नाट्यशास्त्रम् (प्रथम भाग - अभिनवभारती एवं हिन्दी टीका सहित)

430	THE NATYASASTRA	[ XXIII. 129

Three kinds of crown

129. [In the masks] crowns for the gods and kings are of three kinds: Pārśvagata (= Pārśvamauli), Mastakī and Kirīṭī.¹

130. For the gods [in general], the Gandharvas, the Yakṣas, the Pannagas (Nāgas) and the Rākṣasas the crowns of the Pārśvamauli (Pārśvagata) type have been prescribed¹.

131. And the Kirīṭī crown has been prescribed for the superior gods, and the middling gods are to have crown of the Mauli (= Mastakī?) type, while the common (lit. inferior) gods are to have crowns of the Pārśvamauli¹ type.

132-133. The kings should be given crowns of the Mastakī type. While the Vidyādharas, the Siddhas and Cāraṇas¹ should be provided with crowns made up of locks of hairs (keśa-mukuṭa).

133-134. The masks of ministers, Kañcukins (armour bearer), leaders of the merchants' guild, and priests should be furnished with turbans¹.

134-135. And the masks of the army-leaders (senāpati) and the crown-prince should be combined with a small crown (ardha-mukuṭa, lit. half-crown).

135-136. As for the rest [of persons] the head [in the mask] should be treated in dramatic production in relation to their habitation, birth and age.

136-137. The heads of boys should be adorned with the Śikhaṇḍa¹ and that of the sages should have a crown of matted hair (jaṭā-mukuṭa).

---

129 (C.133a; K.XXI.116b-117a). ¹ C. omits 129b.
130 (K.XXI.117b-118a). ¹ C. omits 130.
131 (C.133b; K.XXI.118b-119a). ¹ C. śīrṣamauli
132-133 (C.134, 135a, 138; K.XXI.119b-120). ¹ K. vānaraṇām. Cāraṇas are demigods who sing the praise of superior gods. C. reads after this five more hemistichs.
133-134 (C.138b-139a; K.K.XXI.123). ¹ Read veṣṭita-baddha-paṭṭāni (C. veṣṭanam baddha-paṭṭādi. K. veṣṭita-baddha-baddhāni).
134-135 (C.139b-140; K.XXI,122).
135-136 (C.141; K.XXI.127).
136-137 (C.142; K.XXI.125). ¹ Read śiraḥ śikhaṇḍa-bhūṣitam

.XXIII. 145] THE COSTUMES AND MAKE-UP 431

137-138. The masks of the Rākṣasas, the Dānavas and the Yakṣas¹ should be furnished with brown hairs and twany beards.

138-139. The masks of the Piśācas, lunatics, the Bhūtas, spiritual aspirants, ascetics and those who have not yet fulfilled their vows should have long hairs.

Rules of different hairs

139-141. The head [in the mask] of the Buddhists monks (śākya), experts in Vedic studies (śrotriya), the Jain monks (Nirgrantha), wandering ascetics and those who have consecrated themselves for a ceremony should be shaven clean. And according to their [respective] sectarian doctrine (vṛta) the remaining ascetics should have their heads shaven or should have curling hairs or long hairs loosely hanging down.

141-142. Married women, officers of the king and men of foppish nature should have on their head curling hairs.

142-143. The menials should have three Śikhās on their head or will have the head clean shaven. And the Jester should have a bald head or head with the Kākapada (lit. crow's foot)¹.

143-144. Thus after carefully distinguishing these [persons] in different ways, their conditions and nature should be represented by means of ornaments, different costumes and garlands, for giving rise to [proper] Sentiments at the time of production [of a play].

145. After men and women have been treated like this (lit. made to attain these treatments), their limbs will have to be painted to suit their different roles.

---

(K. śiras triśikha-bhūṣitam; C. na śikhaṇḍa°). Śikhaṇḍa means locks of hair left on the sides of the head. These are three or five in case of the Kṣatriyas (vide Apte s.v.)

137-138 (C.143; K.XXI.121). ¹ Read rakṣo-dānava-yakṣiṇām (C. °dānava-daityānām, K. devadānava°).

