CHAPTER FIVE

THE PRELIMINARIES OF A PLAY

The Sages question.

1-4. On hearing the words of Bharata who continued the topic of drama the sages were pleased in mind and said, "We have heard from you about the origin of drama¹ and the Jarjara² as well as [the means of] stopping obstacles³, and the worship of gods⁴. Having grasped the meaning we would like to know in detail (lit. exhaustively), O the very splendid one, about the Preliminaries with all their characteristics; it behoves you, O Brahmin, to explain [everything] for our understanding [the same properly]."

Bharata answers.

5-6. Hearing these words of the sages Bharata spoke thus about the rules of the Preliminaries: "O the blessed ones, listen to me. I am speaking about the Preliminaries as well as of the Pādabhāga¹, the Kalās and the Walking-round³ [which relate to them].

Preliminaries defined

7. As it is first performed at the beginning (pūrvam) in the stage (raṅga) it is called the (pūrvaraṅga)¹ Preliminaries.

Parts of the Preliminaries

8-11. Its different parts which are to be performed in due

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1-4 (B.G. same). ¹ See NŚ. I. 13-18. ² See NŚ. I. 69-73. ³ See I. 54-68. ⁴ See NŚ. III.

5-6 (B.G. same). ¹ pādabhāga—See NŚ. (C.) XXXI. 308-309. This is a term relating to tāla.

² kalā—unit of the time measure in music. See NŚ. (C.) XXXI. 608. On this Ag. (I. 211) says: कला शब्देन च शतविधा तालकला निष्क्रामादिरुच्यते। तथा समलो मात्रात्मकस्तालभागो गृहीतः. ³ parivarta. On this see below 23-24, 65-80.

7 (B.G. same). ¹ BhP. defines pūrvaraṅga as follows: कलापाताः पादभागाः परिवर्ताश्च सूरिभिः। पूर्वं क्रियते यद्रङ्गे पूर्वरङ्गो भवेद्तः (SR. p. 742)! The definition in the the comm. of DR. (III. 2) is corrupt.

8-11 (B.G. same).

V. 16	THE PRELIMINARIES OF A PLAY	77

order with the playing of drums and stringed instruments as well as with Recitatives (pāṭhya), are as follows: Pratyāhāra¹, Avataraṇa², Ārambha³, Āśrāvaṇā⁴, Vaktrapāṇi⁵, Parighaṭṭanā⁶, Saṁghoṭanā⁷, Mārgāsārita⁸, and Āsārita⁹ of the long, the medium and the short types. These songs outside [the performace of a play] are to be sung by persons behind the curtain¹⁰ to the accompaniment of drums and stringed instruments.

• 12-15. Then after removing the curtain¹, dances and recitals² are to be performed with the playing of all musical instruments, and some song of the Madraka³ class is to be sung, or one of the Vardhamānaka⁴ class along with the Class Dance [suitable to it] should be applied, Then should take place [one after another] during the Preliminaries the following:— Utthāpana⁵, Walking round⁶, Benediction⁷, Śuṣkāpakṛṣṭā⁸, Raṅgadvāra⁹, Cārī¹⁰, Mahācārī¹¹, Three Men's Talk¹² and Laudation¹³.

16. I shall now explain in due order the characteristics of all these which are to be included in the ceremony of the Preliminaries.

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¹ See below 17.
² See below 18
³ See below 18.
⁴ See below 18.
⁵ See below 19.
⁶ See below 19.
⁷ See below 20.
⁸ See below 20.
⁹ See below 21.
¹⁰ From this statement it appears that the first nine items of the preliminaries were performed on the stage covered with a front curtain much like the modern drop curtain. There were besides this, two curtains on two doors of the tiring room. It seems that the front curtain came into regular use in later times and especially at the end of each act. Cf. javanikāntar used as a synonym of 'act' in the KM.

12-15 (B.G. same). ¹ The front curtain; see 8-11 note 10 above.
² Recitals of the Benediction (nāndī) and the Laudation (prarocanā) etc.
³ madraka—a class of songs.
⁴ vardhamānaka—a class of songs with dance. See NŚ. (C.) XXXIX. 224ff.
⁵ See below 22-23.
⁶ See below 23-24, 65-89.
⁷ See below 24-25, 107-113
⁸ See below 25-26, 113-116,
⁹ See below 26-27.
¹⁰ See below 27-28, 119-120.
¹¹ See below 27-28, 127-130.
¹² See below 28-29, 137-141.
¹³ See below 29-30, 141-142.
16 (B.G. same). ¹ It may appear that these items of the Prelimi-

78 THE NĀṬYAŚĀSTRA [ V. 17-

The Pratyāhāra

17. Arranging of the musical instruments (kutapa) is called the Pratyāhāra¹.

The Avataraṇa

The seating of singers is called the Avataraṇa (lit. coming down)².

