CHAPTER THIRTYFIVE

DISTRIBUTION OF ROLES

1. I shall [now] speak of the distribution of roles in a play or of the kinds of men by which different roles are to be represented.

General principles of distribution

2. After considering together from their gait, speech and movements of the limbs as well as their strength and nature¹, the experts are to employ² actors to represent different roles [in a play]³.

3. Hence the selection of actors should be preceded by an enquiry into their merits. The Director (lit. the master) will not feel difficulty¹ in the choice [if such a procedure is followed].

4. After ascertaining their natural aptitudes he is to distribute roles to different actors¹.

The role of gods

5-6. Persons who have all the limbs intact, well-formed and thick-set, who are full-grown (rayo'nvita) not fat or lean or tall or lazy, who have vivacity, pleasant voice and good appearance, should be employed to represent the role of gods¹.

The role of the Rākṣasas, the Dānavas etc.

7-8. Persons who are fat, and have a large body and a voice like the peal of thunder (lit. cloud), furious looking

---

1 (C. K. same). ¹ vibhāgam (vinyāsam, K.).
² K. reads 1b. with a slight variation.
2 (C.2a; K.2). ¹ sattvaśīlaiḥ, K. (sattvaśīla°, C.).
² Emend yuṣṭād, K. into yujyād.
³ 2b. and the following thirteen couplets have been omitted by C.
3(K.3). ¹ Literally, 'this will not bring weariness to the intellect of the Director.'
4 (K.4). ¹ This passage is slightly corrupt.
5-6 (K.5-6). ¹ This seems to be comparable to the Hellenic conception of gods.
7-8 (K.7-8). ¹ Cf. Bhaṭṭi, II. 30.

<!-- Blank or illustration plate: Page 624 -->

540 THE NATYASASTRA [ XXXV. 18-

expressionless (lit. motionless) eyes¹, one eye blind², small chin and low nose, ugly raiments, evil nature, deformed body and are born of slaves should be employed in the role of slaves (dāsa).

The role of fatigued persons

18. A person who is naturally thin, should be employed in a play (lit. there)¹ to represent the tired characters.

The role of persons without disease

A fat person should be employed to represent the persons without any disease².

Special cases of assigning roles

19. If, however, such persons are not available the Director (lit. the master) should exercise discretion to employ [some one] after a consideration of the latter's nature and movement as well as the States [to be represented].

20. Such persons' natural movements whether good, bad or middling should be regulated by a contact with the Director (lit. the master)¹ and then they will properly represent [all] the States².

21. In other cases too similar dramatic convention has been prescribed, and roles should be assigned to persons after considering their native place (deśa) and costume (veśa).

The role of characters with extra or special limbs

22-23. In case of characters which have many arms, many heads, and uncouth faces, and faces of animals including beasts of prey¹, asses², camels, horses and like, the Director (lit. the

---

¹ Read viṣṭabdhanetram for niṣṭabdhanetram, K. visṛṣṭnetaram., C.
² kāṇākṣam, K. (kāryāṇām, C.).
18 (C.4b-5a; K.18). ¹ tatra śrānteṣu, C. tapa(ḥ)śrānte K.
² hyarogeṣu pra°, C. °mupayogeṣu, K. 19 (C.5b-6a; K. 19).
20 (C.6b-7b; K.20ab.). ¹ tathā cāryayogena. K. (tathā cānyayo- gena, C.).
² C. 6b and 7a seem to be variant of each other. See K. 20a which we accept. 21 (C. 8). ¹ K. omits this.
22-23 (C.9-10; K.XXVI.13b-15a). ¹ śvāpadavaktraś ca, K. śvā- padasiṃhaś ca, C.
² kharoṣṭrāśvānanās tathā K. khasoṣṭra vāraṇās tathā, C.
. 24 (C.11; K.XXVI.15b-16a).

-XXXV. 30 ] DISTRIBUTION OF ROLES 541

master) should, according to his discretion, have the masks (lit. them) made by means of clay, wood lac and leather.

