400 THE NATYASASTRA [ XXI. 123-

123. The Nāṭaka is to be so composed as to include all States, Sentiments, inclination to all deeds, and the various conditions [of men and nature]$^1$.

124. The various arts and crafts produced by human beings may be applied in the Nāṭaka$^1$ in their endless forms$^1$.

125. One is to construct a Nāṭaka [only] after observing the human character, strength and weakness of men, their [mode of] enjoyment and reasoning$^1$.

126. In succeeding ages men will be difficient in wisdom; hence those who will be born [after us] will have small learning and intellect.

127. When the world deteriorates, men's intellect, activity, [production of] crafts and skill in arts will dwindle.

128. Hence after observing the strength and the weakness of human feeling, one should compose the Nāṭaka with pleasant and easily intelligible words.

129. The plays (lit. poems) which contain [harsh], words like cekriḍita$^1$ is repulsive (lit. do not shine) like a courtezan in the company of a Brahmin bearing a Kamaṇḍalu.

130. O Brahmins, I have spoken about the Plot with its Junctures and Limbs. I shall hereafter speak of the characteristics of the Styles.

Here ends chapter XXI of Bharata's Nāṭyaśāstra, which treats of the Limbs of the Junctures.

---

123 (C.126; K.XIX.121). $^1$ Cf. NŚ. I.113
124 (C.127; K.XIX.122). $^1$ Emend ekakarma into lokakarma.
125 (C.128; K.XIX. 123). $^1$ This puts emphasis on depicting characters in a drama.
126 (C.129; K.XIX.124). 127 (C.130; K.XIX.125).
128 (C.131; K.XIX.126).
129 (C.132; K.XIX.127). $^1$ Bhāsa actually uses the root of this verb form in his Avi. (III.18.0).
130 (C.133; K.XIX.128).

CHAPTER TWENTYTW0

THE STYLES

The origin of the Styles

1. I shall now explain in detail (lit. from the beginning) the rise of the Styles (vṛtti) and [in relation to them] the origin and the formation of dramas¹.

2-3. When the lord Acyuta (Viṣṇu) after reducing the universe into a single [vast] ocean and compressing the creation [into a seed] by his supernatural power, was lying on the couch of snake, the two Asuras Madhu and Kaiṭabha maddened with the pride of their strength challenged the god at once for battle¹.

4-5. These two, after making gestures of challenge, (lit. rubbing their arms) fought the imperishable lord Viṣṇu (bhūtabhāvana, lit. the creator of beings) with their fists and legs (lit. knees), and while doing so they also assailed him (lit. one another) with harsh words and shook as it were the ocean with their reviling speech¹.

The origin of the Verbal Style

6-7. Hearing the various [abusive] words of these two who were threatening¹ [Viṣṇu], Druhiṇa (Brahman) was slightly perturbed in mind and said, "Is it the bhāratī vṛtti that start with these words [for the fighters] and goes on increasing stage by stage ? Kill the two [at once]."

8-10. Hearing these words of Pitāmaha (Brahman), Madhusūdana (Viṣṇu) said, "Yes, I have made this bhāratī vṛtti

---

1 (C.1; K.XX.1). ¹ Sāgaranandin explains the vṛtti as follows : नेपथ्ये गीतवादित्तरसभावाभिनयवृत्त्यादीनां काऽपि विश्रषे वर्तनमिति वृत्तिः कथितः। अथवा विलास-विन्यासक्रमो वृत्तिरिति, NL. 1044ff.

2-3. (C.2-3; K.XX.2-3). ¹ The story of Nārāyaṇa's reducing the three worlds into 'a single ocean' occurs in the Rām. VII. 72.; Kūrma P. XIII. See JK. under Viṣṇu (8) and Nārāyaṇa (8).

4-5 (C.4-5; K.XX.4-5). ¹ Madhu and Kaiṭabha charged Nārāyaṇa with the theft of the Vedas. Rām. VII. 72. See JK. under Kaiṭabha.

6-7 (C.6-7; K.XX.6-7). ¹ Emend garjatoḥ into tarjatoḥ (tarjatām, K).

8-10 (C.8-10; K.XX.8-10).

51

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).

---

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).

-XXI. 25 ] TEN STYLES 403

The origin of the Nyāya

17-18. O god, thou hast killed the Dānavas with various clear, expressive and graceful Aṅgahāras ; hence this method of personal combat [applicable] in throwing all kinds of missiles in this world, will be termed as Nyāya¹.

19. Even this fight made with the Aṅgahāras which arose from the Nyāyas and observed them (Nyāyas) [in practice] will be called the Nyāya¹.

20. Then the high-souled Druhiṇa (Brahman) gave over to the gods this Style full of various States and Sentiments, [for its use] in the production of plays.

21-22. The name Style (vṛtti) was made a repository of the various States and the Sentiments. And whatever was made and in whatever manner, the exploits of the god (Viṣṇu) were utilised by the sages in fashioning the similar Styles arising from the Words and the Gestures which have their origin in materials taken from the four Vedas¹, and which also have Words and Gestures as their chief characteristics.

