64 THE NATYASASTRA [ IV. 221-

221-223. Alātaka—assuming Svastika, vyamsita [in it hands being Recita], Alātaka, Ūrdhvajānu, Nikuñcita, Ardhasūcī, Vikṣipta, Udvṛtta, Ākṣipta, Krihasta and Kaṭicchinna Karaṇas one after another.

223-225. Pārśvaccheda--holding Nikuṭṭita hands on the breast assuming Ūrdhvajānu, Ākṣipta, Svastika Karaṇas, Trika to be turned round, then Uromaṇḍala, Nitamba, Kārihasta and Kaṭicchinna, Karaṇas to be assumed.

226-227. Vidyudbhrānta—assuming Sūcī K. using the left foot first, and Vidyubhrānta K. using the right, foot first, then Sūcī K. with the right foot moved first, and Vidyudbhrānta with the left foot moved first, afterwards assuming Chinna K., and turning round the Trika, then Latā and Kaṭicchinna Karaṇas.

227-229. Udvṛttaka--assuming Nūpurapāda Cārī hanging the right and the left hands by the side, and with them assuming Vikṣipta K., with these hands assuming [again] Sūcī K., and turning round the Trika [in Bhramarī Cārī] and then assuming Latā and Kaṭicchinna Karaṇas.

229-231. Ālīḍha—assuming Vyaṃsita K., striking the hands on the shoulder, and then Nūpura K., with the left foot [moving first], afterwards Alāta and Ākṣiptaka Karaṇas with the right foot [moving first] and then making Uromaṇḍala gestures with hands and assuming Karihasta and Kaṭicchinna Karaṇas.

231-233. Recita—showing Recita hand, bending it on one side and making the [same] Recita movement and then repeating this movement after bending the entire body, assuming successively Nūpurapāda, Bhujaṅgatrāsita, Recita, Uromaṇḍala and Kaṭicchinna Karaṇas.

---

221-223 (B.225b-227a, G.221-222).
223-225 (B.227b-229a, G.223-224).
225-227 (B.229b-231a, G.225-226).
227-229 (B.231b-233a, G.227-228).
229-231 (B.233b-235a, G.229-230).
231-233 (B.235b-237, G.231-232).

-IV. 247 ] DESCRIPTION OF THE CLASS DANCE 65

234-235. Acchurita—assuming Nūpura K. and turning the Trika round, assuming Vyamsita K. and again turning round the Trika, then assuming successively Alātaka¹ K. from the left [side] and Sūcī, Karihasta and Kaṭicchinna Karaṇas.

236-238. Ākṣiptarecita—Svastika feet to be in Recita and so the Svastika hands, then with the same (i.e. Recita) movement they should be separated, and with the same Recita movement they are to be thrown up, then assuming successively Udvṛtta, Ākṣipta, Uromaṇḍala, Nitamba, Karihasta and Kaṭicchinna Karaṇas.

239-241. Sambhrānta— assuming Vikṣipta K. throwing out the left hand with Sūcī gesture, the right hand placed on the breast, Trika to be turned [in the Bhramarī Cārī] then assuming successively Nūpura, Ākṣipta, Ardhasvastika, Nitamba, Karihasta, Uromaṇḍala and Kaṭicchinna Karaṇas.

242-243. Apasarpita—observing Apakrānta Cārī and assuming Vyaṁsita K. with the hands moving in Udveṣṭita manner, then assuming successively Ardhasūcī, Vikṣipta, Kaṭicchinna, Udvṛtta Ākṣiptaka, Karihasta and [again] Kaṭicchinna Karaṇas.

244-245. Ardhanikuṭṭaka --observing swiftly Nūpurapādikā Cārī, hands to move in harmony with the feet and Trika to turn round [in the Bhramarī Cārī], then hands and feet to make Nikuṭṭita movement, afterwards assuming Uromaṇḍala, Karihasta, Kaṭicchinna and Ardhanikuṭṭaka Karaṇas.