The first entry of a character

24. After concealing his identity (lit. his own form) by means of painting and make-up one should enter the stage in his natural State (bhāva)¹.

The result of proper impersonation

25-26. If in the production of a play a person is to be assigned¹ a role which fits in with his nature and physical form, then he [very naturally] represents it (lit. renders his States). [He will be] like a man who renounces his own nature together with the body, and assumes another's nature by entering into the latter's body.

The psychological preparation for impersonation

27. Thus after thinking within himself that "I am he" a wise actor should represent the States of another person by speech, gait, movements and gestures¹.

Three kinds of impersonation

28. Human characters according as they are represented on the stage [by actors] fall into three classes : natural (anurūpā), unnatural (virūpā) and imitative (rūpānusāriṇī).

The natural impersonation

29. When women impersonate female characters and men male characters, and their ages are similar to that of the characters represented, the impersonation is called "natural" (anurūpā)¹.

The unnatural impersonation

30. When a boy impersonates the role of an old man, or an old man that of a boy, and betrays his own nature in acting, the representation is called "unnatural" (virūpā).

---

¹ The implication of this is not clear.

25-26 (C.12-13; K.XXVI.16b-18a). ¹ prayojyam, K. prayuktam, C. Cf. NŚ. XXIII. 79.

27 (C.14; K.XXVI.18b 19a). ¹ A very practical instruction.

28 (C.15; K.XXVI.1).

29 (C.17; K.XXVI.2). ¹ C. reads 38 before this with a slight variation.

30 (C.18; K.XXVI.3).

542	THE NATYASASTRA	[ XXXV. 31-

Imitative impersonation

31-32. When a man impersonates a woman's character¹ the impersonation is called "imitative" (rūpānusāriṇī). [Following this very principle] a man's character may, at one's option, be represented by a woman. But in cases of such an inversion of roles (lit. mutual efforts), one should see that persons employed are neither old nor ugly (lit. should make them old or ugly).

Suitability of women in some roles

33-35. Characters of delicate nature¹ are always² to be represented by women, and hence³ such roles of gods and mortals [are mostly to be represented]⁴ likewise. [For] just as among the gods (svarge)⁵ drama depends on [females like] Rambhā, Urvaśī and the like, similarly among the mortals (mānuṣe loke) too the same rule holds good in the harem of kings. And [hence] teachers (ācārya)⁶ should instruct women [in acting] according to the Śāstras.

35-36. As amorousness (vilāsa) is natural in women they possess likewise naturally graceful limbs which are easily accessible to the Sauṣṭhava. But the men's Lolling (lalita) should depend on decorative movements (alaṅkāra).

Training for women in different roles

37. A good Director (lit. wise man) should not get women's roles supervised by himself (syayam). But masculine (lit. production depending on men when assigned to women should be carefully directed [by him].

Result of proper assignment of roles

38. Roles assigned to persons of various nature, and age,

---

31-32 (C.19-20; K.XXVI.4-5). ¹ As in the Shakespearian stage. Ag. (p. 502) explains bāliśa as virūpa (ugly).
33-35 (C.21-23a; K.XXVI.6-8.). ¹ bhūmikāṃ sukumārām, C. bhūyiṣṭham, K.) ² nityam, C. vṛttam, K. ³ atyartham C. ityartham K. ⁴ mānuṣiṇām, C. prakṛtinām, K. ⁵ Cf. Vikram. III. (Viṣkambhaka). ⁶ The trans. is tentative.
35-36 (C.24b-25; K.XXVI.12-13a). ¹ See NŚ. XI. 88-91.
37 (C.26a, 56c; K.XXVI.10a-11b).
38 (C.16; 26b; K.XXVI.10b-11a).

-XXXV. 43 ] DISTRIBUTION OF ROLES 543

who depend on natural limbs will very much embellish a dramatic performance¹.

Result of employing women for acting

39. Dance and music (saṃgīta) without fatigue is always [considered] a quality in women, and a dramatic production attains¹ partly the sweetness and partly the strength due to this².

40. A woman who is an adept in the practice of love and is an expert in [representing] love-affairs appears through her graceful acting on the stage (nāṭyavilāsa) like a creeper full of various charms on account of its [many] flowers.