23. These Styles which were desired, wellborn and full of various Cārīs, were again, taken by me at Druhiṇa's command, for the purpose of making plays (lit poem)¹.

24. The Verbal Style (bhāratī vṛtti) was from the Ṛgveda, the Grand (sāttvatī) from the Yajur-veda, the Graceful (kaiśikī) from the Sāma Veda and the remaining one (i.e. the Energetic or (ārabhaṭī) from the Atharva [Veda]¹.

25. The Style which is to be applied by the male characters and not by females and which gives prominent place to speeches

---

17-18 (C.17-18; K.XX.17-18). ¹ See NŚ. XI. 74ff.
19 (C.19; K.XX.19). ¹ See NŚ. IV. 170ff.
20 (C.20; K.XX.20a, 21a).
21-22 (C.21-22; K.XX.21b-23a). ¹ Emend nāṭyaveda into caturveda.
23 (C.23; K. XX.20b, 23b). ¹ Emend 23a as follows. पुनरिष्टा सुजाता च नानाचारी-समाकुला.
24 (C.24; K.XX.24). ¹ This is a different story about the origin of the vṛttis. See before 2-14.
25 (C.25; K.XX.25).

404 THE NATYASASTRA [ XXI, 26-

made in Sanskrit, is used by the eponymous bharatas (actors) as bhāratī (Verbal)¹.

The four varieties of the Verbal Style

26. It has four varieties such as the Laudation (prarocanā), the Introduction (āmukha), the Vīthī and the Prahasana, and these have became its component parts (aṅga)¹.

The Laudation

27. The Laudation (prarocanā) in the Preliminaries is to attain success, prosperity, good luck, victory and removal of all sins.¹

The Introduction

28-29. That part of a play where an actress¹, the Jester or the Assistant has a talk with the Director on some relevent topic, and they use interesting words or adopt any type of the Vīthī or talk in any other way is called the Introduction (āmukha)¹. I shall speak in detail about its five varieties (lit. elements).

The five varieties of the Introduction

30. The Accidental Interpretation (udghātyaka), the Opening of the Story (kathodghāta), the Particular Presentation (prayogātiśaya) the Personal Business, (pravṛttaka) and the Transference (avalgita) are the five varieties of the Introduction (āmukhā)¹.

31. Of these the characteristics of the Accidental Interpretation (udghātyaka)¹ and the Transference (avalgita)² have been mentioned by me. I shall now speak in detail of the characteristics of the rest.

Opening of the Story

32. [That Introduction] in which a character enters [the stage] taking up a remark of the Director or its meaning, is called the Opening of the Story (kathodghāta)¹.

---

¹ NL. 1054ff. DR. II. 5 ; SD. 274, AP. modifies this def. by adding strīyuktā prākṛtoktitā, Haas, on DR. III. 5 (p.81).
26 (C 26; K.XX 26). ¹ Cf. NL. 1008-69; DR. III. 5 ; SD. 285.
27 (C.27; K.XX.27). ¹ Cf. NL. 1070-71ff; DR. III. 6 ; SD. 286.
28-29 (C.28-29; K.XX.28-29). ¹ Cf. NL.1178-81, DR. III. 7 SD. 286.
30 (C.30; K.XX.30). ¹ Cf. NL. 11-88-89 DR. III. 8, SD. 287.
31 (C 31; K.XX.31). ¹ See NŚ. XX.117 Cf. NL. 1189 ;. DR. III. 14 SD. 288. ² See NŚ. XX. 118; NL. 1192, DR. III. 15; SD. 292.
32 (C.32; K.XX.32). ¹ Cf. NL. 1196; DR. III. 9; SD. 289.

-XXI. 39 ] TEN STYLES 405

Particular Presentation

33. When, over this production [of the Introduction] the Director imposes another production and then a character enters [the stage], it is called the Particular Presentation (prayogātiśaya).¹

Personal Business

34. [The Introduction] in which the Director speaks on some business in hand and taking cue from this (lit. with its help) a character enters the stage, it is called the Personal Business (pravṛttaka)¹.

35. Taking up one of these types and skilfully giving double meaning to it, the wise [playwright] should construct the Introduction by freely assembling different characters¹.

36. The wise are thus to know the Introduction with different bases¹. The characteristics of the Vīthī² and the Prahasana³ have been mentioned before.

37. These are the eight¹ different aspects (lit. meanings) of the Verbal Style I spoke of. I shall now explain the rules of the Grand Style (sāttvatī) with its characteristics.

The Grand Style

38. The Style which is endowed with the sāttvata quality, the Nyāyas, metres, and has exuberance of joy and an undercurrent of the State of sorrow¹, is called Grand (sāttvatī)².

39. The Grand Style is known to consist of representation by Words and Gestures, and of strength in speeches and acts showing the rise of spirit.