The Recakas

246. I have spoken of these thirtytwo Aṅgahāras ; I shall now describe the four Recakas¹ ; please listen about them :

247. Among the Recakas the first is that of the foot (pāda),

---

234-235 (B.238-239, G.233-234). ¹ Read vāmaṁ cālātakam for pādaṁ cālātakam in B.
236-238 (B.240-242, G.235-237). 239-241 (B.243-245, G.238-240).
242-243 (B.246-247, G.241-242). 244-345 (B.248-249, G.243--244).
246 (B.250, G.245). ¹ For the relation between Recakas and the Aṅgahāras and the use of the Recakas see Ag.
247 (B.251, G.246).

66 THE NATYASASTRA [ IV. 248-

the second is that of the waist (kaṭi), the third is that of the hand (hasta) and the fourth is that of the neck (grīvā).

248. The term Recita [relating to a limb] means moving it round separately (i.e. not in any Karaṇa or Cārī) or its drawing up or its movement of any kind separately.

249. Pāda-recaka—Going from side to side with wavering feet or with differently moving feet, is called their Recaka.

250. Kaṭi-recaka—Raising up the Trika and the turning of the waist as well as its drawing back, is called the Kaṭi-recaka.

251. Hasta-recaka—Raising up, throwing out, putting forward, turning round and drawing back of the hand is called its Recaka.

252. Grīvā-recaka—Raising up, lowering and bending the neck sideways, and other movements of it are called its Recaka.

253-254. Seeing Śaṁkara (Śiva) dance with Recakas and Aṅgahāras, Pārvatī too performed a Gentle Dance (lit. danced with delicate forms)¹, and this dance was followed by the playing of musical instruments like Mṛdaṅga,¹ Bherī, Paṭaha, Bhambhā², Diṇḍima, Gomukha, Paṇava and Dardura.

255. [Besides on this occasion] Maheśvara (Śiva) danced in the evening after the break-up (lit. destruction) of Dakṣa's sacrifice¹ with different Aṅgahāras and in conformity with proper time beat (tāla) and tempo (laya).

---

248 (B.252, G.247).	249 (B.253, G.248).
250 (B.254, G.249).	251 (B.255. G.250).
252 (B.256, G.251).

253-254 (B.257-258, G.252-253). ¹ Read nṛtyantī sma ca pārvatī Ag. I. p. 203.

² mṛdaṅga, bherī, paṭaha. bhambhā, diṇḍima, dardura and paṇava are drums of different sizes and shapes, and made of different materials such as clay, wood etc. Of these bherī, paṇava and gomukha (possibly a horn) have been mentioned in the Bhagavad-gītā, ch. I.13.

• B. read jhañjhyā (pa. bambhā).

255 (B.259, G.254). ¹ The story of the break-up of Dakṣa's sacrifice occurs in two different forms in the Bhāgavata and the Varāha P. See JK. under Dakṣa.

-IV. 263 ] DESCRIPTION OF THE CLASS DANCE 67

256. Gaṇas like Nandin and Bhadramukha seeing then [in course of this performance of Śiva], Piṇḍībandha¹ [of different dance forms] gave names to them [and imitated these] well.

257-263. Names of Piṇḍīs specially attached to different gods and [goddesses are as follows] : Śiva—Vṛṣa, Nandin - Paṭṭisi, Caṇḍikā (Kālī)—Siṃhavāhinī, Viṣṇu—Tārkṣya, Svayambhu—(Brahman)—Padma (lotus), Śakra (Indra)—Airāvatī, Manmatha—Jhaṣā, Kumāra (Kārtikeya)—Śikhī (peacock), Śrī (Lakṣmī)—Ulū (owl), Jāhnavī (Gaṅgā)—Dhārā, Yama—Pāśa, Varuṇa—Nadī, Kuvera (Dhanada)—Yākṣī, Bala (rāma)—Hala (plough), Bhogins (serpents)—Sarpa, Gaṇeśvaras (the lords of Gaṇas)¹—Dakṣayajñāvimardinī, The [Piṇḍī] of Śiva, the killer of Andhaka², will be Raudrī in the form of his trident. The Piṇḍīs of the remaining gods and goddesses will be similarly named after (lit. marked with) their own banners³.

