नाट्यशास्त्रम् (प्रथम भाग - अभिनवभारती एवं हिन्दी टीका सहित)

402 THE NATYASASTRA [ XXI. 11-

for the purpose of 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 perfect gestures¹ and Aṅgahāras² severely fought these two Daityas who were experts in the method of battle.

11. At that time Hari's pacing with the Sthānakas¹ on the ground created a great bhāra (burden) on the earth (bhūmi); the bhāratī vṛtti (Verbal Style) was built on that (bhāra)².

The 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 full of much sattva (strength) the sāttvatī vṛtti (Grand Style) was made¹.

The origin of the Graceful Style

13. When [in course of fighting] the god moved sportively with various Aṅgahāras and tied up his śikhā (keśa?) the kaiśikī vṛtti (Graceful Style) was made¹.

The origin of the Energetic Style

14. Then from the various personal combats which were full of energy and excitement, and which entailed various Cāris the Energetic (ārabhaṭī vṛtti) was made¹.

15. Whatever acts the god Brahman observed as arising out of the different Styles (vṛtti), were associated¹ by him (Druhiṇa = Brahman) with words suitable to their meaning.

16. When the two Asuras Madhu and Kaiṭabha were killed by Hari (Viṣṇu) Brahman spoke to him (Nārāyaṇa = Viṣṇu) who was the subduer of foes (arindama).

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¹ aṅgaiḥ here means āṅgikaiḥ and aṅgahāraiḥ.
² See NŚ. IV.19-27, 170ff.
11 (C.11; K. XX.11). ¹ See NŚ. XI. 49ff.
² This is a clear instance of folk-etymology and does not really explain the origin of this Style. It possibly comes from the Bharata tribe; see NŚ. I. 41 f.n.
12 (C.12; K.XX.12). ¹ See above 11 note 2.
13 (C.13; K.XX.13). ¹ See above 11 note 2.
14 (C.14; K.XX.14). ¹ See above 11 note 2.
15 (C.15; XX.K.15). ¹ Emend pratyapūjayat into pratyayojayat.
16 (C. 16; K.XX.16).