CHAPTER TWO

DESCRIPTION OF THE PLAYHOUSE

• Introduction

1-2 On hearing Bharata's words, the sages said, “O the holy one, we would like the hear about the ceremony relating to the stage.¹ And how are the men of future to offer Pūjā in the playhouse or [to know about] the practices related to it, or its accurate description ?

3. As the production of a drama begins with the playhouse, you should [first of all] give us its description.”

The three types of the playhouse

4. On hearing these words of the sages, Bharata said, “Listen, O sages, about the description of a playhouse¹ and of the Pūjā to be offered in this connexion.

5-6.¹ Creations of gods [observed] in houses and gardens².

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1-2 (B.G. same). ¹ raṅga here means 'the stage.' It may also mean the auditorium as well as the spectators sitting there. So Kālidāsa writes : अहो रागबद्धचित्तवृत्तिरालिखित इव सर्वतो रङ्ग : Śak. I. 4. 2. 3 (B.G. same)

4 (B.G. same). ¹. Except the cave (c. 200 B.C.) in the Ramgarh hill suspected by Th. Bloch (Report of the Archaeological Survey of India, 1903-4, pp.123 ff) to have been the remains of a theatre, there is no other evidence of the existence of a playhouse in ancient India. From the description of the playhouse in the present chapter we learn that it was constructed with brick walls and wooden posts probably with a thatched bungalow roof The samgīdaśālā ( samgītaśālā) mentioned by Kālidāsa in his Mālavi. was possibly something like a playhouse (nāṭyamaṇḍapa). Large open halls called nāt-mandir often found in front of more recently built temples in Bengal and the neighbouring provinces may be connected with the extinct playhouses. This nāt-mandir or nāt-śālā is often met with in the medieval Bengali literature.

5-6 (B.G. same). ¹. Between the two hemistichs of 5, B. reads one more hemistich.

². This is the reason why no description of a playhouse suitable for the gods has been given in the NŚ.

-II. 11 ] DESCRIPTION OF THE PLAYHOUSE 19

are the outcome of their [mere] will but men's [creative] activity should be carefully guided by rules [laid down in the Śāstras]. Hence, listen about the method of building a playhouse and of the manner of offering Pūjā at the site [of its construction].

7-8. There are three types of playhouses devised by the wise Viśvakarman [the heavenly architecht] in the treatise on his art (śāstra). They are oblong (vikṛṣṭa),² square (caturasra) and triangular (tryasra).

The three sizes of the playhouse

8-11. Their sizes vary : they may be large (jyeṣṭha), middle-sized (madhya) and small (avara). The length (lit. measurement) of these [three types] fixed in terms of cubits as well as Daṇḍas, is one hundred and eight, sixtyfour or thirtytwo. They² should [respectively] have [sides] one hundred and eight, sixtyfour and thirtytwo [cubits or Daṇḍas]³ long. The large playhouse is meant for gods⁴ and the middle-sized one for kings, while for the rest of people, has been prescribed the smallest [theatre].⁵

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7-8 (B.G. same).

8-11 (B.G. same). ¹ Some are for identifying the oblong, the square and the triangular types respectively with the large, the middle-sized and the small playhouses, but Ag. very rightly objects to this. He says. According एतान्येव त्रीणि ज्येष्ठादीनि इति केचित् अन्ये तु प्रत्येकं त्रित्व मिति नवैतेऽत्र भेदा इत्याहुः—एतदेव युक्तम् to Ag's view there will be the following nine types of playhouses : (i) large oblong (ii) large square, (iii) large triangular, (iv) oblong (v) medium square, (vi) medium triangular, (vii) small oblong, (viii) small square and (xi) small triangular. For a free translation of the passages in this chapter (8, 17, 19, 24-28, 33-35, 43-53, 63,68, 69-92) relating to the construction of the playhouse see D. R. Mankad, "Hindu Theatre" in IHQ. VIII. 1932. pp. 482 ff.

² They i. e. the large, the middle-sized and the small.

³ As the measurements described are both in terms of cubits and daṇḍas (4 cubits), eighteen kinds of playhouse will be available.

⁴ Ag (I. p.51) thinks that by gods, kings and other peoples mentioned in this passage characters in a play have been meant. But this view does not seem to be plausible. So the other view, mentioned by him, which takes gods and kings etc. as spectators may be accepted.

⁵ After this, B. reads three couplets which go rightly between 20 and 24. G. also holds the same view.

20 THE NĀṬYAŚĀSTRA [ II. 12-

The table of measurement

12-16. Listen now about the measurement of all these theatres, which has been fixed by Viśvakarman. Units of these measurements¹ are: Aṇu, Raja, Bāla, Likṣā, Yūkā, Yava, Aṅgula, cubit (hasta) and Daṇḍa.