138-139 (C.144; K.XXI.124).
139-141 (C.145-146). 141-142 (C.147).
142-143 (C.148; K.XXI.126). ¹ For kākapada see Apte s.v.
143-144 (C.149, 150a). 145 (C.150b-151a).

432 THE NATYASASTRA [ XXIII. 146-

The Sañjīva

146. Now I shall speak of the characteristics of what is known as Sañjīva (= living object). The entrance of animals [in the stage] is called Sañjīva¹.

147-148. The animals may be fourfooted, two-footed and with no foot (apada). Of these, serpents are without foot, birds and men are two-footed, and different animals in the forest or human settlements are known to be fourfooted.

Use of weapons

148-149. In fight, angry conflict (sampheṭa) or siege in a play they (people) are to be furnished with different weapons.

149-150. Weapons and armours should be proportionate to the stature of men. I shall now describe them together with the rules for their measurement.

150-151. The Bhiṇḍi should measure twelve Tālas, the Kunta (javelin) ten and the Śataghni, the Śūla (spike), the Tomara and the Śakti eight¹.

151-152. The bow should measure eight Tālas and its width should be two cubits. Arrows, mace and the Vajra should be four Tālas long.

152-153. The sword should measure forty Aṅgulis and the disc (cakra) twelve and the Prāsa the latter’s half.

---

146 (C.151b-152a; K.XXI.128). ¹ This seems to show clearly that sometimes living animals were brought on the stage. This was however not the the general rule. See NŚ. XIII. 106-107.

147-148 (C.152b-153; K.XXI.129-130a).

148-149 (C.154; K. 130b-131a). ¹ Ete means the different types of characters mentioned before.
² On this point Ag. (p.434) says : नानाप्रहरणोपेता इति युद्धोपयोगिन इत्यर्थः । तथा च नानान्ते दत्ते सर्पाकृति प्रदर्शनीया एवं नृसिंहास्ते तदाकृतिरित्यादि दर्शयति.

149-150 (C.155; K.XXI.131b-132a).

150-151 (C.156; K.XXI.132b-133a). ¹ For the measurement of Tālā see NŚ. III. 21 note.

151-152 (C.157; K.XXI.133b-134a).

152-153 (C.158; K.XXI.134b-135a).

-XXIII. 161 ] THE COSTUMES AND MAKE-UP 433

153-154. The Paṭṭiśa will measure like the Prāsa, and the rod (daṇḍa) should measure twenty Aṅgulis while the Kampana (Kaṇapa) will be of the same measure.

154-155. The shield (carma) should be sixteen Aṅgulis in width and two cubits in length, and it should have Vālyas (hairs ?) and bells attached to it. The Kheṭaka (rider's shield) should be thirty aṅgulis in width [and two cubits in length]¹.

Use of other objects

156-157. The Jarjara¹, the Daṇḍakāṣṭha², masks, umbrellas, chowris, banner-staffs, and water-jars (bhṛṅgāra)³ and every other thing that men make use of, are [also] to be utilised in the production of a play.

158. The characteristics of all these have been mentioned by those to whose sphere they belong. Now I shall speak of the characteristics of the Jarjara and the Daṇḍakāṣṭha¹.

Indra's Banner-staff

159. Trees planted under the Puṣyā asterism, on the white soil have been made eligible for Indra's banner-staff by Viśvakarman¹.

The Jarjara

160. Some of these trees should be [fashioned into] the Jarjara by a carpenter. The branch of a tree may also be [fashioned into] the Jarjara¹.

161. But the bamboo will be most suitable [for this kind of work] and its length should be one hundred and eight Aṅgulis (4½ cubit).

---

153-154 (C.159; K.XXI.135b-136a).
154-155 (C.160; K.XXI.136b). ¹ K. omits 154b.
156-157 (C.161b-163a; K.XXI.137b-139a). ¹ See NŚ. III. 73ff.
² See NŚ. I. 58-61 note 2. ³ See NŚ. I. 58-61.
158 (C.163b-164a; K.XXI.139b). ¹ Emend dantakāṣṭha into daṇḍakāṣṭha.
159 (C.164b-165a; K.XXI.142). ¹ विश्वकर्ममते बहुभेदं महेन्द्रध्वजस्य लक्षणमुक्तम् इत्यर्थः (Ag. p.434)..
160 (C.165b-166a; K.XXI.140b-141a). ¹ See above 157-157 note 1.
161 (C.166b-167a; K.XXI.141b, 143a).

