नाट्यशास्त्रम् (प्रथम भाग - अभिनवभारती एवं हिन्दी टीका सहित)
Natyashastra of Bharata Muni with Hindi Commentary (Vol 1)
भरत मुनि / आचार्य अभिनवगुप्त द्वारा
-II, 68] DESCRIPTION OF THE PLAYHOUSE 27
and its plinth should be a cubit and a half high². And the plinth of the auditorium (raṅgamaṇḍala)³ should be equal in height to that of the two [Mattavāraṇīs].
65-67. At the time of building them (the two Mattavāraṇīs) garlands, incense, sweet scent, cloths of different colours as well as offerings agreeable to [Bhūtas] should be offered [to them].
And to ensure the good condition of the pillars, one should put a piece of iron below them, and Brahmins should be given food including Kṛsarā. The Mattavāraṇīs should be built up after observing all these rules.
The stage
- Then one should construct the stage (raṅgapīṭha)¹
mattavāraṇaḥ (see Oka's ed. p. 50). This is however not clear. Matta-vāraṇayor varaṇḍaka mentioned in Subandhu's Vāsavadattā (ed. Jivananda, p. 33) is probably connected with this word. Śivarāma Tripāṭhī explains these words as follows : मत्तवारणौ मत्तगजौ तयोर्वरण्डकेण। भित्तेरुभयपार्श्वे द्वौ स्थापयित्वा मत्तगजौ। योधयन्तीति प्रसिद्धं भित्ति सा तु वरण्डकम्॥ This also does not give any clear idea about mattavāraṇa or mattavāraṇayor varaṇḍaka. But the word mattavāraṇī may be tentatively taken in the sense of 'a side-room.' Ag. seems to have no clear idea about it. On this he (I. pp. 64-65) says : मत्तवारणी बहिर्निर्गमनप्रमाणेन सर्वतो द्वितीय-भित्तिनिर्देशम् देव प्रासादाद्वारिका ( ०दाहालिका ? ) प्रदर्शणीसदृशी द्वितीयभूमिरित्यन्ये. A Dictionary of Hindu Architecture, by (P. K. Acharya Allahabad, 1927) does not give us any light on this term.
² According to a view expressed in the Ag. (I. p. 62) the plinth of the mattavāraṇī is a cubit and a half higher than that of the stage—इसमानोऽथ यथा रङ्गपीठापेक्षया सार्धहस्तपरिमाण उच्छ्रायः कार्यो मत्तवारण्याः. The plinth of the auditorium is also to be of the same height as that of the mattavāraṇī. But nothing has been said about the height of the plinth of the tiring room. From the use of terms like raṅgāvataraṇa (descending into the stage) it would appear that the plinth of the tiring room too, was higher than the stage. Weber however considered that the stage was higher. Indische Studien XIV. p. 225 Keith, Skt. Drama, p. 360. cf. Lévi, Théâtre indien, i. 374, ii. 62.
³ B. reads raṅgamaṇḍapam instead of raṅgamaṇḍalam (G) which is the correct reading. 65-67 (B.71b-73, 69-71a)
68 (B.74, G.71b-72a). ¹ Some scholars following Ag, are in favour of taking and raṅgapīṭha raṅgaśīrṣa as two different parts of the play-house (see D.R. Mankad, "Hindu Theatre" in IHQ. VIII. 1932, pp. 480 ff.
28 THE NATYASASTRA [ II. 68-
after due performance of all the acts prescribed by rules, and the stage (raṅgaśīrṣa) should include six pieces of wood.
69-71. The tiring room (nepathya) should be furnished with two doors¹. In filling up [the ground marked for the stage] the black earth should be used with great care. This earth is to be made free from stone chips, gravel and grass by the use of a plough to which are to be yoked two white draught animals. Those who will do [the ploughing] work should be free from physical defects of all kinds. And the earth should be carried in new baskets by persons free from defective limbs.
72-74. Thus one should carefully construct the plinth of the stage (raṅgaśīrṣa)¹. It must not be [convex] like the back of a tortoise or that of a fish. For a stage (raṅgapīṭha) the ground which is as level as the surface of a mirror, is commendable. Jewels and precious stones should be laid underneath this (raṅgaśīrṣa) by expert builders. Diamond is to be put in the east, lapis lazuli in the south, quartz in the west and coral in the north, and in the centre gold.
Decorative work in the stage
75-80. The plinth of the stage having been constructed thus, one should start the wood-work which is based on a carefully thought out (ūha-pratyūha-saṃyukta)¹ [plan], with many artistic
and IX. 1933. pp. 973 ff. ; V. Raghavan, "Theatre Architecture in Ancient India" Triveni IV-VI, (1931, 1933) also "Hindu Theatre", IHQ. IX. 1933. pp. 991 ff. I am unable to agree with them. For my arguments on this point see "The Hindu Theatre" in IHQ. IX. 1933 pp. 591 ff. and 'The NŚ' and the Abhinavabhāratī" in IHQ. X. 1934 pp. 161 ff.
69-71 (B.75-77, G.72b-75a). ¹ On this point the Hindu Theatre has a similarity with the Chinese theatre. (See A.K. Coomaraswamy—"Hindu Theatre" in IHQ. IX. 1933. p. 594).
