at the wrists; but released after this they are called Viprakīrṇa. 178. Arālakhaṭakāmukha—the two Alapallava (Alapadmaka) hands with palms upwards changed into Padmakośa hands. Its another name is Arālakaṭaka. 179. Āviddhavakraka—The two hands are to have a graceful (kuṭila) movement after touching [successively] the opposite shoulder, elbow and hands, and the palms [of the hands] moved are to turn towards the back. 180. Sūcīmukha—The two Sarpaśiraḥ hands with their thumbs touching middle fingers are to stretch their tips obliquely. 181. Recita—the two Haṃsapakṣa hands swiftly moving with the palms facing upward. This is like the ordinary Recita [of the hands]. 182. Ardharecita—The left hand should be as in the Caturasra and the right hand as in the Recita. 183. Uttānavañcita—The two Tripatāka hands are slightly bent obliquely and the shoulders and the elbows are moved. 184. Pallava—the two Patāka hands joined at the wrist. Nitamba—the two Patāka hands taken out from the boulder [to the hip]. 185. Keśabandha—the two hands moved out from the hair-knot (keśabandha) and held on the sides. 186. Latā—the two hands to be obliquely stretched sideways. 187. Karihasta—the Latā hand held up and swung from side to side and the Tripatāka hand held on the ear. 188. Pakṣavañcitaka—one Tripatāka hand placed on the waist and another on the head. 189. Pakṣapradyotaka—the Pakṣavañcitaka hands changing places (i.e. the hands placed on the waist to be put on the head and vice versa). 190. Daṇḍapaksa—the two Haṃsapakṣa hands moved alternately and then held out like a staff. 191. Ūrdhvamaṇḍalī—the two hands to have circling movement near the upper region (i.e. the upper part of the body). Pārśvamaṇḍalī—the same movement made on one side. 192. Uromaṇḍalī—after circling movements one hand to be raised up and the other to hang down, and movements to take place near the breast. 193. Uraḥpārśvārdhamaṇḍala—the Alapallava (Alapadmaka) and Arāla hands moved by turns above the chest and by the sides. 194. Muṣṭikasvastika—the two Kaṭakāmukha hands bent at the wrists and moved round. 195. Nalinīpadmakośa—the hands to be moved by turns with Vyavartita and Parivartita Karaṇa. 196. Alapallava—the two hands to have the Udveṣṭita Karaṇa in their movements. Ulbaṇa—the two hands to be stretched up and waved. 197. Lalita—two [Ala]-pallava (Alapadmaka) hands to be moved above the head. Valita—the two Latā hands crossed at their elbows. Dance hands 198. The Dance-hands are to be used in forming Karaṇas, and hands such as the Patāka should be used in representing the meaning [of words]. 199. [But] sometimes, out of necessity their uses are inter-changed, and the names given are due to their predominant use in drama and dance. 200. The Dance-hands are of two kinds: single and combined. I shall now speak of hands in relation to the Karaṇas.[40] Karaṇas of Dance hands 201-202. Instructors of hand gestures are to note carefully the four classes into which all such gestures are grouped. The four classes are: Āveṣṭita, Udveṣṭita, Vyavarita and Parivartita. 203. Āveṣṭita: When the fingers beginning with the first one (the forefinger) are gradually pointing inwards at the time [the hand] moves round, the Karaṇa [thus produced] is called Āveṣṭita. 204. Udveṣṭita: When the fingers beginning with the first one [forefingers] are gradually pointing outwards at the time [the hand] moves round, the Karaṇa thus produced is called Udveṣṭita. 205. Vyavartita: When fingers beginning with the last one (the little finger) are gradually pointing inwards at the time [the hand] moves round, the Karaṇa thus produced is called Vyavartita. 206. Parivartita: When the fingers beginning with the last one (the little finger) are gradually pointing outwards at the time [the hand] moves round, the Karaṇa thus produced, is called Parivartita. 207. Hand gestures in their [various] movements when applied in drama and dance should he followed by Karaṇas having [appropriate expression of] the face, the eyebrows and the eyes. Movements of arms (bāhu) 208-209. Persons dealing in drama and dance have prescribed ten [movements] of arms: Tiryak, Ūrdhvagata, Adhomukha, Āviddha, Apaviddha, Maṇḍala, Svastika, Añcita, Kuñcita and Pṛṣṭhaga. 210. O Brahmins, I have now finished the brief description of rules regarding the Karaṇas and shall speak afterwards about the movements of the breast, the belly and the sides. Here ends Chapter IX of Bharata’s Nāṭyaśāstra, which treats of the Gestures of Hands. Footnotes and references: [back to top] [1]: This use relates to the two-fold Practice (realistic and coventional) on the stage (See XIV. 62ff). The Realistic Practice (lokadharmī) in this connexion is of two kinds, viz. (1) that reflecting one’s emotion, as in arrogant reference to one’s ownself, this (patāka) hand is to be raised on a level with the forehead (IX. 19), (2) that representing the external form of an object, as the use of the Padmakośa hand to represent lotus and similar flowers. The Conventional Practice (nāṭyadharmī) is likewise of two kinds, viz, (1) that creating an ornamental effect, as the use of the four karaṇas of the hand (See IX. 205-211 below), (2) that partially suggesting a popular behaviour, as the use of the tṛipatāka hand to represent words spoken aside (janāntika). See Ag. [2]: These hands gestures are ordinarily used singly; but at times two hands showing one of these gestures are used simultaneously. But still these are called single (asaṃyuta) hands. For, combined (saṃyuta) hands are so called because they are always to be shown by both the hands; see Ag. [3]: Some mss. read this name as khaṭakāmukha. Our reading is supported by the AD. (See ed. M. Ghosh, verse 124. A. K. Coomaraswamy MG. p. 50). [4]: See note 1 to 4-7 above. [5]: Some mss, read this name as khaṭakā 0; Kaṭakāvardhana, is the name of a saṃyuta-hasta in the AD. ed. M, Ghosh, 187, and A. K, Coomaraswamy, MG, p. 60. [6]: These gestures (dance-hands, nṛttahasta) as their name implies, are ordinarily to be used in dance; but in course of acting too they are often to be used along with other gestures (single and combined) to create an ornamental effect (See note 1 to 1-3 above). See Ag. [7]: In the Skt. text these names are given in dual number e.g. our caturasra stands as caturasrau. The reason for this is to be sought in the fact that unlike the single and combined hands which must represent one single idea or object, the hands in the dance-hand gestures are to be individually moved, not for representing any idea or object, but for creating an ornamental effect in acting as well as in dance. See Ag. [8]: In actual enumeration hand-gestures are sixty-seven in number (single 24, combined 13 and Dance-hands 30). Catuḥsaṣṭhi in the text should be emended to saptasaṣṭhi. [9]: In saying ‘I too,’ ‘of me too,’ ‘by me too,’ ‘in me too’ and the like (Ag). [10]: Ag. gives detailed rules about the use of the patāka hand in all the cases mentioned above. [11]: Ag. thinks that this relates to objects like one’s chin. [12]: nidarśanam upamānopameyabhāvam (Ag.). [13]: rocanālabhanakam -touching, (the body) with go-roama or drawing ornamental designs (patralekhā) on the body with this substance. Gorocanā is a bright yellow pigment prepared from the urine or the bile of a cow. [14]: This portion does not occur in all mss., and may well have been a later addition. [15]: Parents, grand-parents and the spiritual guide etc. are meant by this term. [16]: racanaṃ kasturikādinā patrabhaṅgādikriyā (Ag,). [17]: rañjanam alaktakena (Ag.). [18]: vyatikramaḥ aparādhaḥ (Ag.). [19]: āyastaṃ khedam (Ag.). [20]: Mss. read tālapatra (tāḍapatra) meaning a kind of ear-ornament (tāḍaṅka or tāṭaṅka). It is different from kuṇḍala which is also a car-ornament. [21]: kautukam—vivāhāt pūrvabhāvī vadhūvaravor ācāraḥ antarvivābaḥ (Ag.). [22]: vivābaḥ—agnan sākṣiṇi pāṇigrahaṇam (Ag.). [23]: Objects such as Ālpanā and flowers arranged on the ground. For Ālpana see L’alpana by Andre et Suzanne Karpelles, Paris, 1930 (?) [24]: Vyāyāma according to Ag. means yūddha. [25]: ‘Pressing’ of the teats of cows and buffaloes while milking them; stanapīḍane—mahiṣyādidohane (Ag.). [26]: Saṃvāhana according to Ag. means mṛtpīḍana. [27]: hotram—srugādi-uttānena, Ag. [28]: havyam—ājyādyāmukhena (Ag.). [29]: khaṇḍanam—drawing decorative patterns or designs on anything. Ag’s explanation of this seems to be wrong, Cf. alakā-tilakā patrāvalīṃ khaṇḍante (draws the alakā-tīlakā and patrāvalī) in the Kīrtilatā of Vidyāpati. See ed. Haraprasād Śāstrī, Calcutta, BS. 1331 (1924) pp. 13-14, and the root khāḍ (to draw) in E. Bengal dialect of T ippera. [30]: karṇacūlikā—karṇapūra (Ag.). [31]: Saying ‘welldone,’ ‘how beautiful’ etc. [32]: pallava but B. balyava. [33]: The text uses two words vallī and latā meaning ‘creeper.’ Ag. distinguishes between the two as follows: alāvū-prabbṛtayo vallyaḥ and drākṣāprabhṛtayo latāḥ. [34]: śikhaṇḍa—kumārakāṇāṃ kākapakṣaḥ (Ag.). [35]: agrapinda-dāna-nāndimukhaśrāddha (Ag.) [36]: trertāgnisaṃsthitāḥ = viralāḥ (Ag.). [37]: nirantarā iti viralatvaṃ niṣedhati (Ag.). [38]: viṭacumbanaṃ-svābhiprāyaṃ āviṣkartuṃ svabastam eva kumulitaṃ vitāś cumbantīti viṭacumbanam (Ag.). [39]: Cf. Ag’s explanation of cauryagraha. [40]: This Karaṇa is evidently from the K. mentioned in IV. 62ff. 26 March, 2017 --> Last Updated: 16 February, 2018 $(function(){ if($(document).height() > $(window).height()){ $('.book.chapter').append('^ back to top ^') $('section.back > a').click(function(){ $(window).scrollTop(0); }); } }); /** * Derivation list */ /*$('a.deriv-link').click(function(){ $(this).closest('.words-group').find('.deriv-list').toggleClass('d-none'); });*/ ====================================================================== Chapter X - Gestures of other Limbs ====================================================================== --> Natyashastra (English) by Bharata-muni | 1951 | 240,273 words | ISBN-13: 9789385005831 Hinduism Natyashastra Buy now! The English translation of the Natyashastra, a Sanskrit work on drama, performing arts, theater, dance, music and various other topics. The word natyashastra also refers to a global category of literature encompassing this ancient Indian tradition of dramatic performance. The authorship of this work dates back to as far as at least the 1st millenn... Go directly to: Footnotes. Chapter X - Gestures of other Limbs < Previous (index) Next > Breast (uras) 1. The breast is known to be of five kinds: Ābhugna (slightly bent), Nirbhugna (unbent), Prakampita (shaking), Udvāhita (raised) and Sama (natural). 2. Ābhugna (slightly bent)—(the breast) lowered, back high, shoulders slightly bent and at times loose (not stiff). 3. (Uses): in hurry, despair, fainting, sorrow, fear, sickness, broken heart, touching of cold objects, rains and being ashamed of some act. 4. Nirbhugna (unbent)—(the breast) stiff, back depressed, shoulders not bent and raised. 3. (Uses): in paralysis, having resentment, look of surprise, assertion of truth, mentioning oneself haughtily, and excess of pride. 6. Prakampita (shaken)—the breast incessantly heaved up [and down]. 7. (Uses): in laughter, weeping, weariness, panic, [fit of] asthma, hiccup, and misery. 8. Udvāhita (raised)—the breast raised up. (Uses): in (representing) deep breathing, viewing some lofty [object], and yawning. 9. Sama (natural)—All the limbs being in the Caturasra and with Sauṣṭhuva the breast will be called Sama (natural). Sides (pārśva) 10. I have properly described the variety of the breast movements. And I shall now define here the two sides. 11. Sides are of five kinds, viz., Nata (bent), Samunnata (raised), Prasārita (extended), Vivartita (turned round) and Apasṛta (drawn away). 12-15. Nata (bent)—the waist slightly bent, one side slightly bent, one shoulder drawn away slightly. Unnata (raised)—the other side [on the assumption of the Nata position] will be Unnata (raised), [because in relation of it] the waist, the side, the arm and the shoulder will be raised. Prasārita (stretched)—the stretching of the sides in their (respective) directions. Vivartita (turned round)—the Trika (sacrum) is to be turned round. Apasṛta (drawn away)—the side restored to its original position from the Vivartita movement [described above]. These are the definitions of the various kinds of side. Uses of Sides 16-17. Nata (bent)—in approaching any body. Unnata (raised)—in going backwards. Prasārita (stretched)—in joy and the like. Vivartita (turned round)—in turning about. Apasṛta (drawn away)—in returning. These are the uses of sides. Now listen about those of the belly. Belly (udara) 18. The belly is of three kinds: Kṣāma (thin), Khalva (depressed), and Pūrṇa (full). Of these, the thin (belly) is Kṣāma, the bent is Khalva and the full belly is Pūrṇa. Uses of the belly 19-20. Kṣāma, (thin): in laughter, weeping, inhalation and yawning. Khalva (depressed): in sickness, penance (tapas), weariness and hunger. Pūrṇa (full): in emitting breath, corpulence, disease, too much eating and the like. These are the uses of the belly. Now listen about that of the waist. Waist (kaṭi) 21-24. The waist in dance and drama is of five kinds, viz. Chinnā (turned aside), Nivṛttā, (turned round), Recitā (moved about), Prakampitā = Kampitā (shaken) and Udvāhitā (raised). Chinnā (turned aside)—in turning the middle of the waist. Nivṛttā (turned round)—in turning to the front from the reverse position. Recitā (moved about)—in moving in all directions. Prakampitā (shaken)—in obliquely moving up and down. Udvāhitā (raised)—in raising the two sides of the waist slowly. These are the movements of the waist. Now listen about their uses. Uses of the waist 25-26. Chinnā (turned aside): in exercising [the limbs], hurry and looking round. Nivṛttā (turned round): in turning round. Recitā (moved about): in movements [of the general type] Prakampitā (shaken): in the walking of hunch-backs, dwarfs and persons of the inferior type. Udvāhitā (raised): in the [movement of] corpulent [persons] and the amorous movements of women. Thighs (ūru) 27-30. The thighs have five conditions, viz. Kampana (shaking), Valana (turning), Stambhana (motionlessness), Udvartana (springing up) and Vivartana (turning round). 30-32. Kampana (shaking)—raising and lowering of heels repeatedly. Valana (turning)—drawing the knees inwards [while going]. Stambhana (motionlessness)—suspension of movement. Udvartana (turning very quickly)—observing Valita (Valana) with force. Vivartana (turning round)—drawing the knee inwards and moving it. Uses of the thighs 32. Kampana (shaking): in the frightened movement of persons of the inferior type. Valana: in the movement of women at ease. Stambhana: in perturbation and despair. Udvartana: in exercising [limbs] and the Class Dance. Vivartana: in going round due to causes like hurry. 33. Similar other [conditions of the thigh] as they are found in popular practice, may be assumed. So much about the description of the thigh. Now 'listen about the shank. Shank (jaṅghā) 34-37. The shank is of five kinds, viz. Āvartita (turned) Nata (bent), Kṣipta (thrown out), Udvāhita (raised) and Parivṛtta (turned back). Āvartita (turned)—the left foot turning to the right and the right [one] to the left. Nata (bent)—the knee bent. Kṣipta (thrown out)—shank thrown out. Udvāhita (raised)—raising (a shank) up. Parivṛtta (turned back)—the turning back [of a shank]. Uses of the shank 38-40. Āvartita (turned): in the Jester’s walking. Nata (bent): in assuming Sthāna (standing) and Āsana (sitting) postures. Kṣipta (thrown out): in the exercise [of limbs] and the Class Dance. Udvāhita (raised): in movements like quick (āviddha) walking. Parivṛtta (turned back): in Class Dance and the like. These are the movements of the shank. Now listen about the movement of feet. Feet (pāda) and their uses 41-50. The feet are of five kinds, viz, Udghaṭṭita, Sama, Agratalasañcara, Añcita and Kuñcita. Udghaṭṭita—standing on the fore part of the feet and then touching the ground with the heels. (Use): In practice this is to follow the Udghaṭṭita Karaṇa and this should be applied once or more in the high or medium speed. Sama (natural)—[feet] naturally placed on an even ground. It relates to representing a natural posture. (Use): It should be kept still in representing the natural position of the body in connexion with the various Karaṇas, but in the Recaka movement of the feet it should be moved. Agratalasañcara—the heels thrown up, the big toe put forward and the other toes bent. (Uses): This [is to be used] in urging, breaking, standing posture (sthānaka), kicking, striking the ground, walking, throwing away [something], various Recaka movements and walking forward when there is a wound at the heel. Añcita—the heels on the ground, the forepart of the feet raised and all the toes spread. (Uses): It is to be applied in representing a movement with wound at the forepart of the foot, turning round in every way, foot being struck [by something] and in various Bhramarī movements. Kuñcita—the heels thrown up, toes all bent down and the middle of the feet too bent. 51. (Uses): It is to be used in aristocratic (udātta) gait, turning, round to the right and vice versa and in the Atikrāntā Cārī.[1] Dance steps (cārī) 52. Persons practising [the Cārīs] should take up simultaneously the movements of the feet, the shanks and the thighs. [For] in the movement of feet are included all the movements of shanks and thighs. 53. The thighs follow the way in which feet are moved, and these two [limbs] constitute together the Cārī of the feet. 54. These are the descriptions and uses of [various] limbs. I shall now describe the system of [different] Cārīs. Here ends Chapter X of Bharata’s Naṭyaśāstra, which treats of Gestures of other Limbs Footnotes and references: [back to top] [1]: B. reads after this three additional hemistichs which define the Sūci foot as follows: The [right foot with its] heel raised resting on the big toe and the left foot in the natural position constitute the Sūcī feet. It is used in dance and playing the Nūpura. 27 March, 2017 --> Last Updated: 16 February, 2018 $(function(){ if($(document).height() > $(window).height()){ $('.book.chapter').append('^ back to top ^') $('section.back > a').click(function(){ $(window).scrollTop(0); }); } }); /** * Derivation list */ /*$('a.deriv-link').click(function(){ $(this).closest('.words-group').find('.deriv-list').toggleClass('d-none'); });*/ ====================================================================== Chapter XI - Cari movements ====================================================================== --> Natyashastra (English) by Bharata-muni | 1951 | 240,273 words | ISBN-13: 9789385005831 Hinduism Natyashastra Buy now! The English translation of the Natyashastra, a Sanskrit work on drama, performing arts, theater, dance, music and various other topics. The word natyashastra also refers to a global category of literature encompassing this ancient Indian tradition of dramatic performance. The authorship of this work dates back to as far as at least the 1st millenn... Go directly to: Footnotes. Chapter XI - Cārī movements < Previous (index) Next > Definitions 1. Moving thus simultaneously feet, shanks and the hip is Cārī. 2. As the Cārīs prescribed by rules and connected with [different] limbs relate to (vyāyacchante from vyā-yam = stretch out to) one another, they constitute (lit. are called) a vyayāma (system). 3. Cārī: The movement [mainly] with a single foot, is called the Cārī. Karaṇa[1]: The two feet moving [together] is called the Karaṇa. 4. Khaṇḍa: A combination of the [three] Karaṇas is called the Khaṇḍa. Maṇḍala: Three or four Khaṇḍas combine to make up the Maṇḍala. Uses of the Cārī 5. From the Cārīs proceed dance as well as movements [in general] and release of missiles; and [the stage] fighting [in general] should be made with the Cārīs. 6. Whatever has been described as Histrionic Representation is included in the Cārīs, and no part of it can take place without the same. 7. Hence I shall describe the rules of the Cārīs which are to be used in dance, ordinary movements and fights [on the stage]. Thirty-two Cārīs 8-10. The following sixteen are the earthly (bhaumī) Cārīs: Samapādā, Sthitāvartā, Śakaṭāsyā, Adhyardhikā, Cāṣagati, Vicyavā, Eḍakākrīḍitā, Baddhā, Ūrūdvṛttā, Aḍḍitā, Utsyanditā,[2] Janitā, Syanditā[3], Apasyanditā,[4] Samotsaritamatalli and Matalli. 11-13. The aerial (ākāśikī) Cārīs are sixteen in number. They are as follows: Atikrāntā, Apakrāntā, Pārśvakrāntā, Ūrdhvajānu, Sūcī, Nūpurapādika, Dolapādā, Ākṣiptā, Āviddhā, Udvṛttā, Vidyudbhrāntā, Alātā, Bhujaṅgatrasitā, Hariṇaplutā, Daṇḍā and Bhramarī. Earthly Cārīs 14. Samapādā—the two feet close together, the nails [of the toes] meeting, and standing on the spot.[5] 15. Sthitāvartā—one Agratalasañcara foot drawn up to cross the remaining foot and this movement repeated with another foot after separating the two. 16. Śakaṭāsyā—the body held upright, one Agratalasañcara foot put forward and the breast being Udvāhita. 17. Adhyardhikā—the left foot on the back (i.e. heel) of the right one, the latter to be drawn away [a Tāla and half a part].[6] 18. Cāṣagati—the right foot put forward and then drawn back and at the same time left foot drawn back and put forward afterwards. 19. Vicyavā—separating the feet from the Samapādā position and striking the ground with their fore part. 20. Eḍakākrīḍitā—jumping up and down with the Talasañcara feet. 21. Baddhā—The sideways movement of the thighs when the two shanks are crossed. 22. Ūrūdvṛttā—the heel of a Talasañcara foot placed outwards, one of the shanks to be slightly bent and the thigh turned up. 23. Aḍḍitā—one Agratalasañcara foot rubbing against the fore part or the back of another foot. 24. Utsyanditā—the two feet to move gradually side ways (lit. in and out) in the manner of the Recaka. 25. Janitā—a Muṣṭi hand held on the breast and another hand moved round, and the feet to be Talasañcara. 26. Syanditā—one foot put forward five Tālas away from the other. Apasyanditā—the reverse of the Syanditā Cārī (i.e. another foot being put forward five Tālas away from the other). 27. Samotsarita-matalli—going back with a circular movement and the feet being of the Talasañcara kind. 28. Matalli—going back with a circular movement and hands being Udveṣṭita and motionless. 29. These are the Cārīs used in personal combat as well as in the Karaṇas. I shall now describe the aerial Cārīs. Aerial Cārīs 30. Atikrāntā—a Kuñcita foot thrown up, put forward and caused to fall on the ground. 31. Apakrāntā—the Valana posture of the two thighs, a Kuñcita foot raised and thrown down sideways. 32. Pārśvakrāntā—one foot Kuñcita and another thrown up and brought near the side. 33. Ūrdhvajānu—throwing up a Kuñcita foot and its knee brought up to the level of the breast, and the remaining knee without movement, and then this second foot thrown up in the manner of the first, and the first foot kept motionless. 34. Sūci—a Kuñcita foot thrown up and brought above the knee of the remaining foot and then to let it fall on its fore part. 33. Nūpurapādikā—one Añcita foot raised up and taken behind another foot and then quickly caused to fall on the ground. 36. Dolapādā—one Kuñcita foot thrown up and moved from side to side and then caused to fall on the ground as an Añcita foot. 37. Ākṣiptā—one Kuñcita foot thrown off and then placing it quickly on an Añcita foot by crossing the shank of the remaining leg. 38. Āviddhā—one Kuñcita foot from the Svastika position stretching and falling on the ground quickly as an Añcita foot. 39. Udvṛttā—the (Kuñcita) foot of the Āviddha Cārī taken round [the thigh of the remaining leg] and thrown up and then caused to fall [on the ground]. 40. Vidyudbhrāntā—one foot turned to the back and after touching its top part to be stretched, and the head moved in a circle. 41. Alātā—one foot stretched backwards and then put in and afterwards caused to fall on its heel. 42. Bhujaṅgatrasitā—one Kuñcita foot thrown up and the waist and the knee being turned round and the thigh [of the remaining foot] to be turned round too. 43. Hariṇaplutā—the foot in the Atikrāntā Cārī to be caused to fall on the ground after a jump, and the shank of an Añcita foot to be put in the Kṣipta posture. 44. Daṇḍapādā: the foot in the Nūpura-[pādikā] Cārī to be stretched and quickly to turn. 45. Bhramarī: the foot in the Atikrāntā Cārī to be thrown up and the entire body turned round (lit. the Trika turned round) and then the second foot to be moved on its sole. 46. These are the aerial Cārīs, consisting of graceful movements of limbs. These are to be applied in the release of weapons like an arrow and the thunderbolt (vajra). 47. O Brahmins, in all these cases the two hands should according to the circumstances, either precede, go simultaneously with or follow the feet. 48. Where the foot [moves], there the hand [should follow] and where the hand [moves], there the entire body. [Hence] after taking a step, all the minor limbs should be made use of. 49. When in course of a Cārī a foot comes to rest on the ground the [corresponding] hand should be moved round and brought on the waist. 50. I have finished describing Cārīs consisting of graceful movements of limbs. I shall now speak of Sthānas (standing posture) to be used in the release of missiles of all kinds. Sthānas 51. Six Sthānas (standing posture) for men are Vaiṣṇava, Sampāda, Vaiśākha, Maṇḍala, Ālīḍha, and Pratyālīḍha. 52-53. Vaiṣṇava—the feet two Tālas and a half apart, one for the natural posture and another obliquely placed with toes pointing sideways and the shank bent (añcita) and limbs with Sauṣṭhava. Viṣṇu is the presiding deity of this Sthāna. 54. (Uses): From this Sthāna persons of the superior and the middling types should carry on their ordinary (lit. natural) conversation in connexion with various duties. 55. It should also be assumed in throwing a disc, holding a bow, in patient and stately movement of the limbs, and in anger. 56-58. On being reversed it is to be used in anger of love. And similarly in the administration of rebuke, and in love, distress, apprehension, envy, cruelty, assurance, and recollection, it is to be assumed when the Erotic, the Marvellous, the Odious and the Heroic Sentiments are prominently introduced. 59-60. Samapāda—the feet in the natural posture and kept one Tāla apart, and the body with the natural Sauṣṭhava. Brahmā is its presiding deity. 61-63. (Uses): It should be assumed in accepting blessings from the Brahmins[7], and in mimicking birds. The bridegroom at the marriage ceremony, persons in the sky, chariot and aerial car (vimāna), person[8] of marked sects (liṅgasthā) and persons practising vows are also to assume this. 63-65. Vaiśākha—the two feet three Tālas and a half apart and the thighs without motion; [besides this] the two feet to be obliquely placed pointing sideways. Skanda (Kārtikeya) is its presiding deity. 65-66. (Uses): This Sthāna should be assumed in riding horses, and in exercise, exit [from any place], mimicking large birds, practice of shooting arrows and in the Recakas [of the feet]. 65-66. Maṇḍala: It relates to Indra (i.e. its presiding deity is Indra). In it the feet are four Tālas apart and they are obliquely placed and turned sideways, the waist and the knee are in the natural position. 66-67. (Uses): The Maṇḍala Sthāna should be assumed in the use of weapons like the bow and the thunderbolt, driving of elephants, and mimicking large birds. 67-68. Ālīḍha: The right foot in the Maṇḍala Sthāna drawn five Tālas apart [from the other foot] will make the Ālīḍha Sthāna, Rudra (Śiva) is its presiding deity. 68-70. (Uses): This Sthāna should be assumed in all acts relating to the Heroic and the Furious Sentiments, duel of wrestlers and in the representation of enemies, an attack [on them], and release of missiles. 70-71. Pratyālīḍha: When the right foot is bent and the left foot is put forward in the Ālīḍha Sthāna the Pratyālīḍha will be produced. 71-72. (Uses): After taking an aim from the Ālīḍha Sthāna the missile to be [actually] released from the Pratyālīḍha Sthāna. The actor should release various weapons from this Sthāna. Four Nyāyas in using weapons 72-73. There are four Nyāyas (ways) of using weapons (lit. releasing missiles), viz. Bhārata, Sāttvata, Vārṣagaṇya, and Kaiśika. 73-74. In the Bhātata [Nyāya the weapon] should strike (lit. cut) at the waist, in the Sāttvata at the foot, in the Vārṣagaṇya at the breast and in the Kaiśika at the head. 74-75. In these Nyāyas arising out of various Cārīs, actors should walk about [on the stage] at [the time of] using weapons. 75-76. The Nyāyas (way) are so called* because fights [on the stage] are nīyante (carried on) with the Aṅgahāras relating to the Nyāyas and arising out of them. 76-80. Bhārata: Putting forward the shield with the left hand and taking the weapon the actor should walk about on the stage. Stretching the hand forward fully and then drawing it back he should move the shield at his back from side to side and flourish the weapon around his head, and it should also be turned round [about the wrist] near the cheek. And again the hands holding the weapon and the shield should be flourished gracefully around the head. 81-82. Sāttvata: I shall now speak of walking about in the Sāttvata Nyāya. In it the same flourishing (i.e. as in Bhārata) of the weapon and the shield holds good, but this (the flourishing of the weapon) should take place at one’s back. 82-83. Vārṣagaṇya. The walking about in the Vārṣagaṇya Nyāya will be similar to that in the Sāttvata, and the weapon and the shield also should be flourished similarly but these should go round the head. 84-85. Kaiśika: The flourishing of the weapon near the breast or the shoulder which is to take place in the Bhārata [Nyaya] will hold good in case of the Kaiśika. But [in the latter] the weapon should be made to strike only after being flourished over the head. 85-86. With these graceful movements of the limbs, weapons like the bow, the thunderbolt and the sword are to be flourished at the time of their use. 86-88. In the stage-fight there should be no [actual] piercing, cutting or flow of blood and the actual striking. The use of weapons (lit. release of missiles) should be done with its mimicry, or the cutting off [of any one’s limb] should be represented, according rules, by the use of gestures and postures only, 87. The exercise should be performed in the Angahāras embellished with the Sauṣṭhava and accompanied by music with [proper] tempo and Tāla. Sauṣṭhava 89-92. Those performing exercises [in Āṅgahāras] should take care of the Sauṣṭhava, for the limbs without it (Sauṣṭhava) create no beauty (lit. do not shine) in drama or dance. The Sauṣṭhava of limbs is to be presented by being still, unbent, at ease, not very upright and not much bent. When the waist and the ears as well as the elbow, the shoulder and the head are in their natural position (sama) and the breast is raised, it will be the Sauṣṭhava [of the body]. Caturasra 92-93. Caturasra: The Vaiṣṇava Sthāna with the two hands moving about at the waist, and the navel together with the breast raised, is called the Caturasra of the limbs. Four acts relating to the bow (dhanus) 93-94. There are four acts relating to the bow, viz. preparing (parimārjana), taking an arrow (ādāna), taking an aim (sandhāna) and shooting (mokṣaṇa). 94-95. The preparing (parimārjana) is the bending [of the bow], taking (grahaṇa) is the pulling out of [the arrow], taking an aim (sandhāna) is to put the arrow to the bow and shooting (mokṣaṇa) is the release [of the arrow]. Method of exercise 95-96. One should perform exercise [in Aṅgahāras and Cārīs] on the floor as well as [high up] in the air, and should have beforehand one s body massaged with the [sesamum] oil or with barley gruel. 96-97. The floor is the proper place (lit. mother) for exercise. Hence one should resort to the floor, and stretching oneself over it one should take exercise. Health and nourishment of persons taking exercise 97-99. For the strength of body one should take [proper] nasal medicine and get oneself purged [lit. resort to the rule regarding the abdomen], take oily food, juice of sugarcane and sherbet. For, vitality is dependent on one’s nourishment, and the exercise is dependent on vitality. Hence one should be careful about one’s nourishment. When bowels are not cleansed and one is very tired, hungry, thirsty, has drunk too much [water], eaten too much, one should not take exercise. The wise [teacher] should give training in exercise to his pupil who has a graceful body and square breast and is not covered with garment. 100. These are the rules regarding Cārīs in connexion with the exercise of [limbs]. I shall hereafter speak of different Maṇḍalas. Here ends Chapter XI of Bharata’s Nāṭyaśāstra, which treats of the Rule of Cārīs. Footnotes and references: [back to top] [1]: This karaṇa should be distinguished from that mentioned in IV. 30, 34-75, 63ff. [2]: G. reads these names as Utspandītā, Apaspanditā and Spanditā and B. as Utspanditā, Syanditā, and Apasyanditā. I have taken the root syand as the basis of all these names. Mss. erratically give -syand and -spand-. [3]: See note 1 above. [4]: ibid. [5]: On the appropriateness of this name see Ag. [6]: The exact measure (1½ tāla) is given by Ag. [7]: vipramaṅgala—vipraiḥ yan maṅgalāśīrvacanādi etc. (Ag.). [8]: liṅgasthān—śaivādyāḥ vratasthā ūrdhvakāyādī prajñaṅgāḥ (?) (Ag.). 31 March, 2017 --> Last Updated: 16 February, 2018 $(function(){ if($(document).height() > $(window).height()){ $('.book.chapter').append('^ back to top ^') $('section.back > a').click(function(){ $(window).scrollTop(0); }); } }); /** * Derivation list */ /*$('a.deriv-link').click(function(){ $(this).closest('.words-group').find('.deriv-list').toggleClass('d-none'); });*/ ====================================================================== Chapter XII - Mandala movements ====================================================================== --> Natyashastra (English) by Bharata-muni | 1951 | 240,273 words | ISBN-13: 9789385005831 Hinduism Natyashastra Buy now! The English translation of the Natyashastra, a Sanskrit work on drama, performing arts, theater, dance, music and various other topics. The word natyashastra also refers to a global category of literature encompassing this ancient Indian tradition of dramatic performance. The authorship of this work dates back to as far as at least the 1st millenn... Go directly to: Footnotes. Chapter XII - Maṇḍala movements < Previous (index) Next > Maṇḍalas 1. I have now properly described Cārīs in connexion with the use of weapons (lit. release of missiles). [Now] learn about Maṇḍalas arising out of a combination of Cārīs. 2-3. The aerial Maṇḍalas are: Atikrānta, Vicitra, Lalitasañcara, Sūcividdha, Daṇḍapāda, Vihṛta, Alāta(-ka), Vāmaviddha, Lalita and Krānta. 3-5. The earthly Maṇḍalas are Bhramara, Āskandita,[1] Āvarta, Samotsarita, Eḍakākrīḍīta, Aḍḍita, Śakaṭāsya, Adhyardha(-ka), Piṣṭakuṭṭa and Cāṣagata. Listen about their description. Aerial Maṇḍalas 6-9. Atikrānta—the right foot [to be moved successively] in the Janitā Cārī and [the Śakaṭāsyā Cārī in which the breast is] Udvāhita, the left foot in the Alātā Cārī and the right foot in the Pārśvakrāntā Cāri, (next) the left foot in the Sūcī Cārī and the right foot in the Apakrāntā Cārī, [again] the left foot [successively] in the Sūcī Cārī and [the Bhramarī Cārī by] turning the Trika, (then) the right foot in the Udvṛitta Cārī and the left foot in the Alātā Cārī which should be changed (lit. divided) to the Bhramarī Cārī, again this left foot in the Alātā Cārī and the right foot in the Daṇḍapāda Cārī. 10-13. Vicitra—the right foot [successively to be moved] in the Janitā Cārī and in the Talasañcara[2] (Nikuṭṭana), manner, (then) the left foot in the Syanditā Cārī, the right foot in the Pārśvakrāntā Cārī, (again) the left foot in the Bhujaṅgatrasitā Cārī and the tight foot [successively] in the Ātikrāntā and Udvṛttā Cārīs, (next) the left foot in the Sūcī Cārī, the right foot in the Vikṣitpā (Ākṣiptā) Cārī and the left foot in the Apakrāntā Cārī. 14-17. Lalitasañcara—the right foot with the knee raised [to move] in the Sūcī Cārī, (next) the left foot in the Apakrāntā Cārī and the right one in the Pārśvakrāntā Cārī (again) the left foot [successively] in the Sūcī and the Bhramarī Cārīs [this latter by turning round the Trika] and the right foot in the Pārśvakrāntā Cārī and the left foot in the Atikrāntā Cārī which is to be changed (lit. divided) into the Bhramarī Cāri. 18-19. Sūcīviddha—the left foot [to be moved] in the Sūcī and the Bhramarī Cārīs [the latter by turning the Trika round], the right foot in the Pārśvakrāntā Cārī, the left foot in the Ātikrāntā Cārī, next the right foot in the Sūcī, the left foot in the Apakrāntā Cārī and the right foot again in the Pārśvakrāntā Cārī. 20-22. Daṇḍapāda—the right foot to be moved in the Janitā and the Daṇḍapāda Cārīs, the left foot in the Sūcī and the Bhramarī Cārīs [the latter by turning the Trika], (next) the right foot in the Ūrūdvṛttā Cārī and the left foot in the Alātā Cārī, (again) the right foot in the Pārśvakrāntā Cārī and the left foot [successively] in the Bhujaṅgatrastā and the Atikrāntā Cārīs to meet the right foot in the Daṇḍapāda Cārī and the left foot [successively] in the Sūcī and the Bhramarī Cārīs [the latter by turning the Trika]. 23-26. Vihṛta—the right foot [to be moved] in the Janitā Cārī (then) its Nikuṭṭana, (next) the left foot in the Syanditā Cārī and the right foot in the Ūrūdvṛtta Cārī, (then) the left foot in the Alātā Cārī and the right foot in the Sūcī Cārī, again the left foot in the Pārśvakrāntā Cārī and the right foot in the Ākṣiptā and the Bhramarī [this by turning the Trika] and the Daṇḍapādā Carīs, (then) the left foot in the Sūcī and the Bhramarī Cārīs [the latter by turning the Trika] again the right foot in the Bhujaṅgatrasitā Cārī and the left foot in the Atikrāntā Cārī. 27-29. Alāta—the right foot [to be moved] in the Sūcī Cārī and the left foot in the Apakrāntā Cārī, then the right foot in the Pārśvakrāntā Cārī and the left foot in the Alātā Cārī, after moving by turn in these [two] Cārīs six or seven times with graceful steps, again the right foot in the Apakrāntā Cārī and the left foot [successively] in the Atikrāntā and the Bhramarī Cārīs. 30-33. Vāmaviddha—the right foot [to be moved] in the Sūcī Cārī, the left foot in the Apakrāntā Cārī, (then) the right foot in the Daṇḍāpādā Cārī and the left foot in the Sūcī Cārī and right foot in the Bhramarī [this by turning the Trika] and the Pārśvakrāntā, Cārīs, (next) the left foot in the Ākṣiptā Cārī and the right foot in the Daṇḍapādā and the Ūrūdvṛttā Cārīs, (then) the left foot [successively] in the Sūcī. the Bhramarī [this by turning the Trika] and the Alātā Cārīs, (next) the right foot in the Prāśvakrāntā Cārī and the left foot in the Atikrāntā Cārī. 34-37. Lalita—the right foot [to be moved] in the Sūcī Cārī and the left foot in the Apakrāntā Cārī, (then) the right foot in the Pārśvakrāntā and the Bhujaṅgatrasitā Cārīs, (then) the left foot in the Atikrāntā Cārī and the Ūrūdvṛttā Cārīs the left foot and the Alātā Cārī, and the right foot in the Pārśvakrāntā Cārī, next the left foot in the Atikrāntā Cārī with graceful steps. 38-40. Krānta—the right foot [to be moved] in the Sūcī Cārī and the left foot in the Apakrāntā Cārī, then the right foot in the Pārśvakrāntā Cārī and the left foot too in the same Cārī (Pārśvakrama), moving round alternately in these Cārīs in all directions, again the left foot in the Sūcī Cārī and the right foot in the Apakrāntā Cārī. This Maṇḍala is prescribed for a natural gait. Hence it is called Krānta i.e. going. 41. These are the aerial Maṇḍalas. Now I shall describe those on the earth. Earthly Maṇḍalas 42-44. Bhramara—the right foot [to be moved] in the Janitā Cārī and the left foot in the Syanditā Cārī, than the right foot in the Śakaṭāsyā Cārī and the left foot to be stretched, (next) the right foot in the Bhramarī Cārī [by turning the Trika], again the left root in Syanditā Cārī and the right foot in the Śakaṭāsyā Cārī, then the left foot in the Apakrāntā (Apasarpī) Cārī and the Bhramarī Cārī by turning about the back. 45-47. Āskandita—the right foot [to be moved] in the Bhramarī Cārīs and the left foot in the Aḍḍitā and the Bhramarī Cārīs [the latter by turning the Trika], then the right foot in the Ūrūdvṛttā Cārī and the left foot in the Apakrāntā (Apasarpitā) and the Bhramarī Cārīs [the latter by turning the Trika then] the right foot in the Syanditā Cārī, (next) the left foot in the Śakaṭāsyā and the same foot to violently strike the ground. 48-50. Āvarta—the right foot [to be moved] in the Janitā Cārī and the left foot in the Talasañcara (Nikuṭtana) Cārī, then the right foot in the Śakaṭāsyā and the Ūrūdvṛttā Cārī, (next) the right foot the Atikrāntā (Apasarpī) Cārī turning backwards and the Cāṣagati Cārī, then the right foot in the Syanditā Cārī and the left foot in the Śakaṭāsyā Cārī, again the right foot in [the Bhramarī Cārī with the Trika turned round), and the left foot in the Apakrāntā (Apasarpī) Cārī. 51-53. Samotsarita—assuming first of all the Samapāda Sthāna, then stretching the two hands with their palms turned upwards, (next) their intermittant Āveṣṭana and Udveṣṭana movements, [then putting the left hand] on the waist, the right hand moved in the Āvartita manner [next the right hand to be put on the waist] and the left hand moved in the Āvartita manner, moving round alternately with this Cārī, will give rise to the Samotsarita Maṇḍala. 54-55.[3] Eḍakākrīḍita—the two feet on the ground (to be moved successively) in the Sūcī and the Eḍakākrīḍita Cārīs, (next) the swift moving Bhramarī Cārī by turning the Trika, (then) moving (the feet) round alternately in the Sūcī and the Āviddha Cārīs. This will give rise to the Khaṇḍa-maṇḍala named Eḍakākrīḍita. 56-58. Aḍḍitā—the right foot [to be moved] in the Udghaṭṭa manner and then (simply) moved round, next [to be moved] in the Syanditā Cārī and the left foot in the Śakaṭāsyā Cārī, next the right foot to be moved backwards in the Apakrāntā (Apasarpī) and the Cāṣagati Cārīs, (then) the left foot in the Aḍḍitā Cārī and the right foot in the Apakrāntā (Apasarpitā) Cārī (next) the left foot in the Bhramarī Cārī and the right foot in the Syanditā (Āsyanditā) Cārīs and to violently strike the ground.[4] 59-60. Śakaṭāsya—The right foot (to be moved) in the Janitā Cārī, and next to move in the Talasañcara (Nikuṭṭana) manner, the same foot in the Śakaṭāsyā Cārī and the left foot in the Syanditā Cārī, moving round in this manner alternately with the Śakaṭāsyā Cārī. This Cārī Maṇḍala named the Śakaṭāsya is to be used in fight. 61-62. Adhyardha—the right foot (to be moved successively) in the Janitā and Syanditā Cārīs, then the left foot in the Apakrāntā (Apasarpitā) Cārī and the right foot in the Śakaṭāsyā Cārī. Moving around alternately in these Cārīs, will be the Cārī Maṇḍala named Adhyardha to be used in personal combat. 63-64. Piṣṭakuṭṭa—The right foot (to be moved) in the Sūcī Cārī and the left foot in the Apakrāntā (then) the right foot in the Bhujaṅgatrasitā Cārī and the left foot too in the same Cārī. Thus going round in the Bhujaṅgatrasitā Cārī is known as the Cārī Maṇḍala named the Piṣṭakuṭṭa to be used in personal combat. 65. Cāṣagata—Going round with feet in the Cāṣagatā Cārī is called the Cārī Maṇḍala named Cāṣagata. It is to be used in personal combat. 66. Here I have described in brief the Maṇḍalas arising out of the various Cārīs, Now I shall describe Samā Cārīs. 67. The use of the Samā Cārīs are known as Samā Maṇḍalas. [An actor] using them is to follow the instruction of the master-actor. 68. These Maṇḍalas to be used in fight and personal combat, are to be performed with sportiveness and graceful movements of limbs, and should be accompanied by [suitable] instrumental music. Here ends Chapter XII of Bharata’s Nāṭyaśāstra, which treats of the Rules about Maṇḍalas. Footnotes and references: [back to top] [1]: Mss. sometimes give this name as āspandita which seems to be a corruption for āskandita. Cf. The note 1 on XI. 7-9. [2]: See Ag. [3]: This khaṇḍamaṇḍala seems to be another name for eḍakākrīḍita. [4]: āsphoṭana—padatalena bhūmitāḍanam (Ag.). 01 April, 2017 --> Last Updated: 16 February, 2018 $(function(){ if($(document).height() > $(window).height()){ $('.book.chapter').append('^ back to top ^') $('section.back > a').click(function(){ $(window).scrollTop(0); }); } }); /** * Derivation list */ /*$('a.deriv-link').click(function(){ $(this).closest('.words-group').find('.deriv-list').toggleClass('d-none'); });*/ ====================================================================== Chapter XIII - Different Gaits ====================================================================== --> Natyashastra (English) by Bharata-muni | 1951 | 240,273 words | ISBN-13: 9789385005831 Hinduism Natyashastra Buy now! The English translation of the Natyashastra, a Sanskrit work on drama, performing arts, theater, dance, music and various other topics. The word natyashastra also refers to a global category of literature encompassing this ancient Indian tradition of dramatic performance. The authorship of this work dates back to as far as at least the 1st millenn... Go directly to: Footnotes. Chapter XIII - Different Gaits (gati) < Previous (index) Next > 1.[1] So much about the formation of Maṇḍalas by a combination of the System of Cārīs (cārī-vyāyāma). I shall hereafter describe the Gaits suitable for (lit. existing in) different characters [in a play]. Entrance of dramatis personae 2-3. After the Overture (Upavahana[2]) with drums and other musical instruments has been performed by observing Kalās suitable to the Mārga [adopted in it], and the Dhruvās [to be sung] at the entrance of dramatis personae, have commenced, and the curtain has been drawn away, the actors who are to develop Sentiments in the various items [of a play] should enter (lit. be made to enter) the stage. Posture for superior and middling characters on entrance 4-7. In case of characters of the superior and the middling types [the actor] should assume the Vaiṣṇava Sthāna, his breast being raised, Sama and Caturasra, shoulders at rest and not raised very much, the neck as graceful as that of a peacock, the shoulders eight Aṅgulas apart from the ears, the chin four Aṅgulas apart from the breast, and the two hands (the right and the left) respectively at the navel and at the left waist. Interval of their feet 8-9. [In the posture described above] the interval between the two feet [of the actor] should be two Tālas and a half. Raising of his feet will take should be according to his own measure [of the hand] four or two Tālas or one Tāla high. 9-10. In case of [characters such as] gods and kings these should be four Tālas high, of the middling [type of characters] two Tālas, and of women, inferior persons and those in disguise only one Tāla high. Time for their steps 10-11. [And the time required for the steps should be] four or two Kalās or one Kalā only. [Steps] of the superior [characters] should take four Kalās, those of the middling type two Kalās, and those of the inferior type one Kalā only. Tempo of their Gait 12. An expert in the theatrical art should apply three kinds of tempo (slow, medium and quick) to the Gait [of different characters] according to their nature. 13. The Gait of superior [characters should be] slow, that of middling [characters should have] the medium [tempo, while the steps of] inferior [characters should be] quick and copious. [Thus] should be applied the three tempos according to the spirit [of different characters]. 14. So much about the rule regarding the timing and tempo [of steps]. O the sinless ones, listen now about the manner of taking steps [suitable to different characters]. Natural Gait 15. In his natural [Gait] a superior [character] is to raise his knee up to the height of the waist and, in case of Cārīs to be used in fighting the same (i.e. the knee) is to be raised up to the height of the breast. 16-19. With graceful steps of the Pārśvakrāntā Cārī and in accompaniment of the instrumental music he should go five uniform steps, towards the corner of the stage, and then he should move in the Sūci Cārī by putting forward his left foot first and the right foot afterwards. Then turning round he should go [five similar steps] towards the second corner of [of stage] and then move in the Sūcī Cārī by putting forward his left foot first and the right foot afterwards, Next time he should [again turn round and] go towards the musical instruments. Thus completing twenty-one steps by going and turning back he should again move in the Sūcī Cārī by putting forward his left foot first and the right foot afterwards. 20. In an oblong stage the actor (bharata) should make elaborate foot-movements (lit. going and turning back by footsteps), but in square and triangular stages such movements should respectively be of the Caturasra and the Tryasra types. 21. When [a character] is walking along with his equals, the basis of the tempo [of his Gait] will be [according to his own rank] of four or two Kalās or one Kalā. 22. But when any one is walking accompanied by persons of the middling and the inferior types [the basis of the tempo of the Gait of the group] will be four and two Kalās or one Kalā[3]. 23. The wise actors should make the steps four Tālas wide in case of gods, Dānavas, Pannagas (Nāga), Yakṣas, kings, and Rākṣasas. 24. All other dwellers of the heaven[4] will have steps of medium [width]. But those among them who are majestic should have Gait similar to that of gods. Gait of kings The sages question: 25-28. “If the kings are human beings why should they have a Gait similar to that of gods?” It is said [in reply], “Why should not the kings have Gait suitable for these (i.e. gods)? In drama and dance the characters [are of three kinds, viz.] divine, semi-divine (lit. divine-human) and human. Of these, the nature of gods is divine, that of the kings is semi-divine and that of the others known to people ate called human. For kings have been described in the Vedas and the adhyātma (Upaniṣad)[5] as being made up (lit. born) of parts of [different] gods. Hence there cannot be any fault in kings imitating gods.[6]” 29. This is the rule of Gait in ordinary walking; but, for Gait in cases of hurry, insanity and anger the rule about its measure will not apply. Gait under special conditions 30. [In those cases] producers of plays are to apply to all different characters, superior, middling and inferior, Gaits as modified by their peculiar condition, 31. Their Gaits should be of the duration of four or two Kalās, one Kalā or half of a Kalā, and these should be so on attaining conditions other than normal ones, 32. [Relative position of different characters as regards the timing of their Gaits is as follows]: While a superior [character] will have a Gait of four Kalās, a middling [character] is to have that of two Kalās and an inferior [character] that of one Kalā, 33. When a middling character will have a Gait of a Kalā, an inferior character is to have that of half a Kalā. Thus one should reduce [in different Gaits under special conditions] Kalās by half. 34. Gait of superior persons is not to be applied to that of the middling type, and Gait of the middling characters is not to be applied to that of the inferior type. Tempo of Gaits under special conditions 35-37. In case of an attack of fever, hunger, fatigue due to austerities, [excessive] panic, surprise, dissimulation, uneasiness, love [in separation], sorrow, and in walking at ease, steps sḥould be of slow tempo falling at the interval of more than four Kalās1. But in case of anxiety the Gait should be of four Kalās’ [duration]. 37-40. In case of concealed (lit. uneasy) love, panic, fear, agitation, joy, hurried action, hearing of unwelcome news, insult, sight of porentuous objects, of urgent work, search for enemies, pursuit of an offender and pursuit a ferocious animal, the wise [actor] should have Gait with steps of two Kalās’ [duration]. Gait in the Erotic Sentiment 40-44. Gait in open (i.e. very clear) love-making should be graceful. [The lover] is to enter the stage with the female messenger showing the way. He is to act his part.(lit. meaning connected with the play) by means of the Sūcā[7]. He should use pleasant perfumes and be dressed with lovely garments, ornaments2 and garlands of various sweet-smelling flowers. He should walk with graceful steps with a slow tempo in the Atikrāntā Cārī, and his limbs should have the Sauṣṭhava, and he should move with proper tempo and Tāla. His hands should always follow the feet. The former should be raised along with the falling of the latter, and with the raising of the latter the former should fall (lit. vice versa)3. 45-48. Now listen about the Gait in case of concealed love. After dismissing his servants (lit. men) the lover is to walk [at night] along with the female messenger as his guide. He is to put out the lamp. He is to be dressed in [simple] clothes suited to the time and is to not wear too many ornaments. In making love secretly a person is to walk in company of the female messenger with slow and silent steps. Being apprehesive of sounds [heard at the time] he is to uneasy and to look constantly around and to tremble in his body and to have a faltering Gait. Gait in the Terrible Sentiment 48-54. [In treating Gait] in the Terrible Sentiment I shall speak only with regard to Daityas, Rākṣasas and Nāgas. O Brahmins, the Terrible Sentiment only is dominant in their case. And this Terrible Sentiment is of three kinds, viz. Terrible in make-up, Terrible in limbs and Terrible by nature. [An example of] the Terrible in make-up is [a Rākṣasa] with his body dripping in blood, mouth moistened with it and having pieces of flesh in the hands. An example of the Terrible in limb is a very tall [Rākṣasa] with a prodigious physical frame, many heads, and many hands holding weapons of various kinds. And an example of the Terrible by nature, is a person with red eyes, tawny hair, black complexion and rough voice, and a person who always scolds [others] and who walks by raising the feet four Tālas high, and takes steps three Tālas wide. This is the Gait which [characters] resembling them are to have. Gait in the Odious Sentiment 54-56. Gait [of a person walking] on the ground which is either a place of cremation or a place gruesome on account of a battle [having taken place there] should be used in acting in connexion with the Odious Sentiment. The feet in the Eḍakākrīḍitā Cārī falling in quick succession sometimes close to and sometimes wide apart from each other, with the hands following them, will constitute Gait in the Odious Sentiment. Gait in the Heroic Sentiment 57. In the Heroic Sentiment Gait should consist of swift brandishing of arms and observing of various Cārīs. 58. In case of mental excitement Gait should consist of footsteps of proper Kalā and Tāla (kāla) in the Pārśvakrāntā, Āviddhā and Sūcī Cārīs. Gait in the Marvellous and the Comic Sentiments 59-60. These are Gaits prescribed for generally superior characters. I shall now describe the Gait for middling and inferior characters. In their astonishment and joy they are to take agitated steps, and in their laughter too they are to take to this and similar other foot movements. Gait in the Pathetic Sentiment 61-63. Gait in the Pathetic Sentiment should be in slow tempo [and it should be connected with] eyes full of tears, drooping limbs, arms thrown up and down, and loud weeping. And in case of a recent calamity one is to walk as well with the Adhyardhikā Cārī. This [Gait] is also to be used in case of women and persons of the inferior type. 63-66. [In connexion with the Pathetic Sentiment] superior characters should be patient, tearful, heaving deep sighs and looking upwards and [their Gait in conformity with these conditions] is to be of no [regular] measure and [they are] not to have the Sauṣṭhava [of the body]. Middling characters are also to be given Gait according to rules. In case of death of their beloved persons and relatives, they are to bend down on their breast in dejection and to become senseless due to grief, and to walk with the feet not raised very high When violently struck, the shoulder should recede and be protected by arms, and the [entire] body is to be made unsteady (lit. moved round), and walking [should be] with short steps. 67-69. A [special] Gait is to be assigned to women and persons of the inferior type when they are attacked with cold or are overtaken by a torrential shower. [In such a case] they are to draw all their limbs together, to shiver greatly, to put their two hands on the breast, to bend down their body, and their teeth are to clatter and lips are to throb and the chin is to quiver, and in representing an attack of cold the Gait should be slow. Gait in the Terrible Sentiment 70-75. In the Terrible [Sentiment] the experts should make the Gait of women, and men of inferior type who are lacking in spirits, suitable to their nature (lit. in that manner). [In the Terrible Sentiment] they are to have wide open and moving eyes, the Vidhuta head, and the look awe-stricken and turned alternately to sides, and holding the Kapota hand they are to walk with quick short steps, trembling body, dry lips and faltering Gait. This [movement] should be resorted when a person is to mimic any one in fear. [And the same rule will apply] in frightening as well as in threatening persons. The Ākṣiptā Cārī is to be assigned to men as well as to women when they have seen a strange animal or heard a strange sound. Gait in the terrified state will consist of movement of feet in the Eḍakākrīḍitā Cārī falling in quick succession sometimes close to and sometimes at a distance from each other, and the hands are to follow them. Gait of merchants and ministers 76-78. Gait of merchants and ministers is to be made natural. They should walk in the Atikrāntā Cārī with steps two Tālas wide. Their [left hand] showing the upturned Kaṭakāmukha should be on the navel, and the right [lit. the first hand] showing the upturned Arāla should be on the side away [from the left one]. Without making their limbs drooping, motionless or excessively moving they should walk with the same Cārī. Gait of ascetics and sectarians 79-86. Gait of Yatis, Śramaṇas, those practising austerities should be made like that of one observing the vow of Brahmacarya. [In playing his part] a wise [actor] should have immobile eyes looking only four cubits [in front][8], a ready memory, the entire body in steadiness, and he is to keep the mind at rest, to assume the marks[9] belonging to his sect and to have modest robes or clothes dyed in dark red, and to stand with the Samapāda feet and to assume the Sthāna of the same name. Then he should make two Catura hands one of which is to be stretched. And assuming a serene appearance in conformity with the performance he should execute the Atikrāntā (Atikrama) Cārī with natural (lit. not drooping) limbs. The best ascetics with a great vow are to have such a Gait, and to others is to be given a Gait contrary to this. As for the rest of the ascetics, according to the vow [enjoined by their own sects] they are to have a Gait confused or stately or sober or mild. And in case of the members of the Pāśupata sect they should walk in the Śakaṭāsyā and Atikrāntā Cārīs with haughty steps. Gait of a person in darkness or of a blind man 87. Gait [of a person] walking in darkness or Gait of a blind [man] should consist of feet gliding over the ground and hands groping for the way. Gait of one riding a chariot 88-92. Gait of a person riding a chariot should consist of short (cūrṇa) steps. From the Samapāda Sthāna (posture) he is to make a mimicry of the being carried in a chariot (lit. go the movement of a chariot), and with one [hand he is to take up] the bow and with the other the pole [of the chariot]. And his charioteer is to remain busy with the whip and reins, and the varied draught animals should be represented according to their distinctive class. And with quick and simple steps he (i.e. the charioteer) is to enter the stage. Gait of one in a celestial car (vimāna) should be made like that of one riding a chariot. One who is about to mount [these vehicles] is to move his body up with the face looking up and with the [motion] contrary to this one is to make one’s discent [from them]. Gait while moving in the sky 92-95. Gait of a character moving through the sky is to include the aerial Cārīs and looking downwards, and [besides this] one is to move [first] from the Samapāda Sthāna (posture) with short steps. Gait of one who descends from the sky is also to be of this kind. This Gait is to consist of steps straight and wide or high and low, or irregular and round about. Gait of a person falling from the sky is to include the Apaviddha arms, scattered ends of clothes, and eyes set on the ground [below]. Gait in ascending any high place 96-98. [In a play sometimes] there is necessity of ascending [stairs of] a palace, a tree or a hill or any other high object, and descending from them or getting down into a river or some lower region and getting up from it. In ascending [the stairs of] a palace a person should move the feet in the Atikrāntā Cārī, and with the body held up he should put forward his steps on [the flight of] stairs. In descending from the same, the body should be slightly bent and one foot should be in the Atikrāntā Cārī and the other in the Añcita movement. 98-100. This Gait suited to ascending [the stairs of] a palace should be applied in climbing hills. But in the case of hills the limbs are to be thrown up. The climbing of trees [should be represented] by steps in the Atikrāntā, Sūcī, Apakrāntā and Pārśvakrāntā Cārīs. Gait in getting down into low places 101-104. This should also be the Gait in coming down [from trees] and the same should apply in case of getting down into a river. Gait in [case of coming down from the top of] a palace will apply only in crossing [a river]. Gait of a person moving in a river will be according to the depth (lit. measure) of water, In shallow water, with the tucking up of one’s clothes, and in the deep [water] with the throwing out of hands one is to move with the fore part of one’s body slightly bent. And in case of a person’s being carried away by the current (lit. water) he is to stretch out his arms one by one to push forward water repeatedly, and during this movement all his limbs are to be busily engaged and the mouth filled up [with water]. Gait in travelling by boat 105. Gait of a person travelling by a boat should be made up of quick steps. According to these rules one should observe the various Gaits and movements. 106-107. All these [conveyances] are to be represented (lit. made) by a [suggestive] sign (saṃjñā) only. [If you ask] “why”, [the reply will be the question], “Will the actors (lit. producers) have to die when the character [to be represented] is said to be dead?,” The elephant will be represented by taking up a goad, the horse by a bridle and other conveyances by a whip.1 Gait in riding a horse 108. Gait of a person riding a horse will consist of the Vaiśākha Sthāna (posture) and short foot steps of various kinds. Gait of serpents 109. Gait of serpents will be by the Svastika feet. [To represent it the actor] is to move in the Pārśvakrāntā Cārī and then to make a Recaka of the Svastika feet. Gait of a Parasite 110. Gait of a Parasite (vita) should be made graceful. [An actor] is to represent (lit. go) the Gait of a Parasite 1 106-1071 This passage shows that use of painted scenery was not indispensible in the ancient Indian stage. See on this point Ag. by putting foward Ākuñcita (Kuñcita) feet within one Tāla and holding the Kaṭakā-vardhamāna hands with the proper Sauṣṭhava and letting [these] hands follow the feet. Gait of a Kāñcukīya 112-113. [Gait] of a Kāñcukīya (armour-bearer)[10] should be made [suitable] to his particular age and condition. When he is not old[11] his Gait should be as follows: With the feet raised half a Tāla high and simple steps he should walk carrying his limbs like one who is treading upon (lit. touching) mud. 114. But in case of his being [quite] old he should walk with the trembling body and raise the feet slowly, and with [every] step he is to take his breath. Gait of emaciated, sick and fatigued persons 115-117. Gait of an emaciated person should consist of slow steps. And in case of an, overpowering illness, or of fatigue due to austerities, a person is to walk with lean and depressed belly, feeble voice, lustreless eyes, slow movement of the hands and the feet, tremor and affliction of the limbs, and with [every] step he is to emit breath. Gait of a person walking a long distance 118. Gait of a person walking a long distance is to consist of slow steps, narrowing of limbs and the rubbing of the knees. Gait of a corpulent person 119-120. A corpulent person is to walk with the feet raised slowly and he is to drag on his body with great effort, and while going with slow steps he should be copiously breathing, and be covered with perspiration due to fatigue, and his steps should be short. Gait of intoxicated persons 121. Gait of persons with light (lit. young) and medium intoxication will be reeling, with the two feet [sometimes going] backwards. 122. Gait of persons heavily (lit. worst) intoxicated will consist of unsteady feet, reclining body and staggering steps. Gait of a lunatic 123-130. Gait of a lunatic will consist of irregular steps, many Cāris in imitation of [various types of] men. He has unpolished and dishevelled hair, and body covered with dust; he talks without any reason and talks too much in an unnatural manner; sometimes he sings and sometimes laughs and is not ready to accompany [any one]; and he [sometimes] dances in joy and [sometimes] makes drumming [with any object he may find before him]. Once he runs swiftly and at other times stands still; [again] sometimes he is seated and sometimes lying down. He is to wear rags of different kinds and to make the public road his irregular dwelling place. A lunatic will be of the above description (lit. this man). His gait will be as follows: After moving in the Baddhā Cārī he is to cross his feet. Then going round in all the four directions with this Cārī he is to perform the Bhramara Maṇḍala outwards and reach one corner of the stage. Then turning the Trika gracefully and holding the Latā hand with irregular movements he is to move with his feet. Gait of lame men, cripples and dwarfs 131-136. Gait of lame persons, cripples and dwarfs in connexion with the display of physical defects for the sake of the Comic Sentiment, will be of three kinds. In one [kind of] Gait of lame persons, feet are to remain stiff. In the second one, feet are to be made Agratalasañcara and the body is to be held up (lit. raised) by the stiff foot. [And in the third] the body is to move on one foot, and to rest on another foot, and setting feet in this order [the lame men] are to go. This will be one’s Gait when one has run a thorn into the sole of one’s foot. Gait of cripples will consist of the Agratalasañcara and the Añcita feet, the steady body and Nata shanks. During the Gait of dwarfs all their limbs are to be narrowed down and they should neither move [quickly] nor take [wide] steps. Gait of the Jester 137-140. The Jester will have the same Gait consisting of simple laughable steps with feet raised high [and put forward]. And his Gait will relate to three kinds of laughter: laughter due to limbs, due to words and due to the costumes and make-up. Of these the ugly and big teeth, bald head, hunch on the back, lameness and distorted face will be causing of laughter due to limbs. When one walks like a crane looking up and looking down with wide strides, this too becomes an object of laughter due to limbs. 140-141. Talking incoherently, meaninglessly, garrulously and uttering obscene words are to be known as [causing] laughter due to words. 141-142. A person covered with tattered clothes or skin, or smeared with ink (or lamb-black), ashes or yellow ochre will be [causing] laughter due to the costumes and make-up. Hence the [Jester] after considering the character [he is to represent] should carefully (lit. essentially) assume [one or more of] these states. 143-146. Gait of the Jester should be distinguished according to his different conditions. [For example], in his natural Gait he is to carry the Kuṭilaka[12][13] (kuṭila) in his left hand and to show the Catura [gesture] with the right hand. Besides, he is to lower by turns one of his sides, head, hands and feet observing proper tempo and Tāla. Gait other than this which is natural, will be abnormal [in his case]. His Gait on having some food which was difficult to get, will be arrested. Gait of menials 146-148. The Gait to represent the walking of servants of lower order or other persons of the inferior type should be as follows: in the walking of servants, one of their sides or head or a hand or a foot is to be lowered and their eyes are to move to [different] objects. 148-149. Gait of the Śakāra will consist of proud but ordinary steps, and while walking he will touch his clothes and ornaments and often look at them, and due to an unnatural motion of his body, his garlands, and suspended parts of the clothes are to flutter to and fro. Gait of lowly persons 150. Persons of inferior birth are to walk with eyes looking around, protecting their limbs from the contact of other people. Gait of the Mleccha tribes 151. Gait and movements of men of different Mleccha tribes such as the Pulindas and the Śabaras should be made according to the land they inhabit. Gait of birds 152. Gait of birds, beasts of prey and other animals is to be made according to the character natural to them. Gait of lions, bears and monkeys 153. Gait of lions, bears and monkeys is to be made [like that] which was assumed properly by the mighty Viṣṇu in the days of yore. [It is as described below]. 154-155. [In this Gait] after assuming the Ālīḍha Sthāna (posture) with limbs conforming to it, that is, one hand on the knee and the other on the breast, one is to look all around and put one’s chin on one’s shoulder and to walk with feet raised five Tālas high and placed at the same interval. 156. This Gait should be applied to [represent] lions[14] and such other animals[15] at the time of personal combat as well as on entering the stage. 157. As for the rest of animals the Gait and the Sthāna for them when entering the stage or carrying any one or anything on the back should be made suitable to the occasion. 158. These [different] Gaits are thus to be used by wise [actors]. The Gaits that have not been described by me, are to be adopted from [the practice of] people. Walking postures of women 159-160. I shall now speak of the Gaits and movements of women. The Sthāna of women in walking and speaking [to others] will be Āyata, Avahittha and Aśvakrānta. 160-161. Āyata: In the Āyata Sthāna (posture) the right foot will be Sama, the left (lit. the other at the side) foot Tryaśra (obliquely placed) and the left raised. 161-164. (Uses): This Sthāna is to be used in invocation, dismissal, observing carefully, thinking and dissimulation. And the first appearance on the stage, scattering handfuls of flowers on the stage, anger due to jealous love, twisting the forefinger, prohibition, pride, profundity, silence, fit of resentment (māna) and looking to the horizon are also to be represented from this Sthāna.1 164-165. Avahittha: The left foot will be Sama and the right (lit. the other at the side) foot Tryaśra (obliquely placed) and the left waist raised up. 165-167. (Uses): This Sthāna is known (lit. remembered) as natural for women during conversation [with anyone], in determination, satisfaction and conjecture. In representing anxiety, amorousness, sportiveness, grace, the Erotic and the like [Sentiments] and looking towards the way of someone [coming or going] this Sthāna is to be used. 167-168. Aśvakrānta: The Sthāna in which one foot is raised and the other is resting on its fore-part and [ready for] the Sūcī or the Āviddhā Cārī is called Aśvakrānta. 168-169. (Uses): This Sthāna is to be assumed in taking hold of the branch of a tree, plucking a cluster [of flowers] or in taking rest by inferior persons or women for any purpose. 169-171. The Sthāna will be [maintained by a dancer] till any movement begins. For during a dance the Sthāna is at an end when the Cārī has begun (lit. is present). This is the rule of the Sthāna for women and for men as well. I shall now describe women’s Gait in relation to their nature. Gait of passionate women (pramadā) 171-176. [Such a Gait will serially include the following Sthāna and movements]: The Avahittha Sthāna, the left hand pointing downwards, the right hand with the Kaṭakāmukha gesture placed on the navel, the right foot raised gracefully up one Tāla and thrown on the left one and simultaneously with that, the left hand with the Latā gesture placed on the navel and the right side bent, placing the right hand on the hip, and the Udveṣṭita movement of the left hand, then the left foot put forward, the right hand with the Latā gesture. [After assuming this Sthāna and movement] they are to walk five steps with the body slightly bent and the head gracefully held in the Udvāhita posture. 176-177. The rules for going about on the stage which have been prescribed for men will apply also for women. Gait of young women 177-179. The steps of women should not be made of six or eight Kalās duration. Such a step will be irksome for them. This will be the Gait of women in their youth. I shall speak [now] about the Gait of women who are aged (sthavīyasī).[16] Gait of aged women 179-181. After assuming the Avahittha Sthāna and putting the left hand on the waist and the right hand with the Arāla gesture upturned, placed between the navel and the breasts, they are to walk gradually with their body neither relaxed nor stiff nor [much] moving about. Gait of handmaids 181-183. The Gait of hand-maids should be made distracted (udbhrāntā). They are to walk with slightly raised body and flourishing arms, after assuming the Avahitta Sthāna with the left hand pointing downwards and the right hand showing the Kaṭakāmukha hand held on the navel. Gait of half-women 183-184. The Gait of the half-women, an admixture of that of men and of woman, will consist of stately but graceful movement of limbs and playful steps. 184-186. The time required for the Gait which has been prescribed for persons of the superior type will be halved in case of women and the inferior types of men. And the Gait [prescribed for persons] of the superior, the middling and the inferior types will apply in case of women [of those types] except for the footsteps which will be graceful [for the latter]. Gait of children 186-187. The Gait of children will be according to their will and no Sauṣṭhava and [fixed] measurement will be required. 187-188. The third type of persons will be hermaphrodites in whose case women’s Gait to the exclusion of their [partial] male character, should be applied. Gait in the change of role 188-189. A change [of their role] by men, women and hermaphrodites should be represented by assumption on their part of Gaits suitable to those of [new roles] to the exclusion of their own [original] character. Gait of persons in disguise 189-191. For disguise, sports or deception [of others] a woman assumes the role of a man, and a man that of a woman. [In such cases] the woman should play the role of a man with patient and liberal spirit and intelligence, and with acts as well as dress, words and movement suitable to that [character]. 191-192. To play the role of a woman a man is to wear her clothes, speak like her and look at things and abstain from looking at these as she does, and is to assume a delicate and slow Gait. Gait of tribal women 192-193. Women of inferior birth and of the Pulinda and the Śabara tribes are to have Gaits natural to their community. Gait of women ascetics 193-194. In case women observing a vow or practising austerities or bearing the mark [of religious sects.] or contented women the Samapāda Cārī is to be used [as their 194-195. An expert in dramatic art should not assign energetic Aṅgahāras, Cārīs and Maṇḍalas to women. Sitting posture for men and women 195-196. Sitting posture (sthāna) for men and women should be made conforming to (lit. combined with) the different States which they are in, and similar should be their postures while in bed. Sitting at ease 196-197. In sitting at ease the two feet are at rest (viṣkambhita) and kept doubled up (añcita), the Trika is slightly raised, and the two hands are put on the thighs on the two sides. Sitting in a pensive mood 197-198. When a person is to assume [deep] thinking, he is to stretch slightly one of his feet, and the other foot is to rest on the seat and the head is to bend on one side. Sitting in sorrow 198-199. When a person is in grief and uneasiness he is to put up his hands for supporting the chin, or his head is to rest on the shoulder, and he is [to look like] one whose mind and sense-organs are not working. Sitting in fainting and in intoxication 199-200. When a person is unconscious, fainting or is intoxicated, tired, weakened or sad, [from the above posture] he is to stretch his arms loosely and to sit depending on [some] support. Sitting in shame and in sleep etc. 200-2O1. When a person is ill, ashamed, asleep or in meditation he is to lump together his limbs between legs and knees. Sitting on ceremonial occasions 201-202. In offering a libation of water to the spirits of diseased parents, muttering (japa) of Mantras, saying the Sandhyā prayers and making Ācamana, one is to assume the sitting posture with the hump raised, in which the hip and heels come together. Sitting in pacifying a beloved woman 202-203. In appeasing [the anger of] a beloved woman and pouring ghee into the sacrificial fire and doing similar other acts, a person is to put one of his stretched knees on the ground [from the sitting posture mentioned above]. Sitting in worshipping a deity 203-206. Downcast face and the sitting posture with the two kness on the ground (i.e. kneeling down) is to be assumed in adoring a diety, pacifying the angry [superiors], bitterly crying for sorrow, seeing a dead body, the fear of persons of low spirits, the begging of something by lowly persons and servants, and attendance during the Homa and the sacrificial work. Ascetics (muni) while practising austerities are [also] to assume this sitting posture (lit. rule about sitting). Seats for different characters 206-207. Now the seats (lit. rules regarding the seats) for males and females in a drama are twofold: public (bāhya) and private (ābhyantara). [These two terms] public and private relate to the royalty (lit. the king). Seats for male characters 208-210. O Brahmins, gods and kings are to be given the Lion-seat (i.e. throne), the priests and the ministers the cane-seat[17], the commander of the army and the crown-prince the Muṇḍā-seat,[18] the Brahmins the wooden seat and the other princess the carpet-seat. This rule of seats should be observed in the royal court. Seats for female characters 210-214. I shall now speak of the rule of seats for women. The chief queen should be given the Lion-seat, the female relatives and highborn wives of the king other than the chief queen the Muṇḍā-seat, the wives of priests and ministers the cane-seat, ordinary wives [of the king] the seat consisting of cloth, skin or carpet, the wives of Brahmins and female ascetics the seat made of wood (paṭṭa), the wives of Vaiśyas the seat of pillow (cushion) and for the remaining women the ground will be the seat. So much about the rule of seats in the inner apartments as well as in public places. While residing in one’s own house one can take any seat according to one’s liking. Seats for ascetics and sectarians 215. The seats for the ascetics should be according to the rules [of the order] they are observing[19]. For the members of different sects with special marks the seats will be according to their vows. 216. While pouring ghee into the sacrificial fire or doing the sacrificial duty in general or offering a libation of water to the departed parents one is to stand or to sit on a Vṛṣī[20], Muṇḍā-seat or cane-seat. General rules about seats 217. Ocher local officers (sthānīya) who are of [high] birth and possess [great] learning should be honoured by the king by [an offer of suitable] seats. 218. To His equals he (i.e. the king) is to offer seats equal in height to that of his own, to persons of medium importance, the seats of middling height, and to persons who are.superior to him should be given a more elevated seat, while the lowly persons are to be seated on the ground. 219. Before the preceptor, the king or the spiritual guide (guru) wise persons are to sit on the ground or on an wooden seat. 220. Sitting together with the spiritual guide, the preceptor or the king in a boat, on an elephant or in a chariot, or on [large] wooden seats is allowed (lit. not to be objected to). Lying-down postures 221. Postures in the bed are known as Ākuñcita, Sama, Prasārita, Vivartita, Udvāhita and Nata. 222. Ākuñcita: Lying down with limbs narrowed down and the two knees sticking to the bed is called the Ākuñcita posture. It is to be used in representing persons attacked with cold. 223. Sama: Lying down with the face upwards and the hands free and turning downwards is called the Sama posture. It is the posture in deep sleep. 224. Prasārita: Lying down with one arm as the pillow and the knees stretched, is called the Prasārita posture. It is to be used to represent one enjoying a sleep of happiness. 225. Vivartita: Lying down with the face downwards is called the Vivartita posture. It is to be assumed in [repre-senting] wound from any weapon, death, vomiting, intoxication and lunacy. 226. Udvāhita: Lying down with the head resting on the hand and making a movement of the knee, is called the Udvāhita posture. It is to be used in sports, and on hearing the master’s words. 227. Nata: Lying down with the legs (lit. shanks) slightly stretched and the two hands loosely resting is called the Nata posture. It is to be used in laziness, fatigue and distress. 228. This is the [rule of] Gait and movements I was to tell you. Whatever remains unsaid should be devised according to the demand of circumstances. I shall hereafter speak about the division of the stage into Zones in connexion with going about on it. Here ends Chapter XIII of Bharata’s Nāṭyaśāstra, which treats of Gaits and other Movements. Footnotes and references: [back to top] [1]: On the Gait Ag. says: “The Gait is to be prescribed with a view to the person, Sentiment, situation, place and occasion.” [2]: It seems that upavahana gave rise to upohana (Pkt.) which afterwards was adopted in its place; for upohana see 138ff. It is defined by Ag. as follows: upohyante samāsa-vyāsataḥ padakalātālasamabhihitāḥ svarā yasminn aṅge tat tathoktam (vol. I. p, 186). [3]: Significance of this rule is not clear. [4]: By such dwellers devadūtas are meant (Ag.). [5]: mātaliprabhrtayaḥ (Ag.). [6]: vedādhyātmasu = vedeṣu tathā adhyātmaśāstreṣu vedānteṣu (Ag.). [7]: See Ag. [8]: 79-861 See Ag. [9]: liṅgam i.e, japabhasmakaupinādi (Ag.). [10]: The word kāñcukīya (kañcukin) should be translated as ‘armour-bearer’ and not as ‘chamberlain’ which term should be used for sannidhātṛ; See Kauṭilya’s Arthaśāstra (2.4.23). BhP. (p. 292) defines the Kañcukīya as follows: Passionless Brahmins who have knowledge and wisdom being in charge of (the king’s) armour and crown, and holding a cane-stick (as symbol of their authority), are called Kañcukīya by the wise. [11]: a-vṛddhasya. The adjective of the kāñcukīya renders invalid the late definition according to which he should necessarily be old. Such a definition has been wrongly ascribed to Bharata in Rucipati’s commentary to the Anargharāghava (ed. in Kāvyamālā, p. 109). The kāñcukīya in the plays ascribed to Bhāsa (i.e. Svapna., Pratimā., Abhi. Pañca., Dūtavā, and Bāla.) does not show any trace of old age. The kañcukin in the Śak. deplores that the cane-stick which he had to take up as the symbol of his office, has become in old age the support of his body which he could move with difficulty (V.3.). From this it may be assumed that he was appointed long before old age came upon him. [12]: See p. 10 note 2 [13]: (1441) For an old kañcūkin see Śak. loc. cit. Mudrā, II, 9, and III, 1. [14]: Lions etc. here indicate actors with the mask of these animals. [15]: Reference here is to animals like Sugrīva and Jāmbavat (Ag). [16]: B.G. read sthānīyā yā strīyas tāsām for sthavīyasīnām etāsām. The word sthavīyas may well be a comparative form of sthavira. Cf, davīyas for dūra. [17]: 208-210 1 A cane-chair. [18]: muṇḍāsana is probably nothing other than Bengali ṃoḍā. [19]: 215. 1 For example, some have tiger-skin as their seat, some deer-skin or a piece of woollen blanket. [20]: 216. 1 A seat made of kuśa grass (see Apte, sub voce). 07 April, 2017 --> Last Updated: 16 February, 2018 $(function(){ if($(document).height() > $(window).height()){ $('.book.chapter').append('^ back to top ^') $('section.back > a').click(function(){ $(window).scrollTop(0); }); } }); /** * Derivation list */ /*$('a.deriv-link').click(function(){ $(this).closest('.words-group').find('.deriv-list').toggleClass('d-none'); });*/ ====================================================================== Chapter XIV - Zones and Local Usages ====================================================================== --> Natyashastra (English) by Bharata-muni | 1951 | 240,273 words | ISBN-13: 9789385005831 Hinduism Natyashastra Buy now! The English translation of the Natyashastra, a Sanskrit work on drama, performing arts, theater, dance, music and various other topics. The word natyashastra also refers to a global category of literature encompassing this ancient Indian tradition of dramatic performance. The authorship of this work dates back to as far as at least the 1st millenn... Go directly to: Footnotes. Chapter XIV - Zones (kakṣyā) and Local Usages (pravṛtti) < Previous (index) Next > 1.[1] One should fix the Zones [of the stage] after knowing the division of three [kinds of] playhouse, that have been mentioned before by me. Arrangement of drums 2. The producer [of a play] should arrange the drums between the two doors of the tiring room, which I have described before. The Zonal division 3. The Zonal division[2] is to be indicated by going about on the stage. [When one is in a particular] Zone [of the stage, it] will change [lit. be another] with his walking out of it. Utility of the Zonal division 4-7. [It is] from the. [convention of] the Zonal division that one is to know [whether the place in which the scene has been laid] is a house, a city, a garden, a pleasure-resort, a river, a hermitage, a forest, the earth, the sea, [any part of] the Three worlds, with movable and immovable objects, any one of the nine great divisions of the earth or its seven continents or any of the different mountains, the invisible world, the [surface of] the earth or the nether world (rasātala), places of rest or abodes of the Daityas and the Serpents, houses, and forests. Zones should be imagined with reference to a city, a forest, a part of a continent or a mountain where the action takes place. Indicating relative location 8. One should assume by convention whether a place is outside or inside a locality or in the middle of it, or away from it or neat it. 9. According to [the convention of] Zonal division, those who have entered [the stage] earlier, should be taken as being inside [a house], while those entering it later are to be known as remaining outside. 10. He who enters the stage with the intention of seeing them (i.e. those entering earlier) should report himself turning to the right. The east on the stage 11. The direction which drums and two doors of the tiring room face, should always be considered as the east in course of a dramatic performance. The rule of exit 12. If any person will go out from the place (lit. there i.e. inside the house) on any business, he is to make his exit by the very door he used when entering. 13. If after going out he is to re-enter that house he will make his exit [if necesseary] by the door through which the men [who enter later] came. 14-15. If out of necessity he goes along with the latter, and [re-] enters the house with the latter, or by himself alone, the different Zones should be prescribed for the two. This other Zone will be indicated by their [order of] walking. Indication of rank in group-walking 16. With the equals, one is to walk side by side, and with one’s inferiors one is to walk surrounded [by the latter], and handmaids are to be known by their walking before [the master] Indicating distance great, small and medium 17. The same place if much walked over will be taken as a distant land. And nearby land or lands of medium distance are to be indicated likewise [on the same principle][3]. Movement of gods and demigods 18-20. According to various needs of the plot (lit. play) gods and demigods are to move to cities, forests, seas or mountains through the sky, by an aerial car, by their occult power or by different other acts. But while in disguise in a play they (i.e. gods and demigods) are to move on the earth, so that they may be visible like human beings (lit. through human causes).* Movement of men in Bhārata-varṣa 21. Gods and demigods can at their will move to all [the nine] divisions [of the continent], but it is prescribed that men are to move in Bhārata-[varṣa] (India) alone. Departure for a distant place 22. If a person departs on business to a distant place, this is to be indicated by closing the Act [with his departing] and mentioning again this fact in an Introductory Scene (praveśaka). Time allowed for events of an Act 23. To indicate the attainment of an object one is to traverse a measure of distance. But in case of failure in this regard (lit. in non-attainment of the object) the Act should be brought to an end. 24. [Incidents in a play occurring for] a Kṣaṇa, a Muhūrta, a Yāma and a day are to be accommodated in an Act in pursuance of the Seed (bīja) [of the play]. 25. But a month or a year is [to be considered] finished with the end of an Act; and events occurring more than one year after, should not be put in one Act. 26. Zones of the stage [and allied conventions] concerning movements of men are thus to be observed in a play in connexion with Bhārata-varṣa (India). Now let it be known that gaits of gods and demigods are like that of men. 27.32. Yakṣas, Guhyakas, followers of Kuvera (lit. the giver of wealth), Rākṣasas, Bhūtas and Piśācas who live in the best mountain Kailāsa included in the Himalayas, are known as dwellers of the latter mountain. Gandharvas, Apsarasas and Gaṇas are known to live in the Hemakūṭa. In the Niṣadha [mountain] live all the Nāgas (Serpents) such as Śeṣa, Vāsuki and Takṣaka. The thirty-three groups of gods dwell in the great [mountain] Meru, and Siddhas and Brahmarṣis in the Blue [Mountain] full of lapis lazuli. The White Mountain is the abode of Daityas and Dānavas, while Pitṛs resort to the Śṛṅgavat [mountain]. These are the best mountains where gods and demigods dwell. With reference to the Zonal division they should be [placed] in Jambudvīpa [where these mountains exist]. Movement of gods 32-35. Their efforts and exploits should be represented (lit. made) according to their habits and powers, but their costumes and make-up should be like that of human beings. All the States of gods are to be made human. Hence they should not be represented (lit. made) as winkless [which they traditionally are]. For the States and the Sentiments [in a play] depend on Glances. And the States are [first] indicated by Glances and then represented by gestures and postures (lit. by limbs). This is all about the Zonal division. Four Local Usages 36. I shall now resume the description of the Local Usages (pravṛtti) which according to experts in drama are four: Āvantī, Dākṣiṇātyā, Pāñcālī (Pāñcāla-madhyamā) and Oḍra-Māgadhī[4] [Now comes the question]: Why is [it called] pravṛtti (report) [of the Local Usages]? [In answer to this] it is said that pravṛtti is so called because it gives us properly information regarding costumes, languages, and manners in different countries of the world. Vṛtti means ‘information’. There are many countries in this world. Hence it is asked, “How a fourfold division of these (i.e. the four pravṛttis) [can be] justified? For an observance of all these pravṛttis has common characteristics.” [In reply] it has been said, “It is true that their observance has common characteristics; but as people have different native countries, costumes, languages and manners, I have prescribed a fourfold classification of the dramatic performance attached to [four] different Styles. [Different] countries are attached to performances which relate to the Styles such as the Verbal (bhāratī), the Grand (sāttvatī), the Graceful (kaiśikī) and the Violent (ārabhatī). Because of this the four Local Usages develop, and performances [following them] originate. Dākṣinātyā Local Usage Now [it is said] in this connexion (lit. there) that the Southern [countries] favour various kinds of dance, song and instrumental music, an abundance of the Graceful (kaiśiki) Style, and clever and graceful gestures. They are as follows: 37. Countries adjacent to mountains named the Mahendra, the Malaya, the Sahya, the Mekala[5] and the Kālapañjara[6], are known as the Dākṣiṇāpatha (Deccan). 38-39. Kosala, Tosala[7], Kaliṅga, Mosala[8] and countries like Dramiḍa, Andhra, Mahā-vaiṇṇā[9] and Vanavāsika which lie between the Southern Ocean and the Vindhya [mountain] are always to take to the Dākṣiṇātyā Local Usage[10]. Āvantī Local Usage 40-41. Avantī, Vidiśā, Saurāṣṭra, Mālava, Sindhu, Sauvīra, Ānarta[11], Arvudeya[12] Daśārṇa, Tripura, and Mṛttikāvat[13] always take to the Āvantī Local Usage. 42. This Local Usage depends on the Grand (sāttvatī) and the Graceful (kaiśikī) Styles. Hence these should be used in plays and should be adopted by the producers [related to the area]. Oḍra-Māgadhī Local Usage: 43-45. Eastern [countries such as] Aṅga, Vaṅga, [Ut]kaliṅga[14], Vatsa, Oḍra Magadha, Puṇḍra, Nepāla, Antargiri, Bahirgiri, Pravaṃga[15], Māhendra, Malada[16], Mallavartaka,[17] Brahmottara (Suhmottara)[18] Bhārgava[19], Mārgava[20], Prāgjyotiṣa, Pulinda, Videha, Tāmralipta, and Prāṅga[21] adopt the Local Usage known as the Oḍra-Māgadhī. 46. In relation also to other countries known in the Purāṇas as belonging to the East, the Oḍra-Māgadhī Local Usage is applied. [This Local Usage depends on the Verbal (bhāratī) and the Graceful (kaiśikī) Styles.][22] Pāñcālī Local Usage 47-48. Countries such as Pañcāla, Śūrasena, Kāśmīra, Hastināpura, Vālhīka, Śālvakā,[23] Madra and Uśīnara which are contiguous either to the Himalayas or to the Northern bank of the Ganges, take to the Pāñcālī (Pāñcāla-madhyamā) Local Usage. 49. In this Usage the Grand and the Violent Styles are known [to predominate]. The application of these [means] paucity of song, and excessive movement and extraordinary Gaits and steps. Twofold entrance in observing Local Usages 50. In going about on the stage the Local Usages, will operate in two ways, viz. by entering from the right and by entering from the left. 51. In the Āvantī and the Dākṣinātyā Local Usages the going about [on the stage] will be from the right, and in the Pāñcālī and the Oḍra-Māgadhī it will be from the left. 52. In the case of the Āvantī and the Dākṣinātyā Local Usages the door to be used in entering should be the Northern one, while in case of the Pāñcālī and Oḍra-Māgadhī Local Usages the Southern door should be used. 53. But in view of the special assembly, place, occasion and expression of meaning these rules may be combined (lit. be made into one). 34. Experts should produce their plays in Styles which have been prescribed before for the Local Usages in different countries[24]. Two general types of play 55. The production of a play in conformity with the rules of dramatic practice is of two types: delicate (sukumāra) and energetic (āviddha). The violent type 56-57. The play which requires energetic (āviddha) gestures and dance movements (aṅgahāra) to represent, cutting, piercing and challenging, and contains the use of magic and occult powers as well as artificial objects and make-up, and has more men and less women [among its dramatis personae] and applies [in its production] mostly the Grand and the Violent Styles, is of the energetic type. 58. According to the [expert] producers, [plays of] the Ḍima, the Samavakāra, the Vyāyoga and the Īhāmṛga [clases] are known to be of the energetic type. 59. Production of a plays of this type should be made by [an impersonation of] gods, Dānavas and Rākṣasas who are majestic and haughty, and have herorism, energy and strength. The delicate type 60. The Nāṭaka, the Prakaraṇa, the Vīthī and the Aṅka ate plays of the delicate type, and they depend [for their production] [on an impersonation of] human beings only. Two Practices 61. I shall now define (lit. relate the characteristcs of) the two Practices (dharmī) which have been mentioned before. Realistic Practice 62-63.[25] If a play depends on natural behaviour [in its characters] and is simple and not artificial, and has in its [plot] profession and activities of the people and has [simple acting and] no playful flourish of limbs and depends on men and women of different types, it is called Realistic (lokadharmī)[26]. Conventional Practice 64-65.[27] If a play modifies a traditional story, introduces supernatural powers, disregards the usual practice about the use of languages, and requires acting with graceful Aṅgahāras, and possesses characteristics of dance, and requires conventional enunciation and is dependent on a heavenly scene and heaven-born males, it is to be known as Conventional 66. If anything not admitted as real by people is invested in a play with a corporal from and speech the practice is [also] called Conventional (nāṭyadharmī)[28]. 67. [The practice in a play according to which persons are supposed] not to hear words uttered in proximity, or to hear what has not been uttered at all, is [also] called Conventional. 68. If objects like a hill, a conveyance, an aerial car, a shield, an armour, a weapon or a banner-staff are made to appear on the stage (lit. are used) in [human] form, it is known as an [instance of] Conventional Practice. 69. If after appearing in a role, one assumes a different role [in the same play], on account of his being an expert in both the cases or being the sole actor available for both the roles, it is known to be an instance of Conventional Practice. 70. If a woman for whom marital connexion with a particular person in actual life is forbidden by the Śāstras is made to appear in a play in the role of woman with whom such connexion is permitted, it becomes an instance of Conventional Practice. The same will be the result if the situation in the above case is reversed. 71. That, [in a play instead of simple walking] one dances or goes with graceful movement of limbs as well as with similarly made steps, is known as Conventional Practice. 72. If the [ordinary] human nature which has acts of joys and sorrows as its essence (lit. soul) is represented by (lit. combined with) [special] gestures, it becomes [an instance of] the Conventional Practice. 73. The Zonal division on the stage, which observes (lit. depends on) many rules, is also [an instance of] Conventional Practice. 74. A play should always be produced with the conventional movement [of limbs], for without acting through the [use of] Gestures etc. [by the actors] no feeling is evoked in [the spectators]1. 75. The States are natural to all [persons] in a play and all the gestures [in connexion with them are used] from a paticular necessity; [hence] decorative movements of limbs [in producing a play] have been considered as [an instance of] Conventional Practice. 76. So much about the Zonal Division, [the two] Practices and the [four] Local Usages. Experts in dramatic production should know these and put them properly into practice. 77. I have described properly the Histrionic Representation by the Śākhā and by Aṅgahāras. I shall afterwards speak similarly about the Representation depending on Words which consist of vowel and consonantal sounds. Here ends Chapter XIV of Bharata’s Nāṭyaśāstra, which treats of the Zones and Local Usages. Footnotes and references: [back to top] [1]: See II. 630. [2]: As modern device of the change of scenes was absent in the ancient Indian theatre, the convention of the Zonal division indicated the locality, in which different characters met. [3]: For an example of this see Uttara. I. [4]: The passage following this till the beginning of 37 is in prose. [5]: For Mekala see the Buddhacarita XI. 31 [6]: Kālapañjara seems to be same as modern Kāliñjar (=Kālapiñjara); piñjara is a variant of pañjara; see Paia-saddhamahaṇṇavo, sub voce. [7]: Aśoka’s Tosali. [8]: Older name of Masulipaṭṭanam in Andhra. [9]: Mahā-veṇṇā, a Skt. name of the Kṛṣṇa-veṇṇā river. The name indicates the attached river-valley. [10]: Geographical names mentioned in this passage and the passages that follow, are mostly to be met with in the Purāṇas (sometimes with variant readings). For a discussion on the same see D.C. Sircar, ‘Text of the Puranic Lists of Peoples’ (IHQ. Vol. XXI. 1945, PP. 227-314). [11]: Ānarta was probably N. Kathiawar peninsula. [12]: Arvuda or modern Ābu in Rajputana is probably meant by this name. [13]: Sometimes identified with Mertā in Rājasthān. See JAS. Vol XVII. pp. 180-181. [14]: Utkaliṅga is the older name of the later Utkala. This occurs in the Brahma P. [15]: The region beyond Vaṅga. [16]: Maladā be may modern Maldah District of W. Bengal. [17]: Mallavartaka may be modern Mallabhum (Bankura in W. Bengal). [18]: For Brahmottara see Viśvabhārati Patrikā, Vol. IV. pp, 250ff. [19]: Bhārgava remains unidentified. [20]: Mārgava remains unidentified. [21]: The region beyond Aṅga. [22]: This is from a conjecturel restoration. See Introduction to the text. [23]: 47-48 1 The reading Śalyaka of some mss. may be a variant of Śālvaka. As in the Purāṇas an expression like śālvāh śākalavāsinaḥ is met with, Śālvas or Śālvakas might have been the name of a tribe residing in the ancient Śākala region. See Pāṇini. IV. 2. 135, 169, 173 and Mbh. Bhīṣma 10.3. [24]: B.G. add one couplet which in translation is “In musical plays (gānakādi) these rules should be simplified. One should produce them (lit. practice those acts) in disregard of the multiplicity of Local Usages.” But this seems to be spurious. [25]: For a discussion on Dharmis see V. Raghavan, Nāṭya Dharmī and Loka Dharmī (Idealism and Realism of Bharata’s Stage), Journal of Oriental Researches. Madras, Vol. VII. pp. 359-375. [26]: See note 1 to IX. 1-3. [27]: I accept Ag’s interpretation. [28]: An instance of this is the personification of the Bhrahmaśāpa in Māyāpuṣpaka (Ag.). 08 April, 2017 --> Last Updated: 16 February, 2018 $(function(){ if($(document).height() > $(window).height()){ $('.book.chapter').append('^ back to top ^') $('section.back > a').click(function(){ $(window).scrollTop(0); }); } }); /** * Derivation list */ /*$('a.deriv-link').click(function(){ $(this).closest('.words-group').find('.deriv-list').toggleClass('d-none'); });*/ ====================================================================== Chapter XV - Verbal representation and Prosody ====================================================================== --> Natyashastra (English) by Bharata-muni | 1951 | 240,273 words | ISBN-13: 9789385005831 Hinduism Natyashastra Buy now! The English translation of the Natyashastra, a Sanskrit work on drama, performing arts, theater, dance, music and various other topics. The word natyashastra also refers to a global category of literature encompassing this ancient Indian tradition of dramatic performance. The authorship of this work dates back to as far as at least the 1st millenn... Go directly to: Footnotes. Chapter XV - Verbal representation (vācika) and Prosody (chandaḥśāstra) < Previous (index) Next > The actor’s speech 1. O the best of Brahmins, I shall now speak about the nature (lit. characteristics of) the Verbal Representation which has been mentioned before[1] and which relates to (lit. arises from) vowels and consonants. Importance of speech in drama 2. One should take care of words[2]. For these are known as the body of the dramatic art. And Gestures, Costumes and Make-up and the acting of Sattva [merely] clarify the meaning of words. 3. In this world; (lit. here) the Śāstras are made up of words and rest on words; hence there is nothing beyond words, and words are at the source of everything.[3] 4. The Verbal representation is related to [a knowledge of] nouns (nāma), verbs (ākhyāta), particle (nipāta), preposition (upasarga), nominal suffix (taddhita), compound words (samāsa), euphonic combination (sandhi) and case-endings (vibhakti). Two kinds of recitation 5. The Recitation (pāṭhya) [in a play] is known to be of two kinds Sanskritic and Prakritic. I shall speak of their difference in due order. Different aspects of Recitation 6-7. [This consists of] vowels, consonants, euphonic combinations, case-endings, nouns, verbs, prepositions, particles and nominal suffixes, The Sanskritic Recitation is characterized by [a due regard to minor rules regarding these as well as] to various verbal roots. Now shall speak briefly about its application. Speech-sounds 8. The fourteen sounds beginning with ‘a’ and ending in ‘au’, are known as vowels, and the group of sounds beginning with ‘ka’ and ending in ‘ha’ are known as consonants. Vowels are fourteen in number[4]. a, ā, i, ī, u, ū, ṛ, ḹ (long) ḷ, ḹ (long) e, ai, o and au are to be known as vowels. The group of letters beginning with ‘ka’, are consonants. ka, kha, ga, gha, ṅa, ca, cha, ja, jha, ña, ṭa, ṭha, ḍa, ḍha, ṇa, ta, tha, da, dha, na, pa, pha, ba, bha, ma, ya, ra, la, va, śa, ṣa sa and ha[5] [constitute] the group of consonants.[6] Consonants: their articulation 9. [7]The first two sounds of each group [of the stop consonants] are known as unvoiced (aghoṣa) and the rest [of the group] are called voiced (ghoṣa). 10. These [consonants] are to be classified (lit. known as) voiced and unvoiced, velar, labial, dental, lingual (jihvya)[8], nasal, sibilant, palatal and Visarjanīya. 11. In these groups [of consonants] ga, gha, ṅa, ja, jha, ñ, ḍa, ḍha, ṇa, da, dha na, ba bha, ma, ya, ra, la, and va are voiced, while ka, kha, ca, cha, ṭa, ṭha, ta, tha, pa, pha, śa, ṣa, sa and ha are unvoiced. 12-14. Ka, kha, ga, gha, and ṅa, are velar (kaṇṭhastha)1 ca, cha, ja, jha, ña, i, ī, ya and śa palatal, ṭa, ṭha, ḍa, ḍha, ṇa, ṛ, ra, and ṣa cacuminal (mūrdhaṇya), ta, tha, da, dha, na, la, and sa dental, pa, pha, ba, bha, and ma labial; i, c-group, y and ś are labial, ṛ, ṭ-group r and ṣ are cacuminal, and ha are from the throat (kaṇṭhastha). o and au are throat-labial (kaṇṭhoṣṭha-sthāna)[9], e and ai, throat-palatal (kaṇṭha-tālavya). 14-15. The Visarjanīya is from the throat, and ka and [kha] are from the root of the tongue. The place of articulation for pa and pha are lips, and the same will be for the closed (avivṛta) vowels u and ū. 15-16. [The group of sounds] beginning with ka and ending in ma are called stops (sparśa), śa, ṣa sa, and ha are open (vivṛta) while semivowels (antaḥstha) are closed (saṃvṛta) ṅa, ña, ṇa, na and ma are nasal [sounds]. 17-18. Śa, ṣa, and sa and ha are sibilants (uṣman, lit. hot); ya, ra, la and va are semivowels (antaḥstha, lit. intermediate), ḥka from the root of the tongue (jihvāmūlīya) and ḥpa from the throat as well as the chest (kaṇṭhorasya) 18-19. The Visarjanīya should be known as a sound from [the root of] the tongue,[10] These are the consonants which have been briefly defined by me. I shall now discuss the vowels with reference to their use in words. Vowels: their quantity 20. Of the above mentioned fourteen[11] vowels ten constitute homogenous pairs (samāna), of which the first ones are short and the second ones long. Four kinds of word 21. Constituted with vowels and consonants [described above] the words include verbs (ākhyāta), nouns (nāma,) roots (dhātu), preposition (upasarga) and particles (nipāta), nominal affixes (taddhita), euphonic combinations (sandhi) and terminations for cases and verbs (vibhakti). 22. The characteristics of vocables have been mentioned in details by the ancient masters. I shall again discuss those characteristics briefly. The noun 23. The noun has its functions determined by the case-endings such as ‘su’ and the like, and by special meanings derived therefrom; and it is of five[12] kinds and has a basic meaning (prātipadikārtha) and gender[13]. 24. It (the noun) is known to be of seven[14] classes, and has six cases, and it is well-known as something to be constituted (sādhya), [and when combined thus with different case-endings] it may imply indication (nirdeśa)[15], giving to (sampradāna), taking away (apādāna) and the like. 25. The verbs relate to actions occurring in the present and the past time and the like; they also are well-known as something to be constituted (sādhya), are distinguished and divided according to number and person. The verb 26. [A collection of] five hundred roots divided into twenty-five[16] classes is to be known as verbs in connexion with the Recitation, and they add to the meaning [of the nouns]. 27. Those that upasṛjanti (modify) by their own special significance the meaning of the verbal roots included in the basic words are for that [very] reason called upasarga[17] (preposition) in the science of grammar (saṃṣkāra-śāstra). The particle 28.[18] As they nipatanti (come together) with declined words (pada) to strengthen their basic meaning, root, metre[19] or etymology[20], they are called nipata (particles). The affixes 29.[21] As it distinguishes ideas (pratyaya) and develops the meaning [of a root] by intensifying it or combining [it with another] or [pointing out] its essential quality (sattva), it is called pratyaya (affix). The nominal affix 30.[22] As it develops suitable meanings [of a word] by an elision [of some of its sounds], a separation [of its root and affix] or their combination and by [pointing out] an abstract notion, it is called taddhita (nominal affix). The case-ending 31. As they vibhajanti (distinguish between) the meaning of an inflected word or words with reference to their roots or gender, they are called vibhakti (case-endings).[23] The euphonic combination 32. Where a separated vowel or a consonant sandhīyate (combines with another)[24] by coming together[25] (yogataḥ) in a word or words, it is called sandhi (euphonic combination). 33. As due to the combination of words and the meeting of two sounds (lit. letters) their sound sequence (karma - saṃbandha) sandhīyate (develops in a combination), it is called sandhi (euphonic combination). Compound words 34. The Samāsa (compound word) which combines many words to express a single meaning, and suppresses affixes, has been described by the experts to be of six kinds, such as Tatpuruṣa and the like. 35. With these rules of grammar (śabda-vidhāna) which include minute details and suggestiveness, one should make a composition by combining words in verse or putting them loosely in prose. Two kinds of word 36. Padas are inflected words, and are of two kinds, viz. those metrically used and those loosely put together in prose, Now listen [first] about the characteristics of words loosely used in prose. Words in prose 37. Padas used loosely in prose are not schematically combined, have not the number or their syllables regulated, and they contain syllables required [only] to express the meaning [in view]. Words in verse 38. Padas metrically used consist of schematically combined syllables which have feet and caesura, and which have their number regulated. Syllabic metres 39. Thus arises a Rhythm-type (chandas) called Vṛtta (syllablic metre) made up of four feet which expresses different ideas and consists of [short and long] syllables. Rhythm-types 40-41. Rhythym-types with feet are twenty-six in number. Vṛttas (syllabic metres) which are compositions including these Rhythm-types, are of three kinds, viz. even (sama), semi-even (ardha-sama) and uneven (viṣama). 41-42. These Rhythm-types which assume the form of different syllabic metres, have their bases in words. There is no word, without rhythm and no rhythm without a word. Combined with each other they are known to illuminate the drama. Twenty-six Rhythm-types 43-49. [The Rhythm-type] with one syllable [in a foot] is called Uktā, with two syllables is Atyuktā, with three syllables Madhyā, with four syllables Pratiṣṭhā, with five syllables Supratiṣṭhā, with six syllables Gāyatrī, with seven syllables Uṣṇik with eight syllables Anuṣṭup, with nine syllables Bṛhatī, with ten syllables Paṅkti, with eleven syllables Triṣṭup, with twelve syllables Jagatī, with thirteen syllables Atijagatī, with fourteen syllables Śakkarī, with fifteen syllables Atiśakkarī, with sixteen syllables Aṣṭi, with seventeen syllables Atyaṣṭi, with eighteen syllables Dhṛti, with nineteen syllables Atidhṛti, with twenty syllables Kṛti, with twenty-one syllables Prakṛti, with twenty-two syllables Ākṛtī, with twenty-three syllables Vikṛti, with twenty-four syllables Saṃkṛti, with twenty-five syllables Atikṛti, and with twenty-six syllables Utkṛti. Possible metrical patterns 49-51. Those containing more syllables than these are known as Mālā-vṛttas. And the Rhythm-types being of many different varieties, metrical pattens according to the experts[26] are innumerable. The extent of these such as Gāyatrī and the like, is being given [below]. But all of them are not in use. 51-76. [Possible] metrical patterns of the Gāyatrī [type] are sixty-four, of the Uṣṇik one hundred and twenty-eight, of the Anuṣṭup two hundred and fifty-six, of the Bṛhatī five hundred and twelve, of the Paṅkti one thousand and twenty-four, of the Triṣṭup two thousand and forty-eight, of the Jagatī four thousand and ninety-two, of the Śakkari, sixteen thousand three hundred and eighty-four, of the Atiśakkarī thirty-two thousand seven hundred and sixty-eight, of the Aṣṭi sixty-five thousand five hundred and thirty-six, of the Atyaṣṭi one lac thirty one thousand and seventy-two, of the Dhṛti two lacs sixty-two thousand one hundred and forty-four, of the Atidhṛti five lacs twenty-four thousand two hundred and eighty-eight, of the Kṛti ten lacs forty-eight thousand five hundred and seventy-six, of the Prakṛti twenty lacs ninety-seven thousand one hundred and fifty-two, of the Ākṛti[27] forty-one lacs ninety-four thousand three hundred and four, of the Vikṛti eighty-three lacs eighty thousand six hundred and eight, of the Saṃkṛti one crore sixty-seven lacs seventy-seven thousand two hundred and sixteen, of the Abhikṛti (Atikṛti) three crores thirty-five lacs fifty-four thousand four hundred and thirty-two, of the Utkṛti six crores seventy-one lacs eight thousand eight hundred and sixty-four. 77-79. Adding together all these numbers of different metrical patterns we find their total as thirteen crores forty-two lacs seventeen thousand seven hundred and twenty-six. Another method of defining metres 79-81. I have told you about the even metres by counting [their number]. You should also know how the triads make up the syllabic metres. Whether these are one, twenty thousand or a crore, this is the rule for the formation of all the syllabic metres or metres in general. 81-82. Triads are eight in number and have their own definitions. Three syllables heavy or light, or heavy and light make up a triad which is considered a part of each metrical pattern. 83-84. [Of these eight triads] bha contains two light syllables preceded by a heavy one (⎼⏑⏑), ma three heavy syllables (⎼⎼⎼), ja two light syllables separated by a heavy syllable(⏑⎼⏑), sa two light syllables followed by a heavy syllable (⏑⏑⎼) ra two heavy syllables separated by a light one (⎼⏑⎼), ta two heavy syllables followed by a light one(⎼⎼⏑) ya two heavy syllables preceded by a light one and (⏑⎼⎼), na three light syllables (⏑⏑⏑). 85-86. These are the eight triads having their origin in Brahmā. For the sake of brevity or for the sake of metre they are used in works on prosody, with or without [inherent] vowels (i.e. a). 86-87. A single heavy syllables should be known as ga and such a light syllable as la. Separation of two words [in speaking a verse] required by rules [of metre] is called caesura (yati). 87-88. A heavy syllable is that which ends in a long or prolated (pluta) vowel, Anusvāra, and Visarga or comes after a conjunct consonant or sometimes occurs at the end [of a hemistich]. 88-89. Rules regarding the metre, relate to a regular couplet (sampat), pause, foot, deities, location, syllables, colour, pitch and hyper-metric pattern. A regular couplet 89-90. A couplet in which the number of syllables is neither in excess nor wanting is called a regular one (sampat). The pause 90-91. The pause (virāma) occurs when the meaning has been finally expressed. The foot The foot (pada) arises from the root pad, and it means one quarter [of a couplet]. Presiding deities of metres 91-92. Agni and the like presiding over different metres are their deities. Location Location is of two kinks, viz, that relating to the body and that to a [particular] region. Quantity of syllables 93. Syllables are of the three kinds, viz. short, long and prolated (pluta). Colours of metres Metres have colours like white and the like. Pitch of vowels 94-95. The pitch of vowels is of three kinds, viz. high, low and medium. I shall speak about their character in connexion with the rules of Dhruvās. Rules [about their use] relate to the occasion and the meaning [of thing sung or recited]. Three kinds of syllabic metre 95-97. Syllablic metres are of three kinds, viz, even (sama), semi-even (ardha-sama) and uneven (viṣama). If the number of syllables in a foot of any metre is difficient or in excess by one, it is repectively called Nivṛt or Bhurik. If the deficiency or excess is of two syllables, then such a metre is respectively called either Svarāṭ or Virāṭ. 98. All the syllabic metres fall into three classes such as divine, human and semi-divine. 99. Gāyatrī, Uṣṇik, Anuṣṭup, Bṛhatī, Triṣṭup and Jagatī belong to the first or the divine (divya) class. 100. Atijagatī, Śakkarī, Atiśakkarī, Aṣṭi, Atyaṣṭi, Dhṛti and Atidhṛti belong to the next (i.e. human) class. 101. Kṛti, Prakṛti, Vyākṛti (Ākṛti), Vikṛti, Saṃkṛti, Abhikṛti (Atikṛti) and Utkṛti belong to the semi-divine class. 