41. Hence [a Director] should always bestow undivided attention to the [women's] exercise (yogyā) [in dance and music]. For without such an exercise the States, the Sentiments and the Sauṣṭhava cannot be produced [by them] in the least¹.

The two types of dramatic production

42. The production of a drama which includes many States and Sentiments is of two kinds : delicate (sukumāra) and violent (āviddha)¹.

The delicate type of production

43. The Nāṭaka, the Prakaraṇa, the Bhāṇa, the Vīthī, and the Aṅka are known to be of the delicate type¹. For they depend [for their production on the impersonation of] human beings only.

---

¹ Read this couplet as follows :

तुल्यावस्थास्त्रियोपेता भूमिका प्रकृतिस्थया ।
ऽङ्गसमुद्योततेऽन्नास्य स्वभावकरणाश्रयाः.

39 (C.27; K.XXVI.9). ¹ bhajate; K. (bhavati, C.). Read nāṭyaṃ prayoge ca for nāṭyaṃ prayogeṇa, C. K. ² The passage is corrupt.

40 (C.28). ¹ This shows the benefit of engaging actresses. The employment of boys to represent women on the stage was considerably a handicap with Shakespeare in depicting female characters. On this see "Shakespeare's Dramatic Art" (p. 54) in A Companion to Shakespeare Studies, Cambridge, 1946. K. omits this.

41 (C.29). ¹ K. omits this. This passage seems to show the high standard of acting in the ancient Hindu theatre.

42 (C.30; K.XXVI.20, XIII.44). ¹ See NŚ. XIV. 56.

43 (C.31; K.XXVI.21, XXII.49). ¹ See NŚ. XIV. 61.

544	THE NATYASASTRA	[ XXXV. 44-

44. This delicate type of production is pleasing to kings. Hence plays of this class when they are found to posses [chiefly] the Erotic Sentiment, should be produced by women [only, for the enjoyment of kings]¹.

45. The play in which there occurs violent fighting, great speed [of movement] and much excitement, should be enacted not by females but by males.

46-47. If a play includes ordinary (lit. not exalted) incidents and no hurried or violent movement of limbs, and requires the observance of proper tempo, Time and regulated utterance of syllables and of well-seperated words, and does not abound in all the eight Sentiments in their exuberence¹, then it may be made to be produced by women².

The violent type of production

48-49. The play which requires energetic (āviddha) Aṅgahāras¹ to represent cutting, piercing, and challenging, and includes [a representatation of] the use of magic and occult powers as well as artificial objects and costumes, and has among its dramatis personae many males and small number of females who are of quiet nature, and mostly the Grand and the Energetic Styles are applied in its production, is of the violent (āviddha) type.

50. By the expert producers, the plays of the Ḍima, the Samavakāra, the Vyāyoga and the Īhāmṛga classes are known to be of the violent type¹.

51. Production of plays of this type should be made by [an impersonation of] gods, the Dānavas and the Rākṣasas who are majestic, and endowed with heroism, energy and strength¹.

---

44 (C.26; K.XXVI.22). ¹ An instance of such a play occurs in Priyadarśikā, Act. III. 45 (C.32; K.XXVI.23).
46-47 (C.33a; K.XXVI.24-25). ¹ Read anaṣṭarasa-bahulam for miṣṭarasakahalam. K.; ² C. omits these two couplets.
48-49 (C.33-34; K.XXII.45-46). ¹ Read yac cāviddhāṅgahārantu for na cāvidyāṅgabhāvas tu, C. tatra viddhāṅgahāraṁ tu, K. See NŚ. XIV. 37-8.
50 (C.35; K.XIII.47). ¹ Read 50b as etānyāviddhasaṁjñāni, K. etc. See NŚ. XIV. 59. 51 (C.36; K.XIII.48). ¹ See NŚ. XIV. 60.

-XXXV. 57 ] DISTRIBUTION OF ROLES 545

52. Thus one should assign roles of different characters in the production of a play. Now I shall speak how the drama is to be produced with the help of the Costumes and Make-up.