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.XXIII. 178 ] THE COSTUMES AND MAKE-UP 435

The making of masks

170-171 Similarly one should prepare the Paṭī of the masks which will have their special measurements or will measure thirtytwo Aṅgulis¹.

171-173. The Paṭī should be made by using the Bilva-paste on cloth. Masks should be made with ashes or husks of paddy being mixed up with the Bilva-paste or some watery form of it, after covering these with cloth smeared with the thick Bilva-paste¹.

173-174. The Paṭī made out of cloth smeared with the Bilva-paste should neither be made too thick nor too thin and neither should it be made too soft.

174-175. After getting it (the Paṭī) dried up by fire or the sun one should pierce holes in it according to the rule, by means of a sharp instrument, and these holes should be made after dividing it into two [equal] halves.

176. In the Paṭī so prepared an opening six Aṅgulis long and an Aṅguli wide should be made in the form of the fore-head, and it should have [two] angles [at the two end].

177. Then [a pair of] openings two Aṅgulis long and one and a half a Aṅguli¹ wide should be made for the cheeks, and after [this has been done for] the cheeks [another opening] three Aṅgulis more [in length] are be made for the ears.

178. The opening for the ear being three Aṅgulis¹ long the same should be the length for the opening of the mouth,

---

170-171 (C.176; K.XXI.159). ¹ We follow C. Ag. seems to read śīrṣa[vi]bhāgārtham for śīrṣavidhānārtham and he explains it as शीर्षविभागं प्रति त्रिशिरा विशिरा इत्यादि दृश्यते। येन वा निजशिर एव वाच्छाद्य शिरोऽन्तरं प्रदर्श्यते, प्रतिवा(प)ट् प्रतिच्छादिरिव एव कल्पः (p. 435).

171-173 (C.177-178); K.XXI.153-154). ¹ This passage seems to be corrupt. The trans. is tentative.

173-174 (C.179; K.XXI.155).

174-175 (C.180-181a; K.XXI.156-157a).

176 (C.181b-182a; K.XXI.157b-158a).

177 (C.182b-183a; K.XXI.158b-159a). ¹ Read adhyardham.

178 (C.183b-184a; K.XXI.150b-160a). ¹ tryaṅgulam, C. aṅgulaṁ, K.

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-XXIII. 196 ] THE COSTUMES AND MAKE-UP 437

The realistic and conventional objects

187-188. Some accessories [however] will be realistic (lokadharmī), while others will be conventional (nāṭyadharmī). Any thing following its natural form is called realistic while any deviation from the same will be known as conventional.

188-189. Accessories for use on the stage should not be made with stone as well as iron and other metals, for these due to their heaviness will create fatigue [in actors].

189-190. Light objects should be made with lac, wood, leather, cloth, leaves [of trees] and sliced bamboo, for their use as accessories in a dramatic production.

190-192. Skeleton frames of armours, shields, banner-staffs, hills, palaces, gods, caves, horses, elephants, aerial cars, and houses should first be made with pieces of sliced bamboo and then by covering such frames with painted cloth, likenesses of such objects are to be produced.

192-193. But if it is not found possible to use cloth suitably for this purpose then palm-products¹ and mats (kiliñja)² may also be used instead.

193-194. Similarly weapons are to be made with grass and pieces of sliced bamboo, and with lac and Bheṇḍa (Bhāṇḍa)¹ other objects should be represented.

194-195. Imitation legs, heads and skin should be made with grass, mat and Bheṇḍa (Bhāṇḍa).

195-196. Various articles should [thus] be made with earth in imitation of their proper forms.