The Ārambha

18. The commencement of vocal exercise for singing (parigīta) is called the Ārambha (lit. beginning)².

The Āśrāvaṇā

Adjusting the musical instruments for playing them in due manner is called the Āśrāvaṇā.

The Vaktrapāṇi

19. Rehearsing (lit. dividing) the different styles (vṛtti) of playing musical instruments is called the Vaktrapāṇi¹.

The Parighaṭṭanā

The strings of instruments are adjusted duly during the Parighaṭṭanā².

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neries to be performed behind the front curtain, have been made needlessly elaborate. But it is not so. In ancient times people due to different conditions of their lives, were not so much punctual in coming to the theatrical show, They did not come to it all at once and at any fixed time. Quite a long time passed before they all assembled. Hence from behind the curtain the Director offered to the early-comers (naturally the people who had no haste in their lives) whatever they could, while preparing for the actual performance. Hence Ag. (I. p. 215) says that nine items of the Preliminaries were meant for a [common] women, children and fools. The same practice about the Preliminaries may be observed even now in case of the Yātrās or the open air theatrical performances in Bengal. 17 (B.G. same).

¹ For the arragement of the musical instruments see the diagram 2.
² For the position of singers see diagram 2.
18 (B.G. same). ¹ āśrāvaṇā—For details about the performance of this see NŚ. (C.) XXIX. 120 ff.
19 (B.G. same). ¹ vaktrapāṇi—For details about the performance for this see NŚ. (C.) XXIX. 131 ff.
² parighaṭṭanā—For the performance of this see NŚ. (C.) XXIX. 142-145.

.V. 24] THE PRELIMINARIES OF A PLAY 79

The Saṁghoṭanā

20. The Saṁghoṭanā¹ is meant for rehearsing the use of different hand poses [for indicating the time-beat].

The Mārgāsārita

The playing together [in harmony with one another] of drums and stringed instruments is called the Mārgāsārita².

The Āsārita

21. The Āsārita is meant for practising the beat of time-fractions.(kalāpāta)¹.

The Application of songs

And the Application of songs (gītavidhi)² is for singing the glory of gods.

The Utthāpana

22-23. I shall now speak about the Utthāpana (lit. raising) ceremony which is so styled because from this, the reciters of the Benediction start (lit. raise) first of all in the stage the performance [of the play]. Hence the Utthāpana is considered by some to be the beginning [of the performance].

The Walking-round

23-24. The Walking-round (parivartana) is so styled because in it, the guardian deities of different worlds are praised [by the Directer] walking all over [the stage].

The Benediction

24-25. The Benediction (nāndī)¹ is so called because it must always include [and invoke ) the blessing of gods, Brahmins and kings.

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20 (B.G. same). ¹ saṁghoṭanā—For the performance of this see NŚ. (C.) XXIX. 137-141.
² mārgāsārita—For the performance of this see NŚ. (C.) XXIX. 145-116.
21 (B.G. same). āsārita—For the performance of this see NŚ. (C.). XXXI. 59-75. 169-194. ² See NŚ. (C.). XXX. 267 ff.
22-23 (B.22-23a, G. 21c-22).
23-24 (B.23b-24a, G.23). ¹ parivartana=parivarta see below 65 ff.
24-25 (B 24b-25a, G.24). ¹ For its specimens see below 107 ff.

80 THE NATYASASTRA [V. 25-

The Śuṣkāvakṛṣṭā Dhruvā

25-26. When an Avakṛṣṭā Dhruvā is composed with meaningless sounds it is called Śuṣkāvakṛṣṭā¹, It indicates verses for the Jarjara².

The Raṅgadvāra

26-27. The Raṅgadvāra is so called, because from this part commences the performance which includes Words and Gestures.

The Cārī and the Mahācārī

27-28. The Cārī is so called because it consists of movements depicting the Erotic Sentiment and in the Mahācārī occur movements delineating the Furious Sentiment.

The Three Men's Talk

28-29. The conversation of the Director (sūtradhāra), an Assistant (pāripārśvaka) and the Jester¹ is called the Three Men's Talk (trigata).

The Laudation

29-30. The address which the Director (lit. the expert) makes suggesting the Denoument of the action (kārya) of the play in hand with [proper] reasoning and arguments is called the Laudation (prarocanā).

The origin of the Bahirgīta and its justification

30-31. I shall now describe in detail the Āśrāvaṇā which is included in the Bahirgīta and shall speak of its origin as well as its justification.