The typical impersonation of a king

53-55. How are the kingly qualities to be represented by a limited number (alpa) of dresses? In this connexion it has been said that when the dramatic conventions came into being among the people, the drama furnished with all these, was devised by me. And hence the actor (naṭa) covered with paint and decorated with ornaments will reveal the signs of kingship when he will assume a grave and dignified attitude¹. And thus a person will be [as it were] the refuge of the Seven Great Divisions (saptadvīpa) of the earth.

56-57. Covered with paints [in the role of a king and having mild movement of the limbs¹ the actor under instruction of the teacher should assume the Sauṣṭhava pose, and then he will look like a king, and [ordinarily] the king also looks like an actor². Just as the actor is to be like a king, so the king is to be like an actor³.

58-59. The States are to be represented (lit. accomplished) by the both by means of similar graceful movements and the similar Śauṣṭhava of limbs¹. Just as an actor under instruction of the teacher illuminates the stage, so the king too should always be naturally brilliant [in his dress and demeanour].

---

52 (C.37; K.XXVI.26a).

53-55 (C. 38-40; K.XXIV. 76-78). ¹ gāmbhīryaudārya° K. gāmbhīryāhārya°, C.

56-57 (C. 41-42; K.XXIV. 79-80). ¹ The 56a should be emended as follows: वर्णकैश्छादितेनेह शान्तं त्वङ्गविचेष्टितम् (वर्णकैर्याति तेनेह कार्यं, C.). śānataḥ (śāntam) in place of kartavyam in the next hemistich in K.).

² This is a very clever statement. The king though he is nothing but an ordinary human being, often assumes consciously or unconsciously an extraodinary appearance. ³ See above note 2.

58-59 (K.XXIV.81-82a). ¹ samalīlāṅgasauṣṭhavāt (text, °vā for °vāt).

69

546 THE NĀṬYAŚĀSTRA [ XXXV. 59-

Impersonation of the attendants of gods

59-60. The attendants of gods¹ should be made like those of kings, and in the drama they are to be given the costume, the language² and movements suitable [to their character].

60-61. The producer should give to the actor the natural appearance of a character by giving him [suitable costume] and by associating him with suitable age through the make-up¹.

61-62. Thus one should make a selection of persons for representing kingly manners. I shall speak hereafter of the qualities desirable in producers.

The characteristics of a Director

In this connexion, I shall speak of the qualities of a Director. An enumeration of his qualities will constitute these characteristics; they are : complete refinment of speech, knowledge about the Tāla, rules for timing of songs, and of the theory relating to musical notes and to the playing of musical instruments¹.

63-68. One who is an expert in playing the four kinds of musical instrument, well-trained in rites prescribed in the Śāstras, conversant with the practices of different religious sects and with polity and the science of wealth, expert in the manners of courtesans, and in poetics¹, knows the various conventional Gaits² and movements, throughly appreciates [all] the States (bhāva) and the Sentiments (rasa), is an expert in producing plays, acquainted with various arts and crafts, conversant with the rules of prosody and the metrical feet, and is clever in studying the different Śāstras, acquainted with the science of stars and planets and with the working of the human body, knows the extent and customs of the earth, its continents and divisions, mountains and people, and the descendants of different royal lines³, is fit to attend to the Śāstras relating to his works, capable of understanding them and of giving

---

59-60 (C.43; K.XXIV. 82b-83a). ¹ divyānāṃ, K. dravyānāṃ, C.).
² deśabhāṣā; K. (deśabhāṣā, C.).
60-61 (K.XXIV.83b-84a). ¹ This passage seems to be a variant of 25.
61-62 (C.44 and prose; K.XXIV.84b and prose). ¹ K. reads the prose passage differently.
63-68 (C.45-50; K.XXIV 93-98). ¹ kāvyaśāstra. K., kāmaśāstra, C.
² gatipracāra, K. gītapracāra, C.). ³ prasūtivit, K. prasūtivān, C.