263-264. After inventing the Recakas, Aṅgahāras and Piṇḍīs, Śiva communicated them to the sage Taṇḍu¹ who in his turn made out of them dance together with songs and

---

256 (B.260, G.255). ¹ Piṇḍībandha—Ag. (I. 170-171) explains the words as follows:—पिण्डोबन्म चाङ्गतिविशेषस्तस्यैकदेशविवक्षणेने पिण्डीति।......पिण्डीबन्धः करणाङ्गहारादिः।......पिण्डीबन्धशब्देन विविपिण्डीप्रभृत्युपायमशूरललितादिकरणसंघशः।......भङ्गधारा एव पिण्डीबन्धाः तथाऽन्येपि पिण्डीबन्ध इति केवलकरणसंघशः. From these quotations it is apparent that Ag. had no definite idea about the piṇḍībandha or piṇḍī. But the word occurs in the following couplet of a later work on dramaturgy (Bh P. p.264) :

षोड़शद्वादशाष्टौ वा यस्मिन्नृत्यन्ति नायिकाः। पिण्डीबन्धादिविन्यासैः रासकं तदुदाहृतम् ॥

From the above quotation the meaning of the word seems to be a term relating to group-dance. For more about piṇḍībandha see 257-262, 284-285, 291-294 below.

257-262 (B.261-266a, G.256 261). ¹ Gāṇeśvarī means relating to Gaṇeśvaras or lords of hosts ; see above NŚ. III. 31,58 and III. 1-8 note 7.

² The story of Śiva's killing the Asura Andhaka occurs in Rām, Hraivaṃśa and several Purāṇas. See JK. sub voce.

³ B. omits 263b altogether.

263-264 (B.266b-268a, G.262-263). ¹ Taṇḍu's name does not seem to occur in any extant Purāṇa. It is just possible that the name of this muni has been derived from tāṇḍava a non-Aryan word which originally may have meant dance.

68 THE NĀTYAŚĀSTRA [ IV. 265-

instrumental music; and hence this dance is known as Tāṇḍava (i.e. of Taṇḍu's creation).

The sages speak

265. Use of Gestures etc. (abhinaya) having been devised by the experts, for drawing out the sense [of songs and speeches in a play] what led to the making of dance (nṛtta), and what is its nature ?

266. Why is dance made in connexion with the Āsārita songs ? It does neither relate to its meaning nor reflect its spirit.

267. [In answer to these questions] it is said that the dance is occasioned by no specific need; it has come into use simply because it creates beauty.

268. As dance is naturally loved by almost all people, it is eulogised as being auspicious.

269. It is eulogised also as being the source of amusement on occassions of marriage, child-birth, reception of a son-in-law, general festivity and attainment of prosperity.

270. Hence the host of Bhūtas have ever praised¹ the Pratikṣepas² which are used in songs and in regulating the division of dances.

271. Śiva (lit. god) too was pleased to say to Taṇḍu, "Perform this dance in connexion with the singing of songs.

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265 (B 268b-269a, G.264). ¹ B. reads tasmān nṛttam for kasman nṛttam in 265b.

266 (B.269b-270a, G.265). 267 (B.270b-271a, G.266).

268 (B.271b-272a, G.267). 269 (B.272b-273a, G.268).

270 (B.273b-274a, G.269). ¹ For prakīrtitāḥ, B.G. read pravartitaḥ.

² pratikṣepa—Ag. (I. p.182) defines this term as follows :—प्रचुरस्तुतियुक्तो गीतविशेषः प्रतिक्षेप इत्याह । इदं भरतमुनिना न क्वचिल्लक्षितम् । अन्ये तु गीतानी प्रयोक्तव्यच्छन्दकादय एव वृत्तवैचित्र्यात्तथा तथापि प्रतिलिप्यमानाःङ्गाः प्रतिशेपाः.

271 (B.274b-275a, G.270): ¹ For taṇḍuḥ santoṣapūrvakam. This variant has been recorded by Ag. (I.181) and it seems to be the correct reading. B.G. read taṇḍustāṇḍavapūrvakam.