72-74 (B. 78-80, G.75b-78a). ¹ See note 1 on 68. If raṅgaśīrṣa and raṅgapīṭha are taken to mean two different parts of the playhouse the interpretation of the passage will lead us to unnecessary difficulty.
75-80 (B.80-86a, G.78b-83). ¹ ūha and pratyūha may also be taken as two architectural terms (see Ag. I. p. 63).
.II. 82 ] DESCRIPTION OF THE PLAYHOUSE 29
pieces such as decorative designs, carved figures of elephants, tigers and snakes. Many wooden statues also should be set up there, and this wood-work [should] include Niryūhas², variously placed mechanized latticed windows, rows (dhāraṇī) of good seats, numerous dove-cots and pillars raised in different parts of the floor³. And the wood-work having been finished, the builders should set out to finish the walls. No pillar, bracket⁴, window, corner or door should face a door⁵.
80-82. The playhouse should be made like a mountain cavern¹ and it should have two floors² [on two different levels] and small windows ; And it should be free from wind and should have good acoustic quality. For [in such a playhouse] made free from the interference of wind, voice of actors and singers as
² niryūha is evidently an architectural term but it does not seem to have been explained clearly in any extant work. Ag's explanation does not give us any light.
³ In the absence of a more detailed description of the different parts of the wood-work, it is not possible to have a clear idea of them. Hence our knowledge of the passage remains incomplete till such a description is available in some authentic work.
⁴ nāgadanta means 'a bracket'. The word occurs in Vātsyāyana's Kāmasūtra. nāgadantāvasaktā vīṇā (I. 5.4)
⁵ On this passage Ag. (I. p. 64) says : प्रतिद्वारम् अवान्तरद्वारेण विद्धं परस्परसम्मुखी-भूतमग्र्यं न कुर्यात्.
80-82 (B. 86b, 89a, G. 84-85). ¹ The pillars of the playhouse being of wood, the roof was in all probability thatched and in the form of a pyramid with four sides. Probably that was to give it the semblance of a mountain cavern.
² The two floors mentioned here seem to refer to floors of different heights which the auditorium, mattavāraṇī and the stage had. See 63-65 above and note 2 on it. According to some old commentators dvirbhūmi indicated a two-storied playhouse while others were against such a suggestion. Ag. (I. p. 64) says : द्वे भूमी रङ्गपीठच्छाद्यमन्तरीपरितनकल्पेनेति कश्चित्। मत्तवारणीबहिर्निर्गमनप्रयत्नेन सर्वतो द्वितीयाभित्तिनिवेशेन देवप्रासादाद्वारिका (?) प्रदर्शिकौशङ्क्यो द्वितीया भूमिरित्यन्ये। उपरि मण्डपान्तरनिवेशनादित्यपरे। षड्भूमिरित्यन्ये.
30 THE NATYASASTRA [ II. 82-
well as the sound of musical instruments³ will be distinctly heard⁴.
82-85. The construction of walls being finished, they should be plastered and carefully white-washed. After they have been smeared [with plaster and lime], made perfectly clean and beautifully plain, painting should be executed on them. In this painting should be depicted creepers, men, women, and their amorous exploits¹. Thus the architect should construct a play-house of the oblong (vikṛṣṭa) type.
Description of a square playhouse
86-92. Now I shall speak of the characteristics of that of the square (caturasra)¹ type. A plot of land, thirtytwo cubits in length and breadth, is to be measured out in an auspicious moment, and on it the playhouse should be erected by experts in dramatic art. Rules, definitions and propitiatory ceremonies mentioned before [in case of a playhouse of the oblong type] will also apply in case of that of the square type. It should be made perfectly square and divided into requisite parts² by holding the string [of measurement], and its outer walls should be made with strong bricks very thickly set together. And inside the stage and in proper directions [the architect] should raise ten
³ kutapa—This word is explained by Ag. differently in different parts of his comm. Once (I. p. 73) he says कुतपमिति चतुर्विधातोद्यभाण्डानि and next time too (I. p. 186) he says चतुर्विधमातोद्यं कुतपं, but in another place (I. p. 65) he say कुतपः संफेट-गायनवादक समूहः and this latter view seems to have been repeated in I. p. 214. The first view seems to give the correct interpretation.
⁴ After B.87 B. repeats 19 (B22) unnecessarily.
82-85 (B.89b-92, G.86-89a). ¹ ātmabhogajam literally means 'due to self-indulgence or enjoyment of the self'. Compare with this description the decorative paintings in the Ajanta caves.
86-92 (B.93-99a, G. 89b-95). ¹ caturasra gives rise to NIA. cauras or coras.
² The exact nature of this division is not clear from the passage. The view expressed by Ag. (I. p. 66) on this point does not seem to be convincing.
-II. 100 ] DESCRIPTION OF THE PLAYHOUSE 31
pillars³ capable of supporting the roof. Outside the pillars, seats should be constructed in the form of a staircase by means of bricks and wood, for the accommodation of the spectators. Successive rows of seats should be made one cubit higher than those preceding them, and the lowest row of seats being one cubit higher than the floor. And all these seats should overlook the stage.
