The NATYASASTRA

CONTENTS Preface xv About the Natyasastra xvii Acknowledgment xviv CHAPTER 1 The Origin of Natya 1 Origin of Natyasastra 1-20 Bharata's collaboration 21-41 Kaisiki Vrtti 42-51 The first performance 52-63 The first disturbance 64-75 The first natyavesman 76-97 Eulogy of natya 98-129 CHAPTER II The Natyagrha 7 The natyavesman 1-6 The three type 7-11 The table of measure units 12-16 The middle one for the mortal characters 17-23 Choice of site and foundation 24-28 Different parts of stage 33-35 Walls and Pillars 43-63 The mattavarani(-s) 63-67 The rangasirsa and the rangapitha 68-85 The caturasra stage 89-100 The tryasra stage 101-5 CHAPTER III Worship of the Stage and of the Gods 16 Warming of the Natyagrha 1-3 Gods to be invoked 4-9 Prayer to the god 10-13 Lighting the lamp 14-16 Installation of the deities 17-32 Worship of the full jar and jarjara 71b-89 Illumination of the stage 90-93 Good and evil results 94-102 CHAPTER IV Tandava Nrtya 22 Brahma's play performed 1-4 Siva invited to witness the show 5-16 The angahara-s 18-29 The karana-s 30-62 The karana-s described 63-70 The anghara-s 171-246 The recaka-s 247-56 Pindi-bandha-s 256-65 Dance and music 266-307 Sukumara (graceful dance) 308-29 CHAPTER V Purvaranga 41 Prayer to the god 10-13 The purvaranga 1-4 The origin and details of purvaranga 5-12 Outside the curtain 13-16 Explanation of various terms 17-30 SUPPLEMENT 43 Definition of various terms 14-30 Asravana Bahirgita 31-45a Purpose of purvaranga 45b-58 Utthapani dhruva 59-70 The second Parivarta 71-77a The third Parivarta 77b-84s Wielding the jarjara 84b-89a Salutation to gods 89b-101a Caturthakara 101b-105a Jarjara sloka 105a-30a Caturasra purvaranga 130b-43 The tryasra purvaranga 144-54 Citra purvaranga 155-65 The purvaranga of the playwright 166-74 Rewards of the purvaranga 174b-179 CHAPTER VI Rasa 53 The sage's questions 1-3 Bharata's reply 4-8 Characteristics of sangraha 9-13 Sangraha of rasa and bhava 14-22 Sangraha of acting 23-30 Rasa-krika-nirukti 31-33 Relation between rasa and bhava 34-38 Origin, colour and deities of rasa 39-45 The bhava-s 46-76 Srngara rasa 46-48 Hasya rasa 49-61 Karuna rasa 62-63 Raudra rasa 64-66 Vira rasa 67-68 Bhayanaka rasa 69-72 Bibhatsa rasa 73-74 Adbhuta rasa 75-76 CHAPTER VII Bhava-s 64 Explanation of bhava-s 1-3 Vibhava and anubhava 4-5 Sthayi bhava 6-8 The characteristic of Sthayi bhava 9-27 Vyabhicari bhava-s 93-106 CHAPTER VIII Acting of the Subordinate Parts of the Body 78 The Sages' question 1-4 The meaning of Abhinaya and its forms 5-10 Threee kinds of Angika abhinaya 11-15 Head 16-37 Eyes 38-115 Nose 116-31 Cheeks 132-36 Lips 137-42 Chin 146-57 Painting of the Face 149-65 Abhinaya, the neck 166-77 CHAPTERS IX & X Abhinaya of the Hands and of the Major Limbs 83 Hastabhinaya 1-3 Mudra-s shown by one hand 4-126a Mudra with both hands 126-56 Mudra-s with proper gestures 157-73 The chest 1-9 The sides 10-17 Abhinaya of the belly 17b-20a Abhinaya of kati (hip) 20-26 Abhinaya of things 27-33a Abhinaya of shanks 33-40a Abhinaya of foot 40b-54 CHAPTER XI Performance of Cari-s 91 Cari-s 1-7 Two kinds of cari-s 8-13 Earthly cari-s 14-29a Aerial (Akasiki) cari-s 29b-46 Combining movements of the hands and feet 47-50 The sthana-s 51-71 Nyaya-s 72-86a Some general suggestions 86b-101 CHAPTER XII Mandala-s 97 Mandala-s 1-5 The Akasiki mandala-s 6-4 The earthly mandala-s 42-65 CHAPTER XIII The Stage Walk of Characters 101 Rules