.IV. 278 ] DESCRIPTION OF THE CLASS DANCE 69

272. The Class Dance (tāṇḍava)$^1$ is mostly to accompany the adoration of gods but its gentler form (sukumāra-prayoga) relates to the Erotic Sentiment.

The Vardhamānaka

273. Now while coming to discuss the Vardhamānaka I shall describe the rules regarding the performance of the Class Dance (tāṇḍava) as it was performed by Taṇḍu.

274. As in its performance Kalā and tempo (laya) attain vṛddhi (increment) due to the increment of Akṣaras it is called the Vardhamānaka.

The Āsārita

275. After setting down the musical instruments (kutapa) the producers [of plays] should get the Āsārita performed.

276. Then after the Upohana has been performed to the accompaniment of drums$^1$ and stringed instruments, a female dancer should enter [the stage] with the playing of drums [only].

277. This playing of the [instrumental] music should be in pure Karaṇa$^1$ and Jāti$^2$. And then a Cārī should be performed with steps in accompaniment of music.

278. On entering the stage with flowers in her hands the female dancer should be in the Vaiśākha Sthāna (posture) and perform all the four Recakas (i.e. those of feet, hand, waist and neck).

---

272 (B.275b-276a, G.271). $^1$ The tāṇḍava has been translated by some as 'wild dance' (Haas, Daśarūpa, p.5), but the adjective seems to be misleading. From the present chapter of the NŚ, it appears that the word meant 'class dance' which has been codified. It is to be distinguished from the folk dance mentioned in later works. Tāṇḍava was no exclusively male dance. For the illustrations of the karaṇas taken out of old bas reliefs and printed in the Baroda ed. of the NŚ. show that these were performed by women as well. These karaṇas were evidently elements of tāṇḍava; lāsya performed by women was only a gentler form of the tāṇḍava.

273 (B.276b-277a, G.272).	274 (B.277b-278a, G.273).
275 (B.278b-279a, G.274).	276 (B.279b-280a, G.275).
277 (B.280b-281a, G.276).	278 (B.281b-282a, G.277).

70 THE NĀTYAŚĀSTRA [ IV. 279-

279. Then she should go round the stage scattering flowers from her hands to gods, and after bowing to them, she should make use of different gestures (abhinaya).

280. Instrumental music should not be played when there is any song to be delineated by gestures, but at the performance of Aṅgahāras drums must be employed.

281. The playing of drums (lit. instrumental music) during the Class Dance should be Sama, Rakta, Vibhakta and distinctly heard (sphuṭa) on account of clear strokes and should be properly following different aspects of the dance.

282. After following the song [with her dance] the dancer should make her exit and others [like her] will enter [the stage] in the same manner.

283. These other women will in due order form Piṇḍīs¹ and till all these are formed they will perform the Paryastaka.

284. After forming [Piṇḍīs] these women will make their exit, and during the formation of the Piṇḍīs an instrumental music which has various Oghas and Karaṇas should be played, and it should be similar to the music at the time of the Paryastaka.

285-287. Then this Upohana should be again performed as before and the Āsārita too; a song also should be sung and a female dancer should enter the stage in the manner described before, and she should delineate [the meaning of the song in the second Āsārita by suitable gesture] and translate the subject-matter (vastu)¹ into a dance.

288. After finishing the Āsārita the female dancer should make her exit, and then another female dancer should enter the stage and make a similiar performance.

289. Thus at every step the rules of Āsārita should be followed by singers as well as players of the instrumental music.

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279 (B.282b-283a, G.278). 280 (B.283b-284a, G.279).
281 (B.284b-285a, G.280). 282 (B.285b-286a, G.281).
283 (B.286b-287a, G.282). ¹ See above 282 note 2.
284-285 (B.287b-288, G.283a-284).
285-287 (B.289-291a, G.284b-285, 286). ¹ For vastu (padavastu) see Mālavi. II. 0, 5, 8, 13, 14. 288 (B.291b-292a, G.287).