8 Aṇus	=	1 Raja
8 Rajas	=	1 Bāla
8 Bālas	=	1 Likṣā
8 Likṣās	=	1 Yūkā
8 Yūkas	=	1 Yava
8 Yavas	=	1 Aṅgula
24 Aṅgulas	=	1 cubit
4 cubits	=	1 Daṇḍa.

With the preceding table of measurement I shall describe them (i.e. the different classes of playhouses).

The playhouse for mortals

17. An [oblong] playhouse meant for mortals¹ should be made sixtyfour cubits in length and thirtytwo cubits in breadth.

Disadvantage of a too big playhouse

18-19. No one should build a playhouse bigger than the above; for a play [produced] in it (i.e. a bigger house) will not be properly expressive. For anything recited or uttered in too big a playhouse will be losing euphony due to enunciated syllables being indistinct¹ [to spectators not sitting sufficiently close to the stage].

20. [Besides this] when the playhouse is very big, the expression in the face [of actors] on which rests the Representation

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12-16 (B. 15-19, G. same). ¹. The table of measurement given here agrees substantially with the one given in the Arthaśāstra of Kauṭilya (see IHQ. VIII. p. 482 footnote).

17 (B. 20, G. same). ¹ A medium oblong playhouse is meant here. It is described in detail later on. See 33-38, 43-45, 63-65 below.

18-19 (B. 21-22, G. same). ¹ anabhivyakta-varṇatvād. B. reads aniḥsaraṇa-dharmatvād. In spite of Ag's acceptance of this reading it may not be considered genuine.

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22 THE NATYASASTRA [ 1. 28-

27-28. Under the asterism Puṣyā (Cancri) he should spread [for measurement] a piece of white string which may be made of cotton, wool, Muñjā grass or bark of some tree.

Taking up the string

28-31. Wise people should prepare for this purpose a string which is not liable to break. When the string is broken into two [pieces] the patron¹ [of the dramatic spectacle] will surely die. When it is broken into three a political disorder will occur in the land, and it being broken into four pièces the master of the dramatic art² will perish, while if the string slips out of the hand some other kind of loss will be the result. Hence it is desired that the string should always be taken and held with [great] care. Besides this the measurement of ground for the playhouse should be carefully made.

32-33. And at a favourable moment which occurs in a (happy) Tithi¹ during its good part (su-karaṇa)² he should get the auspicious day declared after the Brahmins have been satisfied [with gifts]. Then he should spread the string after sprinkling on it the propitiating water.³

The ground plan of the playhouse

33-35. Afterwards he should measure a plot of land sixty-four cubits [long]¹ and divide the same [lengthwise] into two [equal] parts. The part which will be behind him (i.e. at his back) will have to be divided again into two equal halves. Of these halves one [behind him] should be again divided equally into two parts, one of which will be made the stage (raṅga-śīrṣa) and the part at back the tiring room (nepathya).

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27-28 (B. 33b-34a, G. 30b-31a).

28-31 (B. 34b-37, G. 31b-34). ¹ svāminaḥ = prekṣāpateḥ. Ag.
² prayoktur = nāṭyācāryasya. (Ag.)

32-33 (B. 38-39a, G. 35). ¹ tithi—a lunar day.
² karaṇa—a half of a lunar day, see below 43-45 note.
³ G. omits 33a.

33-35 (B. 39b-41a, G. 36-37). ¹ See 17 above and the note 1 on it.

-II. 41 ] DESCRIPTION OF THE PLAYHOUSE 23

The ceremony of laying the foundation

35-37. Having divided the plot of land according to rules laid down before, he should lay in it the foundation of the playhouse. And during this ceremony [of laying the foundation] all the musical instruments such as, conchshell, Dundubhi¹, Mṛdaṅga², and Paṇava³ should be sounded.

37-38. And from the places for the ceremony, undesirable persons such as heretics, including Śramaṇas¹, men in dark red (kāṣāya)² robes as well as men with physical defects, should be turned out.

38-39. At night, offerings should be made in all the ten directions [to various gods guarding them] and these offerings should consist of sweet scent, flowers, fruits and etables of various other kinds.

39-41. The food-stuff offered in the four [cardinal] directions east, west, south and north, should respectively be of white, blue, yellow and red colour. Offerings preceded by [the muttering .

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35-37 (B.41b-43a, G.38-49). ¹ dundubhi—a kind of drum.
² mṛdaṅga—a kind of earthen drum.
³ paṇava—a small drum or tabor.