---

33 (C.33; K.XX.33). ¹ See NL. 1201-1202; DB. III. 11; SD. 290.
34 (C.34; K.XX.32). ¹ Cf. NL. 1214-1215; SD. 291; DR. III. 10.
35 (C.35; K.XX.35). ¹ i.e. actress, Jester or the Assistant. See 28 above.
36 (C.36; K.XX.36). ¹ Emend vivbudhāśrayam into vividhāśrayam.
² See NŚ. XX. 111ff. ³ See NŚ. XX. 101ff.
37 (C.37; K.XX.37). ¹ Prarocanā, Vīthī, Prahasana and five varieties of Āmukha. See before 26-30.
38 (C.38; K XX.38). ¹ This shows that no pathetic subject-matter should find a place in this Style..
² See NL. 1234ff. SD. 416. DR. II. 53.
39 (C.39; K.XX.39).

406 THE NATYASASTRA [ XXI. 40-

40. It is to contain the Sentiments such as Heroic (vīra), the Marvellous (adbhuta) and the Furious (raudra) and to a small extent (alpa) the Pathetic (karuṇa) and the Erotic (śṛṅgāra), and characters in it should be mostly majestic and defying one another¹.

The four varieties of the Grand Style

41. It is known to have the four varieties such as challenge (utthāpaka), Change of Action (parivartaka), Harsh Discourse (saṁlāpaka) and Breach of Alliance (saṁghāta)¹.

Challenge

42. One’s rising up with a view to conflict after saying “I am getting up [for battle, now] show me your own prowess” is called the Challenge (utthāpaka)¹.

Change of Action

43. If after leaving the thing which caused the rising up, one takes to other things due to some need, it is called the Change of Action (parivartaka)¹.

Harsh Discourse

44. Various kinds of words containing abuse or insult whether these arise from a challenge or not, are called Harsh Discourse (saṁlāpaka)¹.

Breach of Alliance

45. The stopping of an alliance for the sake of a friend,¹ money or due to an accident or [one’s] own fault, is called Breach of Alliance (saṁghāta)².

46. These are the eight meanings¹ of the Grand Style that I spoke of. I shall hereafter describe the characteristics of the Graceful Style (kaiśikī vṛtti)¹.

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40 (C.40; K.XX.40). ¹ See NL. 1271-1273).
41 (C.41; K.XX.41). ¹ Cf. DR. II. 53 SD. 416, NL. 1274ff.
42 (C.42; K.XX.42). ¹ Cf. NL. 1276, 4278. The text on this point seems to be corrupt, also cf. DR. II. 54; SD. 416.
43 (C.43; K.XX.43). ¹ Cf. DR. II. 55; SD. 419; NL. 1279-1282.
44 (C.44; K.XX.44): ¹ Cf. DR. II. 54; SD. 418, NL. 1288.
45 (C.45; K.XX.45). ¹ Read mitrārtha-kārya.
² Cf. NL. 1298-1299; DR. II. 55; SD. 417.
46 (C.46; K.XX.46). ¹ Utthāpaka, parivarttaka, the two kinds of samlāpaka and the four kinds of samghāta. See before 41, 44, 45.

-XXI. 52 ] TEN STYLES 407

The Graceful Style

47. That Style is called Graceful (kaiśikī) which is specially interesting on account of charming costumes worn by [dramatis personae] mostly women, and in which many kinds of dancing and singing are included and the themes acted are practices of love and are connected with (lit. arising from) its enjoyment¹.

The four varieties of the Graceful Style

48. The Graceful Style is said to have the four varieties such as Pleasantry (narman), Beginning of Pleasure (narma-sphūrja) Unfoldment of Pleasure narma-sphoṭa) and Covert Pleasure (narma-garbha)¹.

The three kinds of Pleasantry

49. The Pleasantry (narma) which abounds in remarks made in jest, is of three kinds : that based on love, that with pure laughter and that having Sentiments other than the Heroic¹.

50. The Pleasantry (narman) is known as concerned with acts of jealousy and anger, words of rebuke, self-reproach and deception of others.

Beginning of Pleasantry

51. The Beginning of Pleasantry (narma-sphurja) is to be known as the first meeting [of lovers] in which words and dresses exciting love [are in evidence] but which ends in fear¹.

Unfoldment of Pleasantry

52. The Unfoldment of Pleasantry (narma-sphoṭa) is the cause of the Sentiment contributed by small fraction of different States (bhāva) and not by any State as a whole¹.

---

47 (C.47; K.XX.47). ¹ Cf. SD. 411; DR. II. 47; NL. 1304ff.

48 (C.48; K.XX.48). ¹ Cf. DR. II. 48; SD. 411; NL. 1308ff.¹

49 (C.49; K.XX.49). ¹ Cf. DR. II. 48-50; SD. 412; NL. 1310 defines narma as follows : परापवादैः परुषैरश्लीलैश विवर्जितम्। शुद्धमन्तर्गताकूतं नर्म स्याच्छुद्धगर्भकम्; but the def. of the NŚ. as well has been referred to.

50 (C.50; K.XX.50).

51 (C.51; K.XX.51). ¹ Cf. NL. 1342-1343; DR. II. 51; SD. 413.

52 (C.52; K.XX.52). ¹ Cf. DR. II. 51; SD. 414; NL. 1336 f.

408 THE NATYASASTRA [ XXI. 53

Covert Pleasure

53. When the Hero acts incognito out of any necessity through his qualities such as intelligence, [good] appearance and affection, it is called Covert Pleasure (narma-garbha)¹.