102. O the best of Brahmins, now listen about the metrical patterns which are to be used in plays and which are included in the Rhythm-types described by me[28]. Here ends Chapter XV of Bharata’s Nāṭyaśāstra, which treats of the Verbal Representation and the Rules of Prosody. Footnotes and references: [back to top] [1]: For the four kinds of Histrionic Representation which includes the Verbal one see VI. 23. [2]: This rule applies to the actors as well as to the play-wright. See Ag. on this. [3]: This view is also held by Bhatṛhari (circa 600 A.C.) in his Vākyapadīya (Āgamakāṇḍa). See B, p. 224, footnote. [4]: Different Śikṣās and Prātiśākhyas enumerate vowels differently. According to the PŚ. they are 22 in number, while the Atharva, Taittirīya, and Vājasaneyī Prātiśākhyas and the Ṛktantra Vyākaraṇa (Sāmaveda Pr.) give their number respectively as 13, 13, 16, 23 and 23. See PŚ. (ed. Manomohan Ghosh) p. 51. [5]: PŚ. count anusvāra, visarga, jihvāmūlīya and upadhmānīya among consonants. See ed. Ghosh, p. 50. [6]: B, reads after this a couplet (B. 10) from PŚ, See ibid, p. 59. Not occurring in most of the mss. this may be taken as spurious. This is followed in B. by a prose passage which also seems to be such. The same is our view about the couplet B. 11 which follows this prose passage. The substance of this couplet (B. 11) occurs in 9 below. [7]: In C. this couplet occurs after 8 and before the prose passage that follows it. [8]: The jihvya does not seem to occur in any well-known grammatical work. This is perhaps synonymous with mūrdhaṇya; for in the production of mūrdhaṇya sounds jihvā (tongue) plays the most important part. The Taittirīya Pr. describes the manner of their production as follows: Jihvāgreṇa prativeṣṭya mūrdhaṇi ṭa-vargasya (II. 37). Curiously enough the term jihvya has never again been used in the NŚ. [9]: For different traditional views about the places of articulation of consonants see PŚ. p. 62. [10]: See note 1 to 12-14 above. [11]: About the number of vowels see 8 note 1 above. [12]: Five kinds of noun have been enumerated by Govīcandra, in the Saṃkṣiptasāra-vivaraṇa (Ref. Haidar, Itihāsa, p. 174). [13]: There is a difference of opinion about the number of basic meanings (prātipdikārtha) of a word. According to Pāṇini they are two: charcteristics of a species (jāti) and object (dravya). Kātyāyana adds one more to the number which is gender (liṅga). But Vyāghrapāt—a rather less known ancient authority—took their number to be four. According to him they are: characteristics of a species, object, gender and number (saṃkhyā). Patañjali however considered them to be five in number, e.g. characteristics of a species, object, gender, number and case (kāraka). (Haidar, Itihāsa p. 447-48. [14]: The seven classes probably relate to the seven groups of case-ending. [15]: Nirdeśa seems to relate ‘nominatives’; for it is one of the meanings of the case-endings. For an enumeration of these see Haidar, Itihāsa, p. 170. [16]: There are different numbers of roots in lists (Dhātupāṭha) attached to different grammatical works. It is not known which gives their number as five hundred. Dhanapāla (970 A.C). in his commentary to Jaina Śākaṭāyana’s Dhātupāṭha gives some information on the subject. See Haidar, Itihāsa, pp. 44), Verbal roots arc divided according to Pāṇini into ten classes (gaṇa). Their division into twenty-five classes does not seem to occur in any well-known work. [17]: This definition of the upasarga follows Śākaṭāyana’s view on the subject as expressed in the Nirukta (I.1.3-4). According to this authority upasargas have no independant meaning, and they are merely auxiliary words modifying of the verbal roots. (Haidar, Itihāsa, p. 346). [18]: According to Pāṇini indeclinables (avyaya) of the ca -group are particles (nipāta). See I, 5.57. According to Patāñjalī nipātas do the function of case-endings and intonation (svara—pitch accent), (on P.III.4.2) The author of the Kāśikā too accepts this view in this comments on P. I, 4.57. [19]: Ca, vai, tu, and hi are instances of such nipātas. [20]: It is not clear how nipātas, strengthen the etymology given here. Probably the reading here is corrupt. [21]: Such an elaborate definition of the pratyaya does not not appear to occur in any exant grammatical work. Ag. seems to trace it to the Aindra school of grammarians. The meaning of the definition is not quite clear. According to the common interpretation the pratyaya means that which helps to develop a meaning from root. [22]: This definition of the taddhita does not seem to occur in any well-known grammatical work. It describes the processes through which the taddhita suffix transforms a word. [23]: This definition follows the etymological sense of the term (vibhakti). Durgasiṃha of the Kalāpa school says that the case-endings are so called because of their giving distinctive meaning to a word. See Haidar, Itihāsa, p. 169. [24]: The sandhi is strictly speaking, not merely a combination of two sounds (vowels or consonants); in a great number of cases their mutual phonetic influence constitutes a sandhi, This is of five kinds, and relate to savara-s, vyañjana-s, prakṛti-s, anusvāra-s, and visarga-s. [25]: This ‘coming together’ depends on the shortness of duration which separates the utterance of the two sounds. According to the ancient authorities sandhi will take place when this duration will not be more than half a mātrā, It is for this reason that the two hemistichs in a couplet are never combined. (Hāldar, Itihāsa p. 166). [26]: They are mathematicians like Bhāṣkarācārya. See Līlāvātī, section 84, (ed. Jīvānanda, p. 50). Couplets following this are mostly spurious. See Introduction to the text. [27]: Ślokas giving the numbers of metres of the ākṛti, vikṛti, saṃkṛti, abhikṛti (atikṛti) and utkṛti classes seems to be corrupt in C. [28]: Some versions of the NŚ. read this couplet as the beginning of the next chapter. 25 April, 2017 --> Last Updated: 16 February, 2018 $(function(){ if($(document).height() > $(window).height()){ $('.book.chapter').append('^ back to top ^') $('section.back > a').click(function(){ $(window).scrollTop(0); }); } }); /** * Derivation list */ /*$('a.deriv-link').click(function(){ $(this).closest('.words-group').find('.deriv-list').toggleClass('d-none'); });*/ ====================================================================== Chapter XVI - Metrical Patterns ====================================================================== --> Natyashastra (English) by Bharata-muni | 1951 | 240,273 words | ISBN-13: 9789385005831 Hinduism Natyashastra Buy now! The English translation of the Natyashastra, a Sanskrit work on drama, performing arts, theater, dance, music and various other topics. The word natyashastra also refers to a global category of literature encompassing this ancient Indian tradition of dramatic performance. The authorship of this work dates back to as far as at least the 1st millenn... Go directly to: Footnotes. Chapter XVI - Metrical Patterns (chandas) < Previous (index) Next > Tanu-madhyā 1. Tanu-madhyā is a variety [of metres] of the Gāyatrī class. [In each of its feet] the first two and the last two syllables are heavy[1]. Example: 2. santyakta-vibhūṣā bhraṣṭāñjana-netrā | hastārpitagaṇḍā kiṃ tvaṃ tanu-madhyā || Tr. O fair lady (lit. slim-waisted one), why[2] have you cast off your ornaments; why are your eyes without collyrium and why are you resting the cheek on the palm of your hand? Makaraka-śīrṣā 3. [Of the same class is] Makaraka-śīrṣā which has [in each of its feet] the first four syllables light and the last two heavy.[3] Example: 4. svayam upayāntaṃ bhajasi na kāntam | bhayakari kiṃ tvaṃ makaraka-śīrṣā || Tr. You are not greeting the beloved one who has come for you of his own accord. O terrible one, why[4] are you so dull-headed.[5] Mālinī 5. [The metre with] the feet of six syllables of which the second one is light [and the rest heavy] is called Mālinī[6]. Example: 6. snāna-gandha-sragbhir vastra-bhūṣāyogaiḥ | vyaktam evaiṣāṃ tvaṃ mālinī prakhyātā || Tr. By your perfumed bath, [wearing of] garlands, [good] dress and ornaments, you are recognised among these as the well-known wife of a garland-maker. Mālatī 7. [The metre with] the feet of six syllables of which the second and the fifth are light and the rest heavy, is called Mālatī. Example: 8. śobhate baddhayā ṣaṭpadāviddhayā | mālatī-mālayā māninī līlayā || Tr. The self-possessed woman wearing the Mālatī garland in which the bees are clinging, looks charming. Uddhatā 9. [The metre with] the feet of seven syllables of which the second, the fourth and the fifth are light [and the rest heavy] is called Uddhatā. Example: 10. danta-kunta-kṛtāṅkaṃ vyākulālaka-śobham | śaṃsatīva tavāsyaṃ nirdayaṃ rata-yuddham || Tr. Your face which bears the marks of spear-like teeth [of the beloved] and is strewn over with your dishevelled hair, indicates indeed an un-relenting fight of love. Bhramara-mālikā 11. [The metre with] the feet of seven syllables of which the first two and the last two are heavy [and the rest light] is called Bhramara-mālikā. Example: 12. nānā-kusuma-citre prāpte surabhi-māse | eṣā bhramati mattā kānte bhramara-mālā || Tr. O beloved one, this being the month of Caitra which is variegated with different flowers, cluster of bees are flying about intoxicated [with their smell]. Siṃha-līla 13. [The metre with] the feet of eight syllables of which the first, the third, the fifth, the seventh, the last and [the eigth] are heavy [and the rest light] is called Siṃha-līla.[7] Ex. 14. yat tvayā hy-aneka-bhāvaiś ceṣṭitaṃ rahaḥ sugātri | tan-mano mama praviṣtaṃ vṛttam atra siṃha-līlam || Tr. That you have planned the love’s embrace in various ways, O fair one, has entered into my mind as a lion’s sport.[8] Matta-ceṣṭita 13. [The metre with] the feet of eight syllables of which the second, the fourth, the sixth and the eighth are heavy [and the rest light] is called Matta-ceṣṭita.[9] Example: 16. sadā vighūrṇitekṣaṇaṃ vilambitākulālakam | asaṃsthitaiḥ padaiḥ priyā karoti matta-ceṣṭiram || Tr. The beloved one with her eyes always rolling, hairs hanging down dishevelled, and footsteps unsteady, is behaving like a person who is intoxicated. Vīdyul-lekhā 17. [The metre with] the feet of eight syllables of which all are heavy, is called Vidyul-lekhā.[10] Example: sāmbho-bhārair ānardadbhiḥ śyāmāmbhodair vyāpte vyomnī | ādityāṃśu-spardhiny-cṣā dikṣu bhrāntā vidyul-lekhā || Tr. The sky being overcast with dark clouds which are roaring and are laden with masses of water, a flash of lightning which rivals the sun-beam, is running [there] in all directions. Citta-vilāsita 19. [The metre with] the feet of eight syllables of which the fifth, the seventh and the last are heavy [and the rest light] is called Citta-vilāsita.[11] Example: 20. smita-vaśa-viprakāśair daśana-padair amībhiḥ | varatanu pūrṇa-candraṃ tava mukham āvṛṇoti || Tr. O fair lady (lit. fair-limbed one),[12] your face with the teeth revealed on account of the smile, outshines (lit. covers) the full moon. Madhukarī 21. [The metre which has] the feet of nine syllables of which the last three are heavy [and the rest light] is called Madhukarī.[13] Example: 22. kusumitam abhipaśyantī vividha-tarugaṇaiś-channam | vanam anila-gandhāḍhyaṃ bhramati madhukarī hṛṣṭā || Tr. Seeing the woodland covered with various trees full of flowers, and redolent with a fragrant breeze, the female bee is flying about in [sheer] delight. Kuvalaya-mālā 23. [The metre which has] the feet of ten syllables of which the first and the last three are heavy [and the rest light] is called Kuvalaya-mālā.[14] Example: 24. asmiṃs te bhramara-nibhe kānte nānā-ratna-racita-bhūṣāḍhye | śobham āvahati śubhā mūrdhni protphullā kuvalaya[15]-māleyam || Tr. O dear one, this shining garland of full-blown Kuvalaya flowers fastened on the lovely bee-like hairs of your head, richly decorated with various jewels, brings forth a special glamour. Mayūra-sāriṇī 25. [The metre which has] the feet of ten syllables of which the second, the fourth, the sixth and the eighth are light [and the rest heavy] is called Mayūra-sāriṇī.[16] Example: 26. naiva te’sti saṃgamo mānuṣair nāsti kāmabhoga-cihṇam anyat | garbhiṇīva dṛśyase hy-anārye kiṃ mayūra-sāriṇī tvam evam || Tr. O ignoble one, you have no union with men, neither have you any sign of love’s enjoyment. Still you look like one who is enceinte. You indeed behave like a pea-hen.[17] Dodhaka 27. [The metre with] the feet of eleven syllables of which the first, the fourth, the seventh the tenth and the last are heavy [and the rest light] is called Dodhaka. Example: 28. praskhalatāgrapada-pravicāraṃ matta-vighūrṇita-gātra-vilāsam | paśya vilāsini kuñjaram etaṃ dodhaka-vṛttam ayaṃ prakaroti || Tr. O merry lady, look at this elephant which with its faltering steps of the front legs, and with the body playfully moved about [as if in] intoxication, is imitating the manner of a dodhaka.[18] Moṭaka 29. [The metre with] the feet of eleven syllables of which the first two, fifth, the eighth, and the last are heavy [and the rest light] is called Moṭaka[19]. Example: 30. eṣo’mbuda-nisvana-tulya-ravaḥ kṣībaḥ skhalamāna-vilamba-gatiḥ | śrutvā ghana-garjitam adri-taṭe vṛkṣān prati moṭayati dviradaḥ || Tr. This elephant hearing the clouds roaring in the mountain valley, is trumpeting in excitement as loudly as the [rain]- clouds, and is rushing with faltering steps to the trees. Indra-vajrā 31. [The metre with] the feet of eleven syllables of which the third, the sixth, the seventh and the ninth are light, [and the rest heavy] is called Indra-vajrā. Example: 32. tvaṃ durṇirīkṣyā durita-svabhāvā duḥkhaika-sādhyā kaṭhinaika-bhāvā | sarvāsv-avasthāsu ca kāma-tantre yogyāsi kiṃ vā bahunendravajrā || Tr. You are hard to be looked at, have a troublesome nature, are difficult to be won over, and you have an unmixed (lit, one) hard feeling, and in the practice of love, you are unfit (ayogyā) at every stage; and in short you are [like] the thunder-bolt of Indra. Upendra-vajrā 33. [The metre with] the feet of eleven syllables of which the first, the third, the sixth, the seventh, the ninth are light [and the rest heavy] is called Upendra-vajrā. Example: 34. priye śriyā varṇa-viśeṣaṇena smitena kāntyā sukumāra-bhāvāt | amī guṇā rūpa-guṇānurūpā bhavanti te kiṃ tvam upendra-vajrā || Tr. O beloved one, due to your beauty, the special colours [of your dress], smile, grace and delicate bearing, these qualities of yours have matched the qualities of the [beautiful] form. Are you the thunder-bolt of Upendra (Viṣṇu)?[20] Rathoddhatā 33. [The metre with] the feet of eleven syllables of which the first, the third, the seventh, the ninth and the last are heavy [and the rest light] is called Rathoddhatā. Example: 36. kiṃ tvayā subhaṭa [dhūrya] varjitaṃ nātmano na suhṛdāṃ priyaṃ kṛtam | yat palāyana-parāyaṇasya te yāti dhūlir adhunā rathoddhatā || Tr. O good soldier, having left the van you have done neither any good to yourself nor to your friends, for while running away [from the battle field] the dust [on your road] rises now [as if] scattered by chariots.[21] Svagata 37. [The metre with] the feet of eleven syllables of which the first, the third, the seventh and the tenth and the last are heavy [and the rest light] is called Svāgatā. Example: 38. adya me saphalam āyata-netre jīvitam madana-saṃśraya-bhāvam | āgatāsi bhavanaṃ mama yasmāt svāgataṃ tava varoru niṣīda || Tr. O the large-eyed one, today my life and love have attained their object; because you have come to my house. O fair lady, you are welcome, please be seated. Śālinī 39. [The metre with] the feet of eleven syllables of which the sixth and ninth are light [and the rest heavy] is called Śālinī. Example: 40. śīlabhraṣṭe nirguṇe yā’prakopā loke dhairyād apriyaṃ na bravīṣi | āryaṃ śīlaṃ sādhvaho te’nuvṛttaṃ mādhuryāḍhyā sarvadā śālinī tvam || Tr. You have no anger for one who lacks good conduct and is worthless, and on account of your patience with the people you do not utter harsh words to any one. O good lady, you have adopted a noble conduct; you are a housewife full of sweetness in every respect. Toṭaka 41. [The metre with] the feet of twelve syllables of which the third, the sixth, the ninth and the last are heavy [and the rest light] is called Toṭaka. Example: 42. kim idaṃ kapaṭāśraya-durviṣahaṃ bahu-śāṭhyam atholbaṇa-rūkṣa-katham | svajana-priya-sajjana-bheda-karaṃ nanu toṭaka-vṛttam idaṃ kuruṣe || Tr. Why is this crooked and Insufferable conduct full of villainy, and unambiguous (lit. direct) and harsh words hurting the relations, dear ones and [other] good people? You are indeed behaving like a hammer. Kumuda-nibhā 43. [The metre with] the feet of twelve syllables of which the first four, the eighth and the tenth are light [and the rest heavy] is called Kumuda-nibhā[22]. Example: 44. kumuda-nibhā tvaṃ kāma-bāṇa-viddhā kim asi natabhrūḥ śīta-vāta-dagdhā | mṛdu-nalinīvāpāṇḍu-vaktra-śobhā katham api jātā agrataḥ sakhīnām || Tr, O fair-eyed damsel, being like a Kumuda flower, why have you been struck with cupid’s arrow and why do you appear before your friends with a pale face like a delicate Nalinī blasted by cold wind? Candra-lekhā 45. [The metre which has] feet of twelve syllables of which the first five, the seventh and the tenth as are light [and the rest heavy], and the caesura falls after the first five syllables, is called Candra-lekhā. Example: 46. vaktraṃ saumyaṃ te padma-patrāyatākṣaṃ kāmasyāvāsaṃ subhruvoś cāvabhāsam | kāmasyāpīdaṃ kāmam āhartu-kāmaṃ kāntyā tvaṃ kānte candra-lekheva bhāsi || Tr. O beloved one, your sweet face with eyes as large as lotus-petals and the splendour of your beautiful eyebrows, are the abode of love, and they are prone to bring love even to the god of love; you shine as it were like the moon. Pramitākṣarā 47. [The metre with] feet of twelve syllables of which the third, the fifth, the ninth and the last are heavy [and the rest light] is called Pramitākṣarā. Example: 48. smita-bhāṣīṇī hy-acapalāparuṣā nibhṛtāpavāda-vimukhī satatam | yadi kasya cid yuvatir asti sukhā pramitākṣarā sa hi pumān jayati || Tr. If any one has a pleasing young wife with restrained speech, who is always smiling and averse to speaking ill of him [even] secretly, and is never fickle or harsh, that person verily thrives. Vaṃśasthā 49. [The metre with] the feet of twelve syllables of which the second, the fourth, the fifth, the eighth, the tenth and the last are heavy [and the rest light], is called Vaṃśasthā. Example: 50. na me priyā yad bahumāna-varjitā kṛtāpriyā [taiḥ] paruṣābhibhāṣaṇaih | tathā ca paśyāmy-aham adya sā dhruvaṃ kṣaṇena vaṃśastha-gatiṃ kariṣyati || Tr. She is not dear to me, for she is wanting in esteem [for me] and her harsh words [also] have made her displeasing [to me]. So I see today that she will surely make at once the movement of a sabre. Hariṇa-plutā 51. [The metre with] feet of twelve syllables of which the fourth, the seventh, the tenth and the last are heavy [and the rest light] is called Hariṇa-plutā[23]. Example: 52. paruṣa-vākya-kaśābhihatā tvayā bhaya-vilokana-pārśva-nirīkṣaṇā | varatanuḥ pratata-pluta-sarpaṇair anukaroti gatair hariṇa-plutam || Tr. Smitten by the whip of your harsh words, the fair lady (lit. fair-limbed one)[24], looking with terrified eyes to her sides and running away continuously with quick steps, is imitating by her movements a deer’s gallop. Kāmadattā 53. [A metre with] the feet of twelve syllables of which the seventh, the ninth, the eleventh and the last are heavy [and the rest light] is called Kāmadattā[25]. Example: 54. karaja-pada-vibhūṣita yathā tvaṃ sudati daśana-vikṣatādharā ca | gatir api caraṇāvalagna-mandā tvam asi mṛga-samākṣi kāmadattā || Tr. O fair lady[26], you have been adorned with the marks of nails, your lips have been bitten by teeth, and your gait also is faltering and slow. It seems, O deer-eyed one, that you have given [yourself up] to [the enjoyment of] love. Aprameyā 55. [The metre with] the feet of twelve syllables of which the first, the fourth, the seventh and tenth are light [and the rest heavy], is called Aprameyā[27]. Example: 56. na te kā-cid anyā samā dṛśyate strī guṇair yā dvitīyā tṛtīyāpi cāsmin | mameyaṃ matir sarvaṃ lokam ālokya jagaty-aprameyāsi sṛṣṭā vidhātrā || Tr. Nowhere to be seen another woman who is your equal, and there is in this [world] none who is [even] second or third to you in order of merit. The creator has made you matchless. Padminī 57. [The metre with] the feet of twelve syllables of which the second, the fifth, the eighth and the eleventh are light [and the rest heavy], is called Padminī[28]. Example: 58. deha-toyāśayā vaktra-padmojjvalā netra-bhṛṅgākulā danta-haṃsaiḥ smitā | keśa-patrac-chadā cakravāka-stanī padminīva priye bhāsī me sarvadā || Tr. O dear lady, you always appear to me like a lotus-lake, for your body is a pool of water which shines by the lotus-face, and your eyes are the restless bees [there], and you smile with the swan-like teeth, and your hairs are [the lotus] leaves, and the breasts are like the Cakravākas [swimming there].[29] Paṭuvṛtta 59. [The metre with] the feet twelve syllables of which the first six and the tenth are light [and the rest heavy], is called Paṭuvṛtta.[30] Example: 60. upavaṇa-salilānāṃ bāla-padmair bhramara-parabhṛtānām kaṇṭha-nādaih | samada-gati-vilāsaiḥ kāminīnāṃ kathayati paṭu-vṛttaṃ madhu-māsaḥ || Tr. The month of Caitra (lit. honey-month) with lotus-buds in the garden-lakes, songs of bees and cuckoos and the playful movements of intoxicated women, is announcing its smart manners.[31] Prabhāvatī 61. [The metre with] feet of twelve syllables of which the second, the fourth and the ninth the eleventh and the last are heavy [and the rest light] is Prabhāvatī. Example: 62. kathaṃ nv-idaṃ kamala-viśāla-locane gṛhaṃ ghanaiḥ pihita-kare niśākare | acintayanty-abhinava-varṣa-vidyutas tvam āgatā sutanu yathā prabhāvatī || Tr. O fair one, with eyes as large as a lotus, how have you come like a goddess (lit. radiant being) to this house [of mine] when rays of the moon have been covered by clouds, and you have not cared for the impending (lit. new) rains and the lightning? Praharṣaṇī 63. [The metre with the] feet of thirteen syllables of which the first three, the eighth, the tenth and the twelfth and the last are heavy [and the rest light] is called Praharṣaṇī. Example: 64. bhāvasthair madhura-kathaiḥ subhāṣitais tvaṃ sāṭopa-skhalita-vilambita-gataiś-ca | nānāṅgair harasi manāṃsi kāmukānāṃ suvyaktam hy-atijagatī praharṣaṇī ca || Tr. [O fair one], by your loving and sweet words, witty sayings, majestic, faltering and slow steps, and by the various graceful movements of other limbs you captivate the mind of lovers. It is very clear that you are enrapturing beyond [anything else in] this world. Matta-mayūra 65. [The metre with] the feet of thirteen syllables of which the sixth, the seventh, the tenth and the eleventh are light [and the rest heavy], is called Matta-mayūra. Example: 66. vidyun-naddhāḥ sendra-dhanur-dyotita-dehā vātoddhūtāḥ śveta-balākā-kṛta-śobhāḥ | ete meghā garjita-nādojjvala-cihnāḥ prāvṛt-kālaṃ matta-mayūraṃ kathayanti || Tr. These clouds [characterised] by a thundering noise and brilliant signs containing lightning and rainbow, moved about by the wind, and adorned with white cranes speak of the [arrival of the] rainy season which maddens peacocks. Vasanta-tilakā 67. [ The metre with] the feet of fourteen syllables of which the first two, the fourth, the eighth and the eleventh and the thirteenth and the last are heavy [and the rest light] is called Vasanta-tilakā. Example: 68. citrair vasanta-kusumaiḥ kṛta-keśa-hastā srag-dāma-mālya-racanā-suvibhūṣitāṅgī | nāgāvataṃsaka-vibhūṣita-karṇa-pāśā sāksād vasanta-tilakeva vibhāti nārī || Tr. This well-dressed woman who has adorned her braid of hairs with many-coloured vernal flowers, and the rest of her body with various types of flower garlands[32] and lobes of her ears with snake-like ear-ornaments, looks indeed like the decoration (tilaka) on the forehead [of the goddess] of spring. Asambādhā 69. [The metre with the] feet of fourteen syllables, of which first five and the last three are heavy, [and the rest light] is called Asaṃbādhā. Example: 70. mānī lokajñaḥ sruta-bala-kula-śīlāḍhyo yasmin sammānam na sadṛśam anupaśyed-dhi | gachet-taṃ tyaktvā druta-gatir-aparaṃ deśaṃ kīrna-nānārthaīr avanir-iyam asaṃbādhā || Tr. A proud person who knows the world and is learned, strong, of high birth and character, must leave [a country] in which he does not receive adequate honour, and should quickly go to a different land; for this world is scattered over with wealth of many kinds and offers no obstruction [to such a person]. Śarabhā 71. [The metre with the] feet of fourteen syllables of which the first four the tenth, the eleventh, the thirteenth and the last are heavy [and the rest light] is called Śarabhā. Example: 72. eṣā kāntā vrajati lalitaṃ vepamānā gulmacchannaṃ vanam-uru-nagaiḥ sampraviddham | hā hā kaṣṭaṃ kim idam-iti no vedmi mūḍho vyaktaṃ krodhāc-charabha-lalitaṃ kartu-kāmā || Tr. This beloved lady goes trembling in a graceful manner to the forest covered with shrubs and interspersed with high hillocks. Ah, what a pity, the fool that I am, I could not understand that due to anger she is openly playing the graceful role of a young elephant. Nāndīmukhī 73. [The metre with] the feet of fifteen syllables of which the first six, the tenth, and the thirteenth are light [and the rest heavy], is called Nāndīmukhī.[33] Example: 74. na khalu tava kadā-cit krodha-tāmrāyatākṣaṃ bhrukuṭi-valita-bhaṅgaṃ dṛṣta-pūrvaṃ mayāsyaṃ | kim-iha bahubhir-uktair yā mamaiṣā hṛdisthā tvam-asi madhura-vākyā devi nāndīmukhīva || Tr. Never before have I seen your face with eyes red in anger and with eyebrows curved by a frown; O lady, what more shall I say? Are you the [same] sweet-tongued one who resides in my heart and has a jolly face? Gaja-vilasita 75. [The metre with] the feet of sixteen syllables of which the first, the fourth, the sixth and the last are heavy [and the rest light] is called Gaja-vilasita.[34] Example: 76. toyadharaḥ sudhīra-ghana-paṭu-paṭaha-ravaḥ sarja-kadamba-nīpa-kuṭaja-kusuma-sutabhim | kandala-sendragopaka-racitam avanitalaṃ vīkṣya karoty-asau vṛṣabha-gaja-vilasitakam || Tr. On seeing the surface of the earth adorned with the Kandala and the Indragopa, and perfumed with the flowers of Sal, Kadamba[35], Nipa,[36] and Kuṭaja, this cloud with its loud and clear drum-like peals of thunder (lit. sounds of the clouds) imitates the sportful movement of a bull and an elephant. Pravara-lalita 77. [The metre with the] feet of sixteen syllables of which of the second, third, the fourth, the fifth, the sixth, the twelfth the thirteenth, the fifteeth and the last are heavy [and the rest light] is called Pravara-lalita. Example: 78. nakhāliḍhaṃ gātraṃ daśana-khacitaṃ coṣṭha-gaṇḍaṃ śiraḥ puṣpon-miśraṃ pravilulita-keśālakāntam | gatiḥ khinnā ceyaṃ vadanam api sambhrānta-netram aho ślāghyaṃ vṛttaṃ pravara-lalitaṃ kāma ceṣṭam || Tr. Her body has been scratched by nails, and lips and cheeks are bitten by teeth, the head is set with flowers, hairs have their ends scattered, and her gait is languid, and the eyes are restless. Ah, a very graceful exploit of love, has taken place in a praisworthy manner. Śikhariṇī 79. [The metre with] the feet of seventeen syllables of which the second, the third, the fourth, the fifth, and sixth, the twelfth, the thirteenth and the last are heavy [and the rest light], is called Śikhariṇī. Example: 80. mahānadyābhoge pulinam iva te bhāti jaghanaṃ tathāsyaṃ netrābhyāṃ bhramara-sahitaṃ paṇkajam-iva | tanu-sparśaś-cāyam sutanu sukumāro na paruṣaḥ stanābhyāṃ tuṅgābhyāṃ śikhariṇi-nibhā bhāsidayite || Tr. Your hip is like the sand-bank on the margin of a river, your face together with the eyes, is like a lotus with the bees, the touch of your body O fair one, is soft and not rough; with your two elevated breasts you look like a lake between two hills, O dear one. Vṛṣabha-ceṣṭita 81. [The metre with the] feet of seventeen syllables of which the first five, the eleventh, the thirteenth, the fourteenth, and the sixteenth are light [and the rest heavy] is called Vṛṣabha-ceṣṭita[37]. Example: 82. jalada-ninadaṃ śrutvā garjan madoccaya-darpitaḥ vilikhati mahīṃ śṛṅgākṣepair mṛgaḥ pratinardya ca | sva-yuvati-vṛto goṣṭhād goṣṭhaṃ prayāti ca nirbhayo vrṣabha-lalitaṃ citraṃ vṛttaṃ karoti ca śāḍvale || Tr. On hearing the thundering noise of the clouds the beast maddened with an excess of rut, is striking the earth with its horns and is bellowing in reply. And then, surrounded by young females of its class goes fearlessly from one cow-pen to another and has the ox’s sportive exploits of many kinds on the green [pasture]. Śrīdharā 83. [The metre with] the feet of seventeen syllables of which the first four, the tenth, the eleventh, the thirteenth, the fourteenth and the last are heavy [and the rest light], is called Śrīdharā[38]. Example,: 84. snānaiś cūrṇaiḥ sukha-surabhibhir gaṇḍa-lepaiś ca dhūpaiḥ puṣpaiś cānyaiḥ śirasi-racitair vastra-yogaiś-ca tais-taiḥ | nānā-ratnaiḥ kanaka-racitair aṅga-sambhoga-saṃsthair vyaktaṃ kānte kamala-nilayā śrīdharevāti bhāsi || Tr. O beloved one, by your bathing, powders, pleasently fragrant paste smeared on your cheek, the [hair-perfuming] incense, flowers set on the hair (lit. head), various clothes and many jewels combined with gold worn on the limbs, you shine indeed very much like the lotus-dwelling [one] who is the goddess of beauty. Vaṃśa-patra-patita 85. [The metre with] the feet of seventeen syllables of which the first, the fourth, the tenth and the last are heavy [and the rest light], is called the Vaṃśa-patra-patita. Example: 86. eṣa gajo’dri-mastaka-taṭe kalabha-parivṛtaḥ krīḍati vṛkṣa-gulma-gahane-kusuma-bhara-nate | megha-ravaṃ niśamya muditaḥ pavana-java-samaḥ sundari vaṃśa-patra-patitaṃ punar-api kurute || Tr. O fair lady, this elephant which surrounded by young ones is playing near the peak of the hill in the thick forest of trees and shrubs laden with flowers, is delighted to hear the roaring of clouds, and is moreover causing, like the wind, the bamboo leaves to fall [on the ground], Vilambita-gati 87. [The metre with the] feet of seventeen syllables of which the second, the sixth, the eighth, the twelfth, the fourteenth, the fifteenth and the last are heavy [and the rest light], is called Vilambitagati[39]. Example: 88. vighūrṇita-vilocanā pṛthu-vikīrṇa-hārā punaḥ pralamba-raśanā calat-skhalita-pada-manda-kramā | na me priyam idaṃ janasya bahumāna-rāgeṇa yan madena vivaśā vilambita-gatiḥ kṛtā tvaṃ priye || Tr. O belove one, your eyes are rolling, the large necklace is displaced, the girdle is hanging loose, and your slow steps are faltering; I indeed like[40] this your slow gait that you assume out of overwhelming pride due to this man’s love and respect [for you]. Citra-lekhā 89. [The metre with the] feet of eighteen syllables of which the first five, the eleventh, the twelfth, the fourteenth, the fifteenth, the seventeenth and the last are heavy [and the rest light] is called Citra-lekhā[41]. Example: 90. nānā-ratnāḍhyair-bahubhir-adhikaṃ bhūṣaṇair-aṅga-saṃsthaiḥ nānā-gandhāḍhyair madana-jananair aṅga-rāgaiś-ca hṛdyaiḥ | keśaiḥ snānārdraiḥ kusuma-racitair vastra-rāgair vicitraiḥ kānte saṃkṣepāt kim iha bahunā citra-lekheva bhāsi || Tr. O beloved one, you shine very much with the many bejewelled ornaments worn on your limbs, various pleasant cosmetics rich in passion-inspiring scents, hairs wet after bath and decorated with flowers, and varied colours of your clothes. What shall I say more? To be brief, you appear like Citralekhā, (the heavenly nymph). Śārdūla-vikrīḍita 91-92. [The metre with] the feet of nineteen syllables of which the first three, the sixth, the eighth, the twelfth, the thirteenth, the fourteenth, the sixteenth, the seventeenth and the last are heavy [and the rest light], is called Śārdūla-vikrīḍita. Example: 93. nānā-śastra-śataghni-tomara-hatāḥ prabhtaṣṭa-sarvāyudhāḥ nirbhinnodara-bāhu-vaktra-nayanā nirbhartsitāḥ śatravaḥ | dhairyotsāha-parākrama-prabhṛtibhis-tais-tair-vicitrair-guṇaiḥ vṛttaṃ te ripu-ghāti bhāti samare śārdūla-vikrīḍitam || Tr. The enemies have been repelled [after some of them have been] killed with various weapons, Śataghni and Tomara, and [some have] their bellies, arms, face and eyes pierced and [some have] lost all their weapons. Your enemy-killing exploits in the battle, comparable to the tiger’s sports and characterised by virtues such as, patience, energy and valour, are splendid.[42] Suvadanā 94-95. [The metre with the] feet of twenty syllables of which the first four, the sixth, the seventh, the fourteenth, the fifteenth, the sixteenth and the last are heavy [and the rest light], is called Suvadanā. Example: 96. netre līlālasānte kamala-dala-nibhe bhrū-cāpa-rucire gaṇḍoṣṭhaṃ pīna-madhyṃ sama-sahita-ghanaḥ snigdhāś ca daśanāḥ | karṇāv-aṃsa-pralambau[43] cibukam api nataṃ ghoṇā surucirā sarvasmin martya-loke varatanu vihitāsyekā suvadanā || Tr. Your eyes are like lotus-petals, beautiful with the bow-like eyebrows and their ends are playfully lazy; the cheeks and lips are plump in their middle, the teeth are all equal, in a line, thickly set and shining, the ears are hanging down as far as the shoulders, the chin is bent and the nose is beautiful. O fair lady, in this mortal world you are indeed the only fair-faced woman whose face has been [carefully] fashioned. Sragdharā 97-98. [The metre with] the feet of twenty-one syllables of which the first four, the sixth, the seventh, the fourteenth, the fifteenth, the seventeenth, the eighteenth, the twentieth and the last are heavy [and the rest light], is called Sragdharā. Example: 99. cūtāśokāravindaiḥ kuruvaka-tilakaiḥ karṇikāraiḥ śirīṣaiḥ punnāgaiḥ pārijātair-vakula-kuvalayaiḥ kiṃśukaiḥ sātimuktaiḥ | etair nānā-prakāraiḥ kusuma-surabhibhir viprakīrṇaīś-ca tais-tair vāsantaiḥ puṣpa-vṛndair naravara vasudhā sragdarevādya bhāti || Tr. O king (lit. best among men), due to the many and various sweet smelling vernal flowers such as, Cūta. Aśoka, Aravinda. Kuravaka, Tilaka, Karnikāra, Śirīṣa, Punnāga, Pārijāta, Vakula, Kuvalaya, Kiṃśuka and Atimukta, this earth looks today like a woman wearing [many] garlands of flowers. Madraka 100-101. [The metre with] the feet of twenty-two syllables of which the first, the fourth, the sixth, the tenth, the twelfth, the sixteenth, the eighteenth, and the last are heavy [and the rest light], is called Madraka. Example: 102. udyatam eka-hasta-caraṇaṃ dvitīya-kara-recitaṃ suvinataṃ vaṃśa-mṛdaṅga-vādya-madhuraṃ vicitra-karaṇānvitaṃ bahu-vidham | madrakam etad adya subhagair vidagdha-gati-ceṣṭitaiḥ su-lalitair nṛtyasi vibhramākula-padaṃ varoru lalita-kriyaṃ sama-rasaṃ || Tr. O fair lady, with one of your hands raised up and another bent, you are dancing today in accompaniment of sweet sounds of flutes and drums the Madraka dance in which your feet being restless in a hurry, you are making happy, clever and graceful foot-movements in pursuance of many and various Karanas, and this dance giving rise to delicate acts, is imbued uniformly with a Sentiment (rasa). Aśvalalita 103-104. [The metre with] the feet of twenty-three syllables of which the fifth, the seventh, the eleventh, the thirteenth, the seventeenth, the nineteenth and the last are heavy [and the rest light], is called Aśvalalita. Example: 105, ratha-haya-nāga-yaudha-puruṣaiḥ saṃkulam alaṃ balaṃ samuditaṃ śara-śata-śakti-kunta-parighāsi-yaṣṭi-vitatam bahu-praharaṇam | ripu-śata-mukta-śastra-ravabhīta-śaṃkita-bhaṭaṃ bhayākulam idaṃ kṛtam abhivīkṣya saṃyuga-mukhe samīpsita-guṇam tvayāśvalalitam || Tr. [Even after] seeing this completely assembled army consisting of chariots, horses, elephants, and fighters, the manifold assaults spread by hundreds of arrows, darts, javelins, clubs and swords, and the foot-soldiers terrified and afraid on account of the noise of released missiles, and the terror-stricken directions, you have practised in the van of the battle the sportful movements of a horse, the merit of which is very much emulated [by people]. Megha-mālā 106-107. [The metre with] the feet of twenty-four syllables of which the first six, the eighth, the eleventh, the fourteenth the seventeenth, the twentieth and the twenty-third are light [and the rest heavy], is called Megha-mālā. Example: 108. pavana-vala-samāhṛtā tīvra-gambhīra-nādā balākāvalī-mekhalā kṣitidhara-sadṛśocca-rūpā mahānīla-dhumāyamānāmbu-garbhodvabā | sura-pati-dhanur-ujjvala-badha-kakṣyā taḍid-dyota-sannāha-paṭṭojjvalā- gagana-tala-visāṛiṇi prāvṛṣeṇyon-natā megha-mālā’dhikaṃ śobhate || Tr. The expanse of high-soaring clouds of the rainy season, massed together by a strong wind and moving in the sky, having deep and piercing sounds, wearing a flight of cranes as their girdle, carrying in the womb watery vapour, looking like smoke of deep blue colour, girding the waist with the rainbow as the belt, having the armour-plates illumined by the flash of lightning, looks indeed very magnificent. Karuñcā-pādī 109-110. [The metre with] the feet of twenty-five syllables of which the first, the fourth, the fifth, the sixth, the ninth, the tenth, and the last are heavy [and the rest light] is called Karuñca-pādī. Example: 111. yaḥ kila dākṣaṃ vidruta-somaṃ kratuvaram a-camasam apagata-kalaśaṃ pātita-yūpaṃ kṣipta-caṣālaṃ vicayanam a-samidham a-paśukam acarukam | kārmuka-muktenāśu cakāra vyapagata-suragaṇa-pitṛ-gaṇam iṣuṇā nityam asau te daitya-gaṇāriḥ pradahatu makham iva ripu-gaṇam akhilam || Tr. Let Siva (lit. the foe of the demons) who by arrows discharged from his bow quickly spilled the Soma-juice, threw away the Camasa, broke the Kalaśa, felled the Yūpa, dislodged the Caṣāla, put out the fire, destroyed the fuel, scared away the [sacrificial] animals, spilled the Caru and put the gods and the Pitṛs to flight in Dakṣa’s great sacrifice, always destroy all your enemies like the same (sacrifice).[44] Bhujaṅga-vijṛmbhita 112-113. [The metre with] the feet of twenty-six syllables of which the first eight, the nineteenth, twenty-first, twenty-fourth and the last are heavy [and the rest light], is called Bhujaṅga-vijṛmbhita. Examples: 114. rūpopetām devaiḥ sṛṣṭāṃ samada-gaja-vilasita-gatiṃ nirīkṣya tilottamāṃ prādakṣiṇyāt prāptāṃ draṣṭum bahu-vadanam acala-nayanaṃ śiraḥ kṛta-vān haraḥ | dīrghaṃ niḥśvasyāntar-gūḍhaṃ stana-vadana-jaghana-rucirāṃ nirīkṣyā tathā punaḥ pṛṣṭhe nyastaṃ devendreṇa pravaramaṇi-gaṇaka-valayaṃ bhujaṅga-vijṛmbhitam || Tr. Seeing the beautiful Tilottamā created by gods with the graceful gait of an elephant in rut, śiva to observe her while she came to circumambulate him multiplied his faces and made the eyes motionless. Then the lord of gods (Śiva) on seeing her who was charming for her breasts, face and the hip, sighed silently and put away on his back the coils of yawning snakes with the best of jewels [on their head]. The uneven and the semi-even metres 115. These are, O the best of Brahmins, the even metres I mentioned [before]. Now listen about the uneven and the semi-even metres. 116. The metres of which the feet belong to different, metrical types and are dissimilar, are called uneven (viṣama). 117-118. The metres in which the two [alternate] feet are similar while the two [contiguous] feet are not similar, are called semi-even (ardha-sama). And the metre in which all the feet are dissimilar is called uneven. The semieven metre is to have its even and odd feet dissimilar and the first of such groups of feet may be shorter or longer than the rest, or one of them may be longer and the other shorter than the rest. Even metres 119. An even metre is defined by defining one of its feet while uneven metre requires the definition of all its feet. And from a definition of the two feet, the semi-even metre is known. This is the division of feet [in different semi-even metres]. 120. I have described the even metres with reference to their division of feet. Now I shall describe the characteristics of the uneven metres in terms of triads, (i.e. gaṇas). Pathyā 121. If [in an Anuṣṭup] the first foot contains sa, sa, ga, ga, and the second sa, ra, la, ga, and such will be the remaining even and odd feet, it is called Pathyā. Example: 122. priya-daivata-mitrāsi priya-sambandi-bāndhavā | priya-dāna-ratā pathyā dayite tvaṃ priyāsi me || Tr. You respect the gods and the friends, you love the matrimonial relations and the kinsmen, you are disposed to make affectionate gifts and you are agreeable, O beloved one, you are dear to me. Uneven Pathyā 123. [The Anuṣṭup metre of which] the first foot contains ma, ra, ga, ga the second ya, sa, la, ga, the third ra, bha, la, ga and the fourth ja, sa, la, ga [is called an all-uneven (sarva-viṣamā)] Pathyā. Example: 124. naivācāro, na te mitraṃ na sambandhi-guṇa-kriyā | sarvathā sarva-viṣamā pathyā na bhavasi priye || Tr. O dear one, you have no [good] conduct, no friend and you have no good action towards the relatives and are in every way very rough; so you are not agreeable. Inverted Pathyā 125. These are the characteristics of the fire and the third feet[45]. They being inverted i.e. the second and the fourth being of this description, the metre will be called the inverted Pathyā. Examples 126. kṛte[ca] ramaṇasya kiṃ sakhi roṣena te’ pyartham | tvaṃ jaḍe kena mohītā vipatītā na pathyāsi || Tr. O friend, what is the use of this anger shown to your beloved one? You will not be agreeable, if you are hostile. O foolish woman, you have been deluded by some-body. Capalā 127. [The metre with the feet of eight syllables of which] the fourth, the fifth and the sixth [in the hemistictis] are short, is called Anuṣṭup Capalā. Example: 128. na khalv-asyāḥ priyatamaḥ śrotavyaṃ vyāhṛtaṃ sakhyā | nāradasya pratikṛtiḥ kathyate vipulā hīyaṃ || Tr. [He] is not this girl’s dearest one, This [information] to be heard (privately] was proclaimed loudly by the female friend. This bulky woman is indeed [to be] called an image of Nārada (the god of quarrel). Vipulā 129. [If a metre with the feet of eight syllables has] the seventh syllable short in its second and the fourth feet, it is also called [Anuṣṭup] Vipulā. According to some[46] the seventh syllable in all the feet will be short in [such] Vipulā. Example: 130. saṃkṣiptā vajra-madhye he hema-kumbha-nibha-stanī | vipulāsi priye śroṇyāṃ pūrṇa-chandra-nibhānaṇe || Tr. O dear one, you are thin [in body], your waist is slender in the middle like a Vajra. your breasts are like golden pitchers, your hips are large and your face is like the full moon. 131. gaṅgeva meghopagame āplāvita-vasundharā | kula-vṛkṣān ārujantī sravantī vipulācalāt || You are like the Ganges at the advent of the rains, flooding the earth, destroying the trees on the bank and flowing down from a high mountain. 132. The feet of Pathyā are thus of various types; in the remaining [types of Anuṣṭup] even and odd feet may be made up with other triads (trika). 133. In this metre a triad ending in a heavy syllable (i.e ma, ra, ya, sa) or consisting of light syllables (i.e. na) is never to occur (lit. desired) after the first syllable, while after the fourth syllable a short syllable must occur (lit. is prescribed). 134. If in the feet of a Pathyā there are three heavy syllable at the end it is called [Anuṣṭup] Vaktra. Example: 133. danta-kṣatādharaṃ subhru jāgara-glāna-netrāntam | prātaḥ sambhoga-khinnaṃ te darśanīya-tamaṃ vaktram || Tr. O fair lady, the lips being bitten by teeth, eyes being languid due to keeping awake, your face has become most charming, in the morning after the exhaustion in love’s enjoyment [at night]. 136. These are all-uneven metres of the Anuṣṭup class. The authorities differ from one another as regards [the arrangement of] the triads and syllables. Ketumatī 137. The metre of which the first and the third feet consist of sa, ja, sa, ga, and the second and the fourth bha, ra, na, ga, ga is called Ketumatī. Example: 138. sphuritādharaṃ calita-netraṃ rakta-kapolam ambuja-dalākṣam | kim idaṃ ruṣāpahṛta-śobhaṃ ketumatī-samaṃ vada mukhaṃ te || Tr. Your lips are throbbing, the eyes which are like lotus-petals, are trembling and the cheeks are red. Tell me why has your face robbed of its beauty by anger, become like Ketumatī (flame)? Udgatā 139. In Udgatā metre the first foot consists of sa, ja, sa, la, the second of na, sa, ja, ga, the third of bha, na, ja, la, ga and the fourth of sa, ja, sa, ja, ga. Example: 140. tava roma-rājir atibhāti sutanu madanasya mañjarīm | nābhi-kamala-vivarotpatita-bhramarāvalīva kusumāt samudgatā || Tr. O fair one, the hairs which rise from the hollow of your lotus-like navel, are comparable with a swarm of bees coming out of flowers, and they exceed in beauty Cupid’s [shaft of] blossoms. Lalitā 141. The metre Lalitā has its first foot consisting of sa, ja, sa, la, the second foot of na, sa, ja, ga, the third foot of na, na, sa, sa, and the fourth foot of sa, ja, sa, ja, ga[47]. 142. lalitākula-bhramita-cāru-vasana-kara-pallavā hi me | pravikaśita-kamala-kānti-mukhī pravibhāsi devi surata-śramāturā || Tr. O lady, hurriedly but gracefully moving the beautiful clothes and the delicate hands and having the beauty of a blooming lotus in the face you look charming to me after the fatigue of love’s sports. Aparavaktra 143. In the metre called Aparavaktra the first and the third feet consist of na, na, ra, la, ga and the second and the fourth of na, ja, ja, ra. Example: 144. sutanu jala-parīta-locanaṃ jalada-niruddham ivendu-maṇḍalam | kim idam apaṃ-vaktram eva te mamatu tathāpi manoharaṃ-mukham || Tr. O fair lady, why does your face with tearful eyes looking like the orb of the moon obscured by the clouds, appear like seme one else’s? Still they enrapture my heart all the same. Puṣpitāgrā 145. In the Puṣpitāgrā metre the first and the third feet consist of na, na, ra, ya, and the second and the fourth of na, ja, ja, ra, ga. Example: 146. pavana-raya-vidhūta-cāru-śākhaṃ pramudita-kokila-kaṇṭha-nāda-ramyam | madhukara-parigīyamāna-vṛkṣaṃ varatanu paśya vanaṃ supuṣpitāgram || Tr. O fair lady, look at the top of the blossoming forest in which the wind is shaking the beautiful branches of trees, the gladdened cuckoos are singing with a sweet voice, and the bees are humming the praise of trees. Vānavāsikā 147. The metre which has its feet consisting of sixteen Mātrās as parts of a Gāthā to be divided into four sections in terms of triads and the part of triad, is called Vānavāsikā.[48] Example: 148. asaṃsthita-padā suvihvalāṅgī mada-skhalita-ceṣṭita-manojñā | kva yāsyasi varoru surata-kāle viṣamā kiṃ vānavāsikā tvam || Tr. O fair lady, your gait is unsteady, limbs are agitated, and your faltering movements due to ardent passion are charming. Where are you going at the time of love’s enjoyment? Are you a perverse woman of Vanavāsī? 149. These are the syllablic metres of the even and uneven types, to be used in dramas and poems. 150. There are besides many other syllablic metres which have been mentioned here collectively. They are not to be used because they do not embellish [a composition]. 151 The syllabic metres forbidden hereafter may be used in songs. I shall describe their varieties while treating the Dhruvās. Āryā metres 152. This is the definition of various syllabic metres briefly treated by me. Next I shall give the definition of Āryās. 153. Āryās are of five types, viz. Pathyā, Vipulā Capalā, Mukha-capalā, and Jaghana-capalā. 154. I shall speak about their caesura and division of Mātrās and their varieties depending on Gaṇas which have been prescribed as their characteristics. 155. In these metres the caesura marks the division [of feet]; the Gaṇa consists of four Mātrās; the second and the fourth (lit. the last) feet are the even ones, and the first and the third (lit. the rest) odd ones. 156. [In an Āryā] the odd Gaṇas consisting of four Mātrās should have no ja, and the even Gaṇas may be of any type according to the choice [of the poet]. 156a. The eighth Gaṇa in every Āryā is to be known as half a Gaṇa (i.e. two Mātrās). 157. The sixth Gaṇa may be of two alternative types and the eighth will consist of one [syllable]. The sixth Gaṇa in the second hemistich will consist of one Mātrā only. 158. In one alternative the sixth Gaṇa will be ja, (⏑⎼⏑) and in the other it will consist of four short syllables, (⏑⏑⏑⏑) and these relate to the caesura (yati). 159. The caesura may occur when the second la after the fifth Gaṇa has been completed, or it may occur from the first syllable [of the sixth Gaṇa], or after the fifth Gaṇa [has been completed]. Pathyā-Āryā and Vipulā-Āryā 160. The Āryā metre of which the caesura occurs after the three Gaṇas (lit. feet are made up of three Gaṇas) is called Pathyā. The Vipulā Āryā is different from this, only because it observes no caesura (yati) of any kind [within its hemis-tichs]. Examples: Pathyā Āryā 161. rakta-mṛdu-padma-netrāsita-dīrgha-bahula-mṛdu-[kuñcita]-keśī | kasya tu pṛthu-mṛdu-jaghanā tanu-bāhvaṃsodarā’ pathyā || Tr. To whom is disagreeable a woman with lovely and lotus-like soft eyes, copious long, black and [curled] hairs, large and soft hip, slim arms and abdomen? 162. The Āryā which has twelve Mātrās in its first and the third feet, is called Pathyā, and other (Āryās) which have been defined before are Vipulā. Vipulā Āryā 163. vipula-jaghana-vadana-stana-nayanais cāmrādharoṣṭha-kara-caraṇaiḥ | āyata-nāsā-gaṇḍair lalāṭa-karṇaiḥ śubhā kanyā || Tr. A maiden is auspicious when her hip, face, breasts and eyes are large, lips, palm and feet are red and nose, cheeks, forehead and ears are prominent. 164. The Āryā which has its odd Gaṇas made up of long syllables, and even Gaṇas with a long syllable in the middle, is called Capalā. Capalā Āryā 165. In the Capalā (Āryā) the second and the fourth Gaṇas in each hemistich are to consist of a ja (lit. Gaṇa with a heavy syllable in the middle). Mukha-capalā and Jaghana-capalā Āryā 166. When the definition of a Capalā applies to the first hemistich [only] of an Āryā it is called the Mukha-capalā. And when the same applies to the second hemistich [only] it is called Jaghana-caparā. And if [in an Āryā] the marks of both these are seen then it is called an all-round Capalā. Mukha-capalā Āryā Examples: 167. āryā mukhe tu capalā tathāpi nāryā na me yataḥ sā tu | dakṣā gṛha-kṛtyeṣu tathā duḥkhe bhavati [ca] duḥkhitā || Tr. My lady is talkative, but still her conduct [in general] is not bad, íor she is an expert in the household work, and in my misery she feels miserable. Jaghana-capalā Āryā 168. vara-mṛga-nayane capalāsi varoru śaśāṅka darpaṇa-nibhāsye | kāmasya-sārabḥūtenāpūrva-mada-cäru-jaghanena || Tr. O fair lady, with the eyes of the best deer, and a face like the moon or the mirror, by your hips which constitute the best prize of love and which are charming on account of your unique passion, you are restless. Sarvataś-Capalā Example: 169.[49] udbha [rtṛ] -gāminī paruṣa-bhāṣinī kāma-cihna-kṛta-veśā | yā nāti-māṃsa-yuktā surā-priyā sarvataś-capalā || Tr. The woman who goes defying her husband, speaks harshly, has erotic signs in her dress, is not very fleshy and is fond of wine is inconstant in every respect. 170. The first and the third feet should be made up of twelve Mātrās and the second and the fourth, of eighteen and fifteen respectively. 171. This metre is known to have thirty Mātrās in its first hemistich and twenty-seven in the second.[50] This is the total number of mātrās in the two halves of an Ātyā. 172. Following these rules (lit. thus) one should compose plays (lit, poetical composition) utilising (lit. having) therein different metrical patterns belonging to (lit. arising from) different Rhythm-types, and such plays are to have the thirty six characteristic marks (lakṣaṇa). Here ends Chapter XVI. of Bharata’s Nāṭyaśāstra which treats of the Metrical Patterns. Footnotes and references: [back to top] [1]: The definition of this metre is also its example, though an independent example also follows. Such is the case with many other metres defined in the NŚ. [2]: Kiṃ tvaṃ—why (are) you...? Cp. Kiṃ akāraṇam eva darśanaṃ rataye na dīyate, Kumār. IV. 7. [3]: This is called Śaśivadanā by Pr. P., Vr. R. and Śṛ. B. [4]: See above 1 note 1. [5]: Makarakaśīrṣā—having a head (i.e. brain) like that of a makara. The allusion is perhaps to the foolish makara in the Vānara-makara-kathā in the Pāñcatantra, IV., which really believed that the monkey had left its heart behind in the tree on the river-bank. Hence I translate the word as “dullheaded one.” [6]: This is quite different from the metre Mālinī defined by Piṅgala and his followers. The NS. calls this second Mālinī (with 15 syllables in each pāda) Nāndīmukhī. See below 73-74. [7]: C. gives the name as Siṃhalekha. [8]: The translation follows Ag. [9]: This metre is named as Pramāṇikā in Pr. P. [10]: B. gives the name as Vidyun-mālā. This is the name in Piṅgala and Śr. B. [11]: C. omits this metre. [12]: This mode of addressing a beloved woman is at least as old as the time of Patañjali who quotes the fragment of a poem as follows: varatanu saṃpravadanti kukkuṭāḥ (Ref. Apte’s Guide to Skt. § 319). [13]: This metre is called Bhujagaśiśubhṛtā (°yutā, °vṛtā) by; Piṅgala and his followers. [14]: This is called Paṇava by Piṅgala and his followers. [15]: Kuvalaya is a blue aquatic flower of the lotus class. [16]: Piṅgala gives the name as Mayūrasā° and so does Vr. R. [17]: This relates the belief that the pea-fowls’ sexual union takes place in complete seclusion. [18]: We are not sure of the meaning of the word dodhaka. Ag. writes dodhakena gīyamānaṃ vṛttam dodhaka-vṛttam. [19]: This is named as Moṭanaka by Gaṅgādāsa in Ch. M. [20]: Cf. Upendra-vajraṃ ta indra-dhanuṣā apamitam etc. (Ag.). [21]: B. gives an additional example of this metre (B. XV. 48). [22]: B. gives another metre of this name with a different scheme and an example of this (B.XV. 56-58). [23]: This is called Druta-vilambita by Piṅgala and his followers. [24]: See above 20 note 1. [25]: C. calls this Kāma-mattā, [26]: Sudati—O fair-toothed one. [27]: This is called Bhujaṅga-prayāta by Piṅgala and his followers. [28]: This is called Sragviṇī by Piṅgala and his followers. [29]: B. gives a second example (B.XV. 77) which seems to be a variant of this. [30]: This is called Puṭa by Piṅgala and his followers. [31]: I am not certain about the exact meaning of the term puṭavṛtta. One ms. gives it as paṭuvṛtta (see B.) which I adopt. [32]: Srak and mālya are used here probably to indicate two different kinds of garlands. [33]: This is called Mālīni by Piṅgala and his followers. [34]: This is called Ṛṣabha-gaja-vilasita by Piṅgala and his followers. [35]: Kadamba and nīpa are usually considered synonymous. It is just possible that these are two different trees with these two names, and later writers have ignored the difference which may be very slight. It may be noted here that the Concise Oxford Dictionary defines nipa as a ‘kind of E. Indian palm.’ [36]: See note I above. [37]: This is called Hariṇī by Piṅgala and his followers. [38]: This is called Mandākrāntā by Piṅgala and his followers. [39]: This is called Pṛthvī by Piṅgala and his followers. [40]: lit. Is it not dear to me? [41]: This is called Kusumita-latā-vellitā by Piṅgala and his followers. [42]: B. gives an additional example of this (B.XV. 123). [43]: For long ear-lobes as signs of beauty see Buddha-images. [44]: gives one additional example (B.XV. 148) which occurs in Halāyudha’s commentary on Piṅgala. [45]: A passage before this seems to be lost. [46]: Saitava—mentioned in Piṅgala and Agni P. See CSS. p. 38. [47]: Piṅgala’s Lalitā has the fourth foot similar to that of Udgatā, [48]: Piṅgala calls this Mātrāsamaka. His Vānavāsikā is simply a variety of this. Sec CSS. p. 21. [49]: B. reads jānāti, for yā nāti. Prof. S. P. Bhattacharya suggested this emendation. [50]: The couplets after this (B.XV. 222-226) are corrupt and appear te be spurious. 29 April, 2017 --> Last Updated: 02 July, 2017 $(function(){ if($(document).height() > $(window).height()){ $('.book.chapter').append('^ back to top ^') $('section.back > a').click(function(){ $(window).scrollTop(0); }); } }); /** * Derivation list */ /*$('a.deriv-link').click(function(){ $(this).closest('.words-group').find('.deriv-list').toggleClass('d-none'); });*/ ====================================================================== Chapter XVII - Diction of a Play ====================================================================== --> Natyashastra (English) by Bharata-muni | 1951 | 240,273 words | ISBN-13: 9789385005831 Hinduism Natyashastra Buy now! The English translation of the Natyashastra, a Sanskrit work on drama, performing arts, theater, dance, music and various other topics. The word natyashastra also refers to a global category of literature encompassing this ancient Indian tradition of dramatic performance. The authorship of this work dates back to as far as at least the 1st millenn... Go directly to: Footnotes. Chapter XVII - Diction of a Play (lakṣaṇa) < Previous (index) Next > Excellent points of a dramatic composition (lakṣaṇa) 1-5. The thirty-six excellent points (laksaṇa)[1] of [a good] dramatic composition (kāvya[2]) are as follows: Ornateness (bhūṣaṇa), Compactness (akṣara-saṃghāta), Brilliance (śobhā), Parallelism (udāharaṇa), Causation (hetu), Hesitation (saṃśaya) Favourable Precedent (dṛṣṭānta), Discovery (prāpti), Fancy (abhiprāya), Unfavourable Precedent (nidarśana), Additional Explanation (nirukta), Persuasion, (siddhi), Distinction (viśeṣaṇa) Accusation of Virtue (guṇātipāta), Excellence (guṇātiśaya), Inference from Similitude (tulya-tarka), Multiplex Predication (padoccaya), Apt Description (diṣṭa), Pointed Utterance (upadiṣṭa), Deliberation (vicāra), Inversion (viparyaya), Slip of Tongue (bhraṃśa), Mediation (anunaya), Series of Offers (mālā), Clever Manner (dākṣiṇya), Censure (garhaṇa), Presumption (arthāpatti), Celebrity (prasiddhi), Interrogation (pṛcchā), Identity (sārūpya), Indirect Expression of one’s Desire (manoratha), Wit (leśa), Concealment (saṃkṣobha), Enumeration of Merits (guṇa-kīrtana), Semi-uttered Expression (anukta-siddhi) and Compliment (priyavacana = priyokti). Ornateness 6.[3]To provide a composition with many figures of speech (alaṃkāra), and Guṇas placed like ornaments, is called Ornateness (bhūṣaṇa, lit. ornament). Compactness 7.1When a wonderful sense is expressed by means of a small number of syllables with double entendre, it is called the mark named Compactness (akṣara-saṃghāta, lit. assemblage of syllables). Brilliance 8.[4] Where for the purpose of giving distinction to a case of double entendre (śleṣa), a less-known meaning is called forth along with the well-known meanings, it is called Brilliance (śobhā, lit. beauty). Parallelism 9. When by a sentence expressing a similar situation a suggestion is made by clever people to accomplish some objects, it is called Prarallelism (udāharaṇa, lit. example).[5] Causation 10. When a brief and pleasing sentence by the force of its [tactful] use achieves the desired object, it is called Causation (hetu)[6]. Hesitation 11. When due to many considerations a sentence is brought to an end without fully communicating the essential theme [in view], it is called Hesitation (saṃśaya, lit. doubt).[7] Favourable Precedent 12. That which supporting the case in hand[8] is an expression of its reason and is pleasing to all people, is a Precedent Favourable to the speaker (dṛṣṭānta, lit. example), Discovery 13. When on seeing some indications, the existence of something is assumed, it becomes [an instance of] Discovery (prāpti, lit. attainment)[9] which is included among the marks of a [good] drama. Fancy 14. When an idea interesting to people [but] hitherto non-existent, is conceived on the basis of similarity [of two objects], it is [an instance of] Fancy (abhiprāya, lit. belief)[10] Unfavourable Precedent 15. When well-known instances are mentioned for rejecting the contrary view, it is [an instance of] Unfavourable Precedent (nidarśana, lit. example)[11] Convincing Explanation 16. Words that ate spoken in support some unobjectionable statement made before, constitute Additional Explanation (nirukta, lit. etymology)[12] Persuasion 17. When name of many relevant[13] persons are mentioned with a view to accomplish the object aimed at, it is [an instance of] Persuasion (siddhi, lit. success). Distinction 18. When after mentioning many well-known great objects something is said to distinguish a thing from them, it is [an instance of] Distinction (viśeṣaṇa)[14]. Accusation of Virtues 19. When virtues are mentioned with sweet words of harsh import, which carry a contrary implication, it is [an instance of] Accusation of Virtues (guṇātīpāta, lit. opposition of virtue)[15]. Excellence 20. When after enumerating the qualities available in common men, one mentions some special qualities, it is [an instance of] Excellence (atiśaya)[16]. Inference from Similitude 21. When an object not believable, is inferred from a metaphor or a simile applied in a similar sense, it is [an instance of] Inference from Similitude (tulya-tarka, lit. reasoning from the comparables)[17]. Multiplex Predication 22. When a number of words are used along with a number of other words to form [different] groups for the same purpose, it becomes [an instance of] Multiplex Predication (padoccaya, lit. collection of words)[18]. Description 23. When any object or incident directly seen or not, is described in harmony with locality, time or from related to it, it becomes [an instance of] Apt Description (diṣṭa lit. described)[19]. Pointed Utterance 24. When one says something with a happy end on the basis of Śāstras and thereby pleases the learned, it is a Pointed Utterance (upadiṣṭa, lit. utterance)[20] Deliberation 25. That which establishes something not direcrty perceived and is in harmony with the meaning expressed earlier[21] and includes much elimination of errors (apoha), is called Deliberation (vicāra). Inversion 26. When due to seeing [something], an alteration of Deliberation, is made on account of a doubt, it is called Inversion (viparyaya).[22] Slip of Tongue 27. Manifold and sudden deviation of haughty and such other persons from the intended words to something else, is called Slip of Tongue (bhraṃśa, lit. lapse)[23]. Mediation 28. [Words] which [are used to] please two persons with mutually opposed resolution and [are aimed at] accomplishing some object, constitute Mediation (anunaya, lit. imploring)[24]. Series of Offers 29. When for the purpose of accomplishing a desired object one (lit. learned men) suggests to a person his many needs [that may be met], it is [an instance of] Series of Offers (mālā, lit. garland)[25]. Clever Manners 30. When one attends another person with a happy and pleased face, [sweet] speech and other [agreeable] movements, it [is an instance of] Clever Manners (dākṣiṇya).[26] Censure 31. If any one mentions [someone’s] faults and explain them as merits, or decries one’s merits and calls them faults, it becomes [an instance of] Censure (garhaṇa)[27]. Presumption 32. When from a sweetly-worded mention of something, some other object is to be understood, it is [an instance of] Presumption (arthāpatti).[28] Celebrity 33. That which is expressed with excellent words mentioning many well-known exploits, gives rise to Celebrity (prasiddhi)[29]. Interrogation 34. When with gesticulating[30] words one questions oneself or another and speaks something, it is [an instance of] Interrogation (pṛcchā). Identity 35. When from seeing, hearing or feeling something [suddenly] one is excited by its likeness [with another, it is [an instance of] Identity (sārūpya)[31]. Indirect Expression of Desire 36. Expressing one’s secret desire of the heart[32] by a pretence of referring to somebody else’s condition, is called Indirect Expression of Desire (manoratha, lit. object of the mind). Wit 37. Words which are spoken in a [clever] manner by expert disputants and which relate to accomplishment of similar objects1, constitute Wit (leśa)[33]. Concealment 38. When being faultless one takes upon oneself various faults of another, or ascribes them to another blameless person, it is [an instance of] Concealment (saṃkṣobha, lit. upsetting)[34]. Enumeration of Merits 39. When merits of men who excel [others] in qualities in this world, are ascribed to one single person, it is [an instance of] Enumeration of Merits (guṇa-kīrtana)[35]. Semi-uttered Expression 40. When from the mere commencement of subject the rest of it is comprehended without being actually expressed in words[36] it is [an instance of] Semi-uttered Expression (anukta-siddhi, lit. unuttered achievement). Compliment 41. When words are uttered in a pleasant mood to honour an honourable person and to express joy [for his acts] it is [an instance of] Compliment (priyokti, lit. pleasing utterance)[37]. 42. These thirty-six excellent points of a dramatic (lit. poetical) composition conducing to the object in view (i.e. writing plays) will beautify a play (lit. composition) and [hence they] should be properly used according to the Sentiment [introduced in it]. Four figures of speech 43. Four figures of speech available in drama are: Simile (upamā,) Metaphor (rūpaka), Condensed Expression (dīpaka, lit. lamp) and Yamaka. Simile 44. When in a poetical composition anything is compared on the basis of some similarity, it is [an instance of] Simile (upamā). It relates to quality and form, Number of objects compared 45-48. This comparison may be of one with one or many, or of many with one, or of many with many. (Examples of these are as follows): your face is like the moon (one compared with one), stars shine like the moon (many compared with one), having an eye like that of a hawk, a peacock and a vulture (one compared with many); and elephants are like clouds (many compared with many). Five kinds of simile 49. A Simile is of five kinds, viz. [that of] praise (praśaṃsā), censure (nindā), conceit (kalpitā), uniqueness (sadṛśī). and partial likeness (kiṃcit sadṛśī). Example of Simile of praise 50. The king was pleased to see that large-eyed lady just as the sages are pleased to see the success incarnate after it has been achieved with austerity. Example of Simile of censure 51. The woman clung to that rough-looking person devoid of all good qualities just as a creeper clings round a thorny tree which has been searched by the forest-fire. Example of Simile of conceit 52. Elephants exuding ichor and moving slowly with gracefulness look like mobile mountains. Example of Simile of uniqueness 53. What you have done today to satisfy someone else’s desire, is worthy of you and is comparable only to your [other] superhuman deeds. Example of Simile of partial likeness 54. Here has come my lady friend whose face is like the full moon, eyes are like the petals of a blue lotus and the gait is like that of an elephant in rut. 55. These briefly are the varieties of similes. Those not described here are to be gathered from [different] poetical works and from the people (i.e. the folk-poems). Metaphor 56. An image of slight likeness which is conceived due to indecision [from objects] characterised by similar limbs, is called Metaphor (rūpaka)[38]. Example: 57. Lake-women, with their lotus-faces, Kumuda-smiles, open and beautiful Nīlotpala-eyes and swans cackling around, seem to be calling one another. Condensed Expression 58. Combining of words in different topics in a single sentence for their mutual illumination, is called Condensed Expression (dīpaka, lit. light)[39]. Example: 59. In that region (lit. there) fullness (lit. want of emptiness) was always effected[40] by swans in the lakes, by flowers in the trees, intoxicated, bees in the lotuses and by friendly groups [of men and women] in the gardens and the parks. Yamaka 60. Repetition of words at the beginning of the feet and the other places, constitute Yamaka (lit. twin). Listen to their characteristics which I am going to tell [you][41]. Ten kinds of Yamaka 61-63.[42] Yamakas are of the ten kinds: Pādānta-Yamaka, Kāñci-Yamaka, Samudga-Yamaka, Vikrānta-Yamaka, Cakravāla-Yamaka, and Sandaṣṭa-Yamaka, Pādādi-Yamaka, Āmreḍita-Yamaka, Catur-vyavasita-Yamaka and Mālā-Yamaka. Pādānta-Yamaka 64. When similar syllables occur at the end of all the four feet, they constitute Pādānta-Yamaka. Example: 65. dina-kṣayāt saṃhṛta-raśmi-maṇḍalaṃ divīva lagnaṃ tapanīya-maṇḍalaṃ | vibhāti tāmraṃ divi sūrya-maṇḍalaṃ yathā taruṇyāḥ stana-bhāra-maṇḍalaṃ || Tr. At the decline of the day, the reddish (lit. copper-coloured) orb of the sun shorn of its cluster of rays, shining like a golden disc in the heavens, looks like the big round breast of a young maiden.[43] Kāñcī-Yamaka 66. Two similar words occurring at the beginning and at the end of each foot constitute Kāñcī-Yamaka. 67. yāmāyāmāś-candravatīnāṃ dravatīnāṃ vyaktāvyaktā sāra-janīnāṃ rajanīnām | phulle phulle sa-bhramare vā’bhramare vā rāmā’rāmā vismayate ca smayate ca || Tr. The length of hours (yāma) of the moon-lit nights, passing swiftly in the company of women are scarcely perceived. Flowers having blown whether with or without bees, the lady looks at them admiringly, and has a beautiful smile. Samudga-Yamaka 68.[44] When the same Hemistich by its repetition completes the verse, it is [an instance of] Samudga-Yamaka. Example: 69. ketakī-mukul-pāṇḍara-dantaḥ śobhate pravara-kānana-hastī | ketakī-mukul-pāṇḍara-dantaḥ śobhate pravara-kānana-hastī || Tr. The very big wild elephant with its tusks as pale-white as Ketakī buds looks beautiful; and the elephant-like large forest looks beautiful with Ketakī buds as its pale-white tusks. Vikrānta-Yamaka 70. When two alternate feet are similar, it is [an instance of] Vikrānta-Yamaka. 71. sa pūrvaṃ vāraṇo bhūtvā dviśṛaṅga iva parvataḥ | abhavad danta-vaikalyād-viśṛṅga iva parvaraḥ || Tr. Formerly being an elephant comparable to a two-peaked mountain, [now] its two tusks being broken it has become like a mountain without any peak. Cakravāla-Yamaka 72. When the word at the end of a foot is similar to the word at the beginning to the next foot, it is [an instance of] Cakravāla-Yamaka[45]. Example: 73. [śarais] tathā śatrubhir āhatā hatā hatāś ca bhūyas tv anupuṃkhagaiḥ khagaiḥ | khagaiś ca sarvair yudhi sañcitāś citāś citâdhirūḍhā nihatās talais talaiḥ || Tr. Thus they were killed after being struck by arrows of the enemies as well as by birds of prey flying closely behind such missiles; the pyres of the battle-field were surrounded with such birds and the dead bodies placed on the funeral pyre were being repeatedly pounced upon by them with their [sharp] talons. Sandaṣṭa-Yamaka 74. When the two words at the beginning of a foot are similar, it is [an instance of] Sandaṣṭa-Yamaka[46]. Example: 75. paśya paśya me ramaṇasya guṇān yena yena vaśagāṃ karoti mām | yena yena hi mamaiti darśanaṃ tena tena vaśagāṃ karoti mām || Tr. Look at the qualities of my lover, by which he makes me bow to him, and he charms me by those qualities with which he comes to my view. Pādādi-Yamaka 76. When the same word occurs at the beginning of each foot, it is [an instance of] Pādādi-Yamaka. Example: 77. viṣṇuḥ sṛjati bhūtāni viṣṇuḥ saṃharate prajāḥ | viṣṇuḥ prasūte trailokyaṃ viṣṇur lokādhi-daivataṃ || Tr. Viṣṇu creates all living beings; Viṣṇu destroyes all creatures; Viṣṇu creates (lit. gives birth to) the three worlds and Viṣṇu is the overlord of [all] the worlds. Āmreḍita-Yamaka 78. When the last words of a foot are reduplicated, it becomes [an instance of] Āmreḍita-Yamaka. Example: 79. vijṛmbhitaṃ niḥśvasitaṃ muhur-muhuḥ yathābhidhānaṃ smaraṇam pade pade | yathā ca te dhyānam idaṃ punaḥ punar dhruvaṃ gatā tāṃ rajanī vinā vinā || Tr. You yawned and had deep repeated sighs, as you remembered her name frequently and as [you were] in constant meditation [of her] your [sad] night passed absolutely without her.[47] Catur-vayavasita-Yamaka 80. When all the feet consist of similar syllables, it is [an instance of] Catur-vyavasita-Yamaka. Examples: 81. vāraṇānām ayam eva kalo vāraṇānām ayam eva kālaḥ | vāraḥānām ayam eva kālo vā raṇānām ayam eva kālaḥ || Tr. This is the time of the Vārana [flower]; this is the season when the elephants (vāraṇa) are free from disease. This is the time [for] the enemies to come; or this is the time for [going to] battle. [48] Mālā Yamaka 82. When one consonant with different vowels occurs in various words, it is [an instance of] Mālā Yamaka. Example: 83. hali balī halī mālī śūlī khelī lalī jalī | balo balocca-lolākṣo muṣalī tv-ābhirakṣatu || Tr. Let the strong Balarāma, the garlanded Balarāma (hali) who holds a spike, is sportive, faltering [in gait] and is full of wine and Balarāma who is high in strength and who has his eyes rolling and who holds a club, protect you. 84. asau hi rāmā rati-vigraha-priyā rahaḥ-pragalbhā ramaṇaṃ raho-gatam | ratena rātrau a[g]mayet parena vā na ced udeṣyaty aruṇah puro ripuḥ || Tr. This beautiful woman who is fond of love’s fight and is unashamed in bed[49] will go on secretly pleasing her dear one in bed at night with her best embrace if the sun will not rise in the east as her enemy. 85. sa puṣkarākṣaḥ kṣatajokṣitākṣaḍ kṣarat kṣatebhyaḥ kṣatajaṃ durīkṣam | kṣatair gavākṣair iva saṃvṛtāṅgaḥ sākṣāt sahasrākṣa ivāvabhāti || Tr. The lotus-eyed one having his eyes bathed in blood, letting fall from his wounds awful blood and having his body covered with wounds like cow’s eyes appeared as the thousand-eyed god (Indra) in person. 86. A play (lit. poetical work) should be composed by [introducing] these [excellent] points after considering their objects and functions. I shall speak hereafter about faults (doṣa) in such works. Ten faults 87. Faults in a play (lit. poetical work) may be of ten kinds, such as Circumlocution (gūḍhārtha), Superfluous Expression (arthāntara), Want of Significance (arthahīna), Defective Significance (bhinnārtha), Tautology (ekārtha), Want of Synthesis (abhiplutārtha), Logical Defect (nyāyādapeta), Metrical Defect (viṣama), Hiatus (visandhi) and Slang (śabdacyuta)[50]. Circumlocution and Superfluous Expression 88. Mentioning [anything] by means of a [manufactured] synonym, is to cause Circumlocution (gūḍhārtha, lit. hidden meaning)[51]. When anything not necessary is mentioned it is [a case of] Superfluous Expression (arthāntara)[52]. Want of Significance 89. An expression which is irrelevant[53] or which remains incomplete[54] is [an instance of] Want of Significance (arthahīna)3 Defective Significance Defective Significance (bhinnārtha, lit. broken meaning) includes an expression which is not refined[55] or is worthy of a rustic.[56] 90. When the intended sense is changed into another sense it is also called Defective Significance. Tautology and Want of Synthesis 91. Tautology (ekārtha), means [indiscriminating] use of [many] words for a single purpose[57]. [When a sentence is] completed within [each] foot [of a verse] it [is an instance of] Want of Synthesis (abhiplutārtha)[58]. Logical Defect 92. Anything devoid of reasoning is an example of Logical Defect (nyāyād-apeta)[59]. Metrical Defect Lapse in the metrical structure is called Metrical Defect (viṣama, lit. unevenness). Hiatus 93. When words [which should combine in Sandhi] are kept separate, it is [an instance of] Hiatus (visandhi). Slang When a vulgar word is added, it is an instance of slang (śabha-cyuta, lit. lapse in a word)[60]. Guṇas 94. These are the faults of a poetical work properly described by me. Guṇas (merit) are their negation and are characterised by sweetness and depth of meaning[61]. Ten Guṇas 95.[62] The ten Guṇas are: Synthesis (śleṣa, lit. union), Perspicuity (prasāda), Smoothness (samatā), Concentration (samādhi), Sweetness (mādhurya), Grandeur (ojas) Agreeableness (saukumārya, lit. delicacy), Directness of Expression (artha-vyakti, lit. expression of meaning), Exaltedness (udāra, lit. deep) and Loveliness (kānti). Synthesis 96. Union of words connected through meaning intended is called Synthesis (śleṣa)[63]. Perspicuity 97. Where the unexpressed word or sense is comprehended through a use of easily understood words and sense, it is [an instance of] Perspicuity (prasāda)[64]. Smoothness 98. When alaṃkāras and guṇas match and illuminate one another it is called [an instance of] Smoothness (samatā)[65]. Concentration 99. Careful condensation of meanings suggested by and derived from similes and other figures of speech is called Concentration (samādhi)[66]. Sweetness 100. When a sentence heard or uttered many times does not tire or disgust [anyone], it [is an instance of] Sweetness (mādhurya)[67]. Grandeur 101. If a [composition otherwise] censured and deficient in quality reflects an exalted sense through its words and is rich in sound and sense it becomes [an instance of] Grandeur (ojas)[68]. Agreeableness 102. When a composition consists of words easy to pronounce, euphonically combined, and giving agreeable impression [even when treating some unpleasant topic], it is [an instance of] Agreeableness (saukumārya)[69]. Directness of Expression 103. When the meaning of a composition can be grasped by the penetrating mind just after its recital (lit. use) it is [an instance of] Directness of Expression (artha-vyakti)[70]. Exaltedness 104. When the composition includes witty and graceful words having many special senses which are marvellous, it is [an instance of] Exaltedness (udātta)[71]. Loveliness 105. When a composition gives delight to the ears as well as to the mind on account of its well-put-together words, it is [an instance of] Loveliness (kānti)[72]. Alaṃkāras, and, Guṇas according to Sentiments 106. These are the figures of speech, faults and Guṇas [available in a poetical composition]; I shall now describe their application in connexion with different Sentiments. Sounds and Figures of Speech according to Sentiments 107. The poetical composition in connexion with the Heroic, the Furious and the Marvellous Sentiments should consist mostly of light syllables and should include similes and metaphors. 108-109. In the Odious and the Pathetic Sentiments it [the composition] should likewise consist mostly of heavy syllables. Metres according to Sentiments: In the Heroic and the Furious Sentiments Sometimes when any act of boldness is described (lit. occurs) in connexion with the Heroic and the Furious Sentiments, it (the composition) should be in the Āryā metre and should have Metaphor and Condensed Expression in it. In the Erotic Sentiment In the Erotic Sentiment the composition should be in gentle metres. In the Heroic Sentiment 110-111. In the Heroic Sentiment when the recitative includes a dialogue, it should be in metres of the Jagatī, Atijagatī and Śaṃkṛti types. In the description of battles and tumults, the Utkṛti has been prescribed by the experts. In the Pathetic Sentiment The Śakkarī and the Atidhṛti would be the proper metres in the Pathetic Sentiment. In the Heroic and the Furious Sentiments 112. The metres prescribed for the Heroic Sentiment may be applied in the Furious Sentimeñt as well; and as for metres in the rest of the cases (i.e. those not mentioned) they should be made suitable to the mening intended. Vowel-length in different Sentiments arid States 113. In connexion with the drama the poets should use short, long and prolated (pluta) vowels for representing different Sentiments and States. 114. In the intonation [in Recitation] a vowel consisting of one Mātrā is short, of two Mātrās is long and of three Mātrās is prolated (pluta). Uses of the frolated vowel 115. In remembering anything, in [expressing] indignation, in lamenting or in the reading of [the Vedas] by Brahmins, the prolated (pluta) vowels occur. 116. [Syllables concerned in these connexions] will be ‘ā’ in remembering, ‘ū’ in indignation, ‘hā’ in lamentation and ‘om’ in the reading of [the Vedas] by Brahmins. 117. Besides these, other syllables in a play (lit. poetical composition) should also be made short, Jong or prolated according to the Sentiment and the State [they express]. 118. The even and the uneven metres which have been described before should be used in composition with agreeable and soft sounds according to the meaning [intended]. 119. The playwright should make efforts to use in his dramatic composition sweet and agreeable words which can be recited by women. For, furnished with these (i.e. such words) a play will appear very much beautiful just as lotus-lake [will appear] adorned with swans. 120. The delicate dramatic art with harsh words, such as cekrīḍita[73], does not appear beautiful, just as a hetaera does not fit in with the company of Brahmins who carry the Ruru-skin,[74] are annointed with ghee, are clad in the skin of black antelopes[75] and have a rosary, (a Kamaṇḍalu) and a staff in hand. 121. A play abounding in agreeable sounds and senses, containing no obscure and difficult words, intelligible to country-people including clever speeches fit to be interpreted with (lit. fit for) dances, developing Sentiments by many [characters]8 and having suitable Segments (sandhi) and their [proper] union, becomes in this world fit for presentation to spectators. Here ends chapter XVII of Bharata’s Nāṭyaśāstra which treats of the Excellent Points of a good play in connexion with the Verbal Representation. Footnotes and references: [back to top] [1]: About the significance of the term lakṣaṇa, the commentators of the NŚ, are not at all unanimous. Ag. mentions no less than ten different views on the subject. Evidently some of these are far-fetched and off the mark. It seems that lakṣaṇa in this connexion is comparable to the same word occurring in the compound word mahāpuruṣa-lakṣaṇa (characteristic marks of a superman). According to one view this lakṣaṇa differs from the alaṃkāra (ornament) and the guṇa (qualities) of a person as figures of speech (alaṃkāra) and excellences (guṇa) of a composition differ from its characteristic marks (lakṣaṇa). The composition in this connexion is evidently a dramatic one though some of the commentators think otherwise. For a discussion on the position of lakṣaṇas in the history of the Alaṃkāra literature see S. K. De, Skt. Poetics, II. pp. 4-5; see also Ramakrishna Kavi, (B.II.pp. 348-349) and V. Raghavan’s paper on Lakṣaṇas in the Journal of Oriental Research, Vol. VI. pp. 70, 71, 81, 82. Mss. of the NŚ. fall into two distinct recensions as regards the text treating the thirty-six lakṣaṇas. According R. Kavi (loc. cit.) one recension followed by older commentators, and late writers like Viśvanātha, and Śiṅgabhūpāla, uses ślokas for defining lakṣaṇas. We have adopted this. The second recension (our 42ka-42ṣa) which seems to be later, has been followed by commentators like Kīrtidhara, Abhinavagupta and late writers like Dhanañjaya and others. This greatly varies from the first with which it has not more than seventeen names (of lakṣaṇas) in common, and among these, definitions of seven only are similar in both the recensions. (XVII, 6-8, 11, 17, 34, 37.), [2]: Kāvya in this connexion means the dṛśya-kāvya or dramatic composition. [3]: A close study of Ag’s. commentary on passages dealing with lakṣaṇas is liable to give one an impression that the exact meaning of some of the terms at least relating to this subject, has been to some extent lost, and various explanations have been partly based on guess. But in the absence of anything better we are to depend on them though very cautiously. Definitions of various lakṣaṇas are mostly not at all clear without examples which have been very liberally given by Ag. To avoid prolixity we refrain from quoting them here. Interested persons may see them in the Baroda ed. of the NŚ. (Vol. II. pp. 294ff.). As any old commentary to these (NŚ.) passages dealing with lakṣaṇas, has not come down to us, we used in this connexion the one prepared by M. Ramakrishna Kavi. See B. II. pp. 348ff. (Referred to as Kavi). [4]: Ag. reads this with a slight difference, cf. SD. 437. [5]: Cf. SD. 438. Ag’s text in trans. is as follows: When from the occurrence (lit, sight) of a single word good many unmentioned ones can be inferred (lit. accomplished) it is called Sample (udāharaṇa), B. XVI. 11. [6]: Cf. SD. 439. Ag. reads this definition as follows: “vahṛnāṃ bhāṣamānānāṃ tvekasyārthavinirṇayam | siddhopamānavacanaṃ heturityabhisaṃjñitam” (B.XVI. 14). Its meaning is not clear, Ag’s explanation does not seem to be convincing. [7]: Cf. SD. 440. [8]: Cf. SD. 341. Ag’s text (B. XVI. 25) in trans. is as follows: That a learned person discovers similarity [of anything] with something perceived by him earlier, is called Illustration (dṛṣṭānta). Cf. the figure of speech of this name in SD. 697. [9]: Cf. SD. 446, Ag. similar (B.XVI.32). [10]: SD, 445, Ag, reads this as a variant of yukti (B. XVI. 36) which in translation is as follows: The meaning which is made up only of many mutually compatible objects combining with one another, is called Combination (yukti). Cf. SD. 501. [11]: See SD, 444. Ag. reads this as a variant āśīḥ (B. XVI. 28). The meaning of this def. is not clear. Ag. offers no explanation of this, but gives an example which it is very difficult to fit in with the definition. Cf. SD. 471. [12]: Cf. SD. 453. Ag.’s text (B. XVI. 12) in trans. is as follows: Explanation (nirukta) is two kinds: factual and non-factual, [Of these] the factual [explanation] is that which is well-known (lit, accomplished before), and the non-factual is that which has not been so (lit, not accomplished). [13]: Cf. SD. 454. Ag. (B. XVI. 17) reads this with a slight variation. [14]: Cf. SD. 452, Ag. (B. XVI. 31) reads this as a variant of kṣamā which in translation is as follows: When one being hurt by harsh and provoking words utterred by a wicked person in the presence of good people, remains without anger, it is [an instance of] Forgiveness (kṣamā), [15]: Cf. SD. 450. Ag. reads this as a variant of guṇānuvāda (B. XVI. 13a) which is translation is as follows: Eulogy (guṇānuvāda) relates to inferior subjects compared with superior ones. [16]: Cf. SD. 451 Ag.’s reading (B. XV. 13b) in translation is as follows: When anything compares favourably with the best thing [to which it can be compared] it is [an instance of] Excellence (atiśaya). [17]: Cf. SD. 442. Ag. reads this is as a variant of the definition of ākranda (B.XVI. 19) which in translation is as follows: To say something very pointedly through suggesting one’s own idea by means of likening it to others’ actions, is called Exhortation (ākranda). Cf. SD. 472. [18]: Cf. SD. 443 Ag.’s reading (B. XVI. 18) in trans. is as follows: When anything is described as possessing different aspects by means of many words of similar import, it is [an instance of] Multiplex Predication (padoccaya) which puts together many objects. [19]: BC. dṛṣṭa for diṣṭa, Cf. SD. 448. Ag. reads this as a variant of sārūpya (B. XVI, 15) which is different from XVI. 35 [20]: Cf. SD. 449; Ag. reads this is as a variant of Argumentation (upa-patti). The def. (B. XVI. 35), in translation is as follows: When faults discovered are explained away as being otherwise, it is called Argumentation (upapatti) in connexion with drama. Cf. SD. 482. [21]: Cf. SD. 447. Ag.’s reading of the definition in translation is as follows: Deliberation (vicāra) is the critical examination of many things (B. XVI. 33). Ag. reads this as a variant of paścāttāpa, The def. in trans. is follows: Mental agony after doing something improper or failing to do what was proper is called Remorse (paścāttāpa). [22]: Cf. SD. 456. Ag. reads this as a variant of the def. of mithyâdhya - vasāya (B. XVI, 16) which in translation is as follows: When in place of a non-existent object one takes for certain something similar to it, it [become an instance of] Wrong Perception (mithyâdhyavasāya). [23]: Cf. dṛptādīnāṃ bhaved bhraṃśo vācyād anyatarād vacaḥ, SD. 455. Ag. reads this as a variant of the def. of priyavacana which in trans, is as follows: That which is apparently liable to provoke anger, but brings joy in the end and includes a blessing, is called Witty Compliment (priyavacana—priyokti), B. XVI, 29. [24]: Cf. SD. 458 Ag. reads this as a variant of the def. of Subservience anuvṛtti which in trans. is as follows: To follow with a purpose another person as a matter of courtesy, love or favour, is called Subservience (anuvṛtti), B.XV1. 34. Ag. reads this differently. Cf. SD. 494. [25]: Cf. SD. 439, Ag, (B. XVI. 26) reads this as a variant of the def. of bhāsana, which in trans. is as follows: When a statement with many agreements is made in many sentences for different purposes, it is called Shining (bhāsana). [26]: Cf. SD. 457. Ag. reads this as a variant of the def. of Clever Request (yācñā) which in translation is as follows: Words which are apparently liable to provoke anger, but bring joy in the end and turn favourable, are called Clever Request (yācñā) See B. XVI. 22 Cf. SD. 496. [27]: Cf. SD. 461, Ag. reads this as a variant of the def. of Deceit (kapaṭa-saṃghāta) B. XVI. 30) which in translation is as follows: Application of some stratagem for the deception or defeat of others, is called Deceit (kapaṭa). When two or three (stratagems) are applied together it becomes a Multiplex Deceit (kapaṭa-saṃghāta). Cf. SD, 473. [28]: Cf. SD. 460. Ag. reads this as a variant of the def. of Embellishment (kārya, B.XVI. 37) which in translation is as follows; When defects of an object are explained as merits or merits are derived from the defects it is [an instance of] Embellishment (kārya lit. action). [29]: Cf. SD. 463. Ag. reads this as a variant of the def. of Submission (anunīti, B.XVI, 38) which in translation is as follows: Sweet words which are uttered, to please one after forgiving one’s singular offence due to anger, is called submission (anunīti). See also under B.XVI. 21. [30]: Cf. abhyarthanāparair vākyair, SD. 462. Ag. (B. XVI. 24) reads this identically. [31]: Cf. SD. 464. Ag. reads this as a variant of the def. of Wounded Self-respect (abhimāna, B.XVI. 8) which in translation is as follows: When one is not pacified even when one is consoled by means of many words and acts, it is [an instance of] Wounded Self-respect (abhimāna). Cf, SD. 493. [32]: Cf. SD. 468. Ag. reads this in a substantially identical manner (B.XVI. 20). [33]: Cf. SD. 467, Ag, reads this as a variant of the def. of Obstruction (pratiṣedha B.XVI.23) which in translation is as follows: When one sets out to do something contrary to another’s desire and is opposed by clever persons (lit. those who know the business) it is called Obstruction (pratiṣedha). [34]: Cf. SD. 465, saṃkṣepo yat tu saṃkṣepād ātmanyarthe prayujyate. Ag. reads this as a variant of the def. of paridevana (parivādana of Bhoja, parivāda of Śāradātanaya, parivedana of Sarveśvara) See B.XVI.39 foot note (*). The meaning of its def. is not clear. [35]: Cf. SD. 466. Ag. reads this def. in translation as follows: When a proclamation of various qualities of a person takes place, but his faults are not given out, it is [called an instance of] Enumeration of Merits (guṇa-kīrtana). See B.XVI. 9. [36]: Cf. SD. 469. Ag. reads this as a variant of the def. paridevana etc, (see 38 note above). [37]: Cf. SD. 470. Ag. reads this differently. See above 27 note 1. [38]: (C.58; B.XVI. 56).1 (B.XVL57) and (C.57) give a second def. which does not appear in all mss. [39]: B. gives an additional def. (XVI. 54). [40]: The plain meaning is that the lakes were full of swans, the trees full of flowers, lotuses full of bees, and the parks and gardens full of friendly groups of people. [41]: For an old definition of Yamaka see Bhāmaha, II. 17. [42]: Bhāmaha mentions a fivefold division of Yamaka. See II. 9. He seems to have known the tenfold division of the NŚ., and is of opinion that his fivefold includes at least Sandaṣṭa and Samudga Yamakas. See II, 10. [43]: B. gives an additional def. (B. XVI.65). [44]: (C.70; B.XVI, 68).1 (C). This Yamaka occurs in Bhāmaha, II. 10, and Daṇḍin, III.53-54. [45]: B. has an additional definition (B.XVI.73) of Cakravāla Yamaka. [46]: This term occurs in Bhāmaha. II. 10, and Daṇḍin, III. 51-52. But the latter’s def. is different. [47]: The trans. is not very literal. [48]: Trans. followed Ag. [49]: Rahas means bed. Cf, Gk. lekhos. [50]: For a discussion of the faults in NŚ. see S. K. De, Skt. Poetics, II, pp. 19. [51]: An example of such a synonym is Ekādhīka-nava-vimāna for Daśasatha, Cf. Bhāmaha (I. 37.) seems to be using gūdhaśabdābhidbāna in an identical sense. See 1.45-46. S. K. De translates this term as “use of difficult expressions” (loc cit.) [52]: An example of such an expression is “cintāmoham anaṅgam aṅga tanute viprekṣitaṃ” The beautiful lady’s look injects (lit. spreads) indeed love as well as anxiety and insensibility. Here “anxiety and insensibility” are superfluous, for love includes these two states of the mind. [53]: An example of such an expression is “adyāpi smarasi (smarati) rasālasaṃ mano me mugdhāyāḥ smaracaturāṇi.”. To say that a mugdhā heroine can be smara-catura (expert in love) as well, is incoherent. (Ag.). [54]: The ex. of sāvaśeṣa is “sa mahātmā bhāgyavaśān mahāpatham upāgataḥ”. For mahātmā bhāgyavaśāt may be construed as rnahātmā abhāgyavaśāt and thereby its meaning may remain incomplete or undecided without a reference to the context (Ag.). [55]: Ag’s ex. is not clear. [56]: Ag’s ex. “bhadre bhajasva māmidaṃ te dāsyāmi.” [57]: An example of Tautology (ekārtha) is kundendu-hāra-hara-hāsa-sitam. White like a Kunda flower, the moon and the laughter of Śiva. Any one simile would have been enough. Each simile here serves the same purpose and hence Tautology has occurred (Ag.). See Bhāmaha, IV. 12. [58]: An example of this is “sa rājā gītikuśalaḥ saraḥ kumudaśobhitam | sarvapriyā vasantaśrīrgrīṣme”. Here all the four feet contain four complete sentences which are not connected with one another by sense. [59]: nyāyād-apetam=deśakāla-viruddhaṃ etc. (Ag.) ‘defying the limitation of place and time,’ Bhāmaha’s deśa-kāla-kalā-loka-nyāyāgamā-virodhitā (IV, 28ff) seems to be included in this. [60]: Such a fault occurred probably due to the Prakritic habit in Speech. [61]: Vāmana holds the opposite view (guṇaviparyayātmāno doṣaḥ II. 1.1.) and according to him Guṇas are positive entities (kāvya-śobhāyāḥ kartāro dharmā guṇāḥ, III, 1. 1). [62]: Bhāmaha, III. 1. 4., and Daṇḍin, 1. 41-94., have ten Guṇas and name them similarly. But their descriptions are different. Cf. De, Skt. Poetics, II. pp. 15ff, Nobel, Foundations, pp. 104ff. [63]: Cf. Vāmana, III. I. n; Daṇḍin I. 43-44, BC. give another description (C. 98, B.XVI. 98) of this Guṇa, which in translation is as follows: A [composition] which is, imbued with deep logic but from its nature is [very] plain and is very well-knit-together is called Compact (śliṣṭa). [64]: Cf. Vāmana III. 1. 6; Daṇḍin I. 45. [65]: Cf. Vāmana III. 1. 12; Daṇḍin I-47-50. (B. XVI. 100) and C. (100 f.n) gives an additional description of this Guṇa which in translation is as follows: When a composition does not contain too many uncompounded words, redundant expressions and words difficult to understand it is [an instance of] Smoothness (samatā). [66]: Cf. Vāmana, III. 1. 13; Daṇḍin I. 93-94. B. (XVI. 102) and C (101 f.n) gives an additional description of samādhi, which in translation is as follows: Possessing some special sense which the men of genius can find out in a composition (lit. here) is called Concentration (samādhi). [67]: Cf, Vāmana III. 1. 11-21; Daṇḍin I. 51-53. [68]: Cf. Vāmana III. 1. 5; Daṇdin I. 80-85. B. (XVI, 106) and C. (103) gives a second definition of this Guṇa which in translation is as follows: When a composition consists of a use of many and varied compound words exalted [in sense] and agreeable [in sound] it is [an instance of] Grandeur (ojaḥ). [69]: Cf. Vāmana III. 1. 22; Daṇdin calls this sukumāratā. [70]: and C. (105). gives a second definition of this Guṇa, which in translation is as follows: It any subject (lit. action) relating to the [common] events occurring in the world gets expressed by means of well-known predicates, it becomes [an instance of] Directness of Expression (arthavyakti). [71]: Cf. Vāmana, III, 1. 23; Daṇḍin, I. 76-78. B. (XVI. III.) and C (106) give along with this a definition of the Guṇa named udāra. In translation it is as follows: When in a composition superhuman characters are described in relation to the Erotic and the Marvellous Sentiments and the various States, it is [an instance of] Exaltedness (udātta). [72]: Cf. Vāmana, III. 1. 25; Daṇḍin, I. 85-88. C (107), gives an additional definition of this Guṇa, which in translation is as follows: That which [in a composition ] while describing the sportive movement of [a character) delights the ear and the mind fust as the moon [ pleases us] is (an instance of) Loveliness (kānti). [73]: The word cekrīḍayatāṃ occurs in the Avi. (III.18) ascribed to Bhāsa. (See A.D. Pusalker, Bhāsa, Lahore, 1940, p. 131). [74]: As the upper garment (uttarīya). [75]: As the lower garment. 30 April, 2017 --> Last Updated: 15 July, 2017 $(function(){ if($(document).height() > $(window).height()){ $('.book.chapter').append('^ back to top ^') $('section.back > a').click(function(){ $(window).scrollTop(0); }); } }); /** * Derivation list */ /*$('a.deriv-link').click(function(){ $(this).closest('.words-group').find('.deriv-list').toggleClass('d-none'); });*/ ====================================================================== Chapter XVIII - Rules on the use of Languages ====================================================================== --> Natyashastra (English) by Bharata-muni | 1951 | 240,273 words | ISBN-13: 9789385005831 Hinduism Natyashastra Buy now! The English translation of the Natyashastra, a Sanskrit work on drama, performing arts, theater, dance, music and various other topics. The word natyashastra also refers to a global category of literature encompassing this ancient Indian tradition of dramatic performance. The authorship of this work dates back to as far as at least the 1st millenn... Go directly to: Footnotes. Chapter XVIII - Rules on the use of Languages (bhāṣā) < Previous (index) Next > Prakritic Recitation 1.[1] Thus I have spoken in brief[2] of the Sanskritic Recitation. Now I shall speak of the characteristics of the Prakritic Recitation. 2. The former (lit. this) [when] changed and devoid of the quality of polish, is called the Prakritic Recitation, and it has as its chief feature changes due to different conditions.[3] Three kinds of Prakrit Recitation 3. In connexion with the dramatic representation, it (the Prakrit recitation) is of three[4] kinds, viz, that with the same words [as in Sanskrit] (samāna-śabda), that with corrupt (vibhraṣṭa) words and that with words of indigenous origin (deśī). 4. A sentence containing words like kamala, amala, reṇu, taraṅga, lola, salila and the like are used in the Prakrit composition [in the same manner] as in Sanskrit.[5] 5.[6] Sounds which change their combined form or vowels, or sustain loss and that often in the middle of a word are corrupt (vibhraṣṭa). Vowels and simple consonants 6. Sounds following e and o (i.e., ai and au) and the Anusvāra [in the alphabet] do not occur in Prakrit. And such is the case with sounds between va and sa (i.e., śa and ṣa) and the final sounds in the ka, ca and ta groups (i.e., ṅa, ña, na).[7] 7.[8] Ka, ga, ta, da, ya, and va are dropped [in Prakrit] and the meaning is carried by the [remaining] vowels, and kha, gha, tha, dha and bha become ha without giving up the meaning of the word. 8. In Prakrit ra does neither precede nor follow [a Consonantal sound] except in cases of bhadra, vodra, hrada, candra and the like.[9] 9. Kha, gha, tha, dha and bha always become ha in words such as mukha, megha, kathā and vadhu prabhūta.[10] And as for ka, ga, ta, da, ya[11] and va, the vowel[12] following them always represents them. 10. Ṣa it should be known, always become cha in words such as ṣaṭpada.[13] The final syllable of kila should be ra and the word khalu should become khu. 11. Ṭa becomes ḍa in words such as bhaṭa, kuṭi, and taṭa, and śa and ṣa always become sa, e.g. viṣa (visa) and saṃkā (śaṅkā). 12. In words such as itara and the like, ta standing not in the beginning of a word becomes an indistinctly pronounced da.[14] Ḍa in words such as vaḍavā and taḍāga becomes la. 13. Dha in words such as vadha and mādhū (madhu?) become dha, and na becomes ṇa everywhere in pronunciation. 14. Pa [in it] changing into va, āpāna becomes āvāṇa. And except in case of words like yathā and tathā, tha becomes dha. 15. One is to know paruṣa as pharusa, for fa becomes pha [in it], and mṛga will be changed to mao while mṛta will also be mao.[15] 16. Au employed in words like auṣadha etc. will change to o, and ca in words such as pracaya, acira and acala etc. will change into ya.[16] 17. Thus [change] the sounds in Prakrit when they are not mutually connected (i.e. they are simple). Now I shall describe the change of conjunct sounds. Conjunct consonants 18. Śca, psa, tsa and thya change into (c)cba, bhya, hya and dhya into (j)jha, ṣṭa into ṭṭha, sta into ttha, sma into mha, kṣṇa and ṣṇa into ṇha, and kṣa into (k)kha. 19. Āścarya will be acchariya and niścaya nicchaya, utsāha ucchāha and pathya, paccha.[17] 20. Tubhyam becomes tujjhaṃ, mahyam majjhaṃ, vindhya viṃjha, daṣṭa daṭṭha and hasta hattha. 21. Grīṣma becomes gimha, ślakṣna saṇha, uṣṇa uṇha; jakṣa jakkha, and paryaṅkā pallaṃka. 22. There is metathesis in the group hma occurring in words such as brahman etc., and in bṛhaspati [the group spa ] becomes pha, yajña becomes jaṇṇa, bhīṣma bhimha. 23. Ka and similar other letters (sound) while on the top of another letter (sound) will have to be disjointed in their pronunciation.[18] 24.[19] Thus are to be learnt the pronunciations of Prakrit and Sanskrit. I shall discuss hereafter the classification of regional languages (deśa-bhāsa). 25. The [languages] to be used in drama are of four types in which Recitation should be either of the refined (saṃskṛta) or of the vulgar (prākṛta) kind. Four types of language 26. The Super-human Language (atibhāṣā), the Noble Language (ārya-bhāṣā)[20] the Common Language (jāti-bhāṣā) and the Language of Other Animals (yonyantarī bhāṣā)[21] are the [four] languages occurring in plays. The Superhuman and the Noble Languages 27. The Super-human Language is for the gods, and the Noble language for the kings.[22] These have the quality of refinement (saṃṣkāra) and are current oyer the seven great divisions[23] (dvīpa) of the world. The Common Language 28. The Common Language prescribed for use [on the stage] has various forms. It contains [many] words of Barbarian (mleccha) origin and is spoken in Bhārata-varṣa [only].[24] The Animal Language 29. The Language of Other Animals[25] have their origin in animals domestic or wild, and in birds of various species, and it follows the Conventional Practice. Two kinds of Recitation 30. The Recitation in the Common language which relates to the four castes, is of two kinds, viz, vulgar (prākṛta) and refined (saṃskṛta). Occasion for Sanskrit Recitation 31. In case of the self-controlled (dhīra) Heroes of the vehement (uddhata), the light-hearted (lalita), the exalted (udātta), and the calm (praśānta) types, the Recitation should be in Sanskrit. Occasion for Prakrit Recitation 32. Heroes of all these classes are to use Prakrit when the occasion demands that.[26] 33. In case of even a superior person intoxicated with the kingship (or wealth) or overwhelmed with poverty no Sanskrit should be used.[27] 34. To persons in disguise,[28] Jain monks,[29] ascetics,[30] religious mendicants[31] and jugglers should be assigned the Prakrit Recitation. 35.[32] Similarly Prakrit should be assigned to children, persons possessed of spirits of lower order, women in feminine character[33] persons of low birth, lunatics and phallus-worshippers.[34] Exception to the rule for Prakrit Recitation 36. But to itinerent recluses,[35] sages,[36] Buddhists,[37] pure Śrotriyas[38] and others who have received instruction [in the Vedas] and wear costumes suitable to their position (liṅgastha)[39] should be assigned Sanskritic Recitation. 37. Sanskrit Recitation is to be assigned to queens, courtezans,[40] female artistes to suit special times and situations in which they may speak. 38-39. As matters relating to the peace and war may occur in course of a talk and the movements of planets and stars and cries of birds concerning the well-being or distress of the king are to be known by the queen, she is to be assigned Sanskritic Recitation in connexion with these (lit. in that time).[41] 40. For the pleasure of all kinds of people, and in connexion with the practice of arts, the courtezans are to be assigned Sanskritic Recitation which can be easily managed. 41. For learning the practice of arts and for amusing the king the female artiste has been prescribed to use Sanskrit recitation in dramatic works.[42] 42. The pure speech of Apsarasas[43] is that which has been sanctioned by the tradition (i.e. Sanskrit), because of their association with the gods; the popular usage conforms to this [rule]. 43. One may however at one’s pleasure assign Prakritic Recitation to Apsarasas [while they move] on the earth. [But to the Apsarasas in the role of] the wife of a mortal also [the same] should be assigned when an occasion (lit. reasons and need) will occur.[44] 44. In the production of a play their [native] language should not be assigned to tribes such as, Barbaras, Kitātas, Andhras and Dramiḍas.[45] 45. To pure tribes of these names, should be assigned dialects current in Śūrasena. 46. The producer of plays may however at their option use local dialects for plays may be written in different regions [for local production]. Seven major dialects 47. The Seven [major] dialects (bhāṣā) are as follows: Māgadhī, Āvantī [Avantijā], Prācyā, Śaurasenī (Śūrasenī), Ardhamāgadhī, Bāhlīkā, Dākṣiṇātyā.[46] 48. In the dramatic composition there are, besides, many less important dialects (vibhāṣā)[47] such as the speeches of the Śakāra, Ābhīras, Caṇḍālas, Śabaras, Dramiḍas,[48] Oḍras, and the lowly speech of the foresters. Uses of major dialects 49. [Of these] Māgadhī is assigned to guards (lit. inmates) of the royal harem,[49] and Ardhamāgadhī to menials, princes and leaders of bankers’ guilds.[50] 50. Prācyā is the language of the Jester[51] and the like; and Āvantī is of gallant crooks (dhūrta).[52] The Heroines, and their female friends are also to speak Śaurasenī without in any exception. 51. To soldiers, gamesters, police chief of the city and the like should be assigned Dākṣiṇātyā,[53] and Bāhlikī is the native speech of the Khasas who belong to the north. Uses of minor dialects 52. Śākārī should be assigned to the Śakāra and the Śakas and other groups of the same nature,[54] and Cāṇḍālī to the Pulkasas and the like.[55] 53. To charcoal-makers, hunters and those who earn their livelihood by [collecting] wood and leaves should be assigned Śābari[56][57] as well as the speech of forest-dwellers. 54. For those who live in places where elephants, horses, goats, sheep, camels or cows are kept [in large numbers] Ābhīrī[58] or Śābarī[59] has been prescribed, and for forest-dwellers and the like, Drāviḍī[60] [is the language]. 55. Oḍri is to be assigned to diggers of subterranean passages, prison-warders, grooms for horses;[61] and Heroes and others like them while in difficulty are also to use Māgadhī for self-protection. Distinguishing features of various local dialects 56.[62] To the regions [of India] that lie between the Ganges and the sea, should be applied a dialect abounding in e[63]. 57. To the regions that lie between the Vindhyas and the sea should be assigned a language abounding in na[64] (or ta). 58. Regions like Surāṣṭra and Avanti lying on the north of the Vetravatī one should assign a language abounding ca[65]. 59. To people who live in the Himalayas, Sindhu and Sauvīra a language abounding in u should be assigned.[66] 60. To those who live on the bank of the Carmaṇvatī river and around the Arvuda mountain a language abounding in o[67] (or ta) should be assigned. 61. These are the rules regarding the assignment of dialects in plays. Whatever has been omitted [here] should be gathered by the wise from the popular usage. Here ends Chapter XVIII of Bharata’s Nāṭyaśāstra, which treats of the Rules regarding the Use of Languages. Footnotes and references: [back to top] [1]: For an English translation (with the text and notes) of XVIII, 1-24, see M. Ghosh, “Date of the Bharata-Nāṭyaśāstra,” JDL, Vol. XXV. (1933). For a French translation (together with the romanised text) of this chapter see L. Nitti-Dolci, Les Grammairiens Prakrits, 1938, pp. 64-76. [2]: samāsataḥ (C. dvijottamāḥ). [3]: Cf. Nitti-Dolci, p. 70. [4]: Later Prakrit Grammarians called the above three classes of words tatsama, tadbhava and deśī respectively. [5]: B. reads one additional hemistich (4a) before this. Cf. Nitti-Dolci, p. 20. [6]: Cf. Nitti-Dolci, p. 70. [7]: This together with three following couplets are written not in Sanskrit but in Prakrit. Hence they should be taken as an interpolation. The first of these occurs as a quotation (without the author’s name) in a late work on metrics edited by M.H.D. Velankar (Annals of the Bhandarkar Inst. XIV. 1932-33, pp. 1-38, citation of Nitti-Dolci, p. 71). [8]: Nitti-Dolci and B. reads padra for draha. See the chāyā in B, and Ag., and also PSM. for the Prakrit words. Cf. Nitti-Dolci, p. 71. [9]: See the chāyā in B., and Ag. and also PSM. for the Prakrit words. Cf. Nitti-Dolci, p. 71. [10]: Evidently the hard aspirates in case of other words did not change. Ag’s, example of such words are kheṭa, parigha, atha. This speaks of the high antiquity of the Prakrit of the NŚ, though not of these rules written in Pkt. [11]: The non-aspirate consonants mentioned here are to be understood as devoid of the inherent vowel ‘a’. [12]: The word saro (= svaraḥ) here means “vowel” and not “sound”. Cf. Nitti-Dolci p. 71. [13]: Ag. is silent about this ṣaṭpadādi gaṇa. [14]: This indistinctly pronounced da is perhaps a spirantised da. Ag. thinks that it is somewhat like a la. [15]: The word maa (mayo) from mṛta as well as mṛga had its spirantised da reduced to ya-śruti which however was not shown in writing during the early days of this phonetic change (See IHQ. VIII. 1933, suppl. p. 14-15). [16]: This ya-śruti for ca did not probably at once lead to its graphic elimination. [17]: B. reads one additional hemistich between 19a and 19b. [18]: This probably relates to svarabhakti (anaptyxis). Kilesa (kleśa), radana (ratna) and duvāra (dvāra) may be examples of this. [19]: Cf. Nitti-Dolci. p. 73- [20]: Some commentators think that ārya-bhāṣā means a language in which Vedic words preponderate (Ag.). [21]: C. reads jātyantarī for yonyantarī. [22]: The atibhāṣā and āryabhāṣā are possibly the dialects of the pure Indo-Aryan speech. It should be noted that “saṃskṛta” (Sanskrit) as the name of a language is absent here. Bhoja takes ati -, ārya- and jāti - bhāṣas respectively as śrauta (Vedic), ārṣa (Purāṇic) and laukika (literary) speeches. See Śr. Pr. ed, V. Raghavan pp, 191ff. [23]: This may be said to show that Sanskrit was used all over the civilized world at the time of the NŚ. [24]: The common speech or the speech of the commoners is distinguished here from that of the priests and the nobility by describing it as containing words of Barbarian (mleccha) origin. These words seem to have been none other than vocables of the Dravidian and the Austric languages. They entered into Indo-Aryan quite early in its history. See S. K, Chatterji, Origin and Development of the Bengali Language, Calcutta, 1926. pp. 42, 178. [25]: Neither the NŚ. nor any extant drama gives us any specimen of the conventional language of lower animals, which is to be used in the stage. [26]: As Arjuna disguised as Bṛhannalā. [27]: No extant drama seems to furnish any illustration of this rule. B. reads one additional hemistich before this. [28]: vyājaliṅgapraviṣṭānām = persons in disguise of different kinds of professional and religious mendicants etc. See Kauṭilya’s Arthaśāstra. An example of this is Indra in the guise of a Brahmin speaking Prakrit in Karṇa, ascribed to Bhāsa. Nitti-Dolci takes this expression as an adjective of śramaṇāṇāṃ etc. But it need not be construed like this. This part of the rule seems to relate to Skt.-speaking characters assuming disguise. Virādhagupta (Mudrā. II.) assuming the guise of a snake-charmer, is an example of such characters. And so are Yaugandharāyaṇa and Rumaṇvān in the Pratijñā, (III) ascribed to Bhāsa. [29]: Śramaṇa (Prakrit samaṇa). The word is to be taken to mean here a Jain monk. See Jadi vattbam avaṇemi samaṇao homi, Avi. (V.) ascribed to Bhāsa; śramana was sometimes used also in connexion with the Buddhists. See below 36. [30]: tapasvin.—It appears that the author of the NŚ. meant by this term ascetics in general. Though we find Brahmin ascetics in ancient literature, the institution of asceticism was most probably of non-Aryan origin. This seems to be the justification of assigning Prakritic Recitation to all the ascetics irrespective of their sectarian affiliation. [31]: bhikṣu.—religious mendicant in general. It should not be restricted to Buddhists alone. The alternative name of the Brahma-sūtra is the Bhikṣu-sūtra. [32]: B.’s reading in translation is as follows: Similarly Prakrit should be assigned to Śaiva teachers, lunatics, children, persons possessed of spirits of lower order, women, persons of low birth and hermaphrodites (B.XVII.37). [33]: In a queen’s role a woman may sometimes speak Sanskrit See 38-39 below. The parivrājikā in the Mālavi. speaks Sanskrit. [34]: saliṅga.—This possibly means the member of a sect which like the Liṅgā-yets wears a phallus suspended from their neck. [35]: (C.34b-35a; B.XVII.38).1 parivrāj—a person of the fourth āśrama. A recluse belonging to the Vedic community. [36]: muni.—This word, probably of non-Indo-Aryan origin meant in all likelihood “wise man.” See NŚ. I.23 note 1. In the ancient world, wisdom was usually associated with religious and spiritual elevation. This might have been the reason why the word was applied to persons like Vaśiṣṭha and Nārada etc. [37]: śākya.—a follower of the Buddha. There is nothing very astonishing in Sanskrit being assigned to Buddhist monks. Buddhist teachers like Aśvaghoṣa, Nāgārjuna, Āryadeva, Vasubandhu were the all very great Sanskritists, and the Mahāyāna literature was written in the Sanskrit of corrupt as well as of pure variety. This might have been the general linguistic condition before the schism arose among the Buddhists. In Aśvaghoṣa’s Śāriputra-parakaraṇa Buddha and his disciples speak Sanskrit (Keith, Sanskrit Drama p.82). Aśvaghoṣa assigns Sanskrit to a śramaṇa as well (loc. cit). This śramaṇa was possibly a Buddhist; see 34 f.n. [38]: caukṣeṣu (caikṣeṣu, C.) śrotriyeṣu—for the pure śrotriya or a learned Brahmin. The adjective “pure” (caukṣa) used with śrotriya is possibly to separate him from an apostate who might have entered into Jain or any other heterodox fold and was at liberty to use Prakrit. Ag. takes caukṣesu (his cokṣeṣu) as a noun. [39]: śiṣṭāḥ liṅgasthāḥ—religious mendicants who have received instruction (in Vedas). [40]: An example of this is Vasantasenā speaking Sanskrit (Mṛcch. IV.). [41]: This not very clear rule cannot be illustrated by any extant drama. [42]: This is possibly no example of this in any extant drama. [43]: No play with an Apsaras speaking Sanskrit is available. All the Apsarasas in Vikram, speak Prakrit. [44]: Urvaśī is an example of an Apsaras who became the wife of a mortal. (Vikram). [45]: See XXIII. 99 notes. [46]: Māgadhī, Śaurasenī and Ardhamāgādhī are well-known. But any old and authentic description of Āvantī, Prācyā, Bāhlīkā and Dākṣiṇātyā Prakrit seems to be non-existent. According to Pṛthvīdhara, a very late authority Mṛcch. contains the specimens of Āvantī and Prācyā only. It is to be noted that the present list does not include Mahārāṣṭrī. See M. Ghosh. “Mahārāṣṭrī, a late phase of Śauraseni,” JDL. XXIII [47]: By the word vibhāṣā Pṛthvīdhara understands vididhā bhāṣā hīna - pātra-prayojyatvād hīnāḥ. See Pischel, Grammatik, §§ 3-5. No old and authentic specimen of the vibhāṣās has reached us. According to Pṛthvīdhara the Mṛcch. contains Śākārī and Cāṇḍālī besides Ḍhakkī which last the NŚ. does not know. [48]: It is curious that after forbidding the use of languages like Dramiḍa (Dramila) in 44 above, the author is including it among the dialects that can be allowed in dramatic works. One possible explanation of this anomaly may be that here we meet with a late interpolation, and passages from 48-61 belong to a later stratum of the text. [49]: For a list of such persons see DR. II.74. [50]: According to Pischel this passage assigns AMg. to servants, Rajputs (rājaputra) and leaders of bankers’ guild (śreṣṭhī). See Grammatik § 17. But no extant drama seems to illustrate this rule. For Candanadāsa who is a śreṣṭhī, does not speak AMg. (Mudrā, I) while Indra in the disguise of a Brahmin speaks this dialect of Prakrit (Karṇa, ascribed to Bhāṣa). [51]: According to Pṛthvīdhara Vidūṣaka in the Mṛcch. speaks Prācyā the sole characteristic of which is abundance of pleonastic ka. See Pischel, Grammatik, § 22. [52]: According to Pṛthvīdhara the two policemen Vīraka and Candanaka in the Mṛcch. (Vā.) speak Āvantī. But according to the latter’s own admission he was a Southerner and a man of Karṇāta. No old and authentic description of this dialect is available. See Pischel, Grammatik § 26. [53]: Candanaka’s language in Mṛcch. in spite of Pṛthvīdhara’s testimony to the contrary may be taken as a specimen of Dākṣinātyā. See 50 note 2 above. No old and authentic description of this dialect is available. Cf. Pischel, Grammatik § 24. [54]: According to Pṛthvīdhara, Śakāra in Mṛcch. speaks Śākārī dialect. Cf. Pischel, Grammatik, § 24. [55]: Pṛthvīdhara thinks that Caṇḍālas in Mṛcch (V.) speak the Cāṇḍali dialect. Cf. Pischel, Grammatik, § 25. [56]: This dialect seems to have been the parent of the modern Sora language. [57]: See 54 note 3. [58]: Ābhīrī dialect is not available in any extant drama. [59]: See 53 note 1. [60]: Drāvidī dialect is not available in any extant drama. It is possible that it was not a pure Dravidian speech (See 44 above). Possibly a Middle Indo-Aryan dialect in which Dravidian phonetic and lexical influence predominated was meant by this. Its habitat was in all likelihood some region of North India. Cf. Nitti-Dolci, p. 120-122. [61]: For Oḍri Prakrit see 48 note 3. and Nitti-Dolci, pp. 120 f.n. 4 and 122. [62]: B. again reads 44 after 55. [63]: This “e” is perhaps termination of the nominative singular the a -bases in Mg. and AMg. [64]: This relates to a dialeet of Prakrit which does not change na always into ṇa. Though according to some grammarians Prakrit is always to change na into ṇa, it seems that such was not strictly the case with all its dialects. For example in the so-called Jain Prakrit (AMg. of Hemacandra) has initial n and in ter vocal nn. [65]: It seems that at the time of the author of the passage intervocal ca in this particular region was yet maintained or dental t sounds were mostly changed into c sound (as in ciṭṭha for tiṣṭha), [66]: This u perhaps relates to a close pronunciation of the o vowel. [67]: This o perhaps relates to an open pronunciation of the u vowel. 01 May, 2017 --> Last Updated: 26 July, 2017 $(function(){ if($(document).height() > $(window).height()){ $('.book.chapter').append('^ back to top ^') $('section.back > a').click(function(){ $(window).scrollTop(0); }); } }); /** * Derivation list */ /*$('a.deriv-link').click(function(){ $(this).closest('.words-group').find('.deriv-list').toggleClass('d-none'); });*/ ====================================================================== Chapter XIX - Modes of Address and Intonation ====================================================================== --> Natyashastra (English) by Bharata-muni | 1951 | 240,273 words | ISBN-13: 9789385005831 Hinduism Natyashastra Buy now! The English translation of the Natyashastra, a Sanskrit work on drama, performing arts, theater, dance, music and various other topics. The word natyashastra also refers to a global category of literature encompassing this ancient Indian tradition of dramatic performance. The authorship of this work dates back to as far as at least the 1st millenn... Go directly to: Footnotes. Chapter XIX - Modes of Address (nāman) and Intonation (kāku) < Previous (index) Next > Different modes of address 1-2. These are, O the best of Brahmins, the rules on the use of languages [in a drama]. Now listen about the rules of popular modes of address[1] or the manner in which persons of equal, superior or inferior status in a play are to be addressed by those of the superior, the medium or the inferior class.[2] Modes of addressing males: addressing great sages 3. As the great sages are adorable (lit. god) even to the gods they are to be addressed as “holy one” (bhagavan)[3] and their wives are also to be similarly addressed.[4] Addressing gods, sectarian teachers and learned men 4. Gods,[5] persons wearing sectarian teacher’s dress[6], and persons observing varied vows[7] are to be addressed as “holy one” (bhagavan)[8] by men as well as women. 5. The Brahmin is to be addressed as “noble one” (ārya),[8] Addressing the king And the king [is to be addressed] as “great king” (mahārāja).[9] Addressing the teacher The teacher [is to be addressed] as “professor” (ācārya).[10] Addressing an old man And an old man [is to be addressed] as “father” (tāta).[11] Brahmins addressing the king 6.[12] Brahmins may address the kings at their pleasure, by their names. This should be tolerated, for the Brahmins are to be adored by the kings. Brahmins addressing ministers 7. A minister is to be addressed by Brahmins as “Councillor” (amātya) or “minister” (saciva),[13] and by other persons, inferior to them (i.e. Brahmins) he [is] always [to be addressed] as “sir” (ārya).[14] Addressing the equals 8. One is to accost one’s equals by the name with which they are styled.[15] Privileged inferiors addressing superiors A superior person may however be addressed (or referred to) by name by inferior persons when the latter are privileged to do so.[16] Addressing employees, artisans and artists 9. Men and women in one’s employment,[17] and artisans and artists[18] are to be addressed as such (i.e. according to their status).[19] Addressing persons of respect 10. A respected person is to be addressed as ‘honoured sir’ (bhāva), and a person slightly less so, as “comrade (mārsaka or mārṣa).[20] Addressing persons of equal status A person of equal status should be addressed as ‘brother” (vayasya)[21] and a low person as ‘hey man’ (haṃ-ho)[22] The charioteer addressing the chariot-rider 11. The chariot-rider should always be addressed by the charioteer as “long-lived one” (āyuṣman).[23] Addressing an ascetic or a person with beatitude An ascetic or a person who has attained beatitude (praśānta) is to be addressed as “blessed one” (sādho).[24] Addressing princes 12. The crown-prince is to be addressed as “sire” (svāmin),[25] and other princes as “young master” (bhartṛ-dāraka).[26] Addressing inferior persons Inferior persons are to be addressed as “pleasing one” (śaumya),[27] “auspicious-looking one” (bhadra-mukha)[28] and such terms should be preceded by ‘O’ (he). Addressing persons by their occupation or birth 13. In a play a person is to be addressed by a term appropriate to his birth or to the vocation, art or learning practised by him.[29] Addressing a son or a disciple 14. A disciple or a son is to be addressed by the guru or the father as “child” (vatsa)[30], “son” (putraka),[31] “father” (tāta)[32] or by his own name or clan-name (gotra).[33] 15. Buddhist and Jain (nirgrantha) monks are to be addressed as “blessed sir’ (bhadanta).