92-95. In the interior of the playhouse six more strong pillars capable of supporting the roof should be raised in suitable positions and with [proper] ceremonies (i.e. with those mentioned before). And in addition to these, eight more pillars should be raised by their side. Then after raising [for the stage or rangapīṭha] a plinth eight cubit [square, more] pillars should be raised to support the roof of the playhouse. These [pillars] should be fixed to the roof by proper fasteners, and be decorated with figurines of 'woman-with-a-tree' (śālastrī = śālabhañjikā).
95-100. After all these have been made, one should carefully construct the tiring room (nepathya). It should have one door leading to the stage through which persons should enter with their face towards [the spectators]. There should also be a second door facing the auditorium (raṅga). The stage [of the square playhouse] should be eight cubits in length and in breadth. It should be furnished with an elevated plinth with plain surface, and its Mattavāraṇī should be made according to the measurement prescribed before (i.e. in case of the oblong type of
³ The position of these ten pillars and others mentioned afterwards is not clear from the text. Whatever is written on this point in Ag's commentary is equally difficult to understand. Those who are interested in the alleged view of Ag. may be referred to articles of D. R. Mankad and V. Raghavan (loc. cit.).
92-95 (B.99b-102a, G.96-98). ¹ śālastrī = śāla-bhañjikā (see A. K. Coomaraswamy, 'The Women and tree or śālabhañjikā in Indian literature in Acta Orientalia, vol. VII. also cf. this author's Yakṣas, Part II. p. 11.)
95-100 (B.102b-107 G.99-104). ¹ Both the sides are meant. There should be two mattavāraṇīs as in the case of an oblong medium, (vikṛṣṭa-madhya) playhouse described before (17, 32-35).
32 THE NATYASASTRA [ I. 100-
playhouse). The Mattavāraṇī should be made with four pillars by the side¹ of the plinth [mentioned above]. The stage should be either more elevated than this plinth or equal to it in height. In case of a playhouse of the oblong (vikṛṣṭa) type, it should be higher than the stage, whereas in a playhouse of the square type it should have a height equal to that of the stage. These are the rules according to which a square type playhouse is to be built.
Description of a triangular playhouse
101-104. Now I shall speak about the characteristics of the triangular (tryasra) type of playhouse. By the builders, a playhouse with three corners should be built, and the stage (raṅgapīṭha) in it also should be made triangular. In one corner of the playhouse there should be a door, and a second door should be made at the back of the stage (raṅgapīṭha). Rules regarding walls and pillars¹ which hold good in case of a playhouse of the square type, will be applicable in case of the triangular type². These are the rules according to which different types of playhouses are to be constructed by the learned. Next I shall describe to you the [propitiatory] Pūjā in this connexion.
Here ends Chapter II of Bharata's Nāṭyaśāstra which treats of the Characteristics of a Playhouse.
101-104 (B.108-111, G.104b-108). ¹ It is not clear how the triangular playhouse will have pillars like those of other types.
² No mattavāraṇī has been prescribed in case of the triangular playhouse.
Chapter 3: Pūjā to the Gods of the Stage (रङ्गदैवतपूजन)
CHAPTER THREE
PUJĀ TO THE GODS OF THE STAGE
Consecration of the playhouse
1-8. In the auspicious playhouse constructed with all the characteristics [mentioned above] cows, and Brahmins muttering [proper Mantras] should be made to dwell for a week. Then the master of the dramatic art who has been initiated [for the purpose] and has put on new cloths, fasted for three days, lived away from his bed-room (lit. the dwelling house), has kept his senses under control and has [thus] become purified, will besprinkle his limbs with water over which purificatory Mantras have been muttered, and consecrate the playhouse. This [consecration] should take place after he has made obeisance to the great god Śiva the lord of all the regions, Brahman who sprung from the lotus, Bṛhaspati the preceptor of the gods, Viṣṇu, Kārtikeya, Sarasvatī, Lakṣmī, Siddhi, Medhā, Smṛti, Mati, Candra (Moon), Sūrya (Sun), Winds, Guardians of all directions, Aśvins, Mitra, Agni, and other gods, such as Rudra, Varṇas¹, Kāla², Kali³, Yama, Niyati, the Sceptre of Yama⁴, Weapons of Viṣṇu⁵, the Lord of the Nāgas (Serpents), the Lord of the birds (Garuḍa), Thunderbolt, Lightning, Seas, Gandharvas, Apsarasas, Sages, Nāṭya-maids⁶, Mahāgrāmaṇī (the great leader of Gaṇas)⁷, Yakṣas, Guhyakas⁸ and the hosts of Bhūtas.
1-8 (B.1-7, 9. G.1-7, 9). ¹ varṇas—No gods called varṇas are to be met with in any other work. They may be taken as deities ruling specially over the four varṇas of people.
² Kāla—There are several legendary heroes (gods, sages and Asuras) of this name, see Vidyalankar, JK. sub voce.
³ Kali—There are many legendary heroes of this name, see JK. sub voce.
⁴ See note 5 below.
⁵ Weapons of Viṣṇu appear as deities in the Act I of Bhāsa’s Bāla.
