नाट्यशास्त्रम् (प्रथम भाग - अभिनवभारती एवं हिन्दी टीका सहित)

104 THE NATYASASTRA [ VI. 26-

The four Local Usages

25-26. Āvanti, Dākṣiṇātyā, Oḍramāgadhī and Pañcāla-madhyamā are the four Local Usages (pravṛtti)¹ in a dramatic performance.

The Success

The Success² in the dramatic performance is of two kinds : divine (daivikī) and human (mānuṣī).

The Notes

27-29. And [musical] notes such as, Ṣaḍja, Ṛṣabha etc. are seven¹ in number, and they fall into two groups : human (śārīrā lit. from body) and instrumental (vaiṇavā lit. from the Vīṇā).¹

The four kinds of musical instruments

The musical instruments are of four kinds² : stringed (tata) covered (avanaddha), solid (ghana), and hollow (suṣira). Among these, the stringed (tata) means an instrument with strings, the covered (avanaddha) means a drum, the solid (ghana) a cymbal and the hollow (suṣira) a flute.

The five kinds of Dhruvās

29-30. Songs which relate to Dhruvās are of five kinds¹ :

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25-26 (B.26b-27a, G 25b-26a). ¹ pravṛtti—Haas translates this word as 'Local Characteristics', (See DR , p 74). The five geographical names (Avanti, Dākṣiṇātya, Oḍra, Magadhī and Pañcāla) probably show that these were the parts of India where dramatic show was current at the time when tradition recorded in this NŚ, arose. Omission of the north-eastern part of India, including Bengal and Assam, probably shows that at that time these places were still in many respects outside the pale of Aryanized India. And the omission of the north-western India from this list may be explained on the assumption that it being on the way of the new immigrants who frequently poured into this country the formation of any established usage was difficult. For details about pravṛttis see NŚ. XIV. 36-56.
² siddhi (success)—For details about the Success see NŚ. XXVII. 1 ff.
27-29 (B.28a-30, G.27b-29). ¹ See NŚ. (C.) XXVIII. 19, 11.
² See NŚ. (C.) XXVIII. 1-2.
29-30 (B.31-33a, G.30-31a). ¹ See NŚ. (C.) XXXII. 334-352.