नाट्यशास्त्रम् (प्रथम भाग - अभिनवभारती एवं हिन्दी टीका सहित)

.III. 21 ] PUJA TO THE GODS OF THE STAGE 35

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 Pūrvabhādra-padā (Alpha-Pegasi) or Āśleṣā (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 Ācamana¹ and cause the gods to be installed.

18. [Along with these gods] should be [taken] red thread-bangle (pratisarā)¹, the best kind of red sandal, red flowers and red fruits. [With these and] articles such as barley, white mustard, sunned rice, Nāgapuṣpa² powder and husked saffron (priyaṅgu)³, the gods should be installed.

The Maṇḍala for installing the gods

20. In this ceremony one should draw in proper place a Maṇḍala¹ according to the manner prescribed.

21. This maṇḍala should be sixteen Tālas (hasta)¹ square and it should have doors on all its four sides.

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16 (B.17, G.17).
17 (B.18, G.18). ¹ ācamana—ceremonial rinsing of the mouth by sipping water from the palm of the hand.
18-20 (B.19-21a. G.19-21a).
¹ pratisarā—sūtra-vinirmitā granthi-mantaḥ kaṅkaṇaviśeṣaḥ, Ag. (I. p. 74).
² nāgapuṣpa=the campaka tree (Apte), but Ag. says nāgapuṣpaṁ nāgadantaḥ.
³ priyaṅgu=saffron, and not the fruit of the priyāṅgu creeper.
20 (B.21b-G.21b). ¹ See the diagram 1.
21 (B.22-G22). ¹ hasta in this passage is to be interpreted as