नाट्यशास्त्रम् (प्रथम भाग - अभिनवभारती एवं हिन्दी टीका सहित)

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grahakāra, p. LXV ; 4. The Present Text of the Nāṭyaśāstra, p. LXV ; 5. Medieval Writers on Drama, (a) Nandi (Nandikeśvara), Tumburu, Viśākhila and Cārāyaṇa, (b) Sadāśiva, Padmabhū, Drauhiṇi, Vyāsa, and Āñjaneya, (c) Kātyāyana, Rāhula and Garga, (d) Śakaligarbha and Ghaṇṭaka, (e) Vārtika-kāra-Harṣa, (f) Mātṛgupta, (g) Subandhu, (h) Compilers of the Agnipurāṇa and the Viṣṇudharmottara, pp. LXV-LXVII ; (6) Late Literature on Drama. (a) Daśarūpa, (b) Nāṭakalakṣaṇaratnakośa, (c) Nāṭyadarpaṇa, (d) Ruyyaka's Nāṭakamīmāṃsā, (e) Bhāvaprakāśana, (f) Sāhityadarpaṇa and Nāṭakaparibhāṣa, pp. LXVII-LXX.

VI. The Natyasastra : The Text and its Commentaries, p. LXXI ; 1. Its Author, p. LXXI ; 2. The two Recensions, p. LXXI ; 3. Unity of the Nāṭyaśāstra, p. LXXII ; 4. Its Scope and Importance, p. LXXIV ; 5. Its Style and Method of Treatment, p. LXXIV ; 6. The Early Commentators : Ācārya Kīrtidhara, and Bhāṣyakāra Nānyadeva (b) Bhaṭṭa Udbhaṭa, (c) Bhaṭṭa Lollaṭa, (d) Śrī Śaṅkuka, (e) Bhaṭṭa Nāyaka, (f) Bhaṭṭa Yantra, p. LXXV ; 7. Bhaṭṭa Abhinavagupta, p. LXXVI.

VII. Data of India's Cultural History in the Natyasastra, p. LXXVIII ; 1. Language, p. LXVIII ; 2. Literature, p. LXXVIII ; 3. Art, p. LXXVIII ; 4. Metrics, p. LXXIX ; 5. Poetics, p. LXXIX ; 6. Costumes and Ornaments, p. LXXIX ; 7. Mythology, p. LXXIX ; 8. Geography, p. LXXX ; 9. Ethnological Data, p. LXXX ; 10. Ars Amatoria, p. LXXX ; 11. Arthaśāstra, p. LXXX ; 12. Psychology, p. LXXXI.

VIII. The Date of the Natyasastra, p. LXXXII ; 1. The Geographical Data, p. LXXXII ; 2. The Nāṭyaśāstra earlier than Kālidāsa, p. LXXXII ; 3. The Mythological Data, p. LXXXIII ; 4. The Ethnological Data, p. LXXXIII ; 5. The Epigraphical Data, p. LXXXIII ; 6. The Nāṭyaśāstra earlier than Bhāsa, p. LXXXIV.

THE NĀṬYAŚĀSTRA (Translation)

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C H A P T E R O N E

THE ORIGIN OF DRAMA, Pages 1-17

1. Salutation, p. 1 ; 2-5. Sages question, p. 1 ; 6-23. Bharata answers, pp. 2-5 ; 24-25. The Nāṭyaveda and Bharata’s one hundred sons, pp. 5-6 ; 26-40. Names of Bharata’s one hundred sons, pp. 6-7 ; 41. Performance begins with three Styles, p. 7 ; 42-45. Need of the Kaiśikī Style, p. 7-8 ; 46-47. Creation of Apsarasas for practising the Kaiśikī Style, p. 8 ; 47-50. Names of Apsarasas, p. 8 ; 50-53. Svāti and Nārada engaged to help Brahman, pp. 8-9 ; 53-58. The Banner Festival of Indra and the first production of a play, p. 9 ; 58-63. The pleased gods reward Bharata’s party, pp. 9-10 ; 64-66. Vighnas attack the actors, pp. 10-11 ; 67-68. Indra comes to their protection, p. 11 ; 69-75. The Origin of the Jarjara, p. 11 ; 75-81. The Origin of the first playhouse, pp. 11-12 ; 82-97. Different gods asked to protect different parts of the playhouse as well as the actors, pp. 12-13 ; 98-105. Brahman pacifies the Vighnas, pp. 13-14 ; 106-121. Characteristics of a drama, pp. 14-16 ; 122-129. Offering Pūjā to the gods of the stage, pp. 16-17.

C H A P T E R T W O

DESCRIPTION OF THE PLAYHOUSE, Pages 18-32

1-3. Introduction, p. 18 ; 4-8. Three types of playhouse, pp. 18-19 ; 8-11. Three sizes of the playhouse, pp. 19 ; 12-16. The table of measurement, p. 20 ; 17. The playhouse for mortals, p. 20 ; 18-23. Disadvantage of a too big playhouse, pp. 20-21 ; 24-26. Selection of a suitable site, p. 21 ; 27-28. Measurement of a site, pp. 21-22 ; 28-33. Taking up the string for measurement, p. 22 ; 33-35. The ground plan of the playhouse, p. 22 ; 35-43. The ceremony of laying the foundation, pp. 23-24 ; 43-63. Raising pillars of the playhouse, pp. 24-26 ; 63-67. The Mattavāraṇī, pp. 26-27 ; 68-74. The stage, pp. 27-28 ; 75-85. Decorative work in the stage, pp. 28-30 ; 86-100. Description of a square playhouse, pp. 30-32 ; 101-104. Description of a triangular playhouse, p. 32.

