नाट्यशास्त्रम् (प्रथम भाग - अभिनवभारती एवं हिन्दी टीका सहित)

-I. 45 ] THE ORIGN OF DRAMA 7

Jāla, Bhyānaka, Bibhatsa, Vicakṣaṇa, Puṇḍrākṣa, Puṇḍranāsa, Asita, Sita, Vidyujjihva, Mahājihva, Śālaṅkāyana, Śyāmāyana, Māṭhara Lohitāṅga, Saṁvartaka, Pañcaśikha, Triśikha, Śikha, Śaṅkhavarṇamukha, Ṣaṇḍa, Śaṅkukarṇa, Śakranemi, Gabhasti, Aṁśumāli, Śaṭha, Vidyut, Śātajaṅgha, Raudra and Vīra.

39-40. [Thus] at the command of Brahman and for the benefit of the people I assigned to my sons different roles suitable to, them¹.

Performance begins with three Styles.

41. O Brahmins, I then prepared to give a performance (prayoga) in which was adopted dramatic Styles (vṛtti) such as the Verbal (bhāratī)¹, the Grand (sāttvatī), and the Energetic (ārabhaṭī).

Need of the Kaiśikī Style

42-43. ¹I [then went² to Brahman and] after bowing, informed him [of my work]. Now Brahman (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 materials necessary for putting the Graceful (kaiśikī) Style into practice. At the time of Nīlakaṇṭha's¹ (Śiva) dance I have seen his Graceful Style appropriate to the Erotic Sentiment, and this requires

---

39-40 (B. same ; G. 39). ¹ G. reads 39b differently.

41 (B. same ; G. 40). ¹ The four Styles probably related to four tribes such as Bharata, Sāttvata, Keśika and Ārabhaṭa. Among these Bharata and Sāttvata are wellknown. The remaining two names might have been lost.

42-43 (B. same ; G. 41). ¹ G om. 42a.

² pragṛhya (=embracing) has been taken to mean 'going to'.

43-45 (B. same ; G. 42-44a). ¹ Śiva is India's traditional god of dance. See M. Ghosh (ed.) Abhinayadarpaṇa, Calcutta, 1934, English Translation, p. 1.