196-197. Various hills and shields, armours, banner-staffs

---

188-189 (C.194; K.XXI.170). 189-190 (C 195; K.XXI.171).
190-192 (K.XXI.172-173).
192-193 (C.196; K.XXI.174). ¹ Tālyair iti tālapatraiḥ (Ag. p.435). ² Read kiliñjair for kilajair.
193-194 (C.197; K.XXI.175). ¹ Bheṇḍa K, bhāṇḍa C. भाण्डे (भेण्डे) रित्यलाबुदल-खड्गादिभिः (Ag. p. 435).
194-195 (C.198; K.XXI.176). 195-196 (C.199; K.XXI.177).
196-197 (C.200; K.K.XXI.178a).

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CHAPTER TWENTYFOUR.

THE BASIC REPRESENTATION

Importance of Temperament

1. The Basic Representation (sāmānyābhinaya)$^1$ is known to depend on the Words, Gestures and Temperament (sattva). [Among these] one should take special care about Temperament,$^2$ for the dramatic production has this as its basis.

2. The Histrionic Representation with an exuberant Temperament (sattvātirikta) is superior, the one with the level Temperament (samasattva) is middling, and that with no [exercise of] Temperament is inferior.

The definition of Temperament

3. Temperament (sattva)$^1$ is something invisible, but it gives support (lit. shelter) to the States and the Sentiments by means of horripilation, tears and similar other signs displayed in proper places and in harmony with the Sentiments [to be produced].

Feminine graces in the drama

4-5. The dramatic experts know the young women's Graces (alaṃkāra, lit. ornament) to be the support of Sentiments in a drama$^1$, and these consist of changes in respect of their faces and other limbs. Of these, firstly the change of limbs (aṅgaja)$^2$ is of

---

1 (C 1; K.XXII.1). $^1$ Ag. seems to have no very convincing explanation as to why sāmānyābhinaya was so called. He discusses it from different points of view (pp. 436-430). From the contexts of this Chapter as well as the def. given here and in 72 below, it appears that the expression means a totality of the four kinds of abhinaya (NŚ. VI. 23) and as such it should be distinguished from the citrābhinaya (NŚ.XXVI.) which applies only to the pictorial representation of particular objects and ideas. $^2$ See NŚ.VI. 22 note.

2 (C.2; K.XXII.2).

3 (C.3; K.XXII.3). $^1$ See NŚ. VI.22 note.

4-5 (C. 4-5; K.XXII.4-5). $^1$ K. reads 4a as अलंकाराश्च सत्वस्था ज्ञेया भाव-समाश्रया ; Cf. DR. II. 30a; BhP. p.6. 1.20 ; ND. p. 203. $^2$ See DR. II. 30b ; ND. p. 203.

-XXIV. 11 ] THE BASIC REPRESENTATION 441

three kinds, next the natural (sahaja)^3 change of ten kinds, and involuntary (a-yatnaja)^4 change, of seven kinds.

Physical Graces of women

6. Feeling (bhāva), Emotion (hāva) and Passion (helā) arising from one another being different aspects of Temperament (sattva) [are Graces] connected with the physical nature^1.

The origin of these Graces

7. Temperament partakes of the nature of the body, and feeling (bhāvā) arises from Temperament, while Emotion (hāva) from Feeling, and Passion (helā) from Emotion^1.

Feeling

8. See NŚ. VII. 2. Cf. [Feeling (bhāva) is the first touch of emotion in a nature that was previously unaffected. DR. II. 33].^1

Emotion

9. Temperament with excessive Feeling (bhāva) [manifests itself] in relation to persons of the opposite sex. And Emotion (hāva) should be marked as relating to its various conditions.^1

10. In the same connexion (lit. there) Emotion (hāva) should be known as arising from the mind (citta) and manifesting itself in changes of eyes and eye-brows and the Recaka of the neck, indicative of the Erotic Sentiment.^1

Passion

11. Everyone's Emotion which depends on the Erotic Sentiment and expresses itself as graceful movements (lalitābhinaya) is called Passion (helā) by the wise.^1