C H A P T E R T H R E E

PŪJĀ TO THE GODS OF THE STAGE, Pages 33-44

1-10. Consecration of the playhouse, pp. 33-34 ; 11-16. Offering Pūjā to the Jarjara, pp. 34-35 ; 17-20. Installation of gods, p. 35 ; 20-32. The Maṇḍala for installing the gods, pp. 35-36 ; 33-39. Offering Pūjā to the gods, p. 37 ; 40-73. Consecration of the Mattavāraṇī, pp. 37-40 ; 73-81. Consecration of the Jarjara, p. 41 ; 81-87. Homa or pouring ghee into sacrificial fire, pp. 41-42 ; 87-89. Breaking the jar, p. 42 ; 89-93. Illumination of the stage, pp. 42-43 ; 93-97. Good results of consecrating

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the stage, p. 43; 98-101. Evils following non-consecration of the stage, pp. 43-44.

CHAPTER FOUR

THE CLASS DANCE, Pages 45-75

1-14. Brahman writes the first play and gets it performed, pp. 45-46; 14-16. Two kinds of Preliminaries, pp. 46-47; 16-27. The Aṅgahāras, p. 47; 28-29. Uses of Aṅgahāras, p. 47; 29-61. The Karaṇas, pp. 47-49; 62-169. Definition of 108 the Karaṇas, pp. 49-60; 170-245. Definition of the Aṅgahāras, pp. 60-65; 246-252. The Recakas, pp. 65-66; 253-264. The Piṇḍībandhas, pp. 66-68; 265-272. The Sages speak on the use of dance, pp. 68-69; 273-274. The Vardhamānaka, p. 69; 275. The Āsārita, p. 69; 276. The Upohana, p. 69; 277-294. Entry of female dancers and the four kinds of Piṇḍīs, pp. 69-72; 295-308. The Chandakas, pp. 72-73; 309-310. The gentle dance, p. 73; 311-314. Occasions suited to dance, pp. 73-74; 315-320. Occasions when dances are prohibited; p. 74; 321-324. Playing of drums, pp. 74-75; 325-328. When drums are not to be played, p. 75

CHAPTER FIVE

THE PRELIMINARIES OF A PLAY, Pages 76-99

1-4. The sages question, 76; p. 5-6. Bharata answers, p. 76; 7. Preliminaries defined, p. 76; 8-16. Parts of the Preliminaries, pp. 76-77. 17. Pratyāhāra, and Avataraṇa, pp. 78; 18. Ārambha, and Āśrāvaṇā, pp. 78; 19. Vaktrapāṇi, Parighaṭṭanā, p. 78; 20. Saṃghoṭanā, Mārgāsārita, p. 79. 21. Āsārita and the Application of Songs, p. 79; 22-23. Utthāpana, p 79; 23-24. The Walking-round, p. 79; 24-25. The Benediction, 79; 25-26. Śuṣkāvakṛṣṭā Dhruvā, pp. 80; 26-27. Raṅgadvāra, p. 80; 27-28. The Cārī and the Mahācārī, p. 80; 28-29. Three Men's Talk, p. 80; 29-30. The Laudation, p. 80; 30-32. Origin of Bahirgīta and its justification, pp. 80-81; 33-36. Daityas and Rākṣasas provoked to jealousy, p. 81; 37-38. The gods approach Nārada to stop the Nirgīta, p. 81; 38-44. Nārada pacifies the gods, p. 82; 44-59. The gods are pleased with the Nirgīta (Bahirgīta), pp. 82-83; 60-64. Songs in pure Preliminaries, p. 84; 65-66. The first Walking-round, p. 84; 67-76. The second Walking-round, pp. 84-86; 77-84. The third Walking-round, pp. 86-87; 84-89. The fourth Walking-round, p. 87; 89-101. The Parivartanī Dhruvā, pp. 87-89; 101-104. The Fourth Man enters, p. 89; 104-107. Singing of the Avakṛṣṭā Dhruvā, pp. 89-90; 107-113. Examples of the Benediction, pp. 90-91; 113-116. An example of Śuṣkāvakṛṣṭā Dhruvā, p. 91; 116-119. Raṅgadvāra, p. 91; 119-127. Cārī, pp. 92-93; 127-137. Mahācārī, pp. 93-94; 137-141. The Three Men's Talk, p. 94; 141-142. The Laudation, pp. 94-95;

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143-154. The Tryasra Preliminaries, pp. 95-96 ; 155-166. The Mixed Preliminaries, pp. 96-97 ; 167-179. Introduction of a play, pp. 97-99.