-XXXV. 75 ] DISTRIBUTION OF ROLES 547

instruction [on the subjects]; should be made a teacher (ācārya) and a Director (sūtradhāra)$^4$.

The natural qualities of a Director

69-71. Now listen to me speaking about the natural qualities [which he should possess]. He should be possessed of memory and judgement, be persevering, dignified, poetical, free from diseases, sweet [in his manners], forbearing, self-possessed, speaking sweet words with a smile, free from anger and greed, truthful, impartial, honest and resourceful (pratibhāvān). These are his natural qualities.

Characteristics of an Assistant to the Director

71-72. A person of the middling type who has slightly less number of qualities than that the Director is to possess, should be known as an Assistant (pāripārśvika) to the Director.

Characteristics of an actor

72-73. An actor (naṭa) should be lively [lit. bright], possessed of good physique, acquainted with theatrical accessories and their uses, possessed of [good] memory, conversant with the rules [of the theatre] and an expert in his own work$^1$.

Characteristics of the Parasite

73-74. Possessing the qualities which the Director (sūtradhāra) has with regard to the theatrical production$^1$ the Parasite (viṭa) should be an expert in dealing with courtezans, sweet-tempered, impartial, poetic, capable of seeing the pros and cons in any argument and be eloquent and clever.

Characteristics of the Śakāra

75. The Śakāra$^1$ who is to change his nature often will

---

$^4$ The position of the Director (sūtradhāra) seems to be comparable to that of regisseur. See Th. Komisarjesky, The Theatre, London, 1935, pp. 15, 18, 19.
69-71 (C.51-53a; K.XXIV.99-101a).
71-72 (C.53b-54a; K.XXIV.101b-102a).
72-73 (C. 54b-55a; K.XXIV. 102b-103a). $^1$ Cf. Komisarjevsky The Theatre, p. 20.
73-74 (C.55bc; K.XXIV.103b-104). $^1$ Emend yuktāḥ sarva eva prayogiṇaḥ into yuktaḥ sarva eva prayoge ca.
75 (C.56; K.XXIV.105). $^1$ Sometimes connected with the Śakas; see Keith, Skt. Drama, p. 69.

548 THE NATYASASTRA [XXXV. 76-

generally be dressed with gaudy (lit. brilliant) clothes and orna- ments, and will be angry without any reason and be pacified like- wise, and he will speak the Māgadhī dialect.

Characteristics of the Jester

76. The Jester (vidūṣaka) should be short in stature, hunch- backed, twice-born¹, bald-headed and twany-eyed.

Characteristics of the servant

77. The servant (ceṭa) should be fond of crafts (kalā), gar- rulous, uncouth in form, using scents, expert in distinguishing between persons who are to be honoured or not to be honoured

Characteristics of the courtezan

78-81. Thus I shall now speak of the nature of female characters who have [many] natural as well as acquired [lit. other] qualities¹. The courtezan (gaṇikā) should be skilled in acting and have the following qualities : she should be always engaged in attending teachers [for learning] and in the application of the art, and be endowed with sportiveness, Emotion (hāvā), Feeling (bhāva), Temperament (sattva), good manners, and sweetness, and be acquainted with the sixtyfour arts and crafts, expert in dealings with the king², free from female diseases, and should have sweet and endearing words, and be unreserved, clever and uncon- quered by fatigue³.

Characteristics of the typical Heroine

81-83. A woman with the following qualities should be made the Heroine : she should be endowed with a good physical form, good qualities, character, young age, sweetness and strength, and she should be shining, tender, sweet, uttering charming words with a lovely voice, not unsteady (lit. perturbed) in the exercise (yogyā)¹ and should be conversant with tempo (laya) and Time (tāla) and the Sentiments.

---

76 (C.57; K.XXIV.106). ¹ dvijanmā, K. dvijihvo, C.
77 (C.58; K.XXIV.107).
78-81 (C.59-62a; K.XXIV.108; 111-113). ¹ C. omits 78 (K.XXIV. 108). ² rājopacārakuśalā, C. nṛttopacārakuśalā, K.
³ K. reads two additional couplets before 79.
81-83 (C.62b-64a; K.XXIV.114-116). ¹ yogyāyām, C. (bhāṇḍaughais).