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25-26 (B.26, G.25). ¹ see below 113-115.
² The meaning is not clear. B.G. read between 25b and 26a two prose lines.
26-27 (B.27, G.26). 27-28 (B.28 G.27).
28-29 (B'29, G'28). ¹ The Jester's role is assumed by one of the Assistants. See below 70 where two Assistants enter along with the Director. For details of the Three Men's Talk see below 137-141.
29-30 (B.30, G.29). ¹ For details about the Laudation see below 141-142.

.V. 37 ] THE PRELIMINARIES OF A PLAY 81

31-32. Now when songs in seven forms¹ and in Citra² and Dakṣiṇa³ Mārgas together with the Upohana⁴ and the Nirgīta⁵ were started by musical experts like Nārada in praise of gods, all the gods and the Dānavas, in the assembly were made to hear the Nirgīta⁶ performed with proper tempo and time beat⁷.

Daityas and Rākṣasas provoked to jealousy

33-34. Now on hearing these happy songs praising the gods, the Daityas and the Rākṣasas were all provoked to jealousy.

34-36. Under these circumstances they pondered [over the matter] and said to one another : "We are glad to hear (lit. accept) this Nirgīta in accompaniment of the instrumental music, (and not the songs) in seven forms¹ about the exploits of the gods, which they were pleased to hear ; we shall hear the Nirgīta only and shall always be pleased with it. Then these Daityas [and Rākṣasas] pleased with the Nirgīta urged for its repeated performance".

The gods approach Nārada to stop the Nirgīta.

37-38. This enraged the gods who said to Nārada, "These Dānavas and Rākṣasas are pleased with the Nirgīta only [and do not want anything else i.e. songs]. Hence we wish this performance (of the Nirgīta) to come to an end. What do you think of this ?"

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30-31 (B.31, G.30).
31-32 (B.32-33, G.31-32). ¹ Seven forms means the types of tālas. See NŚ. (C.) XXXI. 497 ff. ² See (C.) XXXI. 414.
³ See (C.) XXXI. 412. ⁴ See (C.) XXXI. 234 ff.
⁵ Another name for bahirgīta. See below 33-42.
⁶ nirgīta—instrumental music.
⁷ For different aspects of the tāla see NŚ. (C.) XXVIII. 15-16 and (C.) XXXI. 33-34 (B.34, G.33).
34-36 (B.35-37a, G.34-36a). ¹ The seven forms—On this Ag. (1. p. 224) says : धातुरक्षणोभिविबाहुल्विविशेषसंयोजना रेचकखराः रक्षणया षडङ्गविशेषस्य कर्मण चतुष्टय पृथग्भूता विस्तारव्यञ्जनाविद्धकरणसंज्ञाधातुवाद्यं समभिव्यक्त्यर्थं.

11

82 THE NATYASASTRA [ V. 38-

Nārada pacifies the gods.

38-41. Hearing these words of the gods Nārada replied, "Let the Nirgīta dependent on the music of stringed instruments be not stopped, and this (nirgīta) combined with the Upohana and accompanied by the music of stringed instruments will have seven forms. Enraptured (lit. bound down) by this Nirgīta the Daityas and the Rākṣasas will not be provoked and they will not create any obstruction [of the performance]."

41-42. This is the called Nirgīta to satisfy the vanity of the Daityas while in honour of the gods it is called the Bahirgīta.

42-44. This is to be played by experts in the Citravīṇā¹ with metallic strings, and the performance should contain light and heavy syllables (akṣara)² and have Varṇas³ and Alaṃkāras⁴. It is called the Nirgīta because in it there is sung a combination of sounds carrying no sense, and to satisfy the jealousy of the gods it is called the Bahirgīta".

The gods are pleased with the Nirgīta (Bahirgīta).

44-45. The reason behind the Nirgīta in its seven forms as well as the Utthāpana and the like, will now be given.

45-54. The Pratyāhāra pleases the Rākṣasas (Yātudhāna) and the Pannagas, while the Apsarasas are delighted with the Avataraṇa. The Gandharvas are pleased when the Ārambha is performed, and in the performance of the Āśrāvaṇā the Daityas take delight. The Vaktrapāṇi pleases the Dānavas and in the Parighaṭṭanā the hosts of Rākṣasas are [again] pleased. By the Saṃghoṭanā Guhyakas are satisfied, while the Mārgāsārita the pleases Yakṣas. When

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37-38 (B.37b-38, G.36b-37). 38-41 (B.39-41, G.38-40).
41-42 (B.42, G.41).
42-44 (B.43-44, G.42-43). ¹ citravīṇā—nāṭyoparañjanārthā yā vīṇā; a kind of vīṇā suitable for being played during the performance of a drama. ² Syllables like ghṛt and dṛṅ are heavy, and syllables like ma, ta, ka, ta are light. ³ See NŚ. (C.) XXIX. 19-23.
⁴ See NŚ. (C.) XXIX. 24-75. 44-45 (B.45, G.44),
45-54 (B.54b-55, 46-53, G.45-53)..