---

^3 See DR. II. 32-33a; ND. p. 203.
^4 See DR. II. 31; ND. p. 203.
6 (C.6; K.XXII.6). ^1 Cf. DR. II. 30b.
7 (C.7; K.XXII.7). ^1 Cf. DR. II. 33b-34b.
8 (C.8; K.XXII.8), ^1 Cf. DR. II. 33b; ND. p.204. BhP. p.8. l.4-10.
9 (C.9; K.XXII.9). ^1 See below 10. note 1. K. reads 9a as भावस्यातिशतं सत्त्वं व्यतिरिक्तं च योनिषु.
10 (C 10; K.XXII. 10). ^1 According to ND. (p.204) the bhāva relates to a slight manifestation of erotic feelings through words and gestures, while the hāva to a very clear expression of one's emotion through various gestures.
11 (C.11; KXXII.11). Cf. DR. II. 34b; BhP. p.8, l.13-14. According

56

442 THE NATYASASTRA [XXIV. 12-

Natural Graces of women

12-13. The ten natural Graces (alaṃkāra) of women are: Sportive Mimicry (līlā), Amorous Gesture (vilāsa), Dishabille (vicchitti), Confusion (vibhrama), Hysterical Mood (kilakiñcita), Manifestation of Affection (moṭṭāyita), Pretended Anger (kuṭṭamita), Affected Coldness (bibboka), Lolling (lalita) and Want of Response (vihṛta)¹.

Sportive Mimicry

14. Imitating the behaviour of a lover by means of relevent words, gestures and make-up (alaṃkāra, lit. ornament) which are delightful and inspired by affection, is called Sportive Mimicry (līlā)¹.

Amorous Gestures

15. Relevant changes of the special kind relating to the standing and sitting postures as well as to gait and the movements of hands, eye-brows and eyes, [which occur at the sight of the beloved] are called Amorous Gestures (vilāsa)¹.

Dishabille

16. The great beauty that results from the slightly careless placing of garlands, clothes, ornaments and unguents, is called Dishabille (vicchitti)¹.

Confusion

17. Inversion of various items such as words, gestures, dresses, and make-up and Temperament due to intoxication, passion and joy, is called Confusion (vibhrama)¹.

---

to ND. (pp.204-205) these three aspects of women's Temperament depend on one another. For example the hāva depends on the bhāva and the helā on the hāva.

12-13 (C.12-13; K.XXII.12-13). ¹ DR. II. 37b; BhP. p. 9. l. 5. ND. p. 205.

14 (C.14; K.XXII.14). ¹ Cf. DR. II. 37b; BhP. p. 9. l. 5; ND. p. 205.

15 (C.15; K.XXII. 15). ¹ Cf. DR. II. 38a, BhP. p. 9, l. 6-7, p. 205.

16 (C.16; K.XXII.16). ¹ The word is Pkt. in form and comes probabably from vikṣipti. Cf. DR. II. 38b; BhP. p. p. 9. l. 8-9; ND. p. 205.

17 (C.17; K.XXII. 17). Cf. DR. II. 39a; BhP. p. 9. l. 10-11. ND. p. 205.

-XXIV. 23 ] THE BASIC REPRESENTATION 443

Hysterical Mood

18. Combination of isolated states of smiling, weeping, laughter, fear, sickness, fainting, sorrow and fatigue on account of [excessive] joy, is called Hysterical Mood (kilakiñcita)¹.

Manifestation of Affection

19. Manifestation of Affection (moṭṭāyita) occurs through Sportive Mimicry (līlā), Amorous Gesture (vilāsa) and the like, when at the mention of the beloved, one is being absorbed in thought of him¹.

Pretended Anger

20. Pretended Anger (kuṭṭamita) arises on account of the joy and perplexity in [lover's] touching the hair, the breast, the lip and the like, and it is feigning distress when actually there is delight¹.

Affected Coldness

21. The indifference which women show [to their lovers] on account of vanity and pride, after they have realised their cherished desire (i. e. conquering the lover's heart), is called Affected Coldness (bibboka)¹.

Lolling

22. Graceful movement of hands, feet, brows, eyes, lips etc, made by women is known as Lolling (lalita)¹.

Want of Response

23. That due to bashfulness, pretence and nature women do not make any reply [to her lover] even when they have heard his words, is called Want of Response (vihṛta)¹.

---

18 (C.18; K.XXII. 18). ¹ Cf. DR. II. 39b; BhP. p.9, l.12. ND. p.206.