for entry of characters 1-8 Tempo of the stage walk 8b-12 Description of the stage walk 13-23 Bharata's reply to a question 24-28a Different walks for different conditions 28-39 Gaits in various rasa-s 40-75 Srngara rasa 40-47 The Raudra and Bibhatsa rasa-s 48-55 Vira rasa 56-58 Hasya and Karuna rasa 59-69 Bhayanaka rasa 70-75 The gaits of different characters, and in different situations 76-119 Gaits of women 120-47 Gaits suited to characters 148-55 Sitting postures, seats and sleeping postures 56-228 CHAPTER XIV Regional Styles and Nature of Plays 112 Different area of the stage 1-8 Entry and exit of character 9-25 The locale of gods and danava-s 26-35 Pravrtti (styles of production) 36-54 Types of production and plays 55-60 Lokadharmi and Natyadharmi plays 61-77 CHAPTER XV Verbal Representation and Prosody 116 The importance of words in drama 1-3 Constituents of vocal abhinaya 4-7 Consonants and vowels 8-20 Words 21-38 Rhythmic metres 39-51 CHAPTER XVI Metrical Patterns 120 The metres 1-14 CHAPTER XVII Poetic Concepts: Projection in Acting 137 CHAPTER XVIII & XIX Rules on the Use of Languages 138 Four kinds of languages 25-44 The dialects 45-61 Modes of address 1-20 Modes of address regarding women 21-29 Names of characters 30-38 Distinctive features of Pathya 39-40 The six anga-s 61-68 Drawn-out syllables 69-78 CHAPTER XX Ten Kinds of Plays 148 Ten kinds of plays 1-9 Nataka 10-14 Prakarana 48-62 Samavakara 63-77 Ihamrga 78-83 Dima 84-88 Vyayoga 89-93 Anka 94-96 Prahasana 102-8 Bhana 109-11 Vithi 112-30; 150 CHAPTER XXI The Plot 157 Iti-vrtta 1-6 The five avastha-s 7-14 Necessity of Sandhi-s 16-19 The five Arthaprakrti-s 20-25 The five sandhi-s 26-43a Sandhi-s in different types of plays 43b-46 Sandhyantra-s 47-50 Anga-s 51-68 Definition of the anga-s 69-104 The five structural devices 105-12 Concluding remarks 113-16 SUPPLEMENT 165 CHAPTER XXII Vrtti-s 168 The origin of vrtti-s 1-19 The Four vriti-s 20-24 (20-21 interpolations); Bharati vrtti 25-37 Sattvati vrtti 37-47 Kaisiki vrtti 48-54 Arabhati vrtti 55-62 Application of vrtti-s to rasa-s 63-65 CHAPTER XXIII Aharya Abhinaya 174 Aharya abhinaya 1-3 Four kind of nepathya 4-8 Alankara-s 9-14 Ornaments for men 15-20 Ornaments for women 21-41 Rules regarding use of ornaments 42-48 Ornaments for celestial and other females 49-61 Costumes and ornaments for women of different regions and in different condition 62-71 Make-up 72-89 Make-up for different characters 90-108 Beards and moustaches 109-16 Costumes for different occasions 117-33 Head-gear 135-52a Summing-up 152b-56 Sanjiva 157-59a Weapons 159b-69 Jarjara and Dandakstha 170-82a Making of head-gear 183b-192 Accessories and Properties 193-214 Suggestions 220-23 Prayer to the god 10-13 CHAPTER XXIV Samanya Abhinaya 185 Samanya abhinaya 1-8 & 10-11 The natural and invloluentary graces of women 12-21 & 24-29 Acting emotions of a man 30-39 Acting through body 40-48 Forms of verbal representation 59-72 Abhyantara and bahya 73-79 Representation of sensory reactions and feelings 80-93 Desire, the source of all feelings 94-98 The different natures of women 99-147 Erotic behaviour 148-58 Sign of love in women 158-68 The ten stages of love in women 169-91 Rules for men 193-200 (193-96) interpolations); Secret lovers (kings) 201-9 Eight kinds of heroines 210-20 Acting of these heroines 221-31 Union of lovers 232-38 Certain prohibitions 238-41 Awaiting and welcoming a lover 242-58a Speaking to