37-38 (B.43b-44a, G.40). ¹ pāṣaṇḍa.—This word has a very curious history. Derived originaly from pārṣada (meaning 'assembly' or 'community') its Pkt from was *passada or *passaḍa or pāsaḍa. The form pāsaḍa with spontaneous nasalization of the second vowel gave rise to Aśokan pasaṃḍa (Seventh Pillar Edict, Delhi-Topra), which is the basis of Skt. pāṣaṇḍa in the sense of 'heretic'. It may be mentioned here that in Aśokan Pkt. the word meant simply a 'community' and not a 'heretical community'. One of the very early indications of disfavour to heretics is to be found in the fourth book (ch. 18) of the Viṣṇu P. See Winternitz, Vol. I. p. 551.
² B. reads śramiṇa, but G. śramaṇa, the word means Jain monks. See NŚ. XVIII. 36 note 2.
³ kāṣāya-vasana—men in kāṣāya or robe of dark red colour ; such people being Buddhist monks who accepted the vow of celebacy, were considered an evil omen, for they symbolised unproductivity and want of wordly success etc. See also NŚ. XVIII, 36 note 2.

38-39 (B.44b-45a, G.41)      39-41 (B.45b-47a, G.42-43)

24	THE NATYASASTRA	[ II. 41

of] Mantras should be made in [all the ten] different directions to deities presiding over them.

• 41-42. At [the time of laying] the foundation ghee¹ and Pāyasa² should be offered to Brahmins, Madhuparka³ to the king, and rice with molasses (guda) to masters [of dramatic art].

42-43. The foundation should be laid during the auspicious part of a happy Tithi under the asterism Mūlā (Lambda-Scorpionis).

Raising pillars of the playhouse

43-45. After it has been laid, walls should be built and these having been completed, pillars within the playhouse should be raised in an [auspicious] Tithi and Karaṇa which are under a good asterism. This [raising of pillars] ought to be made under the asterism Rohiṇī (Aldebaran) or Śravaṇā (Aquillae) [which are considered auspicious for the purpose].

45-46. The master [of dramatic art], after he has fasted for three [days and] nights, is to raise the pillars in an auspicious moment at dawn.

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41-42 (B.47b-48a, G.44). ¹ ghee—clarified butter.

² pāyasa—rice cooked in milk with sugar. It is a kind of rice-porridge.

³ madhuparka—‘a mixture of honey’ ; a respectful offering prescribed to be made to an honourable person in Vedic times, and this custom still lingers in ceremonies like marriage. Its ingredients are five : curd (dadhi) ghee (sarpis), water (jala), honey (kṣaudra) and white sugar (sitā).

42-43 (B.48b-49a, G.45).

43-45 (B.49b-51a, G.45-47). ¹ karaṇa—half of the lunar day (tithi). They are eleven in number viz.—(1) vava, (2) vālava, (3) kaulava, (4) taitila, (5) gara, (6) vaṇija, (7) viṣṭi, (8) śakuni, (9) catuṣpada, (10) nāga and (11) kintughna, and of these the first seven are counted from the second half of the first day of the śukla-pakṣa (bright half of the moon) to the first half of the fourteenth day of the kṛṣṇa-pakṣa (dark half of the moon). They occur eight times in a month. The remaining karaṇas occur in the remaining duration of tithis and appear only once in a month. See Sūryasiddhānta—II. 67-68.

45-46 (B.51b-52a, G.48).

-II. 57 ] DESCRIPTION OF THE PLAYHOUSE 25

46-50. ¹In the beginning, the ceremony in connexion with the Brahmin pillar should be performed with completely white,² articles purified with ghee and mustard seed, and in this ceremony Pāyasa should be distributed [to Brahmins]. In case of the Kṣatriya pillar, the ceremony should be performed with cloth, garland and unguent which should all be of red³ colour, and during the ceremony rice mixed with molasses (guḍa) should be given to the twice-born caste. The Vaiśya pillar should be raised in the north-western direction of the playhouse and [at the ceremony of its raising] completely yellow⁴ articles should be used and Brahmins should be given rice with ghee. And in case of the Śūdra pillar, which is to be raised in the north-eastern direction, articles used in offering should all be of blue⁵ colour, and the twice-born caste should be fed with Kṛsarā.

50-53. First of all, in case of the Brahmin pillar, white garlands and unguent as well as gold from an ear-ornament should be thrown at its foot, while copper, silver and iron are respectively to be thrown at the feet of the Kṣatriya, Vaiśya and Śūdra pillars. Besides this, gold should be thrown at the feet of the rest [of pillars].

53-54. The placing of pillars should be preceded by the display of garlands of [green] leaves [of mango trees around them], and the utterance of 'Let it be well' (svasti) and 'Let this be an auspicious day' (puṇyāha).