C H A P T E R S I X

THE SENTIMENTS, pages 100-117

1-3. The sages question, p. 100 ; 4-8. Bharata answers, pp. 100-101 ; 8-14. Digest, Memorial Verse and Etymology defined, pp. 101 ; 15-16. The eight Sentiments, p. 102 ; 17-21. The Dominant States, p. 102 ; 22. The eight Temperamental States. pp. 102-103 ; 23. The four kinds of Histrionic Representation, p. 103 ; 24. The two Practices and the four Styles, p. 103 ; 25-26. The four Local Usages, and the Success, p. 104 ; 27-29. The notes, and the four kinds of musical instrument. p. 104 ; 29-31. The five kinds of Dhruvā, pp. 104-105 ; 31-33. The Sentiments explained, pp. 105-136 ; 33-38. The relation between the Sentiment and the States, p. 106-107 ; 38-43. The eight Sentiments from the four original ones, p. 107-108 ; 44-45. The presiding deities of the Sentiments, p. 108 ; 45-48. The Erotic Sentiment, pp. 108-110 ; 48-55. The Comic Sentiment, pp. 110-111 ; 56-57. Of persons of the middling type, p. 111 ; 58-61. Of persons of the inferior type, pp. 111-112 ; 61-63. The Pathetic Sentiment, p. 112 ; 63-66. The Furious Sentiment, pp. 112-113 ; 66-68. The Heroic Sentiment, p. 114 ; 68-72. The Terrible Sentiment. pp. 114-115 ; 72-74. The Odious Sentiment, pp. 115 ; 74-76. The Marvellous Sentiment, p. 116 ; 77. The three kinds of the Erotic, the Comic and the Terrible Sentiments, p. 116 ; 78. The three kinds of the Pathetic Sentiment, p. 116 ; 79. The three kinds of the Heroic Sentiment, pp. 116-117, 80. The three kinds of the Terrible Sentiment, 117. 81. The three kinds of the Odious Sentiment, p. 117 ; 82-83. The three kinds of the Marvellous Sentiment, p. 117.

C H A P T E R S E V E N

THE EMOTIONAL AND OTHER STATES, Pages 118-147.

1-3. Bhāvas (States) explained, p. 118 ; 3-4. Vibhāvas (Determinants) explained, pp. 118-119 ; 4-6 Anubhāvas (Consequents) explained, p. 119 ; 6-7. The three kinds of State ; Dominant, Transitory and Temperamental, pp. 119-120 ; 7-8. Difference between the Dominant and the other States pp. 120-121 ; 8-9. Love, p. 121 ; 9-10. Laughter, p. 121 ; 10-14. Sorrow, p. 122 ; 14-20. Anger, pp. 122-123 ; 20-21. Energy, pp. 123-124 ; 21-25. Fear, p. 124 ; 25-26. Disgust, p. 125 ; 26-27. Astonishment p. 125 ; 27-29. The Transitory States, pp. 125-126 ; 27-30. Discouragement, p. 126 ; 30-32. Weakness, pp. 126-127 ; 32-35. Apprehension, pp. 127 ; 35-37. Envy, pp. 127-128 ; 37-46. Intoxication, pp. 128-129 ; 46-47. Weariness, p. 129 ; 47-48. Indolence, pp. 129-130; 48-49. Depression, p. 130 ; 49-51. Anxiety, p. 130 ; 51-53. Distraction, pp. 130-131 ; 53-55.

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. hand gestures, p. 185 ; 166-167. Spheres of hand gestures, p. 186 ; 168-177. The quantity of gestures, pp. 186-187 ; 178-204. The Dance-hands, pp. 187-189 ; 205-211. The four Karaṇas of the hands, pp. 189-190 ; 212-214. The movements of arms. p. 190.

C H A P T E R T E N

THE GESTURES OF OTHER LIMBS, Pages 191-196.

1-9. The breast, pp. 191 ; 10-15. The sides, p. 192 ; 16-17. Uses of the sides, p. 192 ; 18. The belly. p. 192 ; 19-20. Uses of the belly, pp. 192-193 ; 21-24. The waist, p. 193 ; 25-26. Uses of the waist, pp. 193-194 : 27-31. The thigh, p. 194 ; 32-33 Uses of the thigh, p. 194 ; 34-37. The shank, pp. 194-195 ; 38-40. Uses of the shank, p. 165 ; 41-51. The feet and their uses, pp. 195-196 ; 52-54. The Cārīs, p. 196.

C H A P T E R E L E V E N

THE CĀRĪ MOVEMENTS, Pages 197-206

1-3. Definitions, p. 197 ; 4-6. Uses of the Cārīs, p. 197 ; 7-12. The thirtytwo Cārīs, pp. 197-198 ; 13-28. The earthly Cārīs, pp. 198-199 ; 29-49. The aerial Cārīs, pp. 199-201 ; 50-71. The Sthānas, pp. 201-203 ; 71-88. The four Nyāyas in using weapons, pp. 203-205 ; 88-91. The Sauṣṭhava, p. 205 ; 91-92. The Caturasra, p. 205 ; 92-94. The four acts relating to the bow, p. 205 ; 94-96. The method of exercise, pp. 205-206 ; 96-100 Health and nourishment of persons taking exercise ; p. 206.

C H A P T E R T W E L V E

THE MAṆḌALA MOVEMENTS, Pages 207-212

1-5. The Maṇḍalas, p. 207 ; 6-41. The aerial Maṇḍalas, pp. 207-210 ; 42-68. The earthly Maṇḍalas, pp. 210-212.