54. These are the eight different meanings of the Graceful Style that I was to speak about. I shall hereafter describe the Energetic Style (ārabhaṭī) which is concerned with haughty Sentiment.¹

The Energetic Style

55. The Style which includes mostly the qualities of a bold person (ārabhaṭa) such as speaking many words¹, deception, bragging and falsehood, is to be known as Energetic (ārabhaṭī)².

56. The Style in which there is a representation of falling down¹, jumping, crossing over, deeds of magic and conjuration, and various kinds of fighting, is called Energetic (ārabhaṭī)².

The four varieties of the Energetic Style

57. It has varieties such as Compression (saṁkṣiptaka), Commotion (avapāta), Raising Various Feelings (vastūtthāpana) and Conflict (sampheṭa)¹.

Compression

58. Compression (saṁkṣiptaka) is furnished with workmanship (śilpa) in the true sense of the words and it includes the

---

53 (C 53; K.XX.53). ¹ According to Sāgaranandin Ārabhaṭī is an aṅga of the Gauḍī vṛtti : NL. 1385. Cf. DR. II. 52; SD. 415; NL. 1338 f. C. adds an additional def. (C.54) of this, but it is wanting in K.
54 (C.55; K.XX.54) ¹ The three kinds of narma, the three kinds of marma-garbha and narma-sphūrja and narma-sphoṭa.
55 (C.56; K.XX.55). ¹ 'Many words' probably mean altercation or verbal duel. ² Cf. NL. 1348 ff. DR. II. 56-57; SD. 420.
56 (C.57; K.XX.56). The reading prastā° in prastāva° seems to be corrupt. Emend this to vastva°.
² See above 56 note 2. C. adds one more def. (C.58) of ārabhaṭī but this is wanting in K. In trans. it will be as follows : That which includes excitement due to an application of the sixfold policy (ṣaḍguṇa), running away due to deception of the enemy, and that which relates to [material] gain or loss, is called the Energetic Style.
57 (C.59; K.XX.57). ¹ Cf. NL. 1356 f. DR. II. 56-57. SD. 420.
58 (C.60; K.XX.58). ¹ Cf. DR. II. 57-58, SD. 422, NL. 1358 f. gives another def. saṁkṣipataka.

.XXII. 65 ] THE STYLES 409

presentation of model works (pusta) drawings, and dresses, and relates to some condensed matter.

Commotion

59. Commotion (avapāta) is known to relate to the occurrence of fear and jubilation, panic, flurry, many kinds of speaking, quick entrance and exist¹.

Raising the Theme

60. That deed which is represented as being connceted with panic or no panic, and includes a combination of all the Sentiments is called the Raising the Theme (vastūtthāpana)¹.

Conflict

61. Conflict (sampheṭa) is known to include excitement, many fights, personal combats, deception, split and [mutual] striking of weapons¹.

62. These are the Styles to be reckoned by the wise in connexion with the drama. Now listen about their application in different Sentiments, which I am going to tell you.

Styles according to Sentiments

63-64. The Style in the Erotic and Comic Sentiments should be Graceful and in the Heroic, the Furious and the Marvellous Sentiments it should be Grand. And in the Terrible, the Odious and the Furious Sentiments one should use the Energetic Style, while the Verbal Style is applicable in the Pathetic and the Marvellous Sentiments¹.

65. I have spoken properly about the Histrionic Representation dependent on Words, Gestures, Temperament and the Styles. Now I shall treat of the Costumes and the Make-up used in the production of plays.

Here ends Chapter XXII of Bharata's Nāṭyaśāstra which treats of the Styles.

---

59 (C.61; K.XX.59). ¹ Cf. DR. I. 59. SD. 423; NL. 1368f.
60 (C.62; K.XX.60). ¹ Cf. DR. II. 59, SD. 420; NL. 1372f,
61 (C.63; K.XX.61). ¹ Cf. DR. II. 50; SD. 421; NL. 1380f.
62 (C.64; K.XX.62).
63-64 (C.65-66; K.XX.63-64). ¹ Cf. NL. 1059-1562. DR. II. 62; SD. 410. C. repeats after this two couplets from the Ch. VII. (118-119).
65 (C.69; K.XX.65).

52

CHAPTER TWENTYTHREE

THE COSTUMES AND MAKE-UP

Necessity of the Costumes and Make-up

1. I shall similarly speak in due order, O Brahmins, about the Costumes and Make-up; for the production [of a play] depends on this¹.

2. The Extraneous Representation (āhāryābhinaya) deals with the rules of the Costumes and Make-up (nepathya)². Anyone who wishes for the success (lit. well-being) of a dramatic production should pay attention to these¹.

3. The dramatis personae are of different types¹. Indicated first² by their Costumes and Make-up they accomplish the representation without much effort by means of Gestures and the like.

Four kinds of the Costumes and Make-up

4. The Costumes and Make-up (nepathya) are of four kinds: model work (pusta)¹, decoration (alaṃkāra), painting the limbs (aṅga-racanā) and living creatures (sañjīva).

The four kinds of model-work

5. [Of these] the model-work is of three kinds and of various forms. They are: the Joined Object (sandhima), the Indicating Object (vyājima) and the Wrapped Object (veṣṭima)¹.