.XXXV. 89 ] DISTRIBUTION OF ROLES 549

Women disqualified for being Heroines

83-85. But women with the following characteristics should not be made Heroines (prakṛti, lit. character)¹ in a play : smiling on wrong occasions², having violent gaits and efforts, persistent anger, being always haughty and unreserved and unruly³ [in their manners], having all kinds of diseases and lacking garlands and scent [to adorn their body].

Members of the typical theatrical party.

85-88. I shall hereafter speak of different members of the theatrical party (bharata). [They are :] Bharatas (actors) because of their following Bharata (the author of the Canons of Drama)¹ the Jester (vidūṣaka)², the musician (tauripa), the actor-dancer (naṭa), the Director (sūtradhāra), playwright (nāṭyakāra), the maker of head-gears (mukuṭakāra)³, the maker of ornaments⁴ and garlands, the dyer (rajaka), the painter (citrakara) the craftsman (kāru)⁵, artistes (śilpin)⁶, and Kuśīlavas⁷ who are to be known, O Brahmins, by their names.

• 88-89. As he conducts¹ the [performance of a] drama by acting in many roles and by playing many musical instruments and by providing many household accessories (upakaraṇa) he is called Bharata or a member of the theatrical party.

Characteristics of the Jester

89-91. One who betakes himself to various places (lit. shelter) connected with the movement of all kinds of characters and creates [thereby]¹ pleasure for them and sometimes takes shelter

---

83-85 (C.64b-66a; K.XXIV.117-118). ¹ Read 85a as एवं विधा न कर्तव्या प्रकटा प्रकृतिर्बुधैः. ² asthāna°; K. (āsthāna°, C.). ³ tathā cānibhṛtodbhaṭā K. (f. n.); tadā tu nibhṛtodbhaṭā, K. tathodvṛttodbhaṭā sadā, C.

85-88 (C.66b-69a; cf. XXXV.21-22). ¹ C. reads 85a as follows : शिल्पकारोपकारी च दूषकः सौतिको नटः. ² tauripo, K. (tauriko, K.). ³ Read mukuṭakārakaḥ for kuṭakārakaḥ, C. ⁴ Read tathābharaṇa for tathāharaṇa, C. ⁵ कारवः तन्त्ररजकादयः, शिल्पिनः सुवर्णकारादयः in Nayacandrikā on AS. note, p. 97. ⁶ See note 5 above. ⁷ kuntliavās ca, C.

88-89 (C.69bc; K.XXXV.23). ¹ Read uddhared for uddhāro, K. C.

'89-91 (C.70-71; K.XXXV.24-25). ¹ 89-91 seem to be corrupt. .

550 THE NATYASASTRA [ XXXV. 91-

with women [for the same purpose] and who is ready-witted, a maker of funs, and whose speech is always connected (lit. adorned) with the disclosure of extremely humerous ideas, is called the Jester (vidūṣaka).

Characteristics of the master-musician

91-92. One who is an expert in playing all kinds of musical instruments and has taken [specially] to Tūrya, is called Tūrapati¹, Tūryapati or Tauripā (master-musician).

Meaning of the word 'Naṭa'

92-93. The meaning of its root naṭa is to act (lit. acts), and hence, as he acts (represents) the affairs of men with the Sentiments, the States and the Temperament, he is [called] an Actor (naṭa)¹.

The Benediction defined

93-95. As one addresses by it the people with sweet words of blessing and auspicious ceremonies, it is called the Benediction. Because in the performance of a drama one speaks through it in many ways of the welfare¹ of people by means of reading prayers in Prakrit or Sanskrit, it is called Benediction².

Characteristics of the Director

95-96. One who knows from the instruction of the Śāstra the principles (sūtra) of songs (gāna), instrumental music (vādya) and the Recitatives, [and all these] in conformity with one another is called the Director (sūtradhāra, lit. holder of principles).