-V. 59 ] THE PRELIMINARIES OF A PLAY 83

songs (gītaka) are sung the gods enjoy them, and Rudra with his followers is pleased by the performance of the Vardhamāna. Similarly in the performance of the Walking-round (parivartana) Lokapālas (the guardians of the worlds) are delighted, and the Moon-god is pleased with the Benediction. During the singing of the Avakṛṣṭā (Dhruvā) Nāgas are pleased, while Śuṣkāvakṛṣṭā (Dhruvā) pleases the host of Pitṛs (ancestors). In the Raṅgadvāra Viṣṇu is pleased, while the Jarjara, ceremony pleases the leaders of Vighnas. On the Cārī being performed Umā takes pleasure while on the performance of Mahācārī the Bhūtas are delighted.

55. So much about worshipping the deities in different parts of the Preliminaries (pūrvaraṅga) beginning with the Pratyāhāra and ending in the [Mahā] cārī.

56. O the best of Brahmins, in course of describing the different parts of the Preliminaries I have named the gods pleased by them and mentioned [the individual] parts of it in which they take delight.

57-58. The performance of the Preliminaries which means worshipping the gods, is praised by them (i.e. gods) and is conducive to duty (dharma), fame and long life. And this performance whether with or without songs, is meant for pleasing the Daityas and the Dānavas as well as the gods (lit. denizens of the celestial region).

59. I shall now tell you [afterwards] while discussing the rules of Dhruvās¹ the characteristics and function of performances with or without songs (sagīta and nirgīta) as well as of the Vardhamāna.²

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55 (B.56, G.54). 56 (B.57, G.55).
57-58 (B.58-59, G.56-57).
59 (B.61, G.59). ¹ See NŚ. (C.) XXXII.
² Before this couplet (59) B. reads one additional śloka (B. 60).

84 THE NĀṬYAŚĀSTRA [ V. 60-

The songs in the pure Preliminaries

60-63. After performing the songs (gītaka)¹ and the Vardhamāna², one should sing the Utthāpanī (Raising) Dhruvā³ which has in its feet of eleven syllables the first two, the fourth, the eighth and the eleventh as long. It should be [sung in] the Caturasra (Tāla)⁴ and [should consist of] four feet and four Sannipātas⁵ as well as three kinds of tempo (laya)⁶ and three cæsura⁷ (yati). Besides this it should consist of four Walking-rounds (parivarta) and of three Pāṇis⁸, and it should be in the Viślokā⁹ metre and in the same kind of Tāla.

64. The Tāla in question should consist consecutively of Śamyā¹ of two Kalās, Tāla of two Kalās, Śamyā of one Kalā and Sannipāta of three Kalās.

The First Walking-round

65. Thus a Sannipāta Tāla of eight Kalās should be observed by the experts. And it is said that a Walking-round is made up of four such Sannipātas.

66. The first Walking-round in the Preliminaries should be made in slow tempo (sthitalaya) and on the termination of the third Sannipāta in it (i.e. the first parivarta) drums should be played.

The second Walking-round

67. On the termination of the first Walking-round the second one (i.e. Walking-round) having commenced in medium

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60-63 (B.62-65, G.60-63). ¹ See NŚ. (C.) XXXI. 267 ff. ² See NŚ. (C.) XXXI. 225 ff. ³ The term utthāpanī dhruvā does not occur in the Dhruvādhyāya NŚ. (C.) XXXII. ⁴ See NŚ. (C.) XXXI. 9-11. ⁵ See NŚ. (C.) XXXI. 38-39. ⁶ See NŚ. (C.) XXXI. 4. ⁷ See NŚ. (C.) XXXI. 532-537. ⁸ Ag. explains three pāṇis as samapāṇi, avara-pāṇi and uparipāṇi. ⁹ See NŚ. (C.) XXXII. 149. 64 (B.66. G.64). ¹ Cf. NŚ. (C.) XXXI. 74. 65 (B.67, G 65). 66 (B 68, G.66). 67 (B.69, G.67).

.V. 74] THE PRELIMINARIES OF A PLAY 85

tempo (laya) the Director [and the two Assistants]¹ should enter [the stage].

68-69. The three should simultaneously enter [the stage] with handfuls of flower-offering. But before that they should get themselves purified, initiated and furnished with charms for protection [against evil spirits]. They should be clad in white, and flowers carried by them should [also] be white, and they should be looking with the Adbhuta glance ¹ and be in the Vaiṣṇava Sthāna² with Sauṣṭhava of the body.