6. The model work which is made up of mat, cloth, skin and the like, is called the Joined Object (sandhima)¹.

---

1 (C.1; K.XXI.1). ¹ K. reads 1b differently.
2 (C.2; K.XXI.3). ¹ C. reads after this an additional couplet.
3 (C.4; K.XXI.2). ¹ Nānāvastha—nānābhūtā yā śokādyā nānābhūtāśrayāś ca (Ag. p. 429).
² Read pūrvam (pūrva, C.) nepathya-sūcitaḥ (sūcikaḥ, C. sādhitāḥ)
4 (C.5; K.XXI.4). ¹ K. mukta for pusta.
² K. nāṭyāṅga-racanā for tathāṅga-racanā.
5 (C.6; K.XXI.5). ¹ Ceṣṭimaḥ, C. for veṣṭimaḥ, K.
6 (C.7; K.XXI.6). ¹ Sandhimaḥ—sandhānatayā nirvṛttaḥ (Ag. p. 429).

.XXIII. 12] THE COSTUMES AND MAKE-UP 411

7. That which is made by means of a mechanical device (yantra) is called an Indicating Object (vyājima)$^1$ and that which is produced by wrapping, is called a Wrapped Object (veṣṭima)$^2$.

8. Hills, carriages, lofty palaces, shields, armours, banner-staffs and elephants$^1$ which are constructed for use in a dramatic performance are called model-works (pusta).

Decorations

9. Decorations (alaṃkāra) are known to consist of flower-garlands, ornaments and drapery which are differently used on different parts of the [human] body.

Garlands

10. Garlands are of five kinds : encircling (veṣṭita)$^1$, spread-up (vitata), grouped (saṃghāya)$^2$, tied-round (granthima), and hung-down (pralambita).

Four kinds of ornament

11. Ornaments of the body are known by the wise to be of the four kinds : that to be fixed by piercing the limbs (āvedhya)$^1$, that to be tied up (bandhanīya), that to be worn (prakṣepya), and that to be put round (āropya)$^2$.

Piercing ornaments

12. [Of these, the ornaments] to be fixed by piercing the limbs are ear-rings (kuṇḍala) and other ear ornaments$^1$.

Tied-up ornaments

And those to be tied-up (bandhanīya) are the girdles (śroṇī-sūtra) and the Aṅgada (arm-band).

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7 (C.8; K.XXI.7). $^1$ Vyājimaḥ—vyājaḥ sūtrasyākarṣākādirūpaḥ kṣepas tena nirvṛtto vyājimaḥ (Ag. p. 430).
$^2$ Read 7b as वेष्टातै नैव यद्रूप वेष्टिमं स तु संचितः. Ag. (p. 430) explains veṣṭimaḥ as follows : upari jatu-sikstādinā veṣṭanena nirvṛtto veṣṭimaḥ.
8 (C.9; M.XXI.8). $^1$ Emend nagāḥ into nāgāḥ.
9 (C.10; K.XXI.9).
10 (C.11; K.XXI.10). $^1$ C. ceṣṭitam.
$^2$ K. tepitam for saṃghātya. Ag. with C.
11 (C.12; K.XXI. 11). $^1$ C. āvedya.
$^2$ K. āropyaka, C. āropaka.
12 (C.13; K.XXI.12). $^1$ The reading of 12b seems to be slightly corrupt.

412 THE NATYASASTRA [ XXIII, 13-

Worn ornaments

13. The ornaments to be worn (prakṣepya) are the anklets (nūpura) as well as the wearing apparels.

Put-round ornaments

And those [ornaments] to be put round (āropya) are the golden neck-chain (hemasūtra) and necklaces (hāra) of different kinds.

Ornaments according to habitation and tribal origin

14. I shall now speak of the varieties of ornaments of men and women according to their habitation and tribal origin.

Ornaments for males :
Head ornaments

15. The crest-jewel (cūḍāmaṇi)¹ and the crown (mukuṭa)² are called ornaments of the head.

Ear ornaments

And the ear-ring (kuṇḍala)³, Mocaka (ear-pendant)⁴ and ear-top (kīla) are ornaments of the ears.

Neck ornaments

16. The pearl-necklace (muktāvalī) the Harṣaka¹ and the [gold] thread (sūtra)² are ornaments of the neck.

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13 (C.14; K.XXI.13).
14 (C.15; K.XXI.14).
15 (C.16; KXXI.15). ¹ To be worn on the top of the head. Cūḍāmaṇiḥ śiromadhye (Ag. p. 430).
² To be worn above the forehead. Mukuṭo lalāṭordhve (Ag. l.c.).
³ To be worn in the lower lobe of the ear. Kuṇḍalam adhara-pālyām (Ag. l.c.).
⁴ To be worn in the hole in the middle of the ear. Mocakaḥ karṇaśaṣkulyā madhyacchidre uttara-karṇiketi prasiddham (Ag. l.c.).
16 (C.17; K.XXI.16). ¹ harṣaka—a snake-shaped ornament, samudgata-sarpādi rūpatayā prasiddham. (Ag. l.c.).
² Sūtram—golden neck-chain, sūtrakam iti guccha-grīvā-sūtrāditayā prasiddham (Ag. l.c.).
³ Kaṭakaḥ (vaṭikā, K.). Ag. (l.c.) reads the term differently. He says vetiketi sūkṣmakaṭaka-rūpā.
⁴ Aṅguli-mudrā—In later times the two members of this compound word (aṅguliya and mudrā) gave rise to two different synonyms for the object (ring) denoted by it.