54-57. After pleasing the Brahmins with considerable (analpa) gift of jewels, cows and cloths, pillars should be raised

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46-50 (B.52b-56a, G.50-53). ¹ before 46, G. reads on the strength of a single ms. one couplet as follows :—चन्दनं च मनेद् ब्राह्मं चार्तं खादिरमेव च । पलाशं वैश्यवर्णं स्याच् छूद्रं सर्वद्रुमैः कृतम् ॥ This interpolation seems to record the tradition that the pillars should be considered as wooden.

² white—symbol of purity and learning, associated with the Brahmins.

³ red—symbol of energy and strength, associated with the Kṣatriyas.

⁴ yellow—symbol of wealth (gold) associated with the Vaiśyas.

⁵ blue—symbol of non-Aryan origin associated with the Śūdras.

50-53 (B.56b-58a, G.54-56). 53-54 (B.59b-60a, G.57) ·

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-II, 68] DESCRIPTION OF THE PLAYHOUSE 27

and its plinth should be a cubit and a half high². And the plinth of the auditorium (raṅgamaṇḍala)³ should be equal in height to that of the two [Mattavāraṇīs].

65-67. At the time of building them (the two Mattavāraṇīs) garlands, incense, sweet scent, cloths of different colours as well as offerings agreeable to [Bhūtas] should be offered [to them].

And to ensure the good condition of the pillars, one should put a piece of iron below them, and Brahmins should be given food including Kṛsarā. The Mattavāraṇīs should be built up after observing all these rules.

The stage

68. Then one should construct the stage (raṅgapīṭha)¹

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mattavāraṇaḥ (see Oka's ed. p. 50). This is however not clear. Matta-vāraṇayor varaṇḍaka mentioned in Subandhu's Vāsavadattā (ed. Jivananda, p. 33) is probably connected with this word. Śivarāma Tripāṭhī explains these words as follows : मत्तवारणौ मत्तगजौ तयोर्वरण्डकेण। भित्तेरुभयपार्श्वे द्वौ स्थापयित्वा मत्तगजौ। योधयन्तीति प्रसिद्धं भित्ति सा तु वरण्डकम्॥ This also does not give any clear idea about mattavāraṇa or mattavāraṇayor varaṇḍaka. But the word mattavāraṇī may be tentatively taken in the sense of 'a side-room.' Ag. seems to have no clear idea about it. On this he (I. pp. 64-65) says : मत्तवारणी बहिर्निर्गमनप्रमाणेन सर्वतो द्वितीय-भित्तिनिर्देशम् देव प्रासादाद्वारिका ( ०दाहालिका ? ) प्रदर्शणीसदृशी द्वितीयभूमिरित्यन्ये. A Dictionary of Hindu Architecture, by (P. K. Acharya Allahabad, 1927) does not give us any light on this term.

² According to a view expressed in the Ag. (I. p. 62) the plinth of the mattavāraṇī is a cubit and a half higher than that of the stage—इसमानोऽथ यथा रङ्गपीठापेक्षया सार्धहस्तपरिमाण उच्छ्रायः कार्यो मत्तवारण्याः. The plinth of the auditorium is also to be of the same height as that of the mattavāraṇī. But nothing has been said about the height of the plinth of the tiring room. From the use of terms like raṅgāvataraṇa (descending into the stage) it would appear that the plinth of the tiring room too, was higher than the stage. Weber however considered that the stage was higher. Indische Studien XIV. p. 225 Keith, Skt. Drama, p. 360. cf. Lévi, Théâtre indien, i. 374, ii. 62.

³ B. reads raṅgamaṇḍapam instead of raṅgamaṇḍalam (G) which is the correct reading. 65-67 (B.71b-73, 69-71a)

68 (B.74, G.71b-72a). ¹ Some scholars following Ag, are in favour of taking and raṅgapīṭha raṅgaśīrṣa as two different parts of the play-house (see D.R. Mankad, "Hindu Theatre" in IHQ. VIII. 1932, pp. 480 ff.

28 THE NATYASASTRA [ II. 68-

after due performance of all the acts prescribed by rules, and the stage (raṅgaśīrṣa) should include six pieces of wood.

69-71. The tiring room (nepathya) should be furnished with two doors¹. In filling up [the ground marked for the stage] the black earth should be used with great care. This earth is to be made free from stone chips, gravel and grass by the use of a plough to which are to be yoked two white draught animals. Those who will do [the ploughing] work should be free from physical defects of all kinds. And the earth should be carried in new baskets by persons free from defective limbs.

72-74. Thus one should carefully construct the plinth of the stage (raṅgaśīrṣa)¹. It must not be [convex] like the back of a tortoise or that of a fish. For a stage (raṅgapīṭha) the ground which is as level as the surface of a mirror, is commendable. Jewels and precious stones should be laid underneath this (raṅgaśīrṣa) by expert builders. Diamond is to be put in the east, lapis lazuli in the south, quartz in the west and coral in the north, and in the centre gold.