[34] Addressing persons of other sects Persons of other sects[35] are to be addressed by terms enjoined by their own rules.[36] People addressing the king 16. The king is to be addressed by his servants as well as his subjects as “lord” (deva),[37] but when he is an overlord [of other kings] he is always [to be addressed] by his servants as “sire” (bhaṭṭā).[38] Sages addressing the king 17-18. The king is to be addressed by sages (ṛṣi) as “king” (rājan)[39] or by the patronymic term.[40] A Jester addressing the king And he should be addressed as “friend” (vayasya)[41] or “king” (rājan)[42] by the Jester. A Jester addressing the queen and her maids The queen and her maids are to be addressed by him as “lady” (bhavati).[43] A king addressing the Jester The Jester is to be addressed by the king by his name or as “friend” (vayasya).[44] Women addressing their husband 19. By all women in their youth the husband should be addressed as a “noble one’s son” (ārya-putra)[45] but in other cases, the husband is to be addressed simply as “noble one” (ārya),[46] and in case of his being a king he may be addressed as “great king” (mahārāja)[47] also. Addressing the elder and the younger brothers 20. The elder brother should be addressed as “noble one” (ārya)[48] and the younger brother like one’s son.[49] These are the modes of address to be used to male-characters in a play. Modes of addressing women 21. I shall now speak of the modes of address to be used to female characters in a play. Addressing female ascetics and goddesses Female ascetics and goddesses are to be addressed as “holy lady” (bhagavati).[50] Addressing wives of senior persons, and elderly ladies 22. Wives of respectable seniors, and of king’s officers (sthānīyā) are to be addressed as “lady” (bhavati).[51] Addressing an accessible woman and an old lady An accessible woman (gamyā)[52] is to be addressed as “gentle-woman” (bhadre)[53] and an old lady as “mother” (amba).[54] Addressing a king’s wives 23. In a play king’s wives are to be addressed by their servants and attendants as “mistress’ (bhaṭṭini), “madam” (svāmini)[55] and “lady” (devi).[56] 24. [Of these], the term “lady” (devi)[57] should be applied to the chief queen (mahiṣī) by her servants as well as by the king. The remaining [wives of the king] may be addressed [simply] as “madam” (svāmini).[58] Addressing unmarried princesses 25. Unmarried princesses are to be addressed by their handmaids as “young mistress” (bhartṛ-dārikā).[59] Addressing a sister An elder sister is to be addressed as “sister” (bhagini)[60] and an younger sister as “child” (vatse).[61] Addressing a Brahmin lady, a nun or a female ascetic 26. A Brahmin lady, a nun (liṅgasthā) or a female ascetic (vratinī) is to be addressed as “noble lady” (ārye).[62] Addressing one’s wife A wife is to be addressed as “noble lady” (ārye)[63] or by referring to her father’s[64] or son’s[65] name. Women addressing their equals 27. Women friends among their equals are to be accosted by one another with the word “hallo” (halā).[66] Addressing a handmaid By a superior woman a handmaid (preṣyā) is to be accosted with the word “hey child” (haṃ-je).[67] Addressing a courtezan 28. A courtezan is to be addressed by her attendants as Ajjukā,[68] and when she is an old woman she is to be addressed by other characters in a play as Attā.[69] Addressing wife in love-making 29. In love-making the wife may be accosted as “my dear” (priye)[70] by all except the king. But priests’ and merchants’ wives are always to be addressed as “noble lady” (ārye).[71] Giving names to different characters in a play 30. The playwrights should always assign significant names [to characters] which are not well-known and which have been created [by them].[72] Name of Brahmins and Kṣatriyas 31. Of these, Brahmins and Kṣatriyas in a play should, be given, according to their clan or profession, names ending in śarman or varman.[73] Naming merchants and warriors 32. The names of merchants[74] should end in datta.[75] To warriors should be given names indicating much valour.[76] Naming kings wives, and courtezans 33. The king’s wives should be given names [which are connected] with the idea of victory (vijaya).[77] Names of courtezans should end in dattā,[78] mitrā[79] and senā.[80] Naming band-maids and menials 34. In a play hand maids should be given the names of various flowers.[81] Names of menials should bear the meaning of auspiciousness.[82] Naming superior persons 35. To superior persons should be given names of deep significance so that their deeds may be in harmony with such names.[83] Naming other persons 36. The rest of persons[84] should be given names suitable to their birth and profession. Names [that are to be given] to men and women [in a play] have been properly described [by me]. 37a. Names in a play should always be made in this manner by the playwright. 37-38. After knowing exhaustively everything about the rules of language in a drama, one should practise Recitation which is to have six Alaṃkāras. Qualities of Recitation I shall now describe the qualities of Recitation. In it there are seven notes, three voice-registers, four Varṇas (lit. manner of uttering notes), two ways of intonation (kāku), six Alaṃkāras and six limbs (aṅga). I shall now explain their characteristics. The seven notes are: Ṣaḍja, Ṛṣabha, Gāndhāra, Madhyama, Pañcama, Dhaivata and Niṣāda. These are to be used in different Sentiments. Seven notes to suit different Sentiments 38-40. In the Comic and the Erotic Sentiments the notes should be made Madhyama and Pañcama. Similarly in the Heroic, the Furious and the Marvellous Sentiments they should be made Ṣaḍja, and Ṛṣabha. In the Pathetic Sentiment the notes should be Gāndhāra and Niṣāda, and in the Odious and the Terrible Sentiments they should be Dhaivata. Uses of the three voice-registers There are three voice-registers: the chest (uras) the throat and the head. 40-41. In the human body as well as in the Vīṇā notes and their pitches proceed from the three registers: the chest, the throat and the head. 41-42. In calling one who is at a distance, notes proceeding from the head register should be used; but, for calling one who is not at a great distance, notes from the throat register is to be used, while for a person who is by one’s side, notes from the chest [will be proper]. 42-43. At the time of Recitation, a sentence begun with notes from the chest should be raised to notes of the head register, and at its close it should be brought down to notes of the throat. Uses of the four accents 43. In Recitation the four accents will be: acute (udātta), grave (anudātta), circumflex (svarita) and quivering (kampita). Recitation in circumflex and acute accents is suitable to the Comic and the Erotic Sentiments, acute and quivering accent is suitable to the Heroic, the Furious and the Marvellous Sentiments, while grave, circumflex and quivering accents are appropriate to the Pathetic, the Odious and the Terrible Sentiments. Two ways of intonation There are two ways of intonation, e.g. one entailing expectation (sākāṅkṣa) and another entailing no expectation (nirākāṅkṣa). These relate to the sentence uttered. 44. A sentence which has not completely expressed its [intended] meaning, is said to be entailing an expectation, and a sentence which has completely expressed such a sense, is said to be entailing no expectation. Now, entailing an expectation relates to [the utterance of a sentence] of which the meaning has not been completely expressed and which has notes from the throat and the chest, and begins with a high pitch and ends in a low pitch (mandra) and has not completed its Varṇa or Alaṃkāra. And, entailing no expectation relates to [the utterance of a sentence] the meaning of which has not been completely expressed and which has notes from the head, and begins with a low pitch (mandra) and ends with a high pitch (tāra) and has completed its Varṇa and Alaṃkāra. The six Alaṃkāras 45. The six Alaṃkāras of the [note in] Recitation are that it may be high (ucca), excited (dīpta), grave (mandra), low (nīca), fast (druta), and slow (vilambita). Now listen about their characteristics. Uses of the six Alaṃkāras The high note proceeds from the head register and is of high pitch (tāra); it is to be used in speaking to anyone at a distance, in rejoinder, confusion, in calling anyone from a distance, in terrifying anyone, in affliction and the like. The excited note proceeds from the head register and is of extra high pitch (tāratara); it is to be used in reproach, quarrel, discussion, indignation, abusive speech, defiance, anger, valour, pride, sharp and harsh words, rebuke, lamentation and the like. The grave note proceed from the chest register and is to be used in despondency, weakness, anxiety, impatience, low-spiritedness, sickness, deep wound from weapons, fainting, intoxication, communicating secret words and the like. The low note proceeds from the chest register, but has a very low pitch (mandra-tara) sound; it is to be used in natural speaking, sickness, weariness due to austerities and walking a distance, panic, falling down, fainting and the like. The fast note proceeds from the throat register, and is swift; it is to be used in women’s soothing children (lallana) refusal of lover’s overture (manmana),[85] sexual passion, fear, cold, fever, panic, agitation, distressed and secret acts, pain and the like. The slow note proceeds from the throat register and is of slightly low pitch; it is to be used in love, deliberation, discrimination, anger, envy, saying something which cannot be expressed adequately, bashfulness, anxiety, threatening, surprise, censuring, prolonged sickness, squeezing and the like. [On this subject] there are the following traditional couplets: 46-48. To suit various Sentiments the intonation (kāku) should always be made high, excited and fast in a rejoinder, confusion, harsh reproach, representing sharpness and roughness, agitation, weeping, challenging one who is not present (lit. away from the view) threatening and terrifying [anyone], calling one who is at a distance, and rebuking [anyone]. 49-50. Intonation should be made grave and low (nīca) in sickness, fever, grief, hunger, thirst, observation of a lesser vow (niyama), deliberation, deep wound from a weapon, communicating confidential words, anxiety and state of austerities. 51. Intonation should be made grave and fast in women’s soothing children (lalla), refusal to love’s overture (manmana), panic and attack of cold. 52-55. The intonation should be made slow, excited and of low pitch in following an object lost after being seen, hearing anything untoward about a desired object or a person, communicating something desired, mental deliberation, lunacy, envy, censure, saying something which cannot be adequately expressed [by words], telling stories, rejoinder, confusion, an action involving excess, wounded and diseased limb, misery, grief, surprise, jealous anger, joy and lamentation. 56. Grave and slow intonations have been prescribed for words containing pleasant sense and bringing in happiness. 57. Exited and high intonations have been prescribed for words which express sharpness and roughness. Thus the Recitation should be made to have different intonations by the producers.1 Intonation in different Sentiments 58-59. Slow intonation is desired in the Comic, the Erotic, and the Pathetic Sentiments. In the Heroic, the Furious and the Marvellous Sentimets the excited intonation is praised. Fast and low intonations have been prescribed in the Terrible and the Odious Sentiments. Thus the intonation should be made to follow the Psychological States (bhāva) and the Sentiments. Six limbs of enunciation Now there are six limbs [of enunciation], such as Separation (viccheda), Presentation (arpaṇa), Closure (visarga), Continuity (anubandha), Brilliance (dīpana) and Calming (praśamana). Of these, Separation (viccheda) is due to pause (virāma). Presentation (arpaṇa) means reciting something by filling up the auditorium with graceful modulation of voice. Closure (visarga) means the finishing of a sentence. Continuity (anubandha) means the absence of separation between words [in a sense group] or not taking breath while uttering them. Brilliance (dīpana) means the gradually augmented notes which proceed from the three voice-registers (sthāna), and Calming (praśamanā) means lowering the notes of high pitch without making them discordant. Now about their uses in connexion with different Sentiments. In the Comic and the Erotic Sentiments the enunciation should include Presentation, Separation, Brilliance and Calming. In the Pathetic Sentiment it should include Brilliance and Calming. In the Heroic the Furious and the Marvellous Sentiments it should abound in Separation, Calming, Brilliance and Continuity. In the Odious and the Terrible Sentiments it should include Closure and Separation. All these are to be applied through notes of high, low and medium pitch proceeding [from the three voice-registers] In addressing one at distance, the notes should be made of high pitch from the head; the person addressed being not at a great distance the notes should be made of medium pitch from the throat, and to speak to one at one’s side notes should be made of low pitch from the chest. But one should not proceed to the high pitch from the low one, and from the low pitch to the high one. The three kinds of tempo of these notes are to be utilised in different Sentiments. In the Comic and Erotic Sentiments the tempo should be medium, in the Pathetic it should be slow, and in the Heroic, the Furious, the Marvellous, the Odious and Terrible Sentiments it should be quick. Pause defined Now, Pause (virāma) in connexion with enunciation is due to the completion of sense, and is to depend on the situation (lit. practical), and not on metre. Why? Because it is found in practice that there occurs pause even after one, two three or four syllables, e.g. 60. kiṃ, gaccha, mā viśa, sudurjana, vārito’si | kāryaṃ tvayā na mama, sarva-janopabhukta || Tr. What [is the matter]? Be off. Don’t enter. You are barred out, O very wicked man, the enjoyed-by-all, I have nothing to do with you[86]. Use of Pause Thus in a play (lit. poetical composition) occur words containing small number of syllables in cases of Sūcā[87] and Aṅkura[88] [which are connected with Pause]. Hence, care should be taken about Pause. Why? Because [an observation of] Pause clears the meaning. There is a couplet [on this subject]. 61. In the [Verbal] Representaion the producers should always take care about Pause; for, on it depends the meaning [of words uttered]. Hands in connexion with Alaṃkāras and Pause 62. Keeping the eyes fixed in the direction in which the two hands move one should make the Verbal Representation by observing proper Pauses for indicating the [intended] meaning. 63-64. In the Heroic and the Furious [Sentiments] the hands are mostly occupied with the weapons, in the Odious they are bent due to contempt, in the Comic they are to point to [something], in the Pathetic they are to hang down and in the Marvellous they are to remain motionless due to surprise. 65. On similar other occasions too, the meaning should be made clear by means of Alaṃkāras and Pauses. 66-67. Pauses which are prescribed in a verse require Alaṃkāras. Pause should be observed after a word, when the meaning or the breath (prāṇa) requires it. And when words and syllables are combined into a [big] compound or [the utterance is] quick, or confusion about different meanings is liable to arise, Pause should be observed at the end of a foot or as required by the breath. In the remaining cases Pause should depend on the meaning. Here one should know about the four kinds of syllables known as Drawn-out Syllables (kṛṣyākṣaras) which conform to the proper Sentiments and Psychological States. Drawn-out syllables and their use 68-69. The consonant ending in a long vowel like o, e, ai, or au is known as a Drawn-out Syllable. In sadness, argumentation, questioning, or indignation, such a syllable should be pronounced by observing proper Kalās of time. 70. As for the rest of the syllables they may be pronounced with Pause required by their meaning, and such a pause may be of one, two, three, four, five or six Kalās duration. 71. The Pause being of greater duration, the syllable pronounced will always be [rendered] long. But its duration should not be more than six Kalās. 72. Or taking account of the practice as required by some cause, or of the particular incident, one should observe Pause in a verse to suit the Psychological State or the Sentiment [involved]. 73. In verse, Pauses arising from the foot-division [only] are recognized; but the position of these may be varied on the stage by experts to suit the meaning [of a passage]. 74. But [while observing Pause as directed above] one should not create ungrammatical words (apaśabda) or spoil the metre, and one should not pause too long except in places of caesura, and in [uttering words expressing] sorrow one should not make the Intonation excited [dīpta]. 75. One should recite a dramatic composition which is free from literary defects, possesses the best characteristics, and has [literary] qualities; in such a Recitation, one should observe proper rules relating to the utterance of notes and their Alaṃkāras. 76. Alaṃkāras and Pauses that have been prescribed in case of Sanskritic Recitation should all be observed in un-Sanskritic (Prakritic) Recitation as well. 77. Thus in the representation of the ten kinds of dramatic work, producers should prepare the Recitation subject to an observance of proper note, Kalā, time (tāla) and tempo (laya). 78. Rules of Intonation have been prescribed [by me] in proper sequence. I shall describe hereafter the ten kinds of dramatic work. Here ends Chapter XIX of Bharata’s Nāṭyaśāstra, which treats of Intonation in connection with the Verbal Representation. Footnotes and references: [back to top] [1]: This manner of addressing different persons includes referring to them before their ownselves or before others, e.g., in Śak. (I), Duṣyanta is referred to by his charioteer as āyuṣmān, āyuṣman paśya paśya). [2]: Rules given hereafter do not cover all the numerous and different cases occurring in the exant dramatic literature in Sanskrit and Prakrit. [3]: Ex. Kāśyapa (Kaṇva) addressed by his disciple (Śak. IV.) Mārīca by Duṣyanta (ibid. VII.) and Rāvaṇa in ascetic’s disguise by Rāma (Pratimā. V). [4]: No ex. of this seems to be available in any extant drama. [5]: Ex.: Agni (Abhi. VI). & Varuṇa (ibid. IV). [6]: Ex. (Rāvaṇa disguised as an ascetic addressed by Rāma (Pratimā. V.). The Jester in Prātijñā (III) addressing the Jain monk (śramaṇaka) as bhaavam (bhagavan) to create laughter; bhadanta would have been the proper term in this case. See below 15. [7]: Read here nānāvratadbara (bha in B) for nānāśrutadhara (B) and nānāśrutidhara (C). Ascetics belonging to minor heterodox sects seem to have been included in this term. Ag. reads nānāśrutadharaḥ and explains this as bahuśrutaḥ. [8]: Ex. Brahmin (Keśavadāsa) in Madhyama. addressed by Bhīma. [9]: Ex. Sumantra addressing Daśaratha (Pratimā, II), and Vibhīṣaṇa addressing Rāvaṇa (Abhiṣeka II). [10]: Ex. Cāṇakya addressed by his disciple (Mudrā, I). [11]: Ex. Bharata addressing Sumantra, the old charioteer (Pratimā VI.). [12]: Ex. Indra disguised as a Brahmin addressing Karṇa (Kama.), Cf. Cāṇakya addressing Candragupta mostly as Vṛṣala in Mudrā. [13]: Cf. XXXIV. 82-83. No example of this rule seems to be available in any extant drama. See note 2 below. [14]: Ex. The door-keeper (pratihārī) addressing Yaugandharāyaṇa (Pratijñā, I.). But curiously enough Rākṣasa has been addressed not as ‘Ārya’ but as ‘Amātya’ (counciller) by the door-keeper, and by his friend Virādhagupta too he is addressed likewise (Mudrā, II). [15]: Ex. Cāṇakya addressing Rākṣasa and vice versa (Mudrā, VII.). [16]: Ex. Haṃsaka referring to Yaugandharāyaṇa before the latter. (Pratijñā. I. 13. 14). See above note 1. [17]: Yaugandharāyaṇa addressing Śālaka by name (Pratijñā. I. 2. 4) and the hero Cārudatta addressing the maid-servant Radanīkā (Cāru. I. 21. 13). [18]: Ag. explains kāruka and śilpi as follows: artisans (kāruka) are those that build stūpas and the like objects, artists are painters and the like. [19]: Ex. The king addressing Haradatta, one of the teachers of dramatic art (Mālavi. II. 12. 4). [20]: Ex. pāripārśvika addressing sūtradhāra as bhāva, and sūtra° addressing pāripārśvika as mārṣa (Abhi. I. 1. 6, 8). Śākara once addressing vita as bhāva and next time as māliśa (māriṣa) in Cāru. I. 17. 3; 26. 3.) The word mārṣaka does not seem to occur any extant drama while māriṣa occurs very often. See Uttara. (I. 4. 7) and Mālavi (I. 1. 3). [21]: Ex. Siddhārthaka and Samiddhārthaka addressing each other (Mudrā, VI. 2. 14, 16). [22]: Ex. Cāṇakya’s spy addressing his disciple as haṃ-ho bambhaṇa, (Mudrā, I. 18. 4). [23]: Ex. Duṣyanta’s charioteer addressing him (Śak. I). [24]: Ex. Duṣyanta’s priest addressing the two disciples of Kāśyapa (Kaṇva) and Gautamī tapasvinaḥ (Śak. V. II. 6). The word sādhu as a form of address does not seem to occur in any extant drama. [25]: No example of this rule seems to be available in any extant drama. On the other hand svāmin is very often used in addressing a king. Ex. Yaugandharāyaṇa addressing the king Udayana (Svapna. VI. 17. 1). Kauñjāyana and Bhūtika addressiug the king Kuntibhoja (Avi. I. 5. 3; 8. 3). On the use of the word svāmin in inscriptions see Sylvain Levi, Journal Asiatique, Ser. 9, XIX. 95ff. I. Ant. Vol. XXXIII. p. 163. Sitā’s maid addresses Rāma as bhaṭṭā (Pratimā. I. 9. 2). The door-keeper (pratiharī) refers to the crown prince Rāma as bhaṭṭidāraassa rāmassa (Pratimā. I. 2. 9). [26]: The word has been used with reference to the crown prince in Pratimā. (loc, cit. i). In referring to other princes play-wrights use the word kumāra. In Pratimā. (III. 14. 12) Bharata has been addressed with this term. In Mudrā, (IV. 12. 5) Malayaketu has been addressed similarly. Avimātaka, the lover of Kuraṅgī is addressed as bhaṭṭidāraa by her maid (Avi. III, 17. 2). [27]: This use of the term saumya does not seem to occur in extant dramas, and bbadra appears to have taken its place, e,g. Bharata addressing the messenger (bhaṭa) in Pratimā (III. 4.2). Duṣyanta addresses his chief of the army (senāpati) similarly (Śak. II. 3. 5.4). [28]: Ex. Rākṣasa’s spy (purusa) addressing his door-keeper (Mudrā. IV. 8.2). In Abhi, (VI. 31. 1) Agni (god of fire) addresses Rāma as bhadramukha though earlier, (VI. 26, 7) he says; na me namaskāraṃ kartum arhati deveśaḥ. The Jester addresses the caṇḍālas as bho bhaddamuha (Mṛcchakaṭika X, 23. 3). The Māgadha prince is addressed as bhaddamuha by the female ascetic in Svapna 1. 7. 20. For the use of bhadramukha in inscriptions see Select Inscriptions, no, 72. See also Keith. Sanskrit Drama, p. 69. [29]: Not many examples of this rule seem to be available in any extant drama. In Mṛcchakaṭika (X. 20.1) Cārudatta’s son addressing the Caṇḍālas as are caṇḍālā may be an example of this. [30]: Ex. The Sauvīra king addressing Avimāraka (Avi. VI. 17. 4). Cf. Droṇa addressing Duryodhana (Pañca. 1.22.3). [31]: Ex. The form putraka does not seem to occur in any extant play. Droṇa addressing Duryodhana as putra (Pañca I. 23,3.) Duryodhana addressing his son similarly (Uru. I. 42. 3). [32]: No example of this seems to be available in any extant drama. [33]: Ex, Vālī addressing Aṅgada by name (Abhi, I. 25.2), Kāśyapa (Kaṇva) addressing Śārṅgarava by name (Śak, IV. 16. 1). Instances of a son or a disciple addressed by clan-name (gotra) do not seem to occur is any extant drama. [34]: Ex. Kṣapaṇaka addressed by Rākṣasa and Siddhārthaka as bhadanta (Mudrā. IV. 18. 2; V. 2. 1). A Buddhist monk is very rarely met with in extant dramas. Aśvaghoṣa’s drama included such a character, but one cannot say from the fragments how he was addressed. (See Keith, Sanskrit Dr, p. 82) [35]: According to Ag. one is to understand by ‘other sects’ Pāśupatas and the like. [36]: An example of such a rule is a term like bhāpuṣan or bhāsarvajña used in addressing Pāśupata. teachers (Ag.). [37]: Ex. The Kañcukin addressing the king (Mudrā. III. 10. 3). Gaṇadāsa addressing the king (Mālavi. I. 12. 8). Vibhīṣaṇa refers to Rāma as deva (Abhi. VI. 20. 3) when he is not yet a king; besides this the same Vibhīṣaṇa addresses Rāvaṇa as mahārāja (Abhi. III. 15. 1). See also 12 note 1. [38]: Ex. Yavanikā addressing the king Duṣyanta (Śak. VI. 24. 10). But in Bāla. (III. 3. i.) the cowherds address Saṅkaraṣaṇa as bhaṭṭā, and Nandagopa too addresses Vāsudeva likewise (Bāla. I. 19. 30). [39]: Ex. Bhagavān (Yudhiṣṭhira) addressing the king Virāṭa (Pañca. II. 14. 2). [40]: No ex. of this seems to occur in extant dramas. Nārada addresses the two kings simply as Kuntibhoja and Sauvīrarāja in Avi. (VI. 20, 8, 12). [41]: Ex. The Jester in Śak. (II. 2. 1) and Mālavi. (V. 3. 18). [42]: No example of this seems to occur in any extant drama. In Ratnā. (I. 16. 35) the Jester once addresses the king as bhaṭṭā. [43]: Bhavati in the Jester’s speech would be bhodi. Ex. The Jester addressing the queen’s maid in Svapna. (IV. o. 28) also addressing the queen (Mālavi, IV. 4, 23.) and addressing the queen’s maid Susaṃgatā (Ratnā. IV. o. 30). [44]: Examples are easily available. See Svapna, Śak. Vikram. etc. The Jester is addressed also as sakhe. See Mālavi. (IV. 1. 1. and Vikram. II, 18. 11. etc.) and as bhadra (Vikram. II. 18. 15). [45]: Examples are easily procurable. See Śak, Mālavi, Svapna etc, [46]: Ex. Natī in the prologue (prastāvanā) addressing the sūtradhāra her husband (Cāru. and Mudrā). [47]: Ex. Gāndhāri addressing Dhṛtarāṣṭra (Ūru. I. 38. 2), Urvaśi refers to the king likewise (Vikram. IV. 39. 2). [48]: Ex. Lakṣmaṇa addressing Rāma (Pratimā I. 21. 2). Sahadeva addressing Bhīma (Veṇī. I. 19. 12). [49]: Usual from in such a case is vatsa; but the younger brother is also sometimes differently addressed, e. g. by name of the mother, as Saumitre, (Pratimā, I. 21. 1), Kaikeyīmātaḥ, (ibid. IV, 2. 21). See above 14 and 4. [50]: The king addressing the privrājikā (Mālavi. I. 14. 2); the Kañcukin addressing the female ascetic (tāpasi) in Vikram. (V. 9. 2). [51]: Ex. Sumantra addressing the widowed wives of Daśaratha as bhavatyaḥ (Pratimā. III. 12. 2). The Kañcukin addressing the Pratiharī in Svapna. (VI. o. 6). [52]: gamyā—not within the prohibited degree of sexual relationship. [53]: Ex. Avimāraka addressing Kuraṅgikā (Avi. III. 19. o). Duṣyanta addressing Priyaṃvadā (Śak. I. 22. 6). But the king addresses Citralekhā as bbadramuhki (Vikram. II. 15. 9). as well as bhadre (ibid. III. 15. o). [54]: Ex. The king, Urvaśī and their son addressing the female ascetic. (Vikram, V. 12. 3, 5, 18). [55]: Ex. (i) bhaṭṭiṇi, Nipuṇika addressing the queen (Vikram. II. 19. 19); Kañcanamālā addressing the queen (Ratnā I. 18. 11). But in Pratimā (I. 5. 4) the maid (ceṭī) addresses Sītā who is not yet a queen, as bhaṭṭiṇi. (ii) Svāmiṇi as a term of address to the queen docs not seem to occur in any extant drama. [56]: Ex. The maid (ceṭī) addressing the queen Bhānumatī (Veṇī. II. 2. 14). [57]: See above 23 note 2. For an example of king addressing the queen as devi see Pratijñā. II. 10. 12. [58]: No. example of svāmini being used in addressing such a wife seems to occur in any extant drama. In Mālavi. IV. 17. 8 Nipuṇikā addressing Īrāvatī the second wife of Agnimitru uses the term bhaṭṭiṇi. [59]: Ex. The maid ( ceṭī) addressing Padmāvatī (Svapna. I. 15. 11) and Kuraṅgī (Avi. III. o. 45). [60]: This mode of address does not seem to occur in any extant drama. cf. Karp, I. p. 18. [61]: Ex. Yaugandharāyaṇa in the role of an elder brother addresses the queen who is playing the role of his younger sister as vatse (Pratijñā. I. 9. 11). [62]: No example of this rule seems to be available in any extant drama. Parivrājikā in Mālavi (I) and the female ascetic in Vikram. (V) could have been addresses as ārye instead of as bhagavati. In Madhyama. Ghaṭokaca addresses the wife of the Brahmin as bhavati. [63]: Ex. Sūtradhāra addressing his wife (Mṛcchakaṭika I Malati. I) [64]: e.g. Māṭharaputti (Māṭhara’s daughter (Ag), No example seems to occur in any extant drama. [65]: e.g, Somaśarma-janani (Somaśarman’s mother) Ag. No example seems to occur in any extant drama. [66]: For ex. see Śak, Vikram. etc. [67]: Ex. Sītā addressing her maid (Pratimā. I. 4. 21), Īrāvatī addressing Nipuṇikā (Mālavi. III. 14. 1). [68]: Ex. the heterae (gaṇikā) addressed by her maid (Cāru. II. o. 6). The word ajjukā (* āryakā, OIA) “madam” afterwards came to mean ‘heterae’ as in the title of the Prahasana Bhagavadajjukīyam by Baudhāyana Kavi. [69]: No example of this seems to be available in any extant drama. But the word occurs in the form of attiā in Mṛcchakaṭika (IV. 30). [70]: Śakuntalā is addressed as priye by Duṣyanta (Śak. VII. 20. 6), but the occasion is strictly not one of love-making (śṛṅgāra). Udayana while lamenting for Vásavadattā says Hā priye, hā priya-śiṣye etc. (Svapna. I. 12. 53). [71]: No example seems to be available in any extant drama. [72]: No example of such names seems to occur in any extant drama. [73]: No example of such names seems to occur in any extant drama. [74]: Ex. Cārudatta the hero of Bhāsa’s play of the same name. [75]: B. reads after this one additional hemistich which in translation is as follows: ‘The name of Kāpālikas should end in ghaṇṭa.’ The interpolator had evidently Bhavabhūti’s Aghoraghaṇta (Mālati) in mind. [76]: Ex, Vīrasena in Mālavi. (I. 8. 1). [77]: No example of this seems to occur in any extant drama. [78]: No example seems to occur in any old drama. And the name Vāsavadattā for the queen in several dramas seems to be a clear violation of the rule (See Svapna. Ratnā. etc.). [79]: No example seems to occur in any old drama. But Aśoka’s daughter was named Saṃghamittā. [80]: Ex, Vasantasenā in Bhāsa’s Cāru, and Śudraka’s Mṛcchakaṭika. [81]: Nalinikā in Avi. (II) and Padminikā in Svapna (V) seems to be rare examples of this. [82]: Ex, Jayasena the servant (bhaṭa) of the king (Avi. I). [83]: No example seems to occur in any extant play. [84]: Ex. Brahmacārin (Svapna. I), Viṭa (Cāru.). Devakulika, and Sudhākāra (Pratimā. IV.) etc. [85]: On the meaning of lalla (lallana) and manmana there is no unanimity. We follow Ag.’s upādhyāya. [86]: These are the words of a vīpralabdhā Heroine. [87]: See XXIV. 43. [88]: See XXIV. 44. 07 May, 2017 --> Last Updated: 28 July, 2017 $(function(){ if($(document).height() > $(window).height()){ $('.book.chapter').append('^ back to top ^') $('section.back > a').click(function(){ $(window).scrollTop(0); }); } }); /** * Derivation list */ /*$('a.deriv-link').click(function(){ $(this).closest('.words-group').find('.deriv-list').toggleClass('d-none'); });*/ ====================================================================== Chapter XX - Ten Kinds of Play ====================================================================== --> Natyashastra (English) by Bharata-muni | 1951 | 240,273 words | ISBN-13: 9789385005831 Hinduism Natyashastra Buy now! The English translation of the Natyashastra, a Sanskrit work on drama, performing arts, theater, dance, music and various other topics. The word natyashastra also refers to a global category of literature encompassing this ancient Indian tradition of dramatic performance. The authorship of this work dates back to as far as at least the 1st millenn... Go directly to: Footnotes. Chapter XX - Ten Kinds of Play (daśarūpa) < Previous (index) Next > Introduction 1. I shall now describe the division of plays into ten classes[1] with their names, functions and modes of production. 2-3. For defining them the plays are to be known as Nāṭaka,[2] Prakaraṇa, Aṅka[3] (Utsṛṣṭikāṅka), Vyāyoga, Bhāṇa, Samavakāra, Vīthi, Prahasana, Ḍima, and Īhāmṛga which is the tenth [in order]. I shall describe their characteristics in detail. 4. Styles (vṛtti)[4] are traditionally known as the constituent elements of all dramatic works (lit. poems). With respect to their production, the ten kinds of play are considered to have proceeded from these. 5. Just as the [musical] notes (svara) constitute scales (grāma)[5] due to the Śrutis[6] together with their Jātis[7], so the [Varieties] of plays (lit. poetical works) come into existence due to Varieties of Styles. 6. Just as the Ṣaḍja[8] and the Madhyama[9] scales include all the notes, so these two [kinds of] dramatic composition (Nāṭaka and Prakaraṇa) are made up of all the Styles. 7. The Nāṭaka and the Prakaraṇa are to be known as made up of all the Styles, and they include varieties of situation. 8-9. The Bhāṇa, the Samavakāra, the Vīthi, the Īhāmṛga, the Utsṛṣṭikāṅka (Aṅka), the Vyāyoga, the Ḍima, and the Prahasana should not include the Graceful Style. I shall describe hereafter the different methods of constructing plays. The Nāṭaka 10-11. [The play] which has for its subject-matter a well-known story,[10] for its Hero a celebrated person of exalted nature[11] and which describes the character of a person born in the line of royal seers,[12] divine protection [for him], his many superhuman powers,[13] and exploits such as, success [in different undertakings], and amorous pastimes, and which has suitable number of Acts (aṅka)[14] and Introductory Scenes (prāveśaka)[15] is called a Nāṭaka. 12. Behaviour of kings due to their joys and sorrows, when revealed by means of acts expressing in varied ways the Psychological States carrying many Sentiments, is styled a Nāṭaka. The Act 13. An expert should properly make an Aṅka containing changed conditions [of the Hero] and restricting it to the mere transmission of the Vital Drop (bindu). 14. The Aṅka is the customary word. As by means of presentation of the Psychological States and Sentiments, it causes the purposes of the play to develop, and as it adheres to some technical rules [for this purpose] it is called an Aṅka[16] (Act). 15. An Act should be brought to a close by (lit. in) a division of the play, and no final disposal of the Seed (bīja) should be made in it. And the Vital Drop (bindu)[17] of (lit. arising from) the play should again and again be made to occur in the plot (vastu). 16.[18] That [part of the play] where a [particular] incident, is fully expressed, but where the Seed is not finally disposed of, is always to be known as an Act which slightly clings to the Vital Drop (bindu). 17. An Act which relates to the direct exploits of the persons mentioned before (i.e. the Heroes) and their various conditions, should not be made too long. 18. It should also be known that an Act is to contain more Sentiments than one, arising from [words and deeds of] of the Hero, his queen,[19] and their superiors,[20] priest, minister and leader of the caravan (sārthavāha).[21] 19. Pacification of anger, grief, pronouncing a curse, terrified flight, marriage ceremony, commencement of any miracle and its actual occurrence, should not be made visible in an Act.[22] 20. A battle, loss of a kingdom, death, and siege of a city not being presentable in an Act[23] should be referred to by means of Introductory Scenes. 21. In an Act or in an Introductory Scene of the Nāṭaka or the Prakaraṇa, there should be no killing of a person who is known as the Hero.[24] 22. His flight, or capture or treaty [with the enemy] should be brought about, and these should be indicated in the Introductory Scenes by referring to relevant actions. 23.[25] An Act should cover events that can take place in course of a single day. And it should relate to the Seed of the play and should proceed without a clash with the routine duties. 24. A wise play-wright should not put in [too] many events in a single Act.[26] Events in it should be depicted without a hindrance to routine duties.[27] 23. Persons appearing on the stage during an Act (lit. there) would go out after performing things connected with the Seed and the purpose of the play, and should lead to relevant Sentiments. 26. Knowing the length of a day which is divided into Kṣaṇas, Yāmas and Muhūrtas, one should distribute exhaustively the entire action in different Acts. Introductory Scene 27. When events that are to be finished in course of a day cannot be accommodated in an Act, these should be presented in an Introductory Scene after closing the [same] Act. 28. By closing the Act [in which they begin[28] events requiring a month, or a year but never more than that[29] for their happening, are also be presented similarly. 29. When in an Act any person starts on business on a long journey, it should be brought to a close [at that point] as prescribed before. 30. With an Act of the Nāṭaka and the Prakaraṇa the Hero should be closely associated. And an Introductory Scene should be made up of a conversation of attendants. 31. In plays so for as they relate to the Nātaka and the Prakaraṇa, an Introductory Scene coming between two Acts will refer briefly to the [next] Segments. 32. It (the Introductory Scene) should not consist of exploits of the superior and the middling characters, and there should be no exalted speech in it. And in practice it should adopt speeches and manners of the common people. 33. An Introductory Scene may have many purposes. [For example], it may explain the advent of time, change of purpose, or the inversion of movement, or making a beginning [of some event]. 34. Events which depend on many [persons] are to be compressed in Segments by means of Introductory Scenes. For a play containing [too] many prose passages[30] will be tiresome [to the spectators] at [the time of] the production [of a play]. 35. When a particular item cannot be completely presented in an Act, lest it should be too large for [successful] production, its account should be compressed in a few words and put in an introductory Scene. The Supporting Scene 36. In the Nāṭaka the Supporting Scene (viṣkambhaka) should always be made up with the middling characters[31] and it should be concise, and adopt Sanskritic speech.[32] 37. It should be of two kinds: pure (śuddha) and mixed (saṃkīrṇa). Of these, the pure is made up with the middling characters [only][33], and the mixed with the inferior and the middling characters.[34] 38. In the Nāṭaka and the Prakaraṇa Supporting Scene between two Acts or at the beginning of an Act, should always include the middling and the inferior characters. Number of dramatic personae 39. The Nāṭaka and the Prakaraṇa should not be made to contain a great number of attendants [to the Hero]. The Hero’s attendants (lit. men of work) in such plays (lit. there) should [at most] be four or five.[35] 40. Plays of the Vyāyoga, the Īhāmṛga, the Samavakāra, and the Ḍima classes should be made to have ten or twelve Acts.[36] Introducing chariots and palaces on the stage 41. A chariot, an elephant, a horse and a palace should not be presented on the stage. These should be provided [in a play] by means of appearance and costumes [of men related to them] and [their] Gaits[37] and movements (gati-vīcāra).[38] 42. But model works of an elephant, a horse, a palace, a hill or any conveyance as well as [imitation] weapons out of cheap materials are to be made for a presentation of these by those who know the rules [for their construction].[39] Introducing an army on the stage 43. If due to any reason a detatchment of an army is to be introduced on the stage (lit. here), only four or six persons are to make their appearance. 44. [The show should be made as consisting of a small number of men, horses, vehicles and attendants, and it should move slowly. For in the military role (kṣatra) [actual] rules of polity do not apply. 45. In the composition of a play Action should be made [like] the tip of the cow’s tail,[40] and all the exalted situations in a play should be placed at the end. 46-47. At the conclusion of all the plays which contain various Psychological States and Sentiments, experts should always introduce the Marvellous Sentiment.[41] Thus I have briefly but properly spoken about the characteristics of the Nāṭaka. I shall hereafter describe the Prakaraṇa by mentioning its characteristics. The Prakaraṇa 48. The play (lit. where) in which the writer prakurute (devises) by his own intellect an original plot with its Hero, and works up its elaboration (śarīra), is called the Prakaraṇa. 49. When a playwright constructs a play of marvellous qualities with an original (lit. invented) Seed, and a Hero not coming out of Ṛṣi’s works to carry on the action the same is also called the Prakaraṇa.[42] 50. The plot and its elaboration as the basis of the Sentiments, which have been prescribed in case of the Nāṭaka are also to be applied to the Prakaraṇa. Only its plot should be newly created. 51. The varied exploits[43] of Brahmins, merchants, ministers, priests, officers [of the king] and leaders of caravan [when presented in a play] are to be known as the Prakaraṇa.[44] 52. The Prakaraṇa should be known as not made up with an exalted Hero. And it does not contain the character of any god, has no story of king’s enjoyment [of pleasures], and it is connected with the men outside [the royal palace]. 53. The play of the Prakaraṇa type should include [in some cases] slaves, Viṭa[45] and head of the bankers’ guild [as characters and should contain incidents arising from] the attendance of courtezans as well as exploits of depraved women of good family.[46] 54. [In an Act of the Prakaraṇa] where a minister, head of bankers’ guild, Brahmin, priest, minister and leader of caravans stay in their family circle, no courtezan should be brought in there.[47] 55. [In the Prakaraṇa] when a person is in the company of a courtezan, there should not be [at the same time] his meeting with any respectable woman (lit. woman of good family), and while he is with a woman of high family no courtezan should meet him then. 56. If out of necessity (lit. reason) there occurs a meeting[48] of courtezans and respectable ladies in [any scene of] a Prakaraṇa, their language and manners should be kept undistorted. 57. In the Nāṭaka and the Prakaraṇa the playwrights should have the number of Acts as not less than five and more than ten; and this should be furnished with the various Sentiments and the Psychological States. 58. After considering the need and action of the plot one should place between two Acts the Introductory Scenes which are to compress the events in the Segments (sandhi)[49]. The Nāṭikā 59. In a play of the Nāṭikā (Nāṭī) class, producers are to recognise a more or less well-known variety of these two (the Nāṭaka and the Prakaraṇa).[50] 60. Different in origin from the two [types of plays] the Nāṭaka and the Prakaraṇa, its plot should be invented, the Hero should be a king, and it should be based on [an incident relating to] music or affairs of the harem.[51] 61. And it contains an abundance of female characters, has four Acts, graceful gestures as its soul; well-arranged constituents, many dances, songs and recitations, and love’s enjoyment are its chief features.[52] 62. The Nāṭikā should be known also to contain [a display of] royal manners, [a fit of] anger and its pacification, and to have the Hero, His queen, the female Messenger and the attendants [as its dramatis personae ]. 63.[53] The characteristics of the Nāṭaka and the Prakaraṇa have been briefly described by me. I shall now speak about the characteristics of the Samavakāra.[54] The Samavakāra 64-65. It[55] should have the [exploits of] gods and Asuras as its subject matter and one of them as its well-known and exalted Hero, and it is to consist of three Acts [presenting] the three kinds of deception, the three kinds of excitement or the three kinds of love.[56] [Besides this] it should have as many as twelve dramatis personae and require a duration (lit. length) of eighteen Nāḍikās[57] [for its performance]. I shall now speak about the rule regarding the number of Nāḍikās to be alloted to the different Acts. 66. A Nāḍikā[58] should be known as the half of the Muhūrta[59] which is a [well-known] measure of time. The Acts in a Samavakāra should be measured according to the directions given in terms of this Nāḍikā. The first act of the Samavakāra 67. The first Act [of the Samavakāra] should have a duration of twelve Nāḍikās[60] and it is to contain laughter, excitement, deception or a Vīthi.[61] The second and the third acts of the Samavakāra 68. The second Act also should be similar [except that] it is to have a duration of four Nāḍikās.[62] And the third Act, as enjoined in the rule about the length of the plot will have a duration of two Nāḍikās[63] only. 69.[64] In composing such a play the different Acts should be made to have different topics. And topics in the Samavakāra are to be loosely related to one another.[65] Three kinds of Excitement 70. Excitement (vidrava) is known to be of three kinds, such as being due to battle, flood (lit. water), storm (lit. wind) and fire, or to a big elephant at large, or the siege of a city. Three kinds of Deception 71. Deception (kapaṭa) is known to be of three kinds, such as being due to a devised plan, accident or that [practised] by the enemy. It creates joy or sorrow [to persons]. Three kinds of Love 72. In this connexion (lit here) three kinds of love to be presented through different actions are: that in relation to duty (dharma), that actuated by material gain (artha) and that actuated by passion (kāma). Love together with duty 73. When in [sticking to] the duty one’s [much] desired well-being is accomplished in many ways, by regular austerities it is to be known as love in relation to duty (dharma-śṛṅgāra). Love together with material gain 74. Love for money according to its meaning is of various kinds, due to a desire for money. In it one shows a simulated passion in the matter of intercourse with a woman. Love due to passion 75. Love actuated by passion (kāma-śṛṅgāra) includes the seduction of a maiden and also gentle or excited love-affair of a man with a woman. Metres not allowed in the Samavakāra 76.[66] In the Samavakāra the playwright should make proper use of metres other than Uṣṇik and Gāyatrī etc., which are of complex construction.[67] 77. In this manner an expert should compose a Samavakāra which will deal with joys and sorrows. I shall hereafter speak about the characteristics of the Īhāmṛga. The Īhāmṛga 78. It (Īhāmṛga) has as its dramatis personae divine males who are implicated in fights about divine females. It should be constructed with a well-arranged plot and should be convincing.[68] 79. It is to abound in vehement (uddhata) Heroes and to have its construction dependent on feminine anger which is to give rise to commotion (saṃkṣobha) excitement (vidrava) and angry conflict (saṃpheṭa). 80. The Īhāmṛga should be a play with well-ordered construction in which the plot of love is to be based on causing discord among females, carrying them off and oppressing [the enemies]. 81. All that are to be made [available] in the Vyāyoga—its male characters, Styles and Sentiments—should be brought in the Īhāmṛga also, except that the latter is to include (lit. have connexion with), the goddesses (lit. divine females) only as its female characters.[69] 82. [In the Īhāmṛga] when persons intent on killing are on the point of killing, [the impending] battle should be avoided on some pretext. 83. The characteristics of the Īhāmṛga have been briefly mentioned by me. I shall speak hereafter on the characteristics of the Dima. The Ḍima 84. The Ḍima should be constructed with a well-known plot, and its Hero should be well-known and of the exalted (udātta) type. It is to contain the six Sentiments and to consist of four Acts only[70]. 85-86. It should contain all the Sentiments except the Erotic and the Comic, a plot (kāvyayoni) with exciting Sentiments and various Psychological States, and it is [also] to include incidents such as an earthquake, fall of meteors, an eclipse of the sun or of the moon, fighting in battle and personal combat, and angry conflict. 87-88. The Dima should should abound in deceit and jugglery, and should include energetic activity of many persons, and dissention (bheda) among themselves, and it is to include sixteen characters which may be gods, Asuras Rākṣasas, Bhūtas, Yakṣas and Nāgas, and [besides this] the play is to be carefully made in the Grand and the Energetic Styles and is to have many Psychological States to support it. 89. The Ḍima has been described by me in all its characteristics. I shall speak now about the characteristics of the Vyāyoga. The Vyāyoga 90. The Vyāyoga should be constructed by experts with one well-known Hero as its basis, and it should include a small number of female characters and [the events related in it] will be of one day’s duration only[71]. 91. Many males are to take part in the Samavakāra, but it is not to have the latter’s length, for it is to have only one Act. 92-93. It should have a royal sage as its Hero and not a divine personage, and it should include battle, personal combat, challenge and angry conflict. Thus the Vyāyoga should be made with exciting Sentiments as its basis. I shall now speak of the characteristics of the Utsṛṣṭikâṅka (Aṅka). The Aṅka (Utsṛṣṭikāṅka) 94. The plot in it is [usually to be] well-known, but it may sometimes be otherwise, and it is to be furnished with male characters other than those who are divine.[72] 95-96. The Utsṛṣṭikāṅka should abound in the Pathetic Sentiment; it will treat women’s lamentations and despondent utterances at a time when battle and violent fighting has ceased; it should include bewildered movements [of mourners], and it must be devoid of the Grand, the Energetic and the Graceful Styles, and its plot should relate to one’s fall (lit. end of the rise). Scenes with celestial Heroes 97. [Scenes of] all the plays which have celestial Heroes, and which [treat] a battle, capture and killing [of enemies], should be laid in Bhārata-varṣa. 98. Why, of all the varṣas (sub-continents) created by the gods, is Bhārata-varṣa chosen [in this connexion]? Because the entire land here is charming, sweet-smelling and of golden colour. 99-100. [But scenes of their] garden party (lit. going to a garden), sports, pastimes, and enjoying the company of females, are always to be laid in these varṣas; for there is neither any sorrow nor any grief there. Their enjoyments should take place in the mountains which are connected with those varṣas in the Purāṇic accounts, but their [other] deeds should begin here (i.e. in Bhārata-varṣa). 101. The characteristics of an Utsṛṣṭikāṅka (Aṅka) have been exhaustively explained by me, I shall now speak of the Prahasana with its characteristics. The Prahasana 102. The Prahasana should be known to be of two kinds: pure and mixed. I shall separately treat their characteristics.[73] The pure Prahasana 103-104. The Prahasana is known as pure (śuddha) when it contains comic disputations by Śaiva gurus (bhagavat)[74] ascetics, Bhikṣus, Śrotriya Brahmins, and others, and abounds in jocular remarks by persons of low class; and all this gives uniformly to the Plot a realistic picture of the language[75] and the conduct of all these, in passages describing their special Psychological States. The mixed Prahasana 105. That Prahasana is called mixed[76] in which courtezans, servants, eunuchs, Viṭas and Dhūrtas and unchaste women appear with their immodest appearance, dress and movements. 106-107. Some popular topic [of scandal] or incident of hypocrisy should be introduced in the Prahasana through the disputations of Dhūrtas[77] and Viṭas. The Prahasana should include [any of] the types of theVīthi it may properly require.[78] The Bhāṇa 107-108.[79] I shall now speak of the characteristics of the Bhāṇa. The Bhāṇa is to be acted by a single character, and it is of two kinds: that [with one’s] recounting of one’s own feelings, and that [with] describing someone else’s acts. 109. [The Bhāṇa which is to include] somebody else’s words addressed to oneself, should be acted by means of replies in course of conversations with an imaginary person (ākāśa-bhāṣita) along with the [suitable] movements of the limbs. 110. The Bhāṇa should include characters of Dhūrtas and Viṭas and treat their different conditions, and it is always to consist of one Act, and should include many incidents which are to be acted by a Dhūrta or a Viṭa. 111. All the characteristics of the Bhāṇa have been described by me according to the tradition (āgama). I shall [now] speak of the characteristics of the Vīthi in due order. The Vīthi 112-113. The Vīthi should have one Act and is to be acted by two persons or one. And it is to include characters of the superior, the middling or the inferior type, and it may contain [any of] the Sentiments, and it may be the thirteen types. I shall now speak of the characteristics of all these. Thirteen types of the Vīthi 114-115. The thirteen types[80] of the Vīthi are: Accidental Interpretation (udghātyaka), Transference (avalagita), Ominous Significance (avaspandita), Incoherent Chatter (asat-pralāpa), Compliment (prapañca), Enigma (nāli=nālikā) Repartee (vākkeli), Outvying (adhivala), Deception (chala), Declaration (vyāhāra), Crushing (mṛdava), Three Men’s Talk (trigata), and Undue Combination of Words (gaṇḍa). 116. [Any of these] thirteen types is always to be attached to the Vīthi. I shall now speak of their characteristics in due order. Accidental Interpretation 117. If, in order to explain them, men connect words of obscure meaning with words other than [those intended by the speaker] it becomes Accidental Interpretation.[81] Transference 118. When [anything] occurring in [relation to] some thing, will be made to accomplish something else, it becomes [an instance of] Transference (avalagita).[82] Ominous Significance 119. That, one attaches (lit. creates) out of misunderstanding an auspicious or inauspicious meaning (lit. auspicious or inauspicious rise) to the words (lit. meaning) mentioned, is [an instance of] Ominous Significance (avaspandita).[83] Incoherent Chatter 120. When an irrelevant question (lit. sentence) is followed by [an equally] irrelevant answer, it is [an instance of] Incoherent Chatter (asat-pralāpa).[84] 121. When to a foolish person a learned man speaks the right words, but his words are not listened to, it is [an instance of] Incoherent Chatter.[85] Compliment 122. When comic and untrue words purporting to be mutual praise of two persons, are uttered in the interest of one [of them] it is [an instance of] Compliment (prapañca).[86] Enigma and Repartee 123. An enigmatical remark that gives rise to laughter (lit. followed by laughter) is called an Enigma (nālikā)[87] Repartee (vākkeli) arises from a single or twofold reply.[88] Outvying 124. When somebody else’s words and those of one’s ownself, in course of a dialogue, lead to their mutual modification, it is [an instance of] Outvying (adhivala).[89] Deception 125. When after alluring one by replies, something opposite is done through those very replies being considered meaningless, it is [an instance of] Deception (chala).[90] Declaration 126. If anything [liable to occur] is described vividly in the presence of the Hero and is similarly made to happen [there] without any fear, it is [an instance of] Declaration (vyāhāra).[91] Crushing 127. That due to an altercation one represents [another’s] merits as dements by [showing] cause [for it] and vice versa, is called Crushing (mṛdava).[92] Three Men’s Talk 128. When exalted words with the Comic Sentiment are shared by three [characters] it should be known as Three Men’s Talk (trigata).[93] Undue Combination of Words 129. Undue Combination of Words (gaṇḍa) according to the wise, occurs due to excitement, confusion, quarrel, reviling and many people’s abusive words.[94] 130-131. If in a play any of these thirteen types with clear meanings, occur and they possess all the characters, Sentiments and Psychological States prescribed for them by the Śāstra, it is called the Vīthi. It may be acted by one or two persons. The Lāsya[95] 132. [Similar] other limbs are attached to the Nāṭaka in connexion with the performance of the Lāsya,[96] and they owe their origin to this (i.e., Nāṭaka), and are to be acted like the Bhāṇa by a single person. 133. The Lāsya Has a form similar that of the Bhāṇa, and it is to be acted by one person.[97] Its action is to be imaginary like that of the Prakaraṇa and should relate to many Psychological States. Twelve types of the Lāsya 134-135. The [twelve] types of the Lāsya are: Geyapada, Sthitapāṭhya, Āsīna (pāṭhya), Puṣpagaṇḍikā, Pracchedaka, Trimūḍha, Saindhava, Dvimūḍhaka, Uttamottamaka, Vicitrapada, Ukta-pratyukta and Bhāvita (Bhāva).[98] Geyapada 136. When [the Heroine] being seated[99] surrounded with stringed instruments and drums, songs are sung by her diyly i.e. without any accompaniment of these, it is called the Geyapada (simple song). 137. If a woman in a sitting[100] posture sings a song in the praise of her beloved, and delineates the same with a dance including gestures of her different limbs, it is called the Geyapada. Sthitapāṭhya 138. If a separated woman burning with the fire of love, recites anything in Prakrit while resting on her seat,[101] it is [an instance of] the Sthita-pāṭhya. Āsīna (pāṭhya) 139. When one sits[102] without making any toilet and is overcome with anxiety and sorrow, and looks with oblique glances it is [an instance of] the Āsīna (pāṭhya). Puṣpagaṇḍikā 140. When a woman in the guise of a man recites something sweetly in Sanskrit íor the pleasure of her female friends, it is [an instance of] the Puṣpagaṇḍikā.[103] Pracchedaka 141. When a [separated] woman pained by the moonlight prepares to go to her beloved, even if he has done her wrong, it is [an instance of] the Pracchedaka.[104] Trimūḍhaka 142. A play adorned with even metres and abounding in manly feelings and composed of words which are neither harsh nor large, is called the Trimūḍhaka.[105] Saindhavaka 143. When [one represents] a lover who has failed to keep his tryst and is using Prakrit [to express his grief] through well-performed Karaṇas, it is [an instance of] the Saindhavaka.[106] Dvimūḍhaka 144. Delineating a song of the Caturasra type which has an auspicious meaning and which treats (lit. has) clear Psychological States and Sentiments, with the pretension of efforts, is called the Dvimūḍhaka.[107] Uttamottamaka 145. The Uttamottamaka is composed in various kinds of Ślokas; it includes various Sentimentts and is adorned with the condition of Passion (helā).[108] Vicitrapada 146. If any woman burning with the fire of love soothes her mind by seeing the portrait [of her lover], it is [an instance of] the Vicitrapada.[109] Ukta-pratyukta 147. The Ukta-pratyukta is a duett (lit. a dialogue) expressing anger or pleasure, and it [sometimes] contains Words of censure. It should contain interesting things in a song.[110] Bhāvita 148. If a woman who is burning with the fire of love after seeing her beloved in a dream, expresses [her] different Psychological States, it is [an instance of] the Bhāvita.[111] 149. These are the characteristics of the [different] types of Lāsya that I had to tell you in detail. If anything more has not been said, it has been due to the fact that nothing more is required in this connection. 150. The rules regarding the ten kinds of play with their characteristics, have been stated by me. I shall now speak about their bodies and the Segments with their characteristics. Here ends chapter XX of Bharata’s Nāṭyaśāstra, which treats of Ten Kinds of Play. Footnotes and references: [back to top] [1]: Early writers on the subject like Kohala mentioned additional types of play such as, Saṭṭaka, Toṭaka and Rāsaka (Ag.). Bhoja ignores Toṭaka and recognizes only twelve kinds of play including the Nāṭikā mentioned in the NŚ. See V. Raghavan, Śr. Pr. p. 27. [2]: This word is often loosely used as a synonym of rūpa or rūpaka. [3]: To distinguish it from aṅka (an Act) it is also called Utsṛṣṭikāṅka. [4]: See XXII. [5]: See XXVIII. 36ff. [6]: ibid. [7]: ibid. [8]: See XXVIII. 22ff. [9]: ibid. [10]: It must occur in some from in the Purāṇa, Itihāsa (Rām. and Mbh.) or any such celebrated work (e.g. Bṛhatkathā). [11]: Rāma, Kṛṣṇa and Udayana are ex. of such persons. This and the other conditions mentioned in the above note exclude living persons as a Hero of the Nāṭaka. Gf. NL, p. 27. [12]: Janaka and Viśvāmitra are ex. of such persons. [13]: Divine persons may be mentioned in a Nāṭaka only as Heroes of an episode (patāka) or Episodical Incident (prakarī). See Ag. and ND. (loc. cit.). [14]: For the description of an Act (aṅka) see below 13-15, and 23. [15]: For the Introductory Scene see below 19-21 and 27-35. [16]: This is a folk-etymology and does not help as at ail to understand the real meaning of the word. [17]: From a repetition of the Vital Drop the play seems to attain compactness. [18]: The emendation of the text was necessary from the special meaning of the wor bīja. cf. sarveṣām aṅkānāṃ yo’rtho bījalakṣaṇaḥ (Ag.). [19]: Queens include his chief queen (mahādevī) as well as other consorts (Ag). [20]: Superiors include the parents and teachers (Ag). [21]: Ag. interprets sārthavāha as senāpati (leader of the army). This is inadmissible. [22]: B. and C. read before this an additional couplet which in trans, is “The number of Acts in the Nāṭaka and the Prakaraṇa should not be less than five and more than ten.” But in view of couplets 25 and 57 this seems to be superfluous. For a support of the emendation see Rucipati’s commenty on A.R. (p.53) where we have “adbhutadarśanamaṅkai pratyakṣajā na kkāpi syuḥ” below note 2 on 20. [23]: Cf. See Sāgaranandin’s view on the point (NL, p. 13). [24]: A misunderstanding of this rule as adopted by SD. (274) gave rise to the belief of modern scholars that the ancient Indian playwrights did not permit death-scenes in on the stage. See Keith, Sanskrit Drama, pp. 293, 354; Haas, DR. p. 93. [25]: Sāgaranandin quotes other views on the duration of events presented in an Act. See NL. p. 13. [26]: Some mss. read the text here ekāṅkena instead of ekāṅke na. The Controversy over the reading is much older than the time of Ag. (See Ag). [27]: Routine duties include prayers as well as taking meals. [28]: The meaning of this rule seems to be that interval between two Acts should include events requiring a month or a year only. [29]: B. reads the first hemistich with the change, accepted by Ag. The passage in B. in trans. will be as follows : An Introductory Scene may have many purposes. For example, it may indicate the advent or passage of time, or present some explanation or other aspects of planning the action (kārya). [30]: (C.35; B.XVIII.36).1 See NL. 351-352. [31]: 36 (C.37; B.XVIII.54).1 This is meant that superior characters are not appear in a Supporting Scene. [32]: See below 37 note1. [33]: Ex. Pratijñā II. Śak. III. [34]: Ex. Pratimā. II. Vīkram. III. [35]: This rule is possibly meant for avoiding the practical difficulty of producing a drama with too many characters. [36]: C. only gives it in a mutilated form. Its second hemistich should be read as daśabhiḥ dvādaśabhir vāṅkaih kāryāṇi...... [37]: See NŚ. XXIII. 6-9. [38]: See NŚ. XII. [39]: See above 41 note 2. [40]: The exact significance of this expression as well as the implication of the entire rule is not quite clear. Ag. however quotes two different views on the subject. [41]: This is mostly to be done by causing unexpected things to happen. The sudden revelation of Āvantikā as Vāsavadattā in Bhāsa’s Svapna. (VI) and the dramatic re-union of Śakuntalā with Duṣyanta in Śak, (VII) are examples of this rule. [42]: Rām. and Mbh. are examples of such works.?—?Bhāsa’s Pratijñā is an example of this. See its Prologue. [43]: From this “varied exploits” one is to understand that Prakaraṇa was not concerned exclusively with love-themes. See Mudrā. [44]: The types of characters mentioned in the rule are mostly absent in the scanty number of extant plays of this type. The Pratijñā, is an example of a Prak. having a minister as its Hero. [45]: For Viṭa see the Introduction. [46]: Extant plays do not contain such characters. [47]: See 56 below. [48]: The nature of the necessity, and the language which the author of the NŚ. had in view in formulating this rule, has probably been indicated in the following couplet: “śilpādivyapadeśena bhavedveśyābhāgamaḥ | bhāṣate prākṛtaṃ veśyā saṃsakṛtaṃ kulanāyekā ||” See Bh, pp. 242. also Ag. [49]: Cf. DR, I.118 (ed. Haas, pp. 34-35) and SD, 302. The Introductory Scene cannot be placed at the beginning of a play and it must be in Pkt. [50]: See Avaloka on DR. (ed. Nirnayasagar) III.43, Description of the Nāṭikā given here (59-63) has been rightly suspected as an interpolation, though Keith is for rejecting this suspicion. See Sanskrit Dr. p, 349. [51]: Keith seems to be in error about the nature of the subject matter) (plot) of the Nāṭikā. See Sanskrit Dr. p. 349. Justification for calling the Pratijñā. a Nāṭikā may be found in the facts that its plot is based on musical lessons given by Udayana to Vāsavadattā, and it has four Acts. But according to the Prologue it is a Prakaraṇa. Pusalker, Bhāsa, pp. 271-272. also note 1 on 59. [52]: But for this feature of having four Acts only, the Mālavi. may be considered a Nāṭikā. See Keith. Sanskrit Dr. p. 350. Ratnā. is a well-known example of the four Act Nāṭikā. [53]: B.C. read one additional couplet (C. 64; B.XVIII.61) on the basis of two mss. It does not give any new information. [54]: C. Prakaraṇanāṭaka-nāṭi-lakṣaṇam uktam for ° nāṭaka-lakṣaṇam uktaṃ vipra. Evidently the interpolator who is responsible for the description of the Nāṭī (Nāṭikā) inserted nāṭī in the reading of C. See above 59 note. [55]: No old specimen of this type of play is available. The Samudra-manthana by Vatsarāja (12th century) is a very late work. See Keith, Sanskrit Dr. p. 267. Bhāsa’s Pañca. is not a Samav. Cf. Mankad, Types of Sanskrit Dr. p. 58; Pusalker, Bhāsa, pp. 202-210. [56]: It is not likely that any one play of this type will include all three objects (deception, excitement and love) in their three varieties. [57]: As the topics (and hence the Acts) in the Samavakāra are to be loosely related (see 69 below), this limitation has been placed on the time lest it should be made too long. [58]: nāḍikā = 24 minutes. See below 67 note. [59]: muhūrta = a period of 48 minutes. See below 66 note 1. Curiously enough Śāradātanaya thinks that nāḍikā is one fourth of a muhūrta. See BhP. p. 249. [60]: 12 nāḍikās (nāḍīs) = 4 hours and 48 minutes. [61]: See 113-129 below. [62]: 4 nāḍikās (nāḍīs) = 1 hour 36 minutes. [63]: 2 nāḍikās = 48 minutes. [64]: Before this B. reads one additional couplet (B.69) which does not give any important information and has the support of two mss. only. In C. this occurs after C. 68. [65]: From this it appears that Samav. was not a play of the regular type and belonged to a very early stage of evolution of Indian drama. [66]: The reading accepted by Ag. seems to be corrupt. For Uṣṇik and Gāyatrī type of metres cannot by any means be considered as being of complex construction (bandhakuṭila). Our emendation has in a way the support of Udbhaṭa (the noted commentator of the NŚ.) who too thinks that the rule prescribes complex metres such as Sragdharā for the Samav. See Ag. [67]: Lengthy, sami-even and uneven types of metres. [68]: No old specimen of this type of drama is available. Rukmiṇīharaṇa by Vatsarāja is an artificial production of a very late period (12th century), (See Keith, Skt. Dr. p. 266). Two other late specimens of this kind are Kṛṣṇamiśra’s Vīra-vijaya and Kṛṣṇa Avadhūta’s Sarva-vinoda-nāṭaka (See Sten know, ID. p. 114). [69]: See below 90-03. [70]: No old example of this type of drama is available. [71]: Bhāsa’s Madhyama. is its solitary old specimen unless Karṇa, also is to be taken as such (see ID. p. 52). Prahlādanadeva’s Pārtha-parākrama (12th cent.), Vatsarāja’s Kirātārjunīya (12th cent.) and Viśvanātha’s Saugandhikā-haraṇa etc. are very late specimens of this type. See Keith Sanskrit Dr. p. 265. Pusalker, Bhāsa. p. 203. Dūtavā., Dūtagha., Pañca, and Ūru. cannot be called Vyāyogas. Cf. Pusalker, Bhāsa, pp. 186, 187, 190, 209. Mankad, Types of Sanskrit Dr. p. 59-61. [72]: Bhāsa’s Ūru. is a solitary example this type of drama. See Pusalker, Bhāsa, pp. 199, 200. Keith seems to be in error when he says that a play within a play is often called an Aṅka. See Sanskrit Dr. p. 268. [73]: Śaṅkhadhara’s Laṭaka-mela (12th century), Jyotirīśvara’s Dhūrta-samāgamā (15th century) and Jagadīśvara’s Hāsyārṇava (date uncertain), etc, are very late works (See Keith Sanskrit Dr. pp. 261-262). The Matta-vilāsa of Mahendra-vikrama-varman (620 A.C.) and the Bhagavad-ajjukīya ascribed to Baudhāyana Kavi, are fairly old specimens of the Prahasana, See Keith Sanskrit Dr. pp. 182. Bhagavad-ajjukīya ed. P. Anujan Achan, Cochin, 1925. [74]: The word bhagavat relates primarily to a Śaiva saint. It is in this sense that the word has been used in the Prahasana named Bhagavad-ajjukīya, and this speaks for the antiquity of this work (See above 102 note). A Śaiva saint appears in the Matta-vilāsa, the Dhūrta-nartaka and the Hāsyacūḍāmaṇi. The last two Prahasanas are however late. See Keith, Sanskrit Dr. pp. 182, 262, 265. [75]: Prahasanas named in note 1 above may be taken as specimens of the pure variety. [76]: Prahasanas like the Dhūrta-samāgama and the Hāsyārṇava may be taken as specimens of the mixed variety. See Keith, Sanskrit Dr. pp. 260-262. [77]: For the meaning of Dhūrtā see the Introduction to the text. [78]: See below 112-129. [79]: The four Bhāṇas (Ubhayābhisārīka, Padma-prābhṛtaka, Dhūrta-viṭa-saṃvāda and Pāda-tāḍitaka) published under the title Caturbhāṇī placed by F. W. Thomas between the 6th and the 7th century, are the oldest available specimens of this type (F.W. Thomas, J.R AS. 1922, pp. 262ff. F.W. Thomas, Centenary Supplement JRAS. 1924 pp. 129-136; S.K. De, in JRAS. 1926, pp. 63-90, Hist of Sanskrit Lit. pp. 241ff. The first three Bhāṇas, however, may be much earlier. For later Bhāṇas see Keith, Sanskrit Dr. pp. 263-264. [80]: Aṅga in this connexion has been translated as ‘division’ (Haas, DR. p. 84). But ‘type’ seems to be a more suitable word. [81]: Haas translates the word as ‘Abrupt Dialogue’ (DR. p. 84). For an example see SD. 228; cf. Ag. DR. (III. 13-14) seems to define it differently. [82]: Haas translates it as ‘Continuance’ (See p. 85). For an ex. See SD. 292; Ag. Cf. DR.III. 14b-15a. [83]: The spelling avasyandita though accepted by SD. and DR. seems to be wrong (See Ag.). Haas translates the word as ‘Re-interpretation’ (pp. 84, 87) probably under the influence of the SD. (528). DR. (III. 19a) has a different definition. For an example see Ag. [84]: We accept the reading of mss, ḍa and da in B. (under 119) which has the support of DR. III, 20 and SD. 530. Ag. differs and accepts the reading of 121 below. See Haas. p. 87. [85]: See 120 note and Ag. [86]: See Haas, p. 85; SD, 522. DR III. 15b. [87]: See Hans, pp. 87; SD. 529. [88]: See Haas, p. 86, SD. 525. [89]: See Hass, p. 86; SD. 526. [90]: See DR. 17a; Haas, p. 96; SD. gives two def. of this including the present one; see 524-525. [91]: B.s reading seems to agree with the def. given in DR. III. 20b and SD. 531. Haas translates the term as ‘Humourous Speech.’ See p. 88. [92]: DR. III. 21a; SD. 532. Haas translates the term as ‘Mildness’; see p. 88. [93]: DR III. 16 and SD. 523 define this differently and they agree with the reading of B. Our reading is supported by the pa ms. in B. Haas translates the term as “Triple Explanation.” See p. 84. [94]: DR. III. 18b and SD. 527 seem to def. it differently. Haas translates the term as ‘Abrupt Remark’ see p. 87. [95]: Ag. reads Lāsyāṅgas in the next chapter (his XIX). It is possible that these were introduced later in the NŚ. For the ms, bha of B. and some commentators using it ignore them altogether, Śāradātanaya and others reads lāsyāṅgas differently. See Kavi’s Intr. to B. pp. XI-XII. foot note. [96]: Lāsyāṅgam is an one act play which requires lāsya or a gentle form of dance for its representation; for this term may be interpreted as lāsyam aṅgaṃ yasyaḥ tat (that which which has lāsya as its principal element). The ten lāsyāṅgas seem to be only so many varieties of the Lāsya. These are not its ‘elements’ as some scholars are apt to consider. [97]: See above 132 note; lāsya used in this passage means merely lāsyāṅga. [98]: SD. (504) gives only ten and BhP. (p. 245-246) eleven lāsyāṅgas; but DR. (III. 52-53) gives their number as ten, but does not define them. [99]: See SD. 505. The sitting posture included in this and some of the other varieties of the lāsya need not appear to be puzzling. For the Gentle Dance in this connexion did not imply the movement of the entire body. See Gilbert Murray, Euripides and His Age, London, 1946, p. 150. [100]: See above 136 note 1. [101]: SD. 509; also note 1 above of X36. Cf. K. XVIII. 173. BhP. p. 245, 1. 17-18. [102]: SD. 507; see above 136 note 1. The Gentle Dance (lāsya) in this connexion will consist of slowly moving glances only. Cf. BhP, p. 245, 1.19-20. [103]: Cf. SD. 507; see above 136 note 1. Cf. K. XVIII. 175, BhP. p. 245, 1. 21-22. [104]: The def. given in SD. (507) is different DR. and SD. read the term as Trigūḍhaka. Cf. BhP. p. 246, 1. 1-2. [105]: See BhP. p. 246, 1. 3-4. [106]: Cf. SD. 508. Cf. K. XVIII. 178, BhP. p. 246. 1. 5-6. [107]: Cf. SD. (509) which reads the term as Dvigūḍha. Cf. K. XVIII. 179, BhP. p. 246, 1. 7-8. [108]: Cf. SD. (509). Cf. BhP. p. 246, 1. 9-10. [109]: SD. and BhP. omit this. [110]: See BhP. p. 246. 1. 11-12. Cf. SD. 509. [111]: SD. omits this. See BhP. p. 246. 1. 13-14. 07 May, 2017 --> Last Updated: 28 July, 2017 $(function(){ if($(document).height() > $(window).height()){ $('.book.chapter').append('^ back to top ^') $('section.back > a').click(function(){ $(window).scrollTop(0); }); } }); /** * Derivation list */ /*$('a.deriv-link').click(function(){ $(this).closest('.words-group').find('.deriv-list').toggleClass('d-none'); });*/ ====================================================================== Chapter XXI - Limbs of Segments ====================================================================== --> Natyashastra (English) by Bharata-muni | 1951 | 240,273 words | ISBN-13: 9789385005831 Hinduism Natyashastra Buy now! The English translation of the Natyashastra, a Sanskrit work on drama, performing arts, theater, dance, music and various other topics. The word natyashastra also refers to a global category of literature encompassing this ancient Indian tradition of dramatic performance. The authorship of this work dates back to as far as at least the 1st millenn... Go directly to: Footnotes. Chapter XXI - Limbs of Segments (sandhi) < Previous (index) Next > Five Segments (sandhi), of the Plot (itivṛtta) 1. The Plot (itivṛtta)[1] has been called the body of the drama (lit. poem). It is known to be divided into five Segments (sandhi)[2]. Two kinds of the Plot 2. The Plot is of two kinds: Principal (ādhikārika) and subsidiary (prāsaṅgika).[3] Definition of the two 3. An [assemblage of] acts which are fabricated with a view to [lit. by reason of] the attainment of [some particular] result, is to be known as the Principal Plot. [Acts] other than these constitute a Subsidiary Plot.[4][5] 4-5. The attainment of the object and its exaltation which the ingenuity of the playwright (lit. poet) plans by means of the associated characters (lit. Heroes) acting in a regular manner (lit. reasorting to rules), constitute the Principal Plot on account of an attainment of the result. And any incident (lit. anything) mentioned for helping any other [incident] in it, is called the Subsidiary Plot.[6][7] Five stages of the Action 6. The exertion of the Hero (lit. one who strives) towards the object to be attained is known to have five stages occurring according to their due order.[8] 7. These stages [of the Action] are known to arise in the Nāṭaka and the Prakaraṇa. And [their] Fruition (phala-yoga) relates to duty (dharma), enjoyment of pleasure (kāma) and wealth (artha). 8. The five stages are: Beginning (prārambha), Effort (prayatna), Possibility of Attainment (prāpti-sambhava), Certainty of Attainment (niyatā-prāpti) and Attainment of the Object (phala-prāpti).[9] Beginning 9. That part of the play (lit. composition) which merely creates a curiosity about the Attainment of the great Object with reference to the Seed (bīja), is called the Beginning (ārambha).[10] Effort 10. [Hero’s] striving towards the Attainment of the Object when the same is not in view, and his steps exciting curiosity [about it], is called the Efforts (prayatna).[11] Possibility of Attainment 11. When the Attainment of the Object is slightly suggested by some Psychological State [of the Hero], it is to be known as the Possibility of Attainment (prāpti-sambhava).[12] Certainty of Attainment 12. When the Hero visualizes due to a Psychological State [of his], a sure attainment of the Object, it is called Certainty of Attainment (niyatā phala-prāpti).[13] Attainment of the Object 13. When a suitable Result of intended actions appears in full at the end of events [of a play], it is called Attainment of the Object (phala-yoga).[14] 14. These are the five successive stages of every action begun by persons looking for results. 15. Putting together of all these naturally different stages which come together [in a play] for the production of the result, conduces towards the fruition [of the Seed]. Play to begin with the Principal Plot 16. The Principal Plot which has been described before should be taken up at the Beginning [of a play], for it is to end in fruition (i.e. Attainment of the Object). 17. The Plot may either have all the Segments or lack some of them. The [general] rule requires that all the Segments should occur in it; but due to a [special] reason some of them may be left out.[15] Rules about the omission of Segments 18. If one Segment is to be omitted then the fourth one goes; in course of an omission of the two Segments, the third and the fourth are to be left out, and in case of the three to be omitted, the second, the third and the fourth should be given up. 19. In case of the Subsidiary Plot this rule will not apply; for it is to serve the purpose of another [Plot]. Any event can be introduced in this [Subsidiary Plot] without violating the rule. Five Elements of the Plot 20. The five stages of the Plot such as the Beginning (ārambha)[16] etc. have five means of attaining objects of the Plot (artha-prakṛti)[17] 21. The Seed (bīja), the Vital Drop (bindu = semen), the Episode (patākā), the Episodical Incident (prakarī) and the Action (kārya) are the five Elements of the Plot[18], which should be reckoned and applied in a proper manner. Seed 22. That which scattered in a small measure, expands itself in various ways and ends in fruition, is called the Seed[19] of the Plot. Vital Drop 23. That which sustains the continuity (lit- non-separation) till the end of the play even when the chief object [of the play] is [for the time being] suspended, is called the Vital Drop (bindu)[20]. Episode 24. The event which is introduced in the interest of the Principal [Plot] and is treated like it, is called an Episode[21]. Episodical Incident 25. When merely the result of such an event is presented for the purpose of another (i.e., the Principal Plot) and it has no continuation it is called the Episodical Incident.[22][23] Action 26. The efforts made for the purpose of the Principal Plot introduced [in a play] by the experts, is called the Action (kārya)[24]. 27. Among these means that which has others for its support (lit. purpose) and to which the rest are taken as subordinate, should be made prominent and not the remaining ones.[25] Continuation in the Episode 28. One or more Segment should be attached to the Episode. As these serve the purpose of the Principal [Plot] they are called Continuation (anubandha)[26]. Limit of the Episode 29. The Episode should come to an end either at the Development or at the Pause. Why? Because its treatment is for the purpose of something else (i.e., the Principal Plot). Episode Indication 30. When some matter being taken in hand (lit. already thought about), another matter of similar nature (lit. characteristics) is suggested through an accidental idea (āgantukabhāva), it is called Episode Indication (patākā-sthāna).[27] The First Episode Indication 31. The sudden development of a novel meaning (artha-sampatti) due to an indirect suggestion, is called the First Episode Indication[28]. The Second Episode Indication 32. Words completely carrying double meaning and expressed in a poetic language, are called the Second Episode Indication.[29] The Third Episode Indication 33. That which suggests with courtesy the object [of a play] in a subtle manner and in the form of a dialogue, is called the Third Episode Indication.[30] The Fourth Episode Indication 34. Words with a double meaning expressed in a well-knit poetic language and having a reference to something [other than what appears at first sight] is called the Fourth Episode Indication.[31] 35. The play (lit. poetical composition) meant to be acted should have at most four Episode Indications (patākāsthānaka)1. I shall next speak of this made up of five Segments. Five Segments 36. The five Segments of a play are the Opening (mukha), the Progression (pratimukha), the Development (garbha), the Pause (vimarśa) and the Conclusion (nirvahaṇa)[32]. 37. The Principal [Plot] is known to be consisting of five Segments (sandhi). The remaining Segments are to be subordinated to the Segments of the Principal [Plot][33]. Opening 38. That part of a play, in which the creation of the Seed (bīja) as the source of many objects and Sentiments takes place, is called in relation to its body the Opening.[34] Progression 39. Uncovering of the Seed placed at the Opening after it has sometimes been perceptible and sometimes been lost, is called the Progression.[35] Development 40. The sprouting of the Seed, its attainment or nonattainment and search for it, is called the Development (garbha)[36]. Pause 41. One’s pause (vimarśa, lit. deliberation) over the Seed (bīja) that has sprouted in the Development (garbha) on account of some temptation, anger or distress, is called the Segment of that name (i.e. Pause)[37]. Conclusion 42. Bringing together the objects [of the Segments] such as the Opening (mukha) etc. along with the Seed (bija), when they have attained fruition, is called the Conclusion (nirvahaṇa)[38]. 43. These are the Segments of a Nāṭaka, to be known by the producers of a drama. They may occur in the Prakaraṇa and the other types of plays as well. Segments vary in different types of drama 44. The Ḍima[39] and the Samavakāra[40] are to have four Segments, and the playwright should never make the Pause (vimarśa) in them. 45. The Vyāyoga[41] and the Īhāmṛga[42] are to have three Segments. There should be no Development and Pause (avamarśa—vimarśa) in these two. and the Graceful (kaiśikī) Style also has no place in them. 46. The Prahasana[43] the Vīthi[44], the Aṅka[45] and the Bhāṇa[46] are the to have only two Segments which should be the Opening (mukha) and the Conclusion (nirvahaṇa), and their Style should be the Verbal one (bhāratī). 47. These are the Segments to be planned by the producers in the ten types of play, Listen now about the contents of the Segments which are as it were their limbs. Distinction of the Segments 48-50. Contents of the Segments which give them distinction are twenty-one:[47] Conciliation (sāma), Dissention (bheda), Making Gifts (pradāna), Chastisement (daṇḍa), Killing (vadha), Presence of mind (pratyutpanna-matitva), Blunder in Addressing (gotra-skhalita), Rashness (sāhasa), Terror (bhaya), Imaginative Fancy (dhī), Deceit (māyā), Anger (krodha), Strength (ojas), Concealment (saṃvaraṇa), Error (bhrānti), Ascertainment (avadhāraṇa), Messenger (dūta), Letter (lekha), Dream (svapna), Portrait (citra) and Intoxication (mada).1 Segments and their limbs 51. The events in the Segments in their respective parts (pradesa) will in due order support those Limbs [of the Segments] by means of their own qualities.[48] Sixfold need of the Limbs of the Segments 52-53. Expressing the desired object, non-omission of any essential item in the Plot, attaining the quality of pleasing in production, concealment of the objects to be concealed, telling tales of surprise and disclosing things to be disclosed are the sixfold needs of the Limbs described in the Śāstra[49]. Uses of the Limbs of Segments 54. Just as a man deficient in his [limbs is unable] to fight a battle, so a play deficient in the limbs [of Segments] will be unfit for [successful] production[50]. 55. A play (lit. a poem) though it may be poor as regards its theme (lit. meaning) will, when furnished with requisite Limbs, attain beauty because of the brilliance of its production. 56. And a play having a lofty theme, but devoid of [requisite] Limbs, will never capture the mind of the good [critics] because of its [possible] poor production. 57. Hence in planning the Segments [in a drama] the playwright should give them the Limbs in proper places and with proper sentiments. Now listen properly about about them. Sixtyfour Limbs of the Segments 58-59. The Limbs of the Opening (mukha) are; Suggestion (upakṣepa), Enlargement (parikara), Establishment (pariṇyāsa), Allurement (vilobhana), Decision (yukti) Accession (prāpti), Settling (samādhāna), Conflict of Feeling (vidhāna), Surprise (paribhāvana), Disclosure (udbheda), Activity (karaṇa), and Incitement (bheda). Now listen about the Limbs in the Progression[51]. 60-61. The Limbs of the Progression (pratimukha) are: Amorousness (vilāsa), Pursuit (parisarpa), Refusal (vidhūta), Pessimism (tāpana), Joke (narma), Flash of Joke (narmadyuti), Moving Forward (paryupāsana), Sweet Words (puṣpa), Thunderbolt (vajra)[52], Reference (upanyāsa), Meeting of easts (varṇasaṃhāra). 62-64. The Limbs of the Development (garbha) are: Mis-statement (abhūtāharaṇa), Indication (mārga), Supposition (rūpa), Exaggeration (udāharaṇa), Progress (krama), Propitiation (saṃgraha), Deduction (anumāna), Supplication (prārthanā), Revelation (ākṣipta), Quarrel (toṭaka), Outwitting (adhibala), Dismay (udvega) and Consternation (vidrava)[53]. 64-66. The Limbs of the Pause (vimarśa = avamṛśa) are: Censure (apavāda), Angry Words (saṃpheṭa) Insolence (abhidrava), Placation (śakti), Assertion (vyavasāya), Mention (prasaṅga), Injury (druti), Lassitude (kheda), Opposition (niṣedhana), Altercation (virodhana), Sumning up (ādāna), Humillation (sādana), and Foresight (prarocanā)[54]. 66-68. The Limbs of the Conclusion are: Junction (sandhi), Awakening (vibodha), Assembling (grathana), Ascertainment (nirṇaya), Conversation (paribhāṣana), Confirmation (dhṛti), Gratification (prasāda), Joy (ānanda), Deliverance (samaya), Surprise (upagūhana), Clever Speech (bhāsana), Retrospect (pūrva-vākya), Termination of the Play (kāvya-saṃhāra) and Benedication (praśasti)[55]. These are the sixty-four Limbs of the Segments [in a play][56]. Limbs of the Opening 69. I shall now give their definitions in due order[57]. Suggestion Suggestion (upakṣepa) is the origin of the object of the play[58]. Enlargement Establishment 70. Enlargement (parikara) is the amplification of the object originated.[59] Describing it (i.e. the object) thoroughly is called Establishment (pariṇyāsa)[60]. Allurement 71. The mentioning of good qualities is known as Allurement (vilobhana).[61] Decision Settling the issues is called Decision (yukti)[62]. Accession 72. Accession (prāpti) is summing up the purpose of the Opening (mukha)[63]. Settling Settling (samādhāna) is summing up the purpose of the Seed (bīja)[64]. Conflict of Feelings 73. Joys and sorrows occurring in a situation, is called conflict of Feelings (vidhāna)[65]. Surprise Surprise (paribhāvana) is an excitement giving rise to curiosity[66]. Disclosure 74. The sprouting of the purpose of the Seed (bīja), is called Disclosure (udbheda)[67]. Activity Taking up the matter in question is called Activity (karaṇa)[68]. Incitement 75. That which is meant for disrupting an union is called Incitement (bheda)[69]. These are the limbs of the Opening. Limbs of the Progression I shall now speak of those of the Progression (pratimukha). Amorousness 76. Amorousness (vilāsa) is the desire for the sport of love (rati)[70]. Pursuit Pursuit (parisarpa)[71] is the pursuing of an object once seen and then lost. Refusal 77. Refusal (vidhuta)[72] is not complying with the request made [by any one]. Pessimism Thinking about (lit. seeing) some danger [in future] is called Pessimism (tāpana)[73]. Joke 78. The laughter which is meant for sports, is called Joke (narma)[74]. Flash of Joke The laughter which is meant for concealing one’s fault is called Flash of Joke (narma-dyuti)[75]. Moving Forward 79. Speaking words which bring in other words after them is called Moving Forward (pragamana)[76]. Hindrance Appearance of some calamity is called Hindrance (nirodha)[77]. Pacification 80. Conciliating an angry person is called Pacification (paryupāsana)[78]. Sweet Words Mentioning some favourable peculiarity is called Sweet Words (puṣpa, lit. flower)[79]. Thunderbolt 81. Harsh words uttered on one’s face is called Thunderbolt (vajra)[80]. Reference Reference (upanyāsa) is a remark based on reason.[81] Meeting of Castes 82. Coming together of the four castes is called Meeting of Castes[82]. These are the Limbs of the Progression. Limbs of the Development Now listen about those in the Development (garbha). Mis-statement 83. [A speech] founded on deceit is called Mis-statement (kapaṭāśraya)[83]. Indication Speaking out [one’s] real intention (lit. reality) is called Indication (mārga)[84]. Supposition 84. A hypothesis with which novel meanings are combined, is called Supposition (rūpa)[85]. Exaggeration A speech with an overstatement is called Exaggeration (udāharaṇa).[86] Progress 85. Foreseeing of what is coming afterwards, is called Progress (krama)[87]. Propitiation Contact for the use of sweet words and gift, is called Protection (saṃgraha)[88]. Deduction 86. Perceiving something by the name of a thing similar to it in from, is called Deduction (anumāna)[89]. Supplication Request for love’s enjoyment (rati), rejoicing festivity and the like, is called Supplication (prārthanā)[90]. Revelation 87. The unfolding [of the Seed] in the Development (garbha), is called Revelation (ākṣipta)[91]. Quarrel An angry speech is called Quarrel (toṭaka). 88. Deception by means of a trick called Outwitting (adhibala)[92]. Dismay Fear arising from a king, an enemy or a robber is called Dismay (udvega)[93]. Panicky Commotion 89. Flurry caused by fear from a king or fire is called Panicky Commotion (vidrava)[94]. These are the Limbs in the Development (garbha). Limbs of the Pause Now listen about those in the Pause (avamarśa = vimarśa). Censure 90. Proclaiming anyone’s fault is called Censure (apavāda).[95] Angry Words Words spoken in anger are called Angry Words (saṃpheṭa)[96]. 91. Transgression of the superiors is called Insolence (abhi-drava)[97]. Placation Coming into conflict [with anyone] is called Strength (śakti)[98]. Assertion 92. A promise made on account of some reason is called Assertion (vyavasāya)[99]. Mention Speaking of one’s superiors is called Mention (prasaṅga).[100] Injury 93. Words spoken in contempt are called Injury (druti).[101] Lassitude Fatigue arising from a mental effort is called Lassitude (kheda).[102] Opposition 94. Obstruction to one’s desired object is called Opposition (niṣedha)[103]. Altercation Speaking and counter-speaking in excitement is called Altercation (virodhana)[104]. Summing up 95. Bringing together (lit. attaining) [all aspects] of the Seed (bīja) and the Action, is called Summing up (ādāna)[105]. Humiliation Putting in insulting words for some purpose, is called Humiliation (sādana)[106]. Foresight 96. That which expresses the purpose of the Conclusion (saṃhāra) [in advance], is called Foresight (prarocanā)[107]. These are the limbs in Pause (avamṛśa = vimarśa). Limbs in Conclusion Now listen about those in the Conclusion (saṃhāra = nirvahaṇa). Juncture 97. The coming up of the Opening (mukha) and the Seed is called a Juncture (sandhi)[108]. Awakening Looking duly for the Action (kārya) is called Awakening (vibodha).[109] Assembling 98. Intimation of [the various aspects] of the Action is called Assembling (grathana)[110]. Ascertainment Declaration of facts personally known is called Ascertainment (nirṇaya)[111]. Accusation 99. That which is said to blame someone, is called Accusation (paribhāṣaṇa)[112]. Confirmation Turning to use (lit. going) the object gained is called Achievement (kṛti)[113]. Gratification 100. Treating one with waiting upon or the like, is is called Gratification (prasāda)[114]. Joy Attaining objects [of one’s desire] is called Joy (ānanda)[115]. Deliverence 101. Passing away of all misery, is called Deliverance (samaya)[116]. Surprise Appearence of something wonderful is called Surprise (upagūhana)[117]. Clever Speech 102. Words mentioning conciliation, gift and the like are called Clever Speech (bhāṣana)[118]. Retrospect Retrospect (pūrva-vākya)[119] is to be understood as a reference to something spoken before. Termination 103. Giving and receiving of a boon is called Termination (kāvya-saṃhāra)[120]. Benediction [A prayer seeking perfect] peace to the king and the country is called Benediction (praśasti)[121]. 104. With a view to introducing Sentiments (rasa) and Psychological States an expert playwright should insert all these Limbs into appropriate Segments of his work[122]. 105. Considering [the scope] of the Action or its condition he may sometime insert all the Limbs or a combination of two or three [of them] into the Segments.[123] Five Explanatory Devices 106. The Supporting Scene (viṣkambhaka), the Intimating Speech (cūlikā), the Introductory Scene (praveśaka), the Transitional Scene (aṅkāvatāra), and the Anticipatory Scene (aṅkamukha) are five Explanatory Devices (arthopakṣepaka)[124]. A Supporting Scene 107. A Supporting Scene (viṣkambhaka)[125] should employ the middling[126] male characters, and relate to the opening Segment (mukhasandhi)[127] only of the Nāṭaka, and it. is [to be] graced by a priest, minister or Kañcukin (armour-bearer). 108. A Supporting Scene is of two kinds: pure and mixed. Of these the pure is made up of the middling characters, and the mixed of the inferior and the middling ones. An Intimating Speech 109. When some points are explained by a superior, middling or inferior character from behind the curtain, it is called an Intimating Speech (cūlikā)[128]. 110. An Introductory Scene (praveśaka) in relation to the Nāṭaka and the Prakaraṇa, is to occupy a place between two Acts and to treat the summary of the Segments.[129] A Transitional Scene 111.[130] As in practice it falls between two Acts, or within an Act, and relates to the purpose of the Seed (bīja), it is called a Transitional Scene (aṅkāvatāra). An Anticipatory Scene 112. When the detached beginning of an Act is summarized beforehand by a male or a female character, it is called a Anticipatory Scene (aṅkamukha)[131]. An ideal Nāṭaka 113-116 The playwright should write a Nāṭaka having [different] Styles and minor Limbs (pratyaṅga)[132] , Episode Indication (patākā)[133] Explanatory Devices (arthapratikriyā)[134] arising from the five stages (avasthā)[135] having five Segments (sandhi)[136], twenty-one Distinction of Segments[137], sixty-four Limbs (aṅga)[138], thirty-six lakṣaṇas[139], Guṇas (excellence)[140] and figures of speech (alaṃkāra)[141], many Sentiments[142], topics of many enjoyments, exalted speeches, characters of great people, description of good conduct, and it should be popular, well-knit in its Segments, easy for production [on the stage], composed with soft words, and capable of giving pleasure. 117. The condition of the world arising from the happiness and misery and connected with the activity of various people, should find a place in the Nāṭaka[143]. 118. There is no wise maxim, no learning, no art or craft, no device and no action that are not found in the drama (nāṭya)[144]. 119. And the human nature with its joys and sorrows depicted by the means of representation such as Gestures, [Words, Costume and Sattva] is also called a drama (nāṭya)[145]. 120. A mimicry of the past exploits of gods, sages, and human beings should be also called a drama[146]. 121. As [this] is represented (abhinīyate) and interpreted by the actors who after suppressing their own nature make [for this purpose] various movement of their different limbs, it is called the Nāṭaka. 122. The Nāṭaka is to be so composed as to include all Psychological States, Sentiments, inclination to all deeds, and the various conditions [of men and nature][147]. 123. Those arts and crafts which are products of unique efforts should in their endless froms be applied in the Nāṭaka1. 124. One is to construct a Nāṭaka [only] after observ-ing the people’s character, strength and weakness and their [mode of] enjoyment and reasoning[148]. 125. In succeeding ages men will mostly be diffident in wisdom; hence those who will be born [after us] will have small learning and intellect. 126. When the world deteriorates, men’s intellect, [production of] crafts and skill in arts will dwindle. 127. Hence after observing the strength and the weakness of human feeling, one should compose the Nāṭaka with pleasent and easily intelligible words. 128. The plays (lit. poems) which contain [harsh], words like cekrīḍita[149] is repulsive (lit. do not shine) like a courtezan in the company of a Brahmin bearing a Kamaṇḍalu. 129. O Brahmins, I have spoken about the Plot with its Segments and Limbs. I shall hereafter speak of the characteristics of the Styles. Here ends chapter XXI of Bharata’s Nāṭyaśāstra, which treats of the Limbs of the Segments Footnotes and references: [back to top] [1]: Also called vastu. Cf. DR, 1. II, SD. 294-295. [2]: See DR. I, 22-23. Cf. SD, 330 and etc. See also NL. 216-217. [3]: See DR.I. ii, SD. 295 and NL. 218-219. [4]: Cf. DR I. 12-13, SD. 296-297; NL. 223-224. [5]: See above note 1. [6]: See above 3 note 1 and NL, 228-229. [7]: Cf. Ag. [8]: Cf. NL. 55-56. [9]: Cf. DR. I. 19; SD. 324; NL. 57-58. [10]: Cf. DR. 20; SD. 325; NL. 59-60. [11]: Cf. DR. I. 20; SD. 326; NL. 66. [12]: Cf. DR. I. 21; SD. 327; NL. 69-70. [13]: Cf. DR I. 21; SD. 328; NL. 77. [14]: Cf. DR. I. 22; SD. 329; NL. 89. [15]: See NL. 442ff. [16]: See DR. I. 19; SD. 324 NL. 57-58. [17]: See DR. I. 18; SD. 317; NL. 134-135. [18]: See above 20 note 2. [19]: Cf. DR. I. 17; SD. 318; NL. 136-137. [20]: Cf. DR. I. 17; SD. 319; NL. giving a second view about the mean ing of the bindu says:— “anye tu, yaddhi nāṭakārthasya prakṛtibhūtamavamānotsāhābhyāṃ pratyaṅgaṃ parikortyate sa binduḥ | yathā rādhavābhyudaye keka?yāḥ pratyaṅkamutkīrtanam | veṇyāṃ ca kīrtyate draupadīkeśākarṣaṇam | utsāhe ca nāgānande jībhūtavāhanasya sarvāṅke kīrtanamiti | sa ca kāryasya samāptiṃ yāvay prarvatayitavyaḥ(?)” (159ff. 173ff.). There is a third view also; see NL. 183ff. But bindu literally means ‘semen’. Cf. “saraṇāṃ bindupātena jīvanaṃ bindudhāraṇāt”. [21]: Cf. DR. I. 13; SD. 320; NL. gives also a second view about the meaning of the patāka as follows: “anye patāketyupanāyakacaritameva sthūlārthamupavarṇayanti” (195ff.). [22]: As opposed to this, the patākā possesses continuity. Anubandho nairantaryena pravartanam (NL. 204). [23]: Cf. DR. I. 13; SD. 321 NL. 199ff. [24]: Cf. DR. I. 16; SD. 323; NL. 209ff. [25]: Cf. NL. 234ff. [26]: Ag. and others read anubandha as anusandhi. Cf. DR. III. 26-27. See 25 above. [27]: DR. (I. 14) merely defines the term, and ignores its varieties. But SD. (298-299) follows Nś. and defines them. See NL. 1000-1001. Sāgara-nandin says that these should not be applied to the last Segment (nirvahaṇa). [28]: See SD. 300; NL. 1007. [29]: See SD. 301 and NL, 1015. [30]: See SD. 302; NL. 1021-1022. [31]: See SD. 303; NL. 1033. [32]: See DR. I. 23-24; SD. 331-332; NL. 458. These Segments do not necessity coincide with Acts. One Segment may well include more than one Act. [33]: These relate to the Subsidiary Plot. [34]: See DR. I. 24-25; SD. 333; NL. 536f, quotes NŚ. [35]: Cf. DR. I. 30; SD. 334; NL. 634ff [36]: Cf. DR. I. 36; SD. 335; NL. 710f. [37]: DR. I. 53 calls this avamarśa. SD. 336; NL. 770ff, gives two more definitions of this Segment. [38]: Cf. DR. I. 48-49; SD. 337; NL. 554f. [39]: See NŚ. XX. 90ff. [40]: See ibid 78ff. [41]: See NŚ, XX. 48ff. [42]: See ibid. 64ff. [43]: See NŚ. XX. 102ff [44]: See ibid 112ff. [45]: See ibid 94ff. [46]: See ibid 107ff. [47]: B. om. 48-50. NL. 925ff. seems to give this passage in a form more correct. All these items are for giving an impetus to the Action. [48]: See NL. 923. [49]: Cf. DR. I. 55; SD. 407ff. [50]: Cf. SD. 407ff. [51]: See DR. I. 25-26; SD. 338; NL. 552ff. [52]: DR. I. 31-32 reads śamana for tāpana; SD. 351. NL. 645ff. [53]: DR. I. 37-38. omits prārthanā and vidrava, adds sambhrama, and gives ākṣipta as ākṣepa; SD. 365. See NL. 724ff. [54]: DR. I. 44-45. omits abbidrava, kheda, niṣedhana and sādana and adds vidrava, drava chalana and vicalana; SD. 378ff. follows NŚ. except that abhidrava appears there as drava; see NL. 798ff. [55]: See SD. 391 reads kṛti as dhṛti. DR. I. 49-50 gives dhṛti as kṛti, pūrvavākya as pūrvabbāva, upasaṃhāra as kāvyasaṃhāra. NL. 250ff. omits sandhi and vibodha, gives dhṛti as dyuti, and gives instead of the first two artha and anuyoga. [56]: Cf. DR. I. 40; SD. 374; NL. 755. [57]: C. reads before this another couplet which in trans. is as follows: For the development of the Seed, all these (i.e. 64 limbs) should make up the Segments properly and have clear meanings. This does not occur in K. [58]: See NL. 556; SD. 338 Cf. DR. I. 27. [59]: See NL. 569; SD. 340; DR. I. 27. [60]: See NL. 575; SD. 341; DR. I. 27. [61]: See DR. I. 27; SD. 34a; NL. 586. [62]: See SD. 343; DR. I. 28; Haas translates it differently. SD. 343 and NL. 593 seem to misunderstand this definition. [63]: See NL. 598-599. DR. I. 28; and SD. 344 follows what seems to be wrong reading of the NŚ. [64]: See NL. 605f CL DR. I. 28; SD. 345. [65]: See DR. I. 28; SD. 346; NL. 609-610. [66]: See NL. 617; Cf. DR. I. 29; SD. 347. [67]: See SD. 348; NL. 620. Cf. DR. I. 29. [68]: See SD. 349; NL. 623. Cf. DR. I. 29. [69]: See NL, 626; SD. 350. Cf. DR. I. 29. [70]: See SD. 352; NL. 650ff. Cf. DR. I. 32. [71]: See SD. 353; DR. I. 32-33. Cf. NL. 657. [72]: Cf. NL. 663; DR. I, 33 and SD. 354. [73]: See NL. 669. Cf. SD. 355 defines it as upāyadarśana. DR. defines sama instead of tāpana (1.33). [74]: Cf. DR. I. 33; DR. 356; NL. 1310ff. [75]: Cf. DR. I. 33; SD. 357; NL. 672. [76]: Cf. NL. 676; DR. I. 34; SD. 358. [77]: See NL. 683; DR. I.34; SD. 358. [78]: See NL. 687. Cf. DR. I. 34; SD. 360. [79]: Cf. DR. I. 34; SD. 361; NL. 691. [80]: Cf. NL. 697; I, 35; SD. 362. [81]: See NL. 700; cf. DR. I. 35; SD. 363ff. defines it differently and refers to the view of the NŚ as kecit tu etc. [82]: NL. 704ff. defines it as varṇitasyārthasya tíraskāraḥ (concealing the matter expressed), and refers to the view of the NŚ. as caturṇām varṇānāṃ sammelanam api ke’ pi varṇayanti. See SD. 364; DR. I. 35. [83]: Cf. DR. 1. 38; SD. 365; NL. 727. [84]: Cf. SD. 366; NL. 730; DR. 1. 38. [85]: Cf. DR. I. 39; SD. 367; NL. 735. [86]: Cf. NL. 738; DR. I. 39; SD. 368. [87]: Cf. SD. 369; NL. 740; DR. I. 39. [88]: Cf. SD. 370; NL. 744; DR. 1. 40. [89]: Cf. NL. 746; DR. 1. 40; SD. 371. [90]: Cf. SD. 372; DR. I. 40. NL. 749. [91]: Cf. DR. I. 42 has ākṣepa; SD. 373 has kṣipti = ākṣipti; NL. 751 has utkṣipta. [92]: Cf. SD. 375; DR. I. 40; NL. 758. [93]: Cf. SD. 376; NL. 761; DR. 1. 42. [94]: Cf. DR. I. 42; SD. 377. NL. 766. [95]: See NL, 801; Cf. DR. I. 45; SD. 378. [96]: See NL. 807, Cf. DR. I. 45; SD, 379. [97]: See NL. 813. SD. 381 and DR. I. 45, has drava in place of abhi-drava. [98]: Cf. NL. 819; DR. I. 49; SD. 383. [99]: Cf. NL. 824; SD. 380 DR. I. 47. [100]: Cf. DR. I. 46; SD. 384. NL. 826 defines difíerenely. [101]: Cf. NL. 829; DR. I. 46, SD. 382; SD. 385. [102]: Cf. NL. 832; SD. 385. [103]: Cf. NL. 838, and SD. 386. [104]: Cf. DR. I. 47, NL. 840; SD. 387. [105]: See NL. 844, DR. I. 48; SD. 389. [106]: See NL. 848. DR. I. 46 has wrongly chālana for sādana SD. 390 also has chādana wrongly. [107]: See SD. 388; NL. 850. DR. I. 47. [108]: Cf. DR. I, 51; SD. 392. [109]: Cf. DR. I. 51; SD. 393. [110]: Cf. DR. I. 51, SD. 394; NL. 864. [111]: Cf. S. 395; DR. I. 51; NL. 870 [112]: Cf. NL. 873; SD. 396, DR. I. 52 defines the Limb differently. [113]: Cf. DR. I. 53; SD. 397. [114]: Cf. NL. 879; SD. 398; DR; I. 52. [115]: Cf, NL. 881; SD. 399; DR. 1. 52. [116]: Cf. DR. I. 52; SD. 400; NL. 883. [117]: Cf. NL. 889; SD. 401; DR. I. 53. [118]: Cf. SD. 402; DR. I. 53. NL. 891. [119]: Cf. NL. 891; SD. 403. [120]: See SD. 404; cf. NL. 895, DR. I. 54. [121]: Cf. SD. 407, NL. 897. DR. 1. 54. [122]: Cf. SD. 406; NL. 906. [123]: See above 104 note 1. [124]: Cf. DR. 1. 58; SD. 308. NL 393. Haas translates arthopakṣepaka as “Intermediate Scenes,” see p. 33. But the ‘Explanatory Devices’ are all not complete scenes; vide infra. [125]: Cf. SD. 308; DR. 338; DR. I. 59 NL. 362 f. quotes the view of Cārāyaṇa as follows: “prakaraṇanāṭakaviṣayo viṣkambhaka iti.” (Viṣkambhaka relates to the Prakaraṇa and the Nāṭaka only). It seems that such was the case at a later stage of the development of Indian drama. First it related to the Nāṭakas only. Also cf. XX. 36ff. [126]: For a definition of the middling character see XXXIV. 4 [127]: According to this direction the viṣkambhaka at the beginning of Pañca, would be an ideal one. [128]: Cf. NL. 414 f., 438f.; DR. I. 61; SD. 310. [129]: Cf. DR. I. 60-61; SD 309; NL. 307ff. [130]: Cf. DR. I 62-63; SD. 311; NL. 398-399. The def. is not very clear. The aṅkāvatāra seems to furnish an indication of the subject-matter of the next Act. An example of this seems to be the dialogue of the Ceṭī and Vāsavadattā at the end of the Act II. of Svapna. This relates to the making of a garland by Vāsavadattā. Another example may be Avimāraka in the second Act (See Avi. II. 5-6). This gives a clue to the subject-matter of the next Act which treats Avimāraka’s entry into the royal harem. [131]: The aṅkamukha seems to relate mostly to plays other than of the Nāṭaka and the Prakaraṇa types. Examples of this are perhaps the speeches of the Bhaṭa in the beginning of the Karṇa, and of the Dūtagha., The reason for the above assumption is that the rules prescribe viṣkambhaka for Nāṭakas only (see 107), and praveśakas for both Nāṭakas and Prakaraṇas (see no). Cf. DR. I. 62; SD. 312, 313; NL. 408. [132]: Pratyaṅga has not been defined anywhere. It is possible that the reading is corrupt. [133]: Patākā here stands for patākā-sthānaka just as “Bhīma” for “Bhīmasena;” see above 30ff. [134]: Arthapratikriyā is only a synonym of arthaprakarī. See before 20ff. [135]: See before 6ff. [136]: See before 35ff. [137]: See before 48ff. [138]: See before 58ff. [139]: See XVII. 1ff. [140]: See XVII 96ff. [141]: See XVII 43ff. [142]: See VI. [143]: Cf. I. 120 [144]: See I. 116 [145]: See I. 121 [146]: See I. 120 [147]: Cf. I. 113 [148]: This puts emphasis on developing characters in a drama. [149]: Bhāsa actually uses the root of this verb in his Avi. (III.18.0). 10 May, 2017 --> Last Updated: 30 July, 2017 $(function(){ if($(document).height() > $(window).height()){ $('.book.chapter').append('^ back to top ^') $('section.back > a').click(function(){ $(window).scrollTop(0); }); } }); /** * Derivation list */ /*$('a.deriv-link').click(function(){ $(this).closest('.words-group').find('.deriv-list').toggleClass('d-none'); });*/ ====================================================================== Chapter XXII - Styles ====================================================================== --> Natyashastra (English) by Bharata-muni | 1951 | 240,273 words | ISBN-13: 9789385005831 Hinduism Natyashastra Buy now! The English translation of the Natyashastra, a Sanskrit work on drama, performing arts, theater, dance, music and various other topics. The word natyashastra also refers to a global category of literature encompassing this ancient Indian tradition of dramatic performance. The authorship of this work dates back to as far as at least the 1st millenn... Go directly to: Footnotes. Chapter XXII - Styles (vṛtti) < Previous (index) Next > Origin of Styles 1. I shall now narrate fully (lit. from the beginning) the [story of the] rise of Styles (vṛtti) and [in relation to them] the origin and the formation of dramas.[1] 2-3. When Lord Acyuta (Viṣṇu) after reducting the universe into a single [vast] ocean and compressing the creation [into a seed] by his supernatural power, was lying on the couch of a snake, the two Asuras, Madhu and Kaiṭabha maddened with the pride of their strength, challenged the god at once for battle.[2] 4-5. These two, after making gestures of challenge, (lit. rubbing their arms) fought the imperishable lord Viṣṇu (bhūta-bhāvana, lit. the creator of beings) with their fists and legs (lit. knees), and while doing so the two parties also abused each other with harsh words, and shook, as it were, the ocean with their reviling speech.[3] Origin of the Verbal Style 6-7. Hearing the various [abusive] words of these two who were threatening [Viṣṇu], Druhiṇa (Brahmā) was slightly perturbed in mind and said, “Is it the bhāratī vṛtti that starts with these words [for the fighters] and goes on increasing gradually? Kill the two [at once].” 8-10. Hearing these words of Pitāmaha (Brahmā), Madhusūdana (Viṣṇu) said, “Yes, I have made this bhāratī vṛtti for the purpose of doing my work. It will be the bhāratī vṛtti of the speaker, in which words will preponderate. I shall kill these two Asuras today.” So saying Hari (Viṣṇu) with his pure and perfect gestures,[4] and Aṅgahāras[5] severely fought the two Daityas who were experts in the method of battle. 11. At that time Hari’s pacing with the Sthānakas[6] on the ground created a great bhāra (burden) on the earth (bhūmi); the bhāratī vṛtti (Verbal Style) was built on that (bhāra).[7] Origin of the Grand Style 12. And at that [very] time, by the rebounding of the bow named Śārṅga which was intensely brilliant, steady, and by an excess of unperturbed sattva (strength), the sāttvatī vṛtti (Grand Style) was made.[8] Origin of the Graceful Style 13. When [in course of fighting] the god moved sportively with various Aṅgahāras and tied up his knot of the śikhā (keśa?) the kaiśikī vṛtti (Graceful Style) was made.[9] Origin of the Energetic Style 14. Then from the various ways of personal combats which were full of energy and excitement, and which entailed various Cārīs, the Energetic Style (ārabhaṭī vṛtti) was made.[10] 15. Whatever acts [of Viṣṇu] the god Brahmā observed as arising out of the different Styles (vṛtti), were associated by him (Druhiṇa = Brahmā) with words suitable to their meaning. 16. When the two Asuras, Madhu and Kaiṭabha were killed by Hari (Viṣṇu), Brahmā spoke to him (Nārāyaṇa = Viṣṇu) who was the subdduer of foes (arindama). Origin of the Nyāya 17-18. O god, thou hast killed the Dānavas with varied, pure, expressive and graceful Aṅgahāras; hence this method of personal combat [applicable] to throwing all kinds of missiles will be termed in this world, as Nyāya.[11] 19. Nyāyas[12] are celebrated because this fighting has been made with the Aṅgahāras which are associated as well as genetically connected with them. 20. Then the high-souled Druhiṇa (Brahmā) gave over to the gods this [Style] full of various Psychological States and Sentiments, [for its use] in the production of plays. 21-22. The name Style (vṛtti) was made a repository of the various Psychological States and Sentiments. And whatever was made and in whatever manner, the exploits of the god (Viṣṇu) were utilised by the sages in fashioning the similar Styles arising from the Words and the Gestures which have their origin in materials taken from the Nāṭyaveda, and which also have Words and Gestures as their chief characteristics. 23. These Styles which were desired, wellborn and full of various Cārīs, were again, taken by me at Druhiṇa’s command, for the purpose of making plays (lit. poem). 24. The Verbal Style (bhāratī vṛtti) was from the Ṛgveda, the Grand (sāttvatī) from the Yajurveda, the Graceful (kaiśikī) from the Sāmaveda and the remaining one (i.e., the Energetic or ārabhaṭī) from the Atharva-[veda].[13] 25. The Style which is to be applied by the male characters and not by females and which gives a prominent place to speeches made in Sanskrit, is used by the eponymous bharatas (actors) as bhāratī (Verbal)[14]. Four varieties of the Verbal Style 26. In has four varieties such as the Laudation (prarocanā), the Introduction (āmukha), the Vīthī and the Prahasana, and these have became its component parts (aṅga)[15]. Laudation 27. The Laudation (prarocanā) in the Preliminaries is to attain success, prosperity, good luck, victory and removal of all sins.[16] Introduction or Prologue 28-29. That part of a play where an actress,[17] the Jester or the Assistant has a talk with the Director on some relevant topic, and they use interesting words or adopt any type of the Vīthī or talk in any other way, is called the Introduction (āmukha)1 or the Prologue (Prastāvanā) by some. I shall speak in detail about its five varieties (lit. elements). 30. The Accidental Interpretation (udghātyaka), the Opening of the Story (kathodghātā). the Particular Presentation (prayogātiśaya), the Personal Business, (pravṛttaka) and the Transference (avalagita) are the five varieties of the Introduction (āmukha).[18] 31. Of these the characteristics of the Accidental Interpretation (udghātyaka)[19] and the Transference (avalagita)[20] have been mentioned by me. I shall now speak in detail of the characteristics of the rest. Opening of the Story 32. [That Introduction] in which a character enters [the stage] taking up a remark of the Director or its meaning, is called the Opening of the Story.[21] Particular Presentation 33. When, over this production [of the Introduction] the Director imposes another production and then a character enters [the stage], it is called the Particular Presentation.[22] Personal Business 34. [The Introduction] in which the Director speaks on some business in hand, and taking cue from this (lit. with its help) a character enters the stage, it is called the Personal Business.[23] 35. Working out skillfully any of this which may be relevant, the wise [playwright] should construct the Introduction (āmukha) without encumbering it with [many] characters[24] and speeches. 36. The wise are thus to know the Introduction with different bases. The characteristics of the Vīthī[25] and the Prahasana[26] have been mentioned before. 37. These are the four varieties[27], of the Verbal Style I spoke of. I shall now explain the rules of the Grand Style with its characteristics. The Grand Style 38. The style which is endowed with the quality of the spirit (sattva), the Nyāyas, [proper] metres and has exuberance of joy and suppression of the state of sorrow[28], is called Grand[29]. 39. Related to plays expressing the spirit (sattva) the Grand Style is known to consist of representation by Words and Gestures. 40. It is to contain the Sentiments such as Heroic, the Marvellous and the Furious, and to a small extent the Pathetic and the Erotic; and characters in it should be mostly majestic and defying one another.[30] Four varieties of the Grand Style 41. It is known to have the four varieties such as (utthāpaka), Change of Action (parivartaka), Harsh Discourse (saṃlāpaka) and Breach of Alliance (saṃghāta)[31]. Challenge 42. One’s rising up with a view to conflict after saying “I am getting up [for battle, now] show me your own prowess” is called the Challenge[32]. Change of Action 43. If after leaving the thing which caused the rising up, one takes to other things due to some necessity, it is called the Change of Action.[33] Harsh Discourse 44. A dialogue containing various kinds of word of abuse whether these arise from contempt or not, is called Harsh Discourse.[34] Breach of Alliance 45. Disrupting an alliance for the sake of a policy in favour of a friend or due to an accident or [one’s] own fault, is called Breach of Alliance[35]. 46. These are the four varieties[36] of the Grand Style that I spoke of. I shall hereafter describe the characteristics of the Graceful Style1. The Graceful Style 47. That Style is called Graceful (kaiśikī) which is specially interesting on account of charming costumes worn [by dramatis personae ] mostly women, and in which many kinds of dancing and singing are included, and the themes acted are practices of love and are connected with (lit. arising from) its enjoyment[37]. 48. The Graceful Style is said to have the four varieties such as Pleasantry (narma), Beginning of Pleasure (narma-sphurja), Unfoldment of Pleasure (narma-sphoṭa) and Covert Pleasure (narma-garbha).[38] Three kinds of Pleasantry 49. The Pleasantry which abounds in remarks made in jest, is of three kinds: that based on love, that with pure laughter and that having Sentiments other than the Heroic[39]. 50. The Pleasantry is known as connected generally with acts of jealousy and anger mixed with words of rebuke and done in the guise of self-reproach and through to deception of others. Beginning of Pleasantry 51. The Beginning of Pleasantry is to be known as the first meeting [of lovers] in which words and dresses exciting love [are in evidence], but which ends in fear[40]. Unfoldment of Pleasantry 52. The Unfoldment of Pleasantry is the cause of the Sentiment contributed by short touches of different Psychological States and not by any of them as a whole[41]. Covert Pleasure 53. When the Hero out of any necessity acts incognito through his qualities such as intelligence, [good] appearance and affection, it is called Covert Pleasure[42]. 54. These ate the four varietes of the Graceful Style that I was to speak about. I shall hereafter describe the Energetic Style which is concerned with a haughty Sentiment. The Energetic Style 55. The Style which includes mostly the qualities of a bold person (ārabhaṭa) such as speaking many words[43], deception, bragging and falsehood, is to be known as Energetic[44]. 56. The Style in which there is a representation of model work (pusta) falling down, jumping, crossing over, piercing, deeds of magic and conjuration, and varied ways of fighting, is called Energetic[45]. Four varieties of the Energetic Style 57. It has (four) varieties such as Compression (saṃkṣiptaka), Commotion (avapāta), Elevation of the Plot (vastūtthāpana) and Conflict (saṃpheṭa).[46] Compression 58. Conforming to the purpose of the play Compression includes relevant crafts such as many kinds of model works, drawings, and dresses, for a condensed representation of the Plot.[47] Commotion 59. Commotion is known to relate to the occurrence of fear and jubilation, panic, flurry, many kinds of speaking, quick entrance and exit[48]. Elevation of the Plot 60. That deed which is including panic or is being connected with as giving shelter to [anyone] and includes a combination of all the Sentiments is called Elevation of the Plot[49]. Conflict 61. Conflict (saṃpheṭa) is known to include excitement, many fights, personal combats, deception, betrayal and much striking of weapons[50]. 62. These are the Styles to be reckoned by the wise in connexion with the drama. Now listen about their application in different Sentiments, which I am going to tell you. Styles according to Sentiments 63-64. The Style in the Erotic and Comic Sentiments should be Graceful, and in the Heroic, and the Marvellous Sentiments it should be Grand. And in the Terrible, the Odious and the Furious Sentiments one should use the Energetic Style, while the Verbal Style is applicable to the Pathetic and the Marvellous Sentiments[51]. 