नाट्यशास्त्रम् (प्रथम भाग - अभिनवभारती एवं हिन्दी टीका सहित)

8 THE NATYASASTRA [ I. 45-

beautiful dresses and is endowed with gentle Aṅgahāras² and has Sentiments (rasa), States (bhāva)³ and action as its soul.

Creation of Apsarasas for practising the Kaiśikī Style

46-47. This Style cannot be practised properly by men except with the help of women." Then the powerful Lord (Brahman) created from his mind nymphs (apsaras) who were skillful in embellishing the drama¹, and gave them over to me [for helping me] in the performance.

Names of Apsarasas

47-50. [Their names¹ are] : Mañjukeśī, Sukeśī, Miśrakeśī, Sulocanā, Saudāminī, Devadattā, Devasenā, Manoramā, Sudatī, Sundarī, Vidagdhā, Sumālā, Santati, Sunandā, Sumukhī, Māgadhī, Arjunī, Saralā, Keralā, Dhṛti, Nandā, Supuṣkalā and Kalabhā.

Svāti and Nārada engaged to help Bharata

50-51. And by him (Brahman) Svāti¹ together with his disciples was employed to play on musical instruments, (lit. drums) and celestical musicians (gandharva) such as, Nārada¹ and others were engaged in singing songs.²

51-53. Thus after comprehending the dramatic art (nāṭya) which arose out of the Vedas and their [different] limbs, I along with my sons as well as Svāti and Nārada approached Brahman (lit. lord of the worlds) with folded palms and

---

² For aṅgahāras see NŚ. IV. 16 ff. Read mṛdvaṅgahāra for nṛttāṅga° in B. ³ For details on States see NŚ. VII.

46-47 (B. same; G. 44b-45). ¹ nāṭyālaṅkāra here may be taken also to mean nāṭyālaṅkāras mentioned in NŚ. XXIV. 4-5.

47-50 (B. 47-50a, G. 46-48). ¹ B. and G. read some of the names in a slightly different manner

50-51 (B. 50b-51a, G. 49). ¹ One Svāti has been mentioned in the Viṣṇu P. Nārada is also a well-known Purāṇic sage. He is mentioned as a musician in Bhāgavata and Vāyu P. See Vidyalankar. JK., sub voce.

² Ag. thinks gāna in this connexion means the playing of stringed instruments and flutes.

51-53 (B. 51b-53a, G. 50-51).