C H A P T E R T H I R T E E N

THE DIFFERENT GAITS, Pages 213-237

1. Gaits for different characters, p. 213 ; 2-3. Entrance of dramatis personae, p. 213 ; 4-7. Posture for superior and middling characters at the entrance, p. 213 ; 8-10. The interval of their feet, pp. 213-214 ; 10-11. The time for their steps, p. 214 ; 12-14. The tempo of their Gait, p. 214 ; 15-24. The natural Gait, pp 214-215 ; 25-29 Gait of kings, p, 216 ; 30-34. Gait under special conditions, p. 216 ; 35-40. Tempo of Gaits under special conditions, pp. 217 ; 41-48. Gait in the Erotic Sentiment, pp. 217-218 ; 48-54. Gait in the Terrible Sentiment, p. 218 ; 54-56. Gait in the Odious Sentiment, p. 218 ; 57-58. Gait in the Heroic Sentiment, pp. 218-219 ; 59-60. Gait in the Marvellous and the Comic Sentiments, p. 219 ; 61-69. Gait in the Pathetic Sentiment, pp. 219-220 ; 70-75. Gait (of inferior characters) in the Terrible Sentiment, p. 220 ; 76-78. Gait of

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merchants and ministers, p. 220 ; 79-86. Gait of ascetics and sectarians, pp. 220-221 ; 87. Gait of a person in darkness, p. 221 ; 88-92. Gait of one riding a chariot, pp. 221-222 ; 92-95. Gait while moving in the sky, p. 222 ; 96-100. Gait in ascending a lofty palace, p. 222 ; 101-104. Gait in getting down into a lower place, pp. 222-223 ; 105-107. Gait in travelling by boat, p. 223 ; 108. Gait in riding a horse, p. 223 ; 109. Gait of serpents, p. 223 ; 110. Gait of a Parasite, p. 224 ; 112-114. Gait of the Kāñcukīya, p. 224 ; 115-117. Gait of emaciated, sick and fatigued persons, p. 225 ; 118. Gait of a person walking a long distance, p. 225 ; 119-120. Gait of a corpulent person p. 225 ; 121-122. Gait of intoxicated persons, p. 225 ; 123-130. Gait of a lunatic, p. 225 ; 131-136. Gait of lame men, cripples and dwarfs, p. 226 ; 137-146. Gait of the Jester, pp. 226-227 ; 146-148. Gait of manials, p. 227 ; 148-149. Gait of Śakāra, p. 228 ; 150. Gait of lowly persons, p. 228 ; 151. Gait of the Mleccha tribes, p. 228 ; 152. Gait of birds ; 153-158. Gait of lions, bears and monkeys, pp. 228-229 ; 159-171. Walking postures of women, pp. 230-229 ; 171-177. Gait of women, p. 230 ; 177-179. Gait of young women, p. 231 ; 179-181. Gait of aged women, p. 231 ; 181-183. Gait of handmaids, p. 231 ; 183-186. Gait of half-women, p. 231 ; 186-187. Gait of children, p. 242 ; 187-181. Gait of hermaphrodite, p. 232 ; 188-189. Gait in the change of a role, p. 232 ; 189-191. Gait of persons in disguise, p. 232 ; 192-193. Gait of the tribal women, p. 232 ; 193-195. Gait of women ascetics ; pp. 232-233 ; 195-199. Sitting postures for men and women, p. 233 ; 196-197. Sitting at ease, p. 233 ; 197-198. Sitting in a thinking mood, p. 233 ; 198-199. Sitting in sorrow, p. 233 ; 199-200. Sitting in fainting and intoxication, p. 233 ; 200-201. Sitting in shame and sleep, p. 234 ; 201-202. Sitting on ceremonial occasions, p. 234 ; 202-203. Sitting in pacifying a beloved woman, p. 234 ; 203-206. Sitting in worshipping a diety, p. 234 ; 206-207. Seats for different characters, p. 234 ; 208-210. Seats for male characters, p. 235 ; 210-214. Seats for female characters, p. 235 ; 215-216. Seats for ascetics and sectarians, p. 235 ; 217-220. General rules about seats, p. 236 ; 221-228. Lying-down postures, pp. 236-237.

C H A P T E R F O U R T E E N

THE ZONES AND THE LOCAL USAGES, Pages 238-247

1. The Zones, p. 238 ; 2. The arrangement of drums, p. 238 ; 3. The Zonal division, p. 238 ; 4-7. Utility of the Zonal division, p. 238 ; 8-10. Indicating relative location on the stage, p. 239 ; 11. The east on the stage, p. 239 ; 12-15. The rule of exit, p. 232 ; 16. Indication of rank in group walking, p. 239 ; 17. Indicating distance great, small and medium, p. 240 ; 18-20. Movements of gods and demigods p. 240 ; 21. Movement of men in Bhāratavarṣa, p. 240 ; 22. Departure for a distant place,

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p. 240 ; 23-32. Time allowed for the events of an Act, pp. 240-241 ; 32-35. Movements of gods, p. 241 ; 36. The four Local Usages, pp. 241-242 ; 37-39. The Dākṣiṇātyā Local Usages, pp. 242-243 ; 40-42. The Āvanti Local Usage, p. 243 ; 43-46. The Oḍra-Māgadhī Local Usage, 243 ; 47-49. The Pāñcāla-Madhyamā Local Usage, p. 244 ; 50-55. The two-fold entrance in observing Local Usage, p. 244 ; 50. The two General types of plays, p. 245. 57-60. The violent type, p. 245 ; 61. The delicate type, p. 245 ; 62. The two Practices, p. 245 ; 63-64. The realistic Practice, pp. 245-246 ; 65-78. The conventional Practice, pp. 246-247.

