नाट्यशास्त्रम् (प्रथम भाग - अभिनवभारती एवं हिन्दी टीका सहित)
Natyashastra of Bharata Muni with Hindi Commentary (Vol 1)
भरत मुनि / आचार्य अभिनवगुप्त द्वारा
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.
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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 ?"
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[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.
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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.
-IV. 30 ] DESCRIPTION OF THE CLASS DANCE 47
these dances will be added to them (pure Preliminaries) they will be called "mixed" (citra).
The Aṅgahāras
16-17. To these words of Śiva Brahman said in reply, "O the best of the gods, tell us about the use of the Aṅgahāras."
17-18. Then Śiva (lit. lord of the world) called Taṇḍu and said, "Speak to Bharata about the use of the Aṅgahāras."
18-19. And by Taṇḍu I was told the use of the Aṅgahāras. I shall now speak of them as well as of the various Karaṇas and Recakas¹.
19-27. The thirtytwo Aṅgahāras are as follows :— Sthirahasta, Paryastaka, Sūcīviddha, Apaviddha, Ākṣiptaka, Udghaṭṭita, Viṣkambha, Aparājita, Viṣkambhāpasṛta, Mattakrīḍa, Svastikarecita, Pārśvasvastika, Vṛścika, Bhramara, Mattaskhalitaka, Madavilasita, Gatimaṇḍala, Paricchinna, Parivṛttarecita, Vaiśākharecita, Parāvṛtta, Alātaka, Pārśvaccheda, Vidyudbhrānta, Uddhṛtaka, Ālīḍha, Recita, Ācchurita, Ākṣiptarecita, Sambhrānta, Upasarpita, Ardhanikuṭṭaka.
Uses of the Aṅgahāras
28-29. I shall now speak about their performance dependent on the Karaṇas. [And besides this] "O the best of the Brahmins, I shall tell you about the movements of hands and feet that are proper to the Aṅgahāras.
The Karaṇas
29-30. All the Aṅgahāras consist of Karaṇas; hence I shall mention the names of the latter as well as their descriptions.
16-17 (B.G. same). 17-18 (B. same, G.16).
18-19 (B. same, G.17). ¹ See below 247 ff.
19-27 (B. same, G.18-27a).
28-29 (B. same, G.27b-28). ¹ for details about karaṇa see 30ff below.
29-30 (B. same G.29). ¹ karaṇa—minor dance figure. Ag. (I 93) explains the karaṇa as हस्तपादेन विक्षेपश्च नृत्तकरणमिति एकदेशाभिप्रायेण तु करणशब्दस्य प्रयोगो ऽस्मिन् शास्त्रे इतिवत् ।
48 THE NATYASASTRA [ IV. 30.
30-34. The combined [movement of] hands and feet in dance is called the Karaṇa: Two Karaṇas will make one Mātṛkā, and two, three, or four Mātṛkās will make up one Aṅgahāra. Three Karaṇas will make a Kalāpaka, four a Saṇḍaka¹, and five a Saṅghātaka. Thus the Aṅgahāras consist of six, seven, eight or nine Karaṇas. I shall now speak of the hand and feet movements making up these (Karaṇas).