19 (C.19; K.XXII.19). ¹ Cf. DR. II. 40a, BhP. p. 9, l. 13-14; ND. p. 206.

20 (C.20; K.XXII.20). ¹ Cf. DR. II. 40b; BhP. p.9, l.15-16; ND. p. 206.

21 (C.20; K.XXII.21). ¹ Cf. DR. II. 41a; BhP. p. 9. b.17-18; ND. p. 235-206.

22 (C.22; K.XXII.22). ¹ Cf. DR. II. 41b; BhP. p. 9, l. 19-20; ND. p. 206.

23 (C.23; K.XXII.23). ¹ Cf. DR. II. 42a; BhP. p. 9, l. 21-22; ND. p. 206.

444 THE NATYASASTRA [ XXIV. 24.

Involuntary Graces of women

24. The Involuntary [Graces] are: Beauty (śobhā), Charm (kānti), Delicacy (mādhurya), Radiance (dīpti), Self-control (dhairya), Courage (prāgalbhya) and Dignity (audārya)$^1$.

Beauty

25. Decoration of limbs on account of good physical form, youth and loveliness being renderd manifest after the enjoyment [of love], is called Beauty (śobhā)$^1$.

Charm

26. Beauty which is full of a lover's passion, is called Charm (kānti)$^1$.

Radiance

A high degree of charm, is called Radiance (dīpti)$^2$.

Delicacy

27. Moderation in the movement [of limbs] in all conditions, especially in Radiance (dīpti) and in Lolling (lalita), is called Delicacy (mādhurya)$^1$.

Self-control

28. A natural bent of the mind which in all matters is free from rashness and boasting, is called Self-control (dhairya)$^1$.

Courage

29. The quality of not becoming agitated in speaking, or acting anything (lit. in practice), is called Courage (prāgalbhya)$^1$.

---

24 (C.24; K.XXII.24). $^1$ Cf. DR. II. 31.
25 (C.25; K.XXII.25). $^1$ Cf. DR. II 35a; BhP. p. 8. l. 15-16; ND. p. 207. This def. seems to mean that a young woman's loveliness is augmented after she has had her first experience of love's enjoyment and this augmented loveliness is called śobhā.
26 (C.26; K.XXII.26). $^1$ Cf. DR. II. 35b; BhP. p. 8, l. 16.
$^2$ Cf. DR. II. 36a; BhP. p. 8, l. 17-18; ND. p. 207.
27 (C.27; K.XXII.27). $^1$ Cf. DR. II. 36a; BhP. p. 8. l. 19; ND. p. 207.
28 (C.28; K.XXII.28). $^1$ Cf. DR. II. 37a; BhP. p. 8; l. 21; ND. p. 207.
29 (C.29; KXXII.29). $^1$ Cf. DR. II. 36b; BhP. p.8, l. 22; ND. p. 207.

-XXIV. 35 ] THE BASIC REPRESENTATION 445

Dignity

Courteous bearing in all situation, is called Dignity (audārya)$^2$ by the wise.

30. These [Graces] are tender in connexion with performance of delicate nature, but [in other cases] they (i.e. the Graces) except Amorous Gesture (vilāsa)$^1$ and Lolling (lalita)$^2$ are brilliant (dīpta)$^3$.

Eight aspects of the male Temperament

31. Brilliant Character (śobhā), Graceful Bearing (vilāsa), Self-possession (mādhurya), Steadiness (sthairya), Gravity (gāmbhīrya), Sportiveness (lalita), Nobility (audārya) and Spirit (tejas) are the different aspects of the male Temperament$^1$.

Brilliant Character

32. Skill [in various things], heroism, and energy, aversion to mean acts and emulation of the best virtues constitute Brilliant Character (śobhā, lit. beauty)$^1$.

Graceful Bearing

33. Eyes moving straight, gait graceful like that of a bull, and smiling words constitute Graceful Bearing (vilāsa)$^1$.

Self-possession

34. If due to a [long] practice [in this direction] one's sense-organs retain their firmness even when great changes of the natural state have occurred, it is called Self-possession (mādhurya, lit. sweetness)$^1$.