C H A P T E R F I F T E E N

RULES OF PROSODY, Pages 248-261

1. The actor's speech, p. 248 ; 2-4. Importance of speech in drama, p. 248 ; 5. The two kinds of recitation, p. 248 ; 6-7. Different aspects of Recitation, p. 249 ; 8. The speech-sounds, p. 249 ; 9-19. Consonants ; their articulation, pp. 249-251 ; 20. Vowels ; their quantity, p. 251 ; 21-22. The four kinds of word, p. 252 ; 23-25. The noun, pp. 252-253 ; 26-27. The verb, p. 253 ; 28. The particle, p. 254, 29. The affixes, p. 254 ; 30. The nominal affix, p. 254 ; 31. The case-ending, p. 255 ; 32-33. The euphonic combination, p. 255 ; 34-35. The compound words, pp. 255-256 ; 36. The two kinds of word, p. 256 ; 37. Words in prose, p. 256 ; 38. Words in verse, p. 256 ; 39. Syllabic metres, p. 256 ; 40-42. Rhythm-types, pp. 256-257 ; 43-49. Twenty-six Rhythm-types, p. 257 ; 49-79. Possible metrical patterns, pp. 257-258 ; 79-89. Another method of defining metres, pp. 258-259 ; 89-90. The regular couplet, p. 259 ; 90-91. The stop and the foot, pp. 259-260 ; 93. Quality of syllables, colours of metres, p. 260 ; 94-95. Pitch of vowels, p. 260 ; 95-97, Three kinds of syllabic metres, p. 260 ; 98-102. Classes of metres, p. 261.

C H A P T E R S I X T E E N

METRICAL PATTERNS, Pages 262-292

1-2. Tanumadhyā, p. 262 ; 3-4 Makaraka-śīrṣā, p. 262 ; 5-6. Mālatī, p. 263 ; 7-8. Mālinī, p. 263 ; 9-10. Uddhatā, pp. 263-264 ; 11-12. Bhramaramālikā, p. 264 ; 13-14. Siṃhalekhā, p. 264 ; 15-16. Mattaceṣṭita, pp. 264-265 ; 17-18. Vidyullekhā, p. 265 ; 19-20. Cittavilashita, pp. 265-266 ; 21-22. Madhukarī, p. 266 ; 23-24. Kuvalayamālā, p. 266 ; 25-26. Mayūrasāriṇī, pp. 266-267 , 27-28. Dodhaka, p. 267 ; 29-30. Moṭaka, pp. 267-268 ; 31-32. Indravajrā, p. 268 ; 33-34. Upendravajrā, pp. 268-269 ; 35-36. Rathoddhatā, p. 269 ; 37-38. Svāgatā, pp. 269 ; 39-40. Śālinī, p. 270 ; 41-42. Toṭaka, p. 270 ; 43-44 Kumudanibhā, pp. 270-271 ; 45-46. Candralekhā, p. 271 ; 47-48. Pramitākṣarā, pp. 371-272 ; 49-50. Vaṃśasthā, p. 272 , 51-52. Hariṇaplutā, pp. 272-273 ; 53-54. Kāmadattā, p. 273 ; 55-56. Aprameyā, p. 273-274 ; 57-58. Padminī, p. 275 ; 59-60. Paṭuvṛtta,

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addressing superiors, pp. 336-337; 9. Addressing employees, artisans and artists, p. 337; 10. Addressing persons, of respect, addressing persons of equal status p. 337; 11. The charioteer addressing the chariot-rider, Addressing an ascetic or a person with beatitude, pp. 337-338; 12. Addressing princes, Addressing inferior persons, p. 338; 13. Addressing persons by their occupation or birth, p. 339; 14. Addressing a son or a disciple p. 339; 15. Addressing Buddhist and Jain monks, Addressing persons of other sects, p. 339; 16. People addressing the king, pp. 339-340; 17-18. Sages addressing the king, The Jester addressing the king, The Jester addressing the queen, her maids, and the king addressing the Jester, p. 340; 19. Women addressing their husband, p. 341; 20. Addressing the elder and the younger brothers, p 341; 21. Modes of addressing women and female ascetics and goddesses, p. 341; 22. Addressing wives of senior persons, and elderly ladies, Addressing an accessible woman and an old lady, pp. 341-342; 23-24. Addressing king's wives, p. 342; 25. Addressing unmarried princesses and a sister, pp 342-343; 26. Addressing a Brahmin lady, a nun or a female ascetic, addressing one's wife, p. 343; 27. Women addressing their equals, addressing a hand-maid, p. 343; 28. Addressing a courtezan, p. 343; 29. Addressing the wife in love-making, p. 344; 30. Giving names to different characters in a play, p. 344; 31. Names of Brahmins and Kṣatriyas, p. 344; 32. Naming merchants and warriors, p. 344; 33. Naming king's wives and courtezans, p. 345; 34. Naming handmaids and menials, p. 345; 45. Naming superiors, p. 345; 37-37a. Naming other persons, p. 345; 37-38. Qualities of Recitation, p. 346; 38-40. Seven notes to suit different Sentiments, p. 346; 40-43. Uses of the three voice registers, p. 346; 43. Uses of the four accents, p. 347; 43-44. Two ways of intonation, p. 347; 45. The Six Alaṃkāras, p. 348; 45 57. Uses of the six Alaṃkāras, pp. 348-350; 58-59. Intonation in different Sentiments, Six limbs of enunciation, pp. 350-351; 59-60. Pause defined, pp. 351-352; 60-61. Uses of Pause, p. 352; 62-67. Hands in connexion with Alaṃkāras and Pause, p. 352; 68-78. Drawn-out syllables and their use, pp. 353-354.