65. I have spoken properly about the Histrionic Representation dependent on Words, Gestures, Sattva, which culminate in Styles. Now I shall treat of the Costumes and the Make-up used in the production of plays. Here ends Chapter XXII of Bharata’s Nāṭyaśāstra, which treats of Styles Footnotes and references: [back to top] [1]: Sāgaranandin explains the vṛtti differently. See NL, 1044ff. [2]: The story of Nārāyaṇa’s reducing the three worlds into ‘a single ocean, occurs in the Rām. VII. 72; Kūrma P. XIII. See JK. under Viṣṇu (8) and Nārāyaṇa (8). [3]: Madhu and Kaiṭabha charged Nārāyaṇa with the theft of the Vedas. Rām. VII. 72. See JK. under Kaiṭabha. [4]: aṅgaiḥ here means āṅgikaiḥ and aṅgahāraiḥ. [5]: See IV. 19-27, 170ff. [6]: See XI. 49ff. [7]: This is a clear instance of folk-etymology and does not really explain the origin of this Style. It possibly came from the Bharata tribe; see I. 41 f.n. [8]: See above II note 2. [9]: See above II note 2. [10]: See above II note 2. [11]: See XI. 74ff. [12]: See IV. 170ff. [13]: This is a different story about the origin of the vṛttis. See before 2-14. [14]: NL. 1054ff. DR. II. 5; SD. 274, AP. modifies this def. by adding strīyuktā prākṛtoktītā, Haas, on DR. III. 5 (p.81). [15]: Cf, NL. 1008-63; DR. III. 5; SD. 285. [16]: Cf NL. 1070.71ff; DR. III. 6; SD. 286. [17]: Cf. NL. 1178-81, DR. III. 7 SD. 286. [18]: Cf. NL. 11-88-89 DR. III. 8. SD. 287. [19]: See XX.117 Cf. NL. 1189; DR. III. 14 SD. 288. [20]: See XX. 118; NL. 1192. DR. III. 15; SD. 292. [21]: Cf. NL. 1196; DR. III. 9; for an ex. see SD. 289. [22]: See NL. 1201-1202; DR. III. 11; for an ex. see SD. 290. [23]: Cf. NL. 1214-1215; SD. 291; for an ex. see DR. III. 10 [24]: i.e. actress, Jester or the Assistant. See 28 above. [25]: See XX. 111ff. [26]: See XX. 101ff. [27]: See before 26-30. [28]: This shows that no pathetic subject-matter should find a place in this Style. [29]: See NL. 1234ff. SD. 416. DR. II. 53. [30]: See NL. 1271-1273. [31]: Cf. DR. II. 53 SD. 416, NL. 1274ff. [32]: Cf. NL. 1276, 4278. also cf. DR. II. 54; SD. 416 [33]: Cf. DR. II. 55; SD. 419; NL. 1279-1282. [34]: Cf. DR. II. 54; SD. 418, NL. 1288. [35]: Cf. NL. 1208-1299; DR. II. 55; SD, 417. [36]: See before 41, 44, 45. [37]: Cf. SD. 411; DR. II. 47; NL. 1304ff. [38]: Cf. DR. II. 48; SD, 411; NL. 1308ff. [39]: Cf. DR. II. 48-50; SD. 412; NL. 1310. [40]: Cf. NL. 1342-1343; DR. II. 51; SD. 413. [41]: Cf. DR. II. 51; SD. 414; NL. 1336ff. [42]: According to Sāgaranandin Ārabhatī is an aṅga of the Gauḍī-vṛtti: NL. 1385, Cf. DR. II. 52; SD. 415; NL. 1338f. [43]: ‘Many words’ probably mean altercation or verbal duel. [44]: Cf. NL, 1348ff, DR. II. 56-57; SD. 420. [45]: See above 55 note 2. C. adds one more def. (C.58) of the ārabhaṭī. In trans. it will be as follows: “That which includes excitement due to an application of the sixfold policy (ṣaḍguṇa), running away due to deception of the enemy, and that which relates to [material] gain or loss, is called the Energetic Style. [46]: Cf. NL. 1356f. DR. II. 56-57. SD. 420. [47]: Cf. DR. II. 57.58, SD. 422, NL, 1358f. [48]: Cf. DR. II. 59. SD. 423; NL. 1368f [49]: Cf. DR. II. 59. SD. 420; NL. 1372f. [50]: Cf. DR. II. 50; SD. 421; NL. 1380f. [51]: Cf. NL. 1059-1562. DR. II. 62; SD. 410. 12 May, 2017 --> Last Updated: 23 September, 2017 $(function(){ if($(document).height() > $(window).height()){ $('.book.chapter').append('^ back to top ^') $('section.back > a').click(function(){ $(window).scrollTop(0); }); } }); /** * Derivation list */ /*$('a.deriv-link').click(function(){ $(this).closest('.words-group').find('.deriv-list').toggleClass('d-none'); });*/ ====================================================================== Chapter XXIII - Costumes and Make-up ====================================================================== --> Natyashastra (English) by Bharata-muni | 1951 | 240,273 words | ISBN-13: 9789385005831 Hinduism Natyashastra Buy now! The English translation of the Natyashastra, a Sanskrit work on drama, performing arts, theater, dance, music and various other topics. The word natyashastra also refers to a global category of literature encompassing this ancient Indian tradition of dramatic performance. The authorship of this work dates back to as far as at least the 1st millenn... Go directly to: Footnotes. Chapter XXIII - Costumes and Make-up (nepathya) < Previous (index) Next > Necessity of the Costumes and Make-up 1. I shall speak in due order, O Brahmins, about the Costumes and Make-up; for the entire production [of a play] depends on these. 2. The Extraneous Representation (āhāryābhinaya) deals with the rules of the Costumes and Make-up (nepathya). Anyone who wishes for the success of a dramatic production should pay attention to these. 3. Different types[1] of the dramatis personae indicated first by their Costumes and Make-up, accomplish the representation without much effort, by means of Gestures and the like. Four kinds of Costumes and Make-up 4. Costumes and Make-up are of four kinds: model work (pusta), decoration (alaṃkāra), painting the limbs (aṅgaracanā) and [the use of] living creatures (sañjīva). Four kinds of model work 5. [Of these] the model work is of three kinds and of various forms. They are: the Joined Object (sandhima), the Indicating Object (vyājima) and Moving Object (ceṣṭima). 6. The model work which is made up or mat, cloth, skin and the like, is called the Joined Object (sandhima)[2]. 7. That which is made by means of a mechanical device (yantra) is called an Indicating Object (vyājima)[3] and that which can be made to move, is called a Moving Object (ceṣṭima).[4] 8. Hills, carriages, lofty palaces, shields, armours, banner-staffs and elephants[5] which are constructed for use in a dramatic performance are called model works. Decorations 9. Decorations (alaṃkāra) are known as attaching differently flower-garlands, ornaments and drapery after observing the rules relating to different parts of the [human] body. Garlands 10. Garlands are of five kinds: encircling (veṣṭita), spread-up (vitata), grouped (saṃghātya), knotted (granthima), and hung-down (pralambita). Four kinds of ornament 11. Ornaments of the body are known by the wise to be of the four kinds: that to be fixed by piercing the limbs (āvedhya), that to be tied up (bandhanīya), that to be worn (prakṣepya), and that to be put round (āropya). Piercing ornaments 12. [Of these, the ornaments] to be fixed by piercing the limbs are ear-ornaments such as ear-rings (kuṇḍala). Tied-up ornaments And those to be tied-up (bandhanīya) are to be represented by the girdles (śroṇī-sūtra) and the Aṅgada (arm-band).[6] Worn ornaments 13. The ornaments to be worn (prakṣepya) are the anklets (nūpura) as well as the wearing apparels. Put-round ornaments And those [ornaments] to be put round (āropya) are the golden neck-chain (hema-sūtra) and necklaces (hāra) of different kinds. Ornament according to one’s habitation and tribal origin 14. I shall now speak of the varieties of ornaments of men and women according to their habitation and tribal origin. Ornament for males: Head ornaments 15. The crest-jewel (cūḍāmaṇi)[7] and the crown (mukuṭa)[8] are called ornaments of the head. Ear ornaments And the ear-ring (kuṇḍala),[9] Mocaka (ear-pendant)[10] and ear-top (kīla) are ornaments of the ears. Neck ornaments 16. The strings of pearl (muktāvalī) the Harṣaka[11] and the [gold] thread (sūtra)[12] are ornaments of the neck. Finger ornaments And the Kaṭaka[13] and the finger-ring (aṅgulīya-mudra)[14] are ornaments of the finger. Ornament of the forearm 17. The Hastavi[15] and the Valaya[16] are the ornaments of the fore-arm (bāhu-nālī). Wrist ornaments And the bracelet (rucika)[17] and the Cūlikā[18] are ornaments of the wrist. Ornaments above the elbow 18. The Keyūra (armlet)[19] and the the Aṅgada (arm-band)[20] are ornaments to be worn above the elbow. Breast ornaments And the three-stringed necklace (trisara)[21] is the ornament of the breast. 19. The suspended pearl necklace, the flower-garland and the like, are ornaments for the [entire] body. Waist ornaments And the Talaka[22] and the golden thread (sūtra)[23] are ornaments of the waist. 20. Uses of the ornaments for males should be made thus in case of gods and kings. I shall now speak about the ornaments for females. Ornaments for females: Head ornaments 21-22. The Śikhāpāśa[24], the Śikhāvyāla[25], the Piṇḍīpatra,[26] the Crest Jewel (cūḍāmaṇi)[27], the Makarikā[28], the pearl-net (muktā-jāla)[29] with large large meshes (lit. as big as cow’s eyes)[30] and the [ordinary] hair-net (śīrṣajāla) are ornaments of the head. 22-23. The Tilaka on the forehead should be produced by many artistic touches, and by group of designs above the eyebrows should imitate flowers. Ear ornaments 23-26. The ornaments of the ear are the Kuṇḍala, the Śikhipatra[31] the lotus of the braid [of hairs] hung with a string, the Karṇikā[32], the Karṇavalaya kaṇṇavalaa > karṇava-laya.">[33], the Patrakarṇikā[34], Āvestika[35] the Karṇamudrā[36] the Karṇotkīlakā (ear-top), hung with a string, the various kinds of the Danta-patras[37] set with jewels, and the Karnapūra[38]. The Tilaka and the Patralekhā[39] are ornaments of the cheeks. 26-30. And the Triveṇī is to be known as the ornament of the breast. The two eyes are to be touched with collyrium and the lips are also to be painted. The teeth will have varieties colours and the four of them may have whiteness. When dyed with turmeric their beauty is enhanced. Pearl-like teeth of beautiful young women embellish their smile, and the teeth dyed with the colour of lotus-petals will be lovely, and when dyed with colour of stone the lips will attain the beauty of a blossoms. And an amorous look will constitute their charm. Neck ornaments 30-31. The pearl-necklace, the snake-group (vyāla-paṅkti),[40] the Mañjarī[41], the jewel-string[42] the jewel-necklace[43] and the neck-chain (sūtra)[44] are ornaments of the neck. 31-32. The necklace with two, three or four strings as well as a [gold] chain, is the ornament of the neck. Breast ornaments 32-33. The necklaces with the most artistic work are to be ornaments of the breasts. The jewelled net is the ornament of the back.[45] Arm ornaments and finger ornaments 33-34. The Aṅgada (arm-band)[46] and the bangles (valaya)[47] are ornaments of upper (lit. the root of the) arms. The Kharjūra[48] and the Ucchitika[49] are ornaments of the fore-arm. And so also are Kalāpi, and the Kaṭaka 34-35. The Hastapatra,[50] the Puraka[51] and the ring (mudrāṅgulīyaka)[52] are ornaments of fingers. Hip ornaments 35-36. The Kāñcī[53] with a net of pearls, the Talaka, the Mekhalā, the Raśanā and the Kalāpa are ornaments of the hip (śroṇī). 36-37. The Kāñcī is [a girdle] of one string, the Mekhalā of eight, the Raśanā of sixteen and the Kalāpa[54] of twenty-five strings.[55] 37-38. In case of goddesses and queens, these should be a combination of thirty-two, sixty-four or one hundred and eight strings. Ornaments of ankles 38-39. The Nūpura, the Kiṅkiṇī, the string of bells (ghaṇṭikājāla) and the ringing Kaṭaka[56] are the ornaments of ankles. 39-40. The Pāda-patra is the ornament of the shanks (jaṃghā), and the toe-rings that of the toes, and the Tilakas on the big toe are ornaments of the feet.[57] 40-41. Similarly [an additional decoration of the feet] will be the lac-dye applied to them in various patterns to impart to them the natural colour of Aśoka blossoms. 41-42. These are the decorations of women from the hair to nails [of the feet].[58] Considering the Psychological States and the Sentiments these are to be applied [in different parts of the body]. 42-43. These [ornaments] are to applied also after a consideration of the popular tradition (āgama),[59] measurements and the colour of the body and practices mentioned in Viśvakarmā’s work.[60] 43-44. [In dramatic production] one is not entitled to decorate limbs freely and at one’s will, with gold, pearls and jewels. 44-45. Applied with a sense of proportion and put on in proper places the jewelled ornaments will lend beauty to the limbs. 45-46. But in the production of plays there should not be a use of too many ornaments; for these will cause fatigue [to actors and actresses][61] while making prolonged movements. 46-47. Moreover weighed down with heavy ornaments one cannot move much, and one so weighed down, is likely to be exhausted and to have faint.[62] 47-48. Hence [in a dramatic production] there should be not used ornaments made of pure gold, but those made of lac and inlaid slightly with jewels, will not bring exhaustion [to the wearers in a play]. The rules of decoration are optional[63] in case of celestial beings (gods and goddesses); but the decoration of human females are to be made carefully. 49. The celestial females are to be distinguished for their own roles by means of ornaments and Costumes suited to the various conditions. 50. Women of the Vidyādharas, the Yakṣas, the Nāgas, and the Apsarasas, and the daughters of sages and gods are to be distinguished by their Costumes. 51. The same rule applies also to women of the Siddhas, the Gandharvas, the Rākṣasas, the Asuras, the godly monkeys, and human females. 52. The Vidyādhara women should be made have hairs (śikhā) tied a in top-knot decorated with a string of many pearls, and clothes [completely] white. 53. The Yakṣa women and the Apsarasas should have ornaments of jewels, and the same will the dresses of [all] these, except that the Yakṣa women only are to wear the Śikhā. 54. The Nāga women are to wear like the goddesses the ornaments abounding in pearls and jewels, but they are also have a hood [in addition to these]. 55. The daughters of sages are to wear a single Veṇī of the hair of their head, and they should not be made to have too much decoration. Siddha women 56. The Siddha women[64] should have ornaments abounding in pearls and emeralds, and their dresses should be of yellow colour. Gandharva women 57. Ornaments of the Gandharva women should be made to abound in rubies. And they are to carry a Vīṇā in the hands and to have clothes of saffron colour. Rākṣasa Women 58. The Rākṣasa women are to have saffires as their ornaments, and their teeth are to be made white and the dresses of black colour. Goddesses 59. The celestial women are to have lapis lazuli and pearls as their ornaments, and their dresses are to be made green like [the colour of] a parrot’s tail. Monkey females 60. The women of the godly monkeys are to have topaz[65] and [sometimes] lapis lazuli as their ornaments, and their dresses are to be made of blue colour. 61. This should be the dress of celestial women in their love-making. But in special conditions their dresses are to be made white. Human females according to their countries 62. But human females are to have dresses and ornaments according to their places of origin, Listen properly about them. Women of Avanti and of Gauḍa 63. The young women of Avanti are to have curling hairs, and the women of Gauḍa[66] are generally to have hairs curled, and they are to have the Śikhāpāśa and the Veṇī. Ābhīra women 64. The Ābhīra women are to have two Veṇīs, and their heads generally have an encircling band and their clothes should mostly be blue. Women of the North-East 65. The women of the North-East are to hold up their Śikhaṇḍas, and in dressing themselves they cover the body up to their hair. Women of the South 66. The women of the South are to have Ullekhya[67] with Kumbhīpadaka,[68] and Āvarta[69] on the forehead. 67. Thus, hair-style etc., dresses, ornaments, and application of razor relating, [to the head], hair-cutting etc. should be regulated for the remaining characters according to their habitation and birth.[70] Ornaments to be worn in the right place 68. An ornament and such other things not put on in its proper place will create no beauty; for by wearing a Mekhalā (girdle) on the breast one will create laughter. Dresses to suit the condition of females 69. Similarly, the condition of females whose lover has gone abroad and who are afflicted with misery, are to not to have a clean dress, and they are to wear their hair as a single Veṇī from the head. 70. The dresses of women who are separated from their lover, should be white, and they are not to wear many ornaments and not to make a toilet. 71. Such should be [the dresses] of women according to their habitation and the condition [of existence]. Now I shall speak about the proper dresses of men. Painting the limbs 72. But in their (i.e. men’s) case the producers of plays should first of all paint the limbs, and then Costumes according to their habitation should be provided. Four original colours 75. The four original (lit. natural) colours are black, blue, yellow and red; the limbs should be painted with these. 74. These are the primary colours, and there are besides derivative ones and minor colours. I shall speak about the ways in which the producers are to make them. Derivative colours 75. The bluish white (kāraṇḍava) colour, is made up of of the white and the blue, and the yellowish white colour (pāṇḍu) of the white and the yellow. 76. The lotus (padma) colour is made up of the white and the red, and the green (harit) colour, of the yellow and the blue 77 The dark red (kāṣāya) colour is made up of the blue and the red, and the pale-red (gaura) colour of the red and the yellow. 78. These are the derivative colours. Besides these there are [many] minor colours which may be made up of three or four [original] colours. Minor colours 79. Of these, the strong colour should form one part and the weak colour two parts; but the blue colour should be taken as directed below. 80. The blue should form only one part while the other colours will form three parts, for the blue is known to be the strongest of colours. 81. Knowing thus the rules of colours which are to be prepared by mixing them variously, one should paint the body of different characters. 82. The painted body on changing its own Costume is to be considered as a matter of convention (nāṭyadharma) as beloning to dramatis personae. 83. After covering the body and its colour by means of paints and cosmetics an actor should assume the nature of the person whose character he is to represent.[71] 84-85. Just as the soul [of a man] after renouncing the nature proper to one body assumes another character[72] related to the body of another animal, so a person having [a different] colour and makeup, adopts the behaviour connected with the clothes he wears. Living beings 86. The gods, the Dānavas, the Gandharvas, the Yakṣas the Rākṣasas and the Pannagas (Nāgas) are called living beings, [for] they in the present case constitute the body of the soul.[73] Lifeless objects 87. Hills, palaces, mechanical contrivances (yantra), shields, armours, banner-staffs and various weapons are known as lifeless objects. Lifeless objects in human form 88. But whenever necessary (lit. due to a reason) they may assume a human from with [suitable] dress and speech[74] according to the dramatic convention. Painting the limbs 89. After learning the rule of making colours one should paint the limbs [of the dramatis personae ] in conformity with their habitation, birth and age. Colours for gods 90. Gods as well as the Yakṣas and the Apsarasas should be painted reddish yellow, and Rudra, Arka (the Sun) Druhiṇa (Brahmā) and Skanda are to have the colour of gold. 91. Soma (the Moon), Bṛhaspati. Śakra (Indra) Varuṇa and the stars, the ocean, the Himalayas, and Gaṅgā (the Ganges) are to be made white in colour. 92. Aṅgāraka (Maṅgala = Mars) should be painted red, and Budha and Hutāśana (Agni) yellow, and Nārāyaṇa and Nara as well as Vāsuki should be dark blue (śyāma). Colour for demi-goods 93. The Daityas, the Dānavas, the Rākṣasas, the Guhyakas, mountains, the Piśācas, Yama and the sky are dark blue in colour. 94. The Yakṣas, the Gandharvas, the Bhūtas, the Pannagas (Nāgas), the Vidyādharas, the Pitṛs and the monkeys are of various colours. Colours for human beings in different regions 95. Human beings who dwell on the Six Continents[75] (ṣaṭ-dvipa) are to be painted in the colour of burnished gold. 96. But among the inhabitants of Jambudvīpa[76] where men of various colours live, every one except those who dwell in the North Kuru region should be given the colour of gold. 97. In Bhadrāśva[77] people should have the white colour, and in Ketumāla[78], they are blue. But in the rest of the subcontinents people should be made reddish yellow (gaura). Colours for Bhūtas and dwarfs 98. Bhūtas are known to be of various colours. They are dwarfs with odd faces and may have faces of boars, rams, buffaloes and deer as well[79]. Colours of people of Bhārata-varṣa 99. Besides, listen now about the different colours of the people of Bhāratavarṣa. Kings there should be of lotus colour, or dark blue or reddish yellow [in complexion]. 100-102. And the happy mortals there are to be made of the reddish yellow (gaura) colour. Those who practice vile acts, are possessed of evil spirits, diseased or engaged in penance and in laborious work, and are of inferior birth, should be made brown (a-sita, lit. not fair). And the sages should always be given the colour of plum (vadara). But brown should be the colour of sages observing penance (tapas). 102-103. And out of any necessity and also according to one’s (author’s) pleasure, colour of persons may be varied according to their habitation, birth and age. 103-104. An expert in [dramatic] production should paint persons after knowing their place of action, and time of action, birth and the region of the earth they dwell in. Colours of different tribes 104-105. Kirātas,[80] Barbaras[81] Andhras,[82] Dramilas,[83] Kāśis,[84] Kosalas,[85] Pulindas[86] and the inhabitants of the South[87] are mostly known to be brown (asita, lit. not white). 105-106. Śakas,[88] Yavanas,[89] Pahlavas (Pahravas)[90] and Vāhlikas (Bāhlikas)[91] who dwell in the North,[92] should be made almost reddish yellow. 106-107. Pāñcālas,[93] Śūrasenas,[94] Oḍras,[95] Māgadhas,[96] Aṅgas,[97] Vaṅgas[98] and Kaliṅgas should be made dark or deep blue (śyāma) in complexion. Colours of different castes 107-108. Brahmins and Kṣatriyas should be always made reddish yellow[99] and Vaiśyas and Śūdras dark or deep blue (śyāma) in complexion.[100] Rules for the beard 108-109. After painting the face and other limbs according to the rules one should provide beard to persons after considering their habitation, profession and religious rites. 109-110. The beard according to the change of conditions of persons should be of four kinds: white (śuddha),[101] black (śyāma)[102] smartly done (vicitra)[103] and bushy (romaśa, lit. hairy).[104] 110-111. The beard of religious mendicants (liṅgin)[105] ministers, chaplains and persons who are indifferent to sensual pleasure[106] or have consecrated themselves for any ritual[107] should be made white. 111-113. The beard of celestial males, such as the Siddhas[108] and the Vidyādharas,[109] kings, princes, officers of the king and persons who are gallants and proud of their youth,[110] should be made smartly done (vicitra) by the producers of plays. 113-114. The beard of persons who are sorry for not having fulfilled their promise, and are ascetics or have been struck with any calamity, should be made black. 114-115. The beard of Vedic seers, ascetics and persons observing a long-standing vow, and of those who are bent on revenge should be made bushy (romaśa). Rules for different Costumes 115-116. Thus the beard should be made of different kinds. I shall now speak of costumes suited to different occasions. 116-117. Clothes coming from many marts are of various kinds. They are [chiefly] of three kinds: white, red and variegated. 117-118. Costumes are of three kinds: white, variegated and soiled (malina). I shall now explain their difference according to use made by producers.[111] 118-120. In going to the temple of gods, observing some auspicious rite or a vow or at the conjunction of some Tithis and stars, or at the time of marriage or any other sacramental rites, men and women should have white costumes, and the same is the rule for disciplined man in general.[112] 120-121. Costumes of gods, the Dānavas the Yakṣas, the Gandharvas, the Uragas (Nāgas), the Rākṣasas, kings, and people of foppish nature should be variegated. 121-123. Costumes of old Brahmins, leaders of bankers’ guild, ministers, chaplains, merchants, ascetics, those who occupy the same position[113] as the Brahmins, Kṣatriyas, and Vaisyśas should be white, in a dramatic production. 123-124. Costumes of lunatics, intoxicated persons, wayfarers and persons struck with calamity should be made soiled. 124-125. In case of costumes of the white and variegated class, the experts in dramatic theory should provide upper garments of white, red and variegated colour, and in case of a dirty man, he should be given a soiled cloth. 126. Costumes of the sages; the Jain (Nirgrantha) and the Buddhist (Śākya) monks, the and the Yatis and the Pāśupatas should be made according to their respective sectarian rules and with an eye to what may have influence on the people. 127. Ascetics [in general] should be made to wear a tattered cloth, barks and skin. And the costumes of the wandering ascetics, sages and Buddhist monks should be made of dark red (kāṣāya) cloth. 128. To the Pāśupatas should be given a variegated dress, and costumes of persons of low birth should be made as befits their profession. 129-130. To persons engaged in guarding the harem should be given armour and clothes of dark red (kāṣāya) colour. The same should be the dresses of females when they are in special conditions.[114] 130-131. Costumes of the warriors (lit. heroes) should be suitable for fighting a battle, and they are to be provided with varied weapons, armours with quivers attached, and with bows. 131-132. Kings should always be made to have a many-coloured dress; but when due to affliction under any evil star they are engaged in any propitiatory rite, their costumes should be exclusively white. 132-133. Thus should be made the clothes of persons (lit. types men and women) of the superior, the middling and the inferior classes according to their age, birth and other conditions (lit. qualities). 133-134. These are the rules of costumes in a dramatic production, according as persons attain different conditions, and practice good or bad deeds. Use of masks 134-135. Similarly different masks (pratiśira)[115] are to be used for gods and men, according to their habitation, birth and age. Three kinds of crown 135-137. [In the masks], crowns for the gods and kings are of three kinds: Pārśvāgata (= Pārśvamaulī)[116], Mastakī and Kirīṭī.[117] For the gods [in general], the Gandharvas, the Yakṣas, the Pannagas (Nāgas) and the Rākṣasas, the crowns of the Pārśvamauli (Pārśvāgata) type have been generally prescribed. 137-138. And the Kirīṭī crown has been prescribed for the superior gods, and the middling gods are to have crown of the Maulī (= Mastakī?) type, while the common (lit. inferior) gods are to have crowns of the Pārśvamauli type. 138-139. The kings should be given crowns of the Mastakī type. While the Vidyādharas, the Siddhas and Cāraṇas[118] should be provided with crowns made up of their knotted hairs (keśa-mukuṭa). 140-141. Hairs and eyes of Rākṣasas, Dānavas and Daityas should be of tawny colour, and they should have tawny moustaches; and their crowns and faces should be treated similarly. And those among them who are of high type should have crowns of Pārśvamauli type. 141-143. Why are the crowns attached to the heads of goods and of mortal kings in a dramatic production? [Answer], In the Vedic cult there is the rule of cutting of hairs. Wearing crown has been sanctioned for a person who has shaved his hairs in connection with a sacrifice, and would like to cover his head because the hairs are not long. 143-144. The ministers, Kañcukins (armour-bearer), leaders of the merchants’ guild, and priests should have masks with a piece of cloth tied round the head like a turban. 144-145. And the masks of the army-leaders (senāpati) and the crown-prince should be provided with a small crown (ardha-mukuṭa, lit, half-crown) and such should be done in case of a Mahāmātra (high royal officer). 145. Masks of the Piśācas, lunatics, the Bhūtas, spiritual aspirants, ascetics and those who have not yet fulfilled their promise should have long hairs. Rules of different hairs 146-147. The head [in the mask] of the Buddhists (śākya), monks experts in Vedic studies (śrotriya), the Jain (Nirgrantha) monks, wandering ascetics, and those who have consecrated themselves for some rites or for a Vedic sacrifice, should have their heads shaven clean. And according to their, [respective] sectarian doctrine the remaining ascetics should have their heads shaven or should have curling hairs or hairs loosely hanging down. 148-149. Dhūrtas (crooks) and those carry on their professions at night (i.e. thieves, robbers etc.) and men of gallant nature should have curling hairs. 149-150. Heads of boys should be adorned with three Śikhaṇḍas[119] and that of the Munis should have a crown of matted hair (jaṭā-mukuṭa).[120] 150-151. Menials should have three Śikhās on their head or will have the head shaven clean. And the Jester should have a bald head or head with the Kākapada (lit. crow’s feet).[121] 151-152. As for the rest [of persons] the head [in the mask] should be treated in a dramatic production in relation to their habitation, birth and age. 152-153. Thus after intelligently distinguishing different modes of existence by means of ornaments, various costumes and garlands, one should build up imitation of special conditions, from which proceed Sentiments in the production [of a play]. 154. Men and women having been treated like this (lit. made to attain these conditions), all Psychological States of gods should be made human. Sañjīva 155-156. Producers should not prescribe want of twinkling of eyes in case of gods. For all Psychological States and Sentiments in this world are based on looks, and the meaning [of words] resting in looks are represented afterwards by gestures. One should thus know of make-up of limbs, which relate to different characters. 157. Now I shall speak of the characteristics of what is known as Sañjīva (= living creature). The entrance of animals [in the stage] is called Sañjīva.[122] 158-159. Animals may be four-footed, two-footed and with no foot (apada). Of these, serpents are without foot, birds and men are two-footed, and different animals in the forest or in human settlements are known to be fourfooted. Use of weapons 159-160. Those who are engaged in fight, angry conflict or siege, in a play are to be given different weapons[123] in a drama. 160-161. Weapons should be made by experts with proper measurements. I shall now describe these together with the rules for their measurement. 161-162. The Bhiṇḍi should measure twelve Tālas, the Kunta (javelin) ten and the Śataghni, the Śūla (spike), the Tomara and the Śakti (spear) eight.[124] 162-163. The bow should measure eight Tālas, and its width[125] should be two cubits. Arrows, mace and the Vajra should be four Tālas long. 163-164. The sword should measure forty Aṅgulis and the disc (cakra) twelve and the Prāsa the latter’s half. 164-165. The Paṭṭisa will measure like the Prāsa, and the rod (daṇḍa) should measure twenty Aṅgulis while the Kampana (Kaṇapa) will be of the same measure. 165-166. The shield (carma) should be sixteen Aṅgulis in width and two cubits in length, and it should have Vālyas (hairs?) and bells attached to it. Kheṭaka (rider’s shield) should be thirty aṅgulis in width [and two cubits in length]. Use of other Objects 167-168. The Jarjara[126], the Daṇḍakāṣṭha[127], masks, umbrellas, chowris, banner-staffs, and water-jars (bhṛṅgāra)[128] and every other thing that men make use of, are the accessories in [the production of] a play. 168-169. The characteristics of all these are to be considered by those to whose sphere they belong. Now I shall speak of the characteristics of the Jarjara and the Daṇḍakāṣṭha. Indra’s Banner-staff 170. Trees grown on white soil and cut down under the Puṣyā asterism have been made eligible for Indra’s banner-staff by the great Viśvakarmā[129]. Tha Jarjara 171-172. Some of these trees should be [fashioned into] the Jarjara by a carpenter. The branch of a tree may also be [made] the Jarjara[130]. But a bamboo will be most suitable [for this kind of work]. I shall speak about its characteristics. 172-173. A bamboo grown on white soil and (cut down) under the Puṣyā asterism, should be carefully gathered with an observation of proper rules. Its joints should not be much developed, it should not have branches and should not be worm-eaten. 174-175. As to its measurement, it should be one hundred and eight aṅgulis (4½ cubits) long, and should have five sections and four joints, only one Tāla in circumference. But its joints should not be very prominent (lit. thick), and it should neither be worm-eaten nor scratched by friction with other bamboos. 175-176. After smearing it with honey and ghee, and worshipping it regularly with garlands and incense, one should gather a bamboo for making a Jarjara. 176-177. The ceremonies and their order[131] which have been prescribed in case of [consecration of] the great Indra’s banner-staff, should be observed also in case of the holy bamboo [for converting it into the Jarjara.] 177-178. It many have long and short sections. But when the top of each of these sections is perfectly round, it is called the holy bamboo. 178-179. This is the rule in connexion with the characteristics of the Jarjara. I shall hereafter speak of that of the Daṇḍakāṣṭha. The Daṇḍakāṣṭha 179-180. The Daṇḍakāṣṭha[132] should always be made of the Bilva or the Kapittha tree or the bamboo. It should be curved and have three bents and should have [good] characteristics. 180-181. That which is neither worm-eaten nor diseased, and has small (lit. poor) branches, is called the Daṇḍakāṣṭha. 181-182. He who well get fashioned the Jarjara and the Daṇḍakāṣṭha devoid of the said characteristics, will certainly sustain a great loss. Making of masks 182-183. Similarly one should prepare with proper measurement the Paṭī for making the head. The measurement may be one’s own or it many be thirty-two Aṅgulis. The Paṭi should be made by using the Bilva paste on cloth. 184-185. Masks should be made with ashes or husks of paddy being mixed up with the Bilva-paste or some watery form of it, after covering these with cloth smeared with the thick Bilva-paste. 185-186. The Paṭī [thus prepared] should neither be too thick nor too thin, and neither should it be made too soft. 186-187. After getting it (the Paṭī) dried up by fire or the sun, one should pierce holes in it according to the rule, by means of a sharp instrument, and these holes should be made after dividing it into two [equal] halves. 188. In the Paṭī so prepared an opening six Aṅgulis long and one Aṅguli wide, should be made according to one’s own measure, in the form of the forehead, and it should have [two] angles [at the two end]. 189. Then [a pair of] openings two Aṅgulis long and one and a half a Aṅguli wide, should be made for the cheeks, and after [this has been done for] the cheeks, [other openings] three Aṅgulis more [in length] are be made for ears. 190. The opening for ears being three Aṅgulis long the same should be the length for the opening of the mouth, and afterwards the symmetrical neck (avaṭu) should be made equal to twelve Aṅgulis. 191-192. So much about the rules for the cutting of openings in the Paṭī for covering the head. On this are to be placed various forms of crowns set with many kinds of jewels, and decorated with different artistic designs. Other accessories 192-193. And at the production of a play (lit. here) one should use differently in relation to dramatis personae many kinds of accessories (upakaraṇa) demanded by the art of theatre. 193-194. Now, all the manufactures or crafts that are executed in this world of moving and immobile objects, are to be known as the accessories in [a performance]. 194-195. [And to obtain them] one is to go to a country which has got it. For [obtaining] such accessories in a dramatic production men have no other means. 195-196. One who produces an [ordinary] object of art, prescribes its measurement and description. 196-197. Large objects which require much iron to make them are not for our theatrical productions. Why? Because they create fatigue [in actors]. 197-198. Imitation of any object which exists in this world of living being, with different characteristics, may be included in the accessories [to be used] in the performance of a drama. 198-199. But palaces, houses and vehicles and various weapons, cannot be produced for the stage realistically (lit. in due manner). Realistic and Conventional objects 199-200. Some accessories, [however], will be Realistic while others will be Conventional. Any thing following its natural form is called Realistic, while any deviation from the same will be known as Conventional. 200-201. Accessories for use on the stage should not be made with stone (nagasāra) as well as iron, for these due to their heaviness will create fatigue [in actors]. 201-202. Objects which are light in handling should be made with lac, wood, leather, cloth, Bhāṇḍa and sliced bamboo, for their use as accessories in a dramatic production. 202- 204. Skeleton frames of armours, shields, banner-staffs, hills, palaces, peaks of mountains, horses, elephants, aerial cars, and houses should first be made with pieces of sliced bamboo, and then these should be given likeness of such objects related to Psychological States, by covering them with cloths of requisite colour. 204-205. But if it is not found possible to use cloth suitably for this purpose, then palm-products and mats (kiliñja) may also be used instead. 205-206. Similarly weapons of various forms are to be made with grass and pieces of sliced bamboo, and with lac and Bhāṇḍa.[133] 206-207. Imitation legs, heads, hands and skin should be made in their likeness with grass, mat and Bhāṇḍa. 207-208. All the articles should be made with earth in various forms in imitation of their proper forms. 208-209. Various hills and shields, armours, and banner-staffs are to be made with Bhāṇḍa, cloth, bees-wax, lac and sheets of mica. 209-210. And fruits and flowers growing in various regions, and the various ornaments (bhāṇḍa) should be made with lac. Similarly they may be made with Bhāṇḍa, cloth, bees-wax and very thin copper-sheets, Making of ornaments 211-212. Jewels should be made with thin sheets of mica coloured with indigo or other plants or seeds, and these should be mounted on very thin sheets of copper or tin. 212-213. The different kinds of crowns of which I spoke before, should be made dazzling with loosely attached pieces of mica, so that they may shine like jewels. 213-214. In cases of [all] these objects, instructions [for their making] have not been mentioned in the Śāstras. One must act according to the directions of the Ācārya and be guided by relevant reasoning. 214-215. This is the rule of action regarding the future mortals, [that should be adopted in dramatic production]. Why? Because want of sufficient strength will occur in men [of the future generation]. 215-216. Mortals of poor strength should not make any [undue] physical exertion, and hence it is not desirable that their crowns or ornaments should be made with gold and jewels. 216-217. For in battle, personal combat, dance and in representing acts of challenge, persons burdened with heavy weight will feel fatigue and may even faint. 217-218. When the actor is overcome with pain or fatigue or is fainting, his performance is spoilt. One may even endanger his life by making movements with difficulty under such conditions. 218-219. Hence ornaments are to be made with thin sheets of copper, coloured sheets of mica, Bhāṇḍa and bees wax covered with thin sheets of mica or mica dyed red, blue and green. 219-220. Thus by following the popular practice or exercising one’s own discretion one is to make properly theatrical accessories. Use of weapons on the stage 221. No missile should be released on the stage, and no weapon should pierce or strike anyone. They should simply touch a spot, and the weapons are to be used only to make a gesture [of an attack]. 222. One should release missiles on the stage after a training for it or this training should make him capable of creating an illusion in this regard. 223. Any [relevant] instruction which I may have omitted regarding the present topic, is to be gathered from the popular usage (lit. people). This is all about the Extraneous Representation that I was to tell you. I shall hereafter speak of the Harmonious Representation on the stage (sāmānyābhinaya). Here ends chapter XXIII of Bharata’a Nāṭyaśāstra, which treats of the Extraneous Representation. Footnotes and references: [back to top] [1]: Nānāvastha—nānābhūtā yā śokādyā nānābhūtaśrayāś ca (Ag. p. 429). [2]: Sandhimaḥ—sandhānatayā nirvṛttaḥ (Ag, p. 429). [3]: Vyājimaḥ—vyājād sūtrasyākarṣākādirūpaḥ kṣepas tena nirvṛtto vyājimaḥ (Ag. p, 430). [4]: Ag. (p. 430) reads this as veṣṭimaḥ and explains its as follows: upari jatu-sikthakādinā veṣṭanena nirvṛtto veṣṭimaḥ. [5]: Emend nagāḥ into nāgāḥ. See XXIII 190-192 below. [6]: Modern tābij (Bengali). [7]: To be worn on the top of the head, Cūḍāmaṇiḥ śiromadhye (Ag. P. 430). [8]: To be worn above the forehead. Mukuṭo lalāṭordhve (Ag. l.c.). [9]: To be worn in the lower lobe of the ear. Kuṇḍalam adharapālyām (Ag, l.c.). [10]: To be worn in a hole in the middle of the ear, Mocakaḥ kārṇaśaṣkulyā madhyacchidre uttara-kaṛniketi prasiddham (Ag. l.c.). [11]: harṣaka—a snake-shaped ornament, samudgata-sarpādi-rūpatayā prasiddham. (Ag. l.c.). [12]: Sūtram—golden neck-chain, sūtrakam iti guccha-grivā-sūtrāditayā prasiddham (Ag. l.c.). [13]: Kaṭakaḥ (vaṭikā, K.). Ag. (l.c.) reads the term differently. He says veti-keti sūkṣmakaṭaka-rūpā. [14]: Aṅguli-mudrā—In later times the two members of this compound word (aṅgulīya and mudrā) gave rise to two different synonyms for the object (ring) denoted by it. [15]: This seems to be very rarely mentioned in Sanskrit literature. [16]: This word is the same as Bengali bālā. [17]: This seems to be a variant of the word rucaka. See note 4 below. [18]: Its seems to be the cūdī (Bengali) from the original cūḍikā. [19]: To be worn above the elbow. Keyūre karpara (kūrpara)- syordhvataḥ (Ag. l.c.). but ke bāhuśirṣe yauti iti keyūraṃ, Kṣīrasvāmin on Amara, II. 6.107. [20]: To be worn above the keyūra. Tayor (= keyūrayor) ūrdhve tv aṅgadam (Ag. l.c.). [21]: Trisara—trisaro muktālatātrayeṇa (Ag. l.c.). [22]: To be worn below the navel; talakaṃ nābher adhaḥ (Ag. l.c.) [23]: To be worn below the talaka. Tasyāpyadhaḥ sūtrakam (Ag. l.c.). [24]: This is same as cūḍāpāśa mentioned in Megha, II. 2. [25]: Ag. explains this as nāgaḥ granthibhir upānibaddho madhye karṇikā - sthānīyaḥ, and adds to explain piṇḍīpatra as tasyaiva dalasandhānatayā citra-racanāni vartulāni pātrāni piṇḍipatrāṇi. [26]: See note 2 above. [27]: The same as mentioned in 15 above. [28]: Ag. reads this makarapatram. Is it mod, Bengali mākaḍi (= *mākarī)? [29]: This is the same word which occurs in Megha, I. 64. [30]: No head ornament with this name seems to occur anywhere else. [31]: Ag. (l.e.) reads śikhāpatra and explains this as śikhāpatra mayūra-picchākāro vicitravarṇa-maṇi-racitaḥ. [32]: This was never met with before. [33]: This is perhaps the sames as mod. Bengali kānbāla > kaṇṇavalaa > karṇava-laya. [34]: This was never met with before. [35]: ibid. [36]: This ornament is still in use among women of backward classes. [37]: These were possibly made of ivory. [38]: The well-known ear ornament. [39]: The same as patrabhaṅga (drawing decorative designs with scented pigments). [40]: An ornament with the snake-motif; see above 16 note 1. This was never met with before. [41]: Mañjarī—This was never met with before. [42]: Ratnamālikā—This is to be distinguished from ratnāvalī (see note 4 below) which is a bigger necklace; for the word mālikā means a small mālā. [43]: Ratnāvalī—See note 3 above. [44]: Sūtra (lit. thread) evidently means a thin thread-like necklace made of gold; cf. kanakasūtra in Pañcatantra I. (vāyasa-dampati-kathā). [45]: Ornaments of the back, have gone out of fashion. [46]: It is now-a-days called ananta in Bengali. [47]: Kālidāsa’s Yakṣa (Megha, I. 2) had a kind of valaya in his prakoṣṭha (fore-arm). [48]: This seems to have imitated date fruits. [49]: Ucchitika—This was not heard of before. [50]: This was never met with before. [51]: This was never met with before. There is, however, an ornament hasta-sūtra (See Apte, sub voce). [52]: This compound term was not met with before. [53]: All the ornaments except kulaka have been defined in 36-37 below. Kulaka seems to be a girdle of the special kind. [54]: Kalāpa seems to have been used by Kālidasā in the sense of a necklace in Kumāra (I. 42). [55]: The passage seems to be mutilated. For the def. of the kulaka is missing. Probably it had four strings of pearls. [56]: Hollow bangles within which small stone chips are lodged. [57]: This was never met with before. Ag. (p. 431) reads tilakā iti vicitraracanākṛtā. [58]: Ag. (l.c.) ā-nakhād—alaktaka-rāgaparyantam. [59]: A g. (l.c.) explains āgama as upādānakāraṇam. [60]: An authority on arts and crafts (śilpa). But his work on these subjects is lost. [61]: A very sensible warning. [62]: See above 45-46 note. [63]: For gods are beautiful by nature. [64]: For the Siddha women see Megha I. 14. [65]: Puṣparāga or puṣyarāja (?), cf. NIA. pokh-rāj [66]: Probably the district of Malda and neighbouring regions of North Bengal. [67]: Ullekhya is probably connected with Bengali ulki (tatto). [68]: Probably the figure of a jar in tatto. [69]: A circular mark in tatto. [70]: C. adds one hemistich (C. 68a) before 62, which in trans. is follows: Courtezans are to have the decoration [of the body] according to their choice. [71]: Chādya in the emended text is a case of solecism in the original text. [72]: This statement is based on the belief that man can change himself into any animal after uttering proper mantras. [73]: Cf. XXV. 22-23. Here the author seams to speak against the bringing living creatures on the stage. The same is the case with 200-201 below. [74]: See Bāla. I [75]: Other than Jambudvīpa, see below 96-97. [76]: Jambudvīpa here means probably Asia. [77]: This is a division (varṣa) of Jambudvīpa, probably Iran. [78]: This is another division of the Jambudvīpa, probably Central Asia. In all there are nine such divisions. [79]: Cf. Buddhacarita, XIII. 19, 23, [80]: Colours mentioned in this and the following passages probably show that the groups alloted a special colour are approximately of the same complexion and not actually of the colour mentioned. These passages seem to give a valuable information about some ethnological features of ancient India. Pre-Aryan people including the Dravidians (Andhras and Dramilas) were not fair in complexion. The separate mention of the Southerners after Andhras and Dramilas (Draviḍas) taken along with some Northern tribes like the Kāśis and Kosalas, seems to show that the NŚ. here records the tradition of their once living in the North. Kirātas—a hill tribe probably living in the Himalayan region; see Mbh. XII. 207, 43. [81]: Barbaras—Some non-Āryan tribe mentioned very rarely in Sanskrit literature (Mbh. XII. 207, 43). This may be a synonym of Mleccha as well. [82]: Andhras—This tribe is well-known in history and literature. See XVIII. 44 note. [83]: Dramilas—Known in Pali (Mahāvaṃsa) as Damila (modern Tamil). [84]: Kāśi—The tribe after which the ancient kingdom of Kāśi and the city of that name were known. It lost its separate entity before the time of Buddha. [85]: Kosala—The tribe giving name to the ancient kingdom of Kosala. [86]: Pulinda—An aboriginal people living probably in the Vindhya region. See Mallinātha on Raghu, XVI, 32; also Paṇha I. 1. and Ṇāyā I, 1. [87]: They may be members of Kol and other tribes living in the South. [88]: Śaka—Hordes of nomadic tribes on the outskirts of North Indian plains; mentioned in Manu X. 44. [89]: Yavana—Probably the same as the people mentioned in Pāṇini. [90]: Pahrava (Pahlava)—Usually taken to mean Parthians who annexed the Western Punjab in about 140 B.C. [91]: Vāhlika (Bāhlika)—Inhabitants of the region known as Balkh settled on the Beas and other rivers. See Rām. II. 68. 18-19 and also Mbh. VIII. 7. 41. [92]: The tribes mentioned here came from their home in the North-West. [93]: Pañcāla tribe is well-known in Mbh. [94]: Śūrasena—The tribe which once settled around Mathura. It gave its name to the principal Prakrit of the Indian drama (Śaurasenī). [95]: Odra—The name of a tribe after which the modern Orissa (Oḍrivisaya) was named. See Manu. 10; 44. [96]: Māgadha—The tribe after which the ancient country of Magadha was named. [97]: Aṅga—The tribe after which the ancient country of Aṅga was named. [98]: Vaṅga—The tribe after which the ancient Vaṅga (South-East Bengal) was named. [99]: Reddish yellow colour (gaura) assigned to Brahmins and Kṣatriyas probably show that when the various theatrical conventions were crystalised, these two sections of the society still retained their original Aryan features one of which was certainly the colour of their skin. The dark colour of the Vaiśyas and Sūdras similarly shows in all likelihood that these were not Aryans or Aryans of the pure type. [100]: See not I above. [101]: But according Ag. Śuddha means clean-shaven, (kṣureṇa sarvadā vāsitam,). He evidently assumes his contemporary fashion in the past. [102]: Śyāma—ordinarily black in colour; but see above. [103]: Vicitra—cut or done in a special fashion. [104]: Romaśa—bushy, romaśam iti yathotpannam (Ag. l.c.), ‘bushy means as they are naturally grown’. The last three classes do not seem to be mutually exclusive. [105]: Liṅginām—“brahmacāricānaprasthādīnāṃ madhyasthā ye ca puruṣā ye bhikṣāṃ samāśritā ityarthaḥ” (Ag.). [106]: Madhyasthā—“madhyasthā iti nottamānāmadhamānām ityarthaḥ” (Ag.). [107]: Even now the custom among some Hindus is that they shave themselves clean before consecrating themselves for some special kind of daiva and paitra rites. [108]: A class of demigods. See Kumāra. 1,5. [109]: A class of demigods. See Bhartṛhari’s Vair, Śat. 24. [110]: Ag. says “yauvanonmādina ityamātyapurodhaso'pīti bhāvaḥ” (p. 434). [111]: See above 85ff. [112]: This is the interpretation of Ag. [113]: That is, those who follow professions other than that which which were usually prescribed for them. For example, a Kṣatriya acting as a teacher, Brahmin acting as a trader or a Vaiśya as a fighter, or a Śudra in any such position. [114]: For example, when they act as guards. [115]: Pkt. paḍisīsaa = Skt. pratiśīrṣaka (Karp I,). It is not laid down anywhere whether masks are to be used în all types of plays and for all characters. [116]: Pārśvāgāta (= Pārāva+āgata), that which has come from the Parśus, mentioned in the Ṛgveda. Hence a Pārśvāgata crown may be the cylindrical crown used by the Persians. [117]: The bridegroom’s ṭopar (a tali conical hat) in Bengal represents probably the crown of the Kiritī type. [118]: Cāraṇas are demigods who sing the praise of superior gods. [119]: Śikhaṇḍa means locks of hair left on the sides of the head. These are three or five in case of the Kṣatriyas (vide Apte s.v.). [120]: The Uṣṇīṣa of Buddha image is probably a????? airs [121]: kākapada see Apte s.v. [122]: This seems to show clearly that sometimes living animals were brought on the stage. This was, however, not the general rule. See XIII. 106-107. [123]: See Ag. on this point. [124]: For the measurement of Tālā see III. 21 note. [125]: ‘Width’ here means the distance between the bow and the string at the time of shooting an arrow. [126]: See III. 73ff. [127]: See I. 58-61 note 2, [128]: See I. 58-61. [129]: See Ag. on this point. [130]: See above 167-168 note 1. [131]: See NŚ. III. 73-75ff. [132]: See NŚ. I. 58-61 note 2. [133]: Bheṇḍa K, bhaṇḍa C. “bhāṇḍai (bheṇḍai) rityalābudala-khaḍgādibhiḥ” Ag. 28 May, 2017 --> Last Updated: 07 October, 2017 $(function(){ if($(document).height() > $(window).height()){ $('.book.chapter').append('^ back to top ^') $('section.back > a').click(function(){ $(window).scrollTop(0); }); } }); /** * Derivation list */ /*$('a.deriv-link').click(function(){ $(this).closest('.words-group').find('.deriv-list').toggleClass('d-none'); });*/ ====================================================================== Chapter XXIV - Harmonious Representation ====================================================================== --> Natyashastra (English) by Bharata-muni | 1951 | 240,273 words | ISBN-13: 9789385005831 Hinduism Natyashastra Buy now! The English translation of the Natyashastra, a Sanskrit work on drama, performing arts, theater, dance, music and various other topics. The word natyashastra also refers to a global category of literature encompassing this ancient Indian tradition of dramatic performance. The authorship of this work dates back to as far as at least the 1st millenn... Go directly to: Footnotes. Chapter XXIV - Harmonious Representation (sāmānyābhinaya) < Previous (index) Next > Importance of Sattva 1. The Harmonious Representation (sāmānyābhinaya)[1] is known to depend on Words and Gestures. [Among these] one should take special care about the Sattva[2], for the dramatic production has this as its basis. 2. The Histrionic Representation with an exuberant Sattva is superior, the one with the level Sattva is middling, and that with no [exercise of] Sattva is inferior. Definition of Sattva 3.[3] Sattva is something invisible; but it gives support to Psychological States and Sentiments by means of horripilation, tears and similar other sighs displayed in proper places and in harmony with the Sentiments [to be produced]. Feminine graces in a drama 4-5. Dramatic experts know the young women’s Graces (alaṃkāra, lit. ornament) to be the support of Sentiments in a drama,[4] and these consist of changes in respect of their faces and other limbs. Of these, firstly the change of limbs (aṅgaja)[5] is of three kinds next the natural (sahaja)[6] change of ten kinds, and involuntary (a-yatnaja)[7] change, of seven kinds. Physical Graces of women 6. Feeling, its expressions ordinary or graceful, arising from one another being different aspects of Sattva, is connected with the physical nature.[8] Origin of Graces 7. Sattva partakes of the nature of the body, and feeling (bhāv) arises from Sattva, while its ordinary expression (hava) from feeling, and its graceful expression (helā) from the ordinary one.[9] Ordinary expression of Feeling 8. Bhāva is so called because of its representing (bhāvayan) the inner feeling of the play-wright by means of expression coming from speech, limbs, face and Sattva.[10] Graceful expression of feeling 9. Sattva with excessive feeling (bhāva) [manifests itself] in relation to persons of the opposite sex. And the ordinary expression (hāva) should be marked as relating to its various conditions.[11] 10. In the same connexion (lit. there) Emotion (hāva) should be known as arising from the mind (citta) and manifesting itself in changes of eye-brows and the Recaka of the neck, indicative of the Erotic Sentiment.[12] 11. Everyone’s ordinary feeling, which depend on the Erotic Sentiment, and reveals itself through graceful movements (lalitābhinaya) is called the graceful expression of feeling (helā) by the wise.[13] Natural Graces of women 12-13. The ten natural Graces (alaṃkāra) of women are: Sportive Mimicry (līlā), Amorous Gesture (vilāsa), Dishabille (vicchitti), Confusion (vibhrama), Hysterical Mood (kilakiñcita). Manifestation of Affection (moṭṭāyita), Pretended Anger (kuṭṭamita), Affected Coldness (bibboka), Lolling (lalita), and Want of Response (vihṛta).[14] Sportive Mimicry 14. Imitating the behaviour of a lover by means of relevant words, gestures and make-up (alaṃkāra, lit. ornament) which are delightful and inspired by affection, is called Sportive Mimicry (līlā).[15] Amorous Gestures 15. Relevant changes of the special kind relating to the standing and sitting postures as well as to gait and the movements of hands, eye-brows and eyes, [which occur at the sight of the beloved] are called Amorous Gestures (vilāsa).[16] Dishabille 16. The great beauty that results from the slightly careless placing of garlands, clothes, ornaments and unguents, is called Dishabille (vicchitti).[17] Confusion 17. Inversion of various items such as words, gestures, dresses, and make-up and Sattva due to intoxication, passion and joy, is called Confusion (vibhrama).[18] Hysterical Mood 18. Combination of isolated states of smiling, weeping, laughter, fear, sickness, fainting, and fatigue on account of [excessive] joy, is called Hysterical Mood (kilakiñcita).[19] Manifestation of Affection 19. Manifestation of Affection (moṭṭāyita) occurs through Sportive Mimicry (līlā), Amorous Gesture (vilāsa) and the like, when at the mention of the beloved, one is being absorbed in thought of him.[20] Pretended Anger 20. Pretended Anger (kuṭṭamita) arises on account of the joy and perplexity in [lover’s] touching the hair, the breast, the lip and the like, and it is feigning distress when actually there is delight.[21] Affected Coldness 21. The indifference which women show [to their] lovers] on account of vanity and pride, after they have realised their cherished desire (i.e. conquering the lover’s heart), is called Affected Coldness (bibhoka).[22] Lolling 22. Graceful movement of hands, feet, brows, eyes, lips etc. made by women is known as Lolling (lalita)[23]. Want of Response 23. That due to bashfulness, pretence and nature, women do not make any reply [to her lover] even when they have heard his words, is called Want of Response (vihṛta)[24]. Involuntary Graces of women 24. The Involuntary [Graces] are: Beauty (śobhā), Charm (kānti), Delicacy (mādhurya), Radiance (dīpti), Self-control (dhairya), Courage (prāgalbhya) and Dignity (audārya)[25]. Beauty 25. Decoration of limbs on account of good physical form, youth and loveliness being rendered manifest after the enjoyment [of love], is called Beauty (śobba)[26]. Charm and Radiance 26. Beauty which is full of a lover’s passion, is called Charm (kānti)[27]. A high degree of charm, is called Radiance (dīpti.)[28] Delicacy 27. Moderation in the movement [of limbs] in all conditions, especially in Radiance (dīpti), and in Lolling (lalita), is called Delicacy (mādhurya).[29] Self-control 28. A natural bent of the mind which in all matters is free from rashness and boasting, is called Self-control (dhairya).[30] Courage and Dignity 29. The quality of not becoming agitated in speaking, or acting anything (lit. in practice), is called Courage (prāgalbhya).[31] Courteous bearing in all situation, is called Dignity (audārya)[32] by the wise. 30. These [Graces] are tender in connexion with performance of delicate nature, but [in other cases] they (i.e. the Graces) except Amorous Gesture (vilāsa)[33] and Lolling (lalita)[34] may be brilliant (dīpta)[35]. Eight aspects of the male’s Sattva 31. Brilliant Character (śobhā), Graceful Bearing (vilāsa), Self-possession (mādhurya), Steadiness (sthairya), Gravity (gāmbhīrya), Sportiveness (lalitā), Nobility (audārya) and Spirit (tejas) are the different aspects of the male’s Sattva.[36] Brilliant Character 32. Skill [in various things], heroism, and energy, aversion to mean acts and emulation of the best virtues constitute Brilliant Character (śobhā, lit. beauty)[37]. Graceful Bearing 33. Eyes moving straight, gait as graceful as that of a bull, and smiling words constitute Graceful Bearing (vilāsa)[38]. Self-possession 34. If due to a [long] practice [in this direction] one’s sense-organs retain their firmness even when great changes of the natural state have occurred, it is called Selfpossesion (mādhurya, lit. sweetness)[39]. 35. Not relinquishing any undertaking relating to duty, wealth and enjoyment irrespective of its good or bad results, īs called a Tenacity (sthairya).[40] Gravity 36. Gravity (gāmbhīrya) is something due to an influence of which [outward] changes in cases of anger, joy and tear do not occur[41]. Sportiveness 37. Erotic movements and changes [of features] which are not deliberate and which grow out of a tender nature, constitute Sportiveness (lalita).[42] Nobility 38. Making gifts, bestowing favours and speaking sweet words to others as well as to one’s own men, is called Nobility (audārya)[43]. Spirit 39. That one does not tolerate even at the risk of one’s life, any reproach or insult made by others, is called Spirit (tejas).[44] Histrionic Representation through the body 40. O the best of Brahmins, I have spoken before about the Histrionic Representation through Sattva[45]. I shall now explain in detail the Histrionic Representation through the body[46]. 41. This is sixfold: Words (vākya), Sūcā, Aṅkura, Śākhā, Nāṭyāyita and Nivṛttyaṅkura[47]. Words 42. Recitatives in Sanskrit and Prakrit composed in verse or prose when they possess meanings giving various Sentiments, constitute the Histrionic Representation by Words[48]. Sūcā 43. When the meaning of a sentence or the sentence [itself] is indicated first by Sattva and Gestures, and then a Verbal Representation is made, it is called Sūcā[49]. Aṅkura. 44. When one skilfully represents by Gestures in the manner of the Sūcā and having the same source as the feeling which one has in one’s heart, it is called the Representation of Aṅkura[50]. Sākhā 45. The representation that is made in due order by the head, the face, shanks, thighs, hands and feet in the manner of branches, is known as the Śākhā Representation.[51] Nāṭyāyita 46. The intimation of Histrionic Representation which is made at the entrance of a major character by [different] gestures for enlivening the time, and which lasts till the coming together [of the dramatis personae on the stage] is called Nāṭyāyita.[52] 47. The pantomeneic Representation of Dhruvās relating Psychological States and Sentiments which are made by means of delineating joy, anger, grief and the like, is also to be known as Nāṭyāyita. Nivṛttyaṅkura 48. When one represents words of another person by Sūcā it is called Nivṛtyaṅkura.[53] Twelve forms of Verbal Representation 49-51. These are the [histrionic] ways connected with proper Psychological States and Sentiments that are available for the subject matter of plays. The representation of these, is to take the following twelve forms: Accosting (ālāpa), Prattling (pralāpa), Lament (vilāpa), Repeated Speaking (anulāpa), Dialogue (saṃlāpa), Change of Words (apalāpa), Message (sandeśa), Agreement (atideśa), Specific Mention (nirdeśa), Pretext (vyapadeśa), Instruction (upadeśa) and Indirect communication (apadeśa).[54] Accosting and Prattling 52. Accosting (ālāpa) is a sentence used in addressing [any one].[55] Irrelevant words are called Prattling (pralāpa).[56] Lament and Repeated Speaking 53. Words originating in a pathetic condition are called Lament (vilāpa).[57] Speaking again and again on anything is called Repeated Speaking (anulāpa).[58] Dialogue and Change of words 54. Dialogue (saṃlāpa) is made up of utterance and counter-utterance.[59] Change of words (apalāpa)[60] is the alteration of words spoken before. Message and Agreement 55. “Speak this to him,” is [an example of] Message (sandeśa).[61] Saying “You have said what was uttered by me” is [an example] of Agreement (atideśa).[62] Specific Mention and Pretext 56. “It is the same I that is speaking,” is [an example] of Specific Mention (nirdeśa).[63] To speak with the purpose of deception, is called Pretext (vyapadeśa).[64] Instruction and Indirect Communication 57. To say “Do this” or “Take this” is [an example] of Instruction (upadeśa).[65] Saying anything on behalf of another person is [an example of] Indirect Communication (apadeśa). Another classification of Verbal Representation 58. These are the forms [of sentences] that are to create the Verbal Representation. I shall speak [hereafter] of the characteristics of the seven forms which it may have. 59. [A sentence may contain a statement which] treats an act visible (pratyakṣa) or invisible (parokṣa); it may relate to the present, past or future time; it may affect one’s ownself (ātmastha) or another (parastha). 60. “O this [person] is speaking and I am not speaking” is a statement which treats a visible act (pratyakṣa), affects another person (parastha) and relates to the present time. 61. “I am doing, or going or speaking” is a statement which affects one’s ownself, relates to the present time and treats a visible act. 62. “I shall do, go or speak” is a statement which affects one’s ownself, treats an invisible act and relates to the future time. 63. “All my enemies were killed, conquered and put to flight by me,” is a statement which affects one’s ownself as well as others, and relates to the past time. 64. “[The enemies] were killed and conquered by thee,” is a statement which treats an invisible act, affects others, and relates to the past time. 65. “This [person] is speaking, doing or going,” is a statement which affects another, relates to the present time and treats a visible act. 66. “He is going or doing” is a statement which affects another, relates to the present time and treats a visible act. 67. “They will do, go or speak,” is a statement which affects others, relates to the future time and treats an invisible act. 68. “That work is to be done today by me together with you,” is a statement which affects one’s ownself as well as another and relates to the present time. 69. Anything that is spoken on the stage (lit, in drama) under the cover of the hand, will affect one’s ownself, relate to something at one’s heart or will relate to an invisible (parokṣa) act. 70. The seven forms of this (i. e. Verbal Representation) will have many more varieties when they will be modified according to time, and persons (lit. of the self and others) who are affected. 71. These are the ways of the Histrionic Representation, known to producers of a drama. Different kinds of representations are to be made through these. Harmonious Representation 72. The Harmonious Representation is that in which the effort is equally shared by the head, the face, the feet, the thighs, the shanks, the belly and the waist. 73. Experts in acting are to represent [a character] by graceful movements of hands and delicate efforts of limbs [in general], which are to delineate the Sentiments and the Psychological States. Regular Histrionic Representation 74-75. The acting (lit. drama) which is [performed] by physical efforts which are not violent, hurried or complex, and which rest on proper tempo (laya), time (tāla) and the measurement of Kalās, and in which words are distinctly uttered without harshness and hurry, is called “regular” (ābhyantara). Irregular Histrionic Representation 76. When it is of the opposite kind, and observes free movements and is not combined with songs and instrumental music, is called “irregular” (bāhya). 77. It is called “regular” when it conforms to the rule (lit. within the lakṣaṇa or rule) and ‘irregular’ when it is outside [the prescription] of the Śāstra. Lakṣaṇa defined 78. As by this, a performance is lakṣyate or marked, it is called lakṣaṇa (characteristic mark). Hence it is of use in a drama. Some prefer practice to the Śāstra 79. Those who have not received training from (lit. lived with) any master or who had no access to the Śāstras, resort to practices observed by others?[66] Representation of objects and senses 80. A wise [actor] should represent sound, touch, form, taste and smell and sense-organs concerned, through gesture reflecting those objects of senses[67]. Sound 81. By making a side-long glance, bending the hand sideways and putting a hand near the ear, one should represent the sound. Touch 82. By slightly narrowing down the eyes, raising the eyebrows in the like manner as well as by touching the shoulder and the cheek, the wise one should represent the form. Form 83. By holding on the head the Patāka hand with its fingers slightly moving, and looking intently [at something] with eyes, the wise one is to represent the form. Agreeable Taste and Smell 84. By slightly narrowing down the eyes and expanding the nostrils and in the same breath, the wise one is to represent the agreeable taste and the smell. 85. These are gestures which arise from the activities of the five sense-organs such as skin, eyes, nose, tongue and ears. Importance of mind 86. Objects of sense-organs are preceived by a person with attentive mind. But person out of his mind cannot perceive any object which comes through five [sense-organs]. Three aspects of mind 87. With reference to the representation, the mind has three attitudes [towards objects], viz. desired (iṣṭa), undesired (an-iṣṭa) and indifferent (madhyastha). Favourable mind 88. Everything favourable should be represented by the happy movement of limbs, horripilation and the opening of the mouth. 89. In case of a favourable sound, form, touch, smell or taste, one should show a happy face by concentrating the senses [concerned] in mind.[68] Unfavourable mind 90. By turning the head, not using the eyes and keeping them fixed to the nose, one should represent whatever is unfavourable. Indifferent mind 91. An indifferent attitude should be represented by expressing not too much delight or to much abhorrence, and by keeping oneself in the middling state. 92. The representation of words like “[It is done] by him,” “It is his,” or “He does this” which relate to invisible acts is [an example of] indifferent attitude. Meaning of “personal” 93. The object which a person himself feels is called “personal” (ātmastha). Meaning of “external” That which is a description of another person is called “external” (parastha). Desire 94-95. Almost all the Psychological States proceed from erotic passion (kāma) and which combined with acts proceeding from desire which is regarded as having many forms such as, passion for virtue (dharma-kāma), passion for wealth (artha-kāma) and passion for liberation (mokṣa-kāma)[69]. Love 95-96. The union of a man and a woman is called sensual passion (kāma). This love which may end in joy or sorrow for all people, is mostly to be observed as leading to happiness even in unhappy situations. Erotic Affair 97. The union of man and woman which finds them sexually united is known as an Erotic Affair (śṛṅgāra). This benefits the two, and brings them happiness. 98. In this world people always desire happiness of which women are indeed the source. These women are of various nature.[70] Various types of woman 99-100. Women are known to possess the nature of gods, Asuras, Gandharvas, Rākṣasas, Nāgas, birds, Piśācas, Yakṣas, tigers, men, monkeys, elephants, deer, fish, camel, Makara, asses, horses, buffaloes, goats, dogs, cows and the like.[71] 101-102. A woman who has delicate limbs, steady and soft looks from the corner of her eyes, is free from any disease, has lustre, munificence, truth and simplicity, emits very little sweat, has middling sexual passion, takes moderate food, loves sweet scent and is engaged in vocal and instrumental music, is known to possess the nature of a goddess. A woman of Asura type 103-104. A woman who transgresses laws and practices trickery, is confirmed in anger, very cruel, fond of wine and meat, always irascible [in temper], very proud, fickle-minded, very covetous, harsh, fond of quarrel, jealous and inconstant in affection, is said to possess the nature of an Asura.[72] A woman of Gandharva type 105-106. A woman who enjoys roaming in many gardens, is adorned with good nails and teeth, speaks with a smile, is slim-bodied, has a slow gait, loves sexual pleasure, is always pleased to hear music (gīta and vādya) and to witness dance, is careful about cleanliness [of the body] and has soft skin, glossy hairs and charming eyes, is known to possess the nature of a Gandharva.[73] A woman of Rākṣasa type 107-108. A woman who has large and broad limbs, red wide eyes, coarse hairs, loves to sleep in day time, speaks loudly, has the habit of hurting [one] with nails and teeth, is disposed to anger, jealousy and quarrel, and likes to roam at night, is said to possess the nature of a Rākṣasa.[74] A woman of Nāga type 109-110. A woman who has a pointed nose and sharp teeth, slender body, reddish eyes, complexion of a blue lotus, is fond of sleep, very irascible, has an oblique (tiryak) gait and unsteady efforts, takes pleasure in [the company of] many persons (lit. beings), and loves sweet scent, garlands and similar other objects, is said to possess the nature of a Nāga.[75] A woman of bird type 111-112. A woman who has a very large mouth, energetic character, loves streams, enjoys spirituous liquor and milk, has many offsprings, likes fruits, is always given to breathing and is always fond of gardens and forests, is [very] fickle and talkative, is said to possess the nature of a bird.[76] A woman of Piśāca type 11 3-114. A woman who has more or less than the usual number of fingers, is merciless during sexual acts, has the habits of roaming in gardens and fields, and of terrifying children, is treacherous, speaks with a double entendre, behaves abominably during sexual acts, has a hairy body and loud voice, and is fond of spiritous liquor and sexual indulgence, is said to have the nature of a Piśāca.[77] A woman of Yakṣa type 115-116. A woman who sweats during sleep, loves quiet rest in bed or seat, is [very] intelligent, fearless and fond of wine, sweet scent and meat, takes delight on seeing the beloved one after a long time, feels gratitude [to him], does not sleep for a long time, is said to have the nature of a Yaksa.[78] A woman of tiger type 117. A woman who takes honour and dishonour in the same spirit, has a rough skin and harsh voice, is wily, speaks untruth and haughty words, and has tawny eyes, is said to have the nature of a tiger (vyāla).[79] A type of human female 118-119. A woman who loves uprightness, is always clever and very virtuous, has regular features (vibhaktāṅgī), is grateful [to her benefactors], disposed to worship the elders and gods, always careful about duty (dharma) as well as material gain, and is free from pride and fond of friends and has good habits is said to have the nature of a human being.[80] A woman of monkey type 120-121. A woman who has a compact and small body, is impudent, has tawny hairs, is fond of fruits, talkative, fickle, and energetic, loves trees, gardens and forests, cherishes highly even a small kind act [done to her] and forces sexual act, is said to have the nature of a monkey[81]. A woman of elephant type 122-123. A woman who has a large chin and forehead, is fleshy and bulky, has tawny eyes, hairy body, is fond of sweet scent, garlands and wine, has an irascible temper, steady energy, loves water, garden, forests, sweet things and sexual intercourse, is said to have the nature of an elephant[82]. A woman of deer type 124-125. A woman who has a small abdomen, flat nose, thin shanks is fond of forest, has large red eyes, is fickle, has the habit of quickly going, susceptible to fright in day time, is timid, fond of songs and instrumental music, and intercourse, irascible in temper, unsteady in her efforts, is said to have the nature of a deer[83]. A woman of fish type 126. A woman who has long, large and high breasts, is fickle and without any twinkle in her eyes, has many servants and offsprings, is fond of water, is said to have the nature of a fish[84]. A woman of camel type 127-128. A woman who has protruding lips, too much sweat, a slightly awkward gait, slender abdomen, is fond of opening flowers, fruits, salt, sour and pungent tastes, has her waist and sides loosely bound, speaks harsh and and cruel words, has a very high and rough neck, is said to have the nature of a camel[85]. A woman of Makara type 129. A woman who has a large head, a steady neck, a mouth wide open, very loud voice and is cruel, has habits of a fish, is known to have the nature of a Makara[86]. A woman of ass type 130-131. A woman who has a thick tongue and lips, rough skin and harsh words, is violent during sexual acts, impudent, fond of nail-scratches and biting [from her lover], jealous of her co-wives, clever, not fickle, slow in her gait, angry by nature, and has many offsprings, is known to have the nature of an ass[87] A woman of swine type 132-133. A woman who has a large back, belly and mouth, hairy and strong body, a very narrow forehead, is fond of ordinary and bulbous roots and fruits, is black, has a face rendered ugly due to big teeth, large thigh and thick hairs, mean habits and many offsprings, is said to have the nature of a swine[88]. A woman of horse type 134-135. A woman who is faithful, has symmetrical sides, thighs, hips, back and neck, straight and thick hairs, is charming, munificent, small, fickle-minded, sharp-tongued, quickly moving, and disposed to anger and sexual passion, is said to have the nature of a horse[89]. A woman of buffalo type 136-137. A woman who has a broad backbone, teeth, sides, belly, tawny hairs, is turbulent and hater of men, fond of intercourse, has a slightly broad (lit. raised) mouth, large forehead and hips, and is fond of forests and sporting in water, has the nature of a buffalo[90]. A woman of goat type 138-139. A woman who is thin, has small arms and breasts, moving red eyes, short hands and feet, is covered with fine hairs, and is timid, shy of water, fond of forests, restless, swiftly moving, and has many offsprings, is said to have the nature of a goat[91]. A woman of canine type 140-141. A woman who is alert in eyes and limbs, disposed to yawning [often], is talkative and grateful, has a long face, short hands and feet, loud voice, short sleep irascible [temper], and low manners, is said to have the nature of a dog. A woman of cow type 142-143. A woman who has large, plump and high hips, thin shanks, short hands and feet, is kind to friends, firm in her efforts, favourable to children, engaged in worshipping ancestors and gods, always clean, respectful to superiors, faithful, and patient in her sufferings, is said to have the nature of a cow[92]. Etiquette towards women 144-145. Women possessing the spirit of animals they resemble by nature, have different habits. After knowing her spirits one should approach a woman accordingly. For courteous acts done to a woman according to her nature, even if these are not many, will be pleasing to her, while great many such acts when they are done with an ignorance of her nature, will not satisfy her [at all][93]. 146. An external love will arise in a woman when she has been courted and won over in a proper manner. And certain Etiquette (upacāra) has been prescribed for man and woman in love [with each other]. 147. Austerities are practiced for the sake of virtue and the [acquisition of] virtue is for the purpose of happiness. And happiness has its source in women the enjoyment of whose company is desired [by people in general]. Two classes of Etiquette 148. In the theatrical convention, Etiquette relating to the practice of love of men and women, is of two kinds: external and internal. 149. [Of these two], the internal [Etiquette] is to be observed by kings in the Nāṭaka. And the external [Etiquette] is to be observed by courtezans in the Prakaraṇa. A King’s Etiquette towards Women 150. In this connexion I shall describe in detail the rules of Etiquette for kings in their enjoyment [of women’s love], which have been drawn out from the Science of Erotics. Three classes of women 151-152. Women who have the nature of various animals are of three classes: “homely” (ābhyantara, lit. inside) “public” (bāhya, lit. outside) and “mixed” (bāyābhyantara, lit. outside and inside), A woman belonging to a high family is a “homely” (ābhyantara) and a courtezan, a “public” (bhaya) woman. A thoroughly tested (kṛtaśauca) woman, if she is a maiden of high family, is of the mixed (bāhyābhyantara) class. 153. A lady or a maiden may become subject to a king’s attention in his harem. But enjoying the company of a public woman is not desirable in connection with a king’s love-affair. 154. A king’s union takes place with a “homely” woman, and a common man may unite with a “public” woman, while the king may have union with a heavenly courtezan [only][94]. 155. The manner of love-making which is approved in case of [married] women of high family, will hold good in case of maidens too. And [in love affairs] a courtezan too [will behave generally] like a lady of high family[95]. Beginning of love 156. Love of the superior, the middling or the inferior kind arises in men and women, from various causes[96]. 157. Love [for a person] grows from hearing [about one] and [hearing] the charming conversation, seeing the personal beauty, or the sportive movement of limbs. 158. A woman becomes overpowered with love on seeing a young man who has personal beauty as well as other innate qualities, and has besides the knowledge of various arts and crafts. 159. An expert in this matter should then observe the various indications of love in men and women who desire one another’s company. Signs of love 160. The glance in which [the eyes are] sportive, tearful, half-closed, upper eyelid is drooping and eyelashes are throbbing, is called Kāmyā. (lit. loving) and it should be used here. 161. The glance in which eyes are expanded up to the corner and have sportful and smiling expressions, is called Lalitā. It is used in women’s partial looks[97]. 162. The colour of the face when one’s cheeks become slightly red and the face dotted with sweat-drops, and hairs in the body stand on their end[98], relates to love. Signs of a courtezan’s love 163-165. A courtezan overpowered with, love should be represented by making her express the feelings by casting side-long glances, touching the ornaments, itching the ears, scratching the ground with her toes, showing the breasts and the navel, cleansing the nails and gathering her hairs[99]. Signs of love in a highborn lady 165-167. Similarly one should know that there are indications [of love] in a woman of high family, These are as follows: she looks continuously with blooming eyes, conceals her smile, speaks slowly and with a down-cast face, gives reply with a smile, conceals Her sweat and appearance, has throbbing lips and is trembling[100]. Signs of a maiden’s love ī68. These are the various signs of love with which a woman not yet having an experience of the pleasure of intercourse will express differently her love which has ten stages[101]. Various stages of her love 169-171. First there will be a longing (ābhilāsa), secondly Anxiety (cintā), thirdly Recollection (anusmṛti), fourthly Enumeration of [the beloved one’s] Merits (guṇakīrtana), fifthly Distress (udvega), sixthly Lamentation (vilāpa), seventhly Insanity (unmāda), eighthly Sickness (vyādhi), ninthly Stupor (jaḍatā), and tenthly Death (maraṇa)[102]. These are the stages of love in case of men as well as of women. Now listen about the characteristics of all these. Longing 172. Longing (abhilāṣa) arises from efforts born of desire and wish [for the beloved one], and leads to the means, of meeting [him][103]. 173. One goes out of the place [where one is] or enters it or stays within his sight, and shows signs of amour in the first stage of love[104]. Anxiety 174. Anxiety (cintā) should be indicated by speaking to the female Messenger (dūtī) words such as “By what means and in what manner will there be an Union with (lit. obtaining of) the beloved[105]?” 175. In the second stage [of love] one should look with half-closed eyes and handle the Valaya (bangles), the Raśanā, and touch the Nīvi, the navel and the thighs[106]. Recollection 176. Sighing again and again, thinking deeply of the beloved person and disliking other engagements, is called Recollection (anusmṛti)[107]. 177. Being engrossed in thinking of him (i.e. the beloved) one does not attain composure in sitting or lying in bed, and remains unable to do to one’s duty. The third stage [of love] should be expressed like this[108]. Enumeration of Merits 178. To express by means of sportful movement of limbs, smiles and glance and [other efforts] the idea that ‘there is no one else like him’, is called Enumeration of [the beloved one’s] Merits.[109] 175. Representation [of love] in the fourth stage (i.e. should he made by horripilation at the Enumeration of Merits of the beloved and wiping off tears, and sweats, and by constant confidential talk to the female Messenger[110]. Distress 180. That one is not at case or is pleased in sitting, or in lying in bed and is always eagerly expecting [the beloved one] is the stage of Distress ( udvega) in love[111]. 181. By representing anxiety, sighs, lassitude and burning of the heart in an exaggerated manner, one should express the stage of Distress[112]. Lamentation 182. Lamentation (vilāpa) is represented by speaking sorrowfully words such as. “He stood here; he sat here, and here he united himself with me, etc[113].” 183. A lamenting woman is distressed by very eagerly expecting [the beloved one], and out of uneasiness she moves from one place of grief to another[114]. 184. When a woman introduces topic about him (i.e. the beloved) on all occasions and hates all [other] males, it is a case of Insanity (unmāda)[115]. 185. To represent Insanity one should sometime look with a steadfast gaze, sometimes heave a deep sigh, sometimes be absorbed within oneself and sometimes weep at the [usual] time for recreation[116]. Sickness 186. When after enjoying all objects fit for one in love, and even by desirable sprinkling, one fails to bring her condition under control, Sickness appears[117]. 187. To represent Sickness, the eighth stage one is to show that she faints, the heart has no point on which to settle, the head aches badly, and one does not have any peace.[118] Stumor 188. In Stupor (jaḍatā) one does not respond when questioned, and does not hear or see [anything], she remaining speechless or begins her words with ‘alas’ or loses memory.[119] 189. To represent Stupor one is to utter response (huṃ) on the wrong occasion, and is to have one’s limbs relaxed and the mouth given to excessive breathing.[120] Death 190. If even after adopting all the means [available for the purpose] the Union [with the beloved] does not take place, then burnt in the fire of love one’s Death (maraṇa) takes place[121]. 191. Thus in case of her not meeting (lit. getting) the beloved, one should represent, according to the Science of Erotics, for the Heroine all the stages of love except the last one[122]. Manifestation of men’s love 192. Even a man separated from his beloved one, will thus make a manifestation of his love in diverse ways through different Psychological States[123]. Characteristics of love 193. One should represent men as well as women who are expressing these stages of love by bringing in their common characteristics [in particular stages]1. Women separated from the beloved one 194-196. All the stages of love should be generally represented through Psychological States arising from separation and having different bases such as anxiety, excessive breathing, lassitude, pain in the body, and imitating the conduct (lit. merit) [of the beloved] or looking to his path or gazing [vacantly] at the sky, talking pathetically, touching and twisting [some objects] or clinging to some support. Relief in love-sickness 197. When burning very much with the fire of love one will use [special] clothes, ornaments, scents, rooms and gardens which have a cooling effect. A Female Messenger 198. Suffering [thus] from love-sickness and being afflicted on many points she should send a female Messenger, expert in love affairs [to the beloved] to speak of her conditions. 199. The message sent through the female Messenger should relate to passionate love. She [should] deliver the same] with proper courtesy [and] say “This is her actual condition”. 200. Then due to manifold significance of the communication, he is to think of some means [of relief]. This is the rule to be observed by the experts where love is to be practised secretly. A King’s Etiquette to Women 201. I shall now speak truly about the rules regarding the practice of kings in relation to “homely” women, and these rules are taken out the Science of Erotics[124]. 202. Happy and unhappy conditions which occur [in connexion with love] in persons of various dispositions, and which are assumed by kings, are also followed by common people. 203. Kings have no difficulty in obtaining women; because means for this, is at their command. And the love that grows out of liberality produces delight. 204. Out of respect for the queens and for fear of their favourite women, kings are to make love secretly to women employed in the harem. 205. Though the kings may have many ways of making love, making it secretly will be [the most] pleasing [of all]. 206. Attachment to a woman being shut out from a woman and difficulty in obtaining her, imparts the supreme delight to her love. 207. In case of women of the harem, the king’s diversion with them in day time may be permitted, but in Conjugal Union (vāsaka) meeting should take place at night.[125] Reasons for Conjugal Union 208. The following six are reasons[126] for the Conjugal Union (vāsaka): scheduled order (paripāṭī), [desire for] progeny (phala), newness of relation (navatva), birth of a child (prasava), time of sorrow (duḥkha) and of joy (pramoda).[127] 209. Conjugal Union being due, kings should go to the bed-chamber of a wife even if she may be in her menses and may not be his favourite. Eight kinds of Heroine 210-211. In this connexion Heroines (nāyikā) are known to be of eight kinds such as, “one dressed up for Union” (vāsakasajjā), “one distressed by separation” (virahotkaṇṭhitā), “one having her husband in subjection” (svādhīna-bhartṛkā), “one separated [from her lover] by a quarrel” (kalahāntaritā), “one enraged with her lover” (khaṇḍitā), “one deceived by her lover” (vipralabdhā) “one with a sojourning husband” (proṣitabhartṛka) and “one who moves [to her lover] (abhisārikā).[128] A Heroine dressed up for Union 212. A woman who in eager expectation of love’s pleasure decorates herself joyfully when the Conjugal Union is due, is a Heroine dressed up for Union.[129] A Heroine distressed by separation 213. A woman whose beloved one does not turn up on account of his preoccupation with many other engagements and makes her afflicted with sadness by his not coming, is a Heroine distressed by separation.[130] A Heroine having her husband in subjection 214. A woman whose husband captivated by her pleasing qualities as well as by intense pleasure of love (surata) from her, stays by her side, is a Heroine having the husband in subjection.[131] A Heroine separated by quarrel 215. When woman is impatient for her lover having gone away due to a quarrel, or jealousy, and not returning, she is a Heroine separated by quarrel[132]. An enraged Heroine 216. A women whose beloved one, due to attachment for another female, does not come for the Conjugal Union when it is due, is an enraged Heroine.[133] A deceived Heroine 217. When lover does not come to such a women (i.e. khaṇḍitā) for a certain reason even after he had met her and made a tryst, she is a deceived Heroine.[134] A Heroine with a sojourning husband 218. A woman whose husband (lit. the beloved one) is living abroad on account of serious duties and who has the ends of her hairs scattered, is called a Heroine with a sojourning husband.[135] A Heroine moving to her lover 219. A woman who due to love or lust is attracted to her lover and gives up modesty for going out to meet him, is called a Heroine secretly moving to her lover.[136] Representation of different Heroines 220. Heroines in a Nāṭaka should be of these conditions. I shall speak of the manner in which the producers are to represent them. 221-223. Enraged, Deceived and Quarreling Heroines and the Heroine with a sojourning husband should be represented by the conditions such as anxiety, sighs, lassitude, burning of the heart, conversation with female friends, looking to one’s own condition, weakness, depression, shedding tears, appearance of anger, giving up of ornaments and toilet, sorrow and weeping.[137] The Heroine having the husband in subjection 224. A Heroine having the husband in her subjection should be represented with gaudy and brilliant dresses, face beaming with pleasure and having an excess of blooming.[138] Different classes of Heroine moving to the lover 225. When she may be a courtezan, a lady of high family or a maid-servant, the producers should make the Heroine move to her lover in the special manner described below[139]. A Courtezan 226. [In going down to her lover] the courtezan is to have her body beautifully decorated with various ornaments and to walk slowly in the company of her attendants and with [a display of] passion (samadanā) and mild efforts.[140] The woman of high family 227. [And in such a situation] a woman of high family will cover her face with a veil, and walk timidly with her limbs contracted, and will [very often] turn back[141] her face. A hand-maid 228. And [in the same situation] a hand-maid will walk haughtily with uneven steps (āviddhagati) and with eyes beaming with amorous joy, and will talk distortedly due to intoxication (madaskhalita-saṃlāpā).[142] How to meet a sleeping lover 229. If the beloved one (lit. this one) is in bed, and she finds him manifestly asleep, she [should] awaken him by the following means:[143] 230. A woman of high family is to awaken him by [the sound of] ornaments, the courtezan by the sweet (lit. cool) scents, and the handmaid by fanning the beloved one with her clothes.[144] 231. This is the rule of amours for women of high family, courtezans and others, for the Nāṭaka is to represent the Psychological States of all kinds [of Heroine]. Mans Preparation for Amorous Union 232. For a woman newly in love or an enraged woman when she is not coming [of her own accord,] the Amorous Union should be arranged [by the lover] through some pretext. 233. A woman in love always enjoys with pleasure various ornaments, dresses, scents and garlands which are charming and are of the best kind. 234. Just as a man does not come particularly under the control of love when he has failed to win any woman, so on being united, with the beloved woman [such a person] becomes doubly delighted. Behaviour at the Amorous Union 235. At the time of Amorous Union (lit. union of love) there should be amorous feelings, gestures, words and specially sportful movements of the sweetest kind (lit. having a special quality of sweetness) and especially looking at each other with love. Preparation for Women’s Amorous Union 236. In special cases, a woman also while meeting the beloved one should arrange Amorous Union which is to be a source of pleasing Sentiment. 237. Alter collecting scents, garlands and a short cloth, she should keep these in readiness for the lover, and make her own toilet. 238. In preparing for the Amorous Union one should not put on too many ornaments, [among these] the Raśanā and the Nūpura, which have a sound are generally to be preferred. Acts prohibited on the stage 239. [In representing various activities of women] there should be on the stage no ascending of the bed-stead, no bath, no use of unguents and collyrium, no decoration of the body and no doing of the hair. 240. And women of the superior and the middling types should not be shown as very scantily draped (apāvṛtā) or wearing only one piece of garment (ekavastrā) and they should use no colour for their lips. 241. The prohibited mode of [of dress] will suit only the women of the inferior type, because of their low nature.[145] But they too are not to be represented as doing what is improper. 242. Men and women in different Psychological States should in a play take up a flower when they dress themselves up (lit. in their taking ornaments). 243. A woman who has finished toilet waits for a while for the arrival of her beloved men. And while looking to his path she will hear the ringing of the bell indicating Nāḍikās. A Heroine in expectancy 244. After hearing the sound of [the expected] Nāḍikā the Heroine excited [with joy) at [the chance of] the beloved one’s coming should run towards the gate with a trembling [body] and with her Heart about to stop. 245. And holding the door-frame with her left hand, and a door-blade with the right one, she should with straight eyes look up for the arrival of the beloved one. 246. She is to express anxiety, apprehension and fear due to some reasons, and when the beloved one fails to appear (lit. not seeing the beloved), she should turn sad at the moment. 247. Then after heaving a deep sigh she should shed tears and with a motionless heart drop down herself (lit. her limbs) on a seat. 248. Due to a delay of the beloved one she should connect (lit. ponder over) his coming with causes (lit. considerations) which may be good or bad. 245. She will think [as follows:] “Could the beloved one have been held up by serious duties, by the friends, or by the minister engaged in affairs of the state, or could He have been detained by some favourite woman?” 250. She should represent an appearance connected with the various good or bad causes [mentioned above] by means of physical omens like quivering or throbbing [of a particular limb.] Personal omens 251. Personal omens indicating things favourable to women, will occur to their left [side] while in case of all undesirable happenings they will take place on their right. 252. If the left eye, forehead, eyebrow, lip, thigh arm, or breast throbs, this, will indicate the coming [of the beloved]. 253. If these will throb differently[146] that will indicate something calamitous (lit. not desired). In case of perceiving such an evil omen she should at once faint. 254. As long as the beloved one has not come, her hand will rest on her cheek, and being careless about her toilet she should go on weeping. A Heroine’s reception of the beloved one 255-256. But afterwards on seeing some good omen indicating his arrival the Heroine should represent that the beloved one has drawn near by means of feeling[147] his smell, and on seeing him [come] she should joyfully get up and proceed to welcome the beloved one. Receiving the guilty lover 256-238. And if the beloved one is guilty he should be given censure in due order by means of [appropriate] gestures and reproachful words as well as by Jealous Anger (māna), Insult, Fainting or Dissimulations and in case of women’s outburst of speech [in such cases] will consist of abuse. 258-261. In case of satisfaction [witnessing] a contest, love, doubt, responding to courtesy, and wonder, in case of private words relating to duty, wealth amour or in laughter, curiosity, flurry, calamity and acceding to a situation of fun and to his concealing any ascription of any fault, the Heroine should speak to the beloved one even if [His guilts require that] he should not be spoken to, because of these reasons. 261-262. Where there is affection there is fear also. And where there is jealousy there occurs love (madana). Causes of jealousy The causes of this (i.e. jealousy) are fourfold: Depression (vaimanasya), Mixed Feeling (vyalīka), Disgust (vipriya) and Anger (manyu). Please listen about their description. Depression 262-265. Depression arises from seeing the beloved one walking lazily due to sleepiness and lassitude, and discovering signs [of his Union with another woman] and fresh wounds [received from the latter]. 264. A women should represent this with an intensely jealous face, great trembling of lips due to anger, and utterance of words like “It is good,” “It is nice” and “It is beautiful.” Mixed feeling 265. Mixed Feeling arises due to jealousy mixed with great joy when one’s beloved one is seen [near by] even after he has been treated with contempt in many ways. 266. Mixed Feeling should be represented by putting forward a foot and having the left hand on the breasts and the right one violently gesticulating. Disgust 267. Disgust (vipriya) will arise when the beloved one says that “I live [only] as long as you live,” “I am your slave” and “You are my love,” but behaves in a [quite] different manner, 268. Representation of Disgust should be made by repulsing the female Messenger, the latter’s solicitation of reply [made by the beloved one] and also by angry laughter weeping and shaking of the head. Anger 269. Anger arises [in a woman] when the beloved one comes to her from the place of a rival woman, and carries the signs of his Union with her and boasts about his good luck in this matter. 270. Anger should be represented by turning round the Valayas [bangles) and throwing up the Rasanā in a loose manner and by apprehensive and tearful eyes. On treating a lover at fault 271. On seeing the beloved one standing much ashamed and afraid due to his guilt, [the Heroine] should harass him with rebuke made up of words spoken in jealous [indignation]. 272. But no very cruel words should be uttered, and no very angry words should also be applied. [The Heroine] should speak tearfully things referring to her ownself (i.e. her ill luck). 273-275. This attitude should be represented by placing on the breast a hand the middle finger of which is touch the edge of the lip, and by looking with eyes upturned, and looking continuously or assuming a Karaṇa in which a hand is placed on the hip with the fingers separated or by moving them on the head and letting them fall together or by a look of Dissimulation or by beautiful gestures finger of indicating threat. 275-277. After saying “You are shining,” “You look well,” “Go”, “Why are you tarrying”, “Don’t touch me,” “Go to the beloved one who is in your heart,” ‘And go away,” she should turn back and resume her joyful expression on any pretext.[148] 278. In case of being taken forcibly by the dress, the hand or the hair (lit. head) the woman should be softened even after observing the guilt [of the beloved person]. 279. When taken by her hand, dress or hair the woman drawing near the beloved one should slowly release herself from him. 280. When taken by her hair, hand or dress the woman should enjoy (lit. take) the touch of the beloved in such a way that he may not perceive it. 281. The woman should slowly release her hair [from the hands of the beloved one] by standing first on her toes with limbs bent and then taking to the Aśvakrāntā posture.[149] 282. Her hair being not released [due to efforts of the beloved one] the woman should slightly perspire on his touch and say “Hum hum, let [my hairs] go,” and “Go away”. 283. After hearing the angry words like “Go away” the lover (lit. man) should [first] go away and then come back to start talking to her on any pretext. 284. Then the woman should make movements of her hand while uttering “Huṃ huṃ”, and during these movements she should pretend [anger] with abuses (śapatha). 285. In case of her clothes being taken away [by the beloved one] the woman should either cover his eyes, conceal herself behind his back and cover her Nīvi. 286. A woman should harass her [offending] lover till he would fall to her feet; but on his falling at her feet she should look to the female Messenger. 287-288. Then the Heroine should embrace the beloved one and with the object of intercourse she should joyfully walk [with him] to the bed. All these should be represented [only] by [appropriate] songs[150] with a gentle dance. 288-289. When in a play there is any speaking to the sky or any action depending on another man’s speech, which relates to the Erotic Sentiment, then the same line of representation should be followed by a woman. 290. The same should be the rule of representation if an action of a play relates to the inner apartment (harem) and the Erotic Sentiment. Acts forbidden on the stage 291. One knowing the dramatic convention (nāṭya - dharma) should not represent sleeping on the stage. But if [such is necessary] on some pretended need one should bring the Act to a close. 292-293. If out of any necessity anyone sleeps alone or with anyone, no kiss or embrace or any other private acts such as biting, scratching with nails, loosening the Nīvi, the pressing of breasts and lips, should be presented on the stage.[151] 294. Taking food or sporting in water or doing any immodest act should not be presented on the stage. 295.[152] As a Nāṭaka is to be witnessed by the father and the son, the mother-in-law and the daughter-in-law [all sitting together] these acts should be carefully avoided. 296. With words which are very pleasant to hear and have not very harsh sounds and are sweet and not very cruel the experts should write Nāṭakas which are to contain good counsels. Endearing terms of address for the beloved one 297. Now listen about terms which women in love are to use to their beloved ones when the Amorous Union takes place. 298.[153] Such terms are “dear” (priya), “beloved” (kānta), “affectionate” (vinīta), “lord” (nātha), “master” (svāmi), “life” (jīvita) and “joy” (nandana) when they are pleased. Angry terms of address for the beloved one 299.[154] In case of anger, terms generally used may be “ill-natured” (duḥśīla), “tyrant” (durācāra, lit. ill-doing), “deceitful” (śaṭha), “hostile” (vāma), “indifferent” (virūpa), “shameless” (nirlajja) and “cruel” (niṣṭhura). Endearing terms of address 300. He who does nothing undesirable, speaks nothing improper, and always conducts himself uprightly is called “dear” (priya). 301. He in whose lips or [other parts of] the body no sign of Amorous Union with another woman is visible is called “beloved”[155]. 302. He who even in his anger does not cross words [with the woman he loves] and does not use any harsh word is called “affectionate”. 303. He who maintains an intercourse with a woman by sweet words (sāma, lit. conciliation), gifts (dāna), providing enjoyment, caress and maintinance, is called “lord”[156]. 304. He who is a well-wisher [of his beloved woman], is able to protect her, is not conceited or jealous, is always alert on every occasion, is called “master”[157]. 305. He who takes the woman to the bed to please her tactfully by [providing] enjoyments according to her wishes and desires, is called “life”[158]. 306. He who is high-born, patient, clever, kind, master of words and fit to be praised among women friends, is called “joy”[159]. 307. These words are used to heighten the charm of intercourse. I shall now speak of words which indicate an want of love. Listen about them. Angry terms of address explained 308. He who is cruel, impatient, conceited, shameless, bragging, given to crossing words, is called “ill-natured” (duḥśīla)[160]. 309. He who restrains indiscreetly a woman’s movement or beats her or uses harsh words to her, is called a “tyrant”[161]. 310. He who for his own purpose speaks sweet words but does not put them into practice is called “deceitful”[162]. 311. He who even being forbidden to do anything does that very thing, and resolutely, is called “hostile”[163]. 312. He who has fresh wounds [received from a another woman] and is proud of it and remains silent is called “indifferent”[164]. 313. He who approaches the woman more resolutely than ever even when he is guilty [towards her] and bears the marks of such a guilt and is forbidden to approach, is called “shameless”[165]. 314. He who being guilty towards her tries to enjoy a intercourse with a woman by force, and does not think of conciliating her, is called “cruel”[166]. 315. These are the ways of using words to indicate whether a lover is dear or not so. In different circumstances[167] one should use them discretely[167]. 316. In songs [mentioning such a situation] there should be application of gentle dance of the Erotic Sentiment and the [representation of] fatiguing acts of love. 317. When there is a man in the sky alluding to another person, and his word suggests the Erotic Sentiment, the same should be the mode of representation [on the part of a woman]. 318. These should also be the procedure when a [similar] act relating to the Erotic Sentiment takes place in a Nāṭaka, with regard to a male. 319. This is the rule about the representation of incidents relating to the harem. I shall now describe in due order the rules regarding the goddesses (lit. celestial females). Goddesses in human roles 320. The dress of goddesses is always brilliant, their mind is always full of joy and their time is always passed happily and in sports. 321. Celestial males have no jealousy, anger and malice in life, and they require no propitiation of their females. 322. When celestial women unite with human beings they are to assume all the Psychological States of a mortal. 323. When celestial women sustain a fall [from the heaven] due to a curse, their union with human males and the mode of approach should be likewise. 324. [Remaining] invisible, she should tempt them with her voice and with [the scent of] flowers in her decoration and then revealing herself for a moment she should disappear. 325. The Hero is to be maddened by a display of dresses, ornaments, garlands and letters and such other means. 326. Love growing out infatuation will be pleasing, and that [love] which is natural will not cause such abundant feelings. 327. Being reduced to human existence celestial males should assume all the Psychological States which arc proper for men and should behave like them. 328. This should be the practice in connexion with kingly Etiquette in relation to the harem. The Etiquette in relation to the outsiders will be treated in rules regarding Courtezans (vaiśika). Here ends Chapter XXIV of Bharata’s Nāṭyaśāstra which treats of the Harmonious Representation. Footnotes and references: [back to top] [1]: Ag, seems to have no very convincing explanation as to why sāmānyābhinaya was so called. He discusses it from different points of view (pp. 436-430). From the contexts of this chapter as well as the def. given here in 72 below, it appears that the expression means harmonious use of the four kinds of abhinaya (VI. 23), and as such it should be distinguished from the citrābhinaya (XXVI.) which applies only to the special representation of various objects and ideas. [2]: See VI. 22 note. [3]: See VI. 22 note. [4]: Cf. DR. II. 30a; BhP. p. 6. 1.20; ND. p. 203. [5]: See DR. II. 30b; ND. p. 203. [6]: See DR. II. 32-33a; ND. p. 203. [7]: See DR. II. 31; ND. p. 203. [8]: Cf. DR. II. 30b. [9]: Cf. DR. II. 33b-34b. [10]: Cf. DR. II. 33b; ND. p. 204. BhP. p.8. 1.4-10. [11]: See below 10 note 1, K. reads 9a as (?) [12]: According to ND. (p.204) the bhāva relates to a slight manifestation of erotic feelings through words and gestures, while the hāva to a very clear expression of one’s emotion through various gestures. [13]: Cf. DR. II. 34b; BhP. p.8, 1.13-14. According to ND. (pp. 204-205) these three aspects of women’s Sattva depend on one another. For example, the hāva depends on the bhāva, and the helā on the hāva. [14]: DR. II. 37b; BhP. p. 9. l. 5. ND. p. 205. [15]: Cf. DR. II. 37b; BhP. p. 9.1. 5; ND. p. 205. [16]: Cf. DR, II, 38a, BhP. p. 9,1. 6-7, p. 205. [17]: The word is Prakrit in form and comes probably from vikṣipti. Cf. DR. II. 38b; BhP. p. 9. 1. 8-9; ND. p. 205. [18]: Cf. DR. II. 39a; BhP. p, 9. l. 10-11. ND. p. 205. [19]: Cf. DR. II. 39b; BhP. p. 9, l. 12. ND. p, 206. [20]: Cf. DR. II. 40a, BhP. p. 9, l. 13-14; ND. p. 206. [21]: Cf. DR. II. 40b; BhP. p. 9, l. 15-16; ND. p. 206. [22]: Cf. DR. II. 41a; BhP. p. 9.1. 17-18; ND. p. 205-206. [23]: Cf. DR. II. 41b; BhP. p. 9, l. 19-20; ND. p. 206. [24]: Cf. DR. II. 42a; BhP. p. 9, l. 21-22; ND. p. 206. [25]: Cf. DR. II. 31. [26]: Cf, DR II. 35a; BhP. p. 8. l. 15-16; ND. p. 207. This def. seems to mean that a young woman’s loveliness is augmented after she has had her first experience of love's enjoyment, and this augmented loveliness is called śobhā. [27]: Cf. DR. II. 35b; BhP. p. 8, l. 16. [28]: Cf. DR. II. 36a; BhP. p. 8, l. 17-18; ND. p. 207. [29]: Cf. DR. II. 37a; BhP. p. 8; l. 19; ND. p. 207. [30]: Cf. DR. II. 37a; BhP. p. 8; l. 21; ND. p. 207. [31]: 6 Cf. DR. II. 36b; BhP. p. 8, l. 22; ND. p. 207. [32]: Cf. DR. II. 36b, BhP. p. 8. l. 20-22 ND. p. 207. [33]: See above 15. [34]: See above 22. [35]: See above 26. [36]: Cf. DR. II. 10. BhP. p. 9, l. 24; p. 10. l. 1; ND. p. 197. [37]: Cf. DR. II. 11a; BhP. p. 13, l. 2-3; ND. p. 197. [38]: Cf. DR. II. 11b; BhP. p. 10, l. 4; ND. p. 197. [39]: Cf. DR. II, 12a; BhP. p. 10, l. 5. [40]: DR. II. 13a; BhP. p. 13, l. 16 gives the term as dhairya, ND. p. 198. [41]: Cf. DR. II. 12b; BhP. p. 10, l. 7; ND p. 198. [42]: Cf. DR. II. 14a; BhP. p. 10, l. 8; ND. p. 198. [43]: Cf. DR. II. 14b; BhP. p. 10. l. 10; ND. p. 197. [44]: Cf. DR. II. 13b; BhP. p. 13. l. 10; ND. p. 197. [45]: It is curious that the author of the NŚ. is classifying now abhinaya in a different manner and reckons its two broad classes: sāttvika and śārīra, and gives their sub-divisions. For a four-fold division of the abhinaya see VI. 23. [46]: Cf. Kālidāsa’s pañcāṅgābhinaya, Mālavi. l. 6.2. [47]: This seems to be the same as the vācikābhinaya. [48]: This kind of representation is mainly to accompany songs and dance. [49]: This kind of representation is meant to be combined with dance. [50]: See above 1-39. [51]: This kind of representation is to accompany recitatives (pāṭhya). [52]: This is the use of gestures in connection with songs and dance before the beginning of the dramatic performance. [53]: This kind of representation is used by the dancer who interprets other’s speeches. [54]: BhP. p. 10. l. 20-23; [55]: Cf. BhP. p. 10, l. 24. [56]: Cf. ibid p. 11, l. 1. [57]: Cf. BhP. p. 11, l. 2. [58]: See ibid p. 11. l. 3. [59]: See BhP. p. 11, l. 4. [60]: See ibid p. 11, l. 5. [61]: Cf. BhP. p. 11, l. 6. [62]: See ibid p. 11, l. 7. [63]: Cf. BhP. p. 11, l. 8. [64]: Cf. ibid p. 11, l. 11. [65]: Cf. BhP. p. 11. l. 9. [66]: This shows that the ancient India’s artists did not follow the Śāstras slavishly. [67]: See also VIIIff. [68]: The expression used is indriyair manasā prāptair, ‘by means of senses coming together with the mind.’ [69]: It seems that Freud has been in a way anticipated here. [70]: Cf. BhP. p. 109, l. 9-10. [71]: See BhP, p. 109, l. 12-15. See also Caraka-saṃhitā Śārīra, IV. and Suśruta-saṃhitā. Śārīra, IV. and Kāśyapa-saṃhitā. Ch. XXVIII. [72]: Cf. BhP. (p. 109, l. 20 - 32.) here this type is called daityaśīlā. [73]: Cf. BhP. p. 108, l. 1-4, [74]: Cf. BhP. p. 110, l. 8-11. [75]: Cf. BhP. p. 110, l. 21-22, p. III, l. 1. [76]: Cf. BhP. p. 110. l. 21-22. [77]: Cf. BhP. p. 110. l. 15-18. [78]: Cf. BhP. p. 110, l. 5-7. [79]: Cf. BhP. p. 110, l. 19-22. [80]: Cf. BhP. p. 111, l. 3-4. [81]: Cf. BhP. p. 111, 1. 5-7. [82]: Cf. BhP. p. 111, l. 8-9. [83]: BhP. p. 111. l. 10-13. [84]: Cf. BhP. p, 111, l. 13-14. [85]: Cf. BhP. p. 111, l. 15-16. [86]: Cf. BhP. p. 111, l. 17-18. [87]: Cf. BhP. p. 111, l. 19-20. [88]: Cf. BhP. p. 111, l. 21-22. [89]: Cf. BhP. p. 112, l. 1-3. [90]: Cf. BhP. p. 112, l. 4-6. [91]: Cf. BhP. p. 112, l. 7-9. [92]: Cf. BhP. p. 112, l. 10-12. [93]: See BhP. p, 112, l. 14-16. [94]: As in Vikram. [95]: Cf. “saṃyuktā nāyakena tadrañjanārthamekacāriṇīvṛttam” e tc. KS. IV. z. I. [96]: These three kinds of love have been defined by later authors like Śāradātanaya; see BhP. p. 113, l. 13-14. [97]: See VIII. 73. [98]: Cf. BhP. p. 113, l. 17-19. [99]: Cf. BhP. p. 113, l. 3-9, and p, 114. l. 1-2. [100]: Cf. BhP. p. 113, l. 17, p. 114, l. 1-2. [101]: BhP. (p. 88) gives the number as ‘ten or twelve’. [102]: Cf. BhP. (p. 88, l. 3-5) gives two more stages (icchā and utkaṇṭhā). Also cf. KS. V. 1-5: NL. 2421ff. [103]: Cf. NL. 2427; BhP. p. 88, l, 15-16. [104]: Cf. NL. 2428ff; BhP. p. 88. l. 17-20. [105]: Cf. NL. 2436ff; BhP, p. 88, l, 21-27. [106]: Cf. BhP. p. 89, l. 8-5. [107]: Cf. NL. 2449; BhP. p. 89, l. 7-8. [108]: Cf. NL. 2449; BhP. p. 89, l. 9-11. C.’s reading of the portion of this chapter (XXIV.) given in pp. 281 (line 27)-289 (line 3) is merely an unacknowledged copy of K.s reading of the same. C.’s own reading occurs in pp. 348 (line 14) 355 (line 8) as a part of the chapter XXXI. [109]: Cf. NL. 2456; BhP. p. 89, l. 12-14. [110]: Cf. BhP. p. 89, l. 15-18. [111]: Cf. NL. 2462ff; BhP. p. 89, l. 19-22. [112]: See note of 180 above. [113]: Cf. NL. 2470; BhP. p. 90, l. 1-3. An example “iha tayā saha hasitam, iha tayā saha kathitam, iha tayā saha parthuṣitam, iha tayā saha kupitam, iha tayā saha śayitam” etc. (Svapna 1. 15. 2-4). [114]: Cf. BhP. 90, l. 4-8. [115]: Cf. NL. 2484ff; BhP. p. 90, l. 9-15. [116]: See above 184 note. [117]: BhP, p. 90. l. 16-18. K. NL (2476) has ātaṅka (disquietude) which precedes unmāda. [118]: Cf. BhP. p. 90, l. 19-22. [119]: Cf. NL. 2499ff; BhP. p, 91, l. 1-6. [120]: See above 188 note. [121]: Cf. NL. 2505ff. BhP. p. 91, l. 7-8. [122]: Cf. NL. 2510ff. BhP. p. 91, l. 9-10. [123]: See above 182 note. [124]: This seem to relate to treatises now lost. [125]: Cf. KS. V. 1, 16. [126]: See Hemacandra’s vṛtti on this passage quoted in KA. (p. 307) where he copies Ag. vebatim. [127]: This rule of the Conjugal Union (vāsaka) seems to have been relaxed at the time of Vātsyāyana. See KS. III. 2, 61-63. [128]: See DR. II. 23-27. [129]: Cf. NL. 2525ff; DR. II. 24; BhP. p. 99. [130]: Cf. NL. 2530ff; DR. II. 25; BhP. p. 100. [131]: Cf. NL. 2568ff; DR. II. 24; BhP. p. 99. [132]: Cf. NL. 2550; DR. II. 26; BhP. p. 99. [133]: Cf. NL. 2536ff; DR. II. 25; BhP. 98. [134]: Cf. NL. 2542ff; DR. II. 26; BhP. p. 99. [135]: Cf. NL. 2556ff; DR. II. 27; which uses the tern proṣitapriyā. BhP. p. 100. [136]: Cf. NL. 2572ff; DR. II. 27. See BhP. p. 100. [137]: Cf. DR. II. 28; cf. BhP. p. 98-100. [138]: Cf. DR. II. 28. Cf. BhP. p. 99. [139]: Cf. DR. II. 28. Cf. BhP. p. 100. [140]: Cf. NL. 2580ff; BhP. p. 101, l. 4-10; SD 117. [141]: Cf. NL. 2576ff; BhP. p. 100, l. 19-22; SD. 117. [142]: Cf. NL. 2580ff; BhP. p. 101, l. 11-15. [143]: Cf. BhP. p. 101, l. 16. [144]: Cf. BhP. p. 101, l. 16-22. [145]: That is, they might appear on the stage as very scantily draped or with one piece of garment or might have their lips painted. [146]: That is, if the right eye and eyebrow etc. throb. [147]: That is, by representing it with gestures. [148]: trans. of 277 is tentative. [149]: See XIII. 167-168. [150]: K. reads 290 with some variation. In trans. it is as follows: Then the woman will tolerate (lit. accept) the touch of the beloved and holding him up properly [from the feet] lead him to the bed. [151]: This shows the high moral tone of the Indian theatrical art. [152]: See above 292-293 note. [153]: BhP. (p. 107, l. 7-9) has eleven terms. [154]: BhP. (p. 108, l. 10-11) has eight terms. [155]: Cf, BhP. p. 107. l. 14-15. [156]: Cf. BhP. p. 107b. l. 16-17, [157]: Cf. BhP; p. 107b, l. 18-19. [158]: Cf. BhP. p. 108b, l. 4-5; the term here is jīviteśa, lord of life.’ [159]: Cf. BhP. p. 10 8b, l. 2-3. [160]: Cf. BhP. p. 108b, l. 14-15. [161]: Cf. BhP. p. 109, l. 4-5. [162]: Cf. BhP. p. 108b, l. 20. p. 109b, l. 1. [163]: Cf. BhP. p. 108b, l. 12-13. [164]: Cf. BhP. p. 108b, I. 14-15. [165]: Cf. BhP, p. 108b. I, 18-19. [166]: Cf. BhP. p. 108b. I. 20-21. [167]: That is in irony (solluṇṭhaṇa-bhāṣita). See SD. 107. 31 May, 2017 --> Last Updated: 15 October, 2017 $(function(){ if($(document).height() > $(window).height()){ $('.book.chapter').append('^ back to top ^') $('section.back > a').click(function(){ $(window).scrollTop(0); }); } }); /** * Derivation list */ /*$('a.deriv-link').click(function(){ $(this).closest('.words-group').find('.deriv-list').toggleClass('d-none'); });*/ ====================================================================== Chapter XXV - Dealings with Courtezans ====================================================================== --> Natyashastra (English) by Bharata-muni | 1951 | 240,273 words | ISBN-13: 9789385005831 Hinduism Natyashastra Buy now! The English translation of the Natyashastra, a Sanskrit work on drama, performing arts, theater, dance, music and various other topics. The word natyashastra also refers to a global category of literature encompassing this ancient Indian tradition of dramatic performance. The authorship of this work dates back to as far as at least the 1st millenn... Go directly to: Footnotes. Chapter XXV - Dealings with Courtezans (veśyā) < Previous (index) Next > The definition of an Expert Gallant 1. One excelling (viśeṣayet)[1] in all the arts (kalā)[2] is called a Vaiśeṣika (specialist) or one is also called Vaiśika because of his dealings with the courtezans (veśyopacāra)[3]. 2. A man who has learnt all the arts (kalā)[4] and is an adept in all the crafts (śilpa)[5] and can [besides] captivate the heart of women, is called a Vaiśika (Expert Gallant)[6]. Qualjties of an Expert Gallant 3. His thirty-three [characteristic] qualities are briefly of three classes: physical, extraneous (āhārya) and psychological (sahaja, lit. natural). 4-7.[7] One who is well-versed in the Śāstras, skilled in arts, crafts, well-formed, pleasant-looking, powerful, possessing self-command, desirable age, dress and pedigree, is friendly (surabhi), sweet-tempered munificent, patient, free from bragging, fearless, accustomed to use sweet words, clever, elegant, clean [in his habits], expert in the practice of love, honest, able to act suitably to time and place, speaker of no pityful words, accustomed to speak smilingly eloquent careful, sweet-tongued, greedless as a partner, full of faith, firm in resolve, not rash, making confidence to accessible (gamyā) women and has a sense of self-respect, is called an Expert Gallant. 8. [According to another authority] his six [special] qualities are: that he should be devoted [in his love affairs], clean [in his habits], self-possessed, honest, dignified, have a [suitable] age and able to talk on varied topics (citrābhidhāyī). A female Messenger 9-10. A wise woman, female story-teller, a female ascetic or a woman of the stage[8], an intelligent woman, a female neighbour, a female friend, a maid-servant, an unmarried girl, a crafts-woman[9], a foster-mother, a nun[10] or a female fortune-teller [can be employed as female] a Messenger[11]. Qualities of the Messenger 11. A wise person should never engage as a Messenger any person (lit. male or female) who is foolish, beautiful, wealthy or diseased[12]. 12. Any woman should be engaged as a Messenger when she knows the art of encouraging [the beloved], is sweet in her words, honest, able to act suitably to the occasion, charming in her behaviour and is able to keep secrets[13]. 13. She should encourage [the beloved one] by mentioning the various causes and should communicate the exact words [of the latter] and describe his condition[14]. 