70. The two¹ Assistants (pāripārśvika) should carry a golden pitcher (bhṛṅgāra) and the Jarjara, and with them by his side the Director should put forward five ateps.

71. These five steps [will be] for the purpose of worshipping Brahman, and the manner of putting them forward will be described [below] in detail.

72. They should slowly place their two feet three Tālas¹ apart and then raise [them one by one] on each side and again put them down at the same [distance].

73. After going five steps¹ in the manner described above the Director and his two Assistants (lit. others) should perform the Sūcī Cārī with left foot moved first and the right foot afterwards.

74. Then the Director should offer flowers in Brahman's circle (Brāhma-maṇḍala) which is another name for the centre of to stage where the deity is supposed to be present.

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¹ Entrance of the two Assistants is implied in this passage. See below 68-69.

68-69 (B.70-71, G.68-69). ¹ See NŚ. VIII. 48. ² See NŚ. XI. 50-52.

70 (B.72, G.70). ¹ One of the Assistants is to assume the role of the Jester in the Three Men's Talk. See above 28-29, 137-141.

² Jarjara— see NŚ. III, 73 ff.

71 (B.73a, G.71). ¹ B. omits 71b.

72 (B.74, G.72). ¹ tāla—a unit of length. The distance from the tip of the middle finger to the wrist. See NŚ. III, 21 note.

73 (B.75, G.78). ¹ B. viṣṇupadī for pañcapadī. 74 (B.76, G.74).

86 THE NĀṬYAŚĀSTRA [ V. 75-

75-77. And afterwards he (i.e. the Director) should respectfully bow to Brahman (lit.: Pitāmaha) with Lalita gesture,¹ and to measure the length of time during the salutation he should thrice touch the ground with his hand, and his steps should be [suitably] divided. The second Walking-round which begins with the entrance of the Director and ends² with the salutation [to Brahman] and use of gestures [related to it], should be performed in medium tempo (laya).

The third Walking-round

77-78. Next during the third Walking-round (parivarta) the Director should go round the Brahman’s circle (i.e. the centre of the stage), perform Ācamana and take up the Jarjara. [The manner of taking it up is as follows :]

78-80. Rising up quickly from [Brahman’s] circle (maṇḍala) he should perform the Sūcī (lit. Vedha) Cārī with this foot (i.e. the right foot) put forward first and the left foot afterwards. And then he should again raise his right foot which was on the side and perform the Sūcī (Vedha)¹ Cārī putting forward the left foot first and the right foot afterwards.

80-83. Going round [the centre of the stage] the Director should call the person (i.e. one of the Assistants) who carries the golden pitcher (bhṛṅgāra)¹ and perform ablution (śauca) [with water from this vessel]. He should then perform Ācamana and sprinkle himself with water in due order. Thus after performing properly the ablution the Director should carefully take up the Jarjara, the destroyer of obstacles, and this act should be performed along with the beginning of the last Sannipāta [of this second Walking-round].

83-84. The third Walking-round beginning with going

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75-77 (B.77-79a, G.74c-76). ¹ See NŚ. IX. 201. B reads vandanābhinayānugaḥ for °nayāntakaḥ.

77-78 (B.79, G.77). 78-80 (B.80-81, G.78-79). ¹ According to Ag. (I. p. 233) Vedha = Sūcī Cārī.

80-83 (B.82-84, G.80-82). ¹ See above 70.

83-84 (B.85, G.88).

.V. 89 ] THE PRELIMINARIES OF A PLAY 87

round the centre of the stage (i.e. Brāhmamaṇḍala)¹ and ending with the taking-up of the Jarjara should be performed in a quick tempo.

The fourth Walking-round

84-87. After taking up the Jarjara to ward off evils he should mutter [some Mantras] in eight Kalās. Then he should perform the Sūcī (Vedha) Cārī by putting forward the left foot first and the right foot afterwards, and then, move five steps towards the musical instruments. And then again he should observe the Sūcī (Vedha) Cārī by putting forward the left foot first and the right foot afterwards. The fourth Walking-round which begins with the taking up of the Jarjara and ends¹ with an approach to the musical instruments should be made in a quick tempo.

87-88. In this [pūrvaraṅga which is of the Caturasra type] movements of hand and feet in it will occupy sixteen Kalās while it being of the Tryasra type such movements will occupy Twelve Kalās only.

88-89. [The Director and the two Assistants] should make three salutations by touching the ground, with the hand and before this they are to sprinkle themselves with water, but in case of the Tryasra [Preliminaries such sprinkling] has not been prescribed¹.