Tenacity

35. Not relinquishing any undertaking relating to duty,

---

$^2$ Cf. DR. II. 36b, BhP. p.8' l. 20-22 ND. p. 207.
30 (C.30; K.XXII.30). $^1$ See above 15.
$^1$ See above 22. $^3$ See above 26.
31 (C.31; K.XXII.31). $^1$ Cf. DR. II. 10, BhP. p. 9, l.24; p. 10. l. 1; ND. p. 197.
32 (C.32; K.XXII.32). $^1$ Cf. DR. II. 11a; BhP. p. 10, l. 2-3; ND. p. 197.
33 (C.33; K.XXII.33). $^1$ Cf. DR. II. 11b; 11b; BhP. p. 10, l. 4; ND. p. 197.
34 (C.34; K.XXII.34). $^1$ Cf. DR. II. 12a; BhP. p. 10, l. 5.
35 (C.35; K.XXII.35).

446 THE NATYASASTRA [ XXIV. 36-

wealth and enjoyment, irrespective of its good or bad results, is called a Tenacity (sthairya)$^1$.

Gravity

36. Gravity (gāmbhīrya) is something due to an influence of which [outward] changes in cases of anger, joy and fear do not occur$^1$.

Sportiveness

37. Erotic movements and changes [of features] which are not deliberate and which grow out of a tender nature, constitute Sportiveness (lalita)$^1$.

Nobility

38. Making gifts, bestowing favours and speaking sweet words to others as well as to one's own men, is called Nobility (audārya)$^1$.

Spirit

39. That one does not tolerate even at the risk of one's life any reproach or insult made by others, is called Spirit (tejas)$^1$.

Histrionic Represesentation through the body

40. O the best of Brahmins, I have spoken before about the Histrionic Representation through Temperament (sattva)$^1$, I shall now explain in detail the Histrionic Representation through the body$^2$.

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$^1$ DR. II. 13a; BhP. p. 10,16 gives the term as dhairya, ND. p. 198.

36 (C.36; K.XXII.36). $^1$ Cf. DR. II. 12b; BhP. p. 10, l. 7; ND. p. 198.

37 (C.37; K.XXII.37). $^1$ Cf. DR. II. 14a; BhP. p. 10, l. 8; ND. p. 198.

38 (C.38; K.XXII.38). $^1$ Cf. DR. II. 14b; BhP. p. 10, l. 10 ; ND. p. 197.

39 (C.39; K.XXII.39). $^1$ Cf. DR. II. 13b, BhP. p. 10; l. 10; ND. p. 197.

40 (C.40; K.XXII.40). $^1$ See above 1-39.

$^2$ It is curious that the author of the NŚ. is classifying abhinaya in a different manner and reckons its two broad classes : sāttvika and śārīra and gives their sub-divisions. For a four-fold division of the abhinaya see NŚ. VI. 23.

-XXIV. 47 ] THE BASIC REPRESENTATION 447

41. This is sixfold : Words (vākya), Sūcā, Aṅkura, Śākhā, Nāṭyāyita and Nivṛttyaṅkura¹.

Words

42. Recitatives in Sanskrit and Prakrit composed in verse or prose when they possess meanings giving various Sentiments, constitute the Histrionic Representation by Words¹.

Sūcā

43. When the meaning of a sentence or the sentence [itself] is indicated first by Temperament and Gestures, and then the Verbal Representation is made, it is called Sūcā¹.

Aṅkura

44. When one skilfully represents by Gestures in the manner of the Sūcā the words which one has in one's heart, it is called the Representation of Aṅkura¹.

Śākhā

45. The representation that is made in due order by the head, the face, shanks, thighs, hands and feet in the manner of the Śākhā(?), is known as the Śākhā Representation¹.

Nāṭyāyita

46. The intimation of Histrionic Representation which is made at the beginning of a drama by [different] practices, for enlivening the time, and which lasts till the coming together of the [dramatis personae on the stage] is called Nāṭyāyita¹.