-XXIII. 19 ] THE COSTUMES AND MAKE-UP 413

Finger ornaments

And the Kaṭaka [Vaṭikā]⁴ and the finger-ring (aṅgulīya-mudrā) are ornaments of the finger.

Ornament of the forearm

17. The Hastavī¹ and the Valaya² are the ornaments of the fore-arm (bāhu-nālī).

Wrist ornaments

And the bracelet (rucika)³ and the Uccitikā⁴ are ornaments of the wrist.

Ornaments above the elbow

18. The Keyūra (armlet)¹ and the Aṅgada (arm-band)² are ornaments to be worn above the elbow.

Breast ornaments

And the three-stringed necklace (trisara)³ is the ornament of the breast.

19. The suspended pearl necklace, the flower-garland and the like, are ornaments for the [entire] body.

Waist ornaments

And the Tarala¹ and the golden thread (sūtra)² are ornaments of the waist.

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17 (C.18). ¹ This is seems to be very rarely mentioned in Skt. literature.
² This word is the same as Bengali bālu (bangle).
³ This seems to be a variant of the word rucaka. See note 4 below.
⁴ This word seems to be never met with elsewhere. Ag.'s fragmentary gloss on this word or rucaka is as follows : * * cakra iti karagolake vitatāṃ tata ūrdhve cūliketi prasiddhau (?) niṣkuke agrabāhu-sthāne etat [vibhū]-ṣaṇam (p. 430).
18 (C.19, K.XXI.17). ¹ To be worn above the elbow. Keyūre karpara (kūrpara)-syordhvataḥ (Ag.l.c.), but ke bāhuśīrṣe yauti iti keyūram, Kṣīrasvāmin on Amara II. 6,107.
² To be worn above the keyūra. Tayor (=keyūrayor) ūrdhve tv aṅgadam (Ag. l.c.).
³ Trisara—trisaro muktālatātrayeṇa (Ag. l.c.).
19 (C.20; K.XXI.18). ¹ To be worn below the navel ; ta[ra]lakaṃ nābher ataḥ (Ag. l.c.)
² To be worn below the taralaka. Tasyāpyadhaḥ sūtrakam (Ag. l.c.).

414 | THE NATYASASTRA | [XXIII. 20-

20. These are the ornaments for males in case of the gods and the kings. I shall now speak about the ornaments for females.

Ornaments for females

Head ornaments

21-22. The Śikhāpāśa¹, the Śikhājāla², the Piṇḍapātra³ (Khaṇḍapātra), the Crest Jewel (cūḍāmaṇi)⁴, the Makarikā⁵, the pearl-net (muktā-jāla)⁶ the Gavākṣa⁷ and the hair-net (śīrṣajāla) are ornaments of the head.

22-23. The Tilaka on the forehead should be produced by many artistic touches, and group of design above the eyebrows should imitate flowers.

Ear ornaments

23-25. The ornaments of the ear are the Kuṇḍala, the Śikhipatra¹ (Khaḍgapatra), the braid [of hairs], the lotus² and the Mocaka³ the Karṇikā⁴, the Karṇavalaya⁵, the Patrakarṇikā⁶, the Karṇamudrā⁷ that entwines the ear, the Karṇotkīlakā (ear-top),

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20 (C.21; K.XXI.19).

21-22 (C.22-23a; K.XXI.20-21a). ¹ This is same as cūlāpāśa mentioned in Megha, II. 2.

² Ag. (p. 431) reads it as śikhāvyāla and explains this as nigagranthibhir upānibaddho madhyekarṇikā-sthānīyam, and adds to explain piṇḍipātra (= piṇḍapātra) as tasyaiva dalasandhānatayā citra-vacanāni (?) vartulāni patrāṇi piṇḍipātrāṇi. ³ See note 2 above.

⁴ The same as mentioned in 15 above.

⁵ Ag. reads this makarapatram.

⁶ This is the same word which occurs in Megha, I. 64.

⁷ No head ornament with this name seems to occur anywhere else.

22-23 (C.24; K.XXII.21b-22a).

23-25 (C.23b, 25-26; K,XXII. 21a, 22b-24).

¹ Ag. (l.c.) reads śikhāpatra and explains this as śikhāpatra mayūrapicchākāro vicitravarṇa-maṇi-racitaḥ.

² guccha. K. for kañja. C. ³ Rocaka, C. and dārakaḥ K.

⁴ This was never met with before.

⁵ This is perhaps the sames as mod. Bengali kānbālā<•kānbalā< kaṇṇavalaa< karṇavalaya.

⁶ This was never met with before.

⁷ This ornament is still in use among women of backward classes.