the lover 258b-62a Jealousy and fear 262b-70 Treating of a guilty lover 271-88 Singing for Srngara 288b-90 Certain prohibitions when showing the erotic on the stage 291-96 Addressing a loved person 297-307 Addressing a unloved person 308-19 Regarding celestial women 320-28 CHAPTER XXV Men and Women - Outward Characterisation 203 Vaisika 1-8 Characteristic of a female messenger 9-18a Different natures of women 18b-27 Winning back a woman 28-35 The three kinds of woman 36-42 Women's youthful enjoyment 43-53 Amorous dealings of men 54-63 Ways of dealing with women 64-73 Courtesans 74-79 CHAPTER XXVI Acting - Miscellaneous 208 Citrabhinaya(1); Gestures for natural phenomena 2-8 Indicating anything pleasant or unpleasant 9-11 Gesture for garlands audible and visible objects, etc. 12-18 Gesture for numbers 19-22 Gestures for banners, memory, the past, etc. 23-26 Gesture for seasons 27-42 Natural postures of men and women 43-48 Expressing aunubhava-s of men and women 49-63 Certain stage conventions 82b-100 CHAPTER XXVII Success of the Production 213 Two kinds of siddhi (success) 1-3 Human success 4-15a Faults or mishaps in a production 18b-37 Three kinds of success 38-49 About spectators 50-62 Competitions 63-82a Time of performance 91-98 Conclusion 99-104 CHAPTER XXVIII Instrumental Music 218 Type of instrument 1-7 Gandharva music 8-20 The svara-s (21-23 and prose); Grama (24-26 and prose); Murchana-s (27-33 and prose); The tana-s (33 and Prose); The Sadharana svara (33 & 36 and prose); Jati-s 37-65 Amsa-s 66-73 The ten characteristics of jati-s 74-100 The Nyasa and Apanyasa 101-51 CHAPTER XXIX Stringed Instruments 232 Application of jati to rasa 1-16 Varna and alankara 17-22 Alankara-s 23-43 The characteristics of alankara-s 44-70 Songs and their characteristics 103-12 Dhatu-s 76a-102 Virtti-s 102-3 Three kinds of Vina playing 103-12 The karana-s of Vipanci 113-21 The bahirgita-s 122-56 CHAPTER XXX Hollow Instruments 244 Svara and sruti 1-4 Sruti-s and the placing of fingers 5-9 Svara-sadharana and kakali 10-13 CHAPTER XXXI Rules of Tala 246 Tala 1-7 Two types of tala 8-13 Capaputa 14-16 Tala of six syllables 17-25 The Caturasra Tryasra 26-34 The hand and finger movements (pata) 35-42 Udghatta tala 43-48 Method of showing tala 49-61 The asarita-s 62-73 Vardhamana (origin) 74-81 The characteristics of Vardhamana 82-87 Layantara and the three asarita-s 88-94 The limbs of the asarita 95-97 Vardhamana and Layantara 98-102 The short asarita 103-8 Mukha (Upohana) 109-12 Gana-s 113-18 Asarita concluded 119-35 Vardhamana, its limbs and their tala-s 136-45 The tala-s of the limbs 146-67 The general rules of medium and long asarita-sa 168-97 Songs and vastu 198-202 Vidari and vastu 203-4 Use of the limbs 205-6 Vrtta 207-8 Use of the Vidhari-s 209-19 Seven kinds of songs 220-45 The tala of vastu-s in songs 246-356 The Aparantaka 274-92 Uillopyaka 293-314 Prakari 315-22 Ovenaka 323-38 Rovindaka 339-49 Uttara 350-56 More details of the songs 357-89 The lasya-s 427-29 The varieties of lasya 430-79 Geyapada 435-44 Sthitapathya 445 Asinapathya 446-51 Puspagandika 452-56 Pracchedaka 457-63 Trimudhaka 463-67 Saindhavaka 467-71 Dvimudhaka 471-73 Uttamottamaka 473-67 Uktapratyukta 476-79 The importance of tala 480-83 Laya-s 484-88 Yati-s 489-93 The three pani-s 493-502 CHAPTER XXXXII The Dhruva Songs 273 The dhruva songs 2-3 The limbs of the dhruva songs 4-8 The seven limbs of the dhruva 9-18 The Avasaniki