34-55. The Karaṇas are one hundred and eight in number and they are as follows: Talapuṣpapuṭa, Vartita, Valitoru, Apaviddha, Samanakha, Līna, Svastikarecita, Maṇḍalasvastika, Nikuṭṭaka, Ardhanikuṭṭaka, Kaṭicchinna, Ardharecita, Vakṣaḥsvastika, Unmatta, Svastika, Pṛṣṭhasvastika, Diksvastika, Alāta, Kaṭisama, Ākṣiptarecita, Vikṣiptākṣipta, Ardhasvastika, Añcita, Bhujaṅgatrāsita, Ūrdhvajānu, Nikuñcita, Mattalli, Ardhamattalli, Recakanikuṭṭita, Padāpaviddhaka, Valita, Ghūrṇita, Lalita, Daṇḍapakṣa, Bhujaṅgatrastarecita, Nūpura, Vaiśākharecita, Bhramaraka, Catura, Bhujāṅgāñcitaka, Daṇḍakarecita, Vṛścikakuṭṭita, Kaṭibhrānta, Latāvṛścika, Chinna, Vṛścikarecita, Vṛścika, Vyāṁsita, Pārśvanikuṭṭana, Latāvaṭilaka, Krāntaka, Kuñcita, Cakramaṇḍala, Uromaṇḍala, Ākṣipta, Talavilāsita, Argala, Vikṣipta, Āvṛtta, Dolapāda, Vivṛtta, Vinivṛtta, Pārśvakrānta, Niśumbhita, Vidyudbhrānta, Atikrānta, Vivartitaka, Gajakrīḍita, Talasaṁsphoṭita, Garuḍaplutaka, Gaṇḍasūcī, Parivṛtta, Pārśvajānu, Gṛdhrāvalīnaka, Saṁnnata, Sūcī, Ardhasūcī, Sūcīviddha, Apakrānta, Mayūralalita, Sarpita, Daṇḍapāda, Hariṇapluta, Preṅkholita, Nitamba, Skhalita, Karihasta, Prasarpita, Siṁhakrīḍita, Siṁhākarṣita, Udvṛtta, Upasṛta, Talasaṅghaṭṭita, Janita, Avahitthaka, Niveśa, Elakākrīḍita, Urūdvṛtta, Madaskhalita, Viṣṇukrānta, Saṁbhrānta, Viṣkambha, Udghaṭṭita, Vṛṣabhakrīḍita, Lolitaka, Nāgāpasarpita, Śakaṭāsya, Gaṅgāvataraṇa. [These Karaṇas will be used] in dance, fight, personal combat, walking as well as movements in general.
- Foot movements which have been prescribed for
30-34 (B. same, G. 30-33). ¹ ṣaṇḍaka—B.G. read maṇḍaka.
34-55 (B.34-55a, 56a, G.34-54)
56 (B.59, G.167).
.IV. 62 ] DESCRIPTION OF THE CLASS DANCE 49
the exercise of Sthānas¹ and Cārīs², will apply also to these Karaṇas³.
57. And application of the Nṛtta-hastas¹ which have been prescribed for dance is generally implied in the Karaṇas.
58. The Sthānas, the Cārīs and the Nṛtta-hastas mentioned [before] are known as the Mātṛkās the variations of which are called the Karaṇas.
59. I shall treat the Cārīs suitable for [representing] fight at the time of discussing the foot movements. The master [of dramatic art] should apply them on any occasion according to his histrionic talents.
60. In the Karaṇa the left hand should generally be held on the breast, and the right hand is to follow the [right] foot.
61. Listen [now] about the movement of hands and feet in dance in relation to that of hip, sides, thigh as well as to breast, back and belly¹.
Definition of the Karaṇas.
62. Talapuṣpapuṭa—Puṣpapuṭa hand held on the left side, the foot is Agratalasañcara, the side is Sannata (Nata)¹.
¹ See NŚ. XI. 49 ff.
² See NŚ. XI. 2 ff.
³ B.G. read one hemistich more before 56a. It does not occur in some mss. Ag. records this fact. Though these 108 karaṇas constitute general dance, which is sometimes interpolated in the acting to fill up its gaps, they (karaṇas) may be also used to embellish the movement of limbs in fights of any kind. Ag. (I. p. 96) says अभिनये यन्नृत्तं वक्ष्यतेऽभिनयान्तरालवर्ति छिद्रप्रच्छादनादौ तत् प्रयुज्यते, मल्लादियुद्धे बाहुयुद्धे प्रयोगः सोऽवार्थमपि तत् प्रयुज्यते ; besides this he says tanugatisthitisammilite karaṇam (I. p. 97)
57 (B.171, G.56a, 168). ¹ For nṛttahastas see NŚ. IX. 177 ff.
58 (B.173, G.170). 59 (B.56b-57a, G.56).
60 (B.57b-58a or 172, G.169).
61 (B. 58b-59a, G.57). ¹ For B.60 (G.58) omitted see NŚ. XI. 90-91.
62 (B.61, G.59). ¹ For the sake of convenience constituent parts of the karaṇas have been separately mentioned without putting them in a cumbrous sentence. This method has been followed by A. K. Coomaraswamy in MG. As the definitions of these parts can be easily traced through the index they have not been referred to in the notes.