-XXIII. 27 ] THE COSTUMES AND MAKE-UP 415

the various kinds of the Dantapatras⁸ set with jewels and the Karṇapūra⁹.

The Tilaka and the Patralekhā¹⁰ are ornaments of the cheeks¹¹.

Neck ornaments

26. The pearl-necklace, the snake-group (vyāla-paṅkti)¹, the Mañjarī², the jewel-string³ the jewel-necklace⁴ and the neck-chain (sūtra)⁵ are ornaments of the neck.

27. The necklace with two, three or four strings as well as a [gold] chain is the ornament of the neck¹.

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⁸ These were possibly made with ivory.
⁹ The well-known ear ornament.
¹⁰ The same as patrabhaṅga (drawing decorative designs with scented pigments).
¹¹ C. reads after this four additional and somewhat corrupt couplets ((C.27b-31a) which may be tentatively translated as follows: And the triveṇī is to be known as the ornament of the breast. The two eyes are to be touched with collyrium, and the lips are also to be painted. The four front teeth (of the upper and the lower rows) are to have varying colours as well as whiteness. When covered with artificial colours their beauty is enhanced. Pearl-like teeth of beautiful young women embellish their smile, and dyed with the colour of lotus petals they will be lovely, and when dyed with emerald colour the lips will attain the beauty of tender leaves. And their amorous look will constitute their charms
26 (C.31b-32a; K-XXI.25). ¹ An ornament with the snake-motif; see above 16 note 1. This was never met with before.
² Mañjarī—This was never met with before.
³ Ratnamālikā—This is to be distinguished from ratnāvalī (see note 4 below) which is a bigger necklace; for the word mālikā means a small mālā.
⁴ Ratnāvalī—See note 3 above.
⁵ Sūtra (lit. thread) evidently means a thin thread-like necklace made of gold; cf. kanakasūtra in Pañcatantra I. (vāyasa-dampati-kathā).
27 (C.32b-33a). ¹ K. omits this passage. The terms like dvisara (wrongly dvirasa), trisara (wrongly trirasa) and catu-sara (wrongly catūrasa) mean respectively necklaces with two, three and four strings.

416 THE NATYASASTRA [XXIII. 28

Breast ornaments

28. The necklaces with the most artistic work¹ are to be ornaments of the breasts.

The jewelled net is the ornament of the breasts (or the back)².

Arm ornaments

29. The arm-band (aṅgada)¹ and the bangles (valaya)² are ornaments of upper (lit. the root of the) arms.

The Varjura³ and the Svecchitikā⁴ are ornaments of the fore-arm.

Finger ornaments

30. The Kaṭaka¹, the Kalaśākha², the Hastapatra³, the Supūraka⁴ and the ring (mudrāṅgulīyaka)⁵ are ornaments of fingers.

Hip ornaments

31. The Kāñcī¹ with a net of pearls, the Kulaka, Mekhalā, the Raśanā and the Kalāpa are ornaments of the hip (śroṇī).

32. The Kāñcī is [a girdle] of one string, the Mekhalā of eight, the Raśanā of sixteen and the Kalāpa¹ of twenty-five strings.

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28 (C. 33b-34a; K.XXI.26). ¹ nānā-ratnakṛta (in K.) meaning 'made up of many jewels'.
² Pṛṣṭha-vibhūṣaṇa (in K.) meaning 'ornaments of the back'.
29 (C.34b-35a; K.XXI.28b, 28a). ¹ K's reading is corrupt. See above 18 note 2.
² It is now-a-days called ananta in Bengal. Kālidāsa's Yakṣa (Megha, I. 2) had a kind of valaya in his prakoṣṭha (fore-arm).
³ This seems to connected with the bāju still in use among women of rural areas in Bengal.
⁴ Svecchitikā—This was not heard of before.
30 (C.35b-36a; K.XXI.27b, 27a). ¹ K. reads of 30a as śaṅkha-kalāpī. kaṭakaṁ tathā syāt patrapūrakam. Kaṭaka is usually met with in the sense of an ornament of the wrists. ² This was never met with before.
³ This was never met with before. There is however an ornament hasta-sūtra (Apte). ⁴ This was not met with before.
31 (C.36bc; K.XXI.29). ¹ K. reads 31a differently. All the ornaments except kulaka have been defined in 32 below. Kulaka seems to be a girdle of the special kind.
32 (C.37; K.XXI.30). ¹ Kalāpa seems to have been used by Kālidāsa in the sense of a necklace (Kumāra I. 42).

-XXIII. 40] THE COSTUMES AND MAEKE-UP 417

33. The pearl necklace of the goddesses and the queens are of thirtytwo, sixtyfour or one hundred and eight strings.

Ornaments of the ankles

34. The Nūpura, the Kiṅkiṇī, the Jewel-net (ratnajāla)$^1$ and the ringing Kaṭaka are the ornaments on the ankles.

35. The Pāda-patra is the ornament of the shanks (jaṅghā) and the toe-rings that of the toes, and the Tilaka on the big toe are ornaments of the feet.

36. Similarly [an additional decoration of the feet] will be the lac-dye applied on them in various patterns to impart to them the natural colour of Aśoka blossoms.