C h a p t e r T w e n t y

TEN KINDS OF PLAY, Pages 355-379

1-9. Tenfold division of plays and their structure, p. 3 55; 10-12. The Nāṭaka, p. 356; 13-18. The Act, pp. 356-357; 19-26. Incidents not directly presentable in an Act, pp. 358-359; 27-35. The Introductory Scene, pp. 359-360; 36-38. The Supporting Scene, pp. 360-361; 39-40. Number of dramatis personae, p. 361; 41-42. Introducing chariots and palaces on the stage, pp. 361-362; 43-47. Introducing an army on the stage p. 362; 48-50. The Prakaraṇa, pp. 262-364; 59-63. The Nāṭikā, pp. 364-365; 64-66. The Samavakāra, pp. 365-366; 67. The first act of the

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Pleasure, p. 408 ; 55-56. The Energetic Style, p. 408 ; 57. The four varieties of the Energetic Style, p. 408 ; 58. Compression, pp. 408-409 ; 49. Commotion, p. 409 ; 60. Raising the Theme, p. 409 ; 61-62. Conflict p. 409 ; 63-65. Styles according to Sentiments, p. 409 ;

CHAPTER TWENTYTHREE

THE COSTUMES AND MAKE-UP, Pages 410-439

1-3. Necessity of the Costumes and Make-up, 410 ; 4. Four kinds of Costumes and Make-up, p. 410. 5-8 The four kinds of model-work, pp. 410-411 ; 9. Decoration, p. 411 ; 10. Garlands, p. 411 ; 11. Four kinds of ornament, p. 411 ; 12. Piercing ornaments, Tied-up ornaments, p. 411 ; 13. Worn ornaments, Put-round ornaments, p. 412 ; 14. Ornaments according habitation and tribal origin, p. 412 ; 15. Ornaments for males : Head ornaments, Ear ornaments, p. 412 ; 16. Neck ornaments, Finger ornaments, pp. 412-413 ; 17. Ornaments of the forearm, Wrist ornaments, p. 413 ; 18. Ornaments above the elbow, Breast ornaments, p 143 ; 19. Ornaments for the entire body, Waist ornaments, p. 413 ; 20-23. Ornaments for females : Head ornaments, p. 419 ; 23-25. Ear ornaments, pp. 414-415 ; 26-27. Neck ornaments, p. 415 ; 28. Breast ornaments, p. 415 ; 29. Arm ornaments p. 416 ; 30. Finger ornaments, p. 416 ; 31-33. Hip ornaments, pp. 416-417 ; 34-36. Ornaments of the ankles, p. 417 ; 37-44. Other rules about ornaments, pp. 417-418 ; 45-51. Costume of celestial women p. 418-419 ; 52. Siddha women ,p. 419 ; 53. Gandharva women p. 419 ; 54. Rākṣasa women, p. 419 ; 55. Goddesses, p. 419 ; 56-57. Monkey females, pp. 419-420 ; 58. Human females according to their countries, p. 420 ; 59. Women of Avanti and Gauḍa, p. 420 ; 60 Ābhīra women, p. 420 ; 61. Women of the North-east, p. 420 ; 62-63. Women of the South, p. 420 ; 64. Ornaments to be worn in the right place, pp. 420-421; 65-67. Dresses to suit the condition of females, p. 420 ; 68. Painting the limbs, p. 421 ; 69. The four original colours, p. 421 ; 70. The derivative colours, p. 421 ; 71-74. The primary derivative colours, pp. 421-422 ; 75-80. The secondary derivative colours, p. 422 ; 81. Living beings, p. 422 ; 82. Lifeless objects, p. 422 ; 83. Lifeless objects in human form, p. 422 ; 84. Painting the limbs, p. 422 ; 85-87. Colour for gods, p. 423 ; 88-89. Colours for demigods, 90-92. Colours for human beings in different regions, p. 424 ; 93. Colours for Bhūtas and Dwarfs, p. 424 ; 94-98. Colours of different peoples of Bhāratvarṣa, p. 424 ; 99-101. Colours of different tribes, p. 425 ; 102. Colours of different castes, p. 426 ; 103-109. Rules for the beard, p. 426-427 ; 110-127. Rules for different costumes, pp. 427-429 ; 128. Use of masks, p. 429 ; 129-139. Three kinds of crown, pp. 430-431 ; 139-145. Rules of different hairs, p. 431 ; 146-148. The Sa jīva, p. 432 ; 148-155. The use of weapons, pp. 432-433 ; 156-158. Use of other objects, p. 433 ; 159. Indra's Banner-staff, p. 433 ; 160-167. The Jarjara, pp. 433-434 ; 167-170.