⁶ nāṭyakumārī—Such goddesses are possibly mentioned nowhere else.
⁷ mahāgrāmaṇī—The great leader of Gaṇas. It is very difficult to accept Ag’s identification of mahāgrāmaṇī with Gaṇapati (mahāgrāmaṇīr gaṇapatiḥ). For in 58 below, occurs the term mahāgaṇeśvara
⁸
34 THE NATYASASTRA [ III. 9-
9-10. Having made obeisance to these, and other divine sages (devarṣi), he should with folded palms invoke all the gods to their respective positions, and say, “Ye, holy ones, should take us under your protection during the night, and ye with your followers should offer us assistance in this dramatic performance”.
Offering Pūjā to the Jarjara
11-13. Having worshipped [thus] all the gods as well as all the musical instruments (kutapa)$^1$ he should offer Pūjā to the Jarjara$^2$ for attaining good success at the performance [and pray to it as follows]. “Thou art Indra’s weapon killing all the demons ; thou hast been fashioned by all the gods, and thou art capable of destroying all the obstacles ; bring victory to the king and defeat to his enemies, welfare to cows and Brahmins and progress to dramatic undertakings”.
14-15. After proceeding thus according to rules and staying in the playhouse for the night, he (the master of the dramatic art)
(in the plural number) indicating the different leaders of Gaṇas who followed Śiva. One of such leaders has been mentioned there as Nandīśvara (Nandin). Besides this the term Gaṇeśa (the leader of Gaṇas) has also been applied to Śiva in 47 below. In describing piṇḍībandhas the piṇḍī of Gaṇeśvara has been named as dakṣayajña-vimardinī (NŚ. IV. 260). This too shows that gaṇeśvara, grāmaṇī or mahāgrāmaṇī meant simply the leader, one of the leaders or the great leader of Gaṇas. The fully developed Gaṇapati seems to be non-existent at the time when the NŚ. was composed. Our suspicion in the matter seems to be corroborated by the variant tathā grāmādhi-devatā recorded in the ms tha of B. for mahāgrāmaṇyam. Gaṇapati seems to be a late entrant into the Hindu pantheon. He is not mentioned in any one of the old Purāṇas. Only the Varāha, Vāmana and Brahma-vaivarta P. which are very late know the deity (Winternitz, Vol. l. pp. 566-568, 573, Vidyalankar, JK. sub voce).
$^8$ Kalidāsa makes no distinction between Yakṣas and Guhyakas, See Meghadūta 1 and 5.
$^9$ See above.
9-10 (B.10-11, G.10-11).
11-13 (B.12-14, G.12-14). $^1$ See below 72-73 note 3. The reading samprayuja in all editions and mss. seems to be wrong. It should be emended as samprapūjya.
$^2$ See 73-81 below.
14-15 (B.15-16, G.15-16).
.III. 21 ] PUJA TO THE GODS OF THE STAGE 35
should begin Pūjā as soon as it is morning. This Pūjā connected with the stage should take place under the asterism Ārdrā (Alpha-Orionis) or Maghā (Regulus) or Yāmyā (Musca) or Pūrvaphalgunī (Delta-Leonis) or Pūrvāṣāḍhā (Delta-Sagittarii) or Pūrvabhādra-padā (Alpha-Pegasi) or Āśleṣā (Hydrae) or Mūlā (Lambda-Scorpionis).
16. The stage should be illuminated and the Pūjā of the gods in its connexion should be performed by the master of the dramatic art (ācārya) after he has purified his body, concentrated his mind [to these acts] and initiated himself [to the Pūjā].
Installation of the gods
17. During the concluding moments of the day, which are considered to be hard and full of evils, and are presided over by Bhūtas, one should perform Ācamana¹ and cause the gods to be installed.
18. [Along with these gods] should be [taken] red thread-bangle (pratisarā)¹, the best kind of red sandal, red flowers and red fruits. [With these and] articles such as barley, white mustard, sunned rice, Nāgapuṣpa² powder and husked saffron (priyaṅgu)³, the gods should be installed.
The Maṇḍala for installing the gods
20. In this ceremony one should draw in proper place a Maṇḍala¹ according to the manner prescribed.
21. This maṇḍala should be sixteen Tālas (hasta)¹ square and it should have doors on all its four sides.
16 (B.17, G.17).
17 (B.18, G.18). ¹ ācamana—ceremonial rinsing of the mouth by sipping water from the palm of the hand.
18-20 (B.19-21a. G.19-21a).
¹ pratisarā—sūtra-vinirmitā granthi-mantaḥ kaṅkaṇaviśeṣaḥ, Ag. (I. p. 74).
² nāgapuṣpa=the campaka tree (Apte), but Ag. says nāgapuṣpaṁ nāgadantaḥ.
³ priyaṅgu=saffron, and not the fruit of the priyāṅgu creeper.
20 (B.21b-G.21b). ¹ See the diagram 1.
21 (B.22-G22). ¹ hasta in this passage is to be interpreted as
36 THE NATYASASTRA [(III. 22-
22. In its middle should be drawn two lines vertically and horizontally (i.e. parallel to the sides), and in the apartments made by these lines, should be installed the different gods.