37. These are the decorations of women from the hair to nails [of the feet]$^1$. Considering the States and the Sentiments these are to be applied [in different parts of the body].

38. These ornaments (lit. works) having their origin in Viśvakarman$^2$ are to applied also after a consideration of the tradition (āgama), measurements [of the wearer] and her physical form.

39. [In dramatic production] one is not entitled to decorate the limbs freely and at one's will, with gold, pearls and jewels.

40. Utilised on account of wealth$^1$, the jewelled ornaments put on in proper places will lend beauty to the limbs$^2$.

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33 (C.38, K.XXI.31).

34 (C.39, K.XXI.32). $^1$ K. reads ghaṇṭika lālam evā ca.
$^2$ Hollow bangles within which small stone bits are lodged.

35 (C.40; K.XXI.33). $^1$ C. reads jaṅghayoḥ for padayoḥ.
$^2$ This was never met with before. Ag. (p. 431) reads tilakā iti vicitraracanākṛtā.

36 (C.41). $^1$ This passage is wanting in K.

37 (C.42; K.XXI.34b, -34a). $^1$ Ag. (l.c.) ānakhād—alaktaka-rāga-paryantam.

38 (C.43; K.XXI.35). $^1$ Ag. (l.c.) explains āgama as upādānakāraṇam.
$^2$ An authority of arts and crafts (śilpa).

39 (C.44; K.XXI.37b-38a). $^1$ K. reads tarhi śaktyanusāreṇa.

40 (C.45). $^1$ Read vibhavato.
$^2$ K. omits this passage.

53

418 THE NATYASASTRA [XXIII. 41-

41. But in the production of plays there should not be a use of too many ornaments ; for these by stiffening movements will cause fatigue [to actors and actresses]¹.

42. Weighed down with heavy ornaments one cannot move much, and one so weighed down, is likely to be exausted and to be faintaing.

43. Hence [in a dramatic production] there should be not used ornaments made of pure gold, but those made of lac and inlaid slightly with jewels, will not bring exaustion [to the wearers in a play].

44. The rules of decoration are optional¹ in case of the celestial beings (gods and goddesses) ; but the decoration of human beings are to be made carefully.

45. The celelstial females are to be distinguished for their own roles by means of ornaments and Costumes suited to the various States.

46. Women of the Vidyādharas, the Yakṣas, the Nāgas, and the Apsarasas, and the daughters of sages and gods are to be distinguished by their Costumes.

47. The same rule applies also to women of the Siddhas, the Gandharvas, the Rākṣasas, the Asuras, the godly monkeys, and human females.

48. The Vidyādhara women should be made to have hairs (śikhā) tied in top-knot decorated with string of many pearls and clothes [completely] white¹.

49. The Yakṣa women and the Apsarasas should have

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41 (C.46). ¹ A very sensible warning.
42 (C.44). See above 41 note.
43 (C.48).
44 (C.49). ¹ For gods are beautiful by nature.
45 (C.50). ¹ Read 45a as भूषणैश्चापि वेधैस्तु नानावस्था समाश्रयैः.
46 (C.51, K.XXI.42).
47 (C.52). ¹ Read divya-vānara-nārīṇām ; cf. 57 below.
² K. omits this passage.
48 (C.53, K.XXI.44).¹ K. reads citra for śuddha, C.
49 (C.54, K.XXI.43),

.-XXIII. 56] THE COSTUMES AND MAKE-UP 419

ornaments of jewels, and the same will the dresses of [all] these, except that the Yakṣa women are to wear the simple Śikhā¹.

50. The Nāga women are to wear like the goddesses¹ the ornaments abounding in pearls and jewels, but they are also have hoods² [in addition to these].

51. The daughters of sages are to wear a single Veṇī of the hair on their head, and they should not be made to have too much decoration.

Siddha women

52. The Siddha women should have ornaments abounding in pearls and emeralds, and their dresses should be of yellow colour.

Gandharva women

53. Ornaments of the Gandharva women should be made to abound in rubies. And they are to carry a Viṇā in the hands and to have clothes of saffron colour.

Rākṣasa Women

54. The Rākṣasa women are to have saffires as their ornaments, and their teeth are to be made white and the dresses of black colour.

Goddesses

55. The celestial women are to have lapis lazuli and the pearls as their ornaments, and their dresses are to be made green like [the colour of] the parrot's tail.

Monkey females

56. The women of the [godly] monkeys are to have topaz¹ and [sometimes] lapis lazuli as their ornaments, and their dresses are to be made of blue colour.

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¹ Read samas tvāsām for samastānām (K). and yas tvāsām (C.)
50 (C.55, K.XXI.38b). ¹ K. omits 50a. ² Read phaṇās tāsām (K).
51 (C.56, K.XXI.39 and 45). ¹ Read tāsāṁ veśo vanocitaḥ (K).
52 (C.57). ¹ For the Siddha women see Megha I. 14.
53 (C.58). ¹ Read kuryāt before padma-maṇi°.
54 (C.59). 55 (C.60).
56 (C.61). ¹ Puṣparāga = puṣparāja, NIA. pokh-rāj.