The Parivartanī Dhruvā

89-90. In this manner they should perform the Utthāpana (lit. raising). Then comes the Parivartanī (Walking-round) Dhruvā

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¹ See NŚ. III, 23-30 note.
84-87 (B.86-88, G.84-86). ¹ B. reads kutapo nigamāntakaḥ.
87-88 (B.89, G.87).
88-89 (B.90, G.88). ¹ This and the preceding (87-88) passage should properly go after NŚ. 64 for they relate to the Utthāpana which should come before the Walking-round ; see before 22-23.
89-90 (B.91, G.89). ¹ For caturasre, B. G. caturasram.

88 THE NĀTYAŚĀSTRA [ V. 90-

which should be performed in the Caturasra (Tāla) and medium tempo and with eight Sannipātas.

90-91. The Dhruvā (song) which has only the last syllable long in its four feet of eleven syllables, is called the Parivartanī (Walking-round) Dhruvā.

91-92. During the singing of this Dhruvā the Director should move leftwards¹ in the Vārtika Mārga with graceful step in accompaniment of instrumental music and should bow to [different] deities in directions belonging to them.

92-93. And during the foot movement [mentioned above] each step of the Director should consist two Kalās, and movement in each direction should consist of two Sannipātas.

93-94. Then he would observe the Sūcī (Vedha) Cārī putting forward the left foot first and the right foot afterwards and putting the latter at a distance of two Tālas.

94-95. In this manner he should go five steps with the Atikrāntā Cārī¹ and bow to different deities in directions belonging to them.

95-97. First of all he should bow to the eastern direction presided over by (Śakra) Indra, secondly he should bow to the southern direction belonging to Yama. Thirdly he should bow to the western direction ruled by Varuṇa. Fourthly he should bow to the northern direction of which Dhanada (Kuvera) is the protector.

97-98. After bowing to these directions he should perform the Sūcī Cārī putting forward the left foot first and the right foot afterwards and begin the Walking-round.

98-99 Then with his face towards the east the Director

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90-91 (B.92, G.90).
91-92 (B.93, G.91). ¹ vāmakena (vārtikena, B).
92-93 (B.94a, G.92). , B. omits 93a.
93-94 (B.94b-95a, G.93).
94-95 (B.95bc, G.94). ¹ See NŚ. XI. 29.
95-97 (B.96-97, G.95-96). 97-98 (B.98, G.97),
98-99 (B.99, G.98),

.V. 105 ] THE PRELIMINARIES OF A PLAY 89

should bow to Śiva (Rudra), Brahman and Viṣṇu (Upendra) while going forward three steps by 'masculine', 'feminine' and 'neuter' feet [one after another].

99-100. The right foot is 'masculine' and the left foot is 'feminine' while the right foot not [much] raised is called 'neuter'.

100-101. Śiva (Īśa) should be bowed to with the masculine foot [put forward first] while in bowing to Brahman the neuter foot [should be so put forward]¹.

The Fourth Man enters.

101-102. The Walking-round should be [finished] thus, and then the Fourth Man (caturtha-kāra) should duly enter [the stage] with flowers [in his hands].

102-103. And he should duly offer Pūjā to the Jarjara and to all the musical instruments (kutapa) as well as to the Director.

103-104. His foot-movements during the Pūjā should be made to accompany the playing of drums, and there should be no song sung then, but only meaningless syllables should be chanted (stobhakriyā).

Singing of the Avakṛṣṭā Dhruvā

104-105. After offering the Pūjā the Fourth Man should make his exit. And then should be sung an Avakṛṣṭā Dhruvā¹ in Caturasra (Tāla) and slow tempo (sthita-laya).

105-106. This Dhruvā should abound in heavy syllables and depend on the Sthāyi-varṇa¹ and be made up of eight Kalās, and its Tāla should be Avapāṇika.

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99-100 (B.100, G.99).
100-101 (B.101a-102b, G.100). ¹ B. repeats here 90-91.
101-102 (B.103, G.101).
102-103 (B.104, G.102). ¹ See NŚ. III, 11-13.
103-104 (B.105, G.103).
104-105 (B.106, G.104). ¹ One of the six kinds of Dhruvās. See NŚ. (C.) XXXII. 154-159).
105-106 (B.107, G.105). ¹ See NŚ. (C.) XXIX. 21.
12

90 THE NATYASASTRA [ V. 106-

106-107. The Avakṛṣṭā Dhruvā is a song consisting of four feet of ten syllables of which the fourth, the fifth, the seventh and the eighth will be short.¹

The Benediction

107-108. Then the Director will recite in a medium (madhyama) tone the Benediction which should consist of eight or twelve feet (pāda).¹