14. Besides female Messenger should make an exaggerated statement about his birth, wealth and [capacity for], intercourse and speak freely about the purpose [of her visit][15]. 15. The Messenger should in various ways bring about for the man an Union with a woman who is in love for the first time or a beloved woman who has been angry with him[16]. 16-17. The first meeting of men [with women] may be made during a festive night, in her house, in a park, in the house of a kinsman, a foster-mother or a female friend or in a dinner-party or on the pretext of seeing a sick person, or in an empty house[17]. 18. After meeting a woman in one of these various ways one should carefully observe from different marks whether she is attached or the opposite. A woman excessively overcome with love 19. The woman who from her natural feelings is smitten with love and does not conceal her amorous behaviour [at the sight of the beloved] is said to be “overcome with love” (madanāturā). An attached woman 20-23. When a woman speaks of her lover’s [good] qualities to her friend, gives him her own money, honours his friends, hates his enemies, seeks to unite with him, becomes much pleased to see him, looks pleased after a talk about him, sleeps after he has slept, kisses after he has kissed her, rises [in the morning] before he gets up, puts up with suffering [for his sake], remains the same in happiness and in misery, and never becomes angry, she is said to be “attached” (anuraktā). These indicate her characteristics.[18] A hostile woman 24-27. The characteristics of a hostile woman are as follows: when kissed she wipes off her mouth, speaks unpleasant words, becomes angry even when sweet words have been spoken to her, hates his friends, praises his enemies, lies down on the bed with her back turned against him, goes to bed first, is never pleased even after a great deal of honour [has been shown her], never puts up with suffering, becomes angry without any provocation, does not look at him or greet him. The woman who betrays these signs should be marked as “hostile” (viraktā).[19] Winning back of woman’s heart 28-29. [The following measures may lead to] the winning (lit. taking) back of a woman’s heart: display of wealth, showing of good-will, proposal of giving money,[20] [actually] giving money, pretending to give her up and making gestures of attachment (bhāvopakṣepa)[21] from near. Causes of hostility 30-31. A man or a woman becomes hostile to the lover due to poverty, disease, misery, harshness, want of learning, going abroad, offended self-esteem, excessive greed, transgression [of good conduct], coming back late [at day or at night] and resorting to undesirable acts.[22] Acts winning woman’s hearts 32. In connexion with love, one’s acts should be capable of winning the heart (lit. attachment) of women. By these [acts] a woman may be pacified and won over. 33-35. A covetous woman should be won over by [making her] a gift of money, a learned woman by knowledge of arts, a clever woman by sportfulness, a sensitive woman by acting according her desire, and making her accept ornaments will induce her to an intercourse; a woman who hates man is to be propitiated by stories to her liking, a girl below sixteen (bālā) by a present of play-things, a terrified woman by cheering her up, a proud woman by servile attendance and a nobel lady by the practice of arts. Three types of woman 36. Three are the natures of women, superior, middling and inferior. But the nature of courtezans are appropriate to their own class. A superior woman 37-39. The woman who remains unperturbed when she has been offended, does not use harsh words to her beloved one, has a short-lived anger, possesses skill in arts, is desired by men for her high birth, wealth, capacity for giving enjoyment and the like, is an expert in the acts of love (kāmatantra), is honest, possesses physical charm, becomes angry only when there is a [proper] cause, speaks without malice and knows the proper occasion [for all acts] is fit for sexual union is (subhagā)[23] of the superior class.[24] A middling woman 40-41. The woman who desires men and is desired by men, is skilled in the acts of love, jealous of her rivals, is overcome with malice, is not sincere and has short-lived anger, is proud, and can be pacified in a moment, is of the middling class[25]. An inferior woman 42. The woman who is angry without a suitable cause, ill-natured, very proud, fickle, harsh, and remains angry for a long time, is of the inferior class.[26] Four stages of a woman’s youth 43. The youthful exploits of women when they have tasted love’s pleasures are manifested in four stages through dresses, limbs and their movements as well as [inner] qualities[27]. Primary youth 44. The primary youth which has an enthusiasm for sexual acts, is characterised by plump thighs, cheeks, hips, lips and breasts which are firm and conducive to (lit, charming in) love’s pleasures[28]. Secondary youth 45. The secondary youth which affords the best pleasure of love is characterised by full and round limbs, plump breasts and slender waist[29]. Tertiary youth 46. The tertiary youth is provided with all kinds of beauty, exciting sexual desire and is maddening and rich in various qualities[30], and in it sexual passion adds to a woman’s graces. Quarternary youth 47-48. The quarternary youth which is the enemy of intercourse comes when the primary, the secondary and the tertiary youths have gone by[31]. It is characterized by reduced physical charm due to slightly pale cheeks, hips, lips breasts as well as an enthusiasm for sexual acts[32]. Behaviour in the primary youth 49. A woman in her first youth is to be known as one who cannot take much pains, is neither pleased nor displeased with her (female) rivals and is attached to persons of mild qualities[33]. Behaviour in the secondary youth 50. A woman in her secondary youth takes offence lightly, and her anger and malice are also not great, and in her anger she remains silent[34]. Behaviour in the tertiary youth 51. A woman in her tertiary youth is an expert in intercourse, full of malice for her rivals, has many qualities and is not secretive and shows pride in her acts[35]. Behaviour in the quarternary youth 52. A woman in her quarternary youth is capable of captivating a man, has no malice to her rivals even if she is an expert in love’s enjoyments, and she always desires to remain unseparated [from her beloved man][36]. Five types of men 53-54. These are the four stages of youth for the Heroine in a drama. I shall now describe the types (lit. qualities) of men with regard to the practice of amours. With reference to their dealings (lit. application) with women they are of five types, such as is “clever”, “superior’, “middling” “inferior” and “novice” (vṛttaka).[37] A clever man 55. A man is to be known as “clever” when he is sympathetic, able to endure hardship, skilled in pacifying anger in connexion with love, expert in sexual acts, and is honest, suppliant and not self-willed. A superior man 56-57. A man is to be known as “superior” when he does not do anything displeasing, when he comes to know of her slight aversion, or has found out her motive completely, and has a good memory and self-command, is dignified, and knows thoroughly the mysteries of [human] feelings (lit. heart). One who is sweet [in manners], munificent and feels love, but is not overcome by passion, and when insulted by a woman gets disgusted with her, is also [to be known as] a “superior” man.[38] A middling man 58. A level-headed man who tries to understand by all means a woman’s feelings of and is disgusted with her on discovering any of her deceit, is to be known as “midding”. 59. A man who makes a gift in proper time, does not have much anger even when he is insulted, but on discovering her slight act of deceit, gets disgusted with a woman, is to be known as “midling”[39]. An inferior man 60-61. A man who shamelessly approaches a woman with a steadfast love even when she has insulted him, has passed to another and has withdrawn her love due to her attachment for another, and loves her openly and more strongly in spite of a friend’s advice to the contrary even when he has come to know directly of her deceit, is to be known as “inferior”. A novice 62-63. A man who does not care for fear or anger, is foolish, has naturally excessive feeling, is obdurate, artless in acts of love, not rough in love-quarrels [and] in strikings connected therewith, and a plaything of women, is to be known as “novice”. Psychological approach to women 64. Women ate of different nature and their hearts are mysterious. Hence a wise man should make to them approaches as befit their respective spirits. 65. A man should deal with a woman according to the Science of Erotics after he has measured through different means her love or its absence. 66. Such means are: Conciliation (sāma)[40], Gift (pradāna = dāna), Discord (bheda), Chastisement (daṇḍa) and Indifference (upekṣā) to women. Conciliation 67. That which is effected through a projection of one’s own self by saying “I am yours”, “You are mine”, “I am dear to you”, “you are dear to me” is called Conciliation. 68. Giving wealth according to the measure of one’s property in season and out of season, and concealing the same under some pretext is called Gift[41]. Discord 69. Showing the faults of her dear one by some means, is Discord. Chastisement 70. An indifferent woman is to be re-united by Conciliation, a covetous one by giving her wealth, and a woman attached to another person should be won over by Discord. 71.[42] When from a changed attitude a woman deteriorates into a wicked one, she should be chastised with slight beating,[43] and restraint of her movement. Indifference 72. If after an exhaustive adoption in due order, of means such as Conciliation and the like, a woman does not come under control then a clever man should be indifferent to her. Reading a women’s heart from her behaviour 73. It is from the expression of her face or from her eyes or from the movement of her limbs that one is to know whether a woman hates a man or loves him or is indifferent to him. A courtezan’s mercenary treatment of men 74. Courtezans except when they belongs to gods or the king are always available for money to a man whether he is dear to them or not, 75-76. [To them] a man [giving money] becomes dear even if they hated him before, becomes dearer than ever if she already was dear to them, is admitted as well-behaved even if he is wicked, and as possessed of good many qualities even if he has none. On seeing him their eyeballs dance [in joy] and they smile as it were with eyes, and due to simulation of [proper] feeling their faces assume an agreeable colour. 77. Passion arises in them after they have been treated with proper means or have been separated [for some time], just as fire comes out of wood. 78. This is the traditional method of dealing with women so far as courtezans are concerned. This should be utilized in suitable manner in the Nāṭaka or the Prakaraṇa. 79. This is the method of dealing with courtezans to be followed by the experts. Now listen about the Varied Representation, Here ends the Chapter XXV of Bharata’s Nāṭyaśāstra, which treats Dealings with Courtezans. Footnotes and references: [back to top] [1]: See BhP. p. 106, 1-10. [2]: These are generally considered to be sixty-four in number. See Vātsyāyana. KS. I. 3. 34. But the Jains have their number as seventy-two (See Amulya Chandra Sen, “Social Life in Jain Literature,” Calcutta, 1933. pp. 12-15). [3]: This etymology is sensible. For veśa (residence of courtezans) is connected with veśyā (woman who is available for all the members of the tribe or the settlement). [4]: This etymology is sensible. For veśa (residence of courtezans) is connected with veśyā (woman who is available for all the members of the tribe or the settlement). [5]: The word kalā is usually synonymous with śilpa. For the most of the sixty-four items included by Vātsyāyana (l.c.) are nothing but crafts. But when the two words are used together in a sentence, śilpa may be taken in the sense of ‘craft’ only. [6]: Another name for vaiśika (Expert Gallant) seems to be viṭa. See KS. 1.4. 16; SD. 80 and also XXXV. 74. [7]: See BhP. p, 106, 1.2-9. [8]: Ag. explains raṅgopajīv?tnī as rajakastrī. [9]: Cf. DR. II. 29; SD. 157 separate the words kāru and śilpin. [10]: A nun of the heretical sects like the Buddhists. See note 4 below. [11]: Cf. KS. V. 4. 23. [12]: Cf. BhP. p.94 (1.9-10). [13]: Cf. KS. I. 5. 28; SD. 158. [14]: Cf. KS. I. 5 28, BhP. p. 94, l. 4-13. [15]: Cf. KS. I. 5. 28, BhP. p. 94, l. 11-13. [16]: Cf. BhP. p. 94, l. 14-15. [17]: See Ag. [18]: See BhP. p. 115, l. 2-8. [19]: BhP. p. 116, l. 4-5, 13, 6, also 7-12, 14-19. [20]: See Ag. [21]: See Ag. [22]: Cf. BhP. p. 117, l. 8-11. [23]: A woman who has proper age and health. [24]: Cf. BhP. p. 102, l. 1-5. [25]: Cf. BhP. p. 102, l. 6-9. [26]: Cf. BhP. p. 102, l. 10-13. [27]: Cf. BhP. p. 103, l. 10. [28]: Cf. BhP. p. 103, l. 11-16. [29]: Cf. BhP. p. 104, l. 2-11. [30]: Cf. BhP. p. 104, l. 13-14. [31]: Through over-indulgence in sexual acts is it may come even after the first or the second stage. [32]: Cf. BhP. 105, l. 1-6. [33]: Cf. BhP. p. 104, l. 2-6. [34]: Cf. BhP. p. 104, l. 13-18. [35]: Cf. BhP. p. 105, l. 1-4. [36]: Cf. BhP. p. 105, l. 8-10. [37]: Cf. BhP. 91, l. 20ff. [38]: Cf. DR. II. 3-6a, BhP. p. 92. l, 2-3. [39]: K, reads this as follows: “sarvārtha madhyastho bhāvagrahaṇaṃ karoti nāriṇām | kiñciddoṣaṃ dṛṣṭā virajyate madhyamo'yamiti ||” [40]: Cf. BhP. p. 214. l. 7. These terms have been from the Arthaśāstra. [41]: That is. in joy’s and sorrows (Ag.). [42]: Ag. explains this as deśāntara [ pa ] lāyāyanaṃ puruṣāntara-gamanam. [43]: The husband’s conjugal right of punishment such as blows with a chord or a rod is often referred to in the Smṛti lit. (Manu. 8, 299f; Saṅkha, 4. 16 etc.) See also Kauṭilya III. 3. and Jolly. Hindu Law and Customs. p. 145. 03 June, 2017 --> Last Updated: 16 February, 2018 $(function(){ if($(document).height() > $(window).height()){ $('.book.chapter').append('^ back to top ^') $('section.back > a').click(function(){ $(window).scrollTop(0); }); } }); /** * Derivation list */ /*$('a.deriv-link').click(function(){ $(this).closest('.words-group').find('.deriv-list').toggleClass('d-none'); });*/ ====================================================================== Chapter XXVI - Varied Representation ====================================================================== --> Natyashastra (English) by Bharata-muni | 1951 | 240,273 words | ISBN-13: 9789385005831 Hinduism Natyashastra Buy now! The English translation of the Natyashastra, a Sanskrit work on drama, performing arts, theater, dance, music and various other topics. The word natyashastra also refers to a global category of literature encompassing this ancient Indian tradition of dramatic performance. The authorship of this work dates back to as far as at least the 1st millenn... Go directly to: Footnotes. Chapter XXVI - Varied Representation (citrābhinaya) < Previous (index) Next > 1. The speciality in the representation through Gestures and the like, which occurs from time to time, but has not been mentioned [before] when stated in diverse ways, is known as the Varied Representation (citrābhinaya).[1] Day, night and seasons etc. 2-4. To indicate morning and evening, day and night seasons, clouds, forest-region, wide expanse of water, directions, planets, stars and anything that is somewhat fixed, one is to make the following gestures: two hands raised with Patākā[2] and Svastika[3] gestures, Udvāhita head[4] looking upwards with various eyes [fitting each occasion]. Objects on the ground 5. With the same[5] gestures of the hands and of the head together with the eyes looking downwards, one is to indicate [objects] resting on the ground. Moonlight, happiness and air etc. 6. To indicate moonlight, happiness, air, flavour (rasa) and smell, one is to use gestures for representing touch and horripilation. The sun, dust and smoke etc. 7. To indicate the sun, dust, smoke and fire one is to cover one’s face with clothes. And heat of the ground and heat of the sun are to be indicated by a desire for a shady place. The mid-day sun 8. The mid-day sun is to be indicated by looking upward with half-shut eyes, and the rising or the setting sun by a representation of the idea of depth. Pleasant objects 9. To indicate anything pleasant and happy, one is to use gestures for representing the touch of one’s body together with horripilation. Sharp objects 10. And to indicate things of sharp nature one is to use gestures for representing touch of one’s limbs and uneasiness and to narrow down one’s mouth. Deep and exalted feeling 11. To indicate these in connexion with deep and exalted feelings one is to have the Sauṣṭhava[6] of the limbs and a display of pride and conceit. Necklace and flowers etc. 12. To indicate a necklace and a flower garland one is to hold the two Arāla hands[7] in the place where the sacred thread is held and then to separate them from the Svastika[8] position. The idea of entirety 13. To indicate the sense of “entirety” one is to move on the index finger, look round and press the Alapallava hand.[9] Audible or visible objects 14. To indicate anything audible or visible whether it relates to the speaker or to the person spoken to, or to anyone else, one should point to the ears and eyes respectively. Lightning and shooting stars etc. 15. Lightning, shooting stars, peals of thunder, sparks [of fire] and flame should be indicated by relaxed limbs and fixed look. Repugnant objects 16. To indicate anything repugnant to oneself, or to avoid its contact one is to practice Udveṣṭita[10] and Parāvṛtta (Parivartita)[11] Karaṇas of hands and to bend the head and to look obliquely. Hot wind and heat etc. 17. To indicate hot wind, heat from the sky, warding off of dust, rains, insects and bees one should cover one’s face, Lions and bears etc. 18. Lions, bears, monkeys, tigers and other beasts of prey should be indicated by holding Padmakośa[12] hands downwards in the form of a Svastika. Worshipping superiors 19. To indicate worshipping the feet of the superiors (guru) one should hold Tripatāka[13] and Svastika[14] hands, and taking up of the goad or the whip should be indicated by Svastika and Kaṭakā [mukha][15] hands. Numerals 20-21. Numerals from one to ten should be indicated by fingers [of corresponding number]. Multiples of tens, hundreds and thousands are to be indicated by the two Patākā hands. 22. Any number above ten should be indicated by speech [only] and by indirect representation.[16] Umbrellas and banners etc. 23. Umbrellas, banners and banner-staffs should be indicated by representation of the holding of any staff, and different weapons by the manner of holding them. Memory and meditation etc. 24. Memory and meditation should be represented by indicating attention, downcast eyes, slightly bent head and the left hand with the Sandaṃśa[17] gesture. Height 25. Offsprings and height should be indicated by making the head Udvāhita[18] and holding the Haṃsapakṣa[19] hands, on the right side. Past and cessation etc. 26. The idea of past, cessation, destruction or words listened, is to be indicated by carrying from the left the Arāla[20] hand on the head. Autumn 27. Autumn should be indicated by representing a composure of all the senses, brightness of all the directions and a beautiful landscape. Early winter 28. Early winter (hemanta) should be indicated by the superior and the middling characters through narrowing down their limbs and seeking the sun, fire and [warm] clothing. 29. The same should be indicated by the inferior characters through groaning (kūjana), clicking (śītkāra), and trembling of the head and of the lips and the clattering of teeth.24 25 26 30. The superior characters also may sometimes indicate the winter in this manner, if due to fate they are in a miserable condition. Winter 31. One is to indicate the winter by the representation of smelling the flowers, [of the season], drinking wine[21] and of feeling an unpleasant wind.[21] Spring 32. The spring (vasanta) is to be indicated by the representation of acts of rejoicing, enjoyments and festivities and a display of various flowers [of the season]. Summer 33. The summer is to be indicated through the representation of the heat of the earth, fans, wiping off sweat and feeling the hot wind. Rains 34. The rainy season (prāvṛṣ) is to be indicated through the representation of the Kadamba, the Nimba and the Kuṭaja flowers, green grass, Indragopa insects and groups of peacocks. Rainy night 35. A night in the rainy season should be indicated by the loud sound of the masses of clouds, falling showers of rain, as well as lightning and peals of thunder. Seasons in general 36. Each season should be Indicated by the sign, costume, activity or scenery which is proper to it or whatever is [specially] desired or avoided (lit. undesired) in it. 37. These seasons according to the necessity should be indicated with proper Sentiments as being full of happiness for those who are happy, and full of distress for those who are afflicted. Psychological States 38. Psychological States[22] should be indicated by the representation of the Determinants (vibhāva)[23] and similarly the Psychological States are also indicated (lit, accomplished) by the representation of Consequents (anubhāva)[24]. Determinants 39. Acts connected with the Determinants should be represented by means of the Consequents; and the Psychological States relate to the representation of one’s own self, and the Determinants relate to an exhibition of another person [in relation to the self][25]. 40. A preceptor, a friend, an affectionate companion (sakhā), a relation from the mother’s or the father’s side, who may come and be [respectfully] announced[26] [properly], is called a Determinant[26]. Consequents 41. The honour shown to him[27] by rising from the seat, by offering him presents and a seat, and by using respectful words, are called the Consequents. 42. Similarly in other cases also, from an observation of different incidents [in a play] one should find out the Determinants and the Consequents from actions [related to them]. 43. Reply to a message given to the Messenger is [also] called a Consequent marked by such a reply. 44. In these ways the Determinants and the Consequents are to be represented by men as well as women. General directions for the representation 45. In the representation of their own nature, men should assume the Vaiṣṇava posture[28] and women the Āyata[29] or the Avahittha[30] postures in relation to [appropriate] actions. 46. [But] there occurring special need for the same, other postures may [also] be introduced for the representation of different Psychological States in special types of play. Men’s and women’s efforts 47. Efforts of men should be characterized by patience as well as by sportful limbs, and those of women by delicate Aṅgahāras.[31] Women’s movements of limbs 48. Women’s movement of hands, feet and other limbs should be graceful (lalita) while men’s movement of these should be restrained (dhīra) as well as vehement (uddhata). Meaning of words 49. Representation of the meaning of words are to be made differently by men and women. I shall explain them in due to order through the Psychological States and the Consequents proper to them. Joy 50. One should indicate one’s joy (harṣa) by embracing the [other’s] body, by smiling eyes as well as by horripilation. 51. An actress (nartakī) should indicate joy by sudden horripilation, tearful eyes, smiling words and a loving attitude. Anger 52. One should indicate anger by upturned red eyes, biting of lips, [deep] breathing and trembling of limbs. Jealous Anger of women 53-54. Jealous Anger (īrṣyākrodha) of women should be indicated by tearful eyes, tremor of the chin and of the lips, shaking of the head, knitting of the eye-brows, keeping silent, curling of the fingers, giving up garlands and ornaments and assuming the Āyata posture (sthāna). Men’s sorrow 55. Men’s sorrow should be indicated by much breathing and sighing, thinking with a downcast face and speaking to the sky. Women’s sorrow 56. Women’s sorrow should be indicated by weeping, sighing, striking the breast, falling on the ground and striking [the body against] the ground. 57. Crying which has been mentioned before as arising from tears of joy and from jealousy, should be applied in case of women and of inferior male characters. Men’s fear 58. Men’s fear should be indicated by acts of consternation (saṃbhrama), and of dismay (udvega), fall of weapons [from their hands], as well as patience, excitement and force. Women’s fear 59-60. Women’s fear should be indicated by eyes with moving eyeballs throbbing and shaking limbs, glancing sideways for fear (lit. terrified heart), looking for someone to rescue them, weeping loudly and putting their arms round [the dear one staying close by]. Women’s intoxicated condition 61. Intoxicated conditions (lit. intoxication) which have been mentioned before should be applied to women, and men of the inferior type. 61-62. Women’s intoxication should be indicated by delicately faltering movements trying to grasp something (lit. the sky), rolling of eyes, of uttering indistinct (vilagna) words and shaking of limbs. 63. These are the rules to be followed in a theatrical production for the representation of men’s or women’s Psychological States when occasion for these will arise. 64. In a theatrical production the Psychological States of women are all to be made graceful (latita) and that of men endowed with self-control and equanimity. Parrots and Śārikās 65. Parrots, Śārikās and small birds like these, are to be indicated by two moving fingers in the Tripatāka hand. Big birds 66. But birds like peacocks, cranes and swans which are naturally big are to be indicated by proper Recakas and Aṅgahāras. Asses and camels etc. 67. Asses, camels, elephants, lions, tigers, cows, buffaloes and the like should be indicated by Gaits and gestures [suitable to them]. Bhūtas and Piśācas etc 68-60. Bhūtas, Piśācas, Yakṣas, Dānavas and Rākṣasas when they are not visible, should be indicated by the Aṅgahāras. But when they are visible they should be indicated by [the representation of] fear, dismay and astonishment. 70. When they remain invisible, gods are to be indicated according to the necessity by making obeisance to them and by movements suitable to the Psychological States. Greeting an invisible person 70-71. Greeting a man when he is invisible is to be indicated by touching the head with the Arāla hand[32] raised from the side. Greeting gods and superiors etc. 71-72.[33] Greeting gods, superiors (guru), and ladies is to be indicated by the Kaṭakāvardhamāna or the Kapota hand[34] [touching the head similarly]. 72-73. Gods and honourable persons when they appear in person should be indicated by representing the deep influence [they have over the surroundings]. A great crowd and friends etc. 73-74.[35] A great crowd, friends, Viṭas and crooks are to be indicated by means of the Parimaṇḍala (Uromaṇḍala) hand. Mountains and tall trees etc. 74-75. Mountains in connexion with their height, and tali trees are to be indicated by lifting upwards the outstretched hands. Wide expanse of water 75-76. A wide expanse of sea-water is to be indicated by two Patākā hands thrown out [side-ways], and heroism, haughtiness, pride, magnanimity and growth upwards also should be indicated by placing the Arāla hand on the forehead. 77-78. The two Mṛgaśīrṣa hands[36] turned away from the breasts and held out quickly at a distance, will indicate anything made uncovered (apāvṛta). A house and darkness etc. 78-75. Darkness in a house, a hole or cave is to be indicated by holding slightly stretched hands which have their palms upturned and which point downwards. Love-sick, cursed and possessed persons 79-80. Persons who are love-sick or under a curse or are possessed of some evil spirit or enfeebled in mind by fever, should be represented by [suitable] movements of their face and other limbs. A swing 80-82. A swing should be indicated by the representation of its movement, agitation of the limbs and the holding of the strings. It is by acting like this (lit. then) that the moving swing will be perceptible [to the spectators], and persons occupying their seats [just after representing a swing] will be taken as moving in a swing. 82-83. I shall now speak of [the indication of] “Speaking to the Sky” (ākāśavacana), “Speaking Aside” (ātmagata), “Concealed Speaking” (apavāritaka) and “Private Personal address” (janāntika). Speaking to the Sky 83-85. Addressing someone staying at a distance or not appearing in person or indirectly addressing someone who is not close by, is called Speaking to the Sky.[37] This mode of speaking will present [the substance of] a dialogue by means of replies related to various [imaginary] questions (lit. causes) which may arise out of the play. Speaking Aside 85-87. When overwhelmed with excessive joy, intoxication, madness, fit of passion, repugnance, fear, astonishment, anger and sorrow, one speaks out words which are in one’s mind (lit. heart), it is called Speaking Aside. This including arguments, is often to be used in plays like the Nāṭaka. Concealed Speaking And Concealed Speaking (apavāritaka) is related to secrecy. Private Personal Address 88-89. When out of necessity persons standing close by are [supposed] not to hear what is spoken to someone else, this constitutes Private Personal Address (janāntika)[38]. Thinking within oneself It relates to something within one’s self (lit. heart) which is a matter of deliberation2 and feeling5 and [which is indeed a kind of Speaking Aside. Speaking in one’s ears Words in a play, which are connected with secrecy should be spoken in one’s ears preceded by “so, so.” 90. When one is to speak from necessity of something which has occurred earlier, for avoiding repetition, this should be [similarly] spoken in one’s ears. 91. Without making any confusion (lit. mistake) [among these] one should resort to Speaking to the Sky, Private Personal Address and Speaking Aside which will [relate sometimes] to a visible or an invisible person and [sometimes] to one’s ownself or to others.[39] Concealed Speaking and Private Personal Address 92. Concealed Speaking and Private Personal Address should be indicated by a Tripatāka hand covering [the speaker][40]. Repetition of words 93. Words which are uttered due to commotion calamity, anger and intense sorrow, are to be repeated. 94. [In such cases] utter words such as “ah me”, “alas, alas”, “what, what”, “don’t speak any more”; and these should be repeated twice or thrice[41]. Suspension of representation 95. Distorted or incomplete words used [in a play] should not be represented by gestures for explaining them (lit. for the sake of definition). Observing proper Psychological States 96. The Psychological State which is proper to a superior [character] should not be applied to a middling one; and similarly the Psychological State which is proper to a middling [character] should not be applied to an inferior one.1 97. By means of different Psychological States and Sentiments which arise from movements proper to the superior, the middling and the inferior characters, a play will attain attractiveness. No movement in the state of dreaming 98. In the dreaming condition (svapnāyita) the Psychological States should not be represented by any movement of hands. This should be explained by the representation of the Sattva and through speech only. Speech in sleep 99. Speaking in the somnolent condition should proceed with a slow voice; words in it should be [sometimes] distinct and [sometimes] indistinct, and sometimes their senses should be repeated twice, and this speaking should [also] depend on the recollection of the past [events]. Speech of the old people and Children’s words 100. Speaking of the old people should be done with a faltering voice and with dropping of the syllables [now and then]; and that of children should be made with lisping (kalasvara) which will leave syllables unfinished. Dying Speech 101. Indistinct speaking at the time of dying should be made with syllables produced by relaxed and heavy speech-organs (karaṇa); it should be a faltering voice resembling the sound of [small] bells, and it should be accompanied by hiccup, [hard] breathing and [the action of] phlegm. 102. Advent of a swoon should be followed by hiccup and [hard] breathing. The speech there should be as in death. To indicate it, the speaking should contain repetition. Representation of death 103. Representation of death which may arise from different conditions will be of different nature. [For example], sometimes it is indicated by throwing out all the hands and feet, and sometimes by a paralysis of movement of all the limbs. Death from disease 104. Death from an attack of disease should be represented by an occurrence of hiccup, [hard] breathing and imperceptible movement of limbs which should be relaxed. Death from drinking poison 105. Death from drinking poison should be represented by throwing out of hands and feet and other limbs, and the power of the poison will lead to the quivering action of the [different] parts of the body. Eight stages in death from poison 106-107. The first stage of the action of poison is the thinness of the body, the second tremor, the third a burning sensation, the fourth hiccup, the fifth froth [in the mouth], the sixth breaking of the neck, the seventh paralysis and the eighth death. Thinness 107-108. Eyes with sunken eyeballs, depressed cheeks, lips, and thinness of the belly and of the shoulder and of arms will represent thinness1. Tremor 108-109. Tremor should be represented by shaking simultaneously according to the situation the head, the hands and the feet or some of these limbs separately. Burning sensation 110. Burning sensation should be represented by shaking of the entire body, feeling pain, scratching the [different] limbs and throwing out the hands and other limbs. Hiccup 111. Hiccup should be represented by repeated blinking of eyes, belching, vomiting, convulsion (ākṣepa), and uttering of indistinct words. Froth in the mouth 112. Froth [in the mouth] should be represented by lack of consciousness and of movement of eyes. Breaking of the neck Breaking of the neck (śirobhañja = grivābhaṅga) should be represented by the shoulder touching the cheek and the lowering of the head. Paralysis 113. Paralysis (jaḍatā) should be represented by inaction of all the sense-organs. Together with belching, vomiting, licking the corners of the mouth, and turning back of the head. Death 114. Death whether it is due to a growth of disease or to snake-bite should be represented, according to the dramatic convention (nāṭyadharma) by a closure of the eyes. 115. These particular representations should be combined with suitable Psychological States and with sufficient Sattva, and [representation of] other popular aspects of these should be learnt from the people. General directions 116. Just as the garland-maker makes garlands from various kinds of flowers, the drama should be produced similarly by gestures of different limbs, and by Sentiments and Psychological States. 117. Movements and Gaits that have been prescribed by the rules for a character which has entered the stage, should be maintained by the actor without rigidity till he makes an exit. 118. Now I have finished speaking about the representation to be made through Words and Gestures. Things omitted here by me should be gathered from [the usage of] the people. The trifle basis of drama 119. The people, the Vedas and the spiritual faculty (adhyātma) are known as the three authorities. The drama is mostly based on objects related to the last two (the Veda and the adhyātma). 120-121. The drama which has its origin in the Vedas, and the spiritual faculty (adhyātma) and includes [proper] words and metre, succeeds when it is approved of by the people. Hence the people are considered to be the [ultimate] authority on drama. 121-122. A mimicry of the exploits of gods, sages, kings as well as of householders in this world, is called drama.[42] 122-123. When human character with all its different Psychological States is represented with [suitable] Gestures, it is called drama. People supplying norm to drama 123-124. Thus the events (vārtā) relating to the people in all their different conditions, may be (lit. should be) included in a play, by those well-versed in the Canons of Drama (nāṭya-veda). 124-125. Whatever Śāstras, laws, arts and activities are connected with the human practice, may be produced (lit. called) as drama. 125-126. Rules regarding the feelings and activities of the world, movable as well as immovable, cannot be formulated (lit. ascertained) exhaustively by the Śāstra. 126. The people have different dispositions, and on their dispositions drama rests. Hence playwrights and producers (prayoktṛ) should take the people as their [ultimate] authority [as regards the rules of the art]. 127. Thus they (prayoktṛ) should pay attention to the feelings, gestures and the Sattvas in representing the Psychological States through various characters [that may appear in the drama]. 128. The men who know in this order the art of Histrionic Representation and applies it on the stage, receive in this world the highest honour for putting into practice the theory of drama (nāṭyatattva) as well as [the art of] acting (abhinaya). 129. These are to be known as the modes of representation dependent on Words, Costumes, Make-up and Gestures. An expert in dramatic production should adopt these for Success [in his undertaking]. Here ends Chapter XXVI of Bharata’s Nātyaśāstra which treats of the Varied Representation. Footnotes and references: [back to top] [1]: Their collective use as under 5-20 below. Ag. makes a scholastic discussion on the justification of the term citrābhinaya. But this does not appear to be convincing. [2]: See IX. 17-26 [3]: See IX. 134 [4]: See VIII. 27 [5]: As described above. [6]: See IX. 88-91. [7]: See IX. 46-52. [8]: See IX. 134. [9]: See IX. 90. [10]: See IX. 208. [11]: See IX. 210. [12]: See IX. 80. [13]: See IX 26-32. [14]: See IX. 134. [15]: See IX. 61-64. [16]: This is not clear. [17]: See IX. 109. [18]: See VIII. 27. [19]: See IX. 105. [20]: See IX. 46-52. [21]: See ṚS. V. 5 and 10. [22]: K. reads before this the following text which in trans, is as follows: He who is imbued with a state pleasant or otherwise, looks under its influence everything as permeated with it. For the def. of bhāva see VII. 1-3. [23]: See VII. 3-4. [24]: See VII. 4-5. [25]: See Ag. on their point. [26]: This is only an example of one of the many vibhāvas which may lead to the many Psychological States. [27]: One of the persons mentioned in 40 above. [28]: See XI. 51-52. [29]: See XIII. 157-170. [30]: ibid. [31]: See IV. 170ff. [32]: See IX. 46-52. [33]: See IX. 136. [34]: See IX. 129. [35]: See IX. 129. [36]: See IX. 86. [37]: See Ag. [38]: 88-891 It is because both the janāntika and the apavāritaka are supposed to be inaudible to others on the stage. Ag. quotes a view on their distinction as follows: “anye tvāhu ubhayamapyetajjanāntikameva yāvato hi janasya tad vaktavyaṃ tāvato'nitake sāmīpye taducyate yattu tasmāt param uddiśya nocyate atha ca paraḥ śṛṇotvayamevāśayo vacane tadapavāritakena nigūḍheṇa bhāvenāśayena saṃyuktam” And a late writer says: “iha yadvṛttamekasyaiva gopyaṃ bahūnāmagopyaṃ tajjanāntikam tadviparītam apavāritam”. ND. p. 31. But all this does not seem to fit in well with the examples of the apavāritaka available in extant dramas. Cf. Lévi, p. 61. [39]: The trans. is tentative. [40]: Cf. DR. I. 65b; BhP. p. 219, l. 21-22; SD. 425. Lévi, p. 61. [41]: Correct the beginning of 94 text as “brūhyaho” [42]: See I.120. 03 June, 2017 --> Last Updated: 16 February, 2018 $(function(){ if($(document).height() > $(window).height()){ $('.book.chapter').append('^ back to top ^') $('section.back > a').click(function(){ $(window).scrollTop(0); }); } }); /** * Derivation list */ /*$('a.deriv-link').click(function(){ $(this).closest('.words-group').find('.deriv-list').toggleClass('d-none'); });*/ ====================================================================== Chapter XXVII - Success in Dramatic Production ====================================================================== --> Natyashastra (English) by Bharata-muni | 1951 | 240,273 words | ISBN-13: 9789385005831 Hinduism Natyashastra Buy now! The English translation of the Natyashastra, a Sanskrit work on drama, performing arts, theater, dance, music and various other topics. The word natyashastra also refers to a global category of literature encompassing this ancient Indian tradition of dramatic performance. The authorship of this work dates back to as far as at least the 1st millenn... Go directly to: Footnotes. Chapter XXVII - Success in Dramatic Production (siddhi) < Previous (index) Next > 1. I shall now describe the features of the two kinds of Success (siddhi) relating to drama. For the production of a drama is wholly meant for (lit. based on) attaining Success in it.[1] Two kinds of Success 2. Success [in the dramatic production] which arises from Words, Sattva and Gestures[2] is of two kinds: divine (daivikī), and human (mānuṣī), and relates to various Psychological States and Sentiments. Human Success 3. [Of these two] the human [Success] has ten features, and the divine [Success] two; and they (i.e. such features) consist [mostly] of various Sattvas expressed vocally (vāṅmayī) and physically (śārīrī). Vocal Success 4. Slight Smile (smita),[3] Smile (ardhahāsa)[4] and Excessive Laughter (atihāsa),[5] ‘excellent’ (sādhu), ‘how wonderful’ (aho), ‘how pathetic’ (kaṣṭam), and tumultuous applause (pravṛddhanāda, lit. swelling uproar) are the signs of the Success expressed vocally (vāṅmayī). Physical Success 5. Joy expressed in horripilation, the rising up from the seat and the giving away[6] of clothes (celadāna) and throwing of rings (aṅguli-kṣepa) are signs of the Success expressed physically (śārīrī).[7] 6. When actors produce the Comic Sentiment slightly dependent on words of double entendre, the spectators should always receive the same with a slight Smile[8] 7. When they (i.e. the actors) have a laughter not very clear, or words which do not directly cause laughter, the spectators are always to receive the same with a Smile (ardhahāsya). 8. Laughter created by the bragging of the Jester or by some artifice (śilpa)[9] should always be received by the spectators with an Excessive Laughter (atihāsya) Vocal Success (again) 9. [Representation of deeds] which relate to the practice of virtue and is endowed with excellence, should be greeted by the spectators with the word “excellent” (sādhu). 10. Similarly, “how wonderful” is naturally uttered by the spectators in connexion with Psychological States like astonishment (vismaya) and to express great joy and the like. 11-12.[10] But in the Pathetic Sentiment they should utter with tears “how pathetic.” And in cases of astonishment there should always be a tumultuous applause (pravṛddhanāda, lit. swelling uproar). Through interrupting exclamation and by horripilation, [the assembly] of spectators are to demonstrate profusely their internal commotion due to a sense of wonder. 13-14. If the play has [a plot containing] burning hostility, cutting and piercing [of limbs], fight, portentous calamity, terrific happening or minor personal combat, it should be received by the expert spectators with tears and rising up [from the seat], and with shaking of the shoulder and head. 15. This is the manner in which the human Success[11] should be expressed. Now listen about the divine Success which I am going to describe. Divine Success 16. The Success [in dramatic production] which includes an excessive [display] of the Sattva[12] and expresses the Psychological States [clearly] is to be taken by the spectators as divine (daivī). 17. When there is no noise, no disturbance, no unusual occurrence [during the production of a play] and the auditorium is full [of spectators], the Success called divine[13]. Three kinds of Blemish 18. These are the varieties of the Success to be known by the spectators as human and divine. I shall speak hereafter of the Blemishes (ghāta) coming from gods (deva). 19. Blemishes [in the production of a play] are of three kinds; [that coming] from gods[14], from the actors themselves (ātman)[15], and from an enemy (para)[16]. Sometimes a fourth variety of it is what comes up due a portentous calamity. Blemishes from gods 20. Blemishes from gods are: [strong] wind, fire, rains, fear from an elephant or a serpent, stroke of lightning, appearance of ants, insects, a beast of prey killing[17] of animals. Blemishes from an enemy 21. Blemishes created by an enemy[18] are: all round screaming, buzzing (viṣphoṭita), noisy clapping, throwing of cow-dung, clods of earth, grass and stones [in the place of performance].[19] 22. Blemishes created by an enemy[20] are considered by the wise to be due to jealousy, hostility [to the party injured], or being partial [to the party’s enemy], or receiving bribe from the latter (arthabheda)[21]. Blemishes due to portents 23. Blemishes resulting from portents (autpātika) are those due to earthquake, storm, the falling of meteors and the like[22]. Self-made Blemishes I shall now describe Blemishes arising from the actors themselves (ātma-samuttha). 24-25. Unnaturalness [in the acting], wrong movement [of the actors], unsuitability of a role [to an actor] (vibhūmikatva)[23], loss of memory [of the actors], speaking other words[24] (anyavacana i.e. those not in the play), [actor’s] cry of distress[25], want of proper hand movements (vihastatva), falling off of the crown and other ornaments, detects in playing the drums, shyness in of speech, laughing too much and crying too much, are to be taken as obstruction to Success[26]. Serious Blemishes 26-27. Attack of insects and ants wholly spoils the Success, while the falling off of the crown and other ornaments giving rise to a tumultous noise [spoils the production]. 27-28. Killing of animals[27] creates hindrance to the production, and the falling off of a crown spoils the excellence. But if taken down voluntarily this will spoil one quarter of the production. But shy speech [of the actors] and the wrong playing of the drums will, [however], wholly spoil Success. 29. The two [kinds of] Blemishes which cannot be remedied in the production of a play are faults due to a natutal calamity, and the running out of water from the Nāḍikā[28]. Palpable sources of Blemishes 30-31. Blemishes in a play are: repetition, defective use of compound words, wrong use of case-endings, want of proper euphonic combination, use of incoherent words, faulty use of three genders, confusion between direct and indirect happenings, lapse in metre, interchange of long and short vowels, and observing wrong caesura[29]. 32. Absence of various notes, of sweetness of notes, and of wealth of notes, and ignorance of voice-registers and of tempo, will disturb musical rules [in the production of a play.][30] 33. Non-observance of Sama, Mārga and Mārjanā, giving hard strokes, and ignorance about the [right way of] beginning and the stopping, will spoil the music of drums[31]. 34-37. Omission due to loss of memory, and defective enunciation of speeches, putting on ornaments in wrong places, falling off of the crown, not putting on some ornament, an ignorance about mounting or dismounting chariots, elephants, horses, asses, camels, palanquins, aerial cars (vimāna) and vehicles [in general], or confusion about these, wrongly holding or using weapons and armours, entering the stage without the crown, or decoration or entering too late, are the Blemishes which should be marked in proper places by the clever experts, but they should leave out of consideration the sacrificial post, taking up of the fire-wood, Kuśa grass, ladle and other vessels [related to a sacrifice]. Three grades of Blemishes 38. An expert in dramatic production should record Blemishes as “mixed” (miśra), “total” (sarvagata) and “partial” (ekadeśaja), but should not record [merely] Success or Blemishes [without any detailed information about these]. 39. Total Success or an all-round Blemish expresses itself in many ways. But a matter affecting merely one aspect [of the production] should not be reckoned for lowering the order [of excellence]. 40. After the putting down of the Jarjara [by the Director] in a dramatic production, the Assessors (prāśnika) should always achieve in due manner the accuracy of timing and of recording [of Blemishes as well as goods points]. Wrong Benediction 41. When during a god’s festival, anyone foolishly recites a Benedictory Śloka in honour of a wrong god, it is to be recorded as his Blemish in the Preliminaries. Interpolation is a Blemish 42. When anyone interpolates the composition of one playwright into that of another, a blemish is be recorded on its strength by the experts.[32] 43. When anyone knowingly interpolates (lit. mixes) in [his] play the name or work of another author, then his Blemish in it being definite, no Success should be recorded.[33] 44. When anyone produces a play in disregard of costumes and languages belonging to a region, then his Blemish relating to the rule of locality, should be recorded[34]. Limitation of human efforts in a play 45. Who is able to observe perfectly the rules of [constructing] plays or producing [them on the stage]? Or who can be bold (lit. eager) enough in mind to [claim to] understand properly all that have been said[35]? 46. Hence one should include in plays words which have deep significance, are approved of by the Vedas as well as the people, and are [generally] acceptable to all persons.[36] 47. And no play (lit. nothing) can be devoid of any merit or totally free from faults. Hence faults in the production of a play should not be made much of.[37] 48. But the actor should not [for that reason] be careless about Words, Gestures and Costumes of minor importance (lit. non-essential) as well as about representing the Sentiments and the Psychological States, dance, vocal and instrumental music and popular usages3 of the same kind [relating to the performance]. An ideal spectator of a performance 49. These are [the rules] defining the characteristics of Success. I shall hereafter describe that of [an ideal] spectator (prekṣaka). 50-53. Those who are possessed of [good] character, high birth, quiet behaviour and learning, are desirous of fame, virtue, are impartial, advanced in age, proficient in drama in all its six limbs, alert, honest, unaffected by passion, expert in playing the four kinds of musical instrument, very virtuous, acquainted with the Costumes and Make-up, the rules of dialects, the four kinds of Histrionic Representation, grammar, prosody, and various [other] Śāstras, are experts in different arts and crafts, and have fine sense of the Sentiments and the Psychological States, should be made spectators in witnessing a drama.2 54. Anyone who has (lit. is characterized by) unruffled senses, is honest, expert in the discussion of pros and cons, detector of faults and appreciator [of merits], is considered fit to be a spectator in a drama. 55. He who attains gladness on seeing a person glad, and sorrow on seeing him sorry, and feels miserable on seeing him miserable, is considered fit to be a spectator in a drama.[38] 56-57. All these various qualities are not known to exist in one single spectator, Hence, because objects of knowledge, are so numerous, and the span of life is so brief, the inferior common persons in an assembly which consists of the superior, the middling and the inferior members, cannot be expected to appreciate the performance of the superior ones. 58. And hence an individual to whom a particular dress, profession, speech and an act belong as his own, should be considered fit for appreciating the same. Various classes of spectator 59. Different are the dispositions of women and men, young and old, who may be of the superior, middling or inferior type, and on the such dispositions [the Success of] a drama rests. Disposition of different spectators 60. Young people are pleased in seeing [the presentation of] love, the learned a reference to some [religious or philosophical] doctrine, the seekers of money [topics of] wealth, and the passionless, topics of liberation. 61. Heroic persons are always pleased with the Odious and the Terrible Sentiments, the personal combats and battles, and the old people in tales of virtue and Puraṇic legends, And [the common] women, children and the uncultured men (mūrkha) are always delighted with the Comic situations and [remarkable] Costumes and Make-up. 62. Thus the man who enters the stage (lit. here)[39] by imitating the Psychological States of these, can be considered a spectator possessing the [necessary] qualifications. Assessors in a performance 63-64. These should be known as spectators in connexion with a drama. But if there be any controversy (saṃgharṣa) [about the performance of individual actors,] the following are the Assessors (prāśnika): an expert in sacrifice, an actor (nartaka), a prosodist, a grammarian, a king, an archer (iṣvāsa), painter, a courtezan, a musician (gandharva) and a king’s officer (rāja-sevaka).[40] Listen about them. 65-68. An expert in sacrifice will be an Assessor in the [representation of], sacrifice an actor in general Histrionic Representation, a prosodist in complicated metres, a grammarian in details of speech, a king in royal character and in connexion with [personal] dignity, and other qualities and in dealing with the harem, the archer (iṣvāsa) in the Sauṣṭhava of the pose, and a painter is a very suitable Assessor of movements, and of Dresses and Make-up which are at the root of dramatic production; a courtezan will be an Assessor in matters relating to the enjoyment of love, and a musician in the application of notes (svara) and in observance of Time (tāla), and an officer of the king in [the matter of] showing courtesies. These are the ten Assessors of a dramatic performance. 69. When there is a controversy about the performance among the persons ignorant of the [Nāṭya]-Śāstra, they are to point out justly the faults as well as the merits [of individual actors].[41] Then they will be known as Assessors of whom I spoke to you. 70. When there occurs any learned controversy about the knowledge of the Śāstra the decision should be made on the testimony of the books (lit. Śāstra).[42] Controversy about a performance 71. Controversy arises when the actors (bharata) have the desire of mutual contest at[43] the instance of their masters or for [winning] money and the Banner[44] [as rewards]. Procedure in deciding controversies 72. In course of deciding a controversy one should observe [the performance of the parties] without any partiality. The decision about [the award of] the Banner[45] should be according to the stipulation made (paṇam kṛtvā)2 [beforehand]. Recording of Blemishes 73. Blemishes affecting the Success should be recorded with the help of reckoners (gaṇaka) by these persons (i. e. Assessors) who are seated at ease, have clean intention, and whose intelligence is. [generally] relied on [by the public]. Ideal position of Assessors in a performance 74. Assessors should neither be too near [the stage] nor too far [from it]. Their seats should be at a distance of twelve cubits (six yards) from it. 75. They are to notice the the points of the Success mentioned before, as well as Blemishes which may occur during the production of a drama. Blemishes to be ignored 76. Blemishes which may be accidental (lit. caused by the gods), the portents or the enemy are not to be recorded by the wise [observers]. But the Blemishes relating to the play[46] as well as the Blemishes arising from [the actors] themselves[47] should be recorded. 77.[48] After mentioning him to the king the Banner should be given to a person whose Blemishes, have been reckoned as small in number but points of Success as many.[49] Procedure of awarding the Banner 78-79. If actors[50] are found to be experts of equal merit in the production of a drama, the Banner should be given to one whose Success is greater, or in case of equal Success [of the two contestants] [the reward should be given] after the king’s decision. If the king has equal admiration for the two rivals, then both of them should be given [a Banner], Those knowing the rules [of the Śāstra] should see in this way that a correct decision is made. 80-81. The spectators who are capable of appreciating merits should sit at ease with an unruffled mind and are to observe the [measure of] achievement as well as the slightest of faults which may relate to the theory of theatrical production, Co-ordination (sama), Charm of Limbs (aṅgamādhurya), Recitatives (pāṭhya), roles, and the Sentiments. 81-82. Hence the Assessors should observe from the beginning songs and instrumental music together with the Costumes and Make-up. Co-ordination 82-83. Gestures (aṅga) which are made all around in a play in harmony with the different measures of Time in course of dances, related to the Dhruvā[51] songs, is called Co-ordination (sama). 83-84. When in course of the performance [of a play] Gestures of different limbs major and minor, are accompanied with songs, proper Time and tempo and by the playing of drums, it is called Co-ordination. Charm of Limbs 84-85. The position in which the chest is not bent, the two arms are Caturasra and spread out (āyata) and the neck is (Añcita,) gives rise to the Charm of Limbs (aṅgamādhurya). 85-86. And one should also pay attention to subjects not mentioned before which are to be mastered (sādhya)2 by the actors (sādhaka) and to the instrumental music, the roles (prakṛti), and the songs. 86-87. The Success arising due to joy from the Gestures and the various Sentiments, should be expressed by means of all the signs (lit. the places) of the same. Probable Time for dramatic performances 87-88. Producers [of plays] should know the time for perfomances day and night distinguish these. 88-89. The performance in the forenoon, mid-day[52] and the afternoon belongs to the day. 89-90. The performance in the evening, the midnight[53] and at dawn belongs to the night. Time of performance according to the subject and the Sentiment 90-91. I shall now speak how these times are suited to [different] Sentiments after mentioning the time to which a performance should belong. 91-92. [The performance] which is pleasant to the ear and is based on a tale of virtue (dharma), whether it is pure or mixed, should be held in the forenoon. 92-93. That which is rich in instrumental music, includes a story of strength and energy, and carries [a chance of] abundant Success should be performed in the afternoon. 93-94. That which relates to the Graceful Style, the Erotic Sentiment and is full of vocal and instrumental music1 should be performed in the evening. 94-95. The drama which relates to the magnanimity [of the Hero], and contains mostly the Pathetic Sentiment, should be performed in the morning, and it will scare away sleep. 95-96. The drama should not be performed in the midnight or at noon or at the time of the Sandhyā prayer or of taking meals. 96-97. Thus after looking into the time, place and the basis (plot) of a play one should bring about its production according to the Psychological States and the Sentiments it contains. Emergency performances are independent of regular time 97-98. But when the patron (lit. master) orders, the time and place are not to be taken into consideration, and the performance should be held without any hesitation.[54] 98-99. Proper Combination (lit. combined production), Brilliance [of Pageant] (samṛddhi), and actors capable of [good] production are the three [points of] merit [in a performance] Qualities of an actor 99-101. Intelligence, strength, physical beauty, knowledge of Time and tempo, appreciation of the Psychological State and the Sentiments, [proper] age, curiosity, acquisition [of knowledge and arts], [their] retention, vocal music prompted by dance, suppression of stage-fright, and enthusiasm, will be the requisite qualities of an actor (pātra). An ideal performance 101-102. That which includes good instrumental music, good songs, good recitatives as will as Co-ordination of all acts prescribed by the Śāstra, is called an [ideal] production. Brilliance of Pageant 102-103. Use of proper ornaments, good garlands, clothes and proper painting or the Make-up [for the characters] gives rise to Brilliance of Pageant (samṛddhi). The best performance 103. According to the producers of plays, the best (lit. the ornament) [of the performance] occurs when all these factors combine. 104. Thus I have spoken to you properly of the characteristics of Success. Now I shall speak to you about the different branches of music (ātodya, lit. instrumental music)[55]. Here ends Chapter XXVII or Bharata’s Nāṭyaśāstra, which treats of Success in Dramatic Production. Footnotes and references: [back to top] [1]: This chapter discusses the appreciation of theatrical production by spectators who include persons of various types possessing different psychological and cultural traits. [2]: vāk-sattvāṅga. These three constitute the Basic Representation. See XXIV. [3]: See VI. 52. [4]: The ardhahāsa seems to be the same as hasita, smile; see note I above. [5]: See note I above. [6]: The age-long custom in India was that the wealthy among the spectators on being very highly pleased with a dramatic performance did at once take out from their own body the costly shawls, other wearing apparels or ornaments to give them way to the talented actors. Cf. also NL. 2289f. [7]: See note 1 above. [8]: This prescription simply points out what should actually happen. [9]: For example, the art of comic make-up. [10]: The trans. is tentative. [11]: This “human” Success seems to relate to the common “human” beings or average spectators, and they should be compared with men occupying the gallery of a modern theatre. They arc generally moved by external and not deep aspects of a dramatic performance. See below 16 note. [12]: These are the deeper aspects of a dramatic performance. [13]: The “divine” Success seems to relate to cultured spectators who generally take interest in deeper and more subtle aspects of a dramatic performance and as such are above ordinary human beings and may be called “divine.” [14]: “Gods” here means the source of various accidents. See 20 below. [15]: Their acts of omission or commission are these Blemishes. See below 24-25. [16]: See below 21-22. [17]: It seems that the killing of animals had then a great attraction for the people. [18]: The rival groups of actors who contested for rewards from their patrons, became enemies to one another; see below 72ff. [19]: This kind of improper and dishonest acts sometimes occurs also now-a-days in meetings supporting candidates from rival political parties. Human psychology has not much changed since the NŚ. was written more than two thousand years ago. [20]: See above 20 note 2. [21]: It seems that the leaders of actors did not scruple even to bribe individual spectators to gain their ends. [22]: It is possible that due to superstitious fear arising from an appearance of these natural phenomena confusion occurred during the performance. [23]: Cf. Ag. [24]: Cf. Ag. [25]: Cf. Ag. [26]: 25 a stands cencelled. [27]: Cf. Ag. [28]: Nāḍikā (text nālikā) is a measure of time. See XX. 66 note 1. The ancient Indian device for measuring time consisted of a water-vessel of particular size with a well-defined tube (nāḍikā) at its bottom. Time required for the complete running out of water from it, was known as a nāḍikā (nāḍī), (See AS. II. 20; also AS. notes, p. 27). Here nāḍikā is used in the sense of the water-vessel for measuring time, On the necessity of time-keeping see below 39 and XX. 23, 65-68. Ag’s explanation does not seem to be clear. [29]: Actors and actresses at the time of the NŚ. usually being speakers of Middle Indo-Aryan (Prakrit) and not trained scholars, there occurred all sorts of lapses in their Sanskritic recitation, Hence is to be justified the humorous reference to the naṭa (actor) in a traditional couplet which in trans. is as follows: Where would the vulgarly-used words have gone for fear of hunter like grammarians, if there were no mouth-caves of astrologers, actors, expert gallants (Viṭa), singers and physicians? (Haidar, Itihāsa, p. 143). [30]: For the technical terms of music used here see XXVIII. [31]: For technical terms of music used here see XXXIII. [32]: This seems to show clearly that theatrical managers did not hesitate sometimes to insert passages taken from one playwright’s work into that of another to add to its effect. [33]: From this it appears that the practice of putting in the name of the author of a play in the Prologue, was not a very old one. This seems to explain the absence of the author’s name the works ascribed to Bhāsa. [34]: From a close study of available plays it does not appear that the rules laid down in the Śāstra were very scrupulously followed; or it is also likely that the rules regarding the use of different languages in a play, changed with the linguistic development as well as other conditions connected with the use of languages. [35]: This seems to point out that no Śāstra can exhaustively lay down all the rules which can never be made very clear and precise; for many things in theatre relate to so many fluctuating factors. [36]: One should mark the stress put on the Vedas and the popular practice in connexion with the Nāṭya. See XXVI. 118-120. [37]: This is a very wise counsel for the hasty critics of a play. [38]: The critic must be a man with abundant sympathy. [39]: The passage is corrupt, Yasmin in the text may be amended into asmin. [40]: This is a very elaborate arrangement for judging in every detail the Success of a performance. [41]: The significance of this rule seems to be that when in judging a drama the common people (i.e. who are not acquainted with the rules laid down in the Śāstra) fail to decide, the specialist Assessors mentioned above are to be called in. [42]: This rule seems to show that when the specialists in theatrical practice differed, they were to refer to the Śāstra or the traditionally handed down rules compiled in books. [43]: An example of this is the contest between the two nāṭyācāryas in the Mālavi. [44]: The Indian literary tradition records the fact of Bhāsa’s winning Banners, possibly on the occasion of dramatic contests. See Harṣacarita, Introduction, 15. [45]: This stipulation may have the following forms: Success in producing any particular play, or any new play, or a new play with a particular principal Sentiment will entitle one group of actors or its leader to the award of the Banner. [46]: See 5-17 above. [47]: See 18-44 above. [48]: Blemishes relating to a play seems to be its literary drawbacks. It is likely that in dramatic contests choice of defective plays brought discredit on the contestants. [49]: See above 24-25. [50]: Depending on the vocal applause as well as the silent approbation of spectators. [51]: See XXXII. [52]: See the note on 97-98 below. [53]: See the note on 97-98 below. [54]: In view of this, mid-day and mid-night have been included in 87-89 above. [55]: For the translation of the remaining portion of the NŚ. (XXVIII-XXXVI) see the Vol. II of this work published by the Asiatic Society, Calcutta, 1961. 09 June, 2017 --> Last Updated: 09 November, 2017 $(function(){ if($(document).height() > $(window).height()){ $('.book.chapter').append('^ back to top ^') $('section.back > a').click(function(){ $(window).scrollTop(0); }); } }); /** * Derivation list */ /*$('a.deriv-link').click(function(){ $(this).closest('.words-group').find('.deriv-list').toggleClass('d-none'); });*/ ====================================================================== Chapter XXVIII - On the Instrumental Music ====================================================================== --> Natyashastra (English) by Bharata-muni | 1951 | 240,273 words | ISBN-13: 9789385005831 Hinduism Natyashastra Buy now! The English translation of the Natyashastra, a Sanskrit work on drama, performing arts, theater, dance, music and various other topics. The word natyashastra also refers to a global category of literature encompassing this ancient Indian tradition of dramatic performance. The authorship of this work dates back to as far as at least the 1st millenn... Go directly to: Footnotes. Chapter XXVIII - On the Instrumental Music (ātodya) < Previous (index) Next > Three Classes of Instruments I shall now explain the formal aspects (lit. rule) of the instrumental music (ātodya). They are as follows: 1. Regular musical instruments[1] are of four kinds, such as ‘stringed’ (tata),[2] ‘covered’ (avanaddha),[3] ‘solid’ (ghana)[4] and ‘hollow’ (suṣira). 2. [Among these,] the ‘stringed’ are those with strings, the ‘covered’ means the drums, the ‘solid’ the cymbals and the ‘hollow’ the flutes. 3. In connexion with the dramatic performance (nāṭaka) they have threefold application: [that in which] the stringed instruments (tata) [preponderate], [that in which] the drums (avanaddha) [preponderate], and their [general] application during the dramatic performance (nāṭyakṛta). 4-5. In the Orchestra of the stringed instruments (kutapa)[5], [appear] the singer (gāyana) and his attendants[6] and players of Vipañcī,[7] Vīṇā[8] and flute. Players of Mṛdaṅga (earthen drum), Paṇava[9] and Dardura[10] are [collectively] called the Orchestra of the covered instruments (lit. in the rule of the covered instruments). 6. The Orchestra related to actors and actresses (prakṛti)[11] of the superior,’ the middling and the ordinary type, occupies different positions[12] on the stage during the production of plays (nāṭyayoga). Music of all kinds embellishes the Drama 7. Thus the song (gāna), the instrumental music (vādya) and the acting (nāṭya)[13] having different kinds of appeals (vividhāśraya, lit. depending on different things)[14] should be made by the producers of plays like a brilliant entity (alātacakra-pratima.).[15] Characteristics of the Gāndharva 8. That which is made by the stringed instruments and depends [as well] on various other instruments, and consists of notes (savra), Tāla (time-measure) and verbal themes (pada) should be known as the Gāndharva.[16] 9. As it is very much desired by gods and as it gives much pleasure to Gandharvas, it is called the Gāndharva (i.e. a thing belonging to Gandharvas.) Sources of the Gāndharva 10. Its source is the human throat (lit. body), the Vīṇā and the flute (vaṃśa). I shall describe the formal aspects of (lit. arising from) their notes. Three kinds of the Gāndharva 11. The Gāndharva is of three kinds[17]: that of the notes (svara), that of the Tāla and that of the verbal theme (pada). I shall describe the characteristics and the function of the three. Two Bases of Notes 12. The notes (svara) have two bases: the human throat (lit. body) and the Vīṇā. I shall speak about the formal aspects of the notes arising from the two. Formal Aspects of Music of the Vīṇā 13-14. Notes (svara)[18], Grāmas, Mūrchanās[19], Tānas[20], voice-registers (sthāna), Vṛttis[21], Overlapping (sādhāraṇa) notes. Varṇas, Alaṃkāras, Dhātus[22], Śrutis[23] and Jātis which are constituted by the regular notes (vidhisvara), are available (lit. united) in the wooden Vīṇā. Formal Aspect of Music of the Human Throat 15. Notes, Grāmas, Alaṃkāras, Varṇas, voice-resisters Jātis and Overlapping notes are available in the Vīṇā of the human throat. Aspects of the Verbal Theme in Music 16-17. Consonants[24], vowels, euphonic combinations (sandhi), case-endings (vibhakti), nouns (nāma), verbs (ākhyāta), prefixes (upasarga), particles (nipāta), secondary suffixes (taddhita), and syllabic and moric metres always relate to the verbal themes of music (pada). These are of two kinds: composed (nibaddha) and improvised (anibaddha, lit. not composed). Twenty Aspects of the Tāla 18-20. Now I shall speak of the Tāla[25]. Āvāpa[26] Niṣkrama, Vikṣepa, Praveśaka, Śamyā, Tāla, Sannipāta, Parivarta, Vastu, Mātrā, Vidārī, Aṅga, tempo (laya), Yati, Prakaraṇa, Gīti, Avayava, Mārga, Pādabhāga, and Pāṇi are the twenty[27] formal aspects of the Tāla. These [are] in brief about the Gāndharva. Listen next in details about the same. The Seven Notes On the Notes (svara): 21. The seven notes are: Ṣaḍja (sa), Ṛṣabha (ri), Gāndhāra (ga), Madhyama (ma), Pañcama (pa), Dhaivata (dha) and Niṣāda (ni). Mutual relation of the Notes 22. [According] as they relate to an interval of [more or less] Śrutis, they are of four classes, such as Sonant[28] (vādin), Consonant (saṃvādin)[29] Assonant (anuvādin[30], and Dissonant (vivādin)[31]. The Sonant and the Consonant Notes That which is an Aṃśa[32] [note] anywhere, will in this connexion, be called there Sonant (vādin). Those two notes which are at an interval, of nine or thirteen Śrutis from each other are mutually Consonant (saṃvādin) e.g. Ṣaḍja and Madhyama, Ṣaḍja and Pañcama, Ṛṣabha and Dhaivata, Gāndhāra and Niṣada in the Ṣaḍja Grāma. Such is the case in the Madhyama Grāma, except that Ṣaḍja and Pañcama are not Consonant while Pañcama and Ṛṣabha are so. [On these there] is a [traditional] Śloka: 23. In the Madhyama Grāma, Pañcama, and Ṛṣabha are Consonant while Ṣaḍja and Pañcama are so in the Ṣaḍja Grāma [only]. The Dissonant Notes The notes being at an interval of [two or] twenty Śrutis are Dissonant[33] e.g. Ṛṣabha and Gāndhāra, Dhaivata and Niṣāda. The Assonant Notes Now Sonant, Consonant and Dissonant notes having been determined (lit. established) the remaining ones are to be called Assonant[34], e.g. Ṛṣabha, Gāndhāra, Dhaivata and Niṣāda to Ṣaḍja; Madhyama, Pañcama and Niṣāda to Ṛṣabbā; and Madhyama, Pañcama and Dhaivata to Gāndhāra; Dhaivata, Pañcama and Niṣāda to Madhyama; Dhaivata and Niṣāda to Pañcama; Ṛṣabha, Pañcama and Madhyama to Dhaivata. [All these are ] in the Ṣaḍja Grāma. In the Madhyama Grāmā too, Pañcama, Dhaivata and Niṣāda [are Assonant] to Madhyama; Ṛṣabha Ṣaḍja, and Gāndhāra to Pañcama; Ṣaḍjā, Ṛṣabha and Gāndhāra to Dhaivata; the same (Ṣāḍja, Ṛṣabha and Gāndhāra) to Niṣāda. As a note [prominently] sounds it is called Sonant; as it sounds in cosonance [with another] it is Consonant; as it sounds discordantly [to another] it is Dissonant, and as it follows [another note] it is called Assonant. These notes become low or high according to the adjustment of the strings, and the varying condition (lit. diversity) of the beam of the Vīṇā and of the sense-organs. So much about the aspects of four classes of notes. Description of the Two Grāmas Now, there are two Grāmas[35]: Ṣaḍja and Madhyama. Each of these two (lit. there) include twenty-two Śrutis in the following manner: 24. Śrutis in the Ṣaḍja Grāma are shown as follows:—three [in Ṛṣabha],[36] two [in Gāndhāra], four [in Madhyama], four [in Pañcama], three [in Dhaivata], two [in Niṣāda] and four [in Ṣaḍja]. In the Madhyama Grāma Pañcama should be made difficient in one Śruti. The difference which occurs in Pañcama when it is raised[37] or lowered by a Śruti and when consequential slackness[38] or tenseness [of strings] occurs, will indicate a typical (pramāṇa) Śruti.[39] We shall explain the system of these [Śrutis], The two Vīṇās with beams (daṇḍa) and strings of similar measure,[40] and with similar adjustment of the latter in the Ṣaḍja Grāma should be made [ready]. [Then] one of these should be tuned in the Madhyama Grāma by lowering Pañcama [by one of Śruti]. The same (Vīṇā) by adding one Śruti (lit. due to adding of one Śruti) to Pañcama will be tuned in the Ṣaḍja Grāma. This is the meaning of decreasing a Śruti (lit. thus a Śruti is decreased). Again due to the decrease of a Śruti in another [Vīṇā] Gāndhāra and Niṣāda will merge with Dhaivata and Ṛṣbha respectively, when there is an interval of two Śrutis between them. Again due to the decrease of a Śruti in another (Vīṇā) Ṛṣbha and Dhaivata will merge with Ṣaḍja and Pañcama respectively when there is an interval of [three] Śrutis. Similarly the same [one] Śruti being again decreased Pañcama, Madhyama and Ṣaḍja will merge with Madhyama, Gāndhāra and Niṣāda respectively when there is an in interval of four Śrutis between them. Thus according this system of Śrutis, [each of] the two Grāmas should be taken as consisting of twentytwo Śrutis. [The following] are the Ślokas to this effect: Śrutis in the Ṣaḍja Grāma 25-26. In the Ṣaḍja Grāma, Ṣaḍja, includes four Śrutis, Ṛṣabha three, Gāndhāra two, Madhyama four, Pañcama four, Dhaivata three and Niṣāda two. Śrutis in the Madhyama Grāma 27-28. [In the Madhyama Grāma] Madhyama consists of four Śrutis. Pañcama three, Dhaivata four, Niṣāda two, Ṣaḍja four, Ṛṣabha three and Gāndhāra two Śrutis[41]. [Thus] the system of [mutual] intervals (antara) has been explained. The Mūrchanās Now about the Mūrchanās[42]. They are of fourteen kinds in the two Grāmas[43]. Mūrchanās in the Ṣaḍja Grāma 29-30. Based on the Ṣaḍja Grāma there are seven Mūrchanās: the first Uttaramandrā, the second Rajanī, the third Uttarāyatā, the fourth Śuddhaṣaḍjā, the fifth Matsarīkṛta, the sixth Aśvakrāntā and the seventh Abhirudgatā. The first notes of these are [respectively]: Ṣaḍja, Niṣāda, Dhaivata, Pañcama, Madhyama, Gāndhāra and Ṛṣabha in the Ṣaḍja Grāma. Mūrchanās in the Madhyama Grāma In the Madhyama Grāma [occur the following Mūrchanās]. 31-32. Based on the Madhyama Grāma there are seven Mūrchanās: the first Sauvīrī the second Hariṇāśvā, the third Kalopanatā, the fourth Śuddhamadhyā, the fifth Mārgavī, the sixth Pauravī and the seventh Hṛṣyakā. [The first] notes[44] of these are respectively Madhyama, Gāndhāra, Ṛṣabha, Ṣaḍja, Niṣāda, Dhaivata and Pañcama. Initial Notes of the Mūrchanās in the two Grāmas [Thus] the first notes of these serially are: in the Ṣaḍja Grāma—Uttaramandrā [is to begin] with Ṣaḍja, Rajanī with Niṣāda, Uttarāyatā with Dhaivata, Śuddhaṣaḍjā with Pañcama, Matsarīkṛtā with Madhyama, Aśvakrāntā with Gāndhāra, and Abhirudgatā with Ṛṣabha. And in the Madhyama Grāma—Sauvīrī [is to begin] with Madhyama, Hariṇāśvā with Gāndhāra, Kalopanatā with Ṛṣabha, Śuddhamadhyamā with Ṣaḍja, Mārgī (Mārgavī) with Niṣāda, Pauravī with Dhaivata, and Hṛṣyakā with Pañcama. The Four classes of Mūrchanās Thus combined in [different] orders, the notes constitute fourteen Mūrchanās of four classes, such as heptatonic (pūrṇa, lit. full), hexatonic (ṣaḍavakṛta), pentatonic (auḍavitīkṛta) and that including the Overlapping note (sādhāraṇakṛta). 33-34. The seven notes combined in [different] orders (lit. having an order) are called [full or heptatonic] Mūrchanās. Tānas[45] consisting of six and five notes are [respectively] called hexatone (ṣāḍava)[46] and pentatone (auḍavita).[47] Besides these, there is another kind of Mūrchanā which includes the Overlapping notes or is combined with the Kākalī notes or the intermediate notes (antarasvara), and this belongs to both the Grāmas (Ṣaḍja and Madhyama). The same Mūrchanā is produced (lit. accomplished) in two ways. In this connexion, Gāndhāra being reduced to Dhaivata by an increase of two Śrutis in it, [the two terms] the Grāma and the Mūrchanā become differentiated in the Ṣaḍja Grāma, and due to that, Madhyama and the notes following it, become serially reduced to Niṣāda and the notes following it. In the Madhyama Grāma too, Dhaivata being softened (curtailed in Śrutis) and Niṣāda being augmented, the two [terms] are differentiated. [In case of this Grāma too] there being an interval of the same [number of] Śrutis, the difference of terms [becomes justified]. The interval between Pañcama and Dhaivata is of four Śrutis; similarly due to an increase of Gāndhāra, the interval will be of four Śrutis. The remaining Madhyama, Pañcama, Dhaivata, Niṣāda, Ṛṣabha and Ṣaḍja become reduced [serially] to Madhyama and the notes following it. This is due to an interval of the same number of Śrutis. The system of [mutual] intervals has been explained in connexion with the system of Śrutis. Eighty-four Tānas of the Mūrchanās Tānas which depend on Mūrchanās are eighty-four in number. Among these the hexatonic ones are forty-nine, and the pentatonic ones thirty-five. The Hexatonic Tānas The hexatonic ones have seven varieties, e.g. four Tānas devoid of Ṣaḍja, Ṛṣabha, Niṣāda and Pañcama in the Ṣaḍja Grāma; three Tānas devoid of Ṣaḍja, Ṛṣabha and Gāndhāra in the Madhyama Grāma. Thus these being worked in all, the Mūrchanās [in the two Grāmas] will give rise to forty-nine Tānas. The Pentatonic Tānas The pentatonic ones have five varieties e.g. three Tānas devoid of Ṣaḍja and Pañcama, of Ṛṣabha and Pañcama, and of Gāndhāra and Niṣāda in the Ṣaḍja Grāma, two Tānas devoid of Ṛṣabha and Dhaivata, and of Gāndhāra and Niṣāda in the Madhyama Grāma. Thus these being worked in all, the pentatonic Mūrchanās [in the two Grāmas] will give rise to thirty-five Tānas, twenty-one in the Ṣaḍja Grāma and fourteen in the Madhyama Grāma. The Two Ways of Tānas There are two ways of working the Tāna in the string (tantrī): Entrance (praveśa) and Arrest (nigraha). The Entrance is made by sharpening (lit. emphasizing) the preceding (adhara) note and by sortening (mārdava) the succeeding (uttara) note. And the Arrest is non-touching, i.e., not touching the Madhyama note. The Mūrchanā is indicated by the Madhyama note of the Vīṇā, because it is constant (anāśī. lit. not perishable). Hence the Entrance and the Arrest [do not] relate to the Madhyama note. The variety of the Tānas and the Mūrchanās thus [arising], provides enjoyment to the hearer as well as to the musician (prayoktṛ, lit. producer). The Mūrchanā [and Tāna] are also of use [because their practice helps] the attainment of the voice-registers (sthāna-prāpti).[48] There are three voice-registers. Their description has been given in the rules regarding the Intonation (kākū).[49] The Overlapping I shall now relate the rules regarding the Overlapping of notes (sādhāraṇa-vidhi). The Overlapping (sādhāraṇa) means the quality of a noce rising between two [consecutive] notes [in a Grāma]. Why? The thing which exists between the two [similar things, partly merging into each other] is overlapping (sādhāraṇa), e.g., the transition of a season. 35. In the shade one feels cold, but while staying in the sun one sweats (lit. the sweat comes out). [ It seems that at this time ] neither has the spring come [fully], nor has the winter gone away completely. This is an example of the overlapping season. Two kinds of Overlapping There are two kinds of Overlapping: Overlapping in notes (savarasādhāraṇa) and Overlapping in Jātis (Jātisādhāraṇa). The Overlapping Notes The Kākalī and the transitional note (antarasvara) are the Overlapping notes (svarasādhāraṇa). Now if two Śrutis are added to Niṣāda, it is called Kākalī Niṣāda and not Ṣaḍja; as it is a note rising between the two (pure Niṣāda and Ṣaḍja), it become Overlapping. Similarly [the two Śrutis being added to it] Gāndhāra becomes transitional Gāndhāra and not Madhyama, because it is a transitional note (antarasvara) between the two (Madhyama and Gāndhāra). Thus the Overlapping notes [occur]. Why is Niṣāda called Kākalī? Because it is an indistinct second, or it is produced with [slight] pulling (akṛṣṭatva[50]) or due to its very fineness (saukṣmya[51]) or because it behaves like the crow’s eye (kākākṣi)[52] and relates to the two [notes, Niṣāda and Ṣaḍja], it is called (kākalī). Just as salt among the six [kinds of] taste (rasa), is called Kṣāra (corrosive), so Niṣāda is called Kākalī, and the Overlapping note is called the transitional note. The Overlapping Jāti The Overlapping Jāti (jātisādhārana) [arises] from observing in another Grāma the notes which belong to the minor limbs of two or more Jātis which are in the same Grāma and have common Aṃśas. The Overlapping note (svarasàdhāraṇa) belonging to the two Grāmas (Ṣaḍja and Madhyama) is of two kinds. Why? For, occurring in the Ṣaḍja Grāma it is the Overlapping Ṣaḍja, and in the Madhyama Grāma it is Overlapping Madhyama. The Overlapping here is a special nature of the note. This is so in the Ṣaḍja Grāma, and the same [also] is the case in the Madhyama Grāma. Due to the delicacy of its production (proyoga-saukṣmya) it is fitly called Kaiśika (capillary). This is the Overlapping note which is used in Jātis where Niṣāda and Gāndhāra are weak (alpa). On these points there are the two Ślokas: 36. The transitional note (antarasvara) should always relate to the ascending scale (ārohin) and be made especially weakened (alpa), but it should never be in the descending scale (avarohin). 37. If it is made in the descending scale whether weak or strong, the transitional notes will lead Śrutis to the Jāti-rāgas. The Jātis We shall now explain the Jātis. 38-39. The Jātis[53] relating to the Overlapping notes are three in number: Madhyama, Pañcamī and Ṣaḍjamadhyā. Their constituent parts are Ṣaḍja, Madhyama and Pañcama of which the Pañcamī will be distinct, but weaker than the rest in its own note (i.e. Pañcama). Seven Jātis in the Ṣaḍja Grāma 40-41. The seven Jātis[54] in the Ṣaḍja Grāma are; Ṣāḍji, Ārṣabhī, Dhaivati, Naiṣādi, Ṣaḍjodīcyavatī, Ṣaḍjakaiśikī and Ṣaḍjamadhyamā. Eleven Jātis in the Madhyama Grāma 42-13. The eleven Jātis[55] in the Madhyama Grāma are; Gāndhārī, Raktagāndhārī, Gāndhārodīcyavā, Madhyamodīcyavā, Madhyama, Pāñcamī, Gāndhārapañcamī, Āndhrī, Nandayantī, Karmāravī and Kaiśikī. 44. There are the eighteen Jātis of which I spoke before. I shall now describe the Nyāsa (terminal note) and Apanyāsa (semi-terminal note) which they include. Two kinds of Jātis Of these eighteen, seven owe their names to the seven notes. They are of two kinds pure (śuddha) and modified (vikṛta). In the Ṣaḍja Grāma the pure (Jātis) are Ṣāḍjī, Ārṣabhi, Dhaivatī and Niṣādavatī (= Naiṣādī) and in the Madhyama Grāma they are Gāndhāri, Madhyama and Pañcāmī. ‘Pure’ (śuddha) in this connexion means having Svarāṃśa[56] (= Aṃśa), Graha[57] and Nyāsa[57] consisting of all the [seven] notes (lit. not difficient in notes). When some of these [Jātis] lack two or more of the [prescribed] characteristics except the Nyāsa, they are called ‘modified’ (vikṛtā). Hence (lit. due to this) those indeed are pure Jātis, and these indeed are modified ones (i.e. Jātis). In the observation of the Nyāsa in the [pure], Jātis the note should be regularly Mandra; but in case the modified Jātis, there is no rule [about it]. The modified [Jātis] are eleven in number and they grow from combination. [These] eleven are formed from their mutual combination, as follows: 45. Jātis are pure as well as modified, and the [latter] arises from the combination [of other Jātis]. Among them seven are pure while the remaining eleven are modified. The modified Jātis 46. I shall now speak in due order and with proper brevity, of Jātis which grow out of notes, and Aṃśas of these [pure] Jātis. 47. The Ṣaḍja-madhyama[58] is formed by the Ṣāḍji, the Madhyama. The Ṣaḍjakaiśiki[59] Jāti is formed by the Ṣāḍji and the Gāndhārī. 48. The Ṣaḍjodīcyavatī is formed by the Ṣāḍji, the Gāndhārī and the Dhaivatī combined or associated with one another. 49. The Gāndhārodīcyavā is formed by the Ṣāḍjī, the Gāndhārī, the Dhaivatī and the Madhyama. 50. The Madhyamodīcyavā is formed by the Gāndhārī, the Pañcamī, the Dhaivatī and the Madhyama. 51. The Raktagāndhārī is formed by the four: the Gāndhāri, the Pañcamī, the Naiṣādi and the Madhyama. 52. The Āndhrī is formed by the Gāndhāri, and the Ārsabhī[60]. The Nandayantī is formed by the Gāndhāri, the Pañcamī and the Ārṣabhī. 53. The Gāndhārapañcamī is formed by the Gāndhārī and the Pañcamī. 53-54. The Karmāravī is formed by the Naiṣādi, the Ārṣabhī and the Pañcamī, and it is heptatonic (lit. full). The Kaiśikī is formed by the Sāḍjī, the Gāndhārī, the Madhyama, the Pañcamī and the Naiṣādī (lit. the pure Jātis except the Dhaivatī and the Ārṣabhī). 55. These are the distinct Jātis growing out of mutual combination of notes in the two Grāmas. The Number of Notes in the Jātis of the two Grāmas 56. Of these the four heptatonic (saptasvarā) and the ten pentatonic (pañcasvarā) and the four hexatonic (ṣaṭsvarā)[61]. Jātis in the Ṣāḍja Grāma: The Heptatonic Jātis 57. [Of these] the Madhyamodīcavā, the Ṣaḍjakaiśikī, the Karmāravī and the Gāndhārapañcamī are heptatonic (lit. full) Jātis[62]. The Pentatonic Jātis 58-60. The Gāndhārī, the Raktagāndhārī, the Madhyama, the Pañcamī, the Kaiśikī, the five [Jātis] in the Madhyama [Grāma], the Ārṣabhī, the Dhaivatī, the Naiṣādi, the Ṣaḍjamadhyamā and the Ṣaḍjodīcyavatī, [the five Jātis] in the Ṣaḍja Grāma, are the ten pentatonic Jātis[63]. The Jātis in the Madhyama Grāma: The Hexatonic Jātis 60-61. The Gāndhārodīcyavā, the Nandayantī and the Āndhri, [the three Jātis, in the Madhyama Gramā, and the Ṣāḍji alone in the Ṣaḍja Grāma, are hexatonic. 62. The Jātis (lit. those) which have been described as pentatonic and hexatonic. may on rare occasions be changed respectively into hexatonic (ṣāḍavībhūtā) and pentatonic (auḍavīkṛtā)[64]. The Heptatonic Jātis 63-64. The Karmāravī, the Madhyamodīcyavā and the Gāndhārapañcamī are the heptatonic (lit. full) Jātis in the Madhyama Grāma, and the heptatonic Jāti in the Ṣaḍja Grāma is the Ṣaḍjakaiśikī. 64-65. (A variant of 60b-61a.) Aṃśas in the Jātis 65-69. So much about the Jātis in the two Grāmas. I shall now describe their different Aṃśas. The Ṣaḍjamadhyamā should have no hexatonic treatment including Niṣāda (lit. the seventh), and there should be no Gāndhāra there, because of an elimination of its Consonant note; and the Gāndhārī, the Raktagāndhārī and the Kaiśikī should have no Pañcama, and the Ṣāḍjī should have no Gāndhāra, and the Ṣāḍjodīcyavā no Dhaivata in their hexatonic treatment. These seven [notes] are to be discarded in connexion with the hexatonic treatment of the Jātis named, because of the elimination of their Consonant notes. 69-71. The Gāndhārī and the Raktagāndhārī Jātis should have no Ṣaḍja, Madhyama, Pañcama and Naiṣāda in their pentatonic treatment, and the Ṣāḍjī and the Madhyama respectively should have no Gāndhāra and Niṣāda, and the Pañcamī no Ṛṣabha, and the Kaiśikī no Dhaivata in their pentatonic treatment. These are the twelve notes which should be discarded in the pentatonic treatment. 72-73. Hence these Jātis should always be without pentatonic treatment. From the Jātis any of (lit. all) the notes may be left out; but Madhyama should never be left out. For the great sages who chanted the Sāmans, expressed an opinion in the Gāndharva Kalpa that Madhyama the best of notes, is indispensible (lit. imperishable). The Characteristics of the Jātis 74.[65] Ten characteristics of the Jātis are: Graha, Aṃśa, Tāra, Mandra, Nyāsa, Apanyāsa, Reduction, (alpatva), Amplification (bahutva), hexatonic treatment (ṣāḍava), and pentatonic treatment (auḍavita). The Graha 75.[66] Grahas have been like the Aṃśa of all the Jātis. That note which is taken up in the beginning [of a song] is the Graha, and is an alternative[67] term for the Aṃśa. The Aṃśa 76-78. The ten characteristics of the Aṃśa[68] are [as follows]:— The Aṃśa [is that note in the song] on which its charm (rāga) depends, and from which the charm proceeds; it is the basis of the variation into low (mandra) and high (tāra) pitches depending on the [first] five notes (pañcasvarapara), and in the combination of many notes it is perceived prominently (atyartham), and moreover other strong notes may be to it in relation of Consonance and Assonance, and it is related to the Graha, Apanyāsa, Vinyāsa[69], Saṃnyāsa[70] and Nyāsa [notes], and it lies scattered throughout the song. Aṃśas of the Jātis 79. The Jātis in the two Grāmas have always sixty-three Aṃśas as well as Grahas. We shall now discuss the rule about the Aṃśa and the Graha [in relation to the Jātis]. 80. Pañcama is the Aṃśa and the Graha of the Madhyamodīcyavā, the Nandayantī and the Gāndhārapañcamī Jātis. 81. Dhaivata and Ṛṣabha are the Aṃśa and the Graha of the Dhaivatī Jāti. Ṛṣabha and Pañcama are the Aṃśa and the Graha in the Pañcamī Jātī. 82. Ṣaḍja and Madhyama are the Aṃśa and the Graha in the Gāndhārodīcyvā, Ṛṣabha, Dhaivata and Niṣāda are the Aṃśa and the Graha of the Ārṣabhī. 83-84. Ṛṣabha, Gāndhāra, and Niṣāda are the Aṃśa and the Graha of the Naiṣādi. Ṣaḍja, Gāndhāra and Pañcama are the Aṃśa and the Graha of the Ṣaḍjakaiśikī. Thus have been described [the three Aṃśas] and ths Grahas of the three Jātis. 84-85. Ṣaḍja, Madhyama, Dhaivata and Niṣāda are the four Aṃśas and the Grahas of the Ṣaḍjodīcyavatī. 85-86. Ṛṣabha, Pañcama, Dhaivata and Niṣāda are the four Aṃśas [and the Grahas] of the Karmāravī. 86-87. Ṛṣabha, Gāndhāra, Pañcama and Niṣāda are the four Aṃśas and Grahas of the Āndhrī. 87-88. Ṣaḍja, Ṛṣabha, Madhyama, Pañcama and Dhaivata are the five Aṃśas and the Grahas of the Madhyama. 88-89. Ṣaḍja, Gāndhāra, Madhyama, Pañcama and Dhaivata are the [five] Aṃśas and the Grahas of the Ṣāḍjī. 89-90. Ṛṣabha. Gāndhāra, Madhyama, Pañcama and Niṣāda are the [five] Aṃśas and the Grahas of the Gāndhārī and the Raktagāndhārī. 90-91. All the notes except Ṛsabha are the six Aṃśas [and the Grahas] of the Kaiśikī. All the notes are the seven Aṃśas and Grahas of the Ṣaḍjamadhyamā. These are the sixty-three Aṃśas and Grahas in the Jātis. Aṃśas are always Grahas in all these Jātis. 92-93. Groups (gaṇa) of all these Jātis are made up of three of them. They are always to be arranged (lit. known) as consisting of increasing [number of] notes in ascending order, such as those of one note, those of two notes, three notes, four notes, five notes, six notes and seven notes. The High Pitch Movement The High pitch movement (tāragati) depending on the [first] five notes, e.g. 94. The raising of the pitch from the any of the Aṃśa [notes] should be up to the note fourth from it, or it may be to the fifth note even, but not to any beyond it.[71] The Low Pitch Movement Three kinds of the low pitch movement: that depending on the Aṃśa, on the Nyāsa, and on the Apanyāsa. 95. There is no pitch lower than that of the Aṃśa [notes]; in the Nyāsa such a pitch will be separated by two notes, and when the Gāndhāra is the Graha and the Nyāsa,. Ṛṣabha and Dhaivata are seen [to bear a low pitch].[72] Reduction and Amplification Reduction (alpatva)[73] is of two kinds: that due to skipping over (laṃghana) a note, and that due to non repetition of the same. Among these two (lit. there) the Reduction [of notes] due to skipping over, [leads to] the hexatonic and the pentatonic treatment of the Aṃśas of songs, when they reach the Antaramārga[74]; and the Reduction of notes due to their non-repetition, consists of enunciating them once according to the Jātis [in which a particular songs is to be sung]. The Amplification The Amplification (bahutva)[75] is the opposite of the Reduction. Likewise the Movement[76] (saṃcāra) of the other notes which are strong, is of two kinds. 96. The Reduction as well as the Amplification always occurs from convention (lit. early fixation) in relation to [particular] notes of the Jāti, and the Reduction is of two kinds. 97.[77]The Movement (saṃcāra) of notes relates to the strong Aṃśa notes, and the Reduction to the weak notes. [These are] the two treatment of the Antaramārgas which gives character to the Jātis. The Hexatonic Treatment Hexatonic treatment (ṣāḍavita) relates to six notes [in a Grāma]. They are of fourteen kinds and have forty-seven subdivisions. These have been described before in their Jātis and Aṃśas.[78] The Pentatonic Treatment 98.[79] The pentatonic treatment relates to five notes [in a Grāma] and is to be known as being of ten kinds. Its subdivisions are thirty and have been mentioned before. 99. [Groups of] six notes as well as of five notes have their application. Similarly [groups of] four notes also have their uses in the Avakṛṣṭā Dhruvās. The Nyāsa and the Apanyāsa Now about the Nyāsa[80]. It occurs at the conclusion of the song (lit. limb) and is of twenty-one kinds. The Apanyāsa similarly occurs within the song (lit. limb)[81] and is of fifty-six kinds. 100. The Nyāsa at the conclusion on the song (lit. limb)[82] should be made of twenty-one kinds, and the Apanyāsa occurring within the song is of fifty-six kinds. Jātis with their Characteristics 101-102. I have thus spoken properly of the charateristics of the Jātis[83]. I shall now speak of their Nyāsa and Apanyāsa. The Ṣāḍji 103-104. In the Ṣāḍjī Jāti, the Aṃśa is of five notes [of the Grama], Niṣāda and Ṛṣabha being excluded. Its Apanyāsa is Gāndhāra and Pañcama, and Nyāsa Ṣāḍja, and Niṣāda (lit. the seventh) should be dropped from it. Its hexatonic treatment should exclude Niṣāda (lit. the seventh). In it, Dhaivata and N iṣāda should, be reduced; and Ṣaḍja and Gāndhāra as well as Dhaivata and Ṣaḍja should move together, and Gāndhāra should be amplified. The Arṣabhī 105-107. In the Ārṣabhi Jātī, the Aṃśa is Ṛṣabha, Dhaivata and Niṣāda. These are its Apanyāsa, and the Nyāsa is known as Ṛṣabha, Skipping over Pañcama in the ascending scale will be its Reduction giving rise to a special hexatonic treatment. Its [ordinary] hexatonic treatment will exclude Niṣāda, and the pentatonic treatment Pañcama. In it, the moving together of the Dissonant notes has been prescribed. The Dhaivati 108-110. In the Dhaivatī Jāti the Aṃśa is Ṛṣabha and Dhaivata, the Nyāsa Dhaivata, the Apanyāsa Ṛṣabha, Madhyama and Dhaivata, and the pentatonic treatments will exclude Ṣaḍja and Pañcama, and the hexatonic treatment Pañcama [only]. In it the two (the pentatonic and the hexatonic treatments) should be in an ascending scale, and Niṣāda and Ṛṣabha should be skipped over and Gāndhāra should be amplified (lit. made strong). The Naiṣādī 111-112. In the Naiṣādī Jāti the Aṃśa is Ṛṣabha, Gāndhāra and Niṣāda, and the Apanyāsa the same, and the Nyāsa Niṣāda. Its hexatonic and pentatonic treatments will be like those of the Dhaivatī. And similar is its skipping over (Reduction) of notes, and strong notes (i.e., their amplification). The Ṣaḍjakaiśikī 112-114. In the Ṣaḍjakaiśikī the Aṃśa is Ṣaḍja, Gāndhāra and Pañcama, the Apanyāsa Ṣaḍja, Pañcama and Niṣāda, and the Nyāsa Gāndhāra. No note will be omitted from it. Hence it is called a complete [Jāti]. In it Ṛṣabha and Dhaivata should be weakened (i.e., reduced). The Ṣaḍjodīcyavā 115-117. In the Ṣaḍjodīcyavā Jāti, the Aṃśa is Ṣaḍja, Madhyama, Dhaivata and Niṣāda, the Nyāsa Madhyama, and the Apanyāsa Ṣaḍja and Dhaivata. The Aṃśa notes here are prescribed to come together (saṃ-car) with one another. Its pentatonic treatment excludes Ṛṣabha and Pañcama, and the hexatonic treatment Ṛṣabha. And Gāndhāra should be made strong (i.e., amplified). The Ṣaḍjamadhyā 118-120. In the Ṣaḍjamadhyā (-madhyama) Jāti all the notes [in the Grāma] are the Aṃśa; the same are the Apanyāsa. Its Nyāsa is Ṣaḍja and Madhyama, and the pentatonic treatment is wanting in Gāndhāra and Niṣāda (lit. the seventh), and the hexatonic treatment in Niṣāda. Coming together (saṃ-cāra) of all its notes have been prescribed. 120-121. These are the seven Jātis depending on the Ṣaḍja Grāma. I shall now speak of those depending on the Madhyama Grāma. The Gāndhārī 121-123. In the Gāndhārī Jāti the Aṃśa will be the five notes [of the Grāma] Dhaivata and Ṛṣabha being excluded, and its Apanyāsa Ṣaḍja and Pañcama, and the Nyāsa Gāndhāra. Its hexatonic treatment excludes Ṛṣabha, and the pentatonic treatment Ṛṣabha and Dhaivata. [Besides these] they (i.e., Ṛṣabha and Dhaivata) should be skipped over and Ṛṣabha should always go to Dhaivata1, and Ṣaḍja and Madhyama should be amplified in it. The Raktagāndhārī 124-126. In the Raktagāndhārī all the characteristics, such as the Nyāsa, the exclusion of notes in hexatonic and pentatonic treatments, and the Aṃśa will be like those of the Gāndhāri. Its Dhaivata and Niṣāda should be amplified (lit. treated as strong), and Gāndhāra and Ṣāḍja will come together (saṃ-car) with notes other than Ṛṣabha, and its Apanyāsa should be Madhyama. The Gāndhārodīcyavā 126-127. In the Gāndhārodīcyavā the Aṃśa is Ṣaḍja and Madhyama. There is no pentatonic treatment in it. Its hexatonic treatment will exclude Ṛṣabha. Its Reduction, Amplification, Nyāsa and Apanyāsa will be like that of the Ṣaḍjodīcyavatī. The Madhyama 128-130. In the Madhyama the Aṃśa is Ṣaḍja, Ṛṣabha, Madhyama, Pañcama and Dhaivata, and they are the Apanyāsa, and the Nyāsa is Madhyama. The two notes of two Śrutis (i.e, Gāndhāra and Niṣāda) are to be weakened, and its pentatonic treatment excludes Gāndhāra and Niṣāda, while its hexatonic treatment excludes Gāndhāra. In it the Amplification of Ṣaḍja and Madhyama, and weakness (Reduction) of Gāndhāra have been prescribed. The Madhyamodīcyavā 131. In the Madhyamodīcyavā Jāti the Aṃśa is Pañcama. The rest of the rules, is similar to those of the Gāndhārodīcyavā. The Pañcamī 132-134. In the Pañcamī, the Aṃśa is Ṛṣabha and Pañcama, the Apanyāsa is Ṛṣabha, Pañcama and Niṣāda, the Nyāsa is Pañcama; Ṛṣabha and Madhyama are dropped from it. The hexatonic and pentatonic treatments in it should be as in the Madhyama. And Ṣaḍja, Gāndhāra and Madhyama should be made weak (i.e., reduced), and Madhyama and Ṛṣabha should come together (saṃ-car) in it and go to Gāndhāra, and Niṣāda should also be made weak (i.e., reduced). The Gāndhārapañcamī 135-136. In the Gāndhārapañcamī, the Aṃśa is Pañcama, the Apanyāsa Ṛṣabha and Pañcama, the Nyāsa Gāndhāra. and no note is wanting in it. Gāndhāra and Pañcama in it come together. The Āndhrī 137-139. In the Āndhrī, the Aṃśa consists of four notes such as, Ṛṣabha, Pañcama Gāndhāra and Niṣāda, and similar is its Apanyāsa. Its Nyāsa is Gāndhāra and the hexatonic treatment is free from Ṣaḍja, and in it Gāndhāra and Ṣaḍja come together. [Besides these] its Dhaivata and Niṣāda should be amplified in an ascending scale, and Ṣaḍja should be skipped over (i.e., reduced) there should be no pentatonic treatment of it. The Nandayantī 140-143. In the Nandayantī the Aṃśa is always Pañcama, the Apanyāsa Madhyama and Pañcama. In the hexatonic treatment it excludes Ṣaḍja which should be skipped over (i.e., reduced). Notes coming together (saṃ-cāra) in it are like those in the Āndhrī. And Ṛṣabha also should be skipped over, and there should be the low pitch (mandra-gati) there, and Ṣaḍja should be in the high pitch and it should not be in a descending scale (lit. go backward). Its Graha should be Gāndhāra and the Nyāsa also the same. The Karmāravī 143-145. In the Karmāravī the Aṃśa is Ṛṣabha, Pañcama, Dhaivata and Niṣāda, and the same are its Graha. The Apanyāsa is [also] the same, and the Nyāsa is Pañcama, and no note is left out. Notes other than those in the Aṃśa are strong (i.e., are to be amplified) and Gāndhāra comes together with all other notes. The Kaiśikī 146-149. In the Kaiśikī Jāti the Aṃśa consists of all the notes [in the Grāma] except Ṛṣabha, and these are the Apanyāsa, and the Nyāsa is Gāndhāra and Niṣāda, but when the Dhaivata and Niṣāda are the Aṃśa in it Pañcama will be the Nyāsa. In it Ṛṣabha is weak and it is skipped over, and sometimes Ṛṣabha will be its Apanyāsa. Its hexatonic treatment excludes Ṛṣabha, and the pentatonic treatment Ṛṣabha and Dhaivata. Ṣaḍja (lit. the first) and Pañcama are strong notes (i.e., should be amplified) in it. And Ṛṣabha should be weakened and it will be specially skipped over, and coming together (saṃ-cāra) of notes should be as in the Ṣaḍjamadhyamā. 150-151. These are the Jātis with their ten characteristics. These should be applied in the song (pada) with dance movements (Karaṇas) and gestures suitable to them (lit. their own). I shall now speak of their distinction in relation to the Sentiments (rasa) and the States (bhāva). Listen about the manner in which they are to be applied in particular Sentiments. Here ends the Chapter XXVIII of Bharata’s Nāṭyaśāstra, which treats of Formal Aspects of the Instrumental Music. Footnotes and references: [back to top] [1]: “lakṣaṇānvitam ātodya” literally means ‘musical instruments possessed of auspicious marks’. NS. here considers only the traditional or well-known musical instruments as auspicious. [2]: Explaining in detail the importance of stringed instruments (tata) in the production of a play Ag. says: “tatra svagāṃśe tatamuṣirayorupayogaḥ | tau hi svarasya paramārthaṃ raktilakṣanaṃ vitarataḥ | gātaṇāṃ vākpāruṣyadidoṣopahatānāṃ svarastanvoveṇusvareṇa mukharatā nauyate svabhāvata eva tanmādhuryāt | vāṅmādhuyaṃ yāvaddhīnaṃ tadāhārthaṃ madhuraṃ niropitaṃ mādhuryam abhyāmād āhareyuḥ | tatānuvaddhatvāt svarasya na nū?nādhikabhāvāśaṅgā kācit tatra mūrcchitāyāṃ vīṇāyām aśiñcitenāpyabhihananena svaratvopalandhaḥ | natvecaṃ va(ṃ?)śa iti tatātīdyasyaiva prādhānyam.” And after a while he explains why hollow instruments (suṣira) in spite of their affinity with the stringed ones, were not mentioned immediately after these, and then he discusses the position of ‘hollow’ and ‘solid’ instruments in the Orchestra. The relevant passage is as follows: “muṣirasya svarātmakatvai'pi tadā(da)nantaraṃ tasyānabhidhānamiti cenna, vīṇāyā eva svarabhāge prādhānyāt | dhātuvādyaśeṣaśuṣkaprakṛtitvādyā(da)vanaṅgasya tanmānopakāritāñca dhanasya, vīṇeva (vīṇāyām eva) muṣirasya tata evāṃnupraveśaḥ | tatasyu vaṃśastatra caturvidhātodyamuparañcakam | uparañcanīyāścābhinaya iti tayorekatraṃ sanniveśāsmakaḥ samūhaḥ kartavyaḥ | tatra caturvidhamātodyaṃ svaratālaprādhānyā[da] hividhaṃ kṛtaṃ tatamavanaddhaṃ ceti | muṣiradhanayoḥ krameṇa tadaṃśaga[ta]va?t.” [3]: “cārmabaddhanād avanaddham”, Ag. [4]: “murtikāṭhinena dhanaṃ”, Ag. [5]: “kutaṃ śabdaṃ pāti, kaṃ ca raddhaṃ tapatujjvalayati” Ag. The commentator again seems to give this word a new meaning. See Introduction to the Vol. I. pp. LXXVIf. Here kutapavinyāsa should be read as kutapavinyāse. [6]: “parignaho gāyakasya tad yathā gāyakāḥ ko?sthatālikāhastāḥ” Ag. It appears from this that the singer had near him attendants with brass cymbals. [7]: “hi(vi)pañcī apūrṇatantrīkā kāṃ?ṇavādanīyā vīṇātvekaviṃśatitatrīkā” Ag. Vipañcī seems originally to have been a ten-stringed Vīṇā to be played with a plectrum. [8]: See note 3 above. [9]: “paṇavo'ntastantrīko huḍuṃkāraḥ” Ag. Paṇava is a small drum or tabor. [10]: “darduro mahādhaṇṭhakāraḥ” Ag. describes Dardura as being like a large gong made of bell-metal; some consider it to be a flute. See Apte sub voce. Dārdurika may however be derived from dārdura which means a conch-shell the valve of which opens to the right. See Apte sub voce. But in spite of all this, Dardura was a kind of drum. See XXXIII. 4. [11]: See XXXIV. 1-12. [12]: On the Ág. says: “tatāvanaddhayoḥ kutapayorniya5heśatā pupkarādhyāye vakṣyate | nāvyakutapasya tu prayogi mā bhūdyā(davya)vadhiriti sannidhimātram upayogi na tu deśaniyamaḥ” [13]: This acting included dancing. [14]: See note 3 below. [15]: Kālidāsa uses this expression. See Vikram. V. 2. 0. Ag. explaining why these three different items are to be given unity, says: “yanmād vividhāścayaṃ bhinnendriyagnāhya-vividhakriyārūpaṃ tammād yatrenāsaikatā saṃpādyā yenaikaṣuddhi-viṣayatā tat sāmājikasya gacchet |” In this connexion he rejects the suggestion that the mere reading of plays can fulfil their purpose, and says: “ane tu manth?ante gītātodyavihīnādapi prayogāt paṭhyamānādapi daśarūpakād bhavati siddhirityanena mūcitam iti | tattu na samyagiva (geva) tāvato hyaparipūrṇatā nāṭyasya, paripūrṇa asarvānugrāhi nāṭyasvarūpam abhidhitsitaṃ muneḥ” Cf. Aristotle’s view of tragedy (see Introduction to vol I. pp. XLII-XLIII). [16]: Gāndharva seems to be a combination of the vocal music and the music of instruments, such as vīṇā and flutes (See 10 below). From the Mṛcchakaṭika (III. 2. 1) we learn that viṇā as as well human voice charmed Cārudatta in a performance of Gāndharva. Ag.’s explanation of gāndharvamiti as “gāndharvo mitirmānaṃ vartanam antarbhaṃvo yasya” etc., seems to be fanciful. See XVII. 92, 94, 98, 102 etc. and XXI. 24, 25, 73, 77 etc. The expression should be taken simply as a combination of gāndharvam and iti. [17]: The three kinds of gāndharva seem to be three kinds of musical performance in which individual notes, beating time, or songs respectively play their principal or only part. [18]: This and the succeeding terms have been defined below. [19]: It seems that Mūrchanās, Tānas, Vṛttis, Dhātu and Śruti related practically to the Vīṇā or the stringed instruments of its class. [20]: See note 2 above. [21]: Ibid. [22]: Ibid. [23]: Ibid. [24]: This and the following terms have been defined in XV. 9, 33, 39ff. The ākhar of the Bengali kīrtan, is probably an example of the anibaddha pada. [25]: Here tālagatasyāpi should be read as tālagataṃś cāpi. [26]: This and the following terms have been defined later on. [27]: The text ity ekaviṃśako should be read as ity evaṃ viṃśako. [28]: For an explanation of this and succeeding terms see below and GS. I. pp. 462, 463, 467, 468; GS. II. pp. 117-123, MM. p. 9. MH. p. 108.cf. MI. pp. 27-28. According to Dr. A. A. Bake (MM. p. 9.) “the sonant note is the melodic centre of the melody.” See below note 1 of 76-78. [29]: See SR. I. 3. 47ff. Kn. says: “yayoḥ svarayorantaragocarāḥ svādhāraśrutī vihāya madhyavartin?ḥ śrutayo hādaśāṣṭau vā dṛśyante tau miyaḥ saṃvādinau bhavataḥ iti |” Sbh. too says: “hādaśāṣṭau vā śrutayo yayorantare vartante tau mithaḥ parasparaṃ saṃvādinau bhavataḥ” But Mataṅga (Bd. p. 14,11. 1-2) says: “saṃvādinastu punaḥ samaśrutikatve sati trayodaśanavāntaratvenāvadoddhavyāḥ”; and Dattilla (18) too says: “mithaḥ savādinau jñeyau trayodaśanavāntarau” The difference between the two views, is more apparent than real. For Sbh. says “yayauḥ śrutyoḥ svarāvasthilau te śrutī vihāya madhyasthā śrutayo hādaśāṣṭau vā yadi bhavanti tadā tayoḥ saṃvāditvam ityanenābhiprāyenaivam uktam | mataṅgādibhistu yo yasya saṃvādī tasyāvasthānaśrutimapi madhe gaṇayitvā trayodaśanavāntaram uktamiti na kaścid visaṃvādaḥ” (on SR. I. 3. 48-49). [30]: See below note 2 on 23. [31]: See below note 1 on 23. [32]: From its several variants it appears that the term aṃśa is nothing but aṃga misread from some very early ms. For more about this see the Introduction. [33]: Mataṅga (p. 15. 11 11-12) says : “hantaratvād vivāditvam uktam” and Dattila (19) too says: “hantarau tu vivādinau”; Kn. says “ekena śrutyantaritau parasparaṃ vivādinau iti lakṣaṇaṃ mūci(ṃ?)ta bhavati” and reconciles this with the view of the NŚ, and other earlier writers as follows: “iyorekakhādhāraśrutyā maha hantaratvasya vivakṣitatvādekaśrutyantaritatvamevārthaḥ” (on SR. I. 3. 49). SR. (I. 3. 49) defines vivādī notes differently. It makes ni and ga, vivādī to ri and dha respectively. [34]: Mataṅga (p. 144ff.) says that the mutually anuvādī pairs of notes are: sa and ri, pa and dha, sa and dha, pa and ri in the Ṣaḍja-grāma. Sbh. adds one more pair (ma and ri) to these (on SR. I. 3. 50). [35]: The Grāma may be translated as ‘scale’. Strangway’s theory about its meaning does not appear to be sound (see MH. p. 106). Weber thinks that the Greek word gamma in its musical sense, is nothing but a derivation from the Sanskrit word grāma. Indische Streifen, 1.3. (Ref.MM. p. 10). According to Nārada there is one more Grāma named Gāndhāra (NāŚ. I. 2. 8). SR (I. 4. 5) too mentions this. For more about Grāma see MH. pp. 108-112. [36]: Probably due to the exigency of metre, the NŚ. in describing here the Śrutis of each note, begins from Ṛṣabha. [37]: Utkarsas (increase) tīvratā, apakarṣo (decrease) mandatā, Ag. [38]: Mārdavam (slackness) tantryāḥ śithilīkaraṇam, viparītatvam āyatatvam (tenseness) Ag. [39]: Śruti may be translated as ‘interval’. Early authorities differed from one another as to the nature and number of Śrutis. Viśvāvasu thought they were two, some authority considered that their number was three, some twenty-two, some sixty-six and some infinite. Views of the anonymous authorities are known from the following couplet of Kohala: “hāviṃśati kecidudāharanti śrutīḥ śrutijñānavicāradakṣaḥ | ṣaṭṣoṣṭibhinnāḥ khalu kecidāsāmānantamane pratipādayanti ||” See Bd. pp. 4, 5; Sbh on SR. I. 3. 8. 9. For an elaborate discussion on the nature of Śrutis in relation to the seven notes in the ancient Hindu scale see GS. I. pp. 298-379; GS. II. pp. 138-143. The following passage in NŚ. from “nidarśanaṃ tvāsām” to “hāviṃśati śrutayaḥ pratyavagantavyāḥ” occurs in the Bd. (pp. 5-6) with a slight modification. SR. too follows this (See I. 3. 11-22). [40]: Ag. explains this ‘measure’ (prāmaṇa) as length and thickness, others include the number of strings also in this (pramāṇam ānāhapariṇāhau; tantrīṇāṃ tulyatvaṃ saṃkhyayā sthaulyādinā ceti kecit) [41]: (27-28) 1 The Gāndhāra Grāma became obsolete at the time of the NŚ., which ignores it. For its Śrutis see SR. I. 4. 4-5 and MM. p. 10. [42]: The ‘Mūrchanā’ has often been translated as ‘mode’ of the Western music (See GS. I. p. 284; MH. p. 106; MM. pp. 10-11). But we are not sure about the accuracy of this. For further details about the term see GS. I. pp. 285ff; GS. II. pp. 14, 83ff. Mataṅga explains the term as follows: “mūrchanāśabdavutpattimūrchāmohe samucchaye | mūrchate yena rāgī hi mūrchanutyabhisajñitā” (Bd. p. 22). Sbh. further explains this as follows: “svarāṇāmeva mūrchanātvaṃ na tvārohaṇāvarohaṇarūpāyā kriyāyā ityapuktaṃ teneva (=mataṅgenaiva) ārodaṇāva royaṇakrameva svarasaprakam | mūrchanāśabdavācyaṃ hi vijñeyaṃ tad vicakṣaṇaiḥ” (on SR. I. 4. 9-11). But curiously enough Ag. writes: “kramān atikramenodhvaṃ yacch?vamāṇam ava(ā)rohaṇaṃ tadupalakṣitaṃ svarasaprakasvarūpacaho (hā) bhurchanā | mūrchanā hi samucchāy? paṭhyat?” [43]: For the Mūrchanās of the Gāndhāra Grāma see NāS. I. 2. 9 and SR. I. 4. 25-26. [44]: Though NŚ. is silent on the point, the SR. gives the differing pitch of notes as they appear in the Mūrchanās. (Seel. 12-14 and Sbh. thereon). [45]: Tānas or pure Tānas are included into the Mūrchanās. Difference between them seems to be that the latter includes all the seven notes, while in the former, one or two notes except Madhyama in all Grāmas, and Dhaivata in the Ṣaḍja Grāma, and Pañcama in the Madhyama Grāma are so very weakly ‘worked’ that they are considered as dropped. For the two ways of working such Tānas see below. NŚ. does not seem to be quite clear about the function of Mūrchanās, and Tānas which they include. But Ag. says “tānāśca kutapa upayujyante”. It is doubtful whether the modern use of the term Tāna, is very old. The Mūrchanā in its original sense seems to have disappeared from the later Indian music (see MH. p. 106). About the function of the Mūrchanā and Tāna, Sbh. says: “nanu mūrchanāstāvaj jātirāgabhāṣā'diṣupayogintha iti yuktaṃ tāsāṃ kathanam; tānāstu? kutropayujyante? ucyante | iyorgrāmayorjātirāgānthetvapratipādapānārthaṃ prayogastānānāmitukta mataṅgena” (on SR. I. 4. 29-31). But Mataṅga’s view given here, is not quite clear. [46]: The term auḍavita and auḍava have often been read respectively as auḍuvita and auḍuva with a notion about their connection with uḍu (= star). Oḍava or auḍava which lies at the basis of these terms, appears to be a non-Aryan word meaning probably ‘five’, and ṣāḍava too may likewise be of the same origin, and may mean ‘six’, and its another form might have been ṣoḍava connected with ṣoḍa in ṣoḍaśa. This hypothesis may better explain in case of ṣaṭ, the appearance of a cerebral sound in place of I-E k. [47]: See note 2 above. [48]: It appears from this that by imitating the Mūrchanās and Tānas produced in the Viṇā, singers attained the facility of producing notes from, any voice-register they liked. See above note 2 on 13-14. [49]: See XIX. 37ff before. [50]: “cakṛṣṭa=īṣatkṛṣṭa (tadalpārthe naña) |” [51]: “saukṣmaṃ vaivitraṃ nipuṇasādhyatā ca ||” Ag. [52]: Cf. “kākākṣigolakanyāya” [53]: On the meaning of Jāti, Kn. says “grāmahayāccāyanta iti jātyaḥ” and Sbh. “sakalasya rāgāderjanmahetutvājjātyaḥ” (on SR. I. 7. 3). See also Bd. pp. 55-56. But Jātis are the primitive melody-types from which Rāgas of later Hindu music developed. Jāti meaning ‘birth’ probably stands here for recognized melody-types of the day, which were considered to be of (pure) birth as opposed to other types which were hybrids. For the characteristics of the Jātis see 73-74 below. “jāyate?śṛṅgabhinnagauḍarāgasādhāraṇabhāṣāvibhāṣātmakaṃ” (Ag.). [54]: See SR I. 7. 17. [55]: See SR. I. 7. 18. SR. (I. 7. 18-20.) classifies them also into (i), Purṇā (heptatonic), (ii) Pūrṇa-ṣāḍavā (heptatonic and hexatonic) and (iii) Pūrṇā-sādavauḍavitā (heptatonic, hexatonic as well as pentatonic). [56]: See above note I of (40-41) and 41-42). [57]: For a definition of these term see below 74ff. [58]: The constitution of modified Jātis, has been given in Bd. in a slightly different language (pp. 54-55). The passage appears there as a quotation from Bharata, though actually it has been re-written. See also SR. I. 7. 10-16. [59]: See note 1 above. [60]: C. reads Ṣāḍjī instead of Ārṣabhī. But Bd. read (p. 54 “ārṣabhyāstu bhavedāndhī(?) gāndhāryāścaiva saṅgarāt”) See also SR. I. 7. 12. [61]: See Bd. 188 (p. 55); SR. I. 7. 18. [62]: See Bd. 189 (p. 55). [63]: See Bd. 192, 191, 190 (p. 55). [64]: See Bd. 194, 195 (p. 55). [65]: This and the following nine terms have been defined below (75ff). A later writer adds the Antaramārga, Saṃnyāsa and Vinyāsa to these, and make the number thirteen (MM. pp. 36-37). [66]: The Graha is the note in which the song begins. Mataṅga says “jātyādiprayīgo gṛhyate yenāsau grahaḥ” (Bd. p. 66). “ragādau sthāpito yastu sa graha svara ucyate” (wrongly ascribed by GS. to SR.); “graha svara sa itukto yo gītādau samarpita | saṅgītanārāyaṇa” (The last two passages are quoted in GS. I. p. 121). F. Strangway’s suggestion is that the term possibly means ‘clef’, though some writers differ from him. (See MM. pp. 12-13). But this view seems to be right, because the Graha and the Aṃśa are taken as synonymous by SR. See Sbh. and Kn. on. SR I. 7. 29-34. For a further discussion about it see GS. I. pp. 66-67, 121 and GS. II. p. 21. The assumption of a rule of the Graha as well as of the Nyāsa with regard to the Rāgas only, seem however to be erroneous. These two relate merely to songs in general (see GS. I. pp. 67, 121). [67]: See below note 1 on 76-78. [68]: This Aṃśa has been rightly compared to the Governing note or the Key-note of the Western music. It is also called Vādīn (Sonant) note and is the basis of the melodic structure of a song (gīta). For more about the term see GS. II. pp. 21, 29, 113, 117. See also above note 1 to 75. Though the Graha and the Aṃśa are synonymous, there is a distinction between the two. On this Kn. says, “natyaṃ?o graha iti bharatādeśena sarveṣvapyaṃśadharmeṣu grahasya prāpteṣu grahāṃśayoḥ kā viśeṣa iti cet, ucyate—grahasyāṃśātideśatastu prāptaṃ na kevalaṃ vāditvameva dharmaḥ, api tu vāditvādicatuṣṭayamapīti tayorbhedaḥ iti | tayoktaṃ mataṅgena (p. 56) aṅgo vādeva(?) paraṃ grahastu vādyādibhedabhinnaścaturvidha iti (on SR. I. 7. 29-34)” (on SR. I. 7. 29-34). On the etymological sense of the term Sbh. says “nanu katham asyāṃśaśabdavācyatvam? aṃśaśabdena bhāga ucyate; athamapi jāti rāgādivibhāgakāritvādaṃśaśabdonācyate | ” (on SR. I. 7. 32-34). ‘Aṃśa’ in a few places has its variant as aṃga which seems to be the original form of the term. ‘Aṃga’ note means the note which is an essential requisite or component of the song. For this meaning see Apte sub voce. [69]: See below note 1 of 101-105. [70]: See below note 1 of 101-105. [71]: Kn. gives the method of raising the pitch as follows. “ṣaḍjamadhyamagrāmayoḥ prādhānyāt prā?lyācca ya?in grāme yaścatuḥśrutiko'śaḥ ṣaḍjo vā madhyamo vā bhavet | tārasthitāda higuṇāt tammāt ṣaḍjāṃda(?) vā madhyamāda vā parāṃścaturaḥ svarān | madhyamagrāme......tāramadhyamaparāmarśe(?) tammāditi tamārabhetyarthaḥ |... tena saha parāṃścaturo(?) mapadhanīnā ārohedityarthaḥ | ṣaḍjagrāme tu...tāraṣaḍjaparāmaśeṃ(?) tammādityavadhau pañcamī | tataḥ parāṃścaturaḥ svarān rigamapān ārohediti” (on SR. I. 7. 35-36). [72]: The translation is tentative. For the method of lowering pitch given in SR I. 7. 34-37 see Sbh.’s comment thereon (GS. II. pp. 113-124). [73]: Alpatva (Reduction) of a note is qualitative as well as quantitative. The former is skipping over or very lightly touching the note, and the latter is its non-repetition (See GS. II. p. 79). [74]: The Antaramārga has been taken as an additional characteristic of the Aṃśa. But this is no addition to the definition of the term given in NŚ., but an amplification of the same. See SR. I. 7. 30, and Kn.’s comment thereon. [75]: Bahutva (Amplification) is also of two kinds: (a) qualitative i.e., the note being perfectly (i.e., most audibly) produced and (b) quantitative i.e. the note being repeated in many ways (See GS. II. p. 79). [76]: The translation is tentative. [77]: That is, anuvāin and saṃvādin notes to it. [78]: See 5860-61 before. [79]: See 58 before. [80]: The Nyāsa has been compared to Cadence of the Western music. See GS. II. pp. 35, 118. Some later writer connects the Nyāsa with Rāgas: “?nthāsasvaramtu vijñeyo yastu rāgasamāpakaḥ” (wrongly ascribed by GS. to SR.); while the rest take this in connection with songs in general and not merely to Jātis. e.g. “gīte samāprikkannyāsaḥ(?)” (SR. I. 7. 