23-30. In the middle of this (maṇḍala), should be put Brahman who has lotus as his seat¹. Then one should first of all put in the east Śiva with his host of Bhūtas, Nārāyaṇa (Viṣṇu), Indra, Skanda (Kārtikeya), Sūrya, Aśvins, Candra, Sarasvatī, Lakṣmī, Śraddhā and Medhā, in the south-east Agni, Svāhā, Viśvedevas, Gandharvas, Rudras and Ṛṣis, in the south Yama, Mitra with his followers, Pitṛs, Piśācas, Uragas and Guhyakas, in the south-west the Rākṣasas and all the Bhūtas, in the west the Seas and Varuṇa, in the north-west the Seven Winds² and Garuḍa with other birds, in the north Kuvera, Mothers of the Nāṭya, Yakṣas with their followers, in the north-east leaders of Gaṇas such as Nandin, Brahmarṣis and the host of Bhūtas in their proper places.
31. And [in the eastern] pillar should be placed Sanatkumāra¹, in the southern one Dakṣa², in the northern one Grāmaṇī (lit. leader of Gaṇas)³ and in the western one Skanda (Kārtikeya).
32. According to this rule all the gods in their [proper] form and colour should be placed in their respective positions.
hasta-tāla or tāla i.e. the interval between the tips of the thumb and the middle-finger stretched in opposite directions. अङ्गुष्ठमध्यमाङ्गुल्यौ ये हस्तेन प्रसारिते । तद्द्वयोरन्तरं तालमाहुर्मनीषिणः ॥ SR. VII. 1046. Otherwise it will be impossible to accomodate the maṇḍala on the stage which is eight cubits wide (See NŚ. II. 33-35). The ancient commentators like Śaṅkuka and others pointed out how absurd it would be take hasta in the passage in the sense of cubit. (see Ag. I. p. 75).
22 (B.23. G.23).
23-30 (B.24-31, G.24-31). ¹ According to Ag. a lotus is to be described in the centre of maṇḍala. ² For the seven winds see the Vāmana P. (see Vidyalankar, JK. sub voce).
31 (B.32, G.32). ¹ Sanatkumāra—one of the great ṛṣis, and a son of Brahman.
² Dakṣa—one of the lords of the creation (prajāpati), son of Pracetas. There were other Dakṣas besides. See Vidyalankar, JK. sub voce.
³ See above 1-8 note 7.
32 (B.33, G.33).
-III. 44 ] PUJA TO THE GODS OF THE STAGE 37
Offering Pūjā to the gods
33. After they have been installed with regular ceremony in suitable places they should be worshipped in a fitting manner.
34. Gods [in general] should be given white¹ garlands and unguents, while Gandharvas, Agni and Sūrya should be given garlands and unguents of red² colour.
35. After being treated [thus] in due order and manner they should be worshipped according to rules with suitable offerings.
36-39. [Offerings suitable to different gods and goddesses are as follows] : Brahman Madhuparka¹, Sarasvatī Pāyasa², gods like Śiva, Viṣṇu, and Indra sweetmeats. Agni rice cooked with ghee, Candra and Sūrya rice cooked with molasses, Viśvedevas, Gandharvas and sages honey and Pāyasa, Yama and Mitra cakes and sweetmeats, Pitṛs, Piśācas and Uragas ghee and milk, host of Bhūtas rice cooked with meat, wines of different kinds and grams covered with thick milk.
Consecration of the Mattavāraṇī
40-44. Similar shall be the rules regarding the Pūjā in connexion with the Mattavāraṇī. [Offerings to be made to different gods and demigods are as follows] : Rākṣasas half-cooked meat, Dānavas wine and meat, the remaining gods cake and Utkarikā² and boiled rice, gods of seas and rivers fish and cakes, Varuṇa ghee and Pāyasa, Sages various roots and fruits, the wind god and birds different edible stuff (lit. bhakṣya and bhojya), Mothers³ of the
33 (B.34, G.34).
34 (B.35, G.35). ¹ 'White' here seems to be the symbol of purity and good grace.
² 'Red' here seems to be the symbol of energy.
35 (B. 35, G.36).
36-39. (B. 37-40, G. 37-40). ¹ madhuparka—see above II. 41-42. note 3.
² pāyasa—see above II. 41-42 note.
40-44. (B.41 45, G.41-45). ¹ See above.
² utkarikā—a kind of sweetmeat.
³ These goddesses seem to have been ignored by the Purāṇas.
38 THE NATYASASTRA [ III. 44-
Nāṭya, and Kuvera with his followers eatables including cakes, and Locikās⁴.
45. These different kinds of foodstuffs should be offered to them and the Mantras to be uttered at the time of making offering to different gods will be as follows:—
46. (The Mantra for Brahman), O the god of gods, the most lordly one, the lotus-born one, the grand-father (of the worlds) accept this my offering consecrated by the Mantra.
47. (For Śiva) O the god of gods, the great god, the lord of Gaṇas¹ and the killer of Tripura, accept this my etc.
48. (For Viṣṇu), O Nārāyaṇa, Padmanābha, the best of the gods, with unrestrained movement, accept this my etc.