Decorative work in the stage

75-80. The plinth of the stage having been constructed thus, one should start the wood-work which is based on a carefully thought out (ūha-pratyūha-saṃyukta)¹ [plan], with many artistic

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and IX. 1933. pp. 973 ff. ; V. Raghavan, "Theatre Architecture in Ancient India" Triveni IV-VI, (1931, 1933) also "Hindu Theatre", IHQ. IX. 1933. pp. 991 ff. I am unable to agree with them. For my arguments on this point see "The Hindu Theatre" in IHQ. IX. 1933 pp. 591 ff. and 'The NŚ' and the Abhinavabhāratī" in IHQ. X. 1934 pp. 161 ff.

69-71 (B.75-77, G.72b-75a). ¹ On this point the Hindu Theatre has a similarity with the Chinese theatre. (See A.K. Coomaraswamy—"Hindu Theatre" in IHQ. IX. 1933. p. 594).

72-74 (B. 78-80, G.75b-78a). ¹ See note 1 on 68. If raṅgaśīrṣa and raṅgapīṭha are taken to mean two different parts of the playhouse the interpretation of the passage will lead us to unnecessary difficulty.

75-80 (B.80-86a, G.78b-83). ¹ ūha and pratyūha may also be taken as two architectural terms (see Ag. I. p. 63).

.II. 82 ] DESCRIPTION OF THE PLAYHOUSE 29

pieces such as decorative designs, carved figures of elephants, tigers and snakes. Many wooden statues also should be set up there, and this wood-work [should] include Niryūhas², variously placed mechanized latticed windows, rows (dhāraṇī) of good seats, numerous dove-cots and pillars raised in different parts of the floor³. And the wood-work having been finished, the builders should set out to finish the walls. No pillar, bracket⁴, window, corner or door should face a door⁵.

80-82. The playhouse should be made like a mountain cavern¹ and it should have two floors² [on two different levels] and small windows ; And it should be free from wind and should have good acoustic quality. For [in such a playhouse] made free from the interference of wind, voice of actors and singers as

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² niryūha is evidently an architectural term but it does not seem to have been explained clearly in any extant work. Ag's explanation does not give us any light.

³ In the absence of a more detailed description of the different parts of the wood-work, it is not possible to have a clear idea of them. Hence our knowledge of the passage remains incomplete till such a description is available in some authentic work.

⁴ nāgadanta means 'a bracket'. The word occurs in Vātsyāyana's Kāmasūtra. nāgadantāvasaktā vīṇā (I. 5.4)

⁵ On this passage Ag. (I. p. 64) says : प्रतिद्वारम् अवान्तरद्वारेण विद्धं परस्परसम्मुखी-भूतमग्र्यं न कुर्यात्.

80-82 (B. 86b, 89a, G. 84-85). ¹ The pillars of the playhouse being of wood, the roof was in all probability thatched and in the form of a pyramid with four sides. Probably that was to give it the semblance of a mountain cavern.

² The two floors mentioned here seem to refer to floors of different heights which the auditorium, mattavāraṇī and the stage had. See 63-65 above and note 2 on it. According to some old commentators dvirbhūmi indicated a two-storied playhouse while others were against such a suggestion. Ag. (I. p. 64) says : द्वे भूमी रङ्गपीठच्छाद्यमन्तरीपरितनकल्पेनेति कश्चित्। मत्तवारणीबहिर्निर्गमनप्रयत्नेन सर्वतो द्वितीयाभित्तिनिवेशेन देवप्रासादाद्वारिका (?) प्रदर्शिकौशङ्क्यो द्वितीया भूमिरित्यन्ये। उपरि मण्डपान्तरनिवेशनादित्यपरे। षड्भूमिरित्यन्ये.

30 THE NATYASASTRA [ II. 82-

well as the sound of musical instruments³ will be distinctly heard⁴.

82-85. The construction of walls being finished, they should be plastered and carefully white-washed. After they have been smeared [with plaster and lime], made perfectly clean and beautifully plain, painting should be executed on them. In this painting should be depicted creepers, men, women, and their amorous exploits¹. Thus the architect should construct a play-house of the oblong (vikṛṣṭa) type.