38); “?nthāsaḥ svarastu vijñeyo ścastu gītasamāpakaḥ” (saṅgītadarpaṇa, 146). [81]: The Apanyāsa note occurs at the conclusion of each division (vidārī) of the song. Mataṅga says on this point : “sa ca ṣaṭpañcāśada bhedabhinnāṃ bhavate, gītanāṃ madhe ?oddhabyaḥ | yathā yatra sasāpramiva gītaṃ pratibhāsate so'panthāmaḥ(?) | sa ca vidārimadhe bhavati | gītaśarīramadhya ityarthaḥ” See also GS. II. p. 118. [82]: The emendation of the text, should be cancelled. [83]: But the Vinyāsa and the Saṃnyāsa mentioned in 76-78 above, have not been defined or explained. It is possible that the passages treating these items, have been lost. The Saṃnyāsa is the closing note of the first division of a song, and is not vivādin to the Arnśa. According to Mataṅga, “aṃśasya vivādī yathā na bhavati prathamavidāryāmante yadi prayukto bhavati tadā saṃnyāsa itucyate” (Bd. quoted by Sbh. comm, on SR. I. 7, 51-52). The Vinyāsa is the closing note of the padas in a division of the song, and it is samvādin or anuvādin to the Aṃśa. According to Mataṅga “eṣa eva tu saṃnyāsasyaro yadā padānte vinyasyate tadā vinyāsaḥ | ata evāṃśabhya saṃvādyanuvādī vā padavidāryante bhavatītuktam” (on SR. I. 7.47-51). SR. defines the Vinyāsa as follows: “vinyāsaḥ sa tu kathvate | yo vidārībhāgarupapadaprānte'vatiṣṭhate” (I. 7. 48). Kn. explained it follows: “vidāryā bhāgarūpāṇi varṇālaṃkārādiyuktasya rāgasya vākyasyānīyasyāvayavabhūtāni padavat padāni teṣāṃ svarasamudayātmānāṃ prānte yo'vatiṣṭhata iti” (on SR. I. 7. 48). 15 July, 2017 --> Last Updated: 03 December, 2017 $(function(){ if($(document).height() > $(window).height()){ $('.book.chapter').append('^ back to top ^') $('section.back > a').click(function(){ $(window).scrollTop(0); }); } }); /** * Derivation list */ /*$('a.deriv-link').click(function(){ $(this).closest('.words-group').find('.deriv-list').toggleClass('d-none'); });*/ ====================================================================== Chapter XXIX - On Stringed Instruments ====================================================================== --> Natyashastra (English) by Bharata-muni | 1951 | 240,273 words | ISBN-13: 9789385005831 Hinduism Natyashastra Buy now! The English translation of the Natyashastra, a Sanskrit work on drama, performing arts, theater, dance, music and various other topics. The word natyashastra also refers to a global category of literature encompassing this ancient Indian tradition of dramatic performance. The authorship of this work dates back to as far as at least the 1st millenn... Go directly to: Footnotes. Chapter XXIX - On Stringed Instruments (tata) < Previous (index) Next > Application of Jātis to Sentiments 1. The Ṣaḍjodīcyavatī and the Ṣaḍjamadhyā should be applied in the Erotic and the Comic Sentiments respectively because Madhyama and Pañcama[1] are amplified in them.[2] 2. The Ṣāḍjī and the Ārṣabhī should be applied in the Heroic, the Furious and the Marvellous Sentiments after making [respectively] Ṣaḍja and Ṛṣabha their Graha note[3]. 3. The Naiṣādī with (lit. (in) Niṣāda as its Arnśa note, and the Ṣaḍjakaiśikī with (lit. in) Gāndhāra (as its Aṃśa note] should be the Jāti sung (lit. made) by expert singers[4] in the Pathetic Sentiment.. 4. The Dhaivatī[5] with (lit. in) Dhaivata as its Aṃśa note [is to be applied] in the Odious and the Terrible [Sentiments]. [Besides this] the Dhaivatī is applicable in the Pathetic Sentiment[6], and [similarly] the Ṣaḍjamadhyā is to be applied in connection with madness. 5. The Jātis should be made in the application of Dhruvās by the producers, after [very carefully] considering the Sentiments, the action and the States [in a play]. 6. These are the Jātis of the Ṣaḍja Grāma known to the wise. I shall now speak of the Jātis of the Madhyama Grāma. 7. The Gāndhārī and the Raktagāndharī, when they have Gāndhāra[7] and Niṣāda as their Aṃśa notes, should be applied in the Pathetic Sentiment. 8-9. In the Erotic and the Comic Sentiments, the Madhyama, the Pañcamī, the Nandayantī, the Gāndhārī, the Pañcamī and the Madhyamodīcyavā Jātis with Madhyama[8] and Pañcama amplified, should he applied. 9-10. In the Heroic, the Furious and the Marvellous Sentiments, the Karmāravī, the Āndhrī and the Gāndhārodīcyavā, with Ṣaḍja and Ṛṣabha as their Aṃśa notes, should be applied. And in the Odious and the Furious Sentiments the Kaiśikī with Dhaivata as their Aṃśa note, should be applied. 11. Only the Ṣaḍjamadhyā is the Jāti which can accommodate all the Sentiments. All notes [of the Grāma] may be its Aṃśa and these have been dealt with in the rules of [dramatic] production. 12. When a note [representing a particular Sentiment] is prominent (lit. strong) in a Jāti, the producers, in regard to the production of such a Sentiment should combine the song with it, i.e., should give it prominence there. 13-14. [For example,] a song in the Erotic and the Comic Sentiments should abound in many Madhyamas and Pañcamas (i.e., should be Jātis containing these notes in profusion), and in the Heroic, the Furious and the Marvellous Sentiments, songs should be made with many Ṣaḍjas and Ṛṣabhas. And the song in the Pathetic Sentiment should be full of many Gāndhāras and Niṣādas (lit. the seventh). Similarly a song in the Odious and the Terrible Sentiments should have many Dhaivatas. 15. In all the Aṃśās, these notes are to be applied according to rules with the suitable Kākalī and Antara-svara, and are to be made specially strong. 16. These Jātis relating to the dramatic performance, should be known by the wise. Now, listen about the notes prescribed in the instrumental music. 16ka-kha. The notes Madhyama and Pañcama are to be produced in the Comic and the Erotic Sentiments, Ṣaḍja and Ṛṣabha in the Heroic, the Furious and the Marvellous Sentiments, Gāndhāra and Niṣāda in the Pathetic Sentiment, and Dhaivata is to be produced in the Odious and the Terrible Sentiments. I shall speak after this on the characteristics of the Varṇas[9] and the Alaṃkāras[10]. The four Varṇas 17-18. The Varṇas[11] on which the Alaṃkāras[12] depend are of four kinds, viz. ‘Ascending’ (ārohin)[13] ‘Descending’ (avarohin)[14] ‘Monotonic’ (sthāyin, lit. staying)[15] and ‘Mixed’ (saṃcārin, lit. moving together)[16]. 18-19. The Varṇa in which the notes go up [in the scale], is called Ascending[17] and in which they go down [in the scale], is called Descending[18]. The Monotonic Varṇa is that in which notes are the same and are equal [in pitch][19], and when the various notes come together they constitute what is called a Mixed Varṇa.[20] 20. These four Varṇas having [clearly] defined aspects, are taken (lit. born of) from the human (lit. physical) voice and they relate to the quality of the three voice registers (sthāna). 21. When a regular (lit. having a characteristic) song (pada) adds [at least] two Varṇas to it, then the Varṇas[21] give rise to Sentiments. 22. These four Varṇas are to be known as applicable to songs. Now listen properly about the Alaṃkāras which depend on them. The Thirty-three Alaṃkāras 23-28. The Alaṃkāras[22] are: Prasannādi, Prasannānta, Prasannādyanta, Prasannamadhya, Sama, Bindu, Veṇu, Nivṛtta-pravṛtta[23], Kampita, Kuhara, Recita, Preṅkholitaka, Mandratāraprasanna, Tāramandraprasanna, Prasvāra, Prasāda Udvāhita, Avalokita, [Krama,] Niṣkujita, Udgīta, Hrādamāna, Rañjita, Āvarta, Parivartaka, Udghaṭṭita, Ākṣipta, Sampradāna, Hasita, Huṃkāra, Sandhipracchādana, Vidhūna[24], and Gātravarṇa. The Monotonic Alaṃkāras 29-30. The Monotonic Alaṃkāras[25] are: Prasannādi, Prasannānta, Prasannādyanta, Prasannamadbya, Sama[26], Recita, Prasvāra[27] and Prasāda. Listen again, about the Alaṃkāras depending on the Mixed Varnas. The Mixed Alaṃkāras 31-32. Mandratāraprasanna, Bindu, Preṅkholita, Nivṛttapravṛtta, Recita, Kampita, Sama, Kuhara, Veṇu, Rañjita, Avalokita, Āvartaka and Parivartaka are of the mixed class[28]. The Ascending Alaṃkāras 33-34. The Ascending Alaṃkāras[29] are: Niṣkūjita, Huṃkāra, Hasita, Bindu, Recita, Preṅkholita, Ākṣipta, Vidhūna, Udghaṭṭita, Hrādamāna, Sampradāna, Sandhipracchādana, Prasannādi and Prasannānta. The Descending Alaṃkāras 35.[30] The Descending Alaṃkāras’ are Vidhūna, Gātravarṇa, Udvāhita, Udgīta and Veṇu. 36. These Alaṃkāras attached to songs of seven[31] forms, should be known to the wise. These [however] are not generally used (lit. desired) in the Dhruvās[32], because of their giving prominence to the Varṇas of Jātis [which are not used there]. 37. Alaṃkāras, such as Bindu and Veṇu, are not to be used in their own measure (pramāṇa) while they are applied in the Dhruvās. 38-39. For the Dhruvā conforming to the meaning of the play, is to suggest its meaning, while the Varṇas (i.e., Varṇālaṃkāra) are to soften to (lit. weaken) the pada[33]. Now listen about the Varṇas which are [commonly] used. 39-43. [The Alaṃkāras] such as Prasannādi, Prasannānta, Prasannādyanta, Prasannamadhya, Bindu, Kampita, Recita, Tāra, Tāramandra, Tāratarā, Preṅkholita, Mandra, Mandratāra, Sama, Nivṛttapravṛtta, Prasāda, Apāṅga, Avaloka and Veṇu, belong to all the Varṇas[34], and all the Varṇas except the Monotonic ones, have their use [in songs][35]. Next I shall describe the characteristic[36] of the Alaṃkāras arising from the Varṇas. The Definition of the Alaṃkāras Prasannādi[37]—that in which a note rises (lit. becomes brilliant) gradually [from the low pitch]. 44. Prasannāntā[38] this (Prasannādi) enunciated in the reverse order. Prasannādyanta[39]—that in which the beginning and the ending notes are in a low pitch [and the middle one is in high pitch]. 45. Prasannamadhya[40]—when note in the middle is of low pitch [but notes in the beginning and in the end are in high pitch]. Sama[41]—that in which a note repeats itself in the same pitch and is equal in all [parts], 46. Bindu[42]—when a note of one Kalā of low pitch after touching high pitch comes back [to its original pitch]. Nivṛttapravṛtta[43]—[when a note of one Kalā of high pitch], after touching low pitch comes back to its original pitch. 47. Veṇu[44]—that in which the tempo (laya) is playlike. Kuhara[45]—that in which notes (lit the wind) being in the medium pitch (lit. stopped in the vocal passage) are (in a play-like tempo). 48. Recita[46]—trembling notes of three Kalās in high pitch (lit. in the head). Kampita[47]—trembling notes of three Kalās in low pitch (lit. in the breast). 49-50. Preṅkholita[48]—that in which the notes ascending and descending occur [in each Kalā]. Tāra—a note of medium pitch (lit. in the throat)[49]. Mandra—a note of low pitch (lit. in the breast)[50]. 50-51-Tāratar—a note of high pitch (lit. in the head)[51]. Tāramandraprasanna[52]—when (in a Kalā the fourth or the fifth note gradually falls (lit. assumes low gait) from a high pitch. 51-52. Mandratāraprasanna[53]—when in [a Kalā of] four or five notes they gradually rise to a high pitch from a low one after skipping over other low notes. Prasvāra[54]—when [in a Kalā], a note ascend gradually by one note. 53. Prasāda[55]—when in a Kalā, notes descend gradually by one note. Apāṅgika[56]—when in a Kalā, notes come together (i.e., once ascend and once descend). 54. Udvāhita[57]—when in a Kalā two consecutive notes ascend, and two such Kalās make one unit. 55. Avalokita (-loka)[58]—when in the Udvāhita the repeated Kalās are in the descending scale. Krama[59]—when successive Kalās include one two, three; four, five, six, seven consecutive notes which ascend. 56. Niṣkūjita[60]—containing Kalās in which notes after ascending to the note following the one next to it, comes back to it. 57. Udgīta[61]—Kalās in the Prasvāra once (lit. in the beginning) ascending and next (lit. in the end) descending. 58. Hrādamāna[62]—notes in this order (i.e., as in the Udgīta) in two Kalās consisting of at least two or at most six-notes, where alternate notes come together. 59. Rañjita[63]—after staying in two consecutive notes of two Kalās, it ascends half a Kalā and then again descends to the preceding note. 60-61. Āvartaka[64]—eight Kalās of four consecutive notes ascending and descending. It is also formed with two alternative notes. In that case four Kalās will have ascending and descending notes. 62. Parivartaka[65]—eight Kalās in which a note ascends to the third one from it and skips over the next one to ascend in the note following, and descends in the same manner [in the next Kalā]. 63. Udghaṭṭita[66]—containing [eighteen] Kalās which ascend for two notes and then leaving out the next note ascend to the following one. 64. Ākṣiptaka[67]—containing six Kalās of three notes. 65. Sampradāna[68]—as in the Ākṣipta, constituted with Kalās of four notes, [alternating with] Kalās [of three] notes in which, alternate notes are included. 66. Hasita[69]—constituted with double Kalās of two consecutive notes like laughter, as in the Ākṣipta. 67. Huṃkāra[70]—ascending as in the Hasita, at least two or at most four notes in each Kalā 68. Sandhipracchādana[71]—having groups of four Kalās with notes ascending from the beginning (lit. place) to high note and ascending from it to the original one and there being no throwing up. 69. Vidhūna[72]—after producing first the pada (song) containing two short notes, two consecutive notes will ascend in each Kalā. 70-71. Gātravarṇa[73]—as in the Huṃkāra notes ascend consecutively in the alternate Kalās [of four notes] in which the first two are trembling and the next two are of low pitch. 71-72 E and O as well as the other long vowels[74] are to be added [to notes in Alaṃkāras]. This is the properly given rule of the Karaṇas[75] of the Alaṃkāras in songs. Songs should be decorated with these Alaṃkāras without [coming in] conflict with [the rule concerning] the Varṇas.[76] 73. Alaṃkāras should be attached to proper places for example, the girdle (kāñcī)[77] should not be placed (lit. fastened over the breast. And too many Alaṃkāras without any song (varṇa) should not be used. 74. These are the Alaṃkāras depending on the Varṇas. Now I shall speak of those depending on rhythm (chandas) and [the quality of] the syllables (akṣara). 75. A song-without any Alaṃkāra will be like a night without the moon, a river without water, a creeper without a flower and a woman without any ornament.[78] 76. These are the thirty-three Alaṃkāras I spoke of, I shall now mention the characteristics of the Gītis.[79] Alaṃkāras depending on the Gīti 77. Gītis are of four kinds: the first is Māgadhī, the second Ardhamāgadhī, the third Sambhāvitā and the fourth Pṛthulā.[80] 78. The Māgadhī is sung in different tempos (vṛtti).[81] The Ardhamāgadhī changes (lit. revises) its tempo after half-time. 79. The Sambhāvitā is known to be constituted with long syllables and the Pṛthulā with short syllables. 80-81. These Gītis are known to be without any connexion with the Dhruvās.[82] But they are always to be applied by the musicians in the Gāndharva[83] only. I have spoken properly of the Gitīs. Now listen about the Dhātus.[84] I shall now speak of the playing of the Dhātus. Dhātus in playing stringed instruments 82. Four Dhātus[85] depending on the playing [of stringed] instruments[86] are: Vistāra (expansion), Karaṇa (production), Ābiddha (breaking up) and Vyañjana (indication). The Vistāra Dhātus 83. The Vistāra includes four kinds of strokes: Saṃghātaja (growing out of contrast), Samavāyaja (growing out of combination), Vistāraja (growing out of amplitude) and Anubandhaja (growing out of mere succession). 84-85. Its (i.e. of the Vistāra) rules have been mentioned first as follows: [the Vistāra is of one stroke;][87] the Saṃghātaja and the Samavāyaja consist respectively of two and three [strokes]. The first is of four kinds, and the second of eight kinds. According, to the special ways of their production they have different rules. 86-87. [Notes are] known to be of low and of high pitch as they come out [respectively] of low (=mild) or high (=strong) [strokes]. This is the rule of striking that the players of stringed instruments[88] should know. The Saṃghātaja strokes have the following varieties: two high, two low, low-high and high-low. 88-89. The Samavāyaja strokes have the following varieties: three high; three low; two low, one high; two high, one low; one high, two low; one low, two high; one low, one high, one low; and one high, one low, one high. 90. The Anubandha [-kṛta] due to [its formation by] breaking up, and combining [of the groups of strokes described before,] is irregular. These are always the fourteen kinds of the Vistāra Dhātus. The Karaṇa Dhātus 91. In the playing of the Viṇā the five kinds of the Karaṇa Dhātu are: Ribhita, Uccaya, Nīraṭita, Hrāda and Anubandha. 92. The Karaṇa Dhātus will consist respectively of three, five, seven and nine [light] strokes, and the being combined[89] and all ending in a heavy [stroke]. The Ābiddha Dhātus 93. The Ābiddha Dhātu is of five kinds: Kṣepa, Pluta, Atipāta, Atikīrṇa and Anubandha. 94. The Ābiddha Dhātus will consist respectively of two, three, four and nine strokes made gradually and slowly, and a combination of these.[90] The Vyañjana Dhātus 95-100. The Vyañjana Dhātu in playing the Viṇā, is of ten kinds. They are: Kala, Tala, Niṣkoṭita, Unmṛṣṭa, Repha, Avamṛṣṭa, Puṣpa, Anusvanita, Bindu and Anubandha. Kala—touching a string simultaneously with the two thumbs. Tala—striking a string with the left thumb after pressing it with the right one. Niṣkoṭita—striking with the left[91] thumb only. Unmṛṣṭa—striking with the left[92] fore-finger (pradeśinī) Repha—one single stroke with all the figures of a hand. Avamṛṣṭa—three strokes low down [in the string] with the little finger and the thumb of the right hand. Puṣpa—one stroke with the little finger and the thumb. Anusvanita—the stroke being lower [in the string than] in the Tala [described above]. Bindu—one heavy stroke in a single string. 101. Anubandha—one irregular combination[93] (lit. breaking up and combination) of all these and it relates to all the Dhātus. These are the ten Vyañjana Dhātus to be applied to the Vīṇā. 102. These are the four Dhātus with their characteristics, which relate to the three Vṛttis[94] on which the playing of [stringed] instruments depends. The three Vṛttis Styles of Procedure (gati-vṛtti) to be principally reckoned are three: Citra (variegated), Vṛtti (movement, i.e. having a simple movement) and Dakṣiṇa (dexterous). Instrumental music, time-measure (tāla)[95] tempo (laya)[96], Gīti (rhythm)[97], Yati[98] and Graha-mārga (way of beginning)[99] will determine their respective characters. [For example], in the Citra, [the Māgadhī is the Gīti], the instrumental music is concise (i.e. not elaborate), [the unit of] time-measure [is one Kalā], tempo is quick, and Yati is level (samā)[100] and the Anāgata Grahas preponderate. Similarly in the Vṛtti [the Sambhāvitā] is the Gīti, the instrumental music is * *, [the unit of] time-measure is two Kalās, the tempo is medium (madhya), the Yati is Srotogatā[101], and the Sama Graha-mārgas are preponderant. In the Dakṣiṇa, the Gīti is [Pṛthulā,] the unit of time-measure is of four Kalās, the tempo is slow (vilambita), the Yati is Gopucchā[102] and the Atīta Graha-mārgas are preponderant. 103. Names of the three Styles of Procedure (vṛtti) are Citra, Dakṣiṇa and Vṛtti. They give quality to the instrumental music as well as to the song, and have been defined in due order. 104. The Lalita[103] etc, the Jātis[104] of all these Styles of Procedure (vṛtti), when combined in the Dhātus, will become richer in quality. The Jātis 105. And from a combination of the Dhātus, come forth the Jātis such as, Udātta, Lalita, Ribhita and Ghana. 106. The Udātta relates to the Vistāra Dhātus or to many other things. The Lalita relates to the Vyañjana Dhātus and is so called because of its gracefulness. 107. The Ribhita relates to the Ābiddha Dhātus and is characterised by multitude of strokes. The Ghana relates to the Karaṇa Dhātus and depends on their quantity (lit. aggregate of long and short notes). Three kinds of music of the Vīṇā 108. The experts are to produce three kinds of music from the Vīṇā. They are Tattva, Anugata, and Ogha which combine [in them] many Karaṇas. 109. The music which expresses [properly] the tempo, time-measure, Varṇa, pada, Yati, and syllables of the song, is called the Tattva. And the instrumental music which follows the song, is called the Anugata. 110. The Ogha is the music which abounds in the Ābiddha Karaṇas, has the Uparipāṇi Graha-mārga, quick tempo and does not care for the meaning of the song. 111. The rule in the playing of musical instruments, is that the Tattva is to be applied in a slow tempo, the Anugata in a medium tempo, and the Ogha in a quick tempo. 112. The experts in observing tempo and time-measure, should apply the Tattva in the first song [to be sound during a performance], and the Anugata in the second, and the Ogha in the third one. 113. These are the Dhātus in the music of the Vīṇā, to be known by the experts. I shall now explain the Karaṇas included in the rules of playing the Vipañcī.[105] The Karaṇas of the Vipañcī 114. The Karaṇas[106] [in playing the Vipañcī] are Rūpa, Kṛtapratikṛta, Pratibheda, Rūpaśeṣa, Ogha and Pratiśuṣka. 115. When on the Vīṇā, two heavy and two light syllables are played, it is the Rūpa.[107] And this Rūpa performed in the Pratibheda it is the Kṛtapratikṛta.[108] 116. When two different Karaṇas are side by side played on the Vīṇā, and heavy and light syllables are shown, it is called the Pratibheda.[109] Continuing [the music] in another Vīṇā, when the [principal] Vīṇā has stopped, is called the Rūpaśeṣa.[110] 117. The Ogha[111] includes the Ābiddha Karaṇas performed in the Uparipāṇi Graha-mārga. The Pratiśuṣka[112] is the Karaṇa which is played by means of one string [only]. 118. During the application of the Dhruvās, the experts should generally play with the plectrum (koṇa) two Vīṇās to accompany a song or other instruments. 119. Whether it be a place or a character, one should equally reflect it together with the song on the strings, and in the Vipañcī it will be something like the Karaṇa called the Ogha. 120. The Citra[113] is [a Vīṇā] with seven strings, and the Vipañcī[114] is that with nine strings. And the latter (Vipañcī) is to be played with the plectrum, and the Citrā with the fingers only. 121. The experts are thus to know of the Vipañcī which includes many Karaṇas. I shall next explain the Bahir-gītas which have [their fixed] characteristics. 122-124. Āśrāvaṇā,[115] Ārambha[116], Vaktrapāṇi,[117] Saṃghoṭanā[118], Parighaṭṭanā[119], Mārgāsārita[120], Līlākṛta[121], and the three kinds[122] of Āsāritas are the Bahir-gītas[123] to be applied first [in a play] by the producers, and [all] these should be applied without Tālas or with Tālas, and in the Styles of Procedure called the Citra and the Vṛtti. 125. The need for all these has already been mentioned by me in the rules for the Preliminaries[124]. I shall [now] describe their characteristics together with examples. Tha Āśrāvaṇā 126. The Āśrāvaṇā should be [performed] with twice repeated Karaṇas[125] of the Vistāra[126] Dhātu in [successive] sections (Kalās), and then with a gradual increment by two repeated Karaṇas. 127-128. It will consist of a pair of twenty-four syllables (varṇa) of which the first two, the eleventh, the fourteenth, the fifteenth and the twenty-fourth are heavy, and a [three-fold fifteen syllables of which] the first is light, the next seven including the eighth heavy the next six again light, the final [three] syllables being heavy.[127] 129-130. The Tāla in the Āśrāvanā will be as follows: three Śamyās, and a Tāla in the Uparipāṇī, two Śamyās and two Tālas and again a Śamyā and two Tālas, in the Samapāṇī, and suitable Uttara and Cañcatpuṭa [Tālas] of two Kalās.[128] (Its example is corrupt and untranslatable)[129] The Ārambha 131-132. The [constituting] syllables in the Ārambha are as follows: the first eight heavy, the next twelve and the final one light [in the first section], and the four heavy, eight light, one heavy, four light, four heavy [in the second section], eight light and the final (light) [will form the next section].[130] 333-134. It should be performed in three sections with the Karaṇas such as the Tāla the Ribhita[131] and the Hrāda[132] in which the Vistāra Dhātus[133] will preponderate, and in it an ascent will be followed by a descent[134]. And in it the Karaṇas will first be descending twice or thrice and then will be played in the reverse order, and then all these are to be repeated.[135] 135-136. Its first Tāla of three Kalās there will be a Śamyā of one Kalā, a Tāla of two Kalās, then a Śamyā of two Kalās a Tāla of two Kalās and a Sannipāta of two Kalās and a Ṣaṭpitāputraka and a Cañcatpuṭa of two Kalās.[136] (Its example is corrupt and untranslatable)[137] The Vaktrapāṇi 137. The music of the Vaktrapāṇi will include the Karaṇas of the Ābiddha[138] [Dhātu] and it has two members Ekaka of Vṛtt (= pravṛtta)[139] and it is to have in its music half the member of the Vyañjana[140] Dhātus. 138-139. [The syllabic scheme of] the Vaktrapāṇi will be as follows: five heavy, six light, four times heavy, two heavy one light, four heavy, four light, three heavy, eight light and one heavy.[141] 140. The scheme of the Śamyā and the Tāla used in the Madraka song of two Kalās, will be used in the Vaktrapāṇi, but at the Mukha (beginning) it will consist of eight Kalās.[142] 141-142. The Tāla in the Mukha and Pratimukha of the Vaktrapāṇi will be as follows: a Śamyā, a Tāla, a Tāla, a Śamyā, and a Tāla, a Śamyā, a Tāla and a Sannipāta and four Pañcapāṇīs.[143] (Its example is corrupt and untranslatable)[144] The Saṃghoṭanā 143. The music of the Saṃghoṭanā will be by means of three Karaṇas of the Vistāra[145] [Dhātu] class and it will observe the Citra[146] and the Vṛtta[147] Styles of Procedure, and the three [such Karaṇas] will be repeated and will [gradually] rise. 144-145.[148] The syllables (lit. sequence of heavy and light syllables) of the theme of the Saṃghoṭanā will be as follows: two heavy, eight light, two heavy, one light, one heavy, one light, four light, eight light and heavy in the end. 146. In the Saṃghoṭanā, the Vīṇā taken with the two hands by its beam (daṇḍa), should be played with the fingers of the right hand and the two thumbs. 147.[149] The Saṃghoṭanā is so called because of the playing together (saṃghoṭana) of the Consonant and the Dissonant notes together with the remaining Assonant ones. Its Tāla, as in the Śīrṣaka will consist of the Pañcapāṇis. (Its example is corrupt and untranslatable)[150] 148-149. [The syllabic scheme of] the Parighaṭṭanā, is as follows: eight heavy, twenty-four light[151], one heavy, sixteen light and two heavy. 150. Its music should consist of many Karaṇas of the Vyañjana [Dhātu] and should be performed with Upavahana (=Upohana) by clever hands. 151. Its Tāla will be Saṃparkeṣṭākaḥ [as it will stand] combined with the Karaṇa of the Dhātu (i.e. Vyañjana) due to the syllabic scheme [of the Parighaṭṭanā][152]. The Mārgāsārita 151-152. The syllabic scheme of the Mārgāsārita in its Vastu will be as follows: four heavy, eight light, eight heavy, eight light and the final heavy. 153. The instrumental music in the Mārgāsārita will consist of Karaṇas of the Vistāra and Ābiddha Dhātus, and it will observe all Tālas agreeing with its syllabic scheme. (The example is corrupt and untranslatable) 154. Or it may be: four heavy, eight light, three heavy, three light, and heavy in the end. (The example is corrupt). The Līlākṛta 155. The expert producer, as an occasion will arise, should perform the Līlākṛta as well as Abhisṛta and Parisṛta according to the rules of the short Āsārita, and it should observe Tālas sweet to hear. The Āsāritas may be long (jyeṣṭha), medium (madhya) and short (kaniṣṭha). They in [relation to] their Tāla and measurement, will be explained in due order in the rules on Tālas.[153] 156. These are to be known about notes arising form the body of the Vīṇā. I shall next explain the characteristics of the hollow musical instruments (sūṣirātodya). Here ends the Chapter XXIX of Bharata’s Nāṭyaśāstra, which treats of the Rules of the Stringed Musical Instruments. Footnotes and references: [back to top] [1]: The notes marked-out for amplification are the Aṃśa notes of the Jātis (See 15 below). In the present case, Madhyama only is the Aṃśa note of the Ṣaḍjodīcyavatī (°cyavā), and while both Madhyama and Pañcama are such notes to the Ṣaḍjamadhyā. See XXVIII, 84, 91. [2]: As songs included in the performance of a play, were to serve its principal purpose which was the evocation of Sentiments, the author discusses here how Jātis can be applied for this purpose. The seven notes which have already been assigned to different Sentiments (XIX. 31-40), played an important part in this connexion. All these ultimately led to the formation of the Rāgas of the later Indian Music, in which the particular melody-types were meant not only to create a Sentiment appropriate to a situation in a play, but also to act on the hearers’ emotion in such a way that they might experience in imagination the particular situations described in isolated songs as well. [3]: Ṣaḍja and Ṛṣabha are respectively included into the Graha notes of the Ṣaḍjī and Ārṣabhī Jātis. See XXVIII. 88, 89, 92. [4]: Niṣāda and Gāndhāra are respectively included into the Aṃśa notes of the Naiṣādī and the Ṣaḍjakaiśikī Jātis. See XXVIII. 83-84. [5]: Dhaivata is included into the Aṃśa notes of the Dhaivati Jāti. See XXVIII. 81. [6]: As Gāndhāra and Niṣāda are not Aṃśa notes in the Dhaivatī, it is not clear how this Jāti can be applied in the Pathetic Sentiment. Cf. XIX. 38-40. [7]: Ga and ni are included into the Aṃśa notes of both the Gāndhāri and Raktagāndhārī Jātis. See XXVIII. 89-90. [8]: Ma and pa are included into the Aṃśa notes of the Madhyama Pañcamī, Gāndharapancamī and Madhyamodīcyavā Jāti. See XXVIII. 80. [9]: See below note 1 on 17-18. [10]: See below note 1 on 23-28. [11]: The Varṇa means the production of notes in a particular way i.e., in a particular order, pitch or with a particular grouping. SR. defines the term as “gānakriyocyate varṇaḥ”; (1. 6. 1.) In explaining this Sbh. says “svarāṇāṃ vakṣyamāṇaprakāreṇa gānakriyā gānakaraṇam uccāraṇamiti yāvat | sāvarṇaśabdenocyate”. But he also adds the view of Mataṅga as follows: “yatra tāne mañcaranti svarā antānta (ānyonya?)” The Varṇas are used to make up the Alaṃkāras (see below 23ff.) It is probably this term which we meet with in Kālidāsa (“hasavadiyā vam?pari??ṃ karedi”, Śak. V). [12]: See below note I on 23-28. [13]: See below note 1 on 18-19. [14]: See below note 2 on 18-19. [15]: See below note 3 on 18-19. [16]: See below note 4 on 18-19. [17]: Example: sa ri ga ma pa dha ni. [18]: Ex: ni dha pa ma ri sa. [19]: Ex: sa sa sa sa or ma ma ma etc. [20]: Ex: sa ri ga ga ri sa, ri ga ma ma ga ri etc. [21]: Varṇas embellishing the notes of a song seems to enhance its power of evoking Sentiments. [22]: The Alaṃkāra known in later writing also as Varṇālaṃkāra, Svarālaṃkāra or Mūrchanālaṃkāra, was evidently means to embellish songs. It seems that without these proper Alaṃkāras a song remained merely a chant, and authorities differ very much among themselves about the number and definitions of the different Alaṃkāras. See below notes on 43ff: also GS. pp. 124ff. [23]: Written in NS. as two words (Nivṛttaḥ Pravṛttaḥ), but this is probably an error. Cf. SR (1.6. 47) where we have Saṃnivṛtta-pravṛttaḥ. [24]: Written in some versions of NŚ. as Vidhūta also. [25]: See Bd. (126-126) SR. has under this head two different names with different definitions. [26]: SR. (I. 6. 5-6) has Krama in its place. [27]: SR. (loc. lit.) has Prastāra in its place. [28]: See Bd. (128-129) omits Nivṛttapravṛtta, Recita, Kampita and Sama; this seems to be due to the loss of a hemistich in the text. SR. (I. 6. 26-29) has twenty-five names under this head, and they have been differently defined. [29]: See Bd. (130-131). Though some names are in a corrupt form, this text seems to follow NŚ. SR. (I. 6. 14-15) gives thirteen names and the common names have different definitions. [30]: See Bd. (132). SR (I. 6. 26) has the same names here as under the previous head (ārohi-varṇa), but with a direction that the notes are to be produced in these in descending order (avaroha-krama). [31]: This relates to the seven very old types of songs such as, Madraka, Oveṇaka, Aparāntaka, Prakarī, Ullopyaka, Rovindaka and Uttara (NŚ. XXXI. 220-221; SR. V. 58). Some authorities add seven more names (SR. V. 59.) [32]: It appears from this that the Dhruvās were a kind of chant, an early form of songs. [33]: This again shows that the Dhruvās were a kind of chant. For according to this passage, the Varṇas (i.e. the Varṇālaṃkāras) made the words (pada) of the song obscure by softening them. [34]: See Bd. (133-135) seems to be corrupt and it omits some names from the list. SR. has nothing analogous. [35]: The monotonic Varṇas are in general use, while the rest are to be used only to give special character to a song. [36]: These characteristics as defined in later works such as SR. (I. 6. 9ff.) vary from that given in NŚ. [37]: The definitions of the Alaṃkāras are not always very clear. But with the help of Bd. which in many matters seems to be in general agreement with NŚ., they may be rightly interpreted. It is a pity that the former work has not been properly edited. See D. 100-101; Bd. pp. 35, 47. Besides in these places, Bd. quotes verbatim though in a corrupt form, the definitions of Alaṃkāras in 140-169 (pp. 44-47). These have been referred to in the foot-notes to the translation whenever necessary. [38]: 1 See D. 101; Bd. ibid. [39]: See D. 101; Bd. ibid. [40]: See D. 101; Bd. ibid. [41]: See D. 106; Bd. pp. 36, 47. [42]: See D. 102-103; Bd. ibid. [43]: See D. 103; Bd. ibid. [44]: See Bd. ibid. [45]: Bd. ibid. [46]: See D. 107; Bd. ibid. [47]: See D. 107; Bd. ibid. [48]: See D. 104; Bd. pp. 37, 47. [49]: The NS. has the name of pitches as mandra (low), madhya (medium) and tāra (high, lit. loud). But in the passage in hand it has mandra (low), tāra (medium, lit. loud), tāratara (high, lit. extra-loud) in their places; cf. D. 8. It is not apparent why the term madhya (medium) has been given up here. See XIX. 45ff; 58-59 ff. [50]: See note 2 above. [51]: See note 2 or 49-50 above. [52]: See D. 104-105; Bd. pp. 37, 47. [53]: See D. 105-106: Bd. ibid. [54]: Bd. (p. 37, 48) has Prastāra (perhaps wrongly) for Prasvāra [55]: See Bd. pp. 38, 48. [56]: Bd. ibid. om. Apāṅgika. [57]: See Bd. pp. 38, 48. [58]: Bd. (pp. 39, 48) has Upalolaka for Avaloka. [59]: See Bd. ibid. [60]: See Bd. ibid. [61]: NS. puts this after 69, though serially it comes after 56. See Bd. 164 and also pp. 42, Bd. has the name as Udgīti. [62]: See Bd. pp. 39, 48. [63]: See Bd. pp. 40, 48. [64]: See Bd. ibid. [65]: See Bd. ibid. [66]: See Bd. ibid. In p. 48. Bd. writes Udvāhita (perhaps wrongly) for Udghaṭṭita. [67]: See Bd. pp. 40, 49. [68]: See Bd. ibid. [69]: See Bd. p. 41. [70]: See Bd. p. 41. [71]: See Bd. p. 42. [72]: See Bd. (p. 42) which writes the name as Vidhūta. [73]: See Bd. pp. 42-43. [74]: The other long vowels are probably ā, ī and ū. [75]: Compare the Karaṇas of dance mentioned in IV. 29ff. [76]: Bd. (167) reads the second half of this passages as “ebhiralaṃkartavyā gītirṇāmāvirodhena”, songs should be decorated with these Alaṃkāras without [coming into] conflict [with their spirit]. [77]: See XXIII. 31-32. [78]: See above note 1 on XXVIIL 8. [79]: See Bd. 171 ff.; SR. I. 8. 14ff. On the Gīti depended an ancient system of classification of rhythms. The Gīti also included special formations of syllable and variation in speed. See Banerji, GS. II. pp. 72-73. [80]: See note 1 on 76 above. [81]: Also mentioned as gati-vṛtti in XXIX. 102ff. Śārṅgadeva uses the term mārga to indicate vṛtti or gati-vṛtti. See SR. V. II. On Mārga or Vṛtti too was based an ancient system of classifying of rhythms, including that of Tāla. See GS. II. p. 72. [82]: See XXXII. below. From this passage too it appears that the Dhruvās were a kind of chant. [83]: See before the note 1 on XXVIII. 8. [84]: This is evidently a grammatical metaphor. The Dhātus (roots) relate to different aspects of strokes in playing stringed instruments. Śārṅgadeva (V. 122). says: “ye prahāraviśevītyāḥ kharāste dhātavo matāḥ” [85]: See SR. V. 123-127. [86]: As Dhātus relate to the tata or stringed instruments, we shall translate vāditra as ‘stringed instruments.’ See below 91 (vīṇā-vādye karaṇadhātuḥ) and 101 (viṇāyāṃ vyañjaṇo dhātuḥ). [87]: “ekaprahārabhavo vistārajaḥ” (Kn. on SR. VI. 183). [88]: See above note 2 on 82. [89]: Anubandha here means ‘mixture’ or ‘combination.’ See Kn. on SR. VI. 147. It may be that in the Anubandha variety of the Karaṇa Dhātu, the strokes are 3 + 5, 3 + 9, or 5 + 7, 5 + 9 etc. [90]: See above note 1 to 92. In the Anubandha of the Ābiddha Dhātu too, the number of strokes are to be increased by adding together the numbers available in other Dhātus. [91]: Savya means ‘right’ as well. See Apte sub voce, But here it is to be taken in its generally accepted sense. [92]: Ibid. [93]: See above note 1 of 92. [94]: See above note 1 on 78. [95]: See XXXI. [96]: The word laya signifies the speed at which a piece of music is performed. There are three primary degrees of speed i.e. rate of movement, in the Indian music: slow (vilambita), medium (madhya) and quick (druta). As in the European music, there is no fixed absolute measure of time for different degrees of speed mentioned here. See GS. II. p. 33. Śārṅgadeva (V. 48). defines laya as “kriyāmantaraviśrāntiḥ” [97]: See above note 1 on 76. [98]: The Yati means ‘succession of different kinds of speed’ in the whole song, e.g. a song may be sung at a slow speed in the beginning, at a medium speed next and at a quick speed in the end, or these speeds at the singer’s discretion may be taken up in a different order, See SR. V, 50ff. and Kn. theron. [99]: Mārga in the text, should be taken here as graha-mārga, which has been twice used later in this passage. Graha-mārga means the manner of following a song or a piece of music by an instrument of Tāla. See GS. I. pp. 197ff, 469. SR. V. 54-56, 58 and VI. 186-187. [100]: See SR. V. 51. [101]: See SR. V. 51-52. [102]: See SR. V. 52-53. [103]: See below 105. [104]: This term has been used also in relation to songs. See XXVIII, 38ff. and XXIX. Iff. [105]: See below 120 for the definition of a Vipañcī. [106]: Cf. SR. VI. 112. [107]: Cf. SR. VI. 113-114. [108]: Cf. SR. VI. 115. [109]: Cf. SR. VI. 115-116. [110]: Cf. SR. VI. 117. [111]: Cf. SR. VI. 118. [112]: See cf. SR. VI. 119-120. [113]: This Citrā (vīṇā) probably developed later into Persian sitār. It may be that the Greek kithara with seven strings is also connected with it. The seven strings in the Citrā, were probably meant for producing seven notes of the octave. [114]: The nine strings of the Vipañcī were probably for producing seven notes together with two Kākalī notes (svara-sādhāraṇa, XXVIII. 36). [115]: See V. 8-11, 18-21. [116]: ibid. [117]: ibid. [118]: ibid. [119]: ibid. [120]: ibid. [121]: It seems that this item was not originally included in the Bahir-gītas (See V. 8-11). [122]: Short, medium and long. [123]: These are called Bahir-gītas because they were outside (bahis) the performance of the play and were included in its Preliminaries. See V. [124]: See V. 8-11, 18-21. [125]: See XXIX 82. [126]: ibid. also SR. VI. 134-144. [127]: Cf. SR. VI. 182-184. [128]: Cf. SR. VI. 186ff. [129]: It seems that these passages evidently corrupt, included magical formulas (mantra) for warding off evils. See V. 45-55, 176. [130]: The text the of the passage, is probably still more corrupt. Cf. SR. VI. 200ff. [131]: See XXIX. 91-92., SR. VI. 145-146. [132]: ibid. [133]: See XXIX. 83-90., cf. SR VI. 134ff. [134]: cf. SR. VI. 197. [135]: The translation is tentative. Cf. SR. VI. 198-199. [136]: Cf. SR. VI. 204 ff. [137]: See note 2 of 129-30 above. [138]: See XXIX. 82, 93-94; cf. SR. VI. 148-150. [139]: XXXI. 201. ff. [140]: See XXIX. 95-101. cf. SR. VI. 151-160. [141]: Cf. SR. VI. 209-210. [142]: Cf. SR. VI. 211. [143]: Cf. SR. VI. 212. [144]: See note 2 of 129-130 above. [145]: See XXIX 83-90; cf. SR. VI. 134ff. [146]: See XXIX 83-90; cf. SR. VI. 134ff. See XXIX. 103; cf. SR. V. 11. [147]: ibid. [148]: Cf. SR. VI. 213. [149]: The translation is tentative [150]: See note 2 of 129-130. [151]: lit. twice 8 light, twice 4 light. [152]: Cf. SR. VI. 211ff. (155) [153]: See XXXI. 15 July, 2017 --> Last Updated: 18 February, 2018 $(function(){ if($(document).height() > $(window).height()){ $('.book.chapter').append('^ back to top ^') $('section.back > a').click(function(){ $(window).scrollTop(0); }); } }); /** * Derivation list */ /*$('a.deriv-link').click(function(){ $(this).closest('.words-group').find('.deriv-list').toggleClass('d-none'); });*/ ====================================================================== Chapter XXX - On Hollow Instruments ====================================================================== --> Natyashastra (English) by Bharata-muni | 1951 | 240,273 words | ISBN-13: 9789385005831 Hinduism Natyashastra Buy now! The English translation of the Natyashastra, a Sanskrit work on drama, performing arts, theater, dance, music and various other topics. The word natyashastra also refers to a global category of literature encompassing this ancient Indian tradition of dramatic performance. The authorship of this work dates back to as far as at least the 1st millenn... Go directly to: Footnotes. Chapter XXX - On Hollow Instruments (suṣira) < Previous (index) Next > 1. The hollow (suṣira) musical instruments, as the wise should know them, are made of bamboo[1]. The rules regarding their notes (svara) and the Grāma are the same as that of the Vīṇā. 2. The notes of a flute are known to have two, three and four [Śrutis], and they are either ‘shaken’ (kampita), ‘half-open’ (ardha-mukta) and ‘fully open’ (vyakta-mukta).[2] 3. As, above that[3], a note of the Vīṇā is changed into another, so in the case of the flute also it does likewise. 4. The number of Śrutis in notes [produced in a flute], will be two, three or four, and by prolonging the blow the remaining notes[4] may also be produced. 5. Notes have characteristics determined by the Śrutis numbering four, three or two produced by the application of fingers while playing the flute. Listen about that. 6-7. The note produced from a [flute-]hole thoroughly free from a finger, consists of four Śrutis, and that from a hole on which a shaking finger is placed, consists of three Śrutis, and a note consisting of two Śrutis, is produced from a hole which is partly (lit. half) free from a finger.[5] 7-9. All these are the notes in the Madhyama Grāma.[6] Notes of the Ṣaḍja Grāma will be as follows: Ṣaḍja, Madhyama and Pañcama will arise from a hole fully open, Dhaivata and Ṛṣabha from a hole covered by a shaking finger, and from a hole partly (lit. half) free from a finger, will arise Gāndhāra and Niṣāda.[7] 9-10. Niṣāda and Gāndhāra [respectively] coming in juxtaposition with Ṣaḍja and Madhyama and modifying themselves in characteristic Śrutis, will give rise to the Overlapping (svara-sādhāraṇa) and the Kākalī notes.[8] 11. The notes of the flute should be perfected (lit. accomplished) with the help of the Vīṇā and of the human throat. The very notes which the singer will attain, should be sung in accompaniment of a flute. A unision of the human throat (lit. the body), the Vīṇā and the flute, is [specially] praised.[9] 12. The music of the flute, which is steady, not very loud and furnished with the Varṇas and the Alaṃkāras, and follows rules,[10] is sweet and soothing. 13. These should be known regarding [musical] notes by persons playing flutes. I shall next speak of the solid musical instruments. Here ends the Chapter XXX of Bharata’s Nāṭyaśāstra, which treats of the Hollow Musical Instruments. Footnotes and references: [back to top] [1]: As the first Indian flute was made from vaṃśa or bamboo, it was called Vaṃśa. Śd. mentions also horns besides flutes made of wood (khadira and sandal), ivory and different metals (iron, kāṃsya, silver, and gold), which came into use in later times (see SR. VI. 424ff). The conchshell (śaṅkha) is also another hollow (suṣira) instrument, but it is scarcely used as a musical appliance. [2]: These indicate the ways of producing the notes. See 5ff. below. Sd. however, mentions five such ways as kampita, valita, mukta, arihamukta and nipīḍita (SR. VI. 457ff). [3]: Here tatropari (lit. there above) means ‘if śrutis are further increased’. [4]: These are the Sādhāraṇa and the Kākalī notes. See 9-10 below. [5]: Śd. gives more elaborate directions in this regard (SR. VI. 447-448). [6]: Though the Ṣaḍja Grāma has been mentioned first in XXVIII (25-26), it has been given here the second place. The significance of this, is not clear. [7]: To show the connexion of different fingers of the two hands with the production of seven notes, Ag. (p. 563) quotes the following: “ṣaḍjam?vanāmikāṅgulyāvṛṣabho madhyamāṅgulau | niraṅgulyāñca gāndhāro madhyamaḥ kampato yathā || vāmataste trayo'pete catvāro dakṣiṇe punaḥ | pañcamo'nāmikāyāṃ tu dhaivato madhyamāṅgulau || prādeśinth?āṃ niṣādamtu madhyamaḥ kampito yathā |” [8]: Śd. gives more detailed directions about the production of notes (SR. VI. 449-453). Mr. Fox Strangways gives a number of flute scales collected from different parts of India (MH. p. 102). These possibly include some valuable materials for the study of ancient Indian musical scales and intervals, for the flute has been one of the most primitive instruments of Indian music. [9]: See SR. VI. 651. [10]: The rules mentioned here possibly relate to the manner in which the flute should be played on different occasions in a play. The following quotation from Mataṅga by Ag. (p. 567) probably gives such rules. “adhvanv?āgamane caiva kāmin?ā nirjitasya ca | nirjitasya prakurvīta madhyaṃ ca mṛdumiśritam || śṛṅgāre vā niyoktavyamatyantalalitaṃ drutam | kridhe vācābhidhāne'pi sphuritadrutakampitam ||” This passage seems to have been paraphrased by Śd. in his SR. (VI. 652-653), but it does not occur in Bd. ascribed to Mataṅga. 16 July, 2017 --> Last Updated: 16 July, 2017 $(function(){ if($(document).height() > $(window).height()){ $('.book.chapter').append('^ back to top ^') $('section.back > a').click(function(){ $(window).scrollTop(0); }); } }); /** * Derivation list */ /*$('a.deriv-link').click(function(){ $(this).closest('.words-group').find('.deriv-list').toggleClass('d-none'); });*/ ====================================================================== Chapter XXXI - On the Time-measure ====================================================================== --> Natyashastra (English) by Bharata-muni | 1951 | 240,273 words | ISBN-13: 9789385005831 Hinduism Natyashastra Buy now! The English translation of the Natyashastra, a Sanskrit work on drama, performing arts, theater, dance, music and various other topics. The word natyashastra also refers to a global category of literature encompassing this ancient Indian tradition of dramatic performance. The authorship of this work dates back to as far as at least the 1st millenn... Go directly to: Footnotes. Chapter XXXI - On the Time-measure (tāla) < Previous (index) Next > 1. The [instrument named] Tāla[1] is of the ‘solid’ class (ghana), and it relates to a division into Kalās (kalāpāta)[2] and to an observation of the tempo (laya).[3] Those who apply Tālas in a musical performance, should know Kalās to be the measure of time (tāla.) 2. The popular Kalā,[4] [together with] the Kāṣṭhā[5] and Nimeṣa[6], which has been accepted (lit. remembered) by the wise, is not the Kalā in [observing] the Tāla. The Kalā arising from the Tāla is different. 3. Five Nimeṣas will make one Mātrā[7], and the Kalā arises from the grouping of Mātrās. And five Nimeṣas are also to be known as [the period of] interval between [two] Kalās, at the time of singing. And from these again, the tempo is made according to the time of the Kalās [into which they (Mātrās) are divided]. 4. The tempo (laya) is of three kinds: quick (druta), medium (madhya) and slow (vilambita)[8], and among these, the medium tempo determines the normal Kalā (pramāṇa-kalā). 5. This (i.e. the Kalā) is known to be of three kinds, and is determined, according to the wise, by the three Mārgas.[9] In the Citra [Style of Procedure] there should be three Mātrās, in the Vṛtti the twice of it, and in the Dakṣiṇa, its fourfold. These are the three [types of] Kalās. The Tāla is so called because it measures [time by a division] of [songs into] Kalās. 7. The Tāla is of two kinds: Caturasra[10] (lit. four-cornered) and Tryasra[11] (lit. three-cornered); but the origin of these two kinds, is the same. 8. Now listen about their twofold sources. They are the Cañcatpuṭaḥ[12] and the Cāpapuṭaḥ.[13] 9-10. From each of these, the Tāla of four or of two Kalās[14] proceeds. The Cañcatpuṭaḥ (Cañcatpuṭa) is known to be Caturasra, and the Cāpapuṭaḥ (Cāpapuṭa) is Tryasra. They consist of long and short syllables. 10-11. The Cañcatpuṭaḥ[15] will consist of two long syllables followed by one short syllable and the final Pluta syllable.[16] 11-12. The Cāpapuṭaḥ which is Tryasra, will consist of one long syllable followed by two short syllables and the final long syllable. A combination of these two, is called a mixed Tāla. 13-14. This (i.e. the mixed Tāla) includes the Ṣaṭpitāputrakaḥ[17] and the Pañcapāṇiḥ.[18] constituted according to long and short syllables occurring in their names. These in brief are the three kinds of Tāla. 14-15. [Their Pātakalā[19] will be as follows:] Sannipāta,[20] Śamyā,[21] Tāla, Śamyā; or Śamyā, Tāla, Śamyā, Tāla[22]; or Tāla Śamyā, Tāla, Śamyā [in the Cañcatpuṭaḥ of one Kalā]. 15-16. The Cañcatpuṭaḥ will, thus, be of three kinds: Sannipātādi,[23] Śamyādi[24] and Tālādi.[25] 16-17. The Sannipātādi will be Caturasra in the Nāṭya, and the Śamyādi will be applicable in the Āsāritas. And similarly the Tālādi in the Pāṇikā[26] and other [songs]. 18. The three varieties of the Cañcatpuṭaḥ such as the Sannipātādi etc., will hold good in case of the Cāpapuṭaḥ [too].[27] 19. The Sannipātādi as well as the as other two, is strong in this (Cāpapuṭaḥ) and Tālas of six or of eight Kalās proceed from this (i.e. the Sannipātādi)[28]. 20. Due to the Śamyā, Tāla and Praveśa, the another Tryasra is also produced. It is the Ṣaṭpitāputrakaḥ called the Pañcapāṇiḥ.[29] 21-22. [Its Pātakalā is as follows:] the first syllable is Pluta, the second short, the third and the fourth long, the fifth short and the final Pluta[30], and this is the Ṣaṭpitāputrakaḥ with its long and short syllables. It is also called the Pañcapāṇiḥ consisting of six Pātas and six syllables. 23. Its six Pātas are as follows: Sannipāta, Tāla, Śamyā, Tāla, Śamyā and Tāla.[31] 24. Another Tryasra variety of the Tālādi, is called the Saṃparkeṣṭākaḥ.[32] It consists of five long syllables including the initial and final Pluta syllables[33]. Its Pātas will be as follows: [Tāla][34], Śamyā, Tāla, Śamyā and Tāla. 25. When the Tryasra will consist of all three heavy syllables and its Kalās will be as follows: Niṣkrāma, Śamyā and Śamyā, it will be called the Udghaṭṭaḥ.[35] 26-28. Thus, there should be the pure Cañcatpuṭaḥ etc. of one Kalā. Such Tālas have three varieties such as Yathākṣara,[36] Dvikala[37], and Catuṣkala,[38] each succeeding one being twice as long as its predecessor. The Caturasra Tāla is known to have three [special] varieties having respectively four, eight and sixteen Kalās. 28-29. The Tryasra Tāla has six [special] varieties having respectively three, six, twelve, twenty-four, forty-eight and ninety-six Kalās. 30-31. Thus, the Tryasra (ayugma) Tālas are of nine[39] kinds. And the Tāla [in general] is of two kinds: silent (lit. without sound) and audible (lit. having sound). Listen about the two uses[40] which they have. I am going to describe them. 31-32. [Of the two kinds], the silent Tāla has four varieties such as, Āvāpa, Niṣkrāma, Vikṣepa and Praveśaka.[41] 32-33. The audible Tāla is to be known as having four varieties such as Śamyā,[42] Tāla,[43] Dhruvā and Sannipāta[44]. 33-34. I shall now speak in due order, of the movement of hands and fingers’ in relation to them, and their characteristics and measure.[45] 34-36. The Āvāpa is the curving of fingers pointing upwards[46], the Niṣkrāma is spreading out the fingers [of the palm] turned downwards[47]. Swiftly moving that (i.e. the palm turned downwards) to the right side is the Vikṣepa,[48] and the Praveśa[49] is the drawing away of the palm turned downwards. 36-37. After showing the Āvāpa (lit. the curving the fingers) one should be making the Niṣkrāma and then the Vikṣepa and next the Praveśana (Praveśa). 37-38. This is the rule when a combination [of Tālas] consists of four Kalās[50]. [For] the Niṣkrāma and the Praveśa [only will] make up two Kalās[51]. The alternate placing (lit. falling) of these, is known as the Pāta[52]. 39-40. These are to be known Śamyā, Tāla and Sannipāta.[53] The Śamyā is of the right hand, the Tāla of the left hand, and the two hands coming together is the Sannipāta, and the Dhruvā is stopping (lit. falling) for a Mātrā, and it makes for the way of the Rāgas[54], and [moreover] the placing (lit. falling) of the three Kalās mentioned before, is also called Dhruvā. 41-42. In the Yathākṣara Tāla, it (the Dhruvā) will be a long syllable. The Tāla consisting of Yathākṣara Pātas is its ordinary (yathāsthita) type. With doubled long syllables it will consist of two Kalās. The doubling of two Kalās will make it consist of four Kalās. 43-44. I have [already finished] describing the Pāta arising in the Yathākṣara [Tāla]. Hence the Cañcatpuṭaḥ, the Cāpapuṭaḥ the Pañcapāṇiḥ[55] [types] have three varieties. 44-45. Apart from the Caturasra (yugma) and the Tryasra (ojas) types there are five kinds of Tālas. These are called the Udghaṭṭakaḥ[56] etc., and are of the mixed kind and they relate to the different limbs of songs. 45-46. These (i.e. the mixed Tālas etc.) may consist of five, seven, nine, ten or eleven Kalās[57], and are [hence] called miscellaneous Tālas. 46-47. These have no use in the seven kinds of songs[58] and in the Dhruvās.[59] And these are to be used by the singers in the Pravṛtta[60] etc. 47-48. I am [now] speaking about the theory that the Dhruvās will have the Caturasra and the Tryasra Tālas consisting [respectively] of eight and of six Kalās.[61] 48-51. [The Tāla of eight Kalās will be like this]: by the little finger[62] the Niṣkrāma and the Śamyā, by the little and the ring finger, the Niṣkrāma, the Tāla and the Śamyā, by the middle finger the Praveśa, and by the fore finger are shown the Niṣkrāma and the Sannipāta. This is the method of showing Kalās by fingers, in the Caturasra (yugma) Tāla. 51-53. [The Tāla of six Kalās will be like this]: by the little finger the Niṣkrāma, the Śamyā, the Tāla, and the Śamyā, and by the forefinger the Śamyā and the Sannipāta are to be shown. This is the method of showing Kalās by fingers in a Tryasra Tāla. 54-57. By the little finger the Niṣkrāma and the Praveśa, by the little and the ring fingers the Tāla and the Śamyā, by the middle finger the Niṣkrāma and the Tāla, by the forefinger the Niṣkrāma, the Śamyā and the Tāla, by the little finger the Praveśa, by the forefinger the Niṣkrāma and the Sannipāta. 58. This is the rule regarding the Tāla of four Kalās in terms of Āvāpa and Vikṣepa, shown by fingers mentioned above. 59. The Pādabhāgas consisting of two or four Kalās have been described [by me]. The four Pādabhāgas are technically called Mātrās[63]. 60. These are the different varieties of the Cañcatpuṭaḥ, the Cāpapuṭaḥ and the Pañcapāṇiḥ Tālas. 61. Thus I have described in brief the Tālas which relate to the Āsārita[64] and the Vardhamāna[65] and to the body of other songs. The Āsārita 62-63. Now I shall speak of the characteristics of the Āsāritas. In this, the master producer (lit. one who knows the art of production) first takes up the Cañcatpuṭaḥ with its long, short and Pluta syllables and then the twofold Pañcapāṇiḥ. 63-64. And in the preceding Tāla (i.e. the Cañcatpuṭaḥ) he puts the syllables as indicated by the latter [in it name]. Thus we get the same Pāta as follows: Tāla, Śamyā, Tāla, Śamyā., Tāla. 64-66. In the first syllable of the Pañcapāṇiḥ one should put in Sannipāta, then Tāla, Śamyā, Tāla, Śamyā and Tāla. And in the second syllable also, this is the rule in the Pañcapāṇiḥ. And the Sannipāta is to occur in case of the final Pluta. This is known by the wise as the short Yathākṣara Āsārita. 67-68. Now listen about the distribution of Pāta as described in the name of the Tālas. The ca (cañ) will indicate the Tāla, cat (lit. the second) the Tāla, pu again Śamyā, and the ṭa (ṭaḥ) the Tāla. Thus one should know the Cañcatpuṭaḥ, and the Pañcapāṇiḥ comes afterwards. 69-70. The ṣaṭ will indicate the Sannipāta, the pi the Tāla, the tā Śamyā, the pu the Tāla, the tra the Śamyā, ka (kaḥ) the Tāla. The same will hold good in case of the second, and then comes the Sannipāta. The medium Āsārita 71. On combining here the long syllables this (the short Āsārita) will be the medium [Āsārita].[66] 71-73. The Kalā that will follow the doubling of the combined heavy syllables, should be applied in due order as before. And the medium [Āsārita] when doubled, is called the long Āsārita. In it, the Kalās will be double the number of that in the medium [Āsārita]. Their Vastu is characterised by the occurrence of Sannipātas. The Layāntarita 74. I shall now speak of the characteristics of the Layāntarita. That which has the shortest Tāla, is called the Layāntarita. The Kāla differing on account of the time required for it, becomes a different Kalā. 75. The application of these Tālas gives special success, and in the Layāntarita, there occurs a difference there in words and in the tempo. 76. A combination of the Āsāritas, is called the Vardhamāna. Listen about its origin and characteristics as I am describing them. 77-78. After killing the terrible Dānavas, Rudra invented in the past the beautiful dance called the Tāṇḍava. Now the great-souled Bhūtas created at that time the Vardhamāna adorned with the Piṇḍībandhas.[67] 79. On seeing this, Śiva with his consort (Pārvatī) was much pleased, and he as well as the goddess gave them the best boon. 80. Those who perform the Vardhamāna as defined by him according to the traditional rules and order, will attain the proximity of Śiva [after their death], 81. This was seen by me for the purpose of the Piṇḍībandhas. Listen now about their characteristics. 82. Performed in the three Mārgas, such as the Vṛtti, Dakṣiṇa and Citra, the Vardhamāna which is constructed according to its own measure, is of two kinds. The Āsāritas 83. Its measure has two aspects: one with the Tāla and the other without the Tāla. There are four parts (kaṇḍikā) in all the Āsāritas. 84. [Each] part in the Dhruvā is composed of Kalās by gods. The Mārgas are available (lit. joined) in the Vardhamāna. 85-87. The first [group] is made up of nine Kalās, the second (lit. the next) of eight Kalās, the third of sixteen Kalās and the fourth of thirty-two Kalās. Thus in the Vardhamāna each part is made up of a fixed [number of] Kalās and it is born of the [proper] Mārga and is devoid of tempo which is its minor limb.[68] 87-88. [The parts (kaṇḍikā) are made up] of one, two, three and four [Kalās] and by them (i.e. the Kalās) are made the Āsāritas in the Vardhamāna observing the [proper] Mārga and limbs of Tālas. The Short Āsārita 88-89. After finishing the first part combined with the short (bāla) Tāla, one should make up the short Āsārita, of which the second half will be deficient in one Kalā. 89-90. If after finishing the second part, one adds to the first part in all its Kalās in the previous Tāla, then it becomes the Layāntara (°tarita) [in the Vardhamāna]. And Vardhamāna at that time should be done in the Citra Mārga and not in the Vṛtti. 91-92. Whether in the Vardhamāna or in other songs (lit. outside it) there is no short Āsārita in the Dakṣiṇa Mārga. From the short Tāla, as it doubles the number of syllables and applies other Mārgas, and regulates the time of dance, the Layāntara (°tarita) proceeds. The medium Āsārita 92-93. The Tāla which I have prescribed in case of the short Āsārita, is wholly to be observed in the first two parts. The third, the second and the first [parts] will have the same number of Kalās. Then this will be the medium Āsārita. The Long Āsārita 94. If the fourth part is made the first i.e. the parts are taken in an inverted order, and the four parts have an addition of four Kaläs to them, then it is called the long Āsārita. 95. When their application is taken in connexion with the Piṇḍībandhas, then each of their limbs (minor parts) is to be made distinct (lit. separate). 96. Mukha, Pratimukha, Deha and Saṃharaṇa are the four limbs[69] in all the Āsāritas. 97-98. The Upohana is the Mukha, the Yugma is the Pratimukha, the Ojaḥ is the Śarīra (Deha) and the Saṃhāra (°haraṇa). This is the serial order of the limbs and thus the Āsāritas consist of four limbs. 98-99. A song composed of the four[70] Āsāritas, is called the Vardhamānaka. The Vardhamāna is so called because of the [gradual] increase in it of the syllable (varṇa), Tāla, tempo (laya), the instrumental music and gestures, which lead to the embellishment of the performance of the dancers. 100-101. The body of the Vardhamāna and the Āsārita being mutually related [respectively] as effect and cause constitute each other. Just as the seed grows from the tree, and the tree [in its turn] from the seed, [here too], the same [law of] mutual causal connexion is applicable. The Layāntarita 102. One Kalā being added to the short [Asarita] it gives rise to the Layā (=Layāntarita); and two Kalās being added [it becomes] the medium [Āsārita], and four Kalās being added [it is] the long [Āsārita]. The Short Āsārita 103. The rule of the Pāta for the short [Āsārita] is as follows: Śamyā, Tāla, Śamyā, Tāla, (lit. one turn of the Cañcatpuṭaḥ beginning with Śamyā),. Sannipāta, Tāla, Śamyā, Tāla, Śamyā, Tāla, Sannipāta, Tāla, Śamyā, Tāla, Śamyā, Tāla, (lit. two Pañcapāṇiḥ beginning with Śamyā). 104. This is the scheme of Tāla in the Layāntarita, and its characteristic growth has been mentioned before, and there will be here a difference of words and tempo. 105-106. (The text is corrupt, but it is clear that the schemes of Tāla for the medium and the long Āsārita occur here). 107. Those who have the short (lit. young) [Āsārita] as consisting of nine Kalās, are not supported by the good authorities. The placing of the Sannipāta [in it] has been made [by them] according to the rule of the Kalā. 108. For them the two Tālas at the Mukha of it (i.e., the short Āsārita) are regulated by the Dhruvā Pāta. I shall [now] speak of its [full] measure (māna) and [sequence of] long and short syllables. 109. The Mukhas of the long and the medium Āsāritas, the Layāntarita and the short Āsārita, will respectively consist of eight, seven, six[71] and five Kalās. 110-111. In the Upavahanas of the Āsārita [of all kinds] Āsāraṇās[72] to be employed are of eight syllables two long, four short, two long [for the short Āsārita], of twelve syllables two long, eight short, two long [for the Layāntarita], of sixteen syllables two long, twelve short, two long [for the medium Āsārita] and of twenty syllables, two long, sixteen short, two long [for the long Āsārita][73]. I shall now speak about the syllables which were sung in the past by Brahman. Example, (the text here is corrupt). 112. This rule of the Upavahana, depending on the arrangement of syllables in Kalās and in the sequence of their being long and short, has been prescribed in case of the Mukhas of the Āsāritas. 113. Thus I have described the extent and measurement [of the Upavahana]. In the Caturasra (yugma) there are four gaṇas, and in the Tryasra (oja) there are six gaṇas. The Short Āsārita 114. In the Pañcapāṇiḥ and the Cāpapuṭaḥ (lit. the second) [the number of gaṇas] will be six and a half. Thus will be the short [Āsārita] in its syllables measured by Tālas. Ex. Devaṃ devaiḥ saṃstutam īśaṃ daityair yakṣaiḥ praṇamita-caraṇaṃ, trailokyahitam Īśaṃ Haraṃ rudraṃ śaraṇam upagataḥ. Tr. I have come to take refuge with Hara (Śiva)[74] the terrible one, the benefactor of the three worlds, who is worshipped as the Lord God by the gods, and to whose feet Daityas and Yakṣas bow down. The Medium Āsārita 115-116. In the Cañcatpuṭaḥ (lit. the first Tāla) there should be eight regular gaṇas, and the gaṇas in the Ṣaṭpitā-putrakaḥ should be twelve, and in the third part of the Vastu[75] there should be thirteen gaṇas and a half[76]. These is the arrangement of syllables in the medium Āsārita; Ex. Bhūtadhipatiṃ Bhaganetraharaṇam Īśam devair vandyaṃ suramakhamathanaṃ raudraṃ bhayadaṃ gaja-carmapaṭaṃ. Śambhuṃ tryakṣam jvalananibhajaṭaṃ bhujaṅga-parikaraṃ. Tridaśagaṇavṛṭaṃ daityair nityaṃ paripaṭhita-caritam amarapatinamitam abhimatasukhadaṃ Rudraṃ pītaṃ pitṛvananilayaṃ Gaṅgāplāvita-śobhanajaṭaṃ taṃ śaraṇaṃ gato’smi varadaṃ ca Maheśvaram[77]. Tr. I have come to take refuge with Maheśvara, the giver of boons, the lord of creatures, who took out Bhaga’s eyes, who is adorable to the gods, who destroys the sacrifice of the gods, who is terrible and fearful, who wears the hide of an elephant, who is the source of bliss, who is three-eyed and has matted hairs shining like fire, and who has serpents as his girdle, who is surrounded by gods, whose exploits are always recited by the Daityas, who is bowed to by the lord of gods, who gives one pleasures of one’s own choice, who is terrible, yellow, and is a dweller of the cremation ground, and whose beautiful matted hairs are soaked in water of the Ganges. 117-118. There should be first the Cañcatpuṭaḥ (= yugma) Tāla of sixteen gaṇas, next the Cāpapuṭaḥ (oja) Tāla of twenty-four gaṇas, and in the third there should be twenty-four gaṇas and a half.[78] These is the arrangement of syllables in the long Āsārita. Ex. Amarapravaraṃ Madanāṅgaharam bhuvanaika-nātham abhayapradaṃ Tripuranāśakaraṃ devaṃ tam aham praṇataḥ. Surapitṛmunigaṇa-praṇatacaraṇaṃ pṛthivīsalilā-nalapavana-yajñādhipati-sūrya-candra-vyomākhyāḥ aṣṭau munibhir yasya kāryā proktāḥ trailokyaguruṃ tam acintyam ajaṃ vidyānilayaṃ bhairavarūpaṃ khaṭvāṅgadharaṃ sthityut-pattipralayanimittaṃ sūkṣmākṣam acintyam candrārdhadharam tilakārdhadharaṃ netrārdhadharam kucārdhadharaṃ kāntārdhadharam bahulair vividhair vidhṛtair vikaṭair muṇḍair vimukhair viṣamair pramathaiḥ parivṛtam Īśaṃ satataṃ praṇataḥ.[79] Tr. I bow to the god (Śiva) the greatest deity, the destroyer of Madana’s body, the supreme master of the world, the giver of immunity from fear, and the destroyer of Tripura. I always bow to the Lord (Śiva) who is worshipped at his feet by gods, fathers and sages, who, the sages say, has created the eight [forms] known as the earth, water, fire, air, the master of sacrifices, the sun, the moon, and the space (lit. the sky), who is the preceptor of the three worlds, is beyond the reach of thought, is eternal (lit. without birth), the abode of knowledge, terrible in form, holder of khaṭvāṅga, the cause of existence, origin and destruction [of the world], who has subtle vision, who is unthinkable, who bears [in his person] half of a crescent, of a tilaka, of an eye, of breasts and of the beloved wife, and who is surrounded by many and various, aweful, shaven-headed, ugly and strange Pramathas. 119. The three varieties of Āsārita, have been described, viz., literal (yathākṣara), double (dvisaṃkhyāta) and triple (trisaṃkhyāta).[80] 120. The literal Āsārita is known to be made up of gaṇas of equal Varṇas doubled in observing Tālas, and its syllable are not repeated.[81] 121. The literal Āsārita (lit. that) when it is [once] repeated, is called the double Āsārita[82] and when twice repeated it is called the triple Āsārita. 122. In [ the Tāla of ] the Āsārita songs, one should make its [ Kalā ] of four etc., consist of gaṇas made up of four mātrās, their long and short syllables being as prescribed before.[83] 123-124. That which is of four mātrās in akṣaras will be two mātrās in Varṇas.[84] The Kalās in the Vṛtti [ Mārga ] will be twice that in the Citra Mārga. Hence, that Kalā which is of four mātrās in the measure of Varṇa in the Vṛtti [Mārga], will be doubled in the Dakṣiṇa [ Mārga ]. 125. No change of the Mārga, is available as regards the syllables [ indicated by the name of Tālas ].[85] It is only due to doubling the Mātrā that the variation of Varṇas has been described. 126. This is mostly the rule relating to the Varṇa and the Tāla in Āsārita songs of the literal class. 127. In the double Āsārita the repetition (nivṛtti) should be made by adding half [gaṇa] to [the literal Āsārita], and in the triple Āsārita, the double one should be augmented by half [a gaṇa], 128. The double Āsārita should not be performed in the Citra Mārga, and the Triple one in the Vārtika Mārga.[86] 129. The triple Āsārita should be in the Dakṣiṇa Mārga[87], the double Āsārita in Vārtika Mārga[88] and the literal Āsārita in the Citra Mārga.[89] This is the fixed rule relating to Mārgas. 130. The rule of observing the Mārga in the triple Āsārita is, that it should begin in the Dakṣiṇa, and in repetition the Vṛtti and the Citra [are to be adopted] serially. 131-132. The double Āsārita too should be performed (lit. desired) according to this principle. Its performance may be in the Vṛtti or Dakṣiṇa Mārga. After considering the relative strength (lit. strength and weakness) of the different limbs of a Vastu, the expert musician should observe the repetition at its beginning, middle or conclusion. 133. When due to the composition of the Vastu, a Kalā becomes wanting at the repetition, then [ the singer ] should prolong the Varṇa till this Kalā is completed. 134. The needs for repetition are as follows: enrichment of the Varṇas and Alaṃkāras, rest for the producing organs, and the application of the Tattva[90] etc. 135. Thus I have mentioned the [ mutual ] connexion between the Varṇas, Tālas and syllables in [course of performing ] the Āsārita and the Vardhamāna. The four limbs of the Vardhamāna 136. There are four limbs of the Vardhamāna [song], viz. Viśālā, Saṃgatā, Sunandā and Sumukhī.[91] 137. Of these, the first [limb] consist of nine Kalās, the second of eight, the third of sixteen and the last of thirty-two Kalās.[92] 138-139. The Upohana of the Viśālā consists of five Kalās, that of Saṃgatā of six Kalās, that of Sunandā of seven Kalās, and the Upohana of the Sumukhī is always eight Kalās.[93] I shall now speak of their sequence of long and short syllables. 140. In the Upohana[94] of the Viśālā there should be two long syllables first, then fourteen short ones, and finally a long syllable.[94] Ex. (The passage is possibly corrupt). 141. The sages have said that four more short syllables, and the three long ones [being added to this i.e. to the Upohana of the Viśālā], will make the Upohana of the Saṃgatā[95]. Ex. (missing). 142. The learned are to know that the rule about the Upohana of the Sunandā, is that it will have four short syllable, and three long syllables [more than that of the Saṃgatā,][96] Ex. (The passage is possibly corrupt). 143. The rule of Upohana of the Sumukhī, is that it is to be known as consisting of twenty-eight short and [three] long syllables.[97] Ex. (The passage is possibly corrupt.) 144. Because, from this, the notes [in a song] are carried forward, and because from this, songs proceed, this consisting of unmeaning (lit. dry) syllables, is called the Upohana (=Upavahana). 145. Or, because a performance is carried forward by means of acts beginning with sūcanā[98] this song depending on the musical instruments, is called the Upohana. 146. The Tāla of the Upohana in the Viśālā is as follows: Śamyā, Tāla, Śamyā, Tāla, Sannipāta.[99] 147. The Tāla in [the Upohana of] the Saṃgatā is the Cañcatpuṭaḥ of two Kalās, and this in its Tālādi variety, preceded by the Tāla of three Kalās (i.e. Udghaṭṭa), will be the Tāla of the Upohana of the Sunandā.[100] 148. The Tāla of the Upohana of the Sumukhī, will be the Cañcaṭputaḥ of two Kalās. Upohanas twice repeated [in each case] will make up the Kaṇḍikā. 149. Thus I have spoken of the four Upohanas. Now listen about the performance of the limbs from the beginning. 150. The Tāla of the Viśālā is as follows: Śamyā, Tāla, Śamyā, Tāla and Sannipāta of three Kalās.[101] 151. The Tāla of the Saṃgatā is Cañcatpuṭaḥ of two Kalās and that of the Sunandā is the same (i.e., Cañcatpuṭaḥ) of the four Kalās.[102] 152. And the Tāla of the Sumukhī should be the double[103] Cañcatpuṭaḥ (=yugma) of four Kalās together with two Sannipātas. 153. I have thus spoken of the Tālas in the individual limbs of the Vardhamāna songs. Now listen about them collected together. 154. First there should be the Viśālā produced with the shortest (lit. young) Tāla. The Tāla which has its end consisting of three Kalās, is the short (lit. young) Āsārita. 155. When after taking up (lit. making the Graha of) the Saṃgatā, one applies Viśālā in all its Kalās and couples it with the previous Tāla, then it is the Layāntarita. 156. Then one should perform the Sunandā and again the Saṃgatā and again Viśālā and next the Sumukhī. 157. The Tāla that has been mentioned in the short Āsārita, is wholly to be applied first at the beginning (lit. the rise) of the Kaṇḍikā. 158. Then after taking up (lit. making) the Graha of Sunandā one should perform Sunandā, Saṃgatā and Viśālā. 159. The Tāla that has been prescribed by me in case of the medium Āsārita, should be observed in the three Śamyās in case of the Sunandā and what follows. 160. And again Sumukhī, Sunandā and Saṃgatā should be performed (lit. is desired), and they should be applied beginning from the Sumukhī etc. 161. Then one should know about the end of Viśālā and of the repetitions (nivṛtti). The Tāla in the long Āsārita is either silent or audible. 162. The same [Tāla] should be performed in all [the limbs]. These are four Tālas prescribed in the combination of limbs. From a combination of these limbs the Vardhmāna is made (lit. desired). 163. The short (lit. youngest) [Āsārita] consists of nine Kalās, the Layāntara (=Layantarita) of seventeen Kalās, the medium [Āsārita] of thirty-three, and the long of sixty-five Kalās.[104] 164. This is the rule about the Tāla in all the Āsāritas. The Vardhamānaka is so called because of a [gradual] increase of Kalās due to [gradual] increase (vardhana) of syllables, and because of an increase of the Laya (tempo) in its successive phases. 165. In all the Āsāritas and the Vardhamāna songs the law of the syllables relates to an application of double the [ordinary] Tāla. 166-167. The Sannipāta without an end (?) occurs at the end, then the final Kalā should known as being made up of two mātrās. This is the characteristics of the Vardhamāna as described by me. I shall now give a tabular view of the brief characteristics of the Āsārita. 168. The wise prescribe the Dhruva [Tāla] in a Kalā which is not deficient. The remaining and final [Tālas] should be conforming to the syllables of the Tālas (i.e. the names of the Tālas). 169. There is no (i.e. should be no) Sāmya (=Śamyā?) in the pluta and short syllables represented by Dhruva Tāla......Samatva is prescribed by means of three Pātas.[105] 170. The Āsāritas, short medium and long are to be furnished (lit. made) with Tālas, Sannipātas, Śamyās and Dhruvas.[106] *                         *                         *                         * 171. By doubling afterwards the Kalās of this (i.e. of the short Āsārita) the medium Āsārita consisting of Śamyā in the intervals of Tālas should be made. 172. In the first Vastu of the medium Āsārita there should be the Uttaraḥ (=Ṣaṭpitāputrakaḥ) Tāla leaving out the three Kalās, and in it there should be two complete repetitions (parivṛtta).[107] 173-175. [The Pāta of the medium Āsārita will be as follows]: Śamyā, Tāla of two Kalās, Śamyā of two Kalās, Tāla of one Kalā, Sannipāta of three Kalās, Tāla of thee Kalās, Śamyā of one Kalā, Tāla of two Kalās, Śamyā of two Kalās, Tāla of two Kalās, Sannipāta of three Kalās again. In the third [Vastu] there are Sannipātas of twelve Kalās at the end. 176. The first part of the medium Āsārita is said to consist of eight Kalās, the second of twelve Kalās and the third should have a part [of twenty-four Kalās] ending in a Sannipāta. 177. The Praveśa, Vikṣepa and Niṣkrāma made with fingers, which have been mentioned before, should all be observed by the experts in the medium Āsārita. 178. Now in the long Āsārita the wise should make the body made up of Śamyā and Tāla with proper tempo (laya) and [this body] should consist of sixty-five Kalās. 179. In it the Āvāpa, Niṣkrāma, Vikṣepa and Praveśaka of the fingers should consist [of groups] of four Kalās. 180. The long Āsārita should have groups of four Kalās with its Āvāpas and Vikṣepas, and its Vastu in other places will consist of seventeen Kalās beginning with Śamyā.[108] 181-183. [The Pāta of this Āsārita will be as follows:] Śamyā and Tāla of four Kalās, Śamyā of four Kalās, Tāla of two Kalās, Sannipāta of six Kalās, Tāla of six Kalās, Śamyā of two Kalās, Tāla of two Kalās, and Sannipāta of six Kalās. 184. This is the entire rule [of Tālas] in the third Sannipāta, but at the end I shall speak of the throw of fingers [indicating them]. 185-188. Āvāpa, Śamyā, Niṣkrāma, Vikṣepa, Tāla, Āvāpa, Niṣkrāma with the ring-finger, Vikṣepa, Śamyā, Āvāpa, Tāla, Vikeśepaṇa (Vikṣepa), Praveśa with the middle finger, Āvāpa and Niṣkrāma again Vikṣepa and Sannipāta, with the forefinger, these are the seventeen Kalās in the first Sannipāta.[109] 189-193.[110] Āvāpa, Nirgama (Niṣkrāma) with the little finger Vikṣepa, Praveśa, Āvāpa and Tāla with the ring and the little fingers, Tāla and Vikṣepa with the ring and the little fingers, Śamyā, Āvāpa and Niṣkrāma, Vikṣepa, and Śamyā with the forefinger, and these are the fifteen Kalās. and Āvāpa, Tāla, Viṣepa, Praveśa, Āvāpa, Niṣkrāma with the forefinger, Niṣkrāma, Vikṣepa, Sannipāta will make up the twenty-four Kalās [of the second Sannipāta]. 194. This is the rule [of Tālas] in the third Sannipāta. This is the arrangement of fingers in showing the Tālas in the long Āsārita. There will be sixteen Kalās in the first Sannipāta, and twenty-four in the second and one more Kalā than this (i.e. the second) in the third Sannipāta. In each of these there should be ten or seven groups made up of Śamyā, Tāla as well as Sannipāta. 197-198.[111] In the first Vastu of the short and the medium Āsāritas, the other two are to be applied as [prescribed] before. The three Vastus [in them] will consist of six Śamyās, eight Tālas and three Sannipātas. One should know the Āsārita to consist of seventeen Pāta [Kalās]. 198-200. Eight Tālas, six Śamyās and three Sannipātas are to be known [as used] in each of the Āsāritas. This is the description of the Āsārita spoken by me. [Now] I shall consider the application of the uses of the Vastus of songs. Next I shall speak about the characteristics of songs. 201-202. In the Vastus[112] and bodies of the songs there are limbs such as Vivadha,[113] Ekaka and Vṛtta.[114] The Ekaka consists of one Vidārī, and the Vivadha of two and the Vṛtta not less than three and not more than six Vidārīs. 203. That which consists of Padas or Varṇas, is called a Vidārī. And that which ends in the Nyāsa, Apanyāsa and Aṃśa is a Vastu.[115] 204. Because it splits (vidārayati) notes, it is called Vidārī[116] and it resembles heavy Varṇas. 205-206. The Vivadha and the Ekaka are generally used in the Madraka [song], in each half Vastu of the Prakarī, and in each quarter of the Rovindaka. But in the Rovindaka, Uttara, Ullopyaka, Pāṇikā, Bahirgītas and Lāsya, the Vṛtta is used. 207.[117] The Vṛtta is of two kinds: Pravṛtta and Avagāḍha. The Avagāḍha is due to being in an ascending scale and the Pravṛtta due to being in a descending scale. 208. Ascending as well as descending is of two kinds: one prescribed in connexion with the Nyāsa and the Apanyāsa [notes], and the other made in the Mārgāntara (=Āntaramārga? ). 209. Vidārīs in a song are said to be three[118] in the minimum and eleven in the maximum, [but] their highest number may [in rare cases] be twenty-four. 210. But in case of the Ullopyaka and the Vaihāyasa [the number of] Vidārīs will be half as much more in the third Sannipāta. 211. They are to be performed there with the Vivadha or the twofold Vṛtta, and the Aṅga will not come to a close in a half of the Sannipāta. 212. The Vivadha is said to have been of three kinds, viz. Sāmudga, Ardhasāmudga and Vivṛtta. 213. The Vivadha is always to be known as ending in the Nyāsa note except in the case of the Geyaka, and in the beginning of the Madraka the Sāmudga has been prescribed. 214. But the Geyaka in the Sāmudga should be applied like the short Varṇas. And applied at the end and in the third [Vidārī] it is called Geyaka. 216. When in application, one half of a Vidārīs is Similar to [one half of another Vidārī] and the other half is dissimilar [to the remaining half of it], it is called the Ardhasāmudga. 216. The Vidārī is uneven in the Nyāsa and the Apanyāsa, and its copious use is called the Vivṛtta. 217. The Vivadha, Ekaka and Vṛtta are respectively to end in the Nyāsa, the Apanyāsa and the Aṃśa [notes]. 218. The Sannyāsa and the Vinyāsa notes occur in the middle of the Aṅga, and the Vinyāsa is known to occur in the middle of the Vidārī. 219. The Vinyāsa may rarely be at the end of a word in a Vidārī; but too much of it has not been prescribed by the experts. The Seven Types of Songs 220. The Seven [traditional Types of] songs are the Madraka, Ullopyaka, Aparāntaka, Prakarī, Oveṇaka, Rovindaka and Uttara.[119] The Madraka 221. [Among these] the Madraka[120] is of two kinds: one consisting of four Vastus and the other consisting of three Vastus[121], and that which consists of three Vastus, includes a Śīrṣaka.[122] The Aparāntaka 222. In the Aparāntaka, Śīrṣakas should be five, six or seven in number, and in the Prakarī they should be four, three and a half and (i.e. seven and a half in all).[123] The Rovindaka 223. The Rovindaka consists of seven limbs [in the minimum] and sixteen limbs in the maximum, and Ekakas in them should consist of two [consecutive] pādas[124] consisting of equal Varṇas. 224. And in that (i.e. Rovindaka) one is to apply in the beginning the Pravṛtta and Vivadha and then the body and the limbs are to be placed in their proper position. 225. In its middle should occur Ākāra (i.e. the syllable ā) and in the end too the same, and in its end should come a clear Śīrṣaka. The Oveṇaka 226. The Oveṇaka is known to be consisting of seven or twelve limbs. And that with seven limbs ends in two (?) and that with twelve limbs ends in three (?). 227-228. The twelve limbs of the Oveṇaka are Pāda, Sandhi, Māṣaghāta, Vajra, Saṃpiṣṭaka, Śīrṣaka, Caturasra, Upavartana, Upapāta, two Praveṇīs and Saṃharaṇa having two limbs. 229. When Saṃpiṣṭaka, Upapāta, two Praveṇīs and Upavartana are left out from among the twelve limbs, the Oveṇaka is called a seven-limbed one. 230. The seven limbs common to the both [Oveṇakas] having similar Varṇas and Padas are called Vivartana, and in the twelved-limbed [Oveṇaka], Padas [in other limbs] are to be different. The Ullopyaka 231-234. The rule about the limbs of the Ullopyaka is this.[125] Its three limbs are Avagāḍha, Pravṛtta and Mahājanika. It becomes two-limbed when the Mahājanika is left out. [126]And when Sthita is combined with Pravṛtta, it (the Ullopyaka) is also called one-limbed, and the Mahājanika also may constitute the one-limbed Ullopyaka. And the Sthita and the Pravṛttaka may constitute a two-limbed Ullopyaka or an one-limbed one (separately). In the two-limbed (Ullopyaka) the rule of the Dhruvās and the Dhātus [hold good] separately, and in a combined manner. 234-236. The three limbs [of the Ullopyaka] is the Sthita, Pravṛtta and the Mahājanika. And the two-limbed [Ullopyaka] will exclude the Mahājanika, and the Mahājanika [only] will constitute the one-limbed [Ullopyaka], These are, separately and in combination the rules about the many limbs [of the Ullopyaka] which may be Caturasa, Tryasra and Visra (Dvisra=Dvyasra?). 237. The Saṃhāra (=Saṃharṇa) of the Oveṇaka is made up of two limbs or one. And this (Saṃhāra) should not be used at the beginning or in the middle.[127] 238. The Ekaka or the Vivadha should always be used in the end, and the Ullopyaka should not have less than six and more than twenty limbs.[128] 239-240. Of these [limbs] the Saṃharaṇa will have the Mukha and the Pratimukha [as its two parts], and it may be with the Vaihāyasaka or without it. And it will not have less than three and more than twelve limbs. And the Vaihāyasaka will consist [even] of one limb and not more than six limbs. 241-242. Three limbs having been sung the performance it is to begin. The limbs Mukha and Pratimukha have been prescribed for the Ullopyaka and the Uttara. Then the other limbs may be compressed or extended. 243-244. The Mukha and the Pratimukha are to be known as the Vivadha. The Vṛtta occurs in the Pratimukha and may shortly be in other [limbs] as well, and the Sākhā (Śākhā?) in the Ullopyaka, the Uttara and the Aparāntaka as well as the Pratiśākha will have same kinds of Varṇas and Padas [as the Mukha and the Pratimukha have.] 244-245. The Uttara will not have legs than six and more than twelve limbs * * * Its Śīrṣaka should specially be placed at the end. 246. This is the rule of limbs to be observed in case of Songs of Seven Forms. Next I shall speak of the measurement of Vastus in the songs. The Madraka 247. In all the Vastus, Kalās should consist of sixteen Mātrās. And each quarter of it is a Pādabhāga. 248-249.[129] First eight in the beginning are long and the next eight short, and one is to make Upohana (Upavahana) with two long Mātrās in the beginning, and than the third will be long to make the Pratyupohana and in the fourth and the fifth long syllables there will be [two] Śamyās. 250. The sixth and the seventh will be Tāla and then the eighth will be Śamyā, [all these] in the heavy syllables. Then a pāda of eight Kalās is to be made with short syllables.[130] 251-253. In Tālas of heavy syllables pādas will consist of one [entire] Kalā.[131] [The Pātakalā will be as follows:] Śamyā, Tāla, Tāla, Śamyā, Tāla, Śamyā, Tāla and Sannipāta. Thus the Śīrṣaka is to be constructed with the Cañcatpuṭaḥ, and this will be the system of Tālas of one Kalā in the Madraka [song]. When heavy syllables are separated in a pāda they will be considered as consisting of two Kalās. 254-255. After separating them the Kalās are to be arranged as was done previously. And in the Madraka of two Kalās, the Upohana will consist of three Kalās and the Pretyupahana of one or two Kalās.[132] 256. Four [Kalās] will make one Mātrā[133] and the Vastu will consist of three Mātrās. [Each of] these three Vastus will consist of two Kalās. This is the rule of Pāda in Pāta. 257. The Pātas such as Śamyā and Tāla etc., which have been prescribed in case of heavy syllables, should be used in the Padabhāga of two Kalās. 258. The eighth the tenth and the sixteenth will have Śamyā and in the twelfth and the fourteenth will have Tāla.[134] 259. The rule of Pāta in case of eight light [syllables] has been mentioned before. In three Vastus of two Kalās too, these Pātas should be applied. And the Śīrṣaka of six Kalās should be made with Pañacapāṇiḥ.[135] Kraṃḍaṃ kraṃḍaṃ śailendra-rāja-saṃsthitam īśaṃ śāntaṃ Śivaṃ pannagendra-paribaddhajaṭaṃ. Munigaṇa-namitaṃ dhyānābhirataṃ jñānamayaṃ madanāṃgaharaṃ vibhuṃ prabhuṃ. Śaraṇāgato’haṃ daityair nāgaiḥ saṃstutam Īśaṃ tvāṃ vedamayaṃ tvāṃ kartāraṃ bhavanapatiṃ sarvaloka-namaskṛtam Ṛgyajuḥ-paripaṭhitaṃ gaṃgādharaṃ śūladharaṃ bhuja- gendradharaṃ praṇato’smi Śīvaṃ mṛgarāja-carma- paribaddha-tanuṃ. Vipulagatiṃ vṛṣabhagatiṃ jvalanaśikhisadṛśa-kapila- jaṭaṃ tam ahaṃ namāmi Śivaṃ śīrasā. (Here ends the Madraka of two Kalās) Devaṃ praṇatārtiparaṃ māyādharaṃ māyārūpaṃ jaṭilaṃ namāmi Śīvaṃ śirasā. (Here ends the Śīrṣaka of six Kalās) Tr. I seek shelter with Thee, the peaceful lord Śiva whose matted hairs have been tied up with the king of serpents, who is bowed to by the Munis, who is constantly engaged in meditation, and is full of wisdom and who has destroyed the body of Madana (Kāma) and who is supreme and all-powerful, who is adored by the Daityas, and Serpents and who is the creator and the lord of the world and is bowed to by all the people. To Thee who is praised by the Ṛk and Yajur Veda, who carries, Gaṃgā [on his head], the spike [in his hands], the lord of Serpents [in his matted hairs], I bow my head to Thee who is bliss, and is clad in the skin of the lord of beasts, whose gait is prodigious and is comparable to that of a bull, and his twany matted hairs are like the burning fire. (The end of the Madraka of two Kalās). I bend my head to Śiva, the pure god who removes the affliction of persons bowing to him, who is the container of the Māyā, and is himself the Māyā in form, and who wears matted hairs (The end of the Śīrṣaka of the Madraka of two Kalās). 260. I shall now speak properly of the Catuṣkala [Madraka which will be characterised] in terms of Pādabhāgas of four Kalās. 261. Four [Kalās] will make one Mātrā and three Mātrās will make one Vastu[136]. In giving the Pādabhāgas I shall speak of the Pāta in due order. [This is as follows]. 262. [In the first Vastu] there will be Śamyā at the end of the fourth, fifth, eighth, tenth, the eleventh Kalās and in the beginning[137] (lit. not second) of the ninth Kalā.[138] 263. [And in it] at the end of the sixth, seventh and ninth and in the beginning (lit. not second)[139] of the tenth and seventh there will be Tālas. 264. And at the end of the twelfth, first of all there will be Sannipāta. Thus there will be the rule of Pāta and thus one should apply all the Vastus. 265.[140] In the first Vastu, the eight Kalās in the beginning will constitute the Upohana, and the Pratyupohana in the second Vastu will be of two Kalās. 266. In the third [Vastu] there will be three Kalās and in the fourth four Kalās, and the Śīrṣaka at its end will be made up of Ṣaṭpitāputrakaḥ. 267. In [the Vastu of] two Kalās there should apply a time-measure consisting of four Yathākṣara Pañcapāṇiḥ, and in the third and the fourth [Vastu] there should be Dvigeyaka[141] in due order. 268-269. And in the fourth [Vastu] the Parivarta should come to an end. And the first and the second Vastus will be the Upohana and parts of the Madra[ka] and they will include three Vastus of three [different] lengths arising out the Tryasra Tāla.[142] 269-270. The double of a Vastu of two Kalās will make up a Vastu of four Kalās. In it the seventh and the final [syllables] will be light and the doubling has been prescribed here. So the four Kalās are regular here, and the Upohana [will then] consist of eight Kalās, and Pratyupohana will consist of one, two or four Kalās. 271-272. Śīrṣaka of the [ordinary] Madraka should be in the Yathāksara[143] Pañcapāṇiḥ. But in the Divkala [Madraka] of two Kalās, the same (Pañcapāṇiḥ) will consist of two Kalās and in [the Madraka of] four Kalās the same will consist of four Kalās. 273. It will consist of three Vastus of three different measures and they will arise from the Tryasra Tāla. Thus the Madraka will have thirteen Pātas. 274. It will have four heavy syllables and four light syllables. In the second [syllable] which is heavy there will be Śamyā, in the third, Tāla[144]. 275. In the third and the fourth there will be Śamyā and Tāla for the light syllables and Tāla, Śamyā, two Tālas and Sannipāta are to be applied to these, and in the light syllables there will be Pātas consisting of eight Kalās. 276. The Aparāntaka is to be known as originating in the Tryasra Tāla [represented by] Tāla, Śamyā, Tāla and Sannipāta. 277. After separating the long syllables one should apply [the Tālas of] two Kalās. These Tālas of two Kalās and of four Kaläs are [to be represented] by six Pādabhāgas [as follows]. 278. [Śamyā, Tāla, two Tālas], Śamyā, and Tāla. Arrangement of the Pāta will be as before in case of the fifth and the sixth [Kalā]. 279. The Tāla of four Kalās includes Āvāpa and Vikṣepa. And it is furnished with the Pādabhāgas of four or six Kalās. 280. One is to apply here Vastus five six or seven in number[145]. In the end of the second, fifth [Kalās] there should be two Saṃyās. 281. And in the end of the third, the second and the fifth and at the beginning the sixth there should be Tāla and then the Sannipāta will be at the end. 282-283. These are the Pātas relating to the previous Vastus in case of [the Aparāntaka of] four Kalās. This is the application [of Tālas] in the Aparāntaka of four Kalās. This is to be known as the Aparāntaka in Pātas of literal Tālas. 283-285. In the beginning, the Upavahanas of the Kalā will be doubled in grouping (?)[146]. In [the Aparāntaka of] two Kalās the Upohana will consist of one or of two Kalās, and similarly in [the Aparāntaka of] one Kalā the Upohana will be of one Kalā. This (i.e., the Aparāntaka of two Kalās) being doubled, is to be known as the Aparāntaka of four Kalās. In this third [Aparāntaka] of light syllables the last Kalā will be doubled. 286. This is the Aparāntaka in which the Vastu[147] arising from the Tryasra Tāla represented (lit. adorned) with six Kalās, is called the Śākhā.[148] 287. Its Pratiśākhā[149] is similar to its Śākhā. It is like its latter (paścima) half and consists of different words?[150] Its Śīrṣaka (śiras) is to be made with the Pañcapāṇiḥ of one Kalā. 288. In course of performing the four Vastus it should apply the Nivṛttā in the Vṛtti [Mārga]. This is the special rule in the following [half]. 289-290. Then there will be two Tālikās of six Kalāpātas. And by means of the literal Pañcapāṇiḥ of one Kalā there will be an Upavartana of these two[151]. 290-291. Its (i.e., of the Aparāntaka of four Kalās) Upohana will consist of half [the number of Kalās in] the Vastu and its Pratyupohana will be of two Kalās. [The Aparāntaka of] two Kalās is to be performed in the Dakṣiṇa [Mārga] and that of four Kalās in the Vṛtti [Mārga]. And in case of the remaining ones[152], there should be no Upohana here[153]. 292. This is the time-measure prescribed by me for the Aparāntaka. The Ullopyaka [The Vastu of] the Ullopyaka will consist of two long syllables, two short syllables and a long syllable. 293. Its Kalās will be as follows. Śamyā, Tāla, Śamyā Tāla and Sannipāta and these representing the five Pātas indicated by the syllables of the literal Caturasra [Tāla]. 294. According to the aforesaid rules there will be the [Ullopyaka of] two and of four Kalās. After its three limbs have been sung there should be the Vaihāyasika. 295-297. It will have one limb in the minimum and twelve limbs in the maximum. It will consist of twelve Kalās, or seven Pātas [which are as follows:] Śamyā of two Kalās. Tāla of two Kalās, the Śāmyā, Tāla and Sannipāta [each of one Kalā one after another]. This is the Śākhā; the Pratiśākhā [will be like this, but it] will consist of different Padas (words).[154] 298-299. When it will come to a close then will take place the Antāharaṇa.[155] The Saṃhārya is regularly to be made up of the literal Pañcapāṇiḥ. The Saṃhāra of the endless (?) is to be carried on in its own Tāla. The Nivṛtta of two kinds consists of three Aṃśas and are [again] of three kinds. 300-301. The three kinds [of Nivṛtta] are Tryasra, Caturasra and mixed. The three limbs of it are Sthita, Pravṛtta and Mahājanika. There should be Antāharaṇa with the Pañcapāṇiḥ Tāla and similarly Sthita with the Yugma Tāla. Its rule of Pāta will be as follows: 302-303. Śamyā of two Kalās, Tāla of two Kalās, Sannipāta of four Kalās. Then comes Pravṛtta. It has Śamyās of two Kalās, Tāla of one Kalā, Cañcatpuṭaḥ of Talādi class, and Sannipāta. 304. Mahājanika should be performed with the Sthita Tāla, and Nivṛtta should truly be in the Nivṛtta Tāla.[156] 305. Of Sthita and Mahājanika, there should be mostly Upavartana and before it Udghaṭṭakaḥ and Parivartaka should be performed. 306. Yugma being of mixed Tāla, should be applied in the Anta [Tāla].[157] Vivadha with Ekaka is the entire rule in Anta [Tāla]. 307. Thus I have described properly the Anta Tāla which is Yugma as well as mixed. Now I shall describe the Tryasra Tāla. 308. [It is as follows:] Śamyā of two Kalās, Tāla, Sannipāta of three Kalās. Then comes Pravṛtta. 309. Here Pravṛtta should be properly made Parivartana with Pañcapāṇiḥ of the literal (yathākṣara) class. 310. Its Mahājanika should be in the Sthitā Tāla, and Nivṛttā Tāla should be observed in its Anta-nivartana. 311. Mixed Tāla being [a combination of] Yugma and Ayugma (ojaḥ) Tālas, should be the Antaḥpravartana. Vivadha with Ekaka is the entire rule of Anta Tāla. 312. Sthita should briefly be made up of two limbs or one. That with Yugma [Tāla] should be of two limbs, and that with Tryasra of one limb. 313. Pravṛtta also will be of two limbs or one. Mahājanika will be of one limb and Saṃharana of two limbs. 314. In the Ullopyaka this is the Anta beginning from Sthita ending with Pravṛtta. The Prakarī 315. The Vastu of the Prakarī, consists of six Mātrās and nineteen Pātas, and it (Vastu) should be of four Kalās in length[158]. 316-317. There should be no literal (yathākṣara) Tāla or Tāla of two Kalās. After the initial three Mātrās there should be Śamyā and Tāla[159]. Then the Vastu should be serially made of Pātas consisting of six Mātrās. And the Upohana will be in the first half of the Vastu. 318-321. Its second Mātrā will be Śamyā with Tāla and Śamyā again will be at the end of the three Mātrās. In the fourth Mātrā there should be twelve Tālas and in the fifth eighth[160] Tālas. In the sixth there should be Śamyā of two Kalās, Tāla of two Kalās, again Tāla of two Kalās and Śamyā of two Kalās and Śamyā, Tāla, Tāla, Śamyā and Tāla, Śamyā, Tāla and Sannipāta[161]. 321-322. When four and a half Vastus will constitute the Prakarī, it will be the latter half of the Pada and its half should be placed before. Its Saṃharaṇa should be made with the short Āśarita.[162] The Oveṇaka 323-328. The first Pāda of the Oveṇaka is to be made equal to that of the Śākhā of the Aparāntaka, and its second Pāda is to be made equal to that of its Pratiśākhā. And the same will be its Pātakalā and Māṣaghāta afterwords. The rule of its Pāta, will be six Pātas of twelve Kalās, [They will be as follows:] Śamyā of two Kalās, Tāla of two Kalās, Tāla of two Kalās, Śamyā of two Kalās, Tāla of one Kalā, Sannipāta of three Kalās, and its Māṣaghāta generally will be a limb of Vivadha. At its end should be Sandhi and sometimes Upavartana, and its Ogha will be made up of Pañcapāṇiḥ of one Kalā, and the Sandhi should be made of literal Pañcapāṇiḥ, and Ekaka and Vivadha are its limbs. 329-330. Its rule like of that of Upavartana, is different. The rule which is applicable at the beginning of the final Caturasra, is to be wished [as] the Caturasraka according to the same limb of Vivadha.[163] 330-333. The Saṃpiṣṭaka will be of two kinds: Sandhivat and Vajratāla.[164] They will consist respectively of seven limbs of twelve Kalās, and of twelve limbs of ten Kalās. One should use here Kiṣkrāma, three Śamyās, three Tālas, and a Śamyā and a Tāla, a Śamyā a and Tāla, then a Sannipāta. This is the Saṃpiṣṭaka in the Oveṇaka of seven limbs. 333-334. This, after adding to it two Śamyās and a Tāla, is desired in the [Saṃpiṣṭaka of] twelve limbs. Nine or eleven Pātas are called the Saṃpiṣṭaka, and the Upavartana is to be applied like Vajra.[165] 335-338. Combined with Vivadha and Vṛtta, the Praveṇī is of two kinds. The application of the Praveṇī should be made the literal Pañcapāṇiḥ, and it should consist of two Kalās or mixed [Kalās] according to the limbs, and sometimes Upavartana should be made at its end, and the same should be according to the prescribed use of the Pañcapāṇiḥ. The second Tāla falling from it, is called Apapāta. Its Antāharaṇa should be made in the Vajratāla. The Rovindaka 338-341. In the Rovindaka, there should be six Mātrās with the Pādabhāga of four Kalās. Here the Pāta is desired after the half of the five Mātrās. [This Pāta will be as follows:] Tāla, Śamyā, Tāla, Śamyā, Tāla, Śamyā. This is the rule of five Mātrās in due order. Fourteen are the Tālas desired in the Mātrās of the fifth.[166] Similarly the sixth will have four Kaläs as in the Madraka. 342-313. In the beginning there should the Upohana consisting of eight Kalās. Then there should be the Pratyupohana of two Kalās. The Pātas should end in a Sannipāta and include Vivadha and Ekaka. In the end its collection of Varṇas, will consist of eight Kalās, This the tabular view [of the first Pāda of the Rovindaka]. 344-345. The second Pāda will also have similar Varṇas in its Upohana. Its tabular view should give the Tālas in its body. This should be represented by Pañcapāṇiḥ of two Kalās, and its total length will be twelve Kalās only. 346-349. In the body of the Rovindaka, there should be the Upohana of six Kalās, and in its beginning there should be Vivadha and Pravṛtta. And it should begin with Āvāpa (ā-kāra)[167] and is to consist of four or of three Kalās according to one’s option, and joining of limbs is to come afterwards. Its Śirṣaka should not be of any special kind, and it should be made up of literal Pañcpāṇiḥ. In its beginning there should be Ekaka, and at the end Pravṛtta. This is the Rovindaka. The Uttara comes afterwards. The Uttara 350. I shall speak of the Uttara having characteristics according to rules. It should have Mukha and Pratimukha. 351. As in the Ullopyaka, it should have in the beginning a Mātrā made up of four Kalās, and as in the Rovindaka it should use at the beginning a group[168] with Āvāpa (ākāra).[169] 352-354. It should have six limbs in the minimum and twelve limbs in the maximum, and its Śākhā should have six Pātas consisting twelve Kalās. [They (i.e. the Pātas) will be as follows:] Tāla of two Kalās, Śamyā of one Kalā, Tāla of two Kalās, Śamyā of two Kalās, Tāla of one Kalā, Sannipāta of three Kalās[170]. The Pratiśākhā will be just like the Śākhā, and only it will have a different Pada. 355. Though it is performed without any speciality it should have some rule at the end. At its end, the Śīrṣaka should be observed with the [literal] Pañcapāṇiḥ. 356. The Pratiśakhā should also be performed with the Pañcapāṇih of two Kalās having Pātas mentioned above. 357. This is the Tāla of the Dakṣiṇa Mārga in the Seven Types of song. The time which is suitable in the Dakṣiṇa [Mārga] will be used also in the Vārtika [Mārga]. 358-359. And the same [rule will hold good] in the Citra [Mārga] when there is nothing special. This is the rule of time in dance[171] due to Ardhayoga[172], except in the two Mukhas of the Ullopyaka and of the Uttara. The Ardhoyoga[173] at that time will consist of two Kalās 360. And similarly in the case of the Rovindaka and of the Ullopyaka as well as of the Madraka and of the Uttara, the second syllable will consist of four or of two Kalās. 361-362. The is the rule in the bodies [of songs] and in the remaining [case] there should be Prakṛti, and in the Prakṛti too, four Kalās should be used along with two Kalās.[174] In case of the Vṛtti (Vārtika) Mārga, the Ardhayoga in time, will consist of groups of four Kalās. The combination (Yoga) of four Kalās available in the Vṛtti Mārga, will also occur sometimes in the Dakṣiṇa Mārga. 363. The rule of Tāla in the Dakṣiṇa [Mārga] mentioned in case of the Mukha and the Upavahana of the Madraka and Ullopyaka, will also be available in the Vṛtti (Vārtika) Mārga. 364. In the Citra [Mārga] whether it is used by itself or along with another[175], both these (i.e. rules of Kalā) have been prescribed. In the Citra, the rule about the Śākhās may end in any of the three Mārgas.[176] 365-366. These are the [songs of] Seven Types [sung] in the three Mārgas, and they are of two kinds:[177] Kulaka and Chedyāka. [A song of] one sentence (lit. meaning) is Kulaka[178] and that of] different sentences, is Chedyaka.[179] 366-367. The songs of Seven Types are [again] of three kinds[180]: Niryukta, Pada-niryukta and Aniryukta. 367-368. The Niryukta[181] is that which has Śākhā from outside the body of the song. The Padaniryukta[182] is that which is partially free from such elements outside the song, and the Aniryukta[183] is quite free from such elements. 369. These are the two classes of songs of Seven Types. These Seven Types of songs uttered by Brahman, have come out of the Sāmaveda.[184] 370. Songs and instrumental music [performed in] the worship of gods, [bring] limitless merit, and at the conclusion of all such songs, Chandaka (Chedyaka?) has been prescribed. 371-372. This is the rule of the Ṛk, Gāthā and Pāṇikā having forms consisting of two four, three or nine Caturasra, Tālas. According to this rule, one should prescribe Caturasra and Tryasra Tālas. 372-374. The group (gaṇa) mentioned before[185], should have one Kalā at its beginning. And this Kalā should consist of four Mātrās. The Madraka (mādrikī), the Pāṇikā and the Catuṣpādā songs connected with the praise [of a deity], should be made up of eight or of six limbs, in Tālas of Caturasra or Tryasra forms. Such songs with one, two, or three limbs are to be made up of four Pādas. 375. Caturasra and Tryasra forms [of Tāla] are prescribed separately or jointly in these limbs. This is [all about] the Tāla of songs of the Seven Types prescribed by me. 376. Dhruvās are to be known as Caturasra and Tryasra. The rule of their Tālas [relate] briefly to six kinds. 377. [Of these] the Aḍḍitā[186] and Utthitā[187] are Caturasra in form consisting of four Sannipātās in the Cañcatpuṭaḥ. 378-379. At the end of the Supratiṣṭhā[188], there should be Sannipāta. Apakṛṣṭa should be in Tryasra [Tāla] depending on Cāpapuṭah. It is combined with four Sannipātas at the end of the Pāda. The ākāśagraha of all these will be the Cañcatpuṭaḥ.[189] 380. The Vilambitā [Dhrūva] will be Tryasra, and it will be followed by these two, and it is to be joined with the Cañcatpuṭaḥ beginning with Niṣkrāma. 381. The two Pādas known as the pair, at the end of the Pādas (?) in the Sannipāta, are to be regularly connected with the Cañcatpuṭaḥ of two Kalās. Śīrṣakas are to be applied with the Pañcapāṇiḥ (i.e. Caturasra) Tāla in two different manners.[190] 382. Along with four Sannipātas quite at the end of the Pāda, one should apply two final Mātrās of the Tāla. 383-384. The two Mātrās in their time, are to be made equal to Jhaṃkāras.[191] When there will be a Kalā [in Dhrūvās] without any excess, an expert in [dramatic] production should make it of equal Mātrās by reduction or prolongation. 384-385. Along with the increase of Varṇas, there should be an increase of [the form of] Tālas. A new Kalā in the syllables of the Niryukta [songs], will be Jhaṃkāra. This, due to a connection with Kalā and Tāla, is [called] Śuṣka Kuṭṭana. 386-387. A [proper] Kalā and Tāla are to be observed in all the Dhruvās. The principal[192] Tāla should be regularly observed in the case of Natkuṭas. In its Kalāpāta it will be in the Cañcatpuṭaḥ Tāla. This Tāla will be Tyrasra in the Khañjaka Dhrūvā. 388-389. This limb[193] will be Ākrīḍita. The limbs which are [applied] in the Dhruvās, are to be made up of eight or of six Kalās. This is all about the Tāla prescribed by me. The Catuṣpadā 390-391. I shall now speak of its rules (lit. charateristics), at the end[194] of a [discussion] on the Catuṣpadā (quatrain).[195] The Tāla of the dance which begins with delicate [movements] and relates to the Erotic Sentiment, and which has been created by the goddess[196] [Pārvatī], will now be described. 391-392. [The song known as] the Catuṣpadā, should be performed by women, and it is of two kinds, viz. Tryasra and Caturasra. 392-393. The Catuṣpadā according as it relates to the speech of one, of two or of many, will be of three kinds, and will abound in the Erotic Sentiment. 393-394. It will again be of three kinds, viz. Sthitā, Pravṛttā and Sthita-pravṛttā. 394-395. [Its Tāla will be as follows:] Niṣkrāma, Śamyā, Tāla, Śamyā being preceded by Niṣkrāma and followed by Sannipāta. 395-396. There will be twenty-eight varieties of Catuṣpadā. I shall speak of these varieties in due order. 396-398. The Catuṣpadā of the Sthitā class will have a quick tempo, and that of the Pravṛttā class a slow tempo and the Catuṣpadā of the Sthita-pravṛttā class will have a medium tempo, and the Tāla there, will be the Cañcatpuṭaḥ as well as the Cāpapuṭaḥ, and their Pātas will be in double Kalās. 398-402. [The Catuṣpadā has the following varieties:] Bahvakṣarā, Vipulā (Pṛthulā) Māgadhī, Ardhamāgadhī, Samākṣarapadā, Viṣamākṣarā, Ādyāntāpaharaṇā[197], Anīkinī, Avasānāpaharaṇā, Antāpaharaṇā, Abhyantarāpaharaṇā, Ardhanatkuṭā, Ardhakhañjā, Miśrā, Śīrṣakā, Ekāvasānā, Niyatākṣarā and Ardhapravṛttā. 402-403. Now listen about their characteristics. That song which has its words fully expressed, and consists mostly of short [syllables], is uttered quickly and is sung in a quick tempo, is called Bahvakṣarā. 403-404. The song which consists mostly of long and prolated syllables, and includes short sentences and words, and observes successively three different tempos, is called Pṛthulā in connection with the practice of delicate [dance]. 404-405. That song which observes three tempos and three Yatis, and includes three kinds of syllables [in equal measure], and requires a Tāla of thirtyone [Kalās], is called Māgadhī.[198] 405-406. The song which consists of long and short syllables only, and observes quick and medium tempos and has half the number of Kalās required for the Māgadhī, is called the Ardhamāgadhī.[199] 406-407. The song which has a regular number of short and long Mātrās in its Padas, and its Padas, Varṇas, tempo and Tāla are regular, it is called Samākṣarapada. 407-408. The song which has an irregular number of syllables and Mātrās [in its feet], and has its feet irregular in number, and which observes no regular tempo and Tāla, is called Viṣamākṣarā (Viṣamākṣarapadā.) 408-409. That[200] song which requires the final Sannipāta and the final Anusvāra is called Ādyantāpaharaṇā made of Anusvāra. 409-410. The song which has in its middle, beginning and end, syllables with Anusvāra, and the remaining Pādas are without any such restriction, is called Anīkinī. 410-411. The song with no fixed number of syllables in its Pādas, is always called Avasānāpaharaṇā, Such a song which has Anusvāra, and is quick in tempo, is called Antāpaharaṇā. 411-412. The song which has its second Kalā in Sannipāta, and has syllables in its middle, is called Abhyantarāpaharaṇā with Anusvāras[201]. 412-413. The song which is divided into halves, is called Ardhanatkuṭa. And when followed by Tryasra Tāla, it is called Ardhakhañja[202]. 413-414. When in a song, the Khañja and the Natkuṭa have been mixed up, and it is sung in the Tryasra or the Caturasra Tāla, it is called Miśra (the mixed one). 414-415. The song of which the half is suddenly [commenced and] finished, and is adorned with Śīrṣa, is called the Śīrṣaka. 415-416. The Catuṣpadā song, of which one Pāda ends with half of the Varṇas, is called Ekāvasānā[203]. It should have only long and short syllables in the previous Pāda. 416-417. The Ekapādāvasānā song which is furnished with a Śīrṣaka in each of its Pāda, is called Niyatākṣarā. 417-418. The song in which the Sthitā or the Pravṛttā is half applied, is called Ardhapravṛttā, and it is created by both of these two. 418-419. Its (i.e. of the Catuṣpadā) Tāla is as follows: Niṣkrāma, Śamyā, Tāla, Śamyā, Āvāpa, and Sannipāta. There are three kinds of Upohana in the delicate [kinds of dance]. 420. Its Pratyupohana consists of two Kalās in the minimum, and three Kalās in the maximum. Its final Kalā being called a double one, will end in Sannipāta. 421. This song will have Sannipātāpaharaṇa, in its middle and end, and it may be completed in two or in many sentences. 422. It may consist of one, two, three or four pādas, and of not more than four. 423. For, making it full of numerous pādas, does not create beauty and kills[204] the nature of the Varṇas and obstructs the expression of limbs. 424. Hence the Sthīta is always to contain two pādas, and it[205] should be also performed in one pāda, and the Pravṛtta is to consist of four pādas. 425. The Pādapātas there, will have one form and will consist of one pāda, and its Kalās will be twenty-two in the maximum, and shall contain a Sannipāta in its pāda.[206] 426. In its medium size it is known as having three pādas. And on account of the Sannipāta it should be sung in a medium tempo. The Lāsyas 427. I shall now describe for you in due order, the characteristics and application of the Lāsya, of which I spoke to you before.[207] 428. It is said that the Lāsya is so called because of its shining (lāsana). It relates to mutual attraction of men and women, and like the Bhāṇa[208] it is to be performed by one person, and its subject-matter also should be suitable. 429. That (i.e. its subject-matter) having one topic or many topics, has been mentioned in connexion with its [different] types (aṅga).[209] It has ten[210] such types and I am going to define them. 430-432. The types of Lāsya,[211] are Geyapada, Sthitapāṭhya, Āsīna[pāṭhya], Puṣpagaṇḍikā, Pracchedaka, Trimūḍhaka, Saindhava[ka], Dvimūḍhaka, Uttamottamaka, Vicitrapada, Uktapratyukta and Bhāva (Bhāvita). 432-433. The Āsīna[212] should be performed carefully by a woman while she is seated. And the Sthitapāṭhya should however include the earthly Cārīs,[213] at the time of dance and of playing of instruments, and at the beginning and the closing of songs. 433-434. The rules which hold good at the time of [ordinary] dance and of the playing of instruments, should generally be followed in the Lāsya. 434-435. Types of the Lāsya, are briefly ten in number, I shall [now] speak of their application and characteristics. The Geyapada 435-437. After[214] the musical instruments have been placed in proper order and the screen has been drawn away[215] and the flower offerings have been made, to the seat assumed to have been taken [by Brahman,[216]] and the drums have been tuned, and the Trisāman,[217] has been chanted, [the wise] should perform the Śuṣka Āsārita in accompaniment of three flutes. Then the Āsārita should be performed in the Tāla prescribed for the Mārgāsārita. 438. Then there should be the Upohana in the Tryasra Tāla of two Kalās, and afterwards the three Parivṛttis; and this should be the conclusion [of the Preliminaries]. The experts should [then] observe the conclusion with Parivṛttis (Parivartas). 439-440. During the Parivarta a male sentence should be uttered first. An aggregate of three sentences, is ‘male,’ whereas that of four sentences, is ‘female’. This should be done for attaining the Nirvahaṇa at the conclusion. 441-444. This is what is known as the first type of Lāsya called the Geyapada. The Sthitapāṭhya I shall [now] speak of the Sthitapāṭhya. One or two Vṛttas (Parivartas) should be sung in the Pañcapāṇiḥ Tāla, and the two Khañjakas are to be sung in the Cañcatpuṭaḥ Tāla of two Kalās. [This Tāla should be] of the literal (yathākṣara) class, and should include eight Sannipātas, and it should end in the Cañcatpuṭaḥ of two Kalās in a quick [tempo]. The Āsīnapāṭhya 445. After adopting the Tryasra Tāla the Āsīnapāṭhya should properly be performed with a song composed in metres of long feet, expressing wholly manly feelings. 446. Thus the Āsīnapāṭhya should be performed in the four feet [of its song] expressing the meaning sung in the Pañcapāṇiḥ Tāla. 447-448. In the Āsīnapāṭhya one should employ a Śīrṣaka consisting of eight Sannipātas and of Tālas etc. And this should be in the literal Pañcapāñiḥ Tāla. 448-449. In its second Parivarta when the eighth Sannipāta is over, one should then sing a śloka in the Caturasra (yugma) Tāla. 449-450. The playing of drums performed in the Āsīnapāṭhya should agree with (lit. be similar to) the movement of limbs made in it. 450 - 451. One should then sing eighteen or twelve Padas, and the Nirvahaṇa should afterwards be performed in the Uttaraḥ Tāla. This is the rule regarding the Āsīnapāṭhya. The Puṣpagaṇḍikā 452-453. Now listen about the type of Lāsya called the Puṣpagaṇḍikā which is adorned with various kinds of metres, and in which singing and playing of instruments are done alternately, and during [the singing of] every foot of songs, there should be appropriate Aṅgahāras and the playing of instruments. 454-455. One should sing (lit. use) there a song in a male metre of the Samavṛtta class. At the time of singing each foot, there should be a suitable dance and the playing of instruments in the Cañcatpuṭaḥ Tāla with four Sannipātas. 455-456. Then the two [songs of] metres of the Khañja-Natkuṭa class should be sung, and at the end of their Nirvahaṇa there should be a Śīrṣaka in the Pañcapāṇiḥ Tāla, and the dance in it should be performed in the Āviddha Cārī and with expressive Aṅgahāras. The Pracchedaka 457-459 An expert in the performance of Lāsyas should know that the Pracchedaka consists of three limbs and two Dhātus. When the theme of the Lāsya relates to the joy [of a heroine] on seeing the face of the lover in moonlight, in a temple or in a mirror, the expert should know that it is the Pracchedaka in which, dance predominates and which is rich in games, and is besides adorned with [different] expressions of Passion (helā). 459-461. Its games should be performed in the Cāñcatpuṭaḥ Tāla and with a song of regular (lit. equal) feet in the Mātrāvṛtta (moric) metre and with eight Sannipātas, or it should include a song in the Toṭaka metre of many syllables and meanings, and should be performed in the Pañcapāṇiḥ Tāla of two Kalās or of one Kalā, or the both mixed with each other. [Its] Śīrṣaka should be made up mostly of heavy syllables, and it should be performed in the Tryasra Tāla of the literal kind including eight Sannipātas. 462-463. The Lāsyāṅga called the Pracchedaka should include games and be performed with songs combined with Vivadha and Ekaka, and these should relate to the the Kaiśikī Jāti. The Trimūdhaka 463-467. The Trimūḍha[ka] consisting of soft words devoid of harshness, sung in the Gāndhārî Jāti, should be performed in the Cañcatpuṭaḥ Tāla of two Kalās. Thus performed in the proper Mārga and with proper number of Kalās [in its Tāla] and with [such] Vidāris, and Vivadha, it should have in it sixty-four Sannipātas. But there should not be in it any Aṅgahāra and Viṣkambha. The recitative here connected with the play, should be delivered in the attitude of a male person, and the Natkuṭaka and Khañjakas are to be performed in this way. Thus has been described the Trimūḍhaka which has in it many Sentiments. The Saindhavaka 467-468. The Saindhavaka[218] should be known as a performance without very clear Aṅgahāras and without many Recakas, and it should be in the dialect of Sindh (Sindhu)[219] Accompanied with instrumental music, it should be in an energetic metre. 469-471. The recitative in it should not be short, and the instrumental music in it, should be rich in Vitasta and Ālapti, and it should mostly include heavy syllables and be followed by many mild Aṅgahāras. The Saindhavaka should be performed in the Caturasra (yugma) Tāla with Ākrīḍitā Bhāgas (?). 471-473. The Dvimūḍha[ka] should have the Mukha and the Pratimukha in the Cāpapuṭaḥ Tāla which should contain twelve Sannipātas. It should have a theme with more than one set of events and with many meanings, and it should relate to manly feelings and should consist of one limb or of a limb called Śīrṣaka. The Uttamottamaka 473-475. In the Uttamottamaka, one should first of all sing the Natkuṭa and then a Śloka with various meanings. And then the theme of the song should be in the Aparāntaka Śākhā, and the Śīrṣaka in it should be in the literal Pañcapāṇiḥ Tāla, and the performance should be adorned with the expression of Passion (helā).[220] The Uktapratyukta 476-479. The Uktapratyukta is always described as abounding in references to anger and its pacification, and it is always characterised by beautiful dialogues and censuring actions. Its Tāla should be in the half-measure of the Vastu of the Prakarī, And afterwards it should perform the Śīrṣaka in the Pañcapāṇiḥ Tāla. The Vastu (?) and Saṃpiṣṭaka of these should be in the Tryasra Tāla. Thus the Uktapratyukta should end in pacification[221]. This is the Lāsya of ten[222] types which I have finished describing, and these ten types may occur in the same manner in a Prakaraṇa. Importance of the Tāla 480-483. A break in the Lāsya is known as the Saṃcāra, because of its inversion.[223] These are the schemes of Tālas of songs [in the Lāsyas]. In observing these, one ought to make great efforts; for a dramatic performance (nāṭya) is based on the Tāla.[224] And the same rule holds good in case of playing all the musical instruments in a dramatic performance, for the Tāla relating to the timing, always gives it proper measure. For a song deficient [in a Varṇa] or having a superfluous Varṇa is held [within measure] by the Tāla. Hence this should be carefully studied by the producers [of plays]. 483-484. The Seven Types of traditional songs such as the Ṛk, Gāthā and Pāṇikā etc., and the Prakīrṇaka, Catuṣpadā and Vardhamāna, are all recognised by their Tāla. Hence one should, with every effort learn (lit ascertain) their Tālas. 485-486. One cannot be a singer or player of instruments, unless one knows the Tāla. Hence one should observe the rules given above. The Three Layas 486-487. There are three kinds of Laya (tempo) such as quick (druta), medium (madhya), and slow (vilambita).