Characteristics of the playwright

96-97. As one assigns [in a play] the [different] States together with the [different] Temperaments to different characters¹, one is called the play-wright (nāṭyakāra)².

---

91-92 (C.72; K.XXXV.26). ¹ śūrapati, C. for turapati, K.
92-93 (C.73; K.XXXV.27). ¹ For another def. see below 97-93.
93-95 (C.74-75; K.XXXV.28-29). ¹ nānyo, C. for nāndyo, C.
² These two def. of the Benediction (nāndī) seem to be out of place here. For the other def. see NŚ. V. 24-25; 107-113.
95-96 (C.76; K.XXXV.30).
96-97 (C.77; K.XXXV.31). ¹ Read bhūmi-vikalpam for °vikalpo, C. vikalpaiti, K.
² His duty was to compose a play on any given theme. He is comparable to 'poets' employed by Elizabethan theatrical companies.

.XXXV. 97 ] DISTRIBUTION OF ROLES 551

Characteristics of the Actor.

97-98. Any one who can act (lit. perform) a play according to the rules for the application of the four kinds of music, is called an Actor (naṭa).

Characteristics of the Actress

98-99. A woman who knows about the playing of drums the tempo, the Time and is able to create the Sentiments and is beautiful in all her limbs, should be made an Actress (nāṭakīyā)¹.

The maker of headgears

99-100. He who makes masks and various special dresses together with head-gears (śīrṣaka = pratīśiraka) suited to (lit. arising from) the various characters, is called the maker of headgears (mukuṭakāra).

The maker of ornaments

100-101. One who makes ornaments according to various rules is called the maker of ornaments (ābharaṇakṛt) ; [each of the makers the different ornaments] is to be designated according to the name of the material he uses¹.

The maker of garlands

101-102. He who makes five kinds of garland is called the maker of garlands (mālyakṛt).

The costumer

And he who designs costumes is called the costumer (veṣakara).

The painter and the dyer

One who knows painting, is a painter (citrakara), and from his knowledge of dying (rañjana) a person is called a dyer (rajaka)¹.

---

97-98.(C.78; K.XXXV.32). ¹ K. reads 98a as प्रकृतिं पृथग्भावं गताद् वै नाटकी भवति.
98-99 (C.79).
¹ K. omits this. The word nāḍaïā (=nāṭakīyā) occurs in Pratimā. I.4.7.
99-100 (C.80; K.XXXV.33).
100-101 (C.80; K.XXXV 34). ¹ The significance of this statement is not apparent.
101-102 (C.82-83a; K.XXXV.35-36a). ¹ This word often used in New Indo-Aryan in the sense of 'washerman'.

552 THE NATYASASTRA [ XXXV. 103-

The craftsman

103-104. One who fashions different objects out of lac, stone, iron and wood, is called a craftsman (kāru).

The Kuśīlava

He who knows the principles of applying the different branches of instrumental music (ātodya) and is an expert in in playing them, and who is [besides] clever, refined (avadāta), free from sickness, is called the Kuśīlava¹.

The other members of the party

104-105. The man who takes to an art (śilpa), a profession or a practice and has himself acquired proficiency in it, is called by its name. So much about the communities (jāti) known in connexion with the rules of theatre as the Naṭas¹ who relate to various accessories [needed] in the production of various types of plays.

106. I have spoken about the assignment of roles and about the producers of a drama according to their function, and have delivered the Canons of Drama. Please mention, O sages, what more is to be said now¹.

Here ends Chapter XXXV of Bharata's Nāṭyaśāstra, which treats of the Distribution of Roles.

---

103-104 (C.83b-84; K.XXXV.36b-37). ¹ K. reads 104a differently. The etymology of kuśīlava has very much exercised the ingenuity of modern scholars. See Keith, Skt. Drama. p. 30

104-104 (C.85-86; K.XXXV.38-39) ¹ Even now-a-days the people of the Naṭa community play drums, make dolls flower-garlands, and paint pictures. 106 (C.87). ¹ K. omits this.