Description of a square playhouse

86-92. Now I shall speak of the characteristics of that of the square (caturasra)¹ type. A plot of land, thirtytwo cubits in length and breadth, is to be measured out in an auspicious moment, and on it the playhouse should be erected by experts in dramatic art. Rules, definitions and propitiatory ceremonies mentioned before [in case of a playhouse of the oblong type] will also apply in case of that of the square type. It should be made perfectly square and divided into requisite parts² by holding the string [of measurement], and its outer walls should be made with strong bricks very thickly set together. And inside the stage and in proper directions [the architect] should raise ten

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³ kutapa—This word is explained by Ag. differently in different parts of his comm. Once (I. p. 73) he says कुतपमिति चतुर्विधातोद्यभाण्डानि and next time too (I. p. 186) he says चतुर्विधमातोद्यं कुतपं, but in another place (I. p. 65) he say कुतपः संफेट-गायनवादक समूहः and this latter view seems to have been repeated in I. p. 214. The first view seems to give the correct interpretation.

⁴ After B.87 B. repeats 19 (B22) unnecessarily.

82-85 (B.89b-92, G.86-89a). ¹ ātmabhogajam literally means 'due to self-indulgence or enjoyment of the self'. Compare with this description the decorative paintings in the Ajanta caves.

86-92 (B.93-99a, G. 89b-95). ¹ caturasra gives rise to NIA. cauras or coras.

² The exact nature of this division is not clear from the passage. The view expressed by Ag. (I. p. 66) on this point does not seem to be convincing.

-II. 100 ] DESCRIPTION OF THE PLAYHOUSE 31

pillars³ capable of supporting the roof. Outside the pillars, seats should be constructed in the form of a staircase by means of bricks and wood, for the accommodation of the spectators. Successive rows of seats should be made one cubit higher than those preceding them, and the lowest row of seats being one cubit higher than the floor. And all these seats should overlook the stage.

92-95. In the interior of the playhouse six more strong pillars capable of supporting the roof should be raised in suitable positions and with [proper] ceremonies (i.e. with those mentioned before). And in addition to these, eight more pillars should be raised by their side. Then after raising [for the stage or rangapīṭha] a plinth eight cubit [square, more] pillars should be raised to support the roof of the playhouse. These [pillars] should be fixed to the roof by proper fasteners, and be decorated with figurines of 'woman-with-a-tree' (śālastrī = śālabhañjikā).

95-100. After all these have been made, one should carefully construct the tiring room (nepathya). It should have one door leading to the stage through which persons should enter with their face towards [the spectators]. There should also be a second door facing the auditorium (raṅga). The stage [of the square playhouse] should be eight cubits in length and in breadth. It should be furnished with an elevated plinth with plain surface, and its Mattavāraṇī should be made according to the measurement prescribed before (i.e. in case of the oblong type of

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³ The position of these ten pillars and others mentioned afterwards is not clear from the text. Whatever is written on this point in Ag's commentary is equally difficult to understand. Those who are interested in the alleged view of Ag. may be referred to articles of D. R. Mankad and V. Raghavan (loc. cit.).

92-95 (B.99b-102a, G.96-98). ¹ śālastrī = śāla-bhañjikā (see A. K. Coomaraswamy, 'The Women and tree or śālabhañjikā in Indian literature in Acta Orientalia, vol. VII. also cf. this author's Yakṣas, Part II. p. 11.)

95-100 (B.102b-107 G.99-104). ¹ Both the sides are meant. There should be two mattavāraṇīs as in the case of an oblong medium, (vikṛṣṭa-madhya) playhouse described before (17, 32-35).

32 THE NATYASASTRA [ I. 100-

playhouse). The Mattavāraṇī should be made with four pillars by the side¹ of the plinth [mentioned above]. The stage should be either more elevated than this plinth or equal to it in height. In case of a playhouse of the oblong (vikṛṣṭa) type, it should be higher than the stage, whereas in a playhouse of the square type it should have a height equal to that of the stage. These are the rules according to which a square type playhouse is to be built.

Description of a triangular playhouse

101-104. Now I shall speak about the characteristics of the triangular (tryasra) type of playhouse. By the builders, a playhouse with three corners should be built, and the stage (raṅgapīṭha) in it also should be made triangular. In one corner of the playhouse there should be a door, and a second door should be made at the back of the stage (raṅgapīṭha). Rules regarding walls and pillars¹ which hold good in case of a playhouse of the square type, will be applicable in case of the triangular type². These are the rules according to which different types of playhouses are to be constructed by the learned. Next I shall describe to you the [propitiatory] Pūjā in this connexion.

Here ends Chapter II of Bharata's Nāṭyaśāstra which treats of the Characteristics of a Playhouse.

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101-104 (B.108-111, G.104b-108). ¹ It is not clear how the triangular playhouse will have pillars like those of other types.

² No mattavāraṇī has been prescribed in case of the triangular playhouse.