dhruva 18-23 Type of dhruva 24-30 The Nibaddha and Anibaddha pada-s 31-36 The vrtta-s of dhurva-s 37-48 Description of the vrtta-s 49-270 Distribution of the gana-s and matra-s 271-80 The gana-s of the division 281-88 The gana-mitra-s of the Druta dhruva 288-302 The Sirsaka-s 303-20 The vrtta-s of the Narkuta (ka) class 321-48 The vrtta-s for the Khanjaka 348-54 The minor dhruva-s 355-59 The five aspects of dhruva-s 360-64 The five occasions 365-70 The occasions and rasa-s of the dhruva-s 371-83 Six types of dhruva-s and their use 384-406 The subject of dhruva-s 407-21 Dhruva-s suggesting time and movement 422-31 The vrtta-s for dhruva-s 432-39 The language of dhruva-s 440-57 The procedure of dhruva song 458-70 The rules about the graha-s 471-80 About songs 481-94 The qualities of singers and instrument player 495-98 The vina player 499-500 The flute player 501-2 Performance of men and women 503-11 Varied characteristics 512-24 CHAPTER XXIII The Avanaddha Instruments 299 The Avanaddha instrument 1-3 The invention of Avanaddha instrument 4-17 Use of these instruments 18-22 Details of the instruments 23-30 The svara-s 31-35 Rules of Puskara instrument 36-39 Details of these 40 The syllable sounds in the Puskara-s 41-42 The five kind of Paniprahata-s 43 The four marga-s 44-54 The playing of the Dardura and the Panava 55-77 The combined playing of the three Puskara instruments 78-91 The karana-s of the three Puskara-s 92-93 The three yati-s 94-101 The three marjana-s 102-10 Marjana of the Vamaka and the Urdhvaka with earth 111-17 The three samyoga-s 117 The three gata-s 118-20 The eight samya-s 121-29 The eighteen jati-s 130-69 Playing of the gata-s in the dhruva-s 170-79 The order of playing 180-86 Playing of Puskara-s in dance 187-97 The twenty prakara-s 198-221 The seating of the singers and the instrument players 222-26 The performance of the purvaranga (227 and prose); Playing for walking and other movements 228-32 Playing for female characters (81, 232-35 and prose); Playing of interludes (antaravadya) 233-35 Playing for the Prasadiki and other dhruva 235-37 Udghatya 238 The concluding (prose and sloka 239-41); Special characteristics of the instruments 242-50 The qualities of hide 251-54 The preparing of the instruments 254-58 The installing of the instruments 259-84 Various details 285-301 CHAPTER XXXIV Types of Characters 330 Types of characters 1-3 Superior female characters 10-14 Two kinds of characters: external and internal 29-30 Female characters the harem 31-34 Female attendants in the harem 54-66 Qualities of servants employed in harems 66-81 External characters 82-98 CHAPTER XXXV Distribution of Roles 336 Distribution of roles 1-4 Gods, raksasa-s and kings 5-11 Amatya-s and army chief 12-13 Kancukin 14 Distribution of minor roles 15-24 Manner of entry and impersonation 24-27 Three way of impersonation 28-32 Suitability of women for roles 33-46 Two type of productions 47 Impersonation of king 57-59 Qualities of a director 65-75 Qualities of vita, sakara, jester, etc 76-83 Other members of a theatre group 88-108 CHAPTER XXXVI Descent of Drama on Earth 341 The questions of the sages 1-15 Bharata's reply 16-29 Regarding purification 30-31 How drama came to earth 32-35 The sages' curse 36-42 Nahusa' role in this 52-70 The conclusion (mangala) 71-82 APPENDICES I. A Critical Epilogue 346 II. Thoughts on the Theory of Rasa 356 III. Natyamandapa 372 IV. A Note on 'Some Details' 379