[225] This tempo is made manifest in different Mārgas[226] of songs and playing of instruments, and it is an essential aspect (lit. the soul) of these two (i.e. singing, and playing of musical instruments). In these Mārgas there are, besides, three Yatis related to the tempo. 488. That which is known as completion of metres, syllables and words, is called the Laya[227] or Māna (measure) depending on the variation of timing in Kalās [in its Tāla]. 489-490. The Yati which is of three kinds such as, Even (samā), Current-like (srotogatā) and Cow’s-tail (go-pucchā)[228] is the regulating of the duration (lit. increase) of words, Varṇas or of syllables in relation to songs and to playing of instruments. 490. The Yati, when it has the same tempo in the beginning, in the middle and in the end, for Varṇas and words, is called Even[229]. It is used in the Citra Mārga, and it predominates generally in the playing of instruments. 491-492. The Yati which in traversing the path of musical sounds, is sometimes staid and sometimes running, is called Current-like[230], and it is used in the Vṛtti Mārga. 492-493. When syllables are thus indistinguishable as long and short[231] * * * * The Cow’s-tail Yati is a prolonged one and is generally used in songs (geya-bhūyiṣṭhā). The Three Pāṇis 493-494. The Pāṇis relating to songs and playing of instruments, are of three[232] kinds: Samapāṇi, Avapāṇi and Uparipāṇi. The playing of instruments which is simultaneous with the start of Laya is called the Samapāṇi. 495. That (i.e. playing of instruments) which precedes the start of Laya, is called the Avapāṇi. And the playing of instruments which follows the start of Laya, is called the Uparipāṇi[233]. 496. The totality of syllables penultimate to the Yati, will indicate the tempo, and from the tempo the measure of these will change. 497-498. A decrease of Kalās should be made in other Pāṇis. In the slow tempo, there should be one Sannipāta, in the medium tempo two Sannipātas, and in the quick tempo the number of Sannipātas should be four. 499. That which is indicated by this difference, is called the quick and the medium tempo, and the Avapāṇi is dependent on a medium tempo. 500. When [the Tālas of one Kalā] become the Antarakalā played in quick tempo, then it is called the Uparyuparipāṇi.[234] 501-502. There is no provision for Kalās bigger than this.[235] Yātis, Pāṇis and Layas should be observed[236] in due manner by experts after considering the application of songs. This is the rule of Tāla for the Dhruvās, when the Tāla is to be observed in their cases. I shall hereafter speak about the limbs of the Dhruvās. Here ends the Chapter XXXI of Bharata’s Nāṭyaśāstra, which treats of the Time-Measure. Footnotes and references: [back to top] [1]: This word comes from tala (the palm of the hand), and primarily refers to the beating of time by the clapping of hands, e.g. tālaiḥ śiñjāvalaya-subhagaiḥ nartito kāntayā me (Megh. 79). But generally it is used in the sense of ‘time-measure.’ Śd.’s explanation of this word (SR. VI. 2) seems to be fanciful. The word is also used as a variety of audible Tāla which is of four kinds. See below 32. [2]: By following Śd. (SR. V. 5-6) one will probably see in this compound two words kalā and pāta. But such a view will be misleading. [3]: See below 4 and 486. [4]: According to Amara. (I. 3. 11), 18 Nimeṣas = 1 Kāṣṭhā, and 30 Kāṣṭhās = 1 Kalā (“aṣṭādaśa nimeṣāstu kāṣṭhā triṃśattu tāḥ kalāḥ”). From this we have one Kalā equivalent to eight seconds. In other systems of computation, it may be equal to forty-eight seconds and even to one minute. See Apte sub voce and also SM. II. 3. 53. [5]: See note 1 above. [6]: Kśīrasvāmin defines Nimeṣa as the time required for a twinkling of eyelids (nimeṣo’kṣispanda-kālaḥ) and see also SM. II. 3. 53. [7]: According to Śd., Mātrā is the time required to pronounce five short syllables (pañca-laghvakṣaroccāra-mitā mātrā, SR. V. 16). [8]: See below 468. [9]: See above note 6 to XXIX. 103 prose, and also 487 below. The Mārgas are equivalent to the Pāṇis (XXXI. 493-495). [10]: This term is significant when the Tālas mentioned below are made up of two or four Kalās. [11]: ibid. [12]: This and similar other terms are probably mnemonics, and have no special significance. The variants of this term are Cañcūpuṭaḥ (NŚ., KM ed.) and Caccatpuṭaḥ (SR.) [13]: The variants of this term are Cāyapuṭaḥ (NŚ., KM. ed.) and Cācapuṭaḥ (SR). [14]: Each of these two Tālas have three varieties: yathākṣara (literal), dvi-kala consisting of two Kalās, and catuṣ-kala (consisting of four Kalās). [15]: This is called the yathākṣara variety of it. Yathākṣara (according to the syllables) means that the syllables (short and long) in the name (e.g. C añcatpuṭaḥ) indicate the syllables that this Tāla contains. See SR. V. 18. [16]: This is to modify here the term yathākṣara, for according to the last akṣara the final syllable was to be long and not Pluta. [17]: See above note 1 to 8. [18]: ibid. [19]: This term has been explained by Kn. (on SR. V. 27) as follows “pātāḥ maśabdā dhruvādayaḥ, kalā niḥśabdā āvāpādayaḥ | tābhiḥ pātakalābhiryogaḥ sa?vandhaḥ.” [20]: Absence of mumerical adjectives before these names means that they are single, i.e. one Sannipāta, one Śamyā etc. [21]: See below note 1 to 32-33. [22]: See SR. V. 28. 29. [23]: It means the variety ‘beginning with the Sannipāta’, or Sannipāta, Śamyā and Tāla Śamyā. See above 14-15. [24]: Beginning with the Śamyā’, of Śamyā, Tāla, Śamyā and Tāla. See above 14-15. [25]: ‘Beginning with the Tāla’, or Tāla, Śamyā, Tāla and Śamyā. See above 14-15, [26]: This is only a variety of very primitive songs. [27]: Śd. curiously enough on the authority of the NŚ. recognizes only two of them in case of the Cāpapuṭaḥ (his Cācapuṭaḥ). See SR. V. 30. [28]: The translation is tentative. [29]: The translation is tentative. [30]: Cf. SR. V. 31. [31]: See SR. V. 31. [32]: Its variants are Saṃpatkeṣṭākaḥ (NŚ. KM. ed.) and Saṃpakkeṣṭākaḥ (SR.), Sampadveṣṭikaḥ (SM.) [33]: See SR. V. 4?. [34]: SR. V. 41. Read 24 a as “ādau tālastataḥ” etc. [35]: See SR. V. 40. [36]: See above note 1 to 9-10 and note 1 to 10-11. [37]: ibid. [38]: ibid. [39]: The three general varieties (26-28) and the six special varieties (28-29) make up the nine varieties mentioned here. [40]: The purpose of having two such different sets of gesture for Tālas, is not quite clear. It seems that the two different primitive methods of observing simple time-measures which included very few Kalās, originated independently. But these were subsequently brought together for the facility of indicating developed time-measures which included more complex schemes of very numerous Kalās. Two different varieties of gestures in all likelihood helped the musicians to avoid confusion which was possible in case of using only one kind of them. [41]: Also called Kalās by Kn. (on SR. V. 5). [42]: Sd. has this term as Śampā. [43]: This is different from the word standing for the time-measure in general. [44]: Also called Pātas and Kalās by Kn. (on SR. V. 5). [45]: These were possibly required to guide the players of instruments for observing time-measure. [46]: See SR. V. 7. [47]: ibid. [48]: ibid. [49]: ibid. [50]: ‘Kalās’ here means syllables and not the component parts of a Tāla, which itself may consist of more than one syllable as in the Dvikala or the Catuṣkala Tālas. [51]: Significance of this rules is not clear. [52]: The translation is tentative. Kn. applies this term to the audible Tālas. See above note 3 to 32-33. [53]: It seems that one hemistich is missing here. [54]: This use of the word ‘Rāga’ is likely to have some connexion with the melodic types of the same name in the later Indian Music. [55]: Another name for the Ṣaṭpitāputrakaḥ. See SR. V. 23. [56]: Udghaṭṭakaḥ and Saṃparkeṣṭākaḥ. [57]: Śd. seems to ignore these. [58]: See below 220. [59]: XXXII. [60]: See XXX. 207. [61]: The Dhruvās used in connexion with the performance of the Nāṭakas, were probably very early types of Indian songs, for their schemes of time-measure consisted of six or eight Kalās only, while in the later songs, the number of Kalās was much greater. [62]: It is not clear why individual fingers were substituted for the hand-gestues which were conventionally used to indicate the time-measure. This may be compared with practice of indicating by fingers, different notes in the chanting of the Sāma-veda (see MH. p. 259). [63]: But according to Kn. the Kalā is ordinarily identical with Mātra; but in the Ekakala Dvikala and Catuṣkala Tālas) it means the long syllables “atraikakalahikalacatupkalaśabdeṣu kalāśabdena gururucyate ityarthaḥ |” (on SR. V. 19). [64]: See below. [65]: See below 79ff. [66]: The translation is tentative. The text is possibly corrupt here. [67]: The group-dances, See V. [68]: The text is possibly corrupt here in 86. [69]: See SR. V. 183-184. [70]: Short, Layāntarita, medium and long. See below 102. [71]: Read ṣaḍ eva for ṣaṣṭhi. See. SR. V. 182. [72]: The term is probably synonymous with Āsārita. [73]: The transl. is tentative, for the text seems to be corrupt. [74]: This and similar examples below perhaps show the originial connexion of dance and drama with Śiva. [75]: The Vastu (thing) is a technical word meaning principal parts of songs. See below XXX II. 7. This is probably equivalent to what the singers of North India call tuk in connexion with Dhrupada songs. See GS. I. p. 78. This word (Vastu) has been used by Kālidāsa (Mālavi. II. 0. 5; 3.1; 4.1.) It also means a song, and is equivalent to the term. cīj. (lit. thing) used by the modern North Indian singers. See SR. V. 6; V. 61ff. [76]: See below 127. [77]: This very exhaustively describes Śiva’s mythological character. [78]: See below 127. [79]: See above note 3 to 115-116. [80]: See SR. V. 190. [81]: ibid. [82]: See SR. V. 191. [83]: The transl. is tentative. [84]: The meaning is not clear. [85]: Akṣareṣu here means yathāksareṣu. See SR. V. 192. [86]: See SR. V. 192. [87]: SR. V. 192. [88]: Cf. SR. V. 192. [89]: Cf. 125 above. [90]: See XXIX. 109. [91]: See SR. V. 195. [92]: See SR. V. 196. [93]: From Kn. (on SR. V. 196-197) we learn that the Upohanas of the four parts of the Vardhamāna consist respectively of five, six, seven and eight Kalās. [94]: See SR. V. 197. [95]: Cf. Kn. on SR. V. 197. [96]: Here evaṃ guru-samyutaiḥ means that there will be three more long (guru) syllables as in the preceding Kaṇḍikā of the Vardhamāna. Also cf. Kn. on SR. V. 177. [97]: Kn. on SR. V. 197. [98]: Kn. (bn SR. V. 92-93) reads stavanādikaḥ for sūcanādibhiḥ. The original reading probably was stavanādibhiḥ (=by means of praises etc.). [99]: See SR. V. 202. [100]: The Tāla of the Saṃgatā is Niṣkrāma, Śamyā, Tāla, Śamyā, Niṣkrāma, Sannipāta, and in the Tāla of the Sunandā these will be added to the preceding Tāla. [101]: Cf. SR. V. 202. [102]: Cf. SR. V. 202. [103]: The reading divicitrastu is probably corrupt. It seems to have been something like dviḥ citras tu. Cf. SR. V. 202. [104]: See SR. V. 195. [105]: The text seems to be corrupt. [106]: Cf. SR. V. 179. [107]: See SR. V. 180. [108]: It seems that a portion of the text, has been lost after this. [109]: The text dealing with the medium Āsārita seems to be lost from here. [110]: The text here seems to have some lacuna. Cf. SR. 181. [111]: See SR. V. 197. [112]: Defined below in 203-204. [113]: Dattila, (144) and SR. (V. 70) have this as ‘Vividha’. [114]: Defined below in 204. [115]: See Dattila, 140. [116]: See Dattila, 142. [117]: See above note 3 on 202. [118]: See SR. V. 77. The text of SR. is corrupt here. Avaraikādaśaparā should be emended into Tryavaraikādaśaparā. Kn.’s Comm. too requires emendation. It should begin as tryavarāś ca etc; otherwise the next sentence which supports the emended text, becomes meaningless. [119]: See SR. V. 58. The later Indian music seems to completely ignore these Seven Types of Songs. [120]: See SR. V. 77ff. [121]: See above note 1 on 115-116. [122]: A part of the song with a particular kind of time-measure. [123]: See SR. V. 92. [124]: Pada=one quarter of a couplet in a song. [125]: The original of this sentence seems to be corrupt and superfluous. [126]: The original of this passage seems to be a variant of 234-236. [127]: This passage seems to have belonged to the discussion on the Oveṇaka (226-230 above). [128]: See Dattila, 194-195. [129]: See Kn, on SR. V. 79. [130]: Tato’rdhakalikaṃ in the text should be emended into tato’sta-kalikaṃ; see above note 1 on 248-249. [131]: The text here seems to be corrupt. [132]: See SR. V. 80 ff. and Kn. on it [133]: See SR. V. 21, and notes on 254-254 above. [134]: See Kn. on SR. V. 84 (asya prastāraḥ etc.) The fourth foot should be read as tālaṃ vai etc. [135]: See Kn. on SR. V. 79 (asya prastāraḥ etc.). [136]: See 256 above and its notes. [137]: Read “śamyā’hitīyā” for “śamyā hitīyā”. [138]: See notes on 259 above. [139]: Read “caivā hitīyaḥ (=caiva ahitīyaḥ)” for “caiva hitīyaḥ”. [140]: See SR. V. 86. [141]: “hai?geyakaḥ | aṃśādiraṅgasvara eva graho yaseti sa tathoktaḥ | aṃśānta iti | aṃśasvara eva nyāso yaseti sa tathoktaḥ | padāvṛttiyuta ityanena haigeyakasaṃjñāyā anvarthatā darśitā bhavati |” Kn. on SR. V. 87. [142]: Read trivastu tripramāṇaṃ for caturthas tu tripramāṇaṃ. [143]: Read [ yathākṣara stu ] for yathākṣarasya. [144]: See SR. V. 91. This passage in its second hemistich seems to be corrupt. [145]: The passage seems to be corrupt. [146]: The passage seems to be corrupt. [147]: Read Vastu śākhā for vastuśākhā. [148]: “śākheti? gītāṅgasya saṃjñā | kiṃ tvanyapadanirmiteti pratiśākhāyā viśeṣakathanam |” Kn. on SR. V. 92. [149]: See note 2 above. [150]: See note 2 above. [151]: cf SR. V. 98. Read “tathaikakalayukte[ne]” for “tathaikakala yukte'sti”. [152]: Read “?dā tvasya bhavedantastadantā°”. [153]: See SR. V. 104-105. [154]: See SR. V. 119. [155]: The text here seems to be corrupt. [156]: The text here seems to be corrupt. [157]: Read yugmopy antaḥ for yugme hyantaḥ. [158]: See SR. V. 136-137. [159]: See SR. V. 137-138. [160]: Read cāṣṭa [ kaḥ ] smṛtaḥ for cāṣṭamaḥ smṛtaḥ. [161]: cf. SR. 141-142. [162]: Read kāryaṃ saṃharaṇam for kāyaṃ saṃharaṇam. See SR. V. 139. [163]: The text here seems to be corrupt. [164]: The text here seems to be corrupt. [165]: The text here seems to be corrupt. [166]: The text here seems to be corrupt. [167]: The reading here is probably corrupt. [168]: Read gaṇam ādyan in the text. [169]: See note 1 on 346-349 above. [170]: The passage seems to be corrupt. [171]: Read nṛtte for vṛtte in the text. [172]: Read ardhayoga in the text. This term has not been explained before. [173]: ibid. [174]: The text here seems to be corrupt. [175]: Read citre vyaste in the text. [176]: Read trayamārgikam. The trans. is tentative. [177]: See S. R. V. 60. [178]: Śd. gives clearer definitions. According to him, the Kulaka is a song in which different limbs constitute a single sentence (SR. V. 61.) and when such limbs are different sentences, the song is called the Chedyaka (ibid). For the limbs see 223, 236, 231-234, 244-245 above. [179]: See note 2 above. [180]: See SR. V. 61. [181]: Śd. seems to define this differently. Cf. SR. V. 62. [182]: See note 2 above. [183]: See note 2 above and also cf. SR. V. 63. [184]: See I. 17-18. [185]: It is not clear where this has been mentioned. [186]: Not defined anywhere. [187]: Not defined anywhere. [188]: See below XXXII. 55. [189]: The trans. is tentative. [190]: This passage seems to be corrupt, and the trans. is tentative. [191]: This term has not been mentioned before. [192]: Read aṅgatāla for bhaṅgatāla. [193]: See note 1 to 386-387 above. [194]: The passage seems to be corrupt. [195]: This seems to be the term used by Kālidāsa (devaḥ, Śarmiṣṭhāyāḥ kṛtir layamadhyā Catuṣpadā, Mālavi. II, 0.5). [196]: See AD. (text) 5. p. 1. [197]: Read ādyāntyāpaharaṇā for tasyāntyāpaharaṇā. [198]: See XXIX, 76-77 and also XXXII. 488-489. [199]: See XXIX, 78 and also XXXII. 481. [200]: Read yaḥ syāt for yat syāt. [201]: The text is evidently corrupt. [202]: Read hy ardhakhañjeva for °khañjena. [203]: Read ekāvasānā for ekāvasānā. [204]: The passage is corrupt. Emend “hyanyadaṅga°” etc. as “prakṛtiṃ hyanyadaṅgavyaktiṃ nirasyati” [205]: This passage also seems to be corrupt. Emend “ekenaiva padā smṛtā” as “ekenaiva padā sthitā”. [206]: This passage is also possibly corrupt. The trans. is tentative. [207]: See XX. 132ff. [208]: See XX. 107-109. [209]: Ch. XX. 132 footnote. [210]: See the note on 476-478 below. [211]: See XX. 132 f. n. [212]: The fuller form of the Āsīna is Āsīnapāṭhya. [213]: See XI. 13-28. [214]: See V. 17. Emend as “sthāpitairbh?āṇḍavinyāsaiḥ” as “sthāpite bhāṇḍavinyāse” [215]: SeeV. 11-12. [216]: See V. 74. [217]: This term has not been defined anywhere. Does it mean ‘the three Sāman chants’ in the Vedic manner? See XXXI. 369. [218]: See note 2 below. [219]: May this not be considered as an evidence of the inhabitants of Sindh, who descended from the Indus people, having dramatic dances in a very remote antiquity ? [220]: The description of the Vicitrapada the tenth Lāsyāṅga expected after this, is missing. [221]: The description of the Bhāva (Bhāvita) the twelfth Lāsyāṅga, expected here, is missing. It should be remembered in this connexion that Viśvanātha does not consider the Vicitrapada and the Bhāva to be among the Lāsyāṅgas (See SD. ed. Jivānanda. p. 393). [222]: See Viśvanātha’s view quoted above in the note to 476-478. [223]: The reading here in probably corrupt. [224]: See SR. V. 2. [225]: See SR. V. 48. [226]: See SR. V. 51-53. [227]: See SR. V. 50ff. [228]: See SR. V. 51-53. [229]: See SR. V. 51. [230]: See SR. I. 52. [231]: It seems that a portion of this definition has been lost. For Śārṅgadeva’s definition see SR. V. 52-53. [232]: Śārṅgadeva defines the three Grahas and in the same connexion defines Pāṇis also. See SR. V. 54-55. [233]: See the note on 493-494 above. [234]: The passage is probably corrupt. [235]: This perhaps refers to Sannipātas in 497-498 above. [236]: The word kartavyaṃ should be emended as kartavyā. 16 July, 2017 --> Last Updated: 11 March, 2018 $(function(){ if($(document).height() > $(window).height()){ $('.book.chapter').append('^ back to top ^') $('section.back > a').click(function(){ $(window).scrollTop(0); }); } }); /** * Derivation list */ /*$('a.deriv-link').click(function(){ $(this).closest('.words-group').find('.deriv-list').toggleClass('d-none'); });*/ ====================================================================== Chapter XXXII - The Dhruva Songs ====================================================================== --> Natyashastra (English) by Bharata-muni | 1951 | 240,273 words | ISBN-13: 9789385005831 Hinduism Natyashastra Buy now! The English translation of the Natyashastra, a Sanskrit work on drama, performing arts, theater, dance, music and various other topics. The word natyashastra also refers to a global category of literature encompassing this ancient Indian tradition of dramatic performance. The authorship of this work dates back to as far as at least the 1st millenn... Go directly to: Footnotes. Chapter XXXII - The Dhruvā Songs < Previous (index) Next > 1. Listen [now] from me about those types [of songs] which have been called Dhruvās by Brāhmaṇas such as Nārada[1] and others. 2. The Ṛk[2], Pāṇikā[3] and Gāthā[4], and the Seven [traditional] Types [of songs][5] which have seven different measures, are called Dhruvās. 3. O Brāhmaṇas, I shall discuss those [songs] in different metres which being created from those types, attain the status of Dhruvās. 4-6. The five classes of Dhruvās have always the following limbs (aṅga): Mukha, Pratimukha, Vaihāyasaka, Sthita, Pravṛtta, Vajra, Sandhi, Saṃharaṇa, Prastāra, Upavarta, Māṣaghāta, Caturasra, Upapāta, Praveṇī, Śīrṣaka, Saṃpiṣṭaka, Antāharaṇa and Mahājanika. 7. Songs consisting of one, two, three and four Vastus are respectively called the Dhruvā. Parigītikā, Madraka and Catuṣpadā. 8. The Dhruvā is so called, because in it words, Varṇas Alaṃkāra, tempo, Jāti and Pāṇis are regularly (dhruvaṃ) connected with one another. Dhruvās and their limbs 9. Depending on different conditions, the Dhruvās are known to be of five classes. I shall speak of the seven limbs which they consist of. 10. Limbs of the Prāveśikī Dhruvā are Upaghāta, Pravṛtta, Vajra and Śīrṣaka. 11. Limbs of the Aḍḍitā[6] Dhruvā are Prastāra, Māṣaghātā, Mahājanika, Praveṇī and Upapāta. 12. Limbs of the Avakṛṣṭā Dhruvā, are Mukha and Pratimukha, and of the Sthitā Dhruvā, limbs are Vaihāyasa and Antāharaṇa. 13. Similarly, of the Khañja-Nātkuṭā Dhruvā the limbs are Saṃhāra (Saṃharaṇa) and Caturasra, and of the Antarā Dhruvā, the limbs are Sandhi and Prastāra. 14. The limbs and the Kalās which are included in the songs, should be represented in the Dhruvās by means of [appropriate] types of metres. 15. The Tāla in a Dhruvā being Tryasra and Caturasra should, as said before, consist respectively, of six or of eight Kalās. 16. The limbs of all songs, which have been mentioned [before] are Vṛtta, Vivadha and Ekaka. 17-18. [The part of the song] which completes the Pada and the Varṇa, is called the Vidārī.[7] I shall now speak of the rules regarding their[8] application to [different] characters [in a play]. The Vṛtta class of limbs will apply to the superior characters, and the Vivadha to the middling ones, and the Ekaka to the inferior characters. 18-19. Taking into account the application (yoga) [of the Tāla] which may be Tryasra or Caturasra, one should perform the Āvasānikī Dhruvā in its [proper] measure. 19-20. The Āvasānikī Dhruvā should have feet of metres which rest between Gāyatrī and Atiśakkarī. 20-21. The Āvasāniki Dhruvā which falls between the Śakkarī and Atikṛti metres, consists of a foot and a half of these. 21-22. The foot of an Āvasānikī Dhruvā should be made up of short and long syllables, according to the rules of Yati, metre and its measurement in mātrās. 22-23. For the superior and the middling characters the Āvasānikī Dhruvā should be Caturasra, and for the inferior characters it will be Tryasrā. When the Dhruvā is full of meaning in all its parts (artha-pūrṇa-padī) Vṛtta should be applied in it. On the strength of the Vṛtta the Dhruvā should be Āvasānikī. 24. Dhruvās originating in various metres are of five kinds. According to Sentiments which they contain they are superior, middling and inferior. 25. Dhruvās are of three classes: Kaniṣṭhikāgrahā, Sannipātāgrahā, and Apagrahā. 26-27. The first Dhruvā is Prāveśīkī (entering), the second one Ākṣepikī (indicating), the third one Prāsādikī (calming), the fourth one Antarā (transitional) and the fifth one is Naiṣkrāmikī (departing). I shall describe their metres. 28. The Vastu of the Gāndharva which I have spoken of as consisting of notes, Tāla and words, will be [called] Pada[9] when it will reflect notes and Tālas. 29. All that is made up of syllables, is called the Pada It is of two kinds according as it is [regularly] composed (nibaddha) or not so composed (a-nibaddha). 30. It is again of two kinds: conforming to no time-measure (a-tāla) and conforming to a time-measure (sa-tāla). For the purpose of the Dhruvā, it is to conform to a time-measure and is to be [regularly] composed. 31. A Pada which conforms to no time-measure and which is not regularly composed, is connected with the Karaṇas[10] and it embellishes the playing of all kinds of musical instruments. 32. That which is furnished with a fixed number of syllables and which has a metre including caesura and has a time-measure and tempo (laya) for its syllables, is called a regularly composed Pada. 33. That which has a free metre and caesura and has no fixed number of syllables and has no [prescribed] time-measure and tempo, is called an irregularly composed Pada. 34. The syllables not regularly composed will be outside the Jāti songs, and one should describe their performance along with the Karaṇas of the musical instruments. 35. The Padas which are irregularly composed and not furnished with any time-measure, are connected with the musical instruments and they are [meant] to embellish the latter. 36. But those (Padas) which are regularly composed in persuance of the [rule of] syllables in a metre, are called the Dhruvās. I shall next speak of their characteristics. 37. The three Tryasra classes [of metre] to be applied in the Sthitāpakṛṣṭā [Dhruvā] are the Atyukta, Madhyā, Pratiṣṭha and Gāyātrī. 38. The Yugma class [of metres] to be applied in the Prāsadīkī Dhruvās are the Uṣṇik, Anuṣṭup, Bṛhatī and Paṅkti. 39-40. The classes [of metre] known to be in use in the Dhruvās of speed, are the Anuṣṭup, Bṛhatī, Jagatī, Drutā, Capalā, Udgatā and Dhṛti. 40-41. Now listen about the class [of metres] for the Prāveśīkī Dhruvās in case of energetic [characters]. The class of metres applicable to such characters are Paṅkti, Triṣṭup, Jagatī, Atijagatī and Śakkarī. 42. For all these classes three kinds of syllabic metres have been prescribed. They may be mostly in long syllables or in short syllables or may equally have long and short syllables. 43. The Apakṛṣṭā Dhruvās should be in metres mostly with long syllables, and the Drutā (quick) Dhruvās should be in metres containing mostly short syllables, and the remaining Dhruvās should be in metres having short and long syllables [in almost equal numbers], 44. Metres with odd number of syllables are to be applied in the Mukha, and these when made up of short syllables of even number, are to be applied in the Drutā Dhruvās. 45. Metres which have a small number. of syllables and are considered small metres, are to be applied in the Drutā Apakṛṣṭā as well as the Ākṣepikī Dhruvās. 46. Metres beginning with long syllables are to be used in the Sthitā [Dhruvā], and those beginning with short syllables are to be made the Druta Dhruvā, and metres with odd and even numbers [in alternate feet] are to be made the Ākṣepikī Dhruvā. 47. A metre consisting of short, and even number of syllables or of odd and small number of syllables are to be applied in the Ākṣepikī Dhruvās. 48. In case their Varṇas are to be increased they should include Śamyā in their Tāla. I am now describing all the classes of metre with examples of their patterns and according to their names, extent and use. Listen about these from me. The metres used in different Dhruvās 49. Hrī.—The metre with all syllables long in parts of gāthā feet, is called Hrī.[11] Ex. Yo gaṅgāśṛt.[12] 50. Atyuktā—The metre which has all syllables long [in all its feet of two syllables,] is Atyuktā. Ex. Īśaṃ devaṃ śarvaṃ vande.[13] Tr. I adore the god Śarva. 51. Taṭi—When the syllable in the middle is short [in feet of three syllables, the metre is Taṭi]. Ex. Śaṃkaraḥ śūlabhṛt pātu māṃ lokakṛt.[14] Tr. Let Śaṃkarā who carries the Trident and creates the world, protect me. 52. Dhṛti—When the first syllable in its feet of three syllables is short [the metre is Dhṛti]. Ex. Umeśaḥ surendraḥ tavāyur dadātu.[15] Tr. Let the lord of Umā who is the lord of gods, give you [long] life. 53. Rajanī—When the two syllables are short and one long in the triad of its feet, the metre is Rajanī. Ex. Adhikaṃ virahe madam dahati.[16] Tr. Love afflicts (lit. burns) greatly when one [is] in separation [from one’s beloved]. 54. This (Rajanī) is also known as Madhya. These [Dhruvās] are all of the Vṛtta (syllabic) class. I shall now speak of the characteristics [of the Dhruvā of] the Pratiṣṭhā and the Supratiṣṭhā classes. 55. Pratiṣṭhā—The metre which has in its feet of four syllables the second long, is Pratiṣṭhā. Supratiṣṭhā—When the two more (i.e. the 3rd and the 4th syllables) are short it (Pratiṣṭhā) becomes Supratiṣṭhā. 56. Ex. (See text.)[17] Tr. Drying up the limbs the wind blows carrying the [scent of] flowers. 57. Ex. (See text.)[18] 58-59. Bhramarī—The metre which has in its feet of four syllables the first two short and the next two long, is Bhramarī. Ex. (See text.) Tr. When the forest region is in bloom, the [solitary] elephant feels distressed. 60-61. Jayā—The metre which has in its feet of four syllables two pairs of short and long syllables (i.e. short followed by a long one) is Jayā. Ex. (See text.) TV. The forest region being struck with frost, the elephant is in (lit. has come to) tears. 62-63. Vījayā—When the third syllable is short in the above, it is Vijayā. Ex. (See text.) Tr. At the appearance of clouds the peacocks are dancing in their honour. 64-65. Vidyud-bhrāntā—The metre which has in its feet of five syllables all long, is Vidyud-bhrāntā. Ex. (See text.) TV. Here appear the clouds which are roaring, pouring water and covering the world. 66-67. Bhūtala-tanvī—The metre which has in its feet of five syllables the second and the third short, is Bhūtala-tanvī. Ex. (See text.) TV. On seeing the sky overcast with clouds, the wife of a person travelling abroad, is shedding tears. 68-69. Kamala-mukhī—The metre which has in its feet of five syllables the final one long, is Kamala-mukhī. Ex. (See text.) TV. The rain-clouds carried away by wind, move above in the sky like serpents. 70-71. Guru—The metre which has in its feet of five syllables the first, the third and the last long, is Guru. Ex. (See text.) TV. Having lost light due to the colour of clouds [covering her], this moon is always pale. 72-73. Sikhā—The metre which has in its feet of five syllables the second, the fourth and the last ones long, is Sikhā. Ex. (See text.) Tr. The roaring clouds are, as it were, laying seige to the sky from all sides. 74-75. Ghana-paṅkti—The metre which has in its feet of five syllables the first two short, is Ghana-paṅkti. Ex. (See text.) Tr. The sky obscured by clouds together with[19] lightning, is shedding tears, as it were, by its torrents of water. 76. These are the classes of Dhruvā known as the Supratiṣṭhā. I shall now speak of the Gāyatrī class. 77-78. Tanu-madhyā—The metre which has in its feet of six syllables the first two and the last two long, is Gāyatrī. Ex. (See text.) Tr. With his head struck by lightning this lord of mountains sleeping under a burning heat of fever, sinks down, as it were, into the earth. 79-80. Mālinī—The metre which has in its feet of six syllables the first, the fourth and the last syllables long, is Gāyatrī. Ex. (See text.) Tr. In this great mountain ravaged by wind and struck by lightning, the she-elephant is weeping [in distress].[20] 81-82. Makaraka-śīrsā—The metre which has in its feet of six syllables two syllables in the end long, is Makaraka-śīrṣā. Ex. (See text.) Tr. In this winter which excites passion, the wind is blowing in the pleasure garden. 83-84. Vimalā—The metre which has in its feet of six syllables the fourth and the final ones long, is Vimalā. Ex. (See text.) Tr. The elephant in rut, enters into the lake which is full of lotuses, and where the bees settle themselves. 85-86. Vīthi—The metre which has in its feet of six syllables the first three and the last one long, is Vīthi. Ex. (See text.) Tr. In the pleasant autumn, the clouds are roaring, peacocks are dancing and the bees are humming. 87-88. Girā—The metre which has in its feet of six syllables the first three and the fifth short, is Girā. Ex. (See text.) Tr. The [male] elephant on hearing the roar of clouds, trumpets in the forest; for it apprehends a rival.[21] 89-90. Jalā—The metre which has in its feet of six syllables the first four and the last one long, is Jalā. Ex. (See text.) Tr. On seeing the tree struck with frost and shorn of all leaves, the female flamingo is weeping. 91-92. Ramyā—The metre which has in its feet of six syllables the fourth syllable short and the remaining ones long, is Ramyā. Ex. (See text.) Tr. The terrific black clouds which are roaring and covering the world, are creating an alarm. 93-94. Kantā—The metre which has in its feet of six syllables the first, the fourth, fifth and the sixth long, is Kāntā. Ex. (See text.) Tr. O dear one, are you in a state of daring courage? Do you wish to meet her who is angry, intoxicated [but] well-meaning? 95-96. Paṅkti—The metre which has in its feet of six syllables the first three syllables and the sixth long, is Paṅkti. Ex. (See text.) Tr. This bride of swan is passionately waiting in this forest to meet her beloved. 97-98. Nalinī—The metre which has in its feet of six syllables twice two short syllables followed by a long one, is Nalinī. Ex. (See text.) Tr. Young trees slightly shaken by wind at the time of flowering, are as it were, smiling. 99-100. Nīlatoyā—The metre which has in its feet of six syllables the second syllable short and the remaining four long, is Nīlatoyā. Ex. (See text.) Tr. This insufferable wind scattering the cluster of clouds, is blowing to make the trees dance. 101. These are the regular syllabic metres of the Gāyatrī class. I shall now speak of those of the Uṣṇik class. 102-103. Drutagati-Capalā—The metre which has in its feet of 7 syllables, the final one long, is Drutagati-Capalā. Ex. (See text.) Tr. This your face with the beautiful eyes which are like the best jewels, develops passion in me. 104-105. Vimalā—The metre which has in its feet of seven syllables the third, the fifth and the final one long, is Vimalā. Ex. (See text.) Tr. This breeze of the spring-time, blows pleasantly and excites passion, like a lover. 106-107. Kāminī—The metre which has in its feet of seven syllables short syllables alternating with long ones, is Kāminī. Ex. (See text.) Tr. On seeing the spring arriving at a distance, the southern beeeze blows to shake the trees [in its honour]. 108-109. Bhramaramālā—The metre which has in its feet of seven syllables the first two and the last two long, is Bhramaramālā. Ex. (See text.) Tr. In this autumn season, the fragrant water is beautiful to look at with swans moving about in it and with its cloth of kāśa flowers. 110-111. Bhogavatī—The metre which has in its feet of seven syllables the first, the fourth and the last one long, is Bhogavatī. Ex. (See text.) Tr. The cakravākī[22] with her lover, is passionately moving about in water. 112-113. Madhukarikā—The metre which has in its feet of seven syllables the first two and the final one long, is Madhukarikā. Ex. (See text.) Tr. This priyaka creeper with its beautiful ornaments, has flowered in a season which inspires passion. 114-115. Subhadrā—The metre which has in its feet of seven syllables the second, the fourth, the penultimate and the last one long, is Subhadrā. Ex. (See text.) Tr. The rutting elephant comes out without its female to the forest which has been blighted by frost and which has no mud-water in it. 116-117. Kusumavatī—The metre which has in its feet of seven syllables the last two long and the rest short, is Kusumavatī. Ex. (See text.) Tr. The elephant with its female companion, is moving about in the mountain groves which are soaked in water. 118-119. Muditā—The metre which has in its feet of seven syllables the second, the third and the last two long, is called Muditā. Ex. (See text) Tr. A great canopy of clouds, fastened with the chain of cranes and roaring very terribly, has been fixed in the sky. 120-121. Prakāśitā—The metre which has in its feet of seven syllables the fourth, the sixth and the final one long, is called Prakāśitā. Ex. (See text.) Tr. A pleasant wind which carries the fragrance of flowers and is laden with particles of water, is blowing to excite love. 122-123. Dīptā—A metre which in its feet of seven syllables has the first the fifth short and the rest long, is Dīptā. Ex. (See text.) Tr. In the winter the wind carrying the fragrance of flowers, blows exciting love and creating terror in me.[23] 124-125. Vilambitā—The metre which has in its feet of seven syllables the second, the fourth and the last two long, is Vilambitā. Ex. (See text.) Tr. The drying-up and [almost] waterless rivers from which birds have been scattered and the cakrkvākas are going away, do not shine. 126-127. Cañcalagati—The metre which has in its feet of seven syllables the first, the fifth and the last one long, is Cañcalagati. Ex. (See text.) Tr. The full moon free from the stain of clouds and coming out of white clouds, shines in the courtyard of the sky. 128. These are metres to be applied in the Prāsādikī Dhruvās. I shall now speak of those in the Anuṣṭubh class. 129-130. Vimalajalā—The metre which has in its feet of eight syllables the third and the last ones long, is Vimalajalā. Ex. (See text.) Tr. A bird is roaming about in the wide expanse of clear water where white lotuses are smiling and the bees are humming. 131-132. Lalitagatī—The metre which has in its feet of eight syllables the fifth and the last one long, is Lalitagatī. Ex. (See text.) Tr. This bride of the swan, is roaming about in the park of the pleasure resort which is perfumed with the smell of flowers and therefore excites passion. 133-134. Mahī—The metre which has in its feet of eight syllables sixth and eighth long, is Mahī. Ex. (See text.) Tr. The female swan with her male companion is roaming about in the lotus-lake which is adorned with many flowers. 135-136. Madhukarā—The metre which has in its feet of eight syllables first six short and the rest long, is Madhukarā. Ex. (See text.) Tr. In the autumn, the wind which passes over many forests, and is sweet-smelling on account of the [full-blown] lotuses, is blowing to awaken the kumuda flowers. 137-138. Nalinī—The metre which has in its feet of eight syllables the fifth and the final long ones, is Nalinī. Ex. (See text.) Tr. The female stork which dwells in the lotus-lake is moving to her dearest one’s abode on the beach of the river. 139-L40. Nadī—The metre which has in its feet of eight syllables the first and the final one long, is Nadī. Ex. (See text.) Tr. The female bee is roaming about in the forest where the swans are in great number and which is resounded by the noise of storks and where the bees are intoxicated [with sucking honey]. 141. These are the Prāveśikī Dhruvās of the Anuṣṭubh class, and now listen about the Apakṛṣṭā ones which are to be applied in case of women of the best and the middling class. 142-143. Rucirāntā—The metre of which has in feet of nine syllables the first, the fourth, and the last two long, is Rucirāntā. Ex. (See text.) Tr. On learning that the moon in the sky has lost her beauty on being eclipsed by Eāhu, the stars are weeping, as it were, in great grief, and are shedding tears in [the shape of] their rays. 144-145. Pramitā—The metre which has in its feet of ten syllables, the third, the fifth and the last three long, is Pramitā. Ex. (See text.) Tr. The lightless moon thrown in amongst the clouds and obscured in her beauty due to rays of the morning sun, is not shining while she is moving in the expanse of the sky. 146-147. Gataviśokā—The metre which has in its feet of eleven syllables the sixth and the final long is Gataviśokā. Ex. (See text.) Tr. The moon which has her body covered with the canopy of the clouds and which has been robbed of beauty by the rays of the sun and which has become colourless due to the advent of the morning, is no longer chasing the darkness with her [very bright] smile. 148-149. Viślokā-jāti—The metre which in its feet of twelve syllables the first two, the fourth, the eighth and the tenth and the last one long is Viślokā-jāti. Ex. (See text.) Tr. (The example is corrupt.) 150-151. Lalitā—The metre which in its feet of twelve syllables, the first, fourth, the eighth, the tenth and the last one long, is Lalitā. Ex. (See text.) Tr. The big elephant in rut with its restless head and with its feet in chains in its eagerness to follow other elephants, has become thin, and is looking to the beautiful forest which is being shaken by happy wind. 152. Vilambitā—The metre which has in its feet of thirteen syllables, the third, the fifth, the ninth, the eleventh and the last one long, is Vilambitā. 153. Tr. The moon rising in the evening amidst the forests which have turned black on account of the coming darkness, does not shine well, because she has thereby shortened her light and dimmed it. 154. These are the classes of metres in Dhruvās of the Prāveśīkī Sthitā class. I shall now describe those of the Ākṣepikī Apakṛṣtā class. 155. Metres of the Supratiṣṭhā class, are to be applied in the Apakṛṣṭā [Dhruvās.] 156. The arrangement of syllables and Yatis and the Pāṇis x x x[24]. It is the Apakṛṣṭā. 157. The Apakṛṣṭā should have Sthāyī Varṇas, Sthita Laya, [proper number of] syllables in its different Kalās (?) and the Sama Pāṇi and Samā Yati. 158. Syllables in the Kalās and Antara Kalās of the Apakṛṣtā Dhruvās should be according to the rules of the Vṛtta metres. 159. The Apakṛṣṭā Dhruvā should always consist of a short Vastu and Pada, and of the Prāveśīkī Dhruvā [the Vastu should be] shortened, because of its taking up Karaṇāṅga. 160. These are to be known as the metres of Vṛtta class for the Apakṛṣṭā Dhruvās. I shall now speak of metres of the Drutā Dhruvās. 161. In its beginning there should be the Toṭaka[25], and the rest should be in short syllables, or the rest may have short syllables in alternate positions.[26] 162. This Dhruvā will have metres of, the Jagatī and of the Atidhṛti classes of different type. 163-164. Vikrānta—The metre which has in its feet of twelves syllables the first nine and the last long, is Vikrāntā. Ex. (See text.) Tr. This cloud looking like smoke, is roaring, and with its lighting is, as it were, piercing the earth, and like a terrible elephant, it is pouring quickly masses of water to cover the entire world. 165-160. Vidyun-mālā—The metre which has in its feet of thirteen syllables the first eight and the final long, is Vidyun-mālā. (The example is corrupt) 167-168. Bhūtala-tanvī Skhalita-gati—The metre which has in its feet of fourteen, syllables the first five, the eighth, the ninth and the last long, is Bhūtala-tanvi Skhalita-gati. Ex. i (See text.) Tr. The lovely crescent moon free from clouds and possessing bright rays, shines above with its attractive body, and it has been thrown up, as it were, by Śiva (lit. the carrier of Gaṅgā) for sport, and thus in the month of Jaiṣṭha under the asterism Mūlā, it rises and dwells in the sky with a larger (?) body. Ex. ii (See text.) Tr. Among the stars the moon free from clouds, has bright rays, and looks silver-like, and spreading the beauty of light it moves sportfully in the sky. 169-170. Vibhramā—The metre which has in its feet of fourteen syllables the ninth, the twelfth, the thirteenth and the last long, is Vibhramā. Ex. (See text.) Tr. O beautiful lady, the moon which is the friend of full-blown kumuda flowers, and is ever shining and is near the silver mountain, and is your heart’s delight, is rising up in the sky where the dense darkness being gone, bright stars have appeared, 171-172. Bhūtala-tanvī—The metre which has in its feet of fifteen syllables the first, the fourth the fifth, the sixth, the ninth, the tenth and the last long, is Bhūtala-tanvī. Ex. (See text.) Tr. The strongly blowing wind, shaking the tree-tops with constant rustle, moving about at the foot of the mountain and raising up dusts red and brown, is running along like one very angry. 173. Sukumārā—The metre which has in the feet of sixteen syllables the first, the fourth, the seventh the tenth and the last long, is Sukumārā. 174. Ex. (The passage is fragmentary). 175. Skhalita-vibhramā—The metre which has in its feet of sixteen syllables the third, the fourth, the seventh, the eighth, the ninth, the twelfth, the thirteenth, and the last long, is Skhalita-vibhramā. 177. Ex. (The passage is corrupt). 178. Rucira-mukhī—The metre which has in its feet of seventeen syllables the fifth, the eighth, the eleventh, the twelfth and the last long, is Rucira-mukhī. 179. Ex. (The passage is corrupt). 180-181. Druta-capalā—The metre of which has in its feet of eighteen syllables the fifth, the eighth, the thirteenth and the last long, is Druta-capalā. Ex. (See text.) Tr. The water of the lake in which the lotuses have been turned down by wind, and to which the petals [of those lotuses] have given sweet smell, and in which the moving waves have broken the kumuda flowers, is sending forth a call, as it were, by the cries of birds which have been agitated. 182-183. Kanaka-latā—The metre which has in its feet of nineteen syllables the thirteenth, the fourteenth and the last long, is Kanaka-latā. Ex. (See text.) Tr. 0 fair one, the beautiful moon of silver colour, surrounded by the bright planets, and free from the scattered clouds, dispelling darkness by its cluster of rays, is moving about like Balarāma (lit. the plough-bearer) in the autumn sky. 184-185. Mukha-capalā—The metre which has in its feet [of nineteen syllables] the fifth, the twelfth and the last syllables long, is Mukha-capalā. Ex. (See text.) Tr. Look at the sky where moves the young heavenly damsel (=lightning) who changes her face quickly and has made it beautiful by her passion. 186. These eight are the principal classes of metre for Dhruvās. From these have come out the metres of even and of odd number of syllables (in the feet), and metre of these two kinds mixed up. 187. These are the classes of metre for Dhruvās of the Drutā types, and they relate to the comparison of gods and kings. 188. Kṣiptakā—The metre which has in its feet [of seventeen syllables] the third, the fifth, the eighth, the eleventh, the seventeenth long, is Kṣiptakā.[27] 189. (This passage is corrupt.) 190. These classes of metres are Dvipadā Tryasrā. I shall speak hereafter about those which are Dvipadā Caturasra. 191-192. Mālā—The metre which has in its feet of sixteen syllables all long, is Mālā. Ex. (See text.) Tr. The clouds covering the earth, roaring loudly, giving fourth lightning and pouring water, are up [in the sky]. 193-194. Prabhāvatī—(The definition of the metre and its example are both corrupt.) 196-196. Citrā—(The definition is corrupt). Ex. (See text.) Tr. Excited on hearing the roaring of clouds the elephant surrounded by its female companions, is rushing through the forest and is smashing the trees. 197-198. Mālakitā—(The definition of this metre is corrupt). Ex. (See text.) Tr. The forest which has been maddened by the song of cuckoos, is dancing, as its were, on being shaken by the wind of the early winter. 199-200. (The definition of this metre and its example are corrupt). 201. These are the Caturāsra classes of metre for the Vilambitā Dhruvās I shall now speak of the classes of metre for the Drutā Dhruvās. 202-203. Manojña-gamanā—(The definition of this metre is corrupt). Ex. (See text.) Tr. In the autumn, the female swan is bathing in the water of the sweet-smelling lotus-lake, and is sporting with her beloved before her. 204-205. Lalita-gati—The metre which has in its two feet of twenty-three syllables, five sa-s followed by one ja, and the last syllable long and the rest short, is called Lalita-gati. Ex. (See text.) Tr. (The example is corrupt). 206. Rati—The metre which has in its feet, the sixth, the tenth, the thirteenth, the sixteenth and the last long, is Rati. 207. (The example is corrupt). 208-209. Bhujaga-mukhī—(The definition is corrupt). Ex. (See text.) Tr. O friend, this sweet-smelling wind which has come along with clouds, and has been made restless by the god of love, creates passion, kills sleep and is [therefore] helpful to women. 210-211. Druta-padagā—(The definition is corrupt). Ex. (See text.) Tr. The humming of the bees declares, as it were, that the lotus-lake which has just now opened beautifully its lotus-face, is shining while it is surrounded by lovers of lotuses. 212. These are the Caturāsra classes of metres prescribed for Drutā Dhruvās. I shall now speak of metres for the Uddhatā Dhruvās. 213-214. Kanaka-latākṣiptā—The metre which in its feet of nine syllables, has the first two, and the last three long, is Kanaka-latākṣiptā. Ex. (See text.) Tr. O friend, I see in the sky a terribly big cloud which is roaring and is drenching the earth with a new shower of water. 215. Surucira-citrā—The metre which has in its feet of eleven syllables the first two and the last three long, is Surucira-citrā. 216. (The example is corrupt). 217-218. Śaśi-rekhā—The metre which has in its feet of nine syllables the fifth and the last long, is Śaśi-rekhā. Ex. (See text.) Tr. The cluster of clouds driven by strong wind, moves about like mountain-elephants, and roars like the agitated sea. 219-220. Śalabha-vicalitā—The metre which has in its feet of nine syllables, the sixth and the final [two] long, is Śalabha-vicalitā. Ex. (See text.) Tr. The night which has the rays of the moon as the necklace, the stars as the head-ornaments and the planets as the ornaments of other limbs, looks beautiful (lit. shines) like a youthful lady. 221-222. Maṇigaṇa-nikara-kṛtā—The metre which has in its feet of nine syllables, the first eight short, is Maṇigaṇa-nikara-kṛta. Ex. (See text.) Tr. The night with stars as her flower [ornaments] and planets as the tilakā[28] marks on her face, is going to the moon.[29] 223-224. Siṃhākrāntā—The metre which has in its feet of nine syllables, the first four and the last long, is Siṃhākrāntā. Ex. (See text.) Tr. This cloud with its wealth of waters, and glimmer of lightning, is moving on, shaking the surface of the earth as well as the dome of the sky. 225. These are the metres of the Bṛhatī class, suitable for the Prāveśikī (entering) Dhruvās. I shall speak hereafter about the metres of the Paṅkti class. 226-227. Sura-dayitā—The metre which has in its feet of ten syllables the first, the fourth, and last long, is Sura-dayitā. Ex. (See text.) Tr. The young couple of swans which are as white as kunda flowers and the moon, is moving about in the clear water of the lotus-lake, and the cranes are following them. 228-229. Kusuma-samuditā—The metre which has in its feet of ten syllables the first three and the last long, is Kusuma-samuditā or Kumudinī. Ex. (See text.) Tr. O fair lady, now has come the joyous evening of the spring which is full of sweet-smelling flowers, and which causes emaciation of one who is separated from the lover. 230-231. Vṛtta (?)—The metre which has in its feet of ten syllables the first, the fourth, the sixth, the seventh and the last long, is Vṛtta. Ex. (See text.) Tr. Here the elephant on hearing the peals of thunder arising in the sky, is burning in anger and is moving about [restlessly] in the forest. 232-233. Kṛtoddhatā—The metre which has in its feet of ten syllables the first three, the sixth, the ninth and the last, is Kṛtoddhatā. Ex. (See text.) Tr. The sky covered with rain-clouds, fringes of which are lighted up by the flash of lightning, is maddening the herd of elephants which being lashed by storm, are shivering [in cold]. 234-235. Puṣpa-samṛddhā—The metre which has in its feet of ten syllables, the first four, the fifth, the sixth and the last long, is Puṣpa-samṛddhā. Ex. (See text.) Tr. The elephant on seeing the masses of cloud which are [occasionally] brightened up with the flash of lightning, and against which the rows of cranes are flying, has become enraged and are running amidst the birch forest with great trumpeting. 236-237. Vipula-bhujā—The metre which has in its feet of ten syllables the fifth, the eighth and the ninth and the last long, is Vipula-bhujā. Ex. (See text.) Tr. The elephant which is restless due to the flow of ichor, has become perturbed on hearing the peal of thunder, and is rushing in anger to the forest, and is moving on with violently proud steps. 238. These are in brief the metres of [the Paṅkti class]. I shall now speak of those of the Triṣṭubh class. 239-240. Capalā—The metre which has in its feet of eleven syllables, the first two, and the last long, is Capalā. Ex. (See text) Tr. Here have appeared in the sky, terrible clouds which are like mountains, which make sounds like drums and which look like [large] birds of blue and black colour. 241-242. Rucira-mukhī[30]—The metre which has in its feet of eleven syllables, the two middle ones (the fifth and the sixth) and the last long, is Rucira-mukhī. Ex. (See text.) Tr. The moon which is a friend of the stars and is the lover of kumuda flowers, is shaking (?) the path of rays, and is ascending the eastern mountain, before appearing in the sky. 243-244. Drutapāda-gati—The metre which has in its feet of eleven syllables, the fifth, the eighth and the last long, is Drutapāda-gati. Ex. (See text.) Tr. Here appears in the sky the moon which is adorned with thousands of rays and which is going to traverse the path of heavens, after pushing aside the screen of clouds.[31] 245-246. Ati-capalā—The metre which has in its feet of eleven syllables, the two middle ones the fifth and the sixth) and the last long, is Ati-caplā. Ex. (See text) Tr. Here in the early autumn when there open many flowers, the wind perfumed with their smell, is making the trees dance, and is roving about among the lotus flowers of the pleasure-garden. 247-248. Vimalā—The metre which has in its feet of eleven syllables, the third, the fifth, the sixth, the seventh and the last long, is Vimalā. Ex. (See text.) Tr. The elephant in rut, is moving about in the clear water of the lake which is full of lotus plants and which is strewn with flowers, and bees also are buzzing about the flowers in the lake where the [aquatic] birds are enjoying themselves. 249-250. Rucirā—The metre which has in its feet of eleven syllables, the fourth, the fifth, the penultimate and the last long, is Rucirā. Ex. (See text.) Tr. The wind which is moving the canopy of clouds, is shaking the host of kumuda flowers, and is scattering the masses of water, is blowing on quickly like one who is angry. 251-252. Laghu-gati Ati-capalā—The metre which has in its feet of thirteen syllables, the last one long, is Laghu-gati Aticapalā. Ex. (See text.) Tr. This sun of unparallelled brightness which is the crown of the eastern mountain, and is adored by Brahmins and the Munis is moving about in the sky. 253-254. Mada-kalitā—The metre which has in its feet of thirteen syllables the fifth, and the last two long, is Mada-kalitā. Ex. (See text.) Tr. This is the moon which is like the silver mountain and is as bright as a mass of crystal, and is ascending the dome of the sky, has graced the new autumn. 255-256. These are the Triṣṭubh metres. Now listen about those of the Jagatī class.[32] Kamala-locanā—The metre which has in its feet of thirteen syllables, the ninth and the last long, is Kamala-locanā. Ex. (See text.) Tr. Here arises in the sky the sun the lamp of the world. He is clad with myriads of rays, and his warmth is adored by the Brahmins and the Munis. 257-258. Apara-vaktra—The metre which has in its feet [of eleven syllables] the seventh, the ninth and the final long, is Apara-vaktra.[33] Ex. (See text.) Tr. This great cloud moving about near the mountain side, is shaking the earth with a peal of thunder and is coming down quickly with cleverly made music. 259. These are the metres to be used in the Entering Dhruvās of the quick (drutā,) variety. I shall now speak about the Vardhamānā metres[34]. 260. Definition of all these beginning with Pratiṣṭhā metre have been given before regularly with a description of their feet. 261. Pratiṣṭhā. Ex. (See text.) Tr. On hearing the clap of thunder in the early autumn, the big elephant has become angry. 262. Supratiṣṭhā Ex (See text.) Tr. The starless sky having been beaten by wind with whips of lightning, is weeping incessantly. 263. Gāyatrī. Ex. (See text.) Tr. This sky in which the luminaries have been covered, and the sun has been obscured, weeps as it were, after being perturbed by peals of thunder. 264. Uṣṇik. Ex. (See text.) Tr. The swan surrounded by its female companions, is roaming about in the pleasure-garden where trees in flower are being shaken by fragrant wind. 265. These are the Vardhamānā metres of the Tryasra kind. I shall now describe those of the Caturasra kind. Listen about them. 266. Anuṣṭubh. Ex. (See text.) Tr. Here arises in the sky after throwing aside the curtain of clouds, the moon which is the illuminator of the night, the friend of the stars, and is adorned with myriads of rays. 267. Bṛhatī. Ex. (See text.) Tr. The bird-couple which is accustomed to roam about in the very fragrant forest, is flying about in the garden of Sumeru where the gods and the Siddhas sing their songs. 268. Paṅkti. Ex. (See text.) Tr. O fair one, the forest-wind which has been perfumed by the ichor of elephants, is blowing on to shake the tree-tops, and to make the garden-trees dance. 269. Triṣṭubh. Ex. (See text.) Tr. Here rises in the sky the moon of clear rays. It adorns the kumuda flowers, throws aside the the curtain of clouds and climbs the eastern mountain. 270. Jagatī. Ex. (See text) Tr. This sun whose body is as brilliant as molten gold, and which is praised by Brahmins and Munis, is quickly ascending the dome of the sky and will be roaming there very soon. 271. These are the metres of the Caturasra-vivardhitā class. I shall speak below of metres on the basis of mora. 272-273. The final foot of Supratiṣṭhā metres, is to consist of two gaṇas and a half, while their four feet will contain only six gaṇas. Similarly the Apakṛṣtā [Dhruvās] should have the final foot consisting of two gaṇas and a half, and [the entire song] should consist of ten gaṇas. 274. In case of the Aḍḍitā [Dhruvā] the final foot will consist of three gaṇas and a half, while the entire song will consist of fourteen gaṇas. 275. The Dvipadas of the Tryasra class should have its final foot consisting of six gaṇas and half while the entire the song should have eleven gaṇas. 276. The [final] foot of the Caturasra Dvipadas should consist of eight gaṇas and a half, while the entire song should consist of fifteen gaṇas. 277. In the first feet of the Caturasras the gaṇas containing one long and one short, should be not less than two, and more than nine. 278. In the Tryrasra such gaṇas should not be less than five and more than nine, and in the Caturasra such gaṇas should not be less than seven and more than ten. 279. Gaṇas if they consist of heavy syllables, should be in Caturasra not less than five, and more than nine if they are all short. Or they may be not less than seven if they are all long, and more than thirteen if they are all short. 280. These are the accounts of the total number of syllables in case of all Dhruvās. I shall now speak of the different parts of the Dvipada and number of gaṇas they are to contain. 281. In the Tryasra Dhruvās, the first foot will consist of eleven and the final foot of twenty-one gaṇas which are made up of a long syllable followed by a short one. 282. In the Caturasra Dhruvās the first foot will consist of sixteen and the last foot of twenty gaṇas made up of a long syllable followed by a short one. 283. Śīrṣakas have no rule of their feet. They are to consist of two long syllables in the beginning, the middle and the end, followed by a short syllable. 284. In the Tryasra Dhruvās the Sannipāta should be of five gaṇas [in length], and in the Caturasra Dhruvā the Sannipāta should be of eight gaṇas. 285. The two pādas are the Sannipāta of the Dhruvās. They are Druta and Śīrṣaka, and besides these there are other two. 286. Gaṇas in the Tryasra are not less than five and more than nine, and in the Tryasra they are not less than eight and more than eighteen. 287. Gaṇas if they consist of long syllable should be in the Caturasra Dhruvā not less than five and more than nine, if they are all short. Or they may consist of not less than eight and more than thirteen. 288. These are the gaṇas to be known by the expert in Dhruvās. I shall now speak of the distribution of gaṇas and mātrās in the Drutā Dhruvās. 289. The Sannipāta of the Drutā Dhruvās is to consist of six gaṇas and a half, and these are to be made up of twenty-two mātrās in long and short syllables. 290. In the Śīrṣakas these should be rules regarding their pādas, and they are to be made up of different metres. 291. In them there should be gaṇas beginning with long syllables or with short syllables or having all short syllables, and they will vary from the precious metre (?). 292. The Śīrṣaka will have pādas consisting of seven gaṇas and a half, and they will include their mātrās in pādas of even or odd number of syllables. 293. In the Śīrṣaka there should be not less than twenty-one and more than twenty-six syllables in each foot. 294. In the four feet there should be even and odd number of syllables mixed up, and according to rule there should be collection of short syllables in the Śīrṣaka. 295. If there are three short gaṇas in the beginning, three such in the end, and two long gaṇas in the middle, then the Capalā will be called Śīrṣaka. 296. In the first half there should always be four short and four mixed gaṇas, and the rest will be collection of short syllables. 297. Pauses (virāma) of the Dhruvās to be made by the Prāsādikī, Antarā and Ākṣepikī Dhruvās should have duration of one, two, three, four, six or eight Kalās. 298. The Pause in the Tryasra Dhruvā will be of three Kalās, and in the Caturasra it will be of four Kalās. This is the rule in the Prāveśīkī as well as the Naiṣkrāmikī Dhruvās. 299. The Pause in the Antarā Dhruvā is of two Kaläs duration, and the Pause in the Antarā is at the end of a pāda. 300. In the Sthitā and the Prāsādikī Dhruvās the pause will be at the end of half of the pāda, and the Kalās will be as described above increased by half a Kalā, and they will consist of short and long syllables. 301. The Sthitā Dhruvā should have mostly long syllables, and the Drutā Dhruvā mostly short syllables and the Prāsādikī and the Antarā Dhruvās an admixture of short and long syllables [in equal measure]. 302. Thus should be made metres of the Dhruvās originating in the Vṛtta class. I shall next speak of definition of the various Śīrṣakas. 304-305. Śyenī—The metre which in its feet of twenty-one syllables, the first, the third, the fifth, the seventh, the eighth and the last long, is Śyenī. Ex. (See text.) Tr. O fair one, this pleasant wind moving on swiftly like a chariot, in shaking the sea, striking the king of mountain, creating a unique terror amongst the trees, and raising dust to soften the sharp rays of the sun, is moving on, exciting the passion in men. 308-307. Krauñcā—The metre which has in its feet of twenty-two syllables, the first five, the eighth, the ninth, and the last long, is Krauñcā recited by Brahmins and Munis. Ex. (See text.) Tr. O fair one, this clean-bodied moon has become the illuminator and the joy of the world after tossing the darkest screen of black clouds, and is moving about in the sky with stars and planets following it, and is covering the palaces with great white sheets, and is gladdening the worlds far and near. 308-309. Puṣpa-samṛddhā - The metre which has in its feet of twenty-three syllables, the first six, the ninth, the tenth and the last long, is Puṣpa-samṛddhā recited by the Brahmins and the Munis. Ex. (See text.) Tr. O fair one, the forest wind is moving on violently and with great noise among the trees at the foot of the mountain, and is driving away the clouds, raising a canopy of flowers, scattering lotus-petals and is giving rise to a murmuring sound in the water of lakes. 310-311. Sambhrāntā—The metre which has in its feet of twenty-four syllables, the fifth, the sixth, the seventh, the tenth and the last long, is Sambhrāntā. Ex. (See text.) Tr. In the early autumn, there rises in the sky the moon who is the lover of Rohiṇī[35], and the brother of planets. It illumines the world, and is as white as a mass of kumuda flowers, and has a lovely white lustre like that of crystal gems, and is followed by stars and other luminaries, and is scattering its thousands of rays and is waking up the kumuda flowers whose friend it is. 312-313. Mattākrīḍā-Vidyun-mālā—The metre which has in its feet of twenty-three syllables, the first eight, and the last long, is Mattākrīḍā-Vidyun-mālā. Ex. (See text.) Tr. This rain-cloud being like [a mass of] collyrium is making sounds like thunder, Murajas and shrill Paṭahas, and being lighted up by many a flash of lightning, followed by [other] clouds, and wearing a heap of lovely flowers of various colours as its tāṭaṅka, it is moving about like a mobile mountain. 313-316. Skhalita—The metre which has in its feet of twenty-four syllables, the first, the fourth, the seventh, the tenth, the eleventh and the last long, is Skhalita. Ex. (See text.) Tr. The sea on which the wind has raised ripples and waves, which has its water as bright as crystal gems, has become very noisy due to the succession of waves, has its birds scared by swiftly blowing wind, has more waves due to perturbed fishes, has the sound of agitated clouds, suddenly appears now to be angry at the moment on being surrounded by high mountains. 317-318. Capalā—The metre which has in its feet of twenty-five syllables, the fifth, the eight, the eleventh, the twelfth and the last long, is Capalā. Ex. (See text.) Tr. O fair lady, the sun with the body as bright as highly heated gold, after removing the very dark screen of heavens, is rising to wake up the masses of lotus flowers and to give joy to the world with its myriads of rays, and the Yatis and Munis are singing its praise, and the Munis and thousands of other worshippers are augmenting its rays [by their sacrificial offerings]. 319-320. Vegavatī—The metre which has in its feet of twenty-six syllables the fifth, the twelfth, the thirteenth and the last long, is Vegavatī. Ex. (See text.) Tr. Here appears the light of the world (the moon) with rays as white as masses of kumuda flowers, ascending the dome of the sky with all the stars and planets in its train. And its body is comparable to a silver mountain, and it spreads a coverlet of its rays [all over the world] and looks as white as the face of Balarāma (lit. the carrier of plough), and is a friend of young women and causes intoxication to all. 321. These eight are the metres for the Śīrṣakas. Now listen about that of the Natkuṭas. 322. Eight are the basic metres for the Natkuṭas. Listen now about their definitions and examples. 323. They are Rathoddhatā, Budbuda(ka), Udgatā, Vaṃśa-patraka[36], Pramitākṣarā, Ketumatī, Haṃsāsya and Toṭaka. 324-325. Rathoddhatā—The metre which has in its feet of eleven syllables, the first, the third, the seventh and the last long, is Rathoddhatā. Ex. (See text.) TV. The female bee having her [temporary] abode in the interior of the lotus, has her feet beautifully coloured with flower-pollen, and she is now flying over the lake with an affectionate humming in quest of [her mate]. 326-327. Budbuda—The metre which has in its feet of thirteen syllables, the third, the tenth, the eleventh and the last long, is Budbuda. Ex. (It is very corrupt). 328-330. Udgatā—The metre which has in its feet of sixteen syllables, the third, the fifth, the ninth, the twelfth, the fourteenth and the last long, is Udgatā. Ex. (See text.) Tr. At the approach of autumn, this lake the abode of full-blown lotuses and of cabling geese (kala - haṃsa) becomes like the sea polluted by herds of big elephants, and it is now softly giving rise to constant sounds, in harmony with the humming of bees [flying over its flowers]. 331-332. Vaṃśa-patra-patita—The metre which has in its feet of seventeen syllables, the first, the fourth, the sixth, the tenth, and the last long, is Vaṃśa-patra-patita. Ex. (See text.) Tr. This cuckoo which has always a voice sweet to ears, is roaming about in the vernal forest where the Cūta (mango), Tilaka, Kuruvaka and Aśoka trees have flowered and attracted humming bees, is creating intoxication in young damsels. 333-335. Pramitākṣarā—The metre which has in its feet of twelve syllables, the third, the fifth, the ninth and the last long, is Pramitākṣarā. Ex. (See text.) Tr. The young swan roaming for a long time with his young consort and drinking āsava (honey) from her mouth, is now in the autumn, swimming in the lotus-lake redolent with the smell of flowers. O fair one, the bee after roaming for a long time in the lotus-lake, is now flying through the sweet smelling Cūta forest adorned by spring, and it has a desire for tasting the āsava (honey) from of the mouth of its female companion. 336-337. Ketumatī—The metre which has in its first foot fourteen mātrās, and in each of the remaining feet sixteen mātrās, is Ketumatī. Ex. (See text.) Tr. When the young elephant after smashing the [forest]-bower went to the lake where lotuses have blown, the young bee with its female companions left the lotuses to roam about [elsewhere]. 338-339. Dhvajinī—The metre which has in in its first (three) feet of ten syllables, the fifth, and the last long, and in the last foot of ten syllables, the fourth and the sixth syllables long, is Dhvajinī. Ex. (See text.) Tr. The female bee tempted by flowers, is sporting among the lotuses, and after swiftly drinking honey she is becoming restless [for joy]. 340-341. Haṃsāya—The metre which has in its feet of twelve syllables, the second, the fourth, the sixth, the tenth and the last long, is Haṃsāsya.[37] Ex. (See text.) Tr. The sweet-smelling wind blowing over the beautiful lake with its waves and full-blown lotuses, is tempting bees as well as birds. 342-344. Haṃsāsya—The metre which has in its feet of twelve syllables the third, the fourth, the sixth, the seventh, the tenth and the last long, is Haṃsāsya.[38] It belongs to the Natkuṭa class of Dhruvās. Ex. (See text.) Tr. A swarm of bees after constant flying in quest of honey of flowers, over the lotus-lake where swans and other birds have come, is now moving among the lotus-leaves. 345-346. Toṭaka—The metre which has in its feet of twelve syllables the third, the sixth, the the ninth, and the last long, is Toṭaka. Ex. (See text.) Tr. At the close of night the terrible owl which had a fearful hooting, has behind it [a group of] chasing crows, and it is [now] hastily searching after its own hollow [of the tree]. 347-348. These in brief are metres for the Natkuṭa [Dhruvās]. I shall now speak of the metres for the Khañjaka [Dhruvās]. Prameda, Khañjaka and Matta-ceṣṭita are the three metres for the Khañjaka [Dhruvās]. 349-350. Pramoda—The metre which has in its feet of twenty-two feet, the first, the fourth, the sixth, the tenth, the sixth and the last long, is Pramoda. Ex. (Very corrupt.) 351-352. Bhāvinī—The metre which has in its feet of nine syllables the first, the third, the fifth and the seventh and the last long, is Bhāvinī. Ex. (See text.) Tr. The bee coming out from the flowers smeared with a beautiful clay, is swiftly running about shaking its wings [to cleanse them]. 353-354. Matta-ceṣṭita—The metre which has in its feet of eight syllables the first, the third, the fifth, and the seventh short, is Matta-ceṣṭita. Ex. (See text.) Tr. The cuckoo comes to the forest where other birds have [already] come to adorn it and where the trees are in flowers and the bees are singing. 355. These are the primary (lit. original) classes of the Natkuṭa, and from these come out others having even or odd [number of syllables in their feet or having feet of] unequal [number of syllables].[39] 356. Dhruvās have sixty-four primary classes some of which are made up of equal number of syllables [in then-feet] and different from this [are made up of] unequal [number of syllables]. 357. Dhruvās of three kinds having even or odd number of syllables or having even and odd or unequal [number of syllables in their feet] may be of various metres. 358. Dhruvās having even [number of syllables in their] metrical feet are two hundred and eighty five in number, and those having partially even number are one hundred and ten, and similar is the number of Dhruvās which are having uneven [number of syllables in their feet.] 359. Dhruvās of unequal length in feet or with unequal number of feet, are [also] generally made, and the names to these metres may be given according to one’s will[40]. Five Aspects of Dhruvās 360. These are the classes [of Dhruvās] arising out of various metres. I shall now speak of their [different] aspects due to five causes. 361. These five causes are: Class (Jāti), Occasion (sthāna), Variety (prakāra), Measure (pramāna) and Name (nāma). 362. The number of syllables in the metre of a Dhruvā constitute its Class (Jāti).[41] Such numbers being odd or even, will give rise to its Variety (prakāra). 363-364. The Tāla of six or eight Kalās observed in Dhruvās will constitute their Measure (pramāṇa),[42] and just as Names are applied to men according to their clan (gotra) family (kula) and customs (ācāra), so they are applied to Dhruvās according to their depending on an Occasions (sthāna). Five occasions for Dhruvās 364. Occasions in connexion with. Dhruvās are five, viz. entrance (praveśa), diversion (ākṣepa), departure (niṣkrāma) calming (prāsādana) and transition (antara).[43] 365. Themes of various Sentiment sung at the entrance of persons [into the stage] are called the Prāveśīkī Dhruvā. 366. When in a [dramatic] performance at the end of Acts songs are sing at the exit of characters to indicate their going out, they are Naiṣkāmikī Dhruvās. 367. When the experts, in disregard of the rules, have a Dhruvā of medium or of slow tempo sung in a quick tempo, it is called the Antarā Dhruvā. 368. The song which after [sudden] distraction calms the audience (lit. auditorium) who are enjoying a different Sentiment, is called a Prāsādikī Dhruvā because it calms (prasādayati) their feeling. 369-370. The Antarā Dhruvās are those songs which are sung at the time of the [principal] characters being gloomy, absent-minded, angry, asleep, intoxicated, or their enjoying other’s company, being under heavy weight, or being in a swoon, or their fainting due to poisoning, or being in error, or their adjusting or fixing up clothes and ornaments, and in covering any of their faults [in acting], 371. I shall now speak about the Occasions (sthāna) together with the Sentiments and States where all the Dhruvās are to be sung carefully. 372. The Occasions are of two kinds, viz., relating to others and relating to one’s own-self. Listen now from me about that [Occasion] which is connected with diversion (ākṣepa). 373. When one is captured, obstructed, fallen, attacked with illness, or is dead or in a swoon, there the Apakṛṣṭā Dhruvā in the Pathetic Sentiment should be sung. 374. Where one is in [a state of] impatience, dissimulation, anxiety, lamentation, weariness, depression and dispair, a Dhruvā in a slow tempo should be sung. 375. In these States and in pathetic reports the Dhruvā should be sung in a quick tempo furnished with a rapid movement. 376. Where there is any sorrow from seeing before one’s own eyes any one killed or wounded, the Dhruvās there should be in a slow tempo and in the Pathetic Sentiment. 377-378. In case of seeing any calamity, of intolerance, seeing anything supernatural, being in despair, in carelessness and in anger, and in showing one’s spirit, and in a direct report of anything in Furious, Heroic, Terrible and such other Sentiments, and in agitation and in hurry, the Dhruvā should be sung in a quick tempo. 379-380. In propitiating, requesting or recollecting any one or in an exggerated speech or in meeting [of lovers] for the first time, in joy, in begging or in seeing anything strange in connection with love-making the Dhruvā should be of the Prāsādikī class and in a medium tempo. 381. In physical distress and in anger and in aiming a missile [against any one] the Antarā Dhruvā should be made continuous. 382. No Dhruvā should be sung when there is any entry of weeping or singing persons, and when there is any hurry in their coming or when they announce anything, or any calamity or surprise occurs [at the time]. 383. Dhruvās should be thus applied after taking into consideration the rule regarding themes, places, times and seasons [involved], the characters [in the play] and indication of the States. 384. Dhruvās are of six kinds, viz. Śīrṣaka, Uddhatā, Anubandha, Vilambitā, Aḍḍitā and Apakṛṣṭā. 385. A Dhruvā which is at the position of śīrṣa (head) is called the Śīrṣaka. A Dhruvā is called Uddhatā because it is sung in an uddhata (elevated) manner. 386. A Dhruvā which is begun in a playlike (?) manner and which adopts a tempo meant for it, is called Anubandha. 387. The Vilambitā Dhruvā is that which according to the dramatic convention, moves always slowly or not very quickly. 388. When a Dhruvā arises in connexion with the Erotic Sentiment and has some extraordinary quality, it is pleasant and is called Aḍḍitā. 389. A Dhruvā which for the reason of its being sung (lit. drawn up) in other States (?) for reasons [other than that with which it began] is called the Apakṛṣṭā. 390. The Excited Prāveśikī Dhruvā, when the movement has been arrested (?) or delayed, should be applied in case of male characters. 391. The Pāsādikī Dhruvā in case of females will be [of] the Aḍḍitā [class], and when it is in a slow tempo it will be Apakṛṣṭā and that which is not Drutā will be Vilambita. 392. As tempo, instrumental music, pause, words, letters and syllables accompany a song, these six are called its entering aspects. 393. Śīrṣaka and Aḍḍitā belong to kings and gods. Aḍḍitā is to be applied in case of women of divine, royal and Vaiyśa origin. 394. At the entrance of middling characters the Dhruvā should be of the Druta-Vilambita [class], and in case of inferior characters it should be of the Natkuṭā and Khañjaka [classes]. 395. The Khañjaka and Natkuṭa will be for bringing joy to the occasion. Why is it so? Because these two belong to Comic and Erotic Sentiments. 396. In case of inferior characters and of any one dead, there should be Anubandha with [proper] tempo. In case of women of the Kṣatriya and Vaiśya classes there should be Apakrīṣṭā Dhruvā in proper tempo. 397. The Prāveśikī Dhruvā should have Tāla with four Sannipātas. The remaining ones are to have two Sannipātas, and the Śīrṣakas are to have six pādas. 398. Aḍḍitā with a slow tempo, is not to be sung in case of inferior characters. In their movements relating to all the States, one should sing the Natkuṭa Dhruvā. 399. These (the inferior characters) have only three States, viz. Comic, Pathetic and Terrible. One should apply Dhruvā to them with a view to this fact. 400. The wise should apply the Dhruvā after taking into consideration the theme (vastu), performance (prayoga), characters (prakṛti), in a play, Sentiments, States, seasons, age, locality, time and mental condition (apasthā), 401. The theme (vastu) arises from a locality, and may relate to a city or a forest. The performance (prayoga) relates to divine and human beings. 402. The characters in a play (prakṛti) are of three kinds, viz. superior, inferior and middling. Sentiments and States have already been described before. The season (ṛtu) occurs due to the flux of time. 403. Infancy, youth and old age are the three ages. Locality relates to the Zonal and other divisions of various kinds.[44] 404. The time is fixed by day and night, and by months and seasons. The [mental] condition relates to joy and sorrow. 405. These are always the features in different situations. The wise should apply all these [in a play] after taking the Sentiments and the States into consideration. 406. Those things which cannot be expressed in speech should be presented in a song; for through songs only, the strength and ripeness comes to the meaning of words (vakyārtha). Contents of Dhruvās 407. Dhruvās in case of men and women of superior inferior or middling class, should relate to [objects] comparable to them in quality. 408. In case of gods and kings the comparable objects are the moon[45], fire, the sun[46] and the wind,[47] and in case of Daityas and Rākṣasas they are clouds,[48] mountains[49] and seas.[50] 409. In case of Siddhas, Gandharvas and Yakṣas, comparable objects are the planets, stars[51] and bulls, and for all these persons engaged in practice of austerities (tapas) comparable objects are the sun[52], fire and wind.[53] 410. For all Brahmins and and other persons engaged in austerities, the comparable object is fire, and for their wives the comparable object will be the same. 411. Lightning[54], meteor, and the sun’s rays are objects comparable to the heavenly beings, and objects comparable to gods, apply to the case of kings also. 412. Elephants[55], lions and bulls are not comparable to heavenly beings, and elephants, serpents and lions are to be compared with kings. 413. Mischievous beings like the Yakṣas, Rākṣasas and Bhūtas are comparable to the buffalo, ruru deer, lions and other carnivorous animals. 414. A rutting elephant[56] and a swan[57] are compared with superior characters in connection with various Sentiments. 415. Cranes[58] (sārasa), peacocks[59], krauñca, ruddy geese[60], and lakes with kumuda flowers, have quality [enough] to be compared with middling characters.[61] 416. The cuckoo[62], bee[63], crow, osprey[64], owl[65] and crane, pigion and kādamba are comparable to inferior characters. 417. Now listen about the objects comparable to wives of superior, inferior and middling characters. 418. The night[66], earth, moonlight, lotus-lake[67], female elephant, and the river have qualities enough to be compared with wives of kings. 419. A lake[68], osprey, creeper[69], female crane[70], pea-hen and female deer are always to be compared with wives of middling characters as well as with courtezans.[71] 420. A hen, bee, crow, cuckoo and owl of female species are to be mentioned in the Dhruvās connected with wives of inferior characters. 421. Comparison about going, and any other movement [should be indicated by] the Prāveśikī and Naiṣkrāmikī Dhruvā. Dhruvās to suit time and occasion 422. The Prāveśikī Dhruvā is to be sung to indicate anything happening in the forenoon. And the Naiṣkrāmikī Dhruvā may serve [in general] for anything occurring throughout day and night. 423. Gentle Dhruvās are to be sung to indicate the forenoon, and excited (diptā) Dhruvās are to be sung to indicate the noon, whereas pathetic Dhruvās are to be sung in case of afternoon and evening. 424. Any report about going is to be expressed by the Prāveśikī Dhruvā, and that which relates to anything stationary is to be have recourse to the Ākṣepikī Dhruvā. 425. The Ākṣepikī Dhruvās are all to be sung in a quick as well as in a slow tempo. Thus will be these Dhruvās when they arise in connexion with anger and intolerance, and are in the Pathetic, Marvellous and Terrible Sentiments. 426. All objects existing in the earth in connexion with a dead body or with a god, are to be mentioned in the [Dhruvā] song with suitable comparison. Dhruvās to indicate movements 427. Comparable objects in case of stationary things should be stationary, and in case of their moving they should be compared with moving objects, and their States due to jöy and sorrow should be related to qualities in their objects of comparison. 428. In case of chariots, horses, elephants, deer, birds, palanquins and aerial cars, the experts should make Dhruvās with a view to their movement and progress. 429-430. In case of chariots, arrows, horses, elephants, heavenly cars, swings and birds as vehicles, the expert should compose the Dhruvā with words and syllables which can be uttered quickly. In case of bulls, elephants, lions and bears, the Dhruvā should be made up of heavy syllables that can be uttered with force. 430-431. In case of crows, monkeys, swans, and peacocks, the Dhruvās should be made up of light syllables with swift movement, and of heavy syllables with their slowness. This being the case one should apply swift [Dhruvās] after knowing the States [in their connexion]. Metres for Dhruvās 432-433. Words of a song cannot be without a metre. Hence after considering [contents of] the Dhruvā song, one should put it in a suitable metre.[72] Hence a Dhruvā to express the movement of a vehicle, should be made up of [suitable] syllables, so that the different limbs of the song may agree with the instrumental music. 434. The metre which is prescribed for the foot of a Dhruvā in connexion with the movement of a vehicle, should also be available in the instrumental music, and it should be also agreeing with the movement of all the limbs [of a song]. 435. The song should be taken up first, then the instrumental music, and the dance will be taken up afterwards. A combination of song and instrumental music [with dance] is called a performance (prayoga). 436. The State which is in one’s heart, should be depicted by means of histrionic representation in all its limbs and with Sūcā of the Nivṛtyaṅkura[73] [class]. 437. The Prāsādikī Dhruvā arising from the quality of giving joy, should be applied when there is a man in the sky and speaking to the sky.[74] 438-439. The Dhruvā in this case connected with speaking, should [completely] suit the meaning of its name, when the Dhruvā connected with pleasing or jealousy and anger, attains the Erotic Sentiment, it should be suited to the meaning [of it name]. And when there are occasions of pleasing, Dhruvās connected with the [different] Sentiments, should be made Prāsādikī to suit the meaning [of their names]. The Language of Dhruvās 440. The language in the application of Dhruvās should be Śūrasenī.[75] Sometimes it may be Māgadhī[76] when [the Dhruvās of] the Natkuṭa [class] are to be made by the wise. 441. Sanskrit songs[77] have been prescribed by the authorities in case of heavenly beings; and in case of human beings half-Sanskrit[78] [songs] should be used. 442. Listen about their treatment if the gods who have been made objects of comparison, makes entrance in a play in course of its action. 443. That which is their Sāttvika State and constitutes a narration of their deeds, should be expressed through a song according to the authoritative rules. Metres of Dhruvās 444. Songs in case of heavenly beings are desired to be in metres of [suitable] measure (size). This should relate to their praise or a narration of their exploits. In the feet of Dhruvās one should describe that which relates to the qualities of comparison. 445. [In this connexion] the metres [like] Mālā, Vaktra, Puṭavṛtta Viślokā, Cūlikā, Udgatā and Aparavaktra should be used by the producers. 446-447. I have described their structure (lit. rules of metre) before.[79] In case of gods, these (i.e. Dhruvās) should include words expressing victory or blessing, and for them (i.e. gods), Ṛc, Gāthā and Pāṇikā, will be understood as their form (lit. measure). As these are pleasing to hear they should be put in tune (lit. applied in songs). 448. The Jātis including Gāndhāra, Ṣaḍja, Madhyama, Pañcama and Dhaivata should be reckoned as the [suitable] form of these songs.[80] 449. Their form to suit the four occasions should be such as Prāsādikī, Sthitā, Naiṣkrāmikī and Prāveśikī. 450. In the various acts of gods when there is no obstacle, Sanskrit should often be used in the Anuṣṭubh metre. 451. The metres like Mālā, Vaktra, and Aparavaktra are suited to Prāveśikī Dhruvā, and Puṭa and Culikā are meant for Naiṣkrāmikī Dhruvās. 452. Udgatā (metre) is applicable in the Prāsādikī Dhruvā and Anuṣṭubh in the Vilambitā Dhruvā. These occasions are to be expressed by one who is an expert in measures. 453-454. The song which is in the Anuṣṭubh metre, and is in a slow tempo, and relates to a fall due to curse, suffering from anxiety, and abounds in heavy syllables, notes of pathetic expression, and long-drawn-out Varṇas, should have the Sthita Sthāna. 455. For the excitement of human beings, and for their roaming [over different places], heavenly beings are to resort to songs in the Anuṣṭubh metre. 456. In relating the memory of those of heavenly beings who are born amongst mortals, one should resort to suitable songs expressing heavenly States. 457. And suitable songs relating to the sorrow of these very beings when these are meant to kill sorrow and anxiety, are to deal with a change due to afflicted conditions. Dhruvās to suit occasions 458. Listen now what are generally to be done for the rule of Dhruvās occurring to their division of occasions. 459. When the instruments of music have been placed in order, and the three Sāmans have been uttered, one should apply the Āśrāvaṇā[81] included in the Bahirgītā.[82] 460. After performing the Bahirgīta one should perform the Pūrvaraṅga[83] and the Pūrvaraṅga having been undertaken one should perform the Raṅgadvāra.[84] 461. In connexion with the entrance of characters, one should sing the Dhruvā indicating movement and also the Parivarta. 462. By taking steps upon the stage while singing or due to [some other] need, one should make six Parivartas.[85] 463-464. The Dhruvā in this case should be made as in the case of gods, and the Pātas there, should be twenty-one in number. The Dhruvā in its application in drama should be of the Tryasra or of the Caturasra type. In case of the Tryasra the Pāda-pāta will consist of three Kalās, while in the Caturasra the Pāda-pāta will consist of four Kalās. 465-466. The Dhruvā in case of superior characters will be Caturasra and in case of the middling characters Tryasra type, and in case of the inferior characters it will be of the Khañja and the Natkuṭa class. This will be the rule about tunes in connexion with the movement of feet. 467. In case of hurry, calamity and anger it will consist of one Kalā or half of a Kalā. And the movement of feet will consist of three, two, one or of four Kalās. 468. At that time there should be a harmony of dance with the instrumental music and not with song. There should be no pause in Dhruvā of one or two Kalās in dance. So, there should be a harmony [of dance] with the instrument and not with the song 469. One should know the setting of feet in case of the State mentioned before, depending on the slow or the quick tempo, and should make harmony with the instrumental music. 470. The entrance after tossing the curtain, on account excessive joy, sorrow and anger, should be made simultaneous with the divisions (?). The Rule of Graha 471. These are the rules about Parivarta[86] in a play. I shall now describe the Grahas[87] in connexion with the instruments. 472. The song should start its Parivarta without any [music of the] instrument, and in the fourth Parivarta there should be the Graha of the instrument. 473. Sometimes there should be Sannipāta Graha, sometimes Tarjanī Graha and sometimes Ākāśa Graha In the Dhruvā songs.[88] 474. As the Graha in the Dhruvā is regulated by Kalā, Tāla and tempo (laya), it should be observed in the movements and walks, by means of instruments. 475. In the Śīrṣaka of the Uddhata classes of Dhruvās, the Graha should be by the Pradeśinī, and in the Vilambitā Aḍḍitā Dhruvā, it should be by the Sannipāta and the third [finger]. 476-477. In Natkuṭa, Aḍḍitā and Prāsādikī Dhruvās the Graha will be in Sannipāta and in Drutā (quick) Dhruvās the Graha will be from above,[89] and in Naiṣkrāmikī and Anubandha Dhruvās the Graha will be with the instruments. And for songs, there should not be made any repetition by the experts. 478. Natkuṭa Dhruvās should have four Grahas such Sannipāta, Śamyā, Tāla and Ākāśa. 479. In the entrance [of any character] with hurry, excitement and joy, there should be the Graha with the song, and such a Graha is called Udghātya. 480. In case of falling of ornaments, clothes or of any disorder, any loss of memory, fatigue, and in the [general] covering of faults, there should be the Udghātya Graha of the Antarā [Dhruvā]. Application of songs 481. Producers should in this manner apply in their proper places, the Dhruvās required for dance and drama. 482. Just as a well-built dwelling house[90] does not become beautiful without any colour, so without any song the drama does not attain [the capacity of giving] joy. 483. The rule regarding songs have been mentioned in connection with [the formalities of] the Pūrvaraṅga (Preliminaries), and the worship of gods has also been mentioned there.[91] 484. Hence notes in the two Grāmas as well as the Overlapping [note],[92] should be applied to plays (lit. poetical compositions) which express the various States. 485-486. In the Opening[93] of the drama there should be the songs of the Madhyama Grāma, Ṣaḍja in the Progression, the Overlapping in the Development, Pañcama(mī) in the Pause, and Kaiśika(kī) in the conclusion. These songs depending on the Junctures and metres, should be of suitable Sentiments and States. 487. Dhruvās depending on the context and made to express Sentiments suited to the situation, embellish the drama just as the stars illumine the sky. 488. The Māgadhī is the first Gītī, then Ardhamāgadhī [the second], Saṃbhāvita the third and Pṛthulā the remaining one (i.e. the fourth).[94] 489. Māgadhī is known by the repetition of its pādas [in different tempo] and it is in the Citra [Vṛtti].[95] Similar is the Ardamāgadhī, which has recourse to repetition twice. 490. Saṃbhāvitā depending mostly on heavy syllables is applied in the Vārtika (Vṛtti), and Pṛthulā consisting of light syllables in the instrumental music, is to be applied in the Dakṣiṇa Vṛtti. 491. These four Gītis are everywhere to be applied in songs by singers. These consisting of appropriate syllables are applied in Dhruvās also. 492. That which includes full notes, Varṇas, is embellished by instruments, relates to the three voice-registers, has three Yatis and three Mātrās, gives joy, is harmonious (sama) and delicate, contains Alaṃkāras, is performed with ease, and has sweetness, is called a song [per excellence ]. 493. One should first of all bestow care on songs. For songs have been called the resting place (lit. bed) of the drama. The song and the playing of musical instruments being well-executed, the performance of the drama does not encounter any risk.[96] Qualities of singers and players of instruments 494. I have thus spoken properly of the characteristics of Dhruvās. I shall now speak of [requisite] qualities of singers and players of musical instruments. 495. Knowledge proceeds from qualities, and mind gets repulsed due to faults. Hence one should carefully know in brief the qualities and faults. 496. The singer should be of young age, have a loving nature and a throat full of sweet voice. He should thoroughly know about tempo, Tāla, division of Kalās, their measure and application.[97] 497-498. A woman possessing a good physique, brilliance, courage and sweetness, also a voice which is soft, sweet and has a charming resonance, and is harmonious, and auspicious, and who can properly observe a pause, is never nervous, and is an expert in songs together with their Tāla and tempo, and can regulate her Karaṇas according to musical instruments, and is young, is known as a female singer[98] [per excellence ]. Characteristics of a Vīṇā player 499-500. The two Vīṇā players should be properly conversant with the use of Pāṇi,[99] tempo and Yati[100] properly alotted [to different parts of a song], should have nimble hands in producing sweet sounds, and should have the qualities of [good] singers. They should be attentive in mind and be able to sing well in accompaniment of other instruments and clearly produced Karaṇas[101] and should be industrious, and should have a pleasing voice, much experience and should be experts in playing instruments in Vṛttis like Citra etc. Characteristics of a flute-player 501. The flute-player should be strong and careful, should properly know songs and their tempo, and be able to sing well in accompaniment of other instruments, and to produce a note which is voluminous as well as sweet and pleasing, and should possess a strong breath. 502. The music of a flute should thus be steady, continuous, expressive of Varṇa and Alaṃkāra, and be sweet, pleasing and able to cover the faults [of a performance]. Difference between male and female song and recitation 503. Generally songs are naturally suited to women, and recitatives are similarly suited to men. For women’s voice is naturally sweet and that of men are [naturally] strong. 504. The good quality in women’s recitation and sweetness in men’s songs, should be considered their adventitious qualities (lit. ornament) [and no part of their nature].[102] 505. If men lead [in songs] and the songs possess good characteristics, but have no sweetness, then these, do not impart any beauty [to the performance]. 506. Hence women’s songs are naturally successful and so are men’s recitatives.[103] When these are not (indiscriminately) attempted by one another, they become easy to perform. 507. Dānavas, Asuras, Rākṣasas, Yakṣas and Uragas (Nāgas) as males and females, have many actions and speeches. 508. [In such cases] women are to play men’s parts [very] carefully. For women are naturally able to make graceful movements [only].[104] 509. Men acquire Sauṣṭhava[105] by regular exercise and practice, and women’s movement of limbs are naturally pleasing. 510. With an eye to this fact, (lit. thus) men are to instruct women in songs, musical instruments and recitatives relating to different characters. 511. There may be [allowed] a loss of proper note in women’s songs and playing of musical instrument. But this will not be sweet to the ear in case of men. Qualities of a teacher 512. The six qualities which a teacher should have, are memory, intelligence (medhā), judgement (mati), reasoning positive and negative (ūhāpoha), and ability to train pupils. Qualities of a disciple 513. The six qualities which a disciple should have, are intelligence, memory, willingness to serve (ślāghā), devotion [to work], spirit of emulation (saṃgharṣa), and enthusiasm. Qualities of voice 514. The six qualities of voice are that it should be loud, compact, smooth, sweet, careful, and distinctly related to the three voice-registers.[106] 515. That which is heard from a distance, is called loud (śrāvaka). The loud voice which is sweet but not diffused, is called compact (ghana). 516. The voice which being loud does not become harsh, is smooth (snigdhā). If at the highest point of the voice-registers, there occurs no discordance, then the voice is called sweet (madhura). 517-518. The voice which does not lapse into excess or defficiency, is called careful (avadhānavān). The voice which striking the head, the throat [and the chest] become sweet with reference to three places, provides always sweetness to the three voice-registers, is considered distinctly related to voice-registers (tristhānaśobhī). Faults of a singer 519. The five faults of a singer are that his voice (lit. he) may be Kapila, unsteady, Sandaṣṭa (bitten), Kākī (crow-like), and Tumbakī (nasal).[107] 520. When the voice is unnatural, and there is a gurgling sound, it is called Kapila. The voice of one who has phlegm in the throat, is also called Kapila.[108] 521. When there is an irregular excess or want of volume in voice, it is called unsteady. A lean voice is also given this name. 522-523. Voice produced by [unduly] using teeth, is called Sandaṣṭa (bitten) by good masters. The voice which in its enunciation does not properly touch its due voice-register, and which is harsh, is called Kākī (crow-like). The voice connected with the nose is called Tumbakī (nasal). 524. These are the essential facts about the qualities, and faults of voice, related by me. I shall next speak about the covered (avanaddha) instruments. 525. This is the Gāndharva[109] which I have now described. This was formerly described by Nārada. A man (lit., son of Manu) who will cause this to be performed, will receive the highest honour in this world. Here ends the Chapter Thirty-two of the Nāṭyaśāstra, which treats of the Dhruvā Songs. Footnotes and references: [back to top] [1]: An old authority on music. [2]: The recitation of Ṛk stanzas. [3]: This term is otherwise unknown. [4]: The Sāman chants. See MH (Ch. X). [5]: See XXXL. 220ff, [6]: This is perhaps a non-Aryan word. [7]: The definition of the Vidārī is probably misplaced. [8]: ‘Their’ relates to limbs mentioned in 16 above. [9]: The meaning of pada as ‘song’ which is available in New Indo-Aryan, probably goes back to this. [10]: Karaṇas here relate musical instruments. [11]: This def. is not dear. [12]: This example is in Sanskrit and so are those in 50, 51, 52 and 53. [13]: See note on 49. [14]: ibid. [15]: ibid. [16]: ibid. [17]: Examples from here are in the Prakrit For avoiding prolixity they are not given here. [18]: The passage is corrupt. [19]: lit. lighted up with. [20]: It is probably because she misses her male companion. [21]: Cf. Bhaṭṭikāvya. II. 9. [22]: lit. bride of one who has cakra as his name-sake. [23]: These are the words of a separated lover. [24]: There is a lacuna here. For Apakṛṣṭā Dhruvā see 12 before. [25]: It has not been defined before. This is possibly the name of a metre. [26]: lit. in places designated by even and odd numbers. [27]: Its ex. is missing. [28]: Tilakā here means alakā-tilakā (decorating spots made on the face). [29]: The night is here conceived as an abhisārikā. [30]: There is a Ruciramukhi in 187. [31]: Here the moon has been compared with a dancer. [32]: It seems that some verses are missing from here. (257-258) [33]: It seems that this metre has been misplaced. [34]: These metres have respectively one, two and three syllables more in their second, third and fourth syllables than in regular metre of the same name. [35]: Rohinī was the most beloved among Candra’s twenty-seven wives who were daughters of Dakṣa and they became stars, [36]: This is the shortened form of Vaṃśapatrapatita, See 331 below. [37]: This belongs to the longer recension. [38]: This belongs to the shorter recension. [39]: The meaning of this and the four succeeding couplets, is not quite clear. [40]: This passage is corrupt. [41]: This relates to syllabic metres. [42]: See above Ch. XXXI on Tāla. [43]: See above 26-27. [44]: See XIV. 3ff. [45]: See 145, 147, 153, 168, 170, 183, 242, 244, 254, 266, 269, 307, 311, 320 above. [46]: See 252, 256, 270, 318 above. [47]: See 56, 82, 121, 172, 209, 224, 246, 250, 268, 309 above. [48]: See 65, 67, 69, 71, 73, 75, 92, 100, 119, 164, 192 above. [49]: See 78, 80 above. [50]: See 207, 316 above. [51]: See 143 above. [52]: See 252, 256, 270, 318 above. [53]: See note 3 (on 408) above. [54]: See 185 above. [55]: See 115, 117, 121, 151, 194, 231, 235, 237, 248, 261, above. [56]: See 115, 117 above. [57]: See 135, 134, 203, 227, 264, 334 above. [58]: See 138 above. [59]: See 63 above. [60]: See 90, 111 above. [61]: See 181 above. [62]: See 332 above. [63]: See 140, 324, 335, 337, 339, 341, 344, 350, 352 above. [64]: See 346 above. [65]: See note 1 (on 415) above. [66]: See 220, 222 above. [67]: See 211 above. [68]: See 181, 330 above. [69]: See 113 above. [70]: See 138 above. [71]: See 140, 324 above. [72]: See 94ff above. [73]: See XXIV. 48 above. [74]: See XXVI. 83-85 above. [75]: This is the well-known Śaurasenī. Though Ś. has been included in the list of seven major dialects mentioned earlier (XVIII. 47), we are not sure of its characteristics as envisaged by the author of the NŚ. The Prakrit described in XVIII. 8-23 may be Śaurasenī. See note on XVIII. 47 above. [76]: Māgadhī though mentioned in the NŚ (loc. cit) has not been described there. [77]: This probably points to the very early development of the Sanskrit drama. For further discussion about this see the Introduction. [78]: This term probably indicates a language like that of the metrical portions of the Mahāvastu. [79]: See XXXII. 49ff above. [80]: See XXVIII. 103ff, above. [81]: See V. 18. [82]: See V. 30-31ff. [83]: For Pūrvaraṅga and its different parts see V. 7ff. [84]: See V. 26-27 and 116-119. [85]: See V. 65ff, and the note on 471 below. [86]: This term probably means ‘a single performance of a song’ when it is repeated. [87]: See XXXIII. 180ff below. [88]: See above note 1 to 471. [89]: i.e. Ākāśa Graha. [90]: citraṃ niveśanaṃ. [91]: See V. 60-63ff. [92]: See XXVIII. 35 above. [93]: See XXI. 58ff. [94]: See XXIX. 77ff above. [95]: Vṛtti= gati-vṛtti. See XXIX. 102ff. [96]: This shows that songs were indispensable in producing plays. [97]: See SR. III. 13-22. [98]: See SR. III. 23. [99]: See XXXI. 494-495. [100]: See XXI. 489-493. [101]: i.e., Karaṇas produced by the dancer. [102]: This shows that good singing was once supposed to be a monopoly of women. So Maitreya in the Mṛcch. (III) does not approve of Cárudatta’s praise for Revila’s singing (mama dâva duvehiṃ jjeva hassaṃ jāadi, itthiāe sakkaaṃ paṭhantie, maṇusseṇa a kāaliṃ gāanteṇa). Cārudatta too continues his compliments to Revila by saying ‘had he been out of sight (i.e. behind a screen), I might have taken him for a woman’ (antarhito yadi bhaved vaniteti manye). [103]: See note 1 above. [104]: The movements of Dānavas and Asuras etc., are mostly energetic. [105]: For the meaning of Sauṣṭhava see XI. 91. Generally it means ‘beauty and grace of the body in its movement’. [106]: See SR. III. 49-63. [107]: See SR. III. 24-37. [108]: It may be that the word is a wrong reading for *Kaphala. [109]: This is the Gāndharva which the Ceṭa in Mṛcch. (III) speaks about (kā vi velā ajja-Cārudatteśśa gandhavvaṃ śuṇiduṃ gadaśśa). 16 July, 2017 --> Last Updated: 22 December, 2018 $(function(){ if($(document).height() > $(window).height()){ $('.book.chapter').append('^ back to top ^') $('section.back > a').click(function(){ $(window).scrollTop(0); }); } }); /** * Derivation list */ /*$('a.deriv-link').click(function(){ $(this).closest('.words-group').find('.deriv-list').toggleClass('d-none'); });*/ ====================================================================== Chapter XXXIII - On Covered Instruments ====================================================================== --> Natyashastra (English) by Bharata-muni | 1951 | 240,273 words | ISBN-13: 9789385005831 Hinduism Natyashastra Buy now! The English translation of the Natyashastra, a Sanskrit work on drama, performing arts, theater, dance, music and various other topics. The word natyashastra also refers to a global category of literature encompassing this ancient Indian tradition of dramatic performance. The authorship of this work dates back to as far as at least the 1st millenn... Go directly to: Footnotes. Chapter XXXIII - On Covered Instruments (avanaddha) < Previous (index) Next > 1-2. I have spoken briefly about the stringed instruments. I shall now speak of the class of covered musical instruments, their characteristics and functions as well as of playing drums named Mṛdaṅga,[1] Paṇava[2] and Dardura.[3] 3. Svāti and Nārada[4] have [respectively] spoken about the Gāndharva, and the playing of musical instruments together with their quality of amplitude, and their characteristics and functions. Origin of drums 4. Now following Svāti I shall speak briefly about the origin and development of musical instruments called Puṣkaras (drums). 5. During an intermission of studies in the rainy season, Svāti once went to a lake for fetching water.[5] 6. He having gone to the lake, Pākaśāsana (Indra) by [sending] great torrential rains commenced to make the world one [vast] ocean. 7. Then in this lake, torrents of water falling with the force of wind made clear sounds on the leaves of lotus. 8. Now the sage hearing suddenly this sound due to torrents of rain, considered it to be an wonder and observed it carefully. 9. After observing the high, medium and low sounds produced on the lotus-leaves as deep, sweet and pleasing, he went back to his hermitage. 10. And after coming to the hermitage, he devised the Mṛdaṅgas, and then the Puṣkaras[6] [like] Paṇavas and Darduras with [the help of] Vīśvakarman. 11. On seeing the Dundubhi[7] of gods, he made Muraja,[8] Āliṅgya,[9] Ūrdhvaka[10] and Āṅkika.[11] 12. Then he who was a master of reasoning of the positive and the negative kind, covered these and Mṛdaṅga, Dardura and Paṇava with hide, and bound them with strings. 13. He also made other drums such as Jhallarī,[12] Paṭaha[13] etc., and covered them with hide. 14. Listen now about the instruments which men are to play as minor and major limbs [of a performance] in an assembly of instrument-[players]. 15. Among the wooden [stringed instruments] Vipañcī[14] and Citrā[15] are major limbs[16] and Kacchapī[17] and Ghoṣaka[18] etc., are minor limbs.[19] 16. Among the drums, Mṛdaṅga Dardura and Paṇava are the major limbs, while Jhallarī and Paṭaha etc., are the minor limbs. 17. [Among the hollow instruments] the flute (vaṃśa) has the characteristics of the major limbs [of a performance], and conch-shell and Ḍakkinī [that of] the minor limbs. Use of Drums 18. There is no instrument which cannot be used in the ten kinds of play (daśarūpaka). Each kind of instrument may be used in a play after considering the Sentiments and States there. 19-20. In a festival, a royal procession, and a Maṅgala ceremony, in an auspicious and happy occasion, at the time of marriage and of birth of sons etc., in a battle where many fighters assemble, and during such other acts, all the musical instruments should be played.[20] 21. Small number of instruments are to be played during ordinary (lit. natural) household affairs. During expeditionary marches and performance of plays, all the instruments should be played.[21] 22. For the harmonious blending of the different limbs [of a performance] and for covering the faults, the instruments are played. General Description of Drums 23. I shall now speak of the covered instruments which give rise to regular notes, has many Karaṇas and Jātis. 24. All the instruments covered with hide such as the three Puṣkaras,[22] are called covered instruments. 25-26. And these have one hundred[23] varieties. But I shall now speak of the characteristics of the three Puṣkaras. For these have no harshness of sound like the remaining instruments. The latter produce no [distinct] notes, for them no [regulated] strokes [are necessary], no distinct syllables are available from them, and they require no Mārjanā. 27. By [the playing of] Bheri, Paṭaha, and Bhambhā as well as Dundubhi and Diṇḍimas, one desires the depth of sound from their slackness and extensive surface. 28. These are generally to be played with a view to time and occasion [in a play]. But listen about the rules of the three Puṣkaras. 29. Metres depend on Vāsu (?) and are of two kinds, viz. those which relate to notes only, and those which relate to words carrying meaning. 30. Metres relating to words carrying meaning, express many States and Sentiments, and those relating to notes only, depend on various instruments. 31. Seven are the notes in the Vīnā of the [human] body, and from those have come out the notes of musical instruments. 32. Notes coming out first from the human body go to the wooden Vīnā and then they go to the Puṣkara and the solid instruments. 33. Strokes[24] on them by various movements, are to be known as giving shelter to words. These are always to be applied to the playing of Vīnā [and] at the time of battles etc. 34. In the Vīṇā of the human body there should be Vāṣkarana[25] (mnemonic patterns) such as jhihṭu jagati kāt (?) together with many Karaṇas. 35. The notes produced by the singer should be produced by the musical instruments, and these should contain light and heavy syllables showing appropriate Yati and Pāṇi. Aspects of Puṣkaras 36. I shall speak about the rules of playing Puṣkaras with reference to Mṛdaṅga, Paṇava and Dardura. 37-39.[26] Puṣkara instruments have following aspects: sixteen syllabic sounds (akṣara), four Mārgas, Vilepana, six Karaṇas, three Yatis, three Layas, three Gatis, three Pracāras, three Yogas, three Pāṇis, five Pāṇi-prahata, three Prahāras, three Mārjanās, eighteen Jātis and twenty Prakāras. Music of Puṣkaras should possess all these aspects. 40. Now I shall speak of the sixteen syllabic sounds, K, kh, g, gh, ṭ, ṭh, ḍ, [ṇ], t, th, d, dh, [m][27], r, l, and h are the sixteen syllabic sounds. These are the always to be used in the Vāṣkaraṇa of the Puṣkara music. Four Mārgas—The four Mārgas are Ālipta, Aḍḍitā, Gomukha and Vitasta. Vilepana[28] (plastering)—Plastering of [Savya], Vāma and Ūrdhvaka. Six Karaṇas[29]—Rūpa, Kṛta-pratikṛta, Pratibheda, Rūpa-śeṣa, Ogha and Pratiśuṣka. Three Yatis[30]—Samā, Srotogatā, Gopucchā. Three Layas[31]—quick, medium and slow. Three Gatis[32] (Prakṛti)—Tattva, Ghana (=Anugata) and Ogha. Three Pracāras[33]—Sama Pr., Viṣama Pr. and Sama Viṣama Pracāra. Three Saṃyogas[34]—Guru Saṃyoga, Laghu Saṃyoga and Guru-laghu Saṃyoga. Three Pāṇis[35]—Sama, Avara and Upari Pāṇis. Five Pāṇiprahatas[36]—Sama-pāṇi Ardha-pāṇi, Ardhārdha-pāṇi, Pārśva-pāṇi and Pradeśinī Prahatas. Three Prahāras[37]—controlled, semi-controlled and free. Three Mārjanās[38]—[Māyūrī, Ardha-māyūrī and Karmā-ravī]. Eighteen Jātis[39]—Śuddhā, Ekarūpā, Deśānurūpā, Deśādapetarūpa, Paryāya, Viṣkambha, Párṣṇi-samastā, Duṣkara-karaṇā, Ūrdhvagoṣṭhikā, Uccitikā, Evaṃvādyā, Mṛdaṅga-paṇava, Avakīrṇā Ardhāvakīrṇa, Saṃplavā and Vidhūta. Twenty Prakāras[40] are Citra, Sama, Vibhakta, Chinna, Chinna-viddha, Viddha, Anuviddha, Svarūpānugata, Anusṛta, Vicyuta, Durga, Avakīrṇa, Ardhāvakīrnā, Ekarūpa, Parikṣipta, Sācīkṛta, Samalekha, Citralekha, Sarvasamavāya and Dṛḍha[41]. 41. The sixteen syllabic sounds which have been mentioned before applies to Puṣkaras, such as Paṇava, Dardura and Mṛdaṅga as well. Productions of Consonant and Vowel sounds in Drums 42. K, ṭ, r, t, ṭh, d, dh are to be produced on the right face and g, h, and th on the left face of the drums and th on the Ūrdhvaka and k, r, ṇ, dh, v and l on the Āliṅgya. Now I shall speak about combining vowels with them. a, ā, i, ī, u, ū, e, ai, o, au, am and aḥ are the vowels to be added to the consonants. To k—a, i, u, e, o and aṃ can be added to produce ka, ki, ku, ku, ko, and kaṃ. To kh—i, u and o can be added to produce khi, khu and kho. To g—a, e and o can be added to produce gu, ge and go. To gh—a, e and o can be added to produce gha, ghe and gho. To ṭ—a, i, o and aṃ can be added to produce ṭa, ṭi, ṭo and ṭaṃ. To ṭh—a, i, o and aṃ can be added to produce ṭha, ṭhi, ṭho and ṭhaṃ. To ḍ—a and o can be added to produce ḍa and ḍo. [To ṇ—a, i and e can be added to produce ṇa, ṇi an ṇe.] To t and th—a, a, i and e can be added to produce respectively ta, tā, ti, te and tha, thā, thi and the. To d—a, u, e and o can be added to produce de, du, de and do. To dha—a, i, o and aṃ can be added to produce dha, dhi, dho and dhaṃ. To r—a, ā, i and e can be added to produce ra, rā, ri and re. To l—a, ā, i and e can be added to produce la, lā, li and le. H and m are applied without any vowel. Among these k, gh, t, th and dh has r as their appendage (anubandha) e.g. ghruṃ, dhra, tre, kraṃ, thra, [ dram ], dhraṃ. K and l also act as appendages, e g. [klaṃ, kle]. Sounds producable by two hands are made by combining all these. Dhaṃ however is produced in Āṅkikā, Mṛdaṅga and two Puṣkaras by the simultaneous strokes of two hands. Ku is produced by running the finger (against the surface of the drum-face), and dha by controlling it. When it is half-arrested there is tha. When the back of the hand strikes it, there is kl; from curving the fingers comes kṣa (kh). By the simultaneous striking of Ūrdhvaka and Vāmaka[42] by the two hands, there occurs haṃ, and by striking Āliṅgya with the forefinger kle [is heard]. Some of the sounds are produced from one face [of a drum], some from two faces [of a drum], and some from three faces [of two drums], e.g. r from all faces (i.e. from any single face), d, dh, from Āliṅgya and Dakṣiṇa[43], g from Vāma[-ka] and Ūrdhvaka for the sake of facilities. Dh is sometimes is to be made from Āliṅgya. There should be no disregard of this rule. So much about the combination of vowels and consonants. Five Hand-strokes Five kinds of hand-stroke (pāṇiprahata): level-handed (Samapāṇi), half-handed (Ardhapāṇi), quarter-face (Ardhārdhapāṇi), hand-side (Parśvapāṇi) and fore-finger (Pradeśinī). Now these hand-strokes, according to their application are controlled, semi-controlled or free. Among these m is a stroke with the level-hand and is controlled; g, d and dh are half-controlled and is a stoke with half of the hand. K, kh, ṭ and ḍ are strokes with the side of a hand and are controlled. T, th and h are strokes by half of the hand and are semi-controlled. M, th, r, l and h are two-handed strokes and are free. Klaṃ is a stroke of the forefinger and is free. Draṃ dhraṃ and klaṃ are two-handed Strokes with the side of a hand and are free. Kleṃ is a stroke of the half of the hand and is controlled. * is a stroke of the side of a hand and is controlled. Thus one is to make strokes according to their requirement. 43. Sixteen are the sounds coming out of [covered] musical instruments. The wise are to make Vāṣkaraṇa from their combinations. The Four Mārgas I shall now explain what has been called the four Mārgas. 44. The four Mārgas relating to the strokes of the (covered) musical instruments are Aḍḍitā, Ālipta, Vitasta and Gomukha. The Aḍḍitā Mārga relates to a combination of strokes of Āliṅgya and Mṛdaṅga. The Ālipta Mārga relates to a combination of the strokes of Vāmaka and Ūrdhvaka. The Vitasta Mārga relates to a combination of strokes of Ūrdhvaka, and the right face of Āṅkika. And the Gomukha Mārga relates to the strokes of all Puṣkaras mixed up mostly with those of Āliṅgya. ([44] ?) Examples of the Aḍḍitā Mārga strokes are ghaṭṭam, katthita ghaṭṭam gheṇṭā ghaṭṭaṃ gatthimaṃ gatthi ghaṇṭaṃ gatthi. Now the Ālipta Mārga—dadhro mā mādro maṃ sta du rpere ghraṃ gheṃ gn dṇ (gu) raṇanduṃ ghem, preṃ (ghra) draṃ gheṃ dro māṃ are the strokes of the Ālipta Mārga. Now the Vitasta Mārga —takitān takitān sentāṃ kinnānāṃ ghisaṃketā idu hudu ketāṃ are [the strokes] in Vitasta Mārga. [Now the Gomukha Mārga]—guddha kladdhaṃ mathikaṭā ghaṃghena chidukhu khuṇo gaga ṭatthi maṭam are [the stroke] in the Gomukha Mārga. H is produced by pressing the fingers, and it is a free [stroke] and the fingers will have to be crossed and half-controlled for this on the Ūrdhvaka and Āṅ[ki]ka Because on the two, the level hand is seen to be used. H is produced by pressing [the fingers], and it is a free stroke and [in the Gomukha Mārga] the following [strokes] are also to be made: dhittha tittha ḍittha kitā khadeṅ khadeṅ gudhuṃ du leṇṭa jhatti titthana dhittān hu vadhe. Similarly strokes in the Vitasta Mārga should be devoid of those for l, m and r. In the Ūrdhva (?) Mārga of the Gomukha, the strokes will be khaṭamatthi maṭṭa ghaṇṭā ghura-kheṭṭaṃ khata māṃ (vudu) ṇa kiti kitti kiti māṃ khu khu ṇu ddhe dhe dho dho. Now the playing of Gomukha —ṭha ḍa gheṇṭa na khandu laṃghu khe ghaṭa maṭṭa ṭāṃ ṇu dha [ khu khu ] ṇāṃ tthi ghaṭaṃ ghiṭi māṃ kakku ṭāṃ ṇu gheṃ kiṭi māṃ ghe ghe ko mo ma. 45. Strokes produced in the Ālipta (Mārga) can be used in all Mārgas. Graha of Mṛdaṅgas consists of groups of Akṣaras (akṣara-saṃghāta). 46. I shall give their examples in the four Mārgas in due order. In the Aḍḍitā [Mārga] they are ghṛṅ ghṛṅg ghaṭa gheṅ matthi matthi, madatthi ṭhīṅ mana gheṅ kraṅ kathi kaṭāṅ. In the Vitasta they are ghāga geṃdrā taki ta ghṛ ghṛṅ ghro kiṭi gheṇṭān gān dhi kiṭi ketthā tha kutā kitā kiri dām. In the Ālipta they are do māṅ guḍur gheṅ ghe ghaṇṭāṅ ghe gha ta du mā. In the Gomukha they are ghe gheṭātthi katāṅ guṭṭā gheṅ gheṭā ghaṃṭān dhi madhi tthiyaṃ ke sa ṭe ghe ga gheṇo no ṇaṃ. 47. For its Mārga three are the Pracāras of the Puṣkaras, such as Sama, Viṣama and Sama-viṣama. 48. Sama should be the Pracāra of the Yāmaka and the Ūrdhvaka and of the Yāmaka and Savya[ka] in the Aḍḍita Mārga, and in the Ālipta Mārga too. 49. In striking the Vāmaka, Ūrdhvaka and Madhyaka, the left hand should be used. And in striking the Savya and Ūrdhvaka, should be used the right hand in the Viṣama Pracāra. 50. Similarly the two hands should be used in a crosswise stroke in the Vitasta Mārga, and the same is [to be done] in the Viṣama Pracāra. 51. In the rest of the Mārgas, the Pracāra of hands will be according to one’s convenience (svacchanda). In the combination of the Aḍḍitā and Gomukha Mārgas, the Pracāra of the hands should be Sama-viṣama. 52. In connexion with the Erotic and the Comic Sentiments, the instruments should be played in the Aḍḍitā Mārga. In the Heroic, the Marvellous and the Furious Sentiments, they should be played in the Vitasta Mārga. 53. The playing of the instruments in the Pathetic Sentiment should be in the Ālipta Mārga, and in the Odious and the Terrible Sentiments this should be in the Gomukha Mārga. 54. Instruments should be played in connexion with a dance to suit the Sentiments and the States and the Sattva [of characters] and their gestures, mode of walking and the location [of the scene]. Playing of Dardura and Paṇava 55. This rule of strokes according to the traditional way, should be followed by the wise. I shall speak hereafter of the playing of Dardura and Paṇava. 56. This playing of drums is of three kinds: Ativādita, Anuvādya and Samavādita. Among these, the Ativādita is the playing of Puṣkara before [a performance]. 57. When the playing of Mṛdaṅgas follow a performance, it is Anuvādya. When the Mṛdaṅgas are played simultaneously with a performance, it is Samavādita. 58. The syllabic sounds such as k, kh, g, pṇ [ dh ] r v āṅ pr, h, nād brhulāṇ dhrā hu lām are to be used in playing a Paṇava. And kiri ghiṇṭām tho tho ṇo dho tr hulām kiri ghiṇṭām ṇo ṇo ṇā ṇṭām co ktri kiri kaṇḍā maṭā maṭa tthi te ṭe ṭe donnām is the music of Paṇava. 59. The experts should produce in striking loosely and tightly Paṇava, the different Karaṇas by means of the tip of the little and the ring fingers. 