CHAPTER THREE

PUJĀ TO THE GODS OF THE STAGE

Consecration of the playhouse

1-8. In the auspicious playhouse constructed with all the characteristics [mentioned above] cows, and Brahmins muttering [proper Mantras] should be made to dwell for a week. Then the master of the dramatic art who has been initiated [for the purpose] and has put on new cloths, fasted for three days, lived away from his bed-room (lit. the dwelling house), has kept his senses under control and has [thus] become purified, will besprinkle his limbs with water over which purificatory Mantras have been muttered, and consecrate the playhouse. This [consecration] should take place after he has made obeisance to the great god Śiva the lord of all the regions, Brahman who sprung from the lotus, Bṛhaspati the preceptor of the gods, Viṣṇu, Kārtikeya, Sarasvatī, Lakṣmī, Siddhi, Medhā, Smṛti, Mati, Candra (Moon), Sūrya (Sun), Winds, Guardians of all directions, Aśvins, Mitra, Agni, and other gods, such as Rudra, Varṇas¹, Kāla², Kali³, Yama, Niyati, the Sceptre of Yama⁴, Weapons of Viṣṇu⁵, the Lord of the Nāgas (Serpents), the Lord of the birds (Garuḍa), Thunderbolt, Lightning, Seas, Gandharvas, Apsarasas, Sages, Nāṭya-maids⁶, Mahāgrāmaṇī (the great leader of Gaṇas)⁷, Yakṣas, Guhyakas⁸ and the hosts of Bhūtas.

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1-8 (B.1-7, 9. G.1-7, 9). ¹ varṇas—No gods called varṇas are to be met with in any other work. They may be taken as deities ruling specially over the four varṇas of people.

² Kāla—There are several legendary heroes (gods, sages and Asuras) of this name, see Vidyalankar, JK. sub voce.

³ Kali—There are many legendary heroes of this name, see JK. sub voce.

⁴ See note 5 below.

⁵ Weapons of Viṣṇu appear as deities in the Act I of Bhāsa’s Bāla.

⁶ nāṭyakumārī—Such goddesses are possibly mentioned nowhere else.

⁷ mahāgrāmaṇī—The great leader of Gaṇas. It is very difficult to accept Ag’s identification of mahāgrāmaṇī with Gaṇapati (mahāgrāmaṇīr gaṇapatiḥ). For in 58 below, occurs the term mahāgaṇeśvara

⁸

34 THE NATYASASTRA [ III. 9-

9-10. Having made obeisance to these, and other divine sages (devarṣi), he should with folded palms invoke all the gods to their respective positions, and say, “Ye, holy ones, should take us under your protection during the night, and ye with your followers should offer us assistance in this dramatic performance”.

Offering Pūjā to the Jarjara

11-13. Having worshipped [thus] all the gods as well as all the musical instruments (kutapa)$^1$ he should offer Pūjā to the Jarjara$^2$ for attaining good success at the performance [and pray to it as follows]. “Thou art Indra’s weapon killing all the demons ; thou hast been fashioned by all the gods, and thou art capable of destroying all the obstacles ; bring victory to the king and defeat to his enemies, welfare to cows and Brahmins and progress to dramatic undertakings”.

14-15. After proceeding thus according to rules and staying in the playhouse for the night, he (the master of the dramatic art)

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(in the plural number) indicating the different leaders of Gaṇas who followed Śiva. One of such leaders has been mentioned there as Nandīśvara (Nandin). Besides this the term Gaṇeśa (the leader of Gaṇas) has also been applied to Śiva in 47 below. In describing piṇḍībandhas the piṇḍī of Gaṇeśvara has been named as dakṣayajña-vimardinī (NŚ. IV. 260). This too shows that gaṇeśvara, grāmaṇī or mahāgrāmaṇī meant simply the leader, one of the leaders or the great leader of Gaṇas. The fully developed Gaṇapati seems to be non-existent at the time when the NŚ. was composed. Our suspicion in the matter seems to be corroborated by the variant tathā grāmādhi-devatā recorded in the ms tha of B. for mahāgrāmaṇyam. Gaṇapati seems to be a late entrant into the Hindu pantheon. He is not mentioned in any one of the old Purāṇas. Only the Varāha, Vāmana and Brahma-vaivarta P. which are very late know the deity (Winternitz, Vol. l. pp. 566-568, 573, Vidyalankar, JK. sub voce).

$^8$ Kalidāsa makes no distinction between Yakṣas and Guhyakas, See Meghadūta 1 and 5.

$^9$ See above.
9-10 (B.10-11, G.10-11).

11-13 (B.12-14, G.12-14). $^1$ See below 72-73 note 3. The reading samprayuja in all editions and mss. seems to be wrong. It should be emended as samprapūjya.

$^2$ See 73-81 below.