XXX

The Daṇḍakāṣṭha, p. 434; 170-180. The making of masks, pp. 435-436; 180-187. Other accessories, p. 436; 187-198. The realistic and conventional objects, p. 437; 198-208. Making of ornaments, pp. 438-439; 208-211. Use of weapons on the stage, p. 439.

C H A P T E R T W E N T Y F O U R

THE BASIC REPRESENTATION, Pages 440-482

1-2. Importance of Temperament p. 440; 3. The definition of Temperament, p. 440; 4-5. Feminine graces in the drama, pp. 440-441; 6. Physical graces of women, p. 441; 7. The origin of these graces, p. 441; 8. Feeling, p. 441; 9-10. Emotion, p. 441; 11. Passion, p. 441; 12-13. Natural Graces of women, p. 442; 14. Sportive Mimicry, p. 442; 15. Amorous Gestures, p. 442; 16. Dishabille, p. 442; 17. Confusion, p. 442; 18. Hysterical Mood, p. 443; 19. Manifestation of Affection, p. 443; 20. Pretended Anger, p. 443; 21. Affected Coldness, p. 443; 22. Lolling, p. 443. 23. Want of Response, p. 443; 24. Involuntary Graces of women, p. 444; 25. Beauty, p. 444; 26 Charm, Radiance, p. 444; 27. Delicacy p. 444; 28. Self-control, p. 444; 29-30 Courage, Dignity, p. 444-445; 31. Eight aspects of the male Temperament, p. 445; 32. Brilliant Character, p. 445; 33. Graceful Bearing, p. 445; 34. Self-possession, p. 445; 35. Tenacity, pp. 445-446; 36. Gravity, p. 446; 37. Sportiveness, p. 446; 38. Nobility, p. 446; 39. Spirit, p. 446; 40-41. Histrionic Representation through the body, p. 446; 42. Word, p. 447; 43. Sūcā, p. 447; 44. Aṅkura, p. 447; 45. Śākhā, p. 447; 46-47. Nāṭyāyita, p. 447; 48. Nivṛtyaṅkura, p. 448; 49-51. Twelve forms of the verbal Rerpesentation, p 448; 52. Accosting, Prattling, p. 448; 53. Lament, Repeated Speaking, p. 448; 54. Dialogue, Change of Words, pp. 448-449; 55. Message, Agreement, p. 449; 56. Command, Pretext, p. 449; 57. Instruction, Statement, p. 449; 58-71. Another classification of the Verbal Representation, pp. 449-451; 72-73. The basic Representation, p. 451; 74-75. Regular Histrionic Representation, p. 451; 76-77. Irregular Histrionic Representation, p. 451; 78. Lakṣaṇa defined, p. 452; 79. Practice preferred to the Śāstra, p. 452; 80. Representation of the sensual perception, p. 452; 81. Sound, p. 452; 82. Touch, p. 452; 83. Form, p. 452; 84-85. Taste and Smell, pp. 452-453; 86. Importance of the mind, p. 453; 87. The three aspects of the of the mind p. 453; 88-89. The favourable mind, p. 353; 90. The unfavourable mind, p. 453; 91-92. The indifferent mind, p. 453; 93. The meaning of "personal", and the meaning of "external", pp. 453-454; 94-95. Desire, p. 454; 95-96. Love, p. 454; 97-98. Erotic Affair, p. 454; 89-100. Various types of women, p. 454; 101-102. The woman of divine type, pp. 454-455; 103-104. The woman of Asura type, p. 455; 105-106. The woman of Gandharva type, p. 455; 107-108. The woman of

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XXXII

Personal omens, pp. 473-474 ; 258. Heroine's reception of the beloved, p. 474 ; 259-264. Receiving the guilty lover, pp. 474-475 ; 264. Causes of jealousy, p. 475 ; 265-266. Depression, p. 475 ; 267-268. Mixed Feeling, p. 475 ; 269-270. Disgust, pp. 475-476 ; 271-272. Anger, p 476 ; 273-292. On treating a lover at fault, pp. 476-478 ; 293-298. Acts forbidden on the stage, pp. 478-479 ; 299-300. Endearing terms for the beloved p. 479 ; 301. Angry terms of address for the beloved, p. 479 ; 302-309. Endearing terms of address explained, pp. 479 ; 310-319. Angry terms of address explained, pp. 480-481 ; 320-328. Goddesses in human roles, pp. 481-482.

C H A P T E R T W E N T Y F I V E

DEALINGS WITH COURTEZANS, Pages 483-492.