<!-- Blank or illustration plate: Page 638 -->

<!-- Blank or illustration plate: Page 639 -->

.XXXVI. 25 ] THE DESCENT OF DRAMA 555

for the prosperity of the king, the ferocious beings will make themselves scarce on hearing the sound of the Benediction.

20. The instrumental music, or the drama¹ or the songs together with the instrumental music, will be equal [in importance] to the exposition of the Vedic hymns².

21. I have heard from the god of gods (Indra)¹ and after-wards from Śaṃkara (Śiva) that music [vocal and instrumental] is superior to a bath [in the Ganges] or Japas for a thousand times².

22. The places in which there occur the instrumental music and dramatic performance¹, or the song and instrumental music, will surely² never know any kind of inauspicious happening.

23. Thus I have devised the Preliminaries as a ceremony of adoration for worshipping the deities with laudatory verses and Mantras¹.

The ablution of the Director on the stage

24. As the head¹ becomes fatigued by bowing on the stage, the rule permits the Director to bathe it with water².

25. After the ablution the Director should worship the Jarjara with Mantras. All this has been said in connexion of the Preliminaries¹. This is the reason for the ablution.

---

20 (C.24; K.21). ¹ nāṭyam, K. (śrutvā, C.).
² This seems to show that in the beginning, the early Vedic people were not favourably disposed to the dramatic performance. For more on this see the Introduction.
21 (C.25; K.22). ¹ Cf. 20 note. ² above.
² This seems to indicate that not only the early Vedic people who cared little for the asceticism, but other religious sects as well, did not favour the dramatic performance. This may be the reason to put the thea-trical performances which included music above the religious practices of such sects. For more about this see the Introduction.
22 (C.26; K.23). ¹ Read ātodya-nāṭyaś ca for °nātyastha, C. °nāṭyasya, K. ² Read niścayam for niscayaḥ, C. śubhaḥ, K.
23 (C.27; K.24). ¹ This seems to show that the drama was also connected with a particular religious cult.
24 (C.28a; K.25). ¹ Read śiras tu for śirasaḥ kṛtam tad, K.
* C. omits 24b. See below 25 note.
25 (K.26). ¹ C. omits this this. See NŚ. V. 10-83.

<!-- Blank or illustration plate: Page 641 -->

.XXXVI. 43 ] THE DESCENT OF DRAMA 557

33. In the community of the sages and Brahmins, or in meeting them you will appear as being no followers of the Vedas and will attain the conduct of the Śūdras.

34. You will become mere Śūdras, and attain their functions, and those to be born in your line will be Śūdras [too]¹.

35. Those actors (nartaka) who are already born in your line will be Śūdras, and so will be those together with their women, boys and young men, who associate with them'.

36. The gods on learning the origin of the curse on my sons became anxious and went to the sages.

Gods intercede in favour of Bharata's sons

37. Then the gods with Śakra (Indra) as their leader said that, afflicted with this misery the drama would perish¹.

38. The sages said in reply that the drama would not perish, but the remaining portion only of their curse will take effect in its entirety.

Bharata's sons approach their father

39-40. On hearing these words of the very spirited sages, my sons¹ became [very] sad and with a desire to defend themselves they approached me in anger and said, 'We have been ruined by you, for the fault of the drama we have been endowed with the character of Śūdras'.

Bharata pacifies them

41-42. For their consolation I said, 'Do not to be sorry for it; the rule that words of the sages will never prove untrue, has indeed been made by Fate (kṛtānta); so you should not turn to the destruction [of the art]. 'These are my words of consolation.

43. Know this dramatic art that has been described

---

33 (C.35; K.34). 34 (C.36; K.35a). ¹ K. omits 34a.
35 (C.37; K.35b-36a). 36 (C.38; K.36b-37a).
37 (C.39; K.37b-38a). ¹ Read 37b as follows: इदानीं दुःखयुक्तेन नाट्यमेतद्विनङ्क्ष्यति.
38 (C. 40; K.38b-39a).
39-40 (C.41-42; K.39b-41a). ¹ Read sutāḥ, for surāḥ, C. and tataḥ, K.
41-42 (C.43-44; K.41b-42). 43 (C.45; K.43).