49. (For Indra), O Purandara, the lord of gods, the thunder bearer, the maker of the hundred exploits, accept this my etc.
50. (For Skanda), O Skanda the leader of the celestial army, the blessed one. the dear son of Śiva, O the six-mouthed one, accept this my etc
51. (For Sarasvatī), O the goddess of the gods, the very blessed one, the dear wife of Hari, accept this my etc.
52 (For goddesses Lakṣmī, Siddhi, Mati, Medhā) O Lakṣmī, Siddhi, Mati and Medhā, ye who are honoured by all the worlds, accept this my etc.
53. (For Māruta) O Māruta, you who know the might of all the creatures and are the life of all the world, accept this my etc.
54. (For Rākṣasas) O the great Rākṣasas, the great-souled
⁴ locikā—This has been read in mss. as locitā, lopikā, lepikā, lipikā. The word seems to be connected with the NIA. luci, loci, from lociā, locikā.
45 (B. 46, G. 46) 36 (B. 47, G. 47).
47 (B. 51, G. 48). ¹ It should be marked here that Śiva has been called Gaṇeśvara, a term applied in later times to Gaṇapati only.
48 (B. 50, G. 49). 49 (B. 48, G. 50). 50 (B. 49, G. 51).
51 (B. 53, G. 52). 52 (B. 55, G. 55) 53 (B. 56, G. 53).
54 (B. 54, G. 54).
.III. 68 ] PUJA TO THE GODS OF THE STAGE 39
ones, the sons of Pulastya, born of different causes, accept this my etc.
55. (For Agni) O Agni, the mouth of the gods, the best of the gods, the smoke-bannered one, the eater of things offered in sacrifice, accept this my offering given with love.
56. (For Candra) O Soma, the lord of all the planets, the king of the twice-born ones, the favourite of the world, accept this my etc.
57. (For Sūrya) O the maker of day, the mass of heat, the best among the planets, accept this my etc.
58. (For lords of Gaṇas such as, Nandīśvara) O the great lord of Gaṇas, among whom Nandīśvara is the foremost, accept this my etc.
59. (For Pitṛs) I bow to all the Pitṛs, do ye accept my offering. (For Bhūtas) I always bow to all the Bhūtas who may have a liking for offerings¹.
60a. (For Kāmapāla) O Kāmapāla, I always bow to thee to whom this offering is made.
60-61. (For Gandharvas) O Gandharvas, amongst whom Nārada, Tumburu and Viśvāvasu are the foremost, accept this my best offering.
61-62. (For Yama and Mitra) O Yama and Mitra, the gods who are adored by all the worlds, accept this my etc.
62-63. (For Nāgas) I bow to all the Pannagas in the nether region, who are devourers of wind, give me success in dramatic production after I have worshipped you.
63-64. (For Varuṇa) O Varuṇa, you who are the lord of all waters and have the swan as your mount, be pleased along with the seas and rivers, after I have worshipped you all.
55 (B.57, G.56). 56 (B.58, G.57).
57 (B.59, G 68). 58 (G.60, B.59).
59 (B.61, G.60a). ¹ G. puts one hemistich after 60a without numbering it. 60a (B.62a, G.60b). 60-61 (B.62b-63a, G.61).
61-62 (B.63b-64a, G.62). 62-63 (B. 64b-65a, G.63).
63-64 (B.65b-65a, G.64).
40 THE NATYASASTRA [ III. 64-
64-65. (For Garuḍa) O the son of Vinatā, the high-souled one, the lord, the king of all the birds, accept this my etc.
64-66. (For Kuvera) O the superintendent of [all] wealth, the king of Yakṣas, the guardian of the world, the lord of riches, ye along with Guhyakas and Yakṣas accept this my etc.
66-67. (For mothers of the Nāṭya) O mothers of the Nāṭya such as Brāhmī and others, ye be happy and pleased to accept my offering.
67-68. (For others) O weapons of Rudra, ye accept my offerings. O weapons of Viṣṇu, ye too accept [things given by me] out of devotion for Viṣṇu.
68-69. O Yama, the Fate, the dispenser of death to all creatures and the end of all actions, accept my offerings.
69-70. Ye other gods who are occupying the Mattavāraṇī, accept this my etc.
70-71. To all other gods and Gandharvas too who occupy the heavens, the earth, the middle region and the ten directions, these offerings are made (lit. let these be accepted by them).
71-72. Then a [earthen] jar¹ full of water with a garland of leaves in its front, should be placed in the middle of the stage, and a piece of gold should be put into it.
72-73. All the musical instruments covered with cloth should be worshipped with [sweet] scent, flowers, garlands, incense and various eatables hard and soft.¹
64-65 B.66b-67a, G.65). 65-66 (B.67b-68a, G.66).
66-67 (B.68b-69a, G.67). 66-68 (B.69b 70a, G.68).
68-69 (B.70b-71a, G.69). 69-70 (B.71b-72a, G.70).
70-71 (B.72b-73a, G.71).
71-72 (B.73b-74a, G. 72). ¹ For the significance of this jar see below 87-89.