108-109. (These are the specimens of Benediction) :

namo'stu sarvadevebhyo
dvijātibhyaḥ śubhaṃ tathā ।
jitaṃ somena vai rājñā
ārogyaṃ bhoga eva ca ॥

Tr. Salutation to all the gods. Blessed be the twice born class. May Soma the king attain victory as well as healthy life and [earthly] enjoyment.¹

109-110.

brahmottaraṃ tathaivāstu
hatā brahmadviṣas tathā ।
praśāstvimāṃ mahārājaḥ
pṛthivīm ca sasāgarām ॥

Tr. Let there be an advancement of the cause of the Brahmins, and let their enemies be killed, and let the great king rule this earth together with all the seas.

110-111.

rāṣṭraṃ pravardhatāṃ caiva
raṅgaś cāyam samṛdhyatām ।
prekṣākartur mahān dharmo
bhavatu brahmabhāvitaḥ ॥

Tr. Let this state prosper, and this theatre flourish and let

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106-107 (B.108). ¹ G. omits this.
107-108 (B 109, G.106). ¹ For different interpretations of pāda see Lévi, pp. 132-133, II. 25-26. Rāghavabhaṭṭa quotes from Ag. in his Śākuntalaṭīkā (p. 6) the following : पदानि श्लोकावयवभूतानि तिङन्तानि सुबन्तानि or श्लोकतुरीयां-शानि or अत्रान्तरपदानि वा and चाचार्य सामस्त्यान्तरवाक्यैव पदत्वम्. These passages do not occur in the published Abhinavabhāratī.
108-109 (B.110, G.107). ¹ See Lévi, p. 133.
109-110 (B.111, G.108). 110-111 (B.112, G.109).

.V. 118] THE PRELIMINARIES OF A PLAY 91

the producer of the theatrical show attain virtues proceeding from the Vedic knowledge.

111-112.

kāvyakartur yaśaś cāstu dharmaś cāpi pravardhatām । ijyayā cānayā nityaṃ priyantāṃ devatā iti ॥

Tr. Let the playwright (lit. writer of the kāvya) attain fame and let his virtue increase, and by this kind of sacrifice (yajña), let the gods be always pleased with him.

112-113. After the recitation of each of such Benedictory poems the two Assistants should loudly and distinctly say, "Let this be so."

The Śuṣkāvakṛṣṭā Dhruvā

113-114. The Benediction should thus be performed duly according to the rules [mentioned above]. Then should be sung the Śuṣkāvakṛṣṭā Dhruvā and verses praising the Jarjara.

114-115. This Dhruvā should consist of nine long syllables first and then six short syllables followed by three long syllables, e.g.

115-116.

digle digle jhaṇḍe jhaṇḍe jam bu ka va li ta ka te te jā.

The Raṅgadvāra

116-118. After properly performing the Śuṣkāvakṛṣṭā Dhruvā, he (the Director) should recite in a loud tone one Śloka in adoration of the deity in course of whose worship [the dramatic performance is going to be held], and then [another Śloka] paying homage either to the king or to the Brahmins should be sung.

118-119. After reciting the Jarjara Śloka in what is called the Raṅgadvāra (lit. entry into the performance) he should again read another Śloka to honour the Jarjara¹.

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111-112 (B.113, G 110).
112-113 (B.114, G.111a). 113-114 (B.115, G.112).
114-115 (B.116, G.113). 115-116 (B.117a, G.114).
116-117 (B 117b-118a, G.115). 117-118 (B.118b-119a, G 116).
118-119 (B.119b-120a, G.117). ¹ Mss. reading is jarjarasya vināśana

92	THE NATYASASTRA	[ V. 119

The Cārī

119-120. And after the Jarjara has been honoured,¹ he should perform a Cārī and the two Assistants should step backwards.

120-121. Then the Aḍḍitā Dhruvā¹ should be performed with the medium tempo (laya), Caturasra Tāla and four Sannipātas.

121-122. The Dhruvā (song) which has the first, the fifth and the last syllables long and the remaining syllables short in all its four feet of twelve syllables, is called the Aḍḍitā.

122-123. I shall relate its application according to the procedure adopted by Śiva (Maheśvara) and Umā when performing it in the past with [the display of] different States (bhāva) and movements.

123-125. After assuming the Avahittha Sthāna (posture),¹ and placing the left hand [first] with its palm downwards on the navel and taking up the Jarjara by his other hand,² the Director should go five steps, with his left hand showing the Pallava gesture; and while going he should cover one Tāla at each step and move his limbs gracefully³.