1-2. The definition of a Gallant, p. 483 ; 3-8. Qualities of a Gallant, pp. 483-484 ; 9-10. The female Messenger, p. 484 ; 11-12. Qualities of a Messenger, p. 484 ; 13-18. Functions of the female Messenger, p. 485 ; 19. The woman overcome with love, p. 485 ; 20-23. The attached woman, pp. 485-486 ; 24-27. The hostile woman, p. 486 ; 28-29. Winning back of women's heart, p. 486 ; 30-31. Causes of hostility, p. 486 ; 32-35. Acts winning women's heart, pp. 486-487 ; 36. The three types of woman, p. 487 ; 37-39. The superior woman, p. 487 ; 40-41. The middling woman, p. 487 ; 42. The inferior woman, p. 487 ; 43. The four stages of woman's youth, p. 488 ; 44. The primary youth, p. 488 ; 45. The secondary youth, p. 488 ; 46. The tertiary youth, p. 488 ; 47-48. The quarternary youth, p. 488 ; 49. Behaviour in the primary youth, p. 488 ; 50. Behaviour in the secondary youth, pp. 488-489 ; 51. Behaviour in the tertiary youth, p. 429 ; 52. Behaviour in the quarternary youth, p. 489 ; 53-54. Five types of man, p. 489 ; 55. The excellent man, p' 489 ; 56-37. The superior man, p. 489 ; 68-59. The middling man, p. 490 ; 60-61. The inferior man, p. 490 ; 62-63. The too old man, p. 490 ; 64-66. Psychological approach to women, pp. 490-491 ; 67. Conciliation, p. 491 ; 68. Gift. p. 491 ; 69. Dissention, Chastisement, p. 491 ; 70-72. Application of Conciliation, Gift etc. p. 491 ; 73. Reading a woman's heart from her behaviour, p. 491 ; 74-80, A courtezan's mercenary treatment of men, p. 492.

C H A P T E R T W E N T Y S I X

SPECIAL REPRESENTATION, Pages 493-510

1. Special Representation, p. 493 ; 2-4. Day, night, season etc. 5. Objects on the ground, p. 493 ; 6. Moonlight, happiness and air etc, p. 494 ; 7. The sun, dust, smoke etc. 8. Midday sun, p. 494 ; 9. Pleasant objects, p. 494 ; 10. Sharp objects, p. 494 ; 11. Deep and exalted feeling, p. 494 ; 12. Necklace and flowers etc, p. 494 ; 13. The idea of entirety,

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XXXV

External persosn, pp. 535-536; 78-82 The king, p. 536; 82-83. The leader of the army, p. 536; 84-85. Councillors, pp. 536-537; 85-87. Judges, p. 537; 87-90. Courtiers, p. 537.

CHAPTER THIRTYFIVE

DISTRIBUTION OF ROLES, Pages 538-552

1. Distribution of Roles, p. 538; 2-4. General principles of distribution, p. 538; 5-6. The role of gods, p. 538; 7-8. The role of Rākṣasas, the Dānavas etc, pp. 538-539; 9-11, The role of kings, p, 539; 12-13. The role of army leaders and councillors, p, 539; 14, The role of the Kañcukin and the Śrotriya, p, 539; 15-17, The role of minor characters, p. 539-540; 19, The role of fatigued persons, The role of persons without disease, pp, 440; 19-21. Special cases of assigning roles, p, 540; 22-23. The roles of characters with extra or special limbs, pp. 540-541; 24. The first entry of a character. p. 541; 25-26. The result of proper impersonation, p. 541; 27. The psychological preparation for impersonation, p. 541; 28. The three kinds of impersonation, p. 541; 29. The natural impersonation, p. 541; 30, The unnatural impersonation, p. 541; 31-33. Imitative representation, p. 542; 33-36. Suitability of women in some roles, 542; 37. Training for women in different roles, p. 524; 38. Result of proper assignment of roles, pp 542-543; 39-41. Result of employing women for acting, p. 543; 42. The two types of dramatic production, p. 543; 43-47. The delicate type of production, pp. 543-544; 48-53. The violent type of production, pp. 544-545; 53-59. The typical impersonation of a king; p 545; 59-62. Impersonation of the attendants of gods, p. 546; 62-68. The characteristics of a Director, pp. 546-547; 69-71. The natural qualities of a Director, p. 547; 71-72. Characteristics of an Assistant to the Director, p. 547; 72-73. Characteristics of an Actor, p. 547; 73-44. Characteristics of the Parasite, p. 547; 75. Characteristics of the Śakāra, pp. 547-548; 76. Characteristics of the Jester, p. 548; 77. Characteristics of the servant, p. 548; 78-81. Characteristics of the courtezen, p. 548; 81-83, Characteristics of the typical Heroine, p. 548; 83-85. Women disqualified to be Heroines, p. 549; 85-89. Members of the typical theatrical party, p. 549; 89-91. Characteristics of the Jester, pp. 549-550; 91-92. Characteristics of the master musician, p. 550; 92-93. Meaning of the word Naṭa, p. 550; 93-95. Benediction defined. p. 550; 96-97. Characteristics of the playwright, p. 551; 97-98. Characteristics of the Actor, p. 551; 98-99. Characteristics of the actress, p, 551; 99-100. The maker of headgears, p. 551; 100-101. The maker of ornaments, p. 551: 101-102. The maker of garlands, the costumer, the painter and the dyer, p, 551; 103-104. The Craftsmen, the Kuśīlavas, p, 552; 104-135. The other members of the party, p. 552.