47. The Histrionic Representation of Dhruvās relating to the States and the Sentiments which are made by means of

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41 (C.41; K.XXII.41). ¹ Cf. Kālidāsa's pañcāṅgābhinaya, Mālavi. I.6.2.
42 (C.42; K.XXII.42). ¹ This seems to be the same as the vācikābhinaya.
43 (C.43; K.XXII.43). ¹ This kind of representation is mainly to accompany songs and dance.
44 (C.44; K.XXII.44). ¹ This kind of representation is meant to be combined with dance.
45 (C.45; K.XXII.45). ¹ This kind of representation is to accompany recitatives (pāṭhya).
46 (C.46; K.XXII.46). ¹ This is the use of gestures in connection with songs and dance before the beginning of the dramatic performance,
47 (C.47; K.XXII.47).

448 THE NATYASASTRA [ XXIV. 48.

delineating joy, anger, grief and the like, is also to be known as Nāṭyāyita¹.

Nivṛttyaṅkura

48. When one represents words of another person by Sūcī it is called Nivṛtyaṅkura¹.

Twelve forms of the Verbal Representation

49-51. These are the [histrionic] ways connected with proper States and Sentiments that are available for the subject-matter of plays. The representation of these, is to take the following twelve forms : Accosting (ālāpa), Prattling (pralāpa), Lament (vilāpa), Repeated Speaking (anulāpa), Dialogue (saṃlāpa), Change of Words (apalāpa), Message (saṃdeśa), Agreement (atideśa), Command (nirdeśa), Pretext (vyapadeśa), Instruction (upadeśa) and Statement (apadeśa)¹.

Accosting

52. Accosting (ālāpa) is a sentence used in addressing [any one]¹.

Prattling

Irrelevant (lit. meaningless) words are called Prattling (pralāpa)².

Lament

53. Words originating in a pathetic condition are called Lament (vilāpa)¹.

Repeated Speaking

Speaking again and again on anything is called Repeated Speaking (anulāpa)².

Dialogue

54. Dialogue (saṃlāpa) is made up of utterance and counter-utterance¹.

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48 (C.48; K.XXII.48). ¹ This kind of representation is used by the dancer who interprets other's speeches.
49-51 (C.49-51; K.XXII.49-51). ¹ BhP. p. 10, l. 20-23.
52 (C.52; K.XXII.52). ¹ Cf. BhP. p. 10, l. 24.
² Cf. ibid p. 11, l. 1.
53 (C.53; K.XXII.53). ¹ Cf. BhP. p. 11, l. 2.
² See ibid p. 11. l. 3).
54 (C.54; K.XXII.54). ¹ See BhP. p. 11, l. 4.

.XXIV. 59] THE BASIC REPRESENTATION 449

Change of Words

Change of words (apalāpa)$^2$ is the alteration of words spoken before.

Message

55. "Speak this to him", is [an example of] Message (sandeśa)$^1$.

Agreement

Saying "You have said what was uttered by me" is [an example] of Agreement (atideśa)$^2$.

Command

56. "I alone am speaking", is [an example] of Command (nirdeśa)$^1$.

Pretext

To speak with the purpose of deception, is called Pretext (vyapadeśa)$^2$.

Instruction

57. To say "Do this" or "Take this" is [an example] of Instruction (upadeśa)$^1$.

Statement

* * * is [an example of] Statement (apadeśa)$^2$.

Another classification of the Verbal Representation

58. These are the forms [of sentences] that are to create the Verbal Representation. I shall speak [hereafter] of the characteristics of the seven forms which it may have.

59. [A sentence may contain a statement which] treats an act visible (pratyakṣa) or invisible (parokṣa); it may relate

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$^2$ See ibid p. 11, l. 5.
55 (C.55; K.XXII. 54c-55a). $^1$ Cf. BhP. p. 11, l. 6.
$^2$ See ibid p. 11, l. 7.
56 (C.56; K.XXII.55b-56b). $^1$ Cf. BhP. p. 11, l. 8.
$^2$ Cf. ibid p. 11, l. 11.
57 (C.57a; K.XXII.56a). $^1$ Cf. BhP. p. 11, l. 9.
$^2$ The texts omit the def. of apadeśa, which is given by BhP. (p. 11, l. 10) and is as follows : 'यथार्थकथनं यत्तु सोऽपदेश इति स्मृतः'.
58 (C.57bc; K.XXII.57). 59 (C.58; K.XXII.58).
57