72-73 (B.74b-75a, G.76). ¹ This passage with some minor variation has been repeated in B. and G. But this is out of place there. For the order in which musical instruments (kutapa) and the Jarjara should be worshipped see 11-13 above.
-III. 83] PUJA TO THE GODS OF THE STAGE 41
Consecration of the Jarjara
73-74. Having worshipped all the gods in due order, and offering Pūjā to the Jarjara [in the following manner] one should have the obstacles removed.
74-76. [One should fasten a piece of] white cloth at the top [of the Jarjara], blue cloth at the Raudra joint, yellow cloth at the Viṣṇu joint, red cloth at the Skanda joint, and variegated cloth at the lowest joint¹. And garlands, incense and unguents are to be offered to it (the Jarjara) in a fitting manner.
76-77. Having observed all these rites with incense, garlands and unguents one should consecrate¹ the Jarjara with the following Mantra:
77-78. "For putting off obstacles thou hast been made very strong, and as hard as adament, by gods such as Brahman.
78-79. Let Brahman with all other gods protect thy top-most part, Hara (Śiva) the second part, Janārdana (Viṣṇu) the third part, Kumāra (Kārtikeya) the fourth part, and the great Pannagas the fifth part.
80-81. Let all the gods protect thee, and be thou blessed. Thou, the killer of foes, hast been born under Abhijit (Vega), the best of the asterisms. Bring victory and prosperity to the king !"
Homa or pouring ghee into sacrificial fire
81-82. After the Jarjara has thus been worshipped and all offerings have been made to it, one should with appropriate Mantras perform Homa and pour (ghee) into the sacrificial fire.
82-83. After finishing the Homa he should with the fire lighted [in the place of sacrifice] do the cleaning work (?) which is to enhance the brilliance of the king as well as of the female dancers.
73-74 (B.75b-76a, G.73).
74-76 (B.76b-78a, G.74-75). ¹ For identifying the joints see 78-79 below.
76-77 (B.79b-80a, G.77).
77-78 (B.80b-81a, G 78).
78-80 (B.81b-82, G.79-80a).
80-81 (B. 83b-84a, G.80b-81).
81-82 (B.84b-85a, G. 82).
82-83 (B.85b-86a, G.83).
6
48 | THE NATYAŚASTRA | [III. 84]
83-84. After having illumined the king and the dancers together with the musical instruments one should sprinkle them again with water sanctified by the Mantra, and say to them :
84-85. "You are born in noble families and adorned with multitudes of qualities, let whatever you have acquired by virtue of birth, be perpetually yours."
85-86. After saying these words for the happiness of the king, the wise man should utter the Benediction for the success of the dramatic production.
86-87. [The Benediction] : Let mothers such as Sarasvatī, Dhṛti, Medhā, Hrī, Śrī, Lakṣmī, and Smṛti¹ protect you and give you success.
Breaking the Jar
87-88. Then after performing Homa according to rules with ghee and the proper Mantra the master of dramatic art should carefully break the jar.
88-89. In case the jar remains unbroken the king (lit. the master) will have a cause of fear from enemies ; but when it is broken his enemies will meet with their destruction.
Illumination of the stage
89-90. After the breaking of the jar, the master of the dramatic art should illuminate the auditorium (raṅga) with a lighted lamp.
90-91. Noisily, that is, with roaring, snapping of fingers, jumping and running about, he should cover the auditorium with that lighted lamp [in his hand].
91-92. Then a fight should be caused to be made [on the
83-84 (B.86b-87a, G.84). 84-85 (87b-88a, G.85).
85-86 B.88b-89a, G.86). 86-87 (B.89b-90a, G.87).
87-88 (B.90b-91a, G.88). ¹ These are the seven Nāṭya-mātṛkās. See 23-30 above. 88-89 B.91b-92a, G.89).
89-90 (B.92b-93a, G.90). 90-91 (B.93b-94a, G.91).
91-93 (B.94b-96a, G.92-93). ¹ dundubhi—a kind of drum.
-III. 99.] PUJA TO THE GODS OF THE STAGE 43
stage] in accompaniment with the sound of all the musical instruments such as conch-shell, Dundubhi¹, Mṛdaṅga² and Paṇava³.
92-93. If the bleeding wounds [resulting from the fight] will be bright and wide, that will be a [good] omen indicating success.
Good results of consecrating the stage
• 93-94. If the stage is properly consecrated it will bring good luck to the king (lit. the master) and to people young and old of the city as well as of the country.
94-95. But when the auditorium is not consecrated in proper manner it will be indifferently held by gods, and there will be an end of the dramatic spectacle, and it will likewise bring evil to the king.
95-96. He who willfully transgresses these rules [of consecration of the stage] and practises [the dramatic art], will soon sustain loss and will be reborn as an animal of lower order.
96-97. Offering worship to the gods of the stage is as meritorious as a [Vedic] sacrifice. No dramatic performance should be made without first worshipping the deities presiding over the stage. When worshipped, they (these gods) will bring you worship, and honoured they will bring you honour. Hence one should by all efforts offer Pūjā to the gods of the stage.
Evils following non-consecration of the stage
98-99. Never will fire fanned by violent wind burn things so quickly, as defective rites will burn quickly [the master of the dramatic art].