125-127. Afterwards he should perform the Sūcī Cārī by putting forward his left foot first and the right foot afterwards. Then the Director (lit. the expert one) should recite a Śloka with love as its subject-matter. And after reciting this Cārī Śloka and

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(vināmana). But this gives no relevant meaning. We emend it to jarjarasya vimānanam.

119-120 (B.120b-121a, G.118). ¹ Read mānayitvā (B.G. namayitvā).

120-121 (B.121b-122a, G.119). ¹ See below 121-122, also NŚ. (C.) XXXII 10, 357.

121-122 (B.122b-123a, G.120). 122-123 (B.123b-125a, G.121).

123-125 (B.124b, 125b, 126, G.122-123). ¹ Defined in NŚ. XIII. 164-165. ² Mss. read tuladhṛtam. But its meaning is not clear. It is just possible that the original reading has been changed. We therefore emend this to taladhṛtam meaning 'held in palm' or 'held by hand.' ³ B. reads between 123b and 124a an additional hemistich.

125-127 (B.127-128, G.124-125).

-V. 131 ] THE PRELIMINARIES OF A PLAY 93

performing the Walking-round, he should with his face towards the front withdraw backwards with steps described before.

The Mahācārī

127-128. And after placing the Jarjara in the hands of one of the Assistants he should perform the Mahācārī in accordance with the rules laid down below.

128-130. During this Cārī the Dhruvā song should be of the Caturasra type and in quick tempo, and it should have four Sannipātas and eight Kalās. This Dhruvā song should have feet of eleven syllables of which the first, fourth, seventh, tenth and the last are long and the remaining ones short.

130-131. (An example of the Caturasra Dhruvā) :

pādatalāhati-patita-śailaṃ
kṣobhita-bhūta-samagra-samudraṁ ।
tāṇḍava-nṛttam idaṁ pralayānte
pātu harasya sadā sukhadāyi ॥

Tr. Let the ever-pleasing Class Dance of Hara (Śiva) after the destruction of the world, which smashed the hills by the impact of his feet and agitated the ocean with all creatures living in it, always give you protection.

130-131. Then he should step towards the drums (bhāṇḍa) and afterwards perform the Sūcī Cārī followed by a change of the Vikṣepa.

132-133. Afterwards he should move his feet gracefully with a quick tempo, and keeping them three Tālas apart, he should go five steps. There again he should perform the Sūcī (Vedha) Cārī with his left foot put forward first and the right one afterwards.

134-135. And with the foot movement [described above] he should move backwards with his face towards the front, and again he should go three steps forward in a similar manner, and then he

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127-128 (B.129, G.126). 128-130 (B.130-131, G.127-128).
130-131 (B.132, G.129). 131-132 (B.133, G.130).
132-133 (B.134-135a, G.131-132a). 134-135 (B.135b-136, G.132b-133).

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V. 151] THE PRELIMINARIES OF A PLAY 95

the Sūcī (Vedha) Cārī, and they should go out together while performing any Cārī other than the Āviddha one.

The Tryasra Preliminaries

143-144. Thus, O Brahmins, should be performed the Preliminaries of the Caturasra type; now I shall speak of that of the Tryasra type. Its use is similar and its component parts are the same; the only feature that distinguishes it from the Caturasra one is its abridged measure of Tāla.

145-146. [In it] the Śamyā should consist of two Kalās and the Tāla of one Kalā, and again the Śamyā is to consist of one Kalā and the Śannipāta of two Kalās. With this kind of measurement of Kalā, Tāla and tempo, should be performed the Tryasra Preliminaries which include the Utthāpana and such other items.

147. The Dhruvā (song) which has the fourth, the eighth, the tenth and the last syllables long in all its four feet of twelve syllables, is called the Utthāpana Dhruvā of the Tryasra (type).

148. In the Tryasra Preliminaries an expert dancer should abridge the instrumental music, movements [of persons], Dhruvā songs and their Tāla.

149. The actions and movements [of a dancer] are to be made of two types—elaborate and abridged—according as the instrumental and vocal musics are such.

150-151. It is said that each movement of hands and feet should be of two Kalās' duration, and in any Walking-round in the Caturasra (Preliminaries) the hands and feet should be moved sixteen times, while in the Tryasra Preliminaries they are to move only twelve times.

151-152. This is the measurement of both (i.e. of hand and foot movements) in the Preliminaries. But in the Walking-round, the foot movement should consist of three steps only, but in bowing

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143-144 (B.144-145, G.140-141).
145-146 (B.146-147, G.142-143). 147 (B.148, G.144).
148 (B.149, G.145). 149 (B.150, G.146).
150-151 (B.151-152a, G.147-148a).
151-152 (B.152b-153, G.148b-149).