7
50 THE NATYASASTRA [ IV. 63-
-
Vartita—Vyavṛtta (= Vyavartita) and Parivartita hands bent at the wrist, then these hands placed on thighs.
-
Valitoru—Śukatuṇḍa hands to make Vyavartita and Parivartita K., and thighs are Valita.
-
Apaviddha—the (right) hand with Śukatuṇḍa gesture to fall on the (right) thigh, the left hand held on the breast.
-
Samanakha—the two Samanakha¹ feet touching each other, two hands hanging down, and the body in natural pose.
-
Līna—the two Patāka hands held together in Añjali pose on the breast, the neck held high, and the shoulder bent.
-
Svastikarecita—two hands with Recita and Āviddha gesture held together in the form of a Svastika, then separated and held on the hip.
-
Maṇḍalasvastika—two hands moved to unite in the Svastika gesture with their palms turned upwards in a similar manner, and the body in the Maṇḍala Sthāna (posture).
-
Nikuṭṭaka—each of the hands to be moved up and down¹ alternately between the head and another arm, and the legs also moved in a similar manner.
-
Ardhanikuṭṭaka—hands with Alapallava¹ gesture bent towards shoulders, and legs moved up and down.
-
Kaṭicchinna—the hip serially in the Chinna pose, two Pallava hands held alternately and repeatedly on the head.
63 (B.62, G.60) 64 (B.63, G.61) 65 (B.65, G.62)
66 (B.65, G.63). ¹ samanakha feet has nowhere else been mentioned in the NŚ.
67 B.66, G.64).
68 (B.97, G.65). 69 (B.68, G.66).
70 (B.69, G.67). ¹ nikuṭṭita=nikuṭṭana. Ag. (I. p. 108) quotes the definition of nikuṭṭana from Kohala as follows : unnamanaṁ vinamanaṁ syād aṅgasya nikuṭṭanam.
71 (B.70, G.68). ¹ For kuñcita BG. read añcita. But Ag. (I. p. 204) read kuñcita and means by this word the alapallava gesture.
72 (B.71, G.69).
-IV. 83 ] DESCRIPTION OF THE CLASS DANCE 51
73. Ardharecita—hand with Sūcīmukha¹ gesture to move freely, feet to move alternately up and down, side in Sannata (i.e. Nata) pose.
74. Vakṣaḥsvastikā—two legs on each other in the form of a Svastika, the two Recita hands brought together in a similar manner on the breast which is bent (nikuñcita).
75. Unmatta—feet to be Añcita and hands to be Recita.
76. Svastika—hands and feet respectively held together in the Svastika form.
77. Pṛṣṭhasvastika—two arms after being thrown up and down coming together as a Svastika, two feet also to come together as a Svastika with Apakrānta and Ardhasūcī Cārīs.
78. Diksvastika—turning sideways and towards the front in course of a single (lit. connected) movement, and forming Svastika with hands and feet.
79. Alāta—after making Alāta Cārī¹ taking down hand from [the level of] the shoulder², then making Ūrdhvajānu Cārī³.
80. Kaṭisama—feet to be separated, after the Svastika Karaṇa, of the two hands one to be placed at the navel and the other at the hip, and the sides in the Udvāhita pose.
81. Ākṣiptarecita—the left hand on the heart, the right hand Recita and thrown up and sideways, and then the two hands to be Recita with Apaviddha (Āviddhaka) gestures.
82. Vikṣiptākṣiptaka—hands and feet first thrown up, then again thrown down.
83. Ardhasvastika—the two feet to make the Svastika, the
73 (B.73, G.70). ¹ By apaviddha Ag. (l. p. 105) means the sūcīmukha gesture.
74 (B.74, G.71). 75 (B.75, G.72). 76 (B.76, G.73).
77 (B.77, G.74). 78 (B.78, G.75).
79 (B.79, G.76). ¹ caraṇa=cārī. ² vyāṁsayet=aṁsād viniṣkrāmaṇaṁ kuryāt (Ag). ³ krama=cārī.
80 (B.80, G.77). ¹ udvāhita side is nowhere else mentioned in the NŚ.
81 (B.81, G. 78). 82 (B.82, G.79) 83 (B.83, G.80).