99-100. So the stage should be worshipped by the master of the dramatic art who is purified, disciplined and proficient in
² mṛdaṅga—a kind of earthen drum.
³ paṇava—a kind of drum.
| 93-94 (B.96b-97a, G.94). | 94-95 (B.97b-98a, G.95). |
| 95-96 (B.98b-99a, G.96). | 96-98 (B.99b-101a, G.97-98). |
| 98-99 (B.101b-102a, G.99). | 99-100 (B.102b-103a, G.100). |
44 THE NATYASASTRA [ II. 100
the rules of the art and initiated into the practice of it and has quiet of mind.
100-101. He who with an agitated mind places his offering in a wrong place, is liable to expiation like one who pours ghee into the sacrificial fire without proper Mantras. This is the procedure prescribed for worshipping the gods of the stage. It should be followed by producers [of plays] in holding a theatrical show in a newly built playhouse.
Here ends Chapter III of Bharata's Nāṭyaśāstra,
which treats of Pūjā to the gods of the stage.
100-101 (B.103b-104a, G.101-102).
Chapter 4: Description of the Class Dance (ताण्डवलक्षण)
CHAPTER FOUR
DESCRIPTION OF THE CLASS DANCE
Brahman writes the first play and gets this performed.
-
After having worshipped [the gods presiding over the stage] I said to Brahman, "Tell me quickly, O the mighty one, which play should be performed ?"
-
[In reply] I was told by the Lord, "Perform the Amṛta-manthana (the Churning of the Ocean)¹ which is capable of stimulating efforts and of giving pleasure to gods.
-
I have composed this Samavakāra¹ which is conducive to [the performance of] duties (dharma), to [the fulfillment of] desire (kāma) as well as [to the earning] wealth (artha)."
-
When this Samavakāra was performed, gods and demons were delighted to witness actions and ideas [familiar to them].
-
Now, in course of time Brahman (lit. the lotus-born one) said to me, "We shall present today the play before the great-souled Śiva (lit. the three-eyed one)".
6-7. Then on reaching along with other gods the abode of Śiva (lit. the bull-bannered one) Brahman paid him respects and said, "O the best of the gods, please do me the favour of hearing and seeing the Samavakāra which has been composed by me."
- "I shall enjoy it," said the lord of gods in reply. Then Brahman asked me to get ready [for the performance].
9-10. "O, the best of the Brahmins, after the Preliminaries connected with the performance had been completed this
1 (B.G. same)
2 B.G. same). ¹ The legend about the churning of the ocean occurs in the Mbh. (I. 17-19.) and the Viṣṇu P. (1) See Winternitz, Vol. I pp. 389, 546.
3 (B.G. same). ¹ See NŚ. XX. 69 ff.
4 (B.G. same). 5 (B.G. same). 6-7 (B.G. same).
8 (B.G. same). 9-10 (B.G. same).
46 THE NATYASASTRA [ IV. 10-
(Samavakāra named the Amṛtamanthana) as well as a Ḍima¹ named the Tripuradāha (the Burning of Tripura) was performed in the Himalayan region which consisted of many hills and in which there were many Bhūtas, Gaṇas³ and beautiful caves and waterfalls".
11. Then all the [Bhūtas] and Gaṇas were pleased to see actions and ideas familiar to them, and Śiva too was pleased and said to Brahman :
12. "O the high-souled one, this drama (nāṭya) which is conducive to fame, welfare, merit and intellect, has been well-conceived by you.
13-14. Now in the evening, while performing it, I remembered that dance made beautiful by Aṅgahāras¹ consisting of different Karaṇas². You may utilize these in the Preliminaries (pūrvaraṅga) of a play.
Two kinds of Preliminaries
14-16. In the application of the Vardhamānaka¹, the Āsārita², the Gīta³ and the Mahāgīta you will depict properly the ideas [by means of dance movements]; and the Preliminaries which you have [just] performed are called "pure" (śuddha). [But] when
¹ ḍima—one of the plays of the major type; for its characteristics see NŚ. XX. 84 ff.
² Tripuradāha—Śiva killed an Asura (demon) named Tripura by burning him with one of his fiery arrows. Hence he is called Tripurāntaka or Tripurāri. This legend occurs in the Varāha P. See JK. sub voce.
³ B.G. read bahucutadrumākīrṇe instead of bahubhūtagaṇākīrṇe.
11 (B.G. same).
12 (B.G. same).
13-14 (B.G. same). ¹ aṅgahāra—major dance figures which depend on minor dance figures (karaṇas) The word means 'movement of limbs' Ag. (I. p. 91) explains it as अङ्गानां देशान्तरे समुचिते प्रापणप्रकारोऽङ्गहारः करणं कार्यं हारः प्रयोगः, अङ्गनिर्वर्त्यो हारोऽङ्गहारः.
² See below 29-30 note 1. For details about the Aṅgahāras see below 16 ff, 72 ff.
14-16 (B.G. same). ¹ See NŚ. V. 12-15 note 3.
- See NŚ. V. 21 note 1.
³ See NŚ. V. 60-63 note 3.