14-15 (B.15-16, G.15-16).

.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

36 THE NATYASASTRA [(III. 22-

22. In its middle should be drawn two lines vertically and horizontally (i.e. parallel to the sides), and in the apartments made by these lines, should be installed the different gods.

23-30. In the middle of this (maṇḍala), should be put Brahman who has lotus as his seat¹. Then one should first of all put in the east Śiva with his host of Bhūtas, Nārāyaṇa (Viṣṇu), Indra, Skanda (Kārtikeya), Sūrya, Aśvins, Candra, Sarasvatī, Lakṣmī, Śraddhā and Medhā, in the south-east Agni, Svāhā, Viśvedevas, Gandharvas, Rudras and Ṛṣis, in the south Yama, Mitra with his followers, Pitṛs, Piśācas, Uragas and Guhyakas, in the south-west the Rākṣasas and all the Bhūtas, in the west the Seas and Varuṇa, in the north-west the Seven Winds² and Garuḍa with other birds, in the north Kuvera, Mothers of the Nāṭya, Yakṣas with their followers, in the north-east leaders of Gaṇas such as Nandin, Brahmarṣis and the host of Bhūtas in their proper places.

31. And [in the eastern] pillar should be placed Sanatkumāra¹, in the southern one Dakṣa², in the northern one Grāmaṇī (lit. leader of Gaṇas)³ and in the western one Skanda (Kārtikeya).

32. According to this rule all the gods in their [proper] form and colour should be placed in their respective positions.

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hasta-tāla or tāla i.e. the interval between the tips of the thumb and the middle-finger stretched in opposite directions. अङ्गुष्ठमध्यमाङ्गुल्यौ ये हस्तेन प्रसारिते । तद्द्वयोरन्तरं तालमाहुर्मनीषिणः ॥ SR. VII. 1046. Otherwise it will be impossible to accomodate the maṇḍala on the stage which is eight cubits wide (See NŚ. II. 33-35). The ancient commentators like Śaṅkuka and others pointed out how absurd it would be take hasta in the passage in the sense of cubit. (see Ag. I. p. 75).

22 (B.23. G.23).

23-30 (B.24-31, G.24-31). ¹ According to Ag. a lotus is to be described in the centre of maṇḍala. ² For the seven winds see the Vāmana P. (see Vidyalankar, JK. sub voce).

31 (B.32, G.32). ¹ Sanatkumāra—one of the great ṛṣis, and a son of Brahman.

² Dakṣa—one of the lords of the creation (prajāpati), son of Pracetas. There were other Dakṣas besides. See Vidyalankar, JK. sub voce.

³ See above 1-8 note 7.

32 (B.33, G.33).

-III. 44 ] PUJA TO THE GODS OF THE STAGE 37

Offering Pūjā to the gods

33. After they have been installed with regular ceremony in suitable places they should be worshipped in a fitting manner.

34. Gods [in general] should be given white¹ garlands and unguents, while Gandharvas, Agni and Sūrya should be given garlands and unguents of red² colour.

35. After being treated [thus] in due order and manner they should be worshipped according to rules with suitable offerings.

36-39. [Offerings suitable to different gods and goddesses are as follows] : Brahman Madhuparka¹, Sarasvatī Pāyasa², gods like Śiva, Viṣṇu, and Indra sweetmeats. Agni rice cooked with ghee, Candra and Sūrya rice cooked with molasses, Viśvedevas, Gandharvas and sages honey and Pāyasa, Yama and Mitra cakes and sweetmeats, Pitṛs, Piśācas and Uragas ghee and milk, host of Bhūtas rice cooked with meat, wines of different kinds and grams covered with thick milk.

Consecration of the Mattavāraṇī

40-44. Similar shall be the rules regarding the Pūjā in connexion with the Mattavāraṇī. [Offerings to be made to different gods and demigods are as follows] : Rākṣasas half-cooked meat, Dānavas wine and meat, the remaining gods cake and Utkarikā² and boiled rice, gods of seas and rivers fish and cakes, Varuṇa ghee and Pāyasa, Sages various roots and fruits, the wind god and birds different edible stuff (lit. bhakṣya and bhojya), Mothers³ of the

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33 (B.34, G.34).
34 (B.35, G.35). ¹ 'White' here seems to be the symbol of purity and good grace.
² 'Red' here seems to be the symbol of energy.
35 (B. 35, G.36).
36-39. (B. 37-40, G. 37-40). ¹ madhuparka—see above II. 41-42. note 3.
² pāyasa—see above II. 41-42 note.
40-44. (B.41 45, G.41-45). ¹ See above.
² utkarikā—a kind of sweetmeat.
³ These goddesses seem to have been ignored by the Purāṇas.