60. The syllabic sounds for colouring Karaṇas should be produced by the little and the ring fingers. In producing the remaining sounds, there should be strokes by other fingers. 61. The playing with the Koṇa and the ring finger, should begin with the middle finger. The playing with the Koṇa and the ring finger should be a simple (śuddha) stroke# 62. From playing in irregular Karaṇa. comes trikulaham which is the begining of the irregular playing. It continues as ribhata as Karaṇa and Anubandha, and to it is added a double tra. 63. In the Anubandha of the mixed Karaṇa, dre is produced by striking with the raised hand. This is to be specially done by the best player of drums. 64. Notes which are charming due to their being in the various Karaṇas, are to be produced by the tip of the little finger. By that very finger should be produced the strokes a ni ni b. Playing of Paṇava 65. This should be done by the tip of the little finger in a loosely trimmed drum. By tightly trimmed Paṇava should be produced dhattvo dvāṇa * * * 66. In the tightly and loosely trimmed Paṇavas strokes ka ṭha na ta ṇi ṇa are produced. Similarly irregular Karaṇas are not produced in the Paṇava which is tightly or loosely trimmed. 67. In the tightly trimmed Paṇava there can be strokes like kha kha ṇa ṇa * * * In the loosely trimmed Paṇava there should always the strokes like la tha. 68. In the trimmed Paṇava k, kh and ṭa strokes should be produced. [The strokes] should be combined with irregular Karaṇas. 69. It is possible to create a resonance of ṭ in a tightly trimmed Paṇava. In the same way hṇ including ṇ is also possible. 70. This stroke is to be made on the face of the drum held obliquely. The stroke will sound as kahulāṃ krakhulām * * krakhulām. 71. This in brief is the regular playing of Paṇava described by me. Playing of Dardura I shall now similarly speak of the syllabic strokes of the Dardura. 72. The free strokes in Dardura should include * * rakti trikalas klecadro gauṇo hathipa, and thaṇaṇṇa. 73. One should make there [strokes to produce] eṇaṇakṣāra gradha * * * by one’s right hand, and to produce go matthā by touching Dardura by the tip of the left hand. 74. Strokes giving muktollā * * should be produced by two * * controlled hands, and the sounds being pressed after seizing [the drum] by freely holding it. 75. Thitthen tra should be produced by pressing [the hand] in the usual manner. Sounds produced freely will be special ones, while those produced by arresting the stroke will be [half] free and half checked. 76. The sound will be wrongly produced if they are too swiftly done or done in quick succession. These in brief are to be known of the strokes on Dardura. 77. These are the pure strokes not mixed up with strokes of drums of other types. I shall now speak of the combined playing of Dardura, Paṇava and Mṛdanga. Playing together the three Puṣkaras 78. In the mixed playing of instruments some Karaṇas are distinctly expressed while some Karaṇas are produced simultaneously or some serially. 79-80. In such mixed playing, individual strokes like ṇ g and r and dheṅkā kattham troikho kehulam takita in the Mṛdaṅgas, daṅg syeṅ dreṅ kahutām matam in Paṇava and tham-matatthi dām kahutām maṭatthi deṅ neṅ in Dardura are to be made. 81. The [Karaṇas] other than these are to be always mixed in production, those mentioned previously are also to be mixed up according to necessity. 82. Now in the Paṇava simultaneously produced Karaṇas are kahatām ṇṇaṇṇām khu khu kṇṇe khe dromo doṇam the tho rthidr. 83. The best player should gradually produce such Karaṇas as ṭa ṭa ṭa ṭe ghoṇaṇaṇa kirini * * kiṇṇā. 84. In the Anubandha of Paṇava, the Karaṇas should be ṇṇu khu khu ṇa, and players of Mṛdaṅga and Dardura should play the Kṛtapratikṛta. 85. Those [Karaṇas] which are to be produced (lit. made) in Muraja at the time of walking and other movements [of different characters in a play], should also be followed in all its syllables in the playing of Paṇava. 86. Experts should not have any playing of [drums] in the Citra Mārga at in the time of walking and other movements. When the setting of feet is not perceptible, [the playing] at that time should be Sama-viṣama. 87. The Uparipāṇi [hand] should be freely used in playing Paṇava and Mṛdaṅga. Playing of Mṛdaṅga (?) should be made by similar strokes. 88-89. Generally Paṇava should be taken up for playing before all other instruments. I shall now speak of the strokes of Dardura, which are dasa senta tetietsade vede revitanṛitamathi. After making these two free, and then stopping, one should make strokes like naṇṇāre. 90. And then one should make strokes bhredhī kithī by the right hand and gudathiṃ klaṃ by the left hand. And then the tips of the hand making tatvavṛstha, the two hands should be checked after striking tam. 91. And [the stroke] takam should indicate the rest of the Karaṇānubandha. Karaṇas of three Puṣkaras These are the strokes in Dardura. I shall next speak of the (six) Karaṇas. 92. The six Karaṇas are Rūpa, Kṛta-pratikṛta, Pratibheda, Rūpaśeṣa, Pratiśuṣka and Ogha. Rūpa—when Karaṇas are produced by two hands. Ex. gham khu khu ṇa khu gham kramam tthimam tthettaram ghaṭam ghatthi metthi gheṇṭa kaṭa guddharāṇa kiṭi gham ghe kaghatām ghe kakham. Kṛtapratikṛta—when one Karaṇa originates from the three Puṣkaras. Ex. tham ghu khu ṇa khutham kramamthi vaggern raghaṭām ghaṭatthi gham tsām idu ghe kuhulāṇṇam da dno ṇa. Pratibheda—when after the two Karaṇas of Mṛdaṅgas have been made simultaneously, the [playing] takes to Upari. Karaṇa. Ex. dho dho ṇā kho ta la ṇā ṇā tthi ṭadhi ghaṇḍam. Rūpaśeṣa—the want of distinction of Karaṇas. Ex. khu khu no ṇṇā maṭaghem gheṇḍāmaṭr ghotā mathi alyām ghom. Pratiśuṣka—the harmony amongst the players of Mṛdaṅga, Paṇava and Dardura. Ex. ghaṭamaṭa tthi duṇa ther jakiṭi keghiṅ ghoṇ ggheṇdagnoṇa kho kho kha kuṭṛ kiṭṛ vakatthi ṇaṇattdi. Ogha or Catuṣka—the playing of all the instruments in slow tempo to produce sonant syllables. Ex. tham kiti mam rhi hi kiṭi ghiṅ ghaṇdāṇam ghoṇḍa ghoṇa ghoṇr ghaṭa ghaṭa ghaṭa gheṅ gham ghe viriṇi ṇr ge ham tho tathan ghe. 93. Combination of Karaṇas are of six kinds. The wise should use Karaṇas according to this rule. Three Yatis The three Yatis are Samā, Srotogatā and Gopucchā. The Yati is the three ways of combining tempo and Pāṇi. It is of three varieties, such as Rāddha, Viddha and Śayyāgata. The three tempos are quick, medium and slow. The three Pāṇis are Sama Pāṇi, Ardha Pāṇi and Upari Pāṇi, the three ways of combining the Karaṇas. 94. When in a performance the Yati is Samā, the tempo is quick and there is Upari Pāṇi, then it is the Rāddha playing (lit. rule). 15. Similarly when the playing of instruments is given prominence and there is Upari Pāṇi, Samā Yati and the medium tempo, then it is called the Rāddha playing (vādya). 96. When the Yati is Srotogatā, the tempo is medium and there is Sama Pāṇi, the playing is called Viddha. 97. The playing of music is called Viddha when in case characters of superior or middling type, its procedure is Vārtika or Dakṣiṇa. 98. When there is Ardha Pāṇi stroke, slow tempo, and the Gopucchā Yati, it is called Śayyāgata playing. 99. When the singing is given prominence and procedure is Dakṣiṇa the playing of atyukta (?) instruments is called Śayyāgata. 100. Their standard arises from the slow tempo etc. In other Pāṇis, Kalās are to be reduced. 101. The Yati, Pāṇi and the tempo in connection with the playing of instruments, should be observed according to one’s liking, after considering the [special] performance of plays. The Three Mārjanās 102. The three Mārjanās are Māyūrī, Ardha-māyūrī and Karmāravī These three Mārjanās are known to relate to notes of Puṣkaras. 103. Notes in the Māyūrī Mārjanā[45] are Gāndhāra in the Yāmaka, and Ṣaḍja in the Dakṣiṇa Puṣkara and Madhyama in the Ūrdhavaka. 104. Notes in the Ardha-māyūrī are Ṣaḍja in the Yāmaka Puṣkara, Ṛṣabha in the Dakṣiṇa, and Dhaivatī in the Ūrdhavaka. 105. Notes in the Karmāravī are Ṛṣabha in the Vāmaka Puṣkara, Ṣaḍja in the Dakṣiṇa Puṣkara and Pañcama in the Ūrdhavaka. 106. On having Mārjanā in Āliṅgya one should provide for Niṣāda which is assonant to the notes [mentioned above] and which is a note of Jātis. 107. The Māyūrī Mārjanā will be in the Madhyama Grāma, the Ardha-(Māyūrī) in the Ṣāḍja Grāma, and the Karmāravī in the Gāndhāra Grāma, and these will include Over-lapping notes. 108. Notes which include regular Śrutis, are fixed. These relate to the Mārjanās, and the remaining ones are considered transitory (saṃcārī) 109. By the Vāmaka and the Ūrdhvaka, accessory notes should be produced by their plastering which will give them slackness or tenseness. Similar treatment should be given to the Āliṅgya and the Āṅkika. 110. Players [of drums] should by their slackness and tenseness as well as piercing (?) of hides, produce notes of these kinds. Earth for the Mārjanā of Vāmaka and Urdhvaka 111. This Mārjanā of the Yāmaka and the Ūrdhvaka should be done by means of earth. Now listen about the characteristics of the earth [suitable for this purpose]. 112-113. The earth which contains no gravel, sand, grass and husks of grains, and which does not stick and not which is white, alkaline, pungent, yellow, black, sour or bitter, is suitable for plastering, and with it one should make Mārjanā. 114. The blackish earth from a river-bank, which is fine after giving out water, should be used for Mārjanā. 115-116. When the earth which spreads very much, is white or black or heavy or unstable or is full of husks, and the blackish earth not producing desirable notes, are only available, then one should use wheat flour or barley flour for this purpose. Sometimes a mixture of wheat flour and barley flour[46] is also used. 117. One defect of this (i.e. the mixture) is that it w ill create a monotonous sound. Thus the blackish earth applied for the Mārjanā, will produce proper notes. Three Saṃyogas O the best of Brahmins, I shall now speak of the three Saṃyogas. The three Saṃyogas are Guru-sañcaya, Laghu-sañcaya and Guru-laghu-sañcaya. The Guru-sañcaya—in heavy syllables, slow tempo and Ogha-pravṛttḥ e. g. gheto ketaṃ candrāṃ khetaṃ dvaṃ dvam khetaṃ dhvaṃ dvaṃ dvaṃ drāghetaṃ battaṃ khettaṃ. The Laghu-sañcaya—light syllables and quick tempo e. g. ghāṭa maṭa maṭa ghaṭa matthi ghaṭu ghaṭu ghaṭu. The Guru-laghu-sañcaya—light syllables [with heavy ones], quick tempo, e. g. ghaṭa vimathi mathithaṃ kitaṃ gha gamgha mothikam taddham kaṭa thim karasthi maghave. Three Gatas The three Gatas[47]—Tattva, Anugata[48] and Ogha. 118. In the Tattva playing [of drums] there should be strokes similar to [recognised] syllables, distinctly expressing words and syllables, conforming to the metre [of songs], and well-divided in Karaṇas. 119. The Anugata playing [of drums], should begin with the Sama Pāṇi or the Avara Pāṇi, and it should have Karaṇas produced by distinct strokes, and it should follow the song. 120. The Anugata playing [of drums] should begin with Upari Pāṇi and it should not rest on one Karaṇa [only]; it should have quick tempo; its Karaṇas should be Āviddha and it should be used extensively. Eight Conformities 121. All playing of drums should have eight Conformities (sāmya). e. g. in syllables, limbs, Tāla, tempo, Yati, Graha, Nyāsopanyāsa and Pāṇi. 122. The playing which follows the metre consisting of short and long syllables, shows Conformity in syllables. 123. The playing which follows the song equally in the three limbs in its beginning (graha), end (mokṣa), and in its Kalās and Antara Kalās, shows Conformity in limbs. 124. The playing which by its measure of Kalās and time, equals the body of the song, shows Conformity in Tāla. 125. The playing which follows the song equally in its performance in slow, medium and quick tempos, shows Conformity of Laya (tempo). 126. When the playing follows Samā, Srotogatā and Gopucchā Yati of songs, it is an instance of Conformity in Yati. 127. The Graha of similar Śrutis by stringed, and covered instruments and flutes along with the songs, is an instance of Conformity in Graha. 128. Playing of flutes and Vīṇās in such a way that the notes in their Nyāsa and Apanyāsa may agree to that of the song, is an instance of Conformity in Nyasā and Apanyāsa. 129. When the Samapāṇi, Avapāṇi and Uparipāṇi playing of instruments follow the song, it is an instance of Conformity in Pāṇi. Eighteen Jātis I shall [now] explain what has been called the Jātis. They are Śuddhā, Ekarūpā, Deśānurūpā, Deśad-apetarūpā, Paryāyā, Viṣkambhā, Paryastā, Saṃrambhā, Pārṣṇi-samastā, Duṣkara-karaṇā, Ūrdhva-goṣṭhikā, Uccitikā, Evaṃ-vādyā Mṛḍāṅga-paṇavā, Avakīrṇā, Ardhāvakīrṇā, Saṃplavā and, Vidhūtā. I shall describe their characteristics and examples. 130. The playing [of drums] which consists of Karaṇas of one or of two syllables, and which is fit to be used in all movements (lit. work), is called Śuddhā. 131. The Jāti consisting of kho kho khaṃ khaṃ khaṃ khaṃ is called Śuddhā; it is the Jāti [for the action] of the middling and superior women. 132. When one plays separately Gomukha in the Aḍḍitā, Ālipta or Vitasta Mārga, it is called Ekarūpā. 133. The playing which produces syllables of the Aḍḍitā Mārga such as droṅ ghoṅ doṅ ghoṅ ghegheṅ is also Ekarūpā; it is to be used in case of songs of male singers. 134. This Jāti (i.e. Ekarūpā) should be used in case of all characters while the Dhruvā is sung in a slow or quick tempo, and it may also be used after one has judged [properly] the place, time and condition [of characters] in case of Dhruvās sung in a medium tempo. 135. When all other instruments follow one Karaṇa in pursuance of the playing of Mṛdaṅga, it is called Ekarūpā. 136. The Deśānurūpā Jāti played in the Aḍḍitā Mārga, is used in the Erotic Sentiment involving the enjoyment of love (Śṛṅgāra). It should be performed in a slow tempo. 137. Mī mathi thamabhū tthi kimā will be the syllables in Deśānurūpā Jāti. It is to be used in the best Erotic Sentiment of women. 138. Deśād-apetarūpā Jāti is played in Vāmaka and Ūrdhvaka in a quick tempo of Avakṛṣṭā Dhruvās. It is to be used in the Pathetic Sentiment. Ex. Ghedrāṅ ghedrāṅ ghe gheru are the syllables in the Deśād-apetarūpā Jāti in playing [drums]. 140-141. When the same set of Karaṇas played previously are followed in all three tempos, it is the Paryāyā Jāti. Ex. ghodāṅ ghidiṅ gudugnoū played in the Vāmaka and Ūrdhvaka by the left hand should be applied in the Heroic, Marvellous and Furious Sentiments. 142-143. Two heavy syllables, two light syllables, one light syllable, three heavy syllables, and a light syllable such as siṅ māṅ ghaṭa ghendra gu du gheṅ gheṅ ghama tthi metchap constitute Viṣkambhā Jāti. It is to be applied in the Erotic Sentiment of superior women. 144. Playing of drums in all Mārgas with Karaṇas of one syllable, and with the Sama Pracāra of hands, is called the Paryastā Jāti. 145. Paryastā is to used in the case of the quick movement of chariots, Vimānas. Vidyādharas, Bhujaṅgas (serpents) etc. in the sky, or in torrential rains. 145. Paryastā Jāti which should be used in the movement of slow tempo in the Erotic Sentiment of superior characters; it should also be used in the case of inferior characters. 146. Gheñ taṅ ghohṇām should constitute the Saṃraṃbhā Jāti to be applied in case of inferior women. 147. The Jāti which has Karaṇas of Ardhapāṇi, and and medium tempo in the beginning, and quick tempo in the end, is called Saṃrambhā. 148. Ex. Magaṭhaṃ kuyu ihakim. Pārṣṇi-samastā Jāti should be played on the face of Ūrdhvāṅkika and Dakṣiṇa by quick strokes in the Vitasta Mārga, and it is to be applied in movements of Erotic and Comic Sentiments. 149. Pārṣṇi-samastā Jāti should be played with Karaṇas tatthiṃ kaṭaṃ maṃcchi and dhandrāṅ gudheṅ gu dhitaṅ, with the pressure of the Pārṣṇi. This is to be applied to the movement of superior male character of calm type, and of the Dānavas. 150. By striking of all the Mṛdaṅgas with the movement of Svastika hands, one should play the Duṣkara-karaṇā Jāti in all their tempos. 151. Duṣkara-karaṇā Jāti should include syllables like duṇā duṇo duṇā kiṃka dhima ghoṅ ghoṭeṅ madatthidugakiṭi ghoṅ. 152. Duṣkara-karaṇā Jāti should be applied in case of movements of Daitya kings, chiefs, Nāgas (bhujaga), Rākṣasas, Piśācas, Gandharvas, and Guhyakas, etc, 153. Light strokes on the face of Ūrdhvaka, Āṅkika and Dakṣiṇa in the Vitasta Mārga or striking of Dakṣiṇaka and Vāmaka after beginning with Āṅkika and Ūrdhvaka [will constitute Ūrdhva-goṣṭhikā.] 154. Playing almost violently udhidhrṅ dhrṅ in the Vitasta Mārga will constitute Ūrdhva-goṣṭhikā Jāti. It is meant for the movement of heavenly characters. 155. The playing which includes all the Mārgas connected in an imperceptible chain, is called Uccitikā Jāti. 156. This Jāti includes syllables like kentakennāṅgaditāṃ and is to be applied in the natural movement of kings. 157. The Evaṃ-vādyā Jāti should be played with syllables of the Gomukhī, and it should have all the strokes of Mṛdaṅga; and it should be applied in the pantomime of jugglery by persons with or without disguise, and it should include the syllables like gheṅṭāṇṭādo tadhitā gheṅ gheṅ ghaṭatthi ghaṭa iṅghe. 159. This should be applied in case of the movement of dwarfs, confused persons and lame men and those who have pain in their body and wound in their feet. 160. [The playing of drums] in which there is striking of the earth in different sections (parva) [of Karaṇas] is the Jāti which suits all stages (mañca). 161-162. It includes syllables such as ghroṃ ghroṃ ṭeṃ teṃ and this Jāti is to be applied to women’s movements. Avakīrṇā Jāti is the playing of Mṛdaṅga with three fold Karaṇas. And when the same is added to the playing of Dardura and Paṇava, it is called Ardhāvakīrṇā Jāti. 163. This Ardhāvakīrṇā Jāti should consist of kentāṃ hentāṃ kentāṃ played in the Gomukha Mārga. 164-165. Dardura, Paṇava and Mṛdaṅga should be played by halves (?) the manner of the Ardhāvakīrṇā Jāti and with light syllables included in the suitable Mārga, and it should consist of syllables like thaṇ goda gheṅḍaā sendrām. This called the Saṃplavā Jāti. 166. The Saṃplavā Jāti produced by using all the fingers and by all the strokes of Mṛdaṅga, is to be applied to movement of terrified persons and to any movement of them in the sky. 167. The Vidhūtā Jāt produced with various charming (divya) Karaṇas and strokes of Mṛdaṅgas, is to be applied in case of natural movement of superior persons. 168. It should consist of syllables like darige gudughin titthi klāma totthi kaṇaṃ kukrāṃ. 169. These are the Jātis to be known by the wise for application in the walk and other movements. Those which are not mentioned here, should be taken from the people and with a view to their meaning. Playing of drums in three Gatas 170. Wise men should play [drum] according to their rules specially in walks and other movements [of characters] in the ten kinds of play (daśarūpa). 171. Tattva, Anugata and Ogha playing [of drums] is desired in the [songs of] seven kinds and the Āsārita metre. 172. One who desires unison [of the two] should play drums with heavy and small number of syllables at the time of songs [indicating] walks and other movements. 173. Tattva and sometimes Ogha too, should be applied in case of king, for these are natural to their charming conditions. 174. Tattva should be applied to the first song, Anugata to the second and Ogha should be the playing of drum at the time of walking and other movements. Playing of drums in Dhruvās 175. In case of remaining Dhruvās, one should have various [manner playing drums] according to one’s liking. In case of the Sthitāvakṛṣṭā Dhruvā the playing should be of the Anugata kind. 176. In case of the Prāveśikī Dhruvā [the playing] should be Anugata. In the Naiṣkrāmikī and Antarā Dhruvā the playing should have all the three tempos (laya). 177. The Prāsādikī Dhruvā should have quick tempo, and Dhruvās [in general] will be of five types. This will be the playing [of drums] in the Prakaraṇas. 178. Experts should observe through playing of drums the Mātrās and divisions in the pāda of Dhruvās at the time of walking and other movements. 179. The producers should thus apply the playing [of drums] at the time of walking and other movements. How to begin the playing of drums I shall now speak of the manner of beginning the playing of drums. 180. According to some this should begin with Śamyā and Tāla, and according to others with the middle finger; some say that it should begin with the empty space (ākāśa) and others with the fore-finger. 183-181. The Śamyā will always be the Graha in the Dakṣiṇa drum, and in the Vāma and the Ūrdhvaka [drum] the Graha will be Tāla, and in the Āliṅgya it [the Graha] will always by the fore-finger. 182-183. In the exit (niṣkrāma) the Graha may also be from Ākāśa. The Āsārita songs will always have the Śamyā Graha and the two Tālas growing from the limbs of Dhruvās, and * * * * will have the fore-finger as its Graha. And the Graha of the Śīrṣaka will be by the fore-finger. 184. The Graha of the Natkuṭa and the Aḍḍitā as well as of Prāsādikī will be Sannipāta, and it will consist of [divisions of] one Kalā. 185. The Ākāśa Graha consists of four divisions of two Kalās. Its songs will be composed of limbs suiting it in due order. 186. These are the Grahas relating to the drums (lit. instruments), to be known by the wise. I shall next speak of the playing of these in dances of energetic and of delicate types. 187. One Parīvarta (performance) of the song should be without any accompaniment of instruments. At the end of this the Graha should be the Sannipāta in playing instrument. 188. Or, for the embellishment of dances there should be change of limbs [of the performance]. And the change of the tempo of the song should be made. 189. When a limb [of the performance] requires the use of gestures, there should be no playing of music (i.e. drum). But when there is dance consisting of Aṅgahāras then there should be music [to accompany it]. 190. When due to the manner of its performance a limb is repeated again and again, then first it should be accompanied by gestures, and finally it should be connected with dance. 191. The playing of drums (lit. instruments) should be similar in metre to that of the songs. The movement of limbs should be made in conformity to the measures of songs and of instrumental music. 192. The playing [of drums] in the Mukha and Upavahana (= Upohana) should consist of heavy syllables along with light ones, and this should be loud (prakṛṣta) in [the production of such] syllables (varṇa). 193. The playing of drums along with songs in a slow tempo should be by mild strokes, with that in a medium tempo with strokes sufficient to produce the syllables (lit. equal to syllables) and in all these the Uparipāṇi should be observed. 194. In the Class Dance (tāṇḍava), the playing [of drums] by those who know [properly] about the tempo, should be harmonious (sama), pleasing (rakta ), divided [into Kalās], distinct (sphuṭa), produced by simple (lit. pure) strokes and accompanying the [various] limbs of the performance (lit. dance). 195. In performances including dance, the Tattva followed by Anugata should be played in drums, while in performances without any dance, the Tattva should be followed by Ogha. 196. [The drum] should be played [on these occasions] in slow, medium or quick tempo as in the case of a song, and the same should be the method [of playing drums] in the performance of Padas and dance with Aṅgahāras. 197. Rules regarding Padas and syllables which apply in case of songs and playing of instruments, should be observed in dance with Aṅgahāras in connection with dramatic performances. Twenty Prakāras and their application 198. These are the eighteen Jātis relating to drums. I shall now speak of Prakāras connected with them. Now the Prakāras are Citra, Sama, Vibhakta, Chinna, Chinnaviddha, [Viddha], Anuviddha, Svarūpānugata, Anusṛta, [Anusṛta-vicyuta], Durga, Avakīrṇa, Ardhāvakīrṇa, Ekarūpa, Parikṣipta, Sācīkṛta, Sama-lekha, Citra-lekha, Sarva-samavāya and Dṛdha, 199. The playing which is performed with various Karaṇas[49] such as Nirvartita etc., by many kinds of hands, and which has the three tempos and the three Pāṇis, is called Citra. 200. Dardara, Paṇava and Mṛdaṅga are played with various Karaṇas, and this playing combined with Tāla, limbs and flutes is called Sama. 201. When the playing is not very broad in position, and it observes equally syllables, Pāṇi and tempo in its divided Karaṇas, it is Vibhakta. 202. The playing [of drums] in a quick tempo suddenly stopping when all other instruments are separately played, is called Chinna 203. The playing in which the Mṛdaṅgas are taken up with Avapāṇi and the Paṇava with Upari Pāṇi, is called Chinna-viddha. 204. When Paṇavas are played with the Karaṇas used for Mṛdaṅgas, and such Karaṇas are the various Sūci-vedhas[50], the playing is called Viddha. 205. The playing which is intermixed with Viddha and is seen in connection with all the instruments, is called Anuviddha, because of the mutual Anuvedha[51]. 206. When the playing has a simple nature and is done by Sama Pāṇi, and follows its own [fixed] pattern, it is called Svarūpa. 207. When the Paṇava follows the Muraja, and the Dardara follows the Paṇava, the playing is called Svarūpānugata. 208. When after following these instruments, they attain the same tempo and are heard simultaneously with these, it is called Anusṛta. 209. When the playing of a drum following another instrument in its own Jāti, passes into another Jāti, it is called Anusṛta-vicyuta. 210. The playing which being irregular in its movement, develops all the Mārgas[52] and is done with undivided syllables, is called Durga. 211. When Mṛdaṅgas are played together with Paṇavas in many and various Karaṇas, the playing is called Avakīrṇa. 212. When a Paṇava or a Dardara is played in quick tempo and with Avapāṇi, the playing is called Ardhāva-kīrṇa. 213. When the playing of all the instruments follow one Karaṇa, it is called Ekarūpa. 214. When the playing in a low sound of Mṛdaṅga with undivided syllables, is covered with that of Paṇava, it is called Parikṣipta. 215. When various Karaṇas are played in one instrument to follow a dance with Aṅgahāras, it is called Sācikṛta. 216. When a Paṇava and a Muraja after being played first, take up (lit. looks up) the Murajas, the playing is called Samullekha. 217. When different instruments with Mṛdaṅga and Paṇava etc. are played together in various ways, then it is called Citralekha. 218. The playing which follows all the Mārgas, adopts all the Pāṇis and Layas, is various, and is well-divided [in their syllables], is called Sarva-samavāya. 219. The playing which is in a medium tempo, harmonious, and has clearly produced syllables and is fit to accompany movements, is called Dṛḍha. 220. These different Prakāras of the playing of drums, should be taken up to follow movements and songs, after considering the Sentiments and the States involved. 221. Prakāras and Jātis apply to all Mārgas. But in movements they are to be in their pure forms. Seating of the Musicians I shall now speak about their application. [The members of] the Orchestra (kutapa) should be seated on the stage with their face to the east. The Orchestra should be placed between the two doors of the tiring room mentioned before. The player of a Muraja (Mṛdaṅga) should face the stage; to his right should sit the player of a Paṇava, and to his left the player of a Dardara. Here the Orchestra relates first to the players of covered instruments. Among them a male singer will face the north, to his left will be the Vīṇā-player and to his right the two flute-players. And a female singer will face the male singer. So much about the seating the Orchestra. The Tri-Sāma Now, the players of the Mṛdaṅga, Paṇava and Dardara, male and female singers, players of flute and Vīṇā being seated, and strings of stringed instruments being tightened, controlled and sounded with relation to proper Grāma, Rāga and Mūrchanā, and the Mṛdaṅga being struck in quick succession by pressed (nipīḍita), arrested (nigṛhīta) half-arrested (ardha-nigṛhīta), and free (mukta) strokes, the players placing their hands on the best Dardaras, should first of all observe the ceremony of the Tri-Sāma for the purpose of welcoming the gods and bidding them farewell. By means of the first Sāman arising from the mouth of Brahman who creates, stabilizes and destroys all the living and non-living objects[53], he (i.e. the singer) pleases very much the moon on the left, the serpents on the right, and the creatures of water who are between these two. By the second Sāman he pleases the Munis (sages) and by the wide and great third Sāman the gods [in general]. 222. As one thus pleases in due order the gods [by the three Sāmans], so the wise are to know them as the Trisāma. 223. As one thus takes shelter with Brahman, Keśava and Śiva, so it is called the Tri-sāma by the sages. 224. As [the syllable] Om is pronounced in the beginning of the four Vedas, so the Tri-sāma is sung [in the beginning] of all the songs. 225. This Tri-sāma is to observe three Prakāras, three tempos, the Aḍḍitā Mārga, and a division of six or three Kalās [in its accompaniment by drums]. 226. Its syllables should be of three kinds including heavy and light ones, and its au (= a and u), and m should be uttered thrice with the triads. At the end of this (i.e. Trisāma), after following the procedure of the Preliminaries, one should perform the Bahirgītas in three tempos with the drumming which will follow the song in its metre and syllables. At the application of the Āsārita song, one should perform the drumming of the Tattva and Anugata Prakṛti. When after the Trisāma the Pratyāhāra etc. have reached their end, then the drumming is to begin. There one should first of all play all the drums in the following order: the Vāmaka and Ūrdhvaka should be struck first, then the Āliṅgyaka with the Gopucchā Yati, and playing of the Vipañcī should be performed afterwards. [If you ask] why, [the answer is] that the drums played first will give rise to Success. The Performance of the Dhruvā is first indicated by drums. Then proceeds in the auditorium full of women and common people, the music which is capable of creating their interest. Different Tastes of Listeners 227. Masters [of the musical art] like a harmonious closure (sama), the scholars distinct [enunciation of] words (pada) of the song, the women a sweetness [of voice in singers] and the rest [of the audience] a full-throated singing (lit. crying aloud). Variety of Drumming to suit Occasions At the conclusion of this [playing of drums], the experts in the Mṛdaṅga should produce in their instruments, mostly by the touch of their fingers, a music which will consist of a collection of light Varṇas, and which will relate to the Tāṇḍava, at the time of female dancer’s appearance [on the stage]. The song relating to the appearance of the female dancer being finished, the Sannipātas should be taken up. [In connection with them] a music related to the Karaṇas conforming to the Aṅgahāras of the Lāsya dance, should be combined with the Karaṇa Dhātu. Hence there is the saying samaṃ raktam. Next, at the start of the performance music should be played in relation to the Karaṇa of the Ālipta Mārga. It should be performed by striking the Vāmaka and the Ūrdhvaka, and will be as follows; dheṅ mati dhaṅ mathā dheṅ dhiti ṭit saṃ kraṃ kraṃ khoka ṇe devyāṃ kentāṃ kiṭ gheṅ. The change after these two [kinds of playing] will be to that of pure Jāti in the four Mārgas consisting of kho kho ṇāṃ kho kho ṇāṃ kho kho khonā. After their stoppage there should be kho kho do kho kha ke ṇāṃ gha gha gha tāgham in setting the neuter foot[54]. Just as there should be playing of kondukhoṅ at the time of entering of the Caturthakāra.[55] This should be played mostly by running fingers [on the drums]. In the Utthāpana of the Vastu and in the Apakṛṣṭā Cārī there, the playing should begin with gheghentāṃ gheṅ ṅo ghakhaṇādoṇāṃ gho ghagheghaghe. In the Śuṣkāpakṛśṭā Dhruvā of the Nāndī, the playing should be in the Pratiśuṣka Karaṇa and should have Tho gho tho khe kha ghoghegheṅ nādabhyah khoddho kutāṃ kha khe kheṇa kasu guka gheṅ nokhi kheh tāṅ kheṅ ṇāṃ kiṭi kiṭi ghagheṅ ghe kaṭuka ghudu kaṃla volākho kho kho kho vāghnu tetāṃ māliṃ ṅammāṃ kiṭi vatthi. One should take to Sannipāta of the Aḍḍitā Mārga, when the Cārī accompanying the recitation of the Jarjara-śloka[56], is performed during the ceremonies of the Raṅgadvāra[57]. And in the Mahācārī[58] [connected with this] there should be playing of drums in the Vitasta Mārga, and the Graha therein should be by the forefinger. Similarly during the Preliminaries an extraordinary playing of drums suited to Tāṇḍava (Class dance) has been recommended, and it should have Sannipāta Graha and should be played by the left hand [with the following syllables]: hho kho ṇāṃ do do dokaḥ, mokaḥ, daheṇa ṇātha tho ṇo gho gha ṭamaṭa thighaṃ gho gho kaṭha kaṭa jhaṃ kho khokhita kaṭa kaṭāṃ ghaṭa kamatthi gho gho milhi ṅāṃ kiṭi kināṃ khakavalaṃ. Next an example of playing of the Ālipta Mārga should be given. The playing in the Vitasta Mārga should have its Graha with the forefinger: It is as follows: ṇaṇa kho ka ṇaṇo madhuṇāṃ kho kho mathi takitām tavitāṃ kinti kitāṃ kiṭi kinto kho kho matitā matthi tramati tikiti kentāṃ drentām nata kentāṃ taghitāndrām kṛntāṃ drāṃ drāntām kinnām kinnāṃ kentāṃ mudrām ghreṅ ghreṅ kleṅ ghraṃ ghraṃ drāgrāṃ ghadre drāṃ ghendrāṃ ghendrām ghaṅe kleṅ. From the time of tossing the curtain, there should be the playing of drums, during the Caturasra Preliminaries, for the success of the performance. In the Tryasra Preliminaries there should be the same playing without any interval of time.[59] I shall also give directions about the playing of drums suitable at the time of walking and other movements of the four Heroes[60] Dhīrodātta, Dhīroddhata, Dhīralalita and Dhīrapraśānta, in different plays like Nāṭaka. During the movements of gods, the playing should include braṃ, dhraṃ dhraṃ dhrādraṃ. During that of kings it should have ghemtāṃ, and in case of middling men the playing should include dhraṃ klaṃ dhaṭu gheṅ gheṭ ṭithi duna, kiṭi drāṃ nāṃ nāṃ dhradrāṃ. Now I shall speak about the playing of drums in the Sthitā [Dhruvā]. 228. At that time, steps [of dance] should conform to rhythm consisting of three Kalās, two Kalās or of one Kalā. And the song should conform to drums. Now I shall speak of the playing of drums in different conditions [of characters in a play]. In their quick walking, the playing should include vaṃ vaṃ ghe ghe ṭāṃ, and it should be performed by the unequal strokes by fingers. These have been written properly while discussing the movement of fingers. Again I shall describe the rules regarding the playing of drums. 229. In walking and other movements the experts should provide for playing of drums with Tālas[61] of three or four Kalās, after considering the tempo and manner of walking [of characters concerned]. 230. In the playing of drums there should be no pause of one Kalā or of two Kalās between the Dhruvās. Hence the movements should be in unision with the playing of drums and not with the songs. 231. In quick walking, the Pāta [of Tāla] should be as described in case of walking and other movements. Strokes like dhraṅ dhraṅ gheṅ gheṅ should mostly be made in this playing. 232. In case of movements of boats, chariots and aerial cars, birds, moving heavenly bodies, the playing of drums should be by running the fingers [on the face of drums] or by striking in the Catuṣka by the two hands alternatively. In case of sorrow, suffering illness, curse, death of dear ones, loss of wealth, killing, imprisonment, vow, austerity and fasting etc, the playing drums in Utthāpana should be according to the Ālipta Mārga mentioned before. In case of walking of Daityas, Dānavas, Yakṣas, Rākṣasas and Grahas the playing of drums should include Karaṇas such as dṛṅ dhṛṅ khada together with gha ṭn tn tanta tetodrāṃ. In case of dancing movements the playing of drums should include ghetāṃ kaṭakāṃ. In case of walking of Yatis, Munis, Pāśupatas and Śākyas the playing of drums should include do kho dvitvikhi duguvoo klanado dhanti kītiki. And in the walking of old Śrotriyas. Kañcukīns and corpulent persons, the playing should include dhrām dhroṃ dhrāṃ droṅ dhiṅ droṇām kho kho ṇā. In case of movements of elephants, horses, asses, camels chariots and aerial cars, the playing should include vamkiṭi, In case of superior, middling and inferior men, the playing of drums should be performed after a consideration of Sentiments and States in this world. So much about the playing of drums in case of males. I shall now describe that in case of females. The playing in case of superior females who are goddesses, will include mostly vamgati kipi dhmeṭa prathi ghe. And in case of queens it should include mostly kathi kathi mathi do do khu khu. In case of Brahmin women it should have cam hitti, kitthi ghaṭa maṭa thi ghe. In case of middling women who are courtezans, female artisans and actresses, the playing should include gha khu khu ghikiṭa matthi kina toṇām gho. For inferior women the playing should include marathi kule keḍu khukhi khi mostly. So much in brief about the playing in case of females. In their special conditions, playing in similar conditions of males, should be performed. And from these the general Vibhāvas like fear, suffering, sorrow, anger etc. arise. Here also, there should be playing of drums in proper Mārgas which relate to Sentiments and States. 233. Moreover a person who plays drums after observing proper Jāti, Mārga and Prakāra in suitable Karaṇas and syllables, is the best player. Now the interval-playings are Anuvaddha, Viprahārika Siddhi-grahaṇa and Paricchinna. Ex. of the Anuvaddha playing is kho khe ne khe ghe. Prahārita (=Viprahārita) at the conclusion or playing is dhrāṃ draṃ kho kho. Siddhi [grahaṇa] also. 234. Siddhi [grahaṇa] should be played at the acquisition of wealth, forgetfulness, fatigue and at the tightening of clothes and ornaments. This is Siddhi should take to proper Mārgas, and include Citra Karaṇas and consist of five or six Kalās. It should also be played— 235. At the stopping of recitatives, at the pause coming in the wake of doing anything, at the falling of clothes or ornaments or in controlling the crown or the headgear. The playing after the beginning of the Dhruvā, should be clear and should relate to all the drums and should include dhuṃ dhuṃ dhuṃ lka in the Vitasta Mārga. In case of superior females there should be a playing in the Aḍḍitā Mārga, which is to include ṇa ṇām kho khe naṇṇām. In case of inferior females there should be playing suited to Khañja Natkuṭa Dhruvā, and should include saṃ ke te kiṭi viṇṇāṃ. In other conditions these should be reduced by a half. Now about the playing of drums in the Prāsādikī and Prāveśikī, Ākṣepikī and Āvakṛṣta [Dhruvās]. The playing in the Prāsādikī [Dhruvā] should be with Sama Pāṇi and is to be divided into Karaṇas. While this is in a quick tempo the playing should be with the Upari Pāṇi in the Citra Karaṇa. And in the Sthita (slow) tempo * * * *. In the Avakṛsṭā Dhruvā in the Aḍḍitā Mārga there should be Ardha-sannipāta. 236. Thus there should be playing of drums in walking and other movements at the time of Prāsādikī and Antarā Dhruvās. 237. As a change, one song without any playing of drums should be sung, and at the end of the Sannipāta, the drums should be taken up for playing. In the quick and slow tempos there should be strokes ta ṣa ṣa. In the Aḍḍitā Dhruvā ṇa de de de de de kho kho kha and in the Khañja and Natkuṭa Dhruvās ṇa ṇaṇṇāvu vu ṇā ṇā kho ṇā ṇṇā de de de de kho kho kho kha. Now the Udghātya [playing]. 238. The playing which is performed at the time of excess of hurry or joy or surprise, excitement or sorrow or at the time of receiving a gift, is called Udghātya. Now I shall speak of the closure (lit. release) [of playing]. It is of two kinds: Saṃhanana and Saṃsaraṇa. Now closure at the Uddhata[62] and 'the quick Anubandha[63] should include ghettāṃ kikiṭi datta kettikiṃ godo ghaghe do gha ṭe gho gheyado. Now the closure of the Khañja-Natkuṭa; it should include dhaṃ drāṃ dhaṃ drām takitām takitām gududhe. The closure of the same in the slow tempo should include dhe dham dhe?a maṭadhe ghe chimaṭam kaṇṭachi maṭachi harmāka dīdhiṭi The closure of the Aḍḍitā Dhruvā is kinta kintām. The closure of the same in the slow tempo should include ghatatām In the Avakṛṣṭā it should be vavotā. 239. These are the beginning and the closure of Dhruvās of Niṣkrāma (exit), Praveśa (entrance), Ākṣepikī and Antarā classes. The player of drums should strive in this way with a knowledge of the Tāla, time and the notes. On this there are the following couplets: Faults of a Drummer 240. The wise say that a player of drums, who does not know about the Tāla, [proper] occasion and the Śāstra about it, is merely ‘a striker of hides’ (carma-ghātaka). 241. The producer should apply the playing of drums according to these rules. Next I shall speak about the characteristics of drums. Characteristics of Drums 242. Three are the shapes of Mṛdaṅgas. In shape they are like myrobalan, barley and cow’s tail. 243. The Aṅkī or Āṅkika is like a myrobalan. and the Ūrdhvaka is like a barley, and the Āliṅgya resembles a cow’s tail. 244. The Mṛdaṅga and the Āṅkike should be three Tālas[64] and a half long, and their face should be twelve fingers [in diametre]. 245. And the Ūrdhvaka should be four Tālas long and its face should be fourteen fingers [in diametre], 246. The Āliṅgya should be made three Tālas long and its face eight fingers [in diametre]. 247. The Paṇava should be made sixteen fingers long and its middle should be thin, and faces should be eight and five fingers [in diametre]. 248. Its lips (i.e. rims) should be made half of a finger [in thickness], and its middle should be hollow and four fingers [in diametre]. 249-250. The Dardara should be like a bell sixteen fingers [in diametre]. Its face should be that of Ghaṭa and should be twelve fingers [in diametre], and have a fat lip on all sides. Characteristics of the best Hides 250-251. Next I shall speak of the best characteristics of hides. These should not be old, torn, pecked by crows, covered with the least fat, soiled by smoke or fire. 252-253. Cow’s hide which is free from these six blemishes, and the face of which is like blossoms in colour, or is white like snow or Kunda flowers, and glossy and free from flesh and is fresh, is good. 253-254. After procuring such hides with hairs on them, an intelligent person should soak them in water for a night and then take them out. On the making of Drums 254-255. Then one should bind and fix to drums the small round cuttings (candraka) of this, after rubbing these well with cleansed cow-dungs. 255-256. In these round cuttings [fixed to drums] one should make Puspāvarta of three layers (trivarti), and a Parikara named Kakṣā, and a Svastika in its neck (grīvā).[65] One should make three hundred akṣaras by drums. 257. (This couplet is corrupt and untranslatable). Applying Rohana to Drums 258-259. This rule is applicable to all the Āṅkikas, But one should not apply to Mṛdaṅgas, a Rohaṇa consisting of sesamum paste mixed with cow’s ghee and oil. Ceremony of Installing Drums 259-260. After binding the Āṅkika, Āliṅgya and Ūrdhvaka [with strings] in this manner, these should be placed on the ground after worshipping the gods. 260-263. Under the asterism of Citrā or Hastā during an auspicious day of the Śuklapakṣa, a well-born master of [dramatic arts] who is free from passions, is an expert in playing solid instruments, and who knows the theory of songs, has a sweet temper, has his sense-organs under control, has fasted and cut his hairs short, and has worn white clothes, and has taken strong vow, should make three Maṇḍalas[66] with cow-dung free from bad smell, and assign these three to Brahman, Śaṅkara (Śiva) and Viṣṇu. 263-264. First of all he should place the Āliṅgya in the Maṇḍala of Brahman, and the Ūrdhvaka should be placed in the second Maṇḍala named after Rudra. And the Utsaṅgika (Āṅkika) should be put across the Maṇḍala of Viṣṇu. 265. To the Āliṅgya he should make an offering consisting of honey mixed with Pāyasa accompanied by various kinds of flower. 266-267. To the Āṅkika an offering of Apūpa and Locikā should be given. And next should be made all the offerings, to the Ūrdhvaka in a Svastika together with Locikā, Apūpa, Piṇḍa and Keṇḍarika (?). 267-268. This offering should be decorated with Dhustura, Karavīra and other flowers, and the offering should also be carefully made of blood together with red cloch. 268-269. To the Āṅkika which is on the Vaiṣṇava Maṇḍala surrounded by all the Bīja[mantra], one should place an offering together with garlands, clothes and unguents of yellow colour, and Pāyasa and Cam of various kinds. 269-270. After making the Brahmins utter Svasti on paying them Dakṣiṇa previously, and after worshipping the Gandharvas [one should play drums]. 270-271. Then the Paṇava should be bound on all sides with well-prepared strings. And then the Puṣkarikās should be covered with hide. In this way Mṛdaṅgas, Paṇavas and Dardura are to be made. 272-274. I shall [now] speak of the gods of these [instruments]. Vajrekṣaṇa, Śaṅkukarṇa and Mahāgrāmaṇī are said to be gods of Murajas (drums). Mṛdaṅgas are so called because of being made of mṛt (earth), and they are called Bhāṇḍas because they bhramayati (move about) Murajas are so called because they are placed in an upright position (ūrdhvakaraṇa), and they are called Ātodya because of relating to todanā (striking). 274-275. Rules of Bhāṇḍas have been given. Now the rules of Paṇava are being described. ‘Dāru’ is so called because of dārayati (one splits it up). And from the same Dardara originates. 275-276. After seeing that the Mṛdaṅgas, Paṇavas and Dardaras have been made, the great sage [Svāti] brought about a similarity of their notes with those of clouds. 276-279. The high sounding cloud named Vidyujjihva gave note to Vāma[ka], the great cloud named Airāvaṇa to Ūrdhvaka, the rain-cloud named Taḍit to Āliṅgya, the Puṣkara cloud to the Dakṣiṇa, and Kokila to the Vāma[ka] and (the cloud named) Nandi to the drum named Āliṅgya and the cloud name Siddhi to Āṅkika and Piṅgala to Āliṅgya. 279-280. Those who want Success [of performances] should make to these clouds, offerings which are dear to spirits (bhūta). After worshipping these gods, one should produce a dramatic spectacle (prekṣā) in the stage. The Mṛdaṅga should be placed in a heap of dried cowdung. 281-282. One[67] should then perform the regular Śānti rites with the Ātodyas and Paṇavas brought out by the dancer. 282-283. In the performance of the ten kinds of play (daśarūpa) four Paṇavas should be used, and a similar number of Ātodyas are also to be played in different situations [in those plays], 283-284. The Mṛdaṅga, Paṇava and Dardara are to be played in the Nāṭaka, Prakaraṇa, Vīthī, Bhāṇa and Ḍima. These are the characteristics of Mṛdaṅgas that should be known by wise [producers]. Characteristics of Upahastas 285-286. I shall now speak of characteristics of Upahastas. These are five viz. Kartarī, Samahasta, Hastapāṇi, Vartanā and Daṇḍahasta. 286-287. The movement of the forefinger and the thumb of the two hands by letting them fall one after another is called Kartarī. 287-288. The serial falling in the same Tāla of the two halves of the two palms [on the face of the drum] is called Samahasta. 288-289. The clear falling of the back [of the palm] and the fingers of the left hand, and the falling once of the right [palm], is called Pāṇitraya. 289-290. The four [strokes] when the right hand falls first and the left hand afterwards, are called Vartanā, because they occur by turns. 290-291. When one taking with strikes by the right hand after beginning the stroke with the left hand, the serial strokes are called Daṇḍahasta. 291-292. The four qualities of all these hands are elegance, switftness, variety and firmness. These are what I had to say about the characteristics of hands. Characteristics of Good Drummers 263-294. I shall next speak of the characteristics of a [good] player of drums. He who is an expert in songs, playing of instruments, Kalā, tempo, and who knows how to begin a song, to bring it to a finish, and has a mimble hand [in playing] and knows about the various Pāṇis, and [general] rules of the Success, and is an expert in singing Dhruvās, and who practises Kalās, and has a pleasing hand [in playing instruments], power of concentration, and who can produce pleasing Mārjanā and is strong [in body], and regular in his physical and intellectual habits, and is an accomplished [artist], is called the best player [of drums]. Qualities of a good player of the Mṛdaṅga 295-296. One who knows how to give proper plastering to drums and has undergone laborious training in the four Mārgās, has earned success of all kinds, has no defect of limbs, has practised all the Karaṇas well, and knows songs in the Sama (?) and knows many kinds of Grahas and knows how to perform good music, is called a good player of the Mṛdaṅga, because of his various qualities [mentioned above]. Qualities of a good player of the Paṇava 297. He who is unerring, expert in the use of hands and in observing time and in covering faults of performance, and well-practised in playing Karaṇas, is an expert player of Paṇava due to the qualities [mentioned]. 298. The player of the Dardara, who is firm, clever [in his art], swift, nimble, knows all the rules of playing and knows to play other instruments as well, is praised [by all]. General Rules of Drumming 299. After observing the performance of all kinds of plays, the playing of drums has been described after considering the taste of all men. That which has not been mentioned should be devised by good [producers] after considering the Mārga and the Jāti [of songs]. Qualities of the Mṛdaṅga 300. The playings of Mṛdaṅgas in which strokes are distinct, clear, well-divided, loud though controlled, and adheres to the palm, and includes the three Mārjanās, and is full of combination, of pleasing notes, is mentioned for its quality. Indispensability of Drums in a Performance 301. One should first of all bestow care on the playing [of drums]. For this playing has been called the basis (lit. bed) of the dramatic performance. This playing and the songs being well-performed the production of plays do not run any risk. Here ends the Chapter XXXIII of Bharata’s Nāṭyaśāstra, which treats of Covered Instruments. Footnotes and references: [back to top] [1]: A kind of earthen drum still in use in Bengal among the singers of Vaiṣṇava kīrtana. [2]: A drum or tabor made probably of wood. See the note 6 on XXVIII. 4-5. [3]: This is also called ‘Dardara’. Possibly this is the right form of the name. One side of its wooden frame is covered with hide; it looks like a large gong. See also note 6 on XXVIII 4-5. [4]: See above XXXII. 525. It does not mention Svāti. [5]: The story given here about the invention of drums may not be quite fanciful. [6]: Puṣkara seems to be a general name for drums made of wood. [7]: A large kettle-drum made probably of earth. [8]: This seems to be a kind of Pākhoāj. [9]: It seems to be a drum held against the breast of the player who embraced it as it were. Hence came this name (āliṅgya =an instrument to be embraced). See 242ff. below. [10]: See 242ff. below. [11]: See 242ff. below. [12]: This seems to be very small drum without any complexity. Cf. SR. 1135-1137. [13]: It seems to be different from the one mentioned by SR. VI 802-808. See also 27 below. [14]: See the note 3 on XXVIII. 4-5, and the note 2 on XXIX. 220. [15]: See the note 1 on XXIX. 120. [16]: For their functions see 25-26 below. [17]: This seems to be an one-stringed (ekatantrī) instrument made with a tortoise (kacchapa) shell. [18]: This seems to be a kind of Tánpurā used merely as a drone. [19]: For their functions see 27 below. [20]: See SR. VI. 10-21. [21]: See the note above. [22]: The three Puṣkaras of the NŚ. are Mṛdaṅga, Paṇava and Dardura (Dardara); see 1-2, 10 and 16 above. But according to SR. VI. 1024-1025 they are Mṛdaṅga, Mardala and Muraja. But Mardala is unknown to NŚ. [23]: SR. names no less than twenty-three varieties. See Ch. VI. [24]: Bāhviraṇair. The reading here is probably corrupt. [25]: This word is probably to be derived from vācaskaraṇa and is similar in meaning to bol used by modern drummers of Northern India. [26]: See 44ff below. [27]: The text gives ḍh for ṇ and y for m. See SR. VI. 819. [28]: See 111.116 and 258-259 below. [29]: See 92-93 below. [30]: See 94ff below. [31]: Ibid. [32]: See 118-120 below. [33]: See 47ff. below. [34]: See 117 below. [35]: See 93 below. [36]: See 83 below. [37]: See 42 below. [38]: See 102ff. below. [39]: See 130ff. below. [40]: See 198ff. below. [41]: Later writers like Śārṅgadeva include most of the technical terms into the hastapāṭas. See SR. VI 819ff. [42]: This is possibly our “vāyāṃ”. [43]: This is possibly our “ḍāhinā”. [44]: The reconstruction this bol and the following ones is tentative These have suffered most in the transmission of the text. [45]: Kālidāsa gives a description of this in Mālavi I. 24. [46]: Wheat flour is still used for the Mārjanā of drums like Pākhoāj. [47]: Gata was also known as Prakṛti. See C. 107. [48]: It was also called Ghana. See 40 above. [49]: See 92 above. [50]: This term does not appear elsewhere. [51]: This passage is not quite clear. [52]: See above 44ff. [53]: description of Brahman possessing himself all the separate functions of the Hindu Trinity, is probably to be met with in no other work. [54]: See V. 99-100. [55]: See V. 101-104. [56]: See V. 118-119. [57]: See V. 116-118. [58]: See V. 127ff. [59]: See above V. I48ff. [60]: See XXXIV 18-20. [61]: See above XXXI, on Tālas. [62]: This has not been explained before. [63]: Ibid. [64]: For the measurement of Tāla see the note on III. 21. [65]: The terms used here are not clear. [66]: Maṇḍala =circular space. [67]: The preceding verse is corrupt. 16 July, 2017 --> Last Updated: 28 December, 2018 $(function(){ if($(document).height() > $(window).height()){ $('.book.chapter').append('^ back to top ^') $('section.back > a').click(function(){ $(window).scrollTop(0); }); } }); /** * Derivation list */ /*$('a.deriv-link').click(function(){ $(this).closest('.words-group').find('.deriv-list').toggleClass('d-none'); });*/ ====================================================================== Chapter XXXIV - Types of Characters ====================================================================== --> Natyashastra (English) by Bharata-muni | 1951 | 240,273 words | ISBN-13: 9789385005831 Hinduism Natyashastra Buy now! The English translation of the Natyashastra, a Sanskrit work on drama, performing arts, theater, dance, music and various other topics. The word natyashastra also refers to a global category of literature encompassing this ancient Indian tradition of dramatic performance. The authorship of this work dates back to as far as at least the 1st millenn... Go directly to: Footnotes. Chapter XXXIV - Types of Characters (prakṛti) < Previous (index) Next > 1. I shall next speak of the salient features of characters, and of all the four kinds of Heroes in their essential aspect. Three Types of Character in a Play 2-3. Characters male and female [in a play], are in general of three types: superior, middling and inferior. A Superior Male Character 3-4. [A man] who has controlled his senses, is wise, skilled[1] in various arts and crafts (śilpa), honest, expert in enjoyment,[2] brings consolation to the poor, is versed in different Śāstras, grave, liberal, patient and munificent, is to be known as a ‘superior’ (uttama) [male][3] character. A Middling Male Character 4-5. [A man] who is an expert in the manners of people, proficient[4] in arts and crafts as well as in Śāstras, has wisdom, sweetness [of manners], is to be known as a ‘middling’ (madhyama) [male] character. Inferior Male Characters 6-9. [Men] who are harsh in words, ill-mannered, low-spirited, criminally disposed,[5] irascible and violent, can kill friends, can kill anyone by torturing,[6] are prone to engage himself in useless things, speak very little, are mean, haughty in words, ungrateful, indolent, expert in insulting honoured persons, covetous of women, fond of quarrel, treacherous, doers of evil deeds, stealers of others’ properties, are to be known as ‘inferior’ (adhama) [male] characters. These are the three classes of male character according to their nature. A Superior Female Character 10-12. I shall now speak in due order, of female characters. A woman who has a tender nature, is not fickle, speaks smilingly, is free from cruelty, attentive to words of her superiors, bashful, good-mannered, has natural beauty, nobility and such other qualities, and is grave and patient, is to be known as a ‘superior’ [female] character. A Middling Female Character 12-13. A woman who does not possess these qualities to a great extent and always, and has some faults mixed with them, is to be known as a ‘middling’ [female] character. An Inferior Female Character 13-14. An ‘inferior’ female character is to be known in brief from an inferior male character. A Character of Mixed Nature 14-16. Maid servants and the like are characters of mixed nature. A hermaphrodite is also a mixed character, but of the inferior kind. O the best of Brahmins, the Śakāra[7] and the Viṭa[8] and others [like them] in a drama, are also to be known as characters of mixed nature. So much about the characters which may be male, female or hermaphrodite. Four Classes of Hero 17-18. I shall now describe their classes according to their conduct. Among these, Heroes (nāyaka) are known to be of four classes, and they belong to the superior and the middling types and have various characteristics. 18-19. The Hero is described as being of four kinds: the self-controlled and vehement (dhīroddhata), the self-controlled and light-hearted (dhīralalita), the self-controlled and exalted (dhīrodātta) and self-controlled and calm (dhīrapraśānta). 19-21. Gods are self-controlled and vehement, kings are self-controlled and light-hearted, ministers are self-controlled and exalted, and Brahmins and merchants are self-controlled and calm Heroes. The Four Classes of Jesters 21-22. To these again belong the four classes of Jesters. They are Sannyāsins, Brahmins, other twice-born castes and disciples, in cases respectively of gods, kings, ministers (amātya) and Brahmins.[9] These should be friends during [the Heroe’s] separation [from the beloved one], and experts in conversation. The Hero 23. In case of many male characters in a play, one who being in misfortune or distress, ultimately attains elevation, is called the Hero. 24. And when there are more than one of such description, one whose misfortune and elevation are prominent, should be called the Hero. Four Classes of Heroine 25-27. These [four] are always Heroes in dramatic works (lit. poetical compositions). I shall now speak of Heroines who [also] are of four classes: a goddess, a queen, a woman of high family, and a courtezan. These according to their characteristics, are of various kinds, such as self-controlled (dhīrā), light-hearted (lalitā), exalted (udāttā) and modest (nibhṛtā). 27-28. Goddesses and king’s women possess all these qualities. Women of high family, are exalted and modest, while a courtezan and a crafts-woman may be exalted and light-hearted. Two Classes of Employment for Characters 29-30. The characters [in a play] have two kinds of of employment: external (bāhya) and internal (ābhayantara). I shall now speak of their characteristics. [The character] which has dealings with the king, is an internal employee, and one who has dealings with the [people] outside, is an external employee. Female Inmates of the Harem 31-34. I shall now describe the classes and functions of women[10] who have dealings with the king. They are the chief queen (mahādevī), other queens (devī), other highborn wives (svāminī), ordinary wives (sthāyinī),[11] concubines (bhoginī), crafts-women (śilpakāriṇī), actresses (nāṭakīyā),[12] dancers (nartakī), maids in constant attendance (anucārikā), maids of special work (paricārikā), maids in constant movement (sañcārikā), maids for running errands (preṣaṇa-cārikā), Mahattarīs (matrons), Pratihārīs (ushers) and maidens (kumārī) and Sthavirās (old dames) and Āyuktikās (female overseers). The Chief Queen 35-37. The chief queen is one who has been consecrated on her head, is of high birth and character, possessed of accomplishments; advanced in age, indifferent [to her rivals]1, free from anger and malice, and who [fully] understands the king’s character, shares equally his joys and sorrows, is always engaged in propitiatory rites for the good of the [royal] husband, and is calm, affectionate, patient, and benevolent to the inmates of the harem Other Queens 38-39. Those [wives of the king] who have all these qualities except that they are denied proper consecration, and who are proud and of royal descent, are eager for enjoying affection, are pure and always brilliantly dressed, jealous of their rivals,[13] and maddened on account of their young age and [many other] qualities, are called queens (devī). Other Highborn Wives 40-41. Daughters of generals, or ministers or of other employees when they (i.e. their daughters) are elevated by the king through bestowal of affection and honour, and become his favourite due to good manners and physical charm, and attain importance through their own merits, are known as highborn wives (svāminī). Ordinary Wives 42-43. Ordinary wives of a king are those who have physical charm and young age, is violent [in sexual acts], full of amorous gestures and movements, expert in the enjoyment of love, jealous of rivals, [always] alert and ready [to act], free from indolence and cruelty, and capable of showing honours to person according to their status. Concubines 44-45. Concubines of the king are women who are honest (dakṣā) and clear [in their dealings], exalted, always brilliant with their scents and garlands, and who follow the wishes of the king and are always devoid of jealousy, are well-behaved, demand no honour, are gentle [in manners] and not very vain, and are sober, humble, and forbearing. Crafts-women 46-47. Those women who are conversant with various arts and skilled in different crafts, know different branches of the art of perfume-making, are skilled in different modes of painting, know all about the comfort of beds, seats and vehicles, and are sweet, clever, honest (dakṣā), agreeable (citrā), clear [in their dealings], gentle, and humble, are to be known as crafts-women (śilpa-kārikā). Actresses 48-51. Women who have physical beauty, good qualities, generosity, feminine charm, patience, and good manners, and who possess soft, sweet and charming voice, and varying notes in her throat, and who are experts in the representation of Passion (helā), and Feeling (bhāva), know well of representation of the Temperament (sattva), have sweetness of manners, are skilled in playing musical instruments, have a knowledge of notes, Tāla and Yati, and are associated with the master [of the] dramatic art, clever, skilled in acting, capable of using reasoning positive and negative (ūhāpoha), and have youthful age with beauty, are known as actresses (nāṭakīyā).[14] Dancers 51-54. Women who have [beautiful] limbs, are conversant with the sixty-four arts and crafts (kalā), are clever, courteous in behaviour, free from female diseases, always bold, free from indolence, inured to hard work, capable of practising various arts and crafts, skilled in dancing and songs, who excel by their beauty, youthfulness, brilliance and other qualities all other women standing by, are known as female dancers (nartakī). Maids in Constant Attendance 54-55. Women who do not under any condition leave the king, are maids in constant attendance (anucārikā). Maids of Special Work 55-57. Those women who are employed for looking after the umbrella, bed, and seat as well as for fanning and massaging him, and applying scent to his body and [assisting him] in his toilet, and his wearing of ornaments, and garlands, are known as maids of special work (paricārikā).[15] Maids in Constant Move 57-59. Those women who [always] roam about in different parts [of the palace], gardens, temples, pleasure pavillions, and strike the bell indicating the Yāmas,[16] and those who having these characteristics are precluded by the playwrights from [sexual] enjoyment,[17] are called maids in constant move (saṃcārikā). Errand Girls 59-60. Women who are employed by the king in secret missions connected with his love-affairs, and are often to be sent [in some such work], are to be known as errand-girls (preṣaṇa-cārikā). Mahattarīs 60-61. Women who, for the protection of the entire harem and for [the king’s] prosperity, take pleasure in singing hymns [to gods], and in performing auspicious ceremonies, are known as Mahattarīs (matrons). Pratīhārīs 61-62. Women who lay before the king any business related to various affairs [of the state] such as treaty, war and the like, are called Pratihārīs (usher). Maidens 62-63. Girls who have no experience of love’s enjoyment (rati-saṃbhoga), and are quiet, devoid of rashness, modest, and bashful, are said to be maidens (kumārī).[18] Old Dames 63-64. Women who know the manners of departed kings, and have been honoured by them, and who know the character of all [the members of the harem] are said to be old dames (vṛddhā). Āyuktikās 64-66. Women who are in charge of stores, weapons,[19] and fruits, roots and grains, who examine the food [cooked for the king], and are in charge of [lit. thinkers of] scents, ornaments and garlands and clothes [he is to use], and who are employed for various [other] purposes, are called Āyuktīkās (female overseer).[20] These in brief are the different classes women of the [royal] harem. Other Women Employees in the Harem 67. I shall now speak of the characteristics of the remaining characters who are employed in some duty or special work [in the harem]. 68-70. Those who are not rash, restless, covetous and cruel in mind, and are quiet, forgiving, satisfied, and have controlled anger and have conquered the senses, have no passion, are modest and free from female diseases, attached and devoted [to the king] and have come from different parts of the state, and have no womanly infatuation, should be employed in the palace of a king. Other Inmates of the Harem 70-73. The hermaphrodite who is a character of the third class, should be employed in a royal household for moving about in the harem. And Snātakas,[21] Kañcukīyas,[22] Varṣadharas,[23] Aupasthāyika-nirmuṇḍas,[24] are to be placed in different parts of the harem. Persons who are eunuchs or are devoid of sexual function, should always be made the inmates of the harem in a Nāṭaka. The Snātaka 73-74. A Snātaka[25] with polished manners, should be made the warden of the gate (dvāstha).[26] Old Brāhmins who are clever and free from sexual of passion, should always be employed by the king for various needs of queens. The Kañcukīyas etc. 75-78. Those who have learning, truthfulness, are free from sexual passion, and have deep knowledge and wisdom, are known as Kañcukīyas.[27] The king should employ them in business connected with polity. And the Varṣadharas should be employed in errands relating to love-affairs. And the Aupasthāyika-nirmuṇḍas are to be employed in escorting women, and in guarding maidens and girls. In bestowing honour to women the king should employ the maids in constant attendance. The Nāṭakīyā 78-79. Women in the royal harem who attend all the movements of the king, should be employed, when they are proficient in performing all classes of dance, in the [royal] theatre under the authority of the harem.[28] The Varṣadharas 79-80. Persons of poor vitality, who are clever and are hermaphrodites and have feminine nature, but have not been defective from birth, are called Varṣadharas.[29] The Nirmuṇḍas 80-81. Persons who are hermaphrodites, but have no of womanly nature and have no sexual knowledge, are called Nirmuṇḍas.[30] These are the eighteen kinds of inmates of the [royal] harem described by me. External Persons 82-83. I shall next speak of persons who move about in public. They are: the king, the leader of the army (senāpati), the chaplain (purodhas), ministers (mantrin),[31] secretaries (saciva).[32] judges (prāḍvivāka), wardens of princes (kumārādhikṛta)[33] and many other members of the king’s court (sabhāstāra). I shall speak of their classes and characteristics. Please listen about them. The King 84-88. The king should be intelligent, truthful, master of his senses, clever, and of good character, and he should possess a good memory; and be powerful, high-minded and pure, and he should be far-sighted, greatly energetic, grateful, skilled in using sweet words; he should take a vow of protecting people and be an expert in the methods of [different] work, alert, without carelessness, and be should associate with old people, and be well-versed in the Arthasāstra and the practice of various policies, a promoter of various arts and crafts, and an expert in the science of polity, and should have a liking for this, [Besides these] he should know his actual position, prosperity and its decline, and the weak points of his enemies, and [principles of] Dharma, and be free from evil habits. The Leader of the Army 89-90. One who possesses a good character and truthfulness, and is always active (lit. has given up idleness), sweet-tongued, knows the rules regarding weakness of the enemy, and proper time for marching against him, has a knowledge of the Arthaśāstra and of everything about wealth, is devoted [to the king], honoured in his own clan, and has a knowledge about time and place, should be made a leader of the army, for these qualities of him. The Chaplains and Ministers 91. Those who are high-born, intelligent, well-versed in Śruti and polity, fellow-countrymen [of the king], devoted [to him], free from guile (lit. pure) and followers of Dharma, should be chaplains and ministers, for these qualities of them.[34] Secretaries 92-93. Those who are intelligent, versed in polity, powerful, sweet-tongued, conversant with the Arthasāstra, and attached to the subjects and are followers of Dharma, should be always appointed by kings as secretaires (amātya).[35] Judges 93-95. Those who know well about litigation, and the true nature of pecuniary transactions, are intelligent, and well-versed in many departments of knowledge, impartial, followers of Dharma, wise, able to discriminate between good and bad deeds, and are forbearing and self-controlled, and can control anger, are not haughty and have similar respect for all, should ba placed in seats of justice as judges (prāḍvivāka).[36] Wardens of Princes 95-97. Those who are alert, careful, always active (lit. free from indolence), inured to hard work, affectionate, forbearing, disciplined, impartial, skillful, well-versed in polity and in discipline, and who are masters of reasoning positive and negative, have knowledge of all the Śāstras and are not vitiated by passion and such other things, and who are hereditary servants of the king, and are attached to him, should be made wardens of princes,[37] because of their possessing these various qualities. Courtiers 98. Members of the court (sabhāstāra)[38] should be appointed by practical people according to the views of Brhaspati[39] after taking note of the [various] qualities of these (i.e., ministers etc.). 99. These are the characteristics of various characters, [in a play], that I was to say. I shall next speak of the characteristics of [persons suited to] various roles. Here ends Chapter XXXIV of Bharata’s Nāṭyaśāstra, which treats of the Types of Different Characters. Footnotes and references: [back to top] [1]: See note 1 on 4-5 below. [2]: The text here is corrupt, The reading bhogadakṣā is suggested on the assumption that a superior male character controlling his senses should not invariably be an ascetic, and he should be disposed to enjoy life legitimately. [3]: As female characters have been treated of below, this and the two following passages relate to male characters. [4]: If should be noticed that a superior male character should be skilled in various arts and crafts, while a middling male character should be proficient in these. The purpose of this distinction seems to be significant. A superior character should have knowledge of arts and crafts as an accomplishment, while the middling character should be capable of making a professional use of these for earning a livelihood. Saṃvāhaka (Mṛcch. II) who is a middling character, seems to support this view. About his practising massage, he says: Madam, I learnt it as an art. It has now become my profession (ajjae kaleti sikkhidā, ājīviā dāṇim saṃvuttā). [5]: Śalyabuddhika. [6]: Citraghātaka. [7]: See XXXV. 78 [8]: See XXXV. 77. [9]: The text here has been emended with the help of the ND. (168b). See also BhP. (pp. 281-282). [10]: This gives us a very good glimpse of the royal harem in ancient India. [11]: This passage shows that a king in ancient India, had a large number of wives. According to a Ceylon tradition, the king Bindusāra had sixteen wives. In Svapna. (VI. 9) Udayana refers to his mother-in-law Mahāsena’s chief queen as ṣoḍaśāntaḥpurajyeṣṭhā (being at the head of the sixteen wives). [12]: Cf. Pali nāṭakitthī. [13]: Bhāsa seems to disregard this rule. For Padmāvatī has no jealousy against Vāsavadattā (see Svapna.). [14]: Perhaps for the personal safety of the king, male actors were not admitted in the theatre attached to the royal harem. The Bṛhatkathā-śloka-samgraha (II. 32, ed. Lacôte) testifies to the antiquity of this practice. In the palaces of the king of Cambodia and of some Sultans of Indonesia too, women only are engaged to produce plays. See Santidev Ghosh, Jāvā-O-Bālir Nṛtya-gīt (Bengali) Calcutta, 1952 p. 11. [15]: In Vikram. (V. 3. 1.) a Yavanī brings the king his bow. She was indeed a paricārikā. But her Yavana origin is not mentioned in the NŚ. [16]: Yāma =one eighth part of the day, three hours. [17]: That is, they should not be personally implicated in love-affairs. [18]: Ex. Vasulakṣmī (Vasulacchī) in the Mālavi. [19]: See above note 1 on 55-57. Kālidāsa seems to ignore this functionary of the harem. [20]: Cf. Yuta (= Yukta) in Asoka’s Girnar Rock III. Āyuktikā may be his female counterpart in the royal harem. [21]: See below note 1 on 73-74. [22]: See below note 1 on 75-78. [23]: See below note 1 on 78-80. [24]: See below note 1 on 80-81. [25]: From later dramas the Snātaka disappears altogether. Was Puṣyamitra described by S. Lévi as ‘a mayor of the palace,’ a Snātaka? [26]: According to the AŚ of Kauṭilya, dauvārika was important officer of high rank and not a simple door-keeper of the ordinary menial type. See AŚ. I. 2. 8. [27]: See note 1 on XIII. 112-113. Bhāsa has ‘Kāñcukīya.’ [28]: See above 48-51 and the note on the word nāṭakīyā. It is not clear why the nāṭakīyā has been described over again and differently. [29]: The word varṣadhara often wrongly read as varṣavara literally means “one whose seminal discharge has been arrested.” [30]: Nirmuṇḍa or aupasthāyika-nirmuṇḍa probably meant one who had the head (muṇḍa) of his membrum virile (upastha) cut off. The definition given here seems to have been due to a concoction when the real significance was lost sight of. [31]: Amātya also has been used before to indicate a minister. But AŚ. (1. 8. 9.) distinguishes between amātya and mantrin. Kāmandakīya Nītisāra (VIII. 1) also does the same. According to the latter amātya seems to be identical with saciva (see IV. 25, 30, 31). According to Śukranīti saciva, amātya and mantrin are three different functionaries (See II. 94, 95 and 103). The Rudradāman inscription seems to distinguish between mantrin and saciva. [32]: Saciva as well as amātya originally meant secretary. [33]: Kumārādhikṛta probably is identical with the Kumārādhyakṣa of [34]: B. reads the passage differently. In translation it is as follows: “Those who are high-born, intelligent, well-versed in various Śāstras, affectionate [to the king], incorruptible by enemies, not haughty, the compatriot [of the king], free from greed, disciplined, trust-worthy, and virtuous are to be made chaplains and ministers.” The taking together of the chaplain and the minister probably shows that at one time the same person discharged the functions of the two. [35]: See note 1 on 81-83 before. [36]: The radical meaning of the term prāḍvivāka is one who decides a cause after questioning the parties. [37]: See in this connexion AS. [38]: Vyāsa (smṛti) mentions sabhāstāra who should hold discourse about morals (dharmavākya) for the edification of those who are present [in the court]. In Mbh 4. 1. 24 however the sabhāstāra appears only as a courtier (sabhya Nīlakaṇṭha) who is particularly interested in gambling. Jolly, Hindu Law and Customs, pp. 287-288. Viṣṇudharmasūtra first speaks of the qualification of sabhāsadas who were probably the king’s helpers in the administration of justice. N. C. Sengupta, Evolution of Ancient Indian Law, P. 46. [39]: That the author of the NŚ. like the authors of the AŚ. refers to Bṛhaspati, probably shows that they were not very widely separated in time. Vātsyāyana, Mbh. (Vanaparvan) and Bhāsa also refer to Bṛhaspati. 16 July, 2017 --> Last Updated: 16 July, 2017 $(function(){ if($(document).height() > $(window).height()){ $('.book.chapter').append('^ back to top ^') $('section.back > a').click(function(){ $(window).scrollTop(0); }); } }); /** * Derivation list */ /*$('a.deriv-link').click(function(){ $(this).closest('.words-group').find('.deriv-list').toggleClass('d-none'); });*/ ====================================================================== Chapter XXXV - Distribution of Roles ====================================================================== --> Natyashastra (English) by Bharata-muni | 1951 | 240,273 words | ISBN-13: 9789385005831 Hinduism Natyashastra Buy now! The English translation of the Natyashastra, a Sanskrit work on drama, performing arts, theater, dance, music and various other topics. The word natyashastra also refers to a global category of literature encompassing this ancient Indian tradition of dramatic performance. The authorship of this work dates back to as far as at least the 1st millenn... Go directly to: Footnotes. Chapter XXXV - Distribution of Roles (bhūmikā) < Previous (index) Next > 1. I shall now speak of the distribution of roles in a play or of the kinds of men by which different roles are to be represented. General Principles of Distribution 2. After considering together their gait, speech and movement of limbs as well as their strength and nature, the experts are to employ actors to represent different roles [in a play]. 3. Hence the selection of actors should be preceded by an enquiry into their merits. The Director (lit. the master) will not feel difficulty in the choice [if such procedure is followed]. 4. After ascertaining their natural aptitudes, he is to distribute roles to different actors. The Role of gods 5-6. Persons who have all the limbs intact, well-formed and thick-set, who are full-grown (vayo'nvita), not fat or lean or tall or large, who have vivacity, pleasant voice and good appearance, should be employed to take up the role of gods. The Role of Rākṣasas etc. 7-8. Persons who are fat, and have a large body and a voice like the peal of thunder (lit. cloud), furious looking eyes and naturally knit eyebrows, should be employed to take up the role of Rākṣasas, Dānavas and Daityas; for the performance of male actors [should be] in conformity with their limbs and movements. The Role of Kings 9-11. Actors of the best kind who have beautiful eyes, eyebrows, forehead, nose, lips, cheeks, face, neck, and every other limbs beautiful, and who are tall, possessed of pleasant appearance, dignified gait, and are neither fat nor lean, and are well-behaved, wise and steady by nature, should be employed to represent the role of kings and princes (kumāra). The Role of Army-leaders and Secretaries 12-13. Persons who have well-formed limbs, distinct speech, are neither tall nor fat, are heroic, have reasoning positive and negative, are brave, and eloquent and have presence of mind, should be employed to take up the role of army-leaders (senāpati) and secretaries (amātya). The Role of the Kañcukīyas and the Śrotriyas 14. Persons who have brown eyes, long nose, and who are short or tall, should be employed in the role of Kañcukīyas and Śrotriyas.[1] The Role of Minor Characters 15. In other cases too, similar dramatic convention has been prescribed; roles should be assigned after considering the actors’ age and physical condition. 16-17. [For example], persons[2] who are slow-moving, very dwarfish, hunch-backed, uncouth, odd-faced and fat, who have expressionless (lit. motionless) eyes, one eye blind, small chin and low nose, ugly raiments, evil nature, deformed body and who have marks of a slave, should be employed in the role of slaves. The Role of Fatigued Persons 18. A person who is naturally thin, should be employed in a play to represent a tired person. The Role of a Person in Health A fat person should be employed to represent a person without any disease. Special Cases of Assigning Roles 19. If however such persons are not available, the Director (lit. the master) should exercise discretion to employ [some one] after a consideration of the latter’s nature and movement as well as States [to be represented], 20. Such persons’ natural movements whether good, bad or middling, should be regulated by contact with the Director (lit. the master), and then they will properly represent [all] the States. 21. In other cases too, similar dramatic convention has been prescribed, and roles should be assigned to persons after considering their native places (deśa) and costume (veśa). The Role of a Character with Extra and Special Limbs 22-24. In case of characters which have many arms, many heads, and uncouth faces and faces of animals, including beasts of prey, asses, camels, horses and the like, the Director (lit. the master) should according to his direction have the masks (lit. them) made with clay, wood, lac and leather. [3] The Entry of a Character 24. One should not enter the stage in his own natural appearance. His own body should be covered with paints and decorations. The Result of Impersonation 25. In the production of a play, a person in his natural form of the body, should be employed [to assume a role] according to his age and costume. The Method of Proper Impersonation 26-27. Just as a man who renounces his own nature together with his body and assumes another’s nature by entering into his body[4] so the wise actor thinking within himself that ‘I am he’ should represent the States of another person by speech, gait, gesture and other movements. Three Kinds of Impersonation 28. Human characters as they are represented on the stage fall into three classes: natural (anurūpā), unnatural (virūpā) and imitative (rūpānusāriṇī). The Natural Impersonation 29. When women impersonate female characters and men male characters, and their ages are similar to that of the characters represented, the impersonation is called ‘natural’ (anurūpā). The Unnatural Impersonation 30. When a boy takes up the role of an old man or an old man takes up that of a boy and betrays his own nature in acting, the representation is called ‘unnatural’ (virūpā). The Imitative Impersonation 31-32. When a man assumes a woman’s character,[5] the impersonation is called imitative (rūpānusāriṇī) by the best actors. A woman also may assume if she likes, a man’s role in actual practice. But an old and a young man should not try [to imitate] each other’s manners.[6] Special Suitability of Men and Women 33-34. Bold men who have heroism and strength, should be employed for recitatives, and women [should always be employed] for songs. Women’s nature is suited mostly to songs and that of men to recitatives.[7] For women’s voice is naturally sweet and that of men is forceful. 35-36. Though men know the rules of singing in their traditional characteristics, their songs being devoid of sweetness, do not create beauty. Whenever there is [any] merit in women’s recitation and sweetness of voice in men, these are to be considered as being due to freaks (lit. inversion) of nature, and as such these should be [considered] ornaments.[8] Women in Men’s Roles 37. In temples,[9] palaces[10] and houses of army-leaders and other prominent persons, dramatic performances (prayoga) are mostly held by women in men’s role. Women’s Special Merit 38. A delicate person’s role is always to be taken up by women. Hence, in case of women as well as gods and men of delicate nature [women are to assume the roles]. 39. [It is for this reason that] drama came to be established in heaven[11] through Rambhā, Urvaśī[12] and the like [nymphs]. And similar has been the case in king’s harems in this world. Training Women in Different Roles 40. Directors (lit. masters) should instruct women according to the Śāstras, but they should not themselves give coaching to women in learning their [feminine] roles. 41-42. But masculine (lit. depending on men) roles should be carefully directed by them. As natural amorousness is observed in women, their naturally graceful limbs are easily accessible to Sauṣṭhava; and sportful nature[13] will be their additional qualities (lit. ornaments) [when they assume a male role]. Result of Proper Assignment of Roles 43. When actors and characters in a play have similar conditions and behaviour, and have natural limbs and organs (karaṇa), they will embellish a dramatic performance. 44. Want of fatigue in dance and music, is always a quality of women, and a dramatic production partly attains its sweetness and partly its strength due to this. 45. A woman who is an adept in the practice of love, and is an expert in [representing] love-affairs, appears through her graceful acting on the stage, like a creeper full of various charms, on account of its [many] flowers.[14] 46. Hence [a Director] should always bestow undivided attention to women’s exercise (yogyā) [in dance and music], for without this, the States, Sentiments, the Sauṣṭhava cannot be produced by them in the least.[15] Types of Dramatic Production 47. The production of a drama which includes many States and Sentiments, is of two kinds: delicate (sukumāra) and energetic (āviddha). The Delicate Type of Production 48. Nāṭaka[16], Prakaraṇa, Bhāṇa, Vīthī and Aṅka[17] are to be known of the delicate type. For they depend on human beings. 49. This delicate type of production is pleasing to kings. Hence plays of this class including the Erotic Sentiment, should be produced by women.[18] 50. The play in which there occur violent fighting, great speed [of movement], and much excitement, should not be enacted by females, but by males. 51-52. If a play includes ordinary (lit. not exalted) incidents and no hurried or violent movement of limbs, and requires an observance of proper tempo, Tāla, Kalā and regulated utterance of syllables, and clearly divided words and has plenty of desired Sentiments, it should be produced by women.[19] The Energetic Type of Production 53-54. The play which requires energetic (āviddha) type of Aṅgahāras to represent cutting, piercing, and fighting, and includes [a representation of] the use of magic and thaumaturgy as well as artificial objects and costumes, and has among its dramatis personae many males and a small number of females who are of quiet nature, and mostly the Grand and the Energetic Styles applied in its production, is of the energetic type. 55-56. Ḍima, Samavakāra, Vyāyoga and Īhāmṛga are known to be plays of the energetic of type by producers. Production of plays of this kind, should be made by [an impersonation of] gods, Dānavas and Rākṣasas. 56. Thus one should assign different roles in the production of a play. Next I shall speak how a play attains excellence due to costumes and make-up. The Typical Impersonation of a King 57-59. How are the qualities of a king to be represented by an actor who has a few wearing apparels? In this connection it has been said that when dramatic conventions have come into vogue I have made plays furnished with all these (i.e. conventions). In them (i.e. plays) the actor (naṭa) covered with paint, and decorated with ornaments, reveal the signs of kingship when he assumes a grave and dignified attitude, and then he alone becomes, as it were, a refuge of the seven great divisions (saptadvīpa) of the world. 60-61. He should move his limbs only after he has been covered with paints. And trimmed according to the discretion of the Director and having the Sauṣṭhava of limbs, the actor becomes like a king, and [thus trimmed] the king also will be [very much] like an actor.[20] 61-63. Just as an actor is, so is the king and just as a king is, so is the actor.[21] The two will represent their States by similar deportments and Sauṣṭhava of limbs. Just as by properly carrying out the instruction of the Director, the actor illumines the stage, similarly the king also will always be naturally brilliant. His followers will be like that of divine personages.[22] In a play they are to be introduced with proper costume, language and age. 64. The producer should let the actor have the natural appearance of a character [by giving him suitable costume] and by associating him with suitable age through [proper] make-up. 65. Thus one should make a selection of persons for representing kingly manners. I shall next speak of the qualities of a Director (sūtradhāra). In this connection I shall speak of the qualities of a Director. First of all, he should possess knowledge of characteristics [of everything concerning the theatre], desirable refinement of speech, knowledge of the rules of Tāla and theory of notes and instruments [in general].[23] 66-71. One who is an expert in playing the four kinds of musical instrument, has various practical experience, is conversant with the practices of various religious sects, and with polity and the science of wealth (arthaśāstra) and the manners of courtezans and ars amatoria, and knows the various conventional Gaits and movements, thoroughly understands all the Sentiments and the States, and is an expert in producing plays, acquainted with all arts and crafts, with words and the rules of prosody, and proficient in all (the Śāstras, the science of stars and planets, and the working of the human body, knows the extent of the earth, its continents, devisions, and mountains and people inhabiting them, and the customs these have, and the names of descendants of royal lines, and who listens about acts prescribed in Śāstras, can understand the same, and puts them into practice after understanding them, and gives instructions in the same, should be made a teacher and Director. Natural Qualities of a Director 72-74. Now listen to me speaking about the natural qualities [which he should possess]. He should be possessed of memory and intelligence, and should be patient, liberal, firm in his words, poetical, free from any disease, sweet [in his manners], forbearing, self-possessed, sweet-tongued, free from anger, truthful, impartial, honest, and free from greed for praise.[24] Characteristics of an Assistant of the Director 74-75. A person of the middling type who has slightly less number of qualities than that the Director is to possess, should be known as an Assistant ( pāripārśvika) of the Director. Characteristics of an Actor 75-76. An actor (naṭa) should be lively (lit. bright), possessed of a good physique, acquainted with [theatrical) accessories and their uses, possessed of intelligence, conversant with the rules [of the theoretical practice], and expert in his own work. Characteristics of a Parasite 76-77. Possessing all the qualities which the Director is to have with regard to the theatrical production, the Parasite (viṭa) should be an expert in dealing with courtezans, sweet [in his words], impartial, poetic, proficient in the meaning of the Śāstras and in the knowledge of courtezans, capable seeing the positive and the negative side of any argument, and eloquent and clever. Characteristics of the Śakāra 78. The Śakāra[25] is one who wears gaudy (lit. brilliant) clothes and ornaments and grows angry without adequate reason and gets pacified likewise, and who is an inferior character and speaks Māgadhī[26] and has manifold changes [in his conduct]. Characteristics of the Jester 79. The Jester (vidūṣaka) should be dwarfish, should possess big teeth, and be hunch-backed, double-tongued[27] bald-headed and tawny-eyed. Characteristics of a Servant 80. A servant (ceṭa) be should be fond of quarrel,[28] garrulous, uncouth in form and give service under bondage, and be expert in distinguishing between persons who are to be honoured and who are not. Characteristics of a Courtezan 81-83. A woman who is always engaged in attending the teacher (ācārya) in connection with application of [various] arts and crafts, and is endowed with amorous movements, Emotion (hāva) and Feeling (bhāva), Temperament (sattva), discipline, sweetness [of manners], and is conversant with the sixty-four arts and crafts (kalā), is expert in dealing with the king, and free from female diseases, and has sweet and endearing words, is clear in her speech, clever and undaunted by fatigue[29] is called a courtezan (gaṇikā). Characteristics of a typical Heroine 84-86. A woman with the following qualities should be given the role of a Heroine: she should be endowed with a good physical form, good qualities, character and young age and should possess gold necklace and garlands and should be shining, affectionate, sweet, and should possess charming words with a lovely voice and should be steady (lit. unperturbed) in the exercise (yogyā), and conversant with Laya and Tāla and Sentiments, and should have all kinds of ornaments and be dressed with garlands and scents.[30] Women disqualified to take up a role 86-87. But a woman should not be made a Heroine in any theatrical show when she smiles on wrong occasions, is rough [in appearance], has an uneven gait and movement, persistent anger, miserable look, and is always haughty and fickle. These are the characters that the producers of plays should know about. Members of a typical theatrical party 88-90. I shall next speak of different members of a theatrical party (bharata). They are: Bharata[31] [proper] (actor), who resort to Bharata (i.e. his art), the Jester (vidūṣaka), the musicians (tauripa), the actor-dancers (naṭa), the Director (sūtradhāra), playwright (nāṭyakāra) the crown-maker (mukuṭakāraka), the maker of ornaments (ābharaṇakṛt) and garlands, the dyer (rajaka), the painter (citrakāra), other and craftsmen (kāru and śilpin), and Kuśīlavas and others who are to be known by their names. Characteristics of Bharata 91. As he alone conducts as the leader [the performance of] a play by acting in many roles and playing many instruments and by providing many accessories, he is called Bharata.[32] Characteristics of a Jester 92-93. One who looks to people’s pleasure, can imitate manners of all people, resorts to various [means] and mixes with women, is ready-witted in disclosures made through Pleasantry,[33] or in Covert Pleasure[34] and is clever, and can give censure through his words, is to be known as a Jester (vidūṣaka).[35] Characteristics of a Master-musician 94. One who is skilled in playing Tūra,[36] has a liking for all the instruments and is an expert in playing them all, and possesses [all kinds of] musical instruments, is called Tauripa[37] (master-musician). Meaning of the word ‘Naṭa’ 95. Meaning of the root naṭ is ‘to act’ (lit. acts) and hence, as he acts (naṭayati) again and again the stories of men with Sentiments, States and Temperament, he is called (lit. he becomes) a Naṭa (actor). The Benediction 96-97. As one pleases by it the audience (lit. people) with sweet words of blessing, it is called Nāndī (Benediction). That which is spoken in the performance of a play to please people in various ways, with Sanskrit and Prakrit recitatives, is to be known as Nāndī. Definition of a Director 98. One who knows from the teaching of the learned (śiṣṭa) the principles (sūtra) of applying songs, instrumental music and recitatives in their unity, is called a Sūtradhāra (Director).[38] Definition of a Playwright 99. Because he puts in [different] Sentiments, States and Temperaments, as taught in the Śāstra, in different characters, a person is called a playwright (nāṭyakāra).[39] Definition of an Actor 100. One who can apply the music of four kinds of instrument, and produce a play according to the meaning of the Śāstra as well as his own reasoning, is called an actor. (naṭa).[40] Definition of an Actress 101. A woman who knows all about the playing of drums, Laya (tempo) and Tāla and is conversant with Sentiments, and is beautiful in all her limbs, should be made an actress[41] (nāṭakīyā). The Crown-maker 102. He who makes masks and various special dresses together with headgears (śīrṣaka = pratiśīrṣaka) suited to various characters, is called a crown-maker (mukuṭakāra).[42] The Maker of Ornaments 103. One who makes ornaments according to various rules, is called a maker of ornaments[43] (ābharaṇakṛt) and each [maker of ornaments] is to be named according to the material he uses. The Maker of Garlands 104. He who makes five kinds[44] of garland, is called a maker of garlands (mālyakṛt). The Veṣakāra He who looks after dressing is called Veṣakāra.[45] The Painter, the Dyer and the Craftsman 105. One who knows painting is a painter (citrakāra), and from his [knowledge of] dying (rañjana) [clothes][46] a person is called a dyer (rajaka).[47] And one who fashions different objects out of lac, stone, metal and wood, is called a craftsman (kāru). The Kuśīlava 106. He who can apply the principles of instrumental music and is himself an expert in playing instruments, is called a Kuśīlava because of his being kuśala (clever) and avadāta (refined) and free from agitation (avyathita).[48] 107. The man who takes to an art or a craft (śilpa), a profession or a practice, and has himself acquired proficiency in it, is called by its name.[49] 108. So much about the hereditary groups (jāti) known in connection with the rules of theatre as Naṭas who relate to various accessories [needed] for the production of various types of play. 109. I have spoken about the assignment of roles and about the makers of a drama according to their function, and have pronounced the Canons of Drama. Please mention, O sages, what more is to be said now. Here ends the Chapter XXXV of the Nāṭyaśāstra, which treats of the Distribution of Roles. Footnotes and references: [back to top] [1]: The racial type indicated by this description probably shows that the K. and Ś. were of the Aryan descent. [2]: From the general description given in this passage and the marks mentioned in particular, it appears that slaves were of non-Aryan descent. And Kauṭilya seems to support this view by saying that āryasya na dāsa-bhāvaḥ (an Aryan should not be enslaved). From this description it also appears that the slaves were at one time branded with marks. [3]: Details regarding this are given in XXIII. [4]: This is said on the assumption that a Yogin possessing miraculous powers could, according to his will, leave his own body and enter that of another when the latter was just dead. Śaṅkarācārya is said to have practised this kind of miracle. [5]: In the Shakesperian stage young men took up the role of women. Ag. (p. 502) explains bāliśa as virūpa (ugly). [6]: This is due to an utter impossibility of successfully taking up of each other’s role by old and young men. [7]: See XXXII. 504 and the note, and also XXXII. 506. [8]: See XXXII. 504. [9]: Devadāsīs or ‘maid-servants to gods’ seem to have been not only dancers, but also actresses assuming male roles also. [10]: For the reason of women assuming male roles see above notes on 33-34. [11]: Cf. Vikram III. (Viṣkambhaka). [12]: See below XXXVI. 60. [13]: The sportful nature belongs naturally to males. [14]: It seems that boys also had to represent women’s character in the ancient Hindu theatre (see the Prastāvanā to Mālatī). And this shows the benefit of engaging actresses. Employment of boys in women’s role was considerably a handicap in depicting female characters in the Shakesperian stage. On this see “Shakespeare’s Dramatic Art” in Companion to Shakespeare Studies, Cambridge, 1946, p. 54. [15]: This probably stresses on the importance of repeated rehearsal. [16]: For a definition of this and the following types of play see XX. 10-1 Iff. 48ff, 107-108ff, 112-113ff, 94ff. [17]: It is called Utsṛṣṭikāṅka also. See XX- 93. [18]: An instance of such a play occurs in Priyadarśikā. Act III. [19]: This probably shows that the Nāṭaka etc. mentioned in 48 above, being plays of ballet-type were better suited to be produced by women. [20]: This is a very clever statement. The king though he is nothing but an ordinary human being, often assumes consciously or unconsciously an extraordinary appearance. The story goes that Napoleon sought the guidance of a contemporary actor of repute before taking up the imperial crown. [21]: See the note above. [22]: This was because the king was an incarnation of God or gods. [23]: This and the two following passages (66-71, 72-74) show that the Hindus had very advanced ideas about of the responsibilities of a Director. Like his modern counterpart the regisseur (or “producer” as he is called in England) he was required to be an expert not only as regards acting but in all those arts which together constitute a performance. The Komisarjevsky, The Theatre, Dondon, 1935, p. 15. Thus so many varied qualities were required to ensure his fitness. [24]: The “greed for praise” probably means a hankering after uncritical praise which may come from the multitude. This surely stands in the way of a first-rate artistic production. [25]: Western scholars are sometime inclined to connect this character with the Śakas (Keith, Sanskrit Drama, p. 69). But Śakāra as described in DR (ii 42) and SD. (81) is nothing but the lowborn brother of a royal concubine. Naturally he bragged about his relationship with the king and was laughed at by people. Hence the term śyālaka gradually acquired a pejorative sense, and in NIA it has become śālā (a term of abuse). So people had to refer to him him euphemistically as Śa-kāra which means the fellow named with an initial ś. If the author of the NŚ. has not given such a definition, it was probably due to actual Śakāras being still available at his time he prudently remained silent about their anomalous social position. [26]: It has been mentioned before that Śakāras should speak the Śākāri dialect (XVIII 52). But by Śākāri we are to understand a dialect of Māgadhī. See Puruṣottama’s Prākṛtānuśāsana. ed. Nilti-Dolci. XIII. 1; also Prākṛtakalpataru, ed. Ghosh, II. iii, 2ff. [27]: The reading dvijan-man for dvijihva is evidently wrong See XXXJV. 21ff. [28]: The ceṭa was evidently a slave. The term bandhasevaka (giving service under bondage) seems to indicate this. [29]: The courtezan was evidently somewhat like a Greek hetaera. [30]: The last hemistich of the text probably shows textual confusion. [31]: The term “Bharata” seems to have originally meant those who sang ballads connected with the heroic exploits of the Bharata race. The term ‘Bharthari’ meaning singers on the exploits of Bhartṛhari a prince who renounced the world and attained spiritual eminence, is analogous to Bharata. The Bharata ballads were the nucleus of the Mbh. According to the hypothesis of Winternitz, such ballads gave rise to drama. See in this connexion the author’s Contributions to the History of Hindu Drama, Calcutta, 1957, pp. 15ff. [32]: See note 1 to 88-90 above. [33]: See XXII, 50. [34]: See XXII, 53. [35]: For another definition of a Jester see 79 above. [36]: Its etymology is obscure. See note 2 below. [37]: The word though connected with tūra is not directly available from it. The basis of tauripa is possibly tauripa one who engages himself with tūra meaning probably musical instruments in general. [38]: For another definition of the Sūtradhāra see 66-74 above. [39]: His duty was to compose a play on any given theme. He is comparable to ‘poets’ employed by Elizabethan theatrical companies. For more about the playwright see the introduction. [40]: This probably shows the original connection of drama with music of all kinds. [41]: This word has been used by Bhāsa. See Pratimā I. 4.8. [42]: For rules about crowns see XXIII. 129ff. [43]: For varieties of ornament used see XXIII. 11ff. [44]: For the five kinds of garlands see XXIII. 10. [45]: For the rules for different costumes see XXIII. 110ff. [46]: For uses of clothes of different colour see XXIII. 53-56, 60, and for colours see XXIII,. 69ff. [47]: See XXIII. 43. [48]: The real etymology is obscure. This is only a folk-etymology of the word. There are however reasons to believe that it originally meant ballad-singers. The names of Rāma’s twin sons probably had its origin in kuśīlava. [49]: Besides the craftsmen mentioned above, the theatrical troupes probably had with them artisans who made things with bamboo, grass and hide etc. 16 July, 2017 --> Last Updated: 16 July, 2017 $(function(){ if($(document).height() > $(window).height()){ $('.book.chapter').append('^ back to top ^') $('section.back > a').click(function(){ $(window).scrollTop(0); }); } }); /** * Derivation list */ /*$('a.deriv-link').click(function(){ $(this).closest('.words-group').find('.deriv-list').toggleClass('d-none'); });*/ ====================================================================== Chapter XXXVI - Descent of Drama on the Earth ====================================================================== --> Natyashastra (English) by Bharata-muni | 1951 | 240,273 words | ISBN-13: 9789385005831 Hinduism Natyashastra Buy now! The English translation of the Natyashastra, a Sanskrit work on drama, performing arts, theater, dance, music and various other topics. The word natyashastra also refers to a global category of literature encompassing this ancient Indian tradition of dramatic performance. The authorship of this work dates back to as far as at least the 1st millenn... Go directly to: Footnotes. Chapter XXXVI - Descent of Drama on the Earth < Previous (index) Sages question. 1-6. Being pleased with this, the sages such as Ātreya,[1] Vasiṣṭha, Pulastya, Pulaha, Kratu, Aṅgiras, Gautama, Agastya, Manu, the wise Āyus, Viśvāmitra, Sthūlaśiras, Saṃvarta, Pratimardana, Uśanas, Bṛhaspati, Vatsa, Cyavana, Kāśyapa, Dhruvā, Durvāsas, Jamadagni, Mārkaṇḍeya, Gālava, Bharadvāja, Raibhya, the venerable Vālmiki, Sthūlākṣa, Saṅkulākṣa, Kaṇva, Medhātithi, Kuśa, Nārada, Parvata, Suśarman, the two Ekadhanvins, Niṣṭhyūti, Bhavana, Dhaumya, Śatānanda, Kṛtavraṇa, Jāmadagnya Rāma, Jamadagni and Vāmana again spoke out of curiosity to the omniscient Bharata these words: 7. “The ancient Nāṭyaveda which you have spoken, has been properly comprehended by us listening to it attentively. 8. [But] you, venerable sir, should also remove (lit. explain) any doubt we may have in this regard. For who else can speak definitely about the Nāṭyaveda? 9-10. We shall enquire from you [more] about drama for our enlightenment and not out of any distrust, rivalry or jealousy. We did not speak earlier (lit. then) [about this], for there should not be any interruption. So, speak to us exhaustively about the mystery of drama. 11. You have [already] said that exploits of men[2] constitute drama, hence you should speak definitely about what has been kept hidden from people. 12-14. O the best Brahmin (lit. the bull of the twice-born), tell us about the character of the god who appears in the Preliminaries (pūrvaraṅga). Why is the sound [of musical instruments] applied there? What purpose does it serve when applied? What god is pleased with this, and what does he do on being pleased? Why does the Director being himself clean, perform ablution again on the stage?[3] How, O sir, the drama has come (lit. dropped) down to the earth from heaven? Why have your descendants come to be known as Śūdras?” 15. The sage Bharata on hearing these words of the wise men, spoke again to them for explaining the matter which was confidential. Bharata said: 16. ‘I shall explain to you, O Brahmins, what you persons with excellent vow, enquire regarding the rules of the Preliminaries. Listen properly about it. 17. The Preliminaries have been described in continuation of whatever I have said [earlier] about the destruction obstacles.[4] 18-22. Just as the body is covered [with an armour] for warding off missiles, so sins of all kinds are avoided with Homa. After I have thus warded off the sins and destroyed the obstacles by worshipping gods with Japa, Homa, words of adoration and blessing, and songs about their [benevolent] deeds and attitudes, and with the playing of all instruments, and sound of songs, they (i.e. gods) being pleased with the singing of their praise, said, ‘We are exceedingly delighted with the performance of yours; as it nandati [pleases] the people, after pleasing the gods and the Asuras, this performance will be called Nāndī (Benediction). 23. When auspicious words uttered with proper intonation in accompaniment of songs and playing of instruments resound a region, all evils will disappear, and prosperity will ensue there. 24. In so much space as is filled with sound of musical instruments there will be there no Rākṣasas or leaders of Vighnas (vighna-vināyaka). 25-26. On hearing the sound of Nāndī, and recitatives, songs and playing of instruments during marriages of all kinds,[5] and sacrifices performed for the prosperity of kings, ferocious spirits will make themselves scarce. And this (i.e. the sound of the Nāndī) will be equal to the exposition Vedic Mantras. 27. I have heard from the god of gods (Indra) and afterwards from Śaṃkara (Śiva) that music vocal as well as instrumental, is in fact a thousand times superior to bath [in holy waters] and to Japa. 28. In places in which there occur instrumental music and dramatic performance, or song and instrumental music, there will surely be there never any kind of inauspicious happening. 29. Thus I have devised the Preliminaries as a ceremony of adoration for worshipping deities, with laudatory verses and Mantras. Ablution of the Director on the Stage 30. As the head becomes fatigued by bowing on the stage, the rule permits the Director to bathe it with water.[6] 31. After the ablution the Director should worship the Jarjara with Mantras. All this has been said in connection of the Preliminaries.[7] This is the reason for the ablution. 32. I shall now tell you in detail how drama came (lit. dropped down) to the earth from Heaven, for I am unable to withhold anything from you. 33-34. All these sons of mine being intoxicated with [the knowledge of] the Nāṭyaveda, practised in course of time an art tiring the entire people with Prahasanas connected with laughter. 34-35. And they on purpose, produced in an assembly [of spectators] a play which caricatured the sages and which was unacceptable and full of wicked acts, and which encouraged rural manners and was cruel and inauspicious. The Sages curse Bharata’s Sons. 36-37. On hearing this, the sages were extremely angry and excited, and spoke to them (i.e. sons of Bharata) burning them, as it were, with their words, ‘O Brahmins, it is not proper that we should be thus caricatured. What is this insult [for], and what is your intention? 38. As due to pride in your knowledge [of drama] you have taken to arrogance (avinaya), your evil knowledge will get destroyed. 39. In the community of sages and Brahmins or in meeting them, you will appear as being no followers of the Vedas and will attain the character of Sūdras. 40. You will become mere Śūdras and attain their functions, and those to be born in your line, will be impure. 41. And your posterity will be dancers who will worship others along with their wives and children (i.e. they will all be Sūdras).[8] 42. Gods on hearing of the origin of curse on my sons became anxious and approached the sages. Gods intercede in favour of Bharata’s Sons 43. Then the gods with Śakra (Indra) as their leader said, ‘Afflicted [thus] with misery the drama will perish.’ 44. The sages said in reply that drama would not perish, but the remaining portion of their curse would take effect in its entirety. Bharata’s Sons approach their Father. 45-46. On hearing the words of the sages of terrible spirit, my sons became sad, and with a desire to kill themselves they approached me and said, ‘We have been totally ruined by you, and for the fault of drama we have been made to take to Śūdra’s conduct.’ Bharata pacifies them. 47-48. For their consolation I said, ‘Do not be sorry for it; the rule that words of sages will never prove untrue has indeed been made by fate (kṛtānta); so you should not turn to the destruction [of your own selves], after being thus consoled. 49. Remember (lit. know) that this dramatic art has been described by Brahman [himself]. So teach it to your disciples and others through its practice. 50. Do not destroy this drama which has been devised with great difficulty, and which depends on great things, brings merit and has its origin in the Vedas, their Aṅgas and Upāṅgas.[9] 51. After holding the performance of a drama according to [rules] which I have heard from Apsarasas, you are to undergo a purificatory ceremony (prāyaścitta). Nahuṣa invites divine Artistes to the Earth. 52. In course of time, a king named Nahuṣa attained the kingdom of heaven through his polity, intelligence and prowess. He then governed the kingdom and obtained a divine prosperity (vyuṣṭi). 53. And on seeing the musical performance (gāndharva) and drama [of the gods], he became anxious [for these]. 54. And he thought within himself as to how the dramatic performance of gods might be held in his own house [on the earth] and to the gods he spoke for [causing such] a performance, with joined palms. ‘Let the drama [produced] by the Apsarasas be performed in our house [on the earth].’ Gods reject the request. 56. But in reply to this, the gods with Bṛhaspati as their leader said to him ‘The meeting of divine damsels and human beings has not been prescribed [anywhere]. 57. [But] as you are the lord of heaven, you should be given an advice which is friendly as well as suitable. Let the master [of the dramatic art] go there [at your place] and please you.’ Nahuṣa approaches Bharata. 58. Then the king with joined palms said to me, ‘Revered sir, I should like to see this dramatic performance established on the earth. 59. I have been promised earlier [by gods] your service as a trainer. O best of Brahmins, I have now got it directly [by approaching you]. Urvaśī and the earthly drama 60. In the house of my grand father (Pururavas), this drama together with his work has been described by Urvaśī to the members of the harem. 61. But when the members of the harem were distressed on the death of the king who became insane[10] due to her disappearance, this [dramatic art] was lost. 62. I wish this again to be openly produced on the earth during sacrifices to be done on different days of the moon, so that a happy and auspicious situation may arise. 63. Hence, plays (lit. composition) relating to many characters produced in my house through graceful movement of women, will add to your fame.’ Bharata grants this request and sends his sons to the earth. 64-67. ‘Let this be so’ said, I in reply to the king Nahuṣa, and called my sons, and spoke to them as well as to gods the conciliatory words [as follows:] ‘This king Nahuṣa begs us with joined palms that you may go down for your own good to the earth to produce drama there. Drama being produced there, I shall make an end of your curse and you will no longer be despised by Brahmins and kings. So go down to the earth to produce drama there, [for] I shall not be able to disregard the words of this earthly king.’[11] Kohala is the Successor of Bharata. 68-69. For us all and for the magnanimous Nahuṣa, the Self-born One (Brahman) has said that success in drama would depend on his authoritative instruction (āptopadeśa). The rest will be related by Kohala in his supplementary treatise (uttara-tantra)[12] which also will treat [of more rules on] the application [of dramatic art], the Memorial verses (kārikā) and the etymologies (nirukta). 70. For the purpose of diversion, this Śāstra has been established by me in heaven with the help of Apsarasas and the sage Svāti and Nārada.” Bharata’s sons come down to the earth. 71. Then, O Brahmins, they went down to the earth in the house of Nahuṣa, and devised in due order the production of various plays with the help of women. 72. Afterwards they my sons, begot progeny in women of the earth and devised for them more dramas (lit. creation) on various themes. 73. On begetting sons and devising plays in due order they were permitted to return again to heaven. 74. Thus through a curse the dramatic performance has been brought down to the earth, and the successive generations of dramatic artistes (bharata) have come into being. Kohala and his associates 75-76. Kohala[13] and others together with Vātsya[14], Śāṇḍilya,[15] and Dhūrtila[16] (Dattila) stayed in this earth for some time as mortals, and put into practice this Śāstra which augments the intellect of men, deals with the deeds of the three worlds and is a specimen of all other Śāstras. Value of the Nāṭyaśāstra 77-79. He who always hears the reading of that [Śāstra] which is auspicious, sportful, originating from Brahman’s mouth, very holy, pure, good, destructive of sins, and who puts into practice and witnesses carefully the performance [of a drama], will attain the same blessed goal which masters of Vedic knowledge[17] and performers of sacrifices or givers of gifts will attain [in the end]. Value of the Dramatic Show 80. Of all duties of the king, this has been proclaimed as possessing the best result (mahāphala).[18] Of all kinds of charities, allowing people to enjoy a dramatic show without payment, has been praised most. 81. Gods are never so pleased on being worshipped with scents and garlands as they are delighted with the performance of dramas. 82. The man who properly attends the performance of music (gāndharva) and dramas will [after his death] attain the happy and meritorious path in the company of Brahminic sages. The popular practice supplements dramatic rules. 83. Thus many practices sanctioned by Śāstras have been described in connection with the performance of dramas. Whatever remains unmentioned should be included into practice by experts from an observation (lit. imitative) of people (i.e. their usage).[19] The Final Benediction What more should I say? Let the earth be full of grains, and be free from diseases for all time. Let there be peace for cows and Brahmins, and let the king protect thus the entire earth.[20] Here ends the Chapter XXXVI of the Nāṭyaśāstra, which treats of the Descent of Drama on the Earth Footnotes and references: [back to top] [1]: The shorter recension of the NŚ. omits these names. See I.2 [2]: See I. 111-112. [3]: See V. 80-83. (17) [4]: See V. 70ff. [5]: Āvāhe ca vivāhe ca. Āvāha is the marriage which takes place in bridegroom’s place and vivāha takes place in the bride’s place. [6]: See the note on 12-14. [7]: See V. 118-119. [8]: In modern states, Directors of theatres would be dragged to law-courts for a similar offence. [9]: In spite of this passage, it is difficult to believe that drama of India was of Vedic origin. On this see the translator’s Contributions to the History of Hindu Drama, Calcutta, 1957, pp. 3-4. [10]: The fourth act of Kālidāsa’s Vikram. deals with this theme in a masterly fashion. [11]: The implication of this mythical account is beautiful. It seeks to impress on us the idea that dramatic performance flourished in heaven, and it is a gift of gods. [12]: In ancient Indian medical works we meet with uttara-sthānas which are evidently later additions. See Saṃhitās ascribed to Kaśyapa and Suśruta. Kohala’s work has reached us in a very damaged ms. not yet published. [13]: See the introduction. [14]: ibid. [15]: ibid. [16]: ibid. [17]: This passage probably shows that the theatrical art was originally connected with the pre-Vedic religion. The author of the NŚ. tried here to give it a status similar to that of the Vedic practices. [18]: Some modern states also find it profitable to spend money on dramatic arts. [19]: This shows that the author of the Śāstra did not like to see drama eternally tied to his prescriptions. [20]: This is the typical pattern of Bharata-vākyas met with in available plays. The term ‘Bharata-vākya’ however does not occur in the Nāṭyaśāstra. 16 July, 2017 --> Last Updated: 29 December, 2018 $(function(){ if($(document).height() > $(window).height()){ $('.book.chapter').append('^ back to top ^') $('section.back > a').click(function(){ $(window).scrollTop(0); }); } }); /** * Derivation list */ /*$('a.deriv-link').click(function(){ $(this).closest('.words-group').find('.deriv-list').toggleClass('d-none'); });*/