-IV. 293 ] DESCRIPTION OF THE CLASS DANCE 71

290. [During all these performances] the first foot¹ of the song should be sung once, the second twice, the third thrice, and the fourth four times.²

291. The Piṇḍīs have four varieties Piṇḍī [proper] Śṛṅkhalikā, Latābandha, and Bhedyaka.¹

292. The name Piṇḍī or Piṇḍībandha is due to its being a Piṇḍī (lump), a cluster (gulma)¹ is called Śṛṅkhalikā², and that which is held together [as it were] by a net, is Latābandha³, and Bhedyaka⁴ is to be the (separate) dance of one individual.

293. The Piṇḍībandha is to be applied in the first (lit. shortest Āsārita), Śṛṅkhalā at the transition of tempo, the Latābandha in the middle one and the Bhedyaka in the longest (i e. Āsārita).

---

289 (B.292b-293a, G.288). ¹ Vastu here means padavastu. See above 285-287 note.

² These āsāritas were distinguished by the kalās of time they required. According to Ag. (I.185) the shortest āsārita takes up seventeen kalās, the medium āsārita thirty-three kalās and the longest āsārita sixty-five kalās.

290 (B.293b-294a, G.289). ¹ It is implied that each each of these groups of songs should be followed by dance of different dancers.

291 (B.294b-295a, G.290). ¹ See notes 256 above. In the BhP. (p. 246) occurs the following passage :—

अपरेषु चभेदास्तु गुल्म-शृङ्खलिका लताः । भेद्यकश्चेति चत्वारः कथ्यन्तेऽत्र मनीषिभिः ॥
गुल्मः सम्भूय यन्नृत्तं शृङ्खलाऽन्योन्यबन्धनी । परस्पराङ्गवेष्टेन यन्नृत्तं सा लता मता ॥
एकैकस्य बहिः संघान्नृत्तं यत् स च भेद्यकः । पिण्डीबन्धश्च गुल्मश्च पर्यायाविति केचन ॥

From this it is quite clear that the piṇḍībandha relates to the grouping of dancers. Of these the gulma is a general collective dance, the śṛṅkhalā is the dance in which partners hold one another's hands, the latā is the dance of two putting their arms around each other, and the bhedyaka is the dance of each one separately away from the group. The section 292 below does not quite agree with this view.

292 (B.295b-296a, G.291). ¹ See above 291 note.
² BhP. does not identify the gulma and the śṛṅkhalikā.
³ See above 291 note 1. ⁴ See above 291 note 1.
⁵ See above 291 note 1. ⁶ saṅnṛtta=ekanṛtta=ekasya nṛtta ; cf sakṛt (= once).

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IV. 3. ] DESCRIPTION OF THE CLASS DANCE 73

303. When in course of a song some of its parts are repeated, the parts uttered first should be delineated by gestures and the rest are to be translated into dance.

304-305. When in course of a song some of its parts are repeated it should be followed by the instrumental music which observes the rule of three Pāṇis and three kinds of tempo. On an occasion like this the instrumental music should follow the [proper] tempo.

305-308. The Tattva, the Anugata and the Ogha relate to the Karaṇa. Among these, the Tattva is to be applied in slow tempo, the Anugata in medium tempo and the Ogha in quick tempo. This is the rule regarding the instrumental music. [Different] parts of the song in case of a Chandaka are to be repeated. This is always the rule in [combining] the dance, Gestures and the song. In case of songs composed in one stanza (nibaddha) commencement (graha of the playing of drums) should take place at their end, but in the repetition of the parts [of a large song] such commencement should take place from the beginning.

The Gentle Dance

309. This should be the procedure in performing the Āsārita songs. Now consider [all] that relating to the adoration of gods as the Gentle Dance (sukumāra).

310. The Gentle Dance with the Erotic Sentiment [relates to] a dialogue between a man and a woman when they are in love.

Occasions suited to dance

311. Now listen, O Brahmins, about occasions in plays when dance should be introduced in course of songs.

312. Experts should apply dance when the principal words of a song [in a play] as well as its [ornamental adjunct known as]

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301 (B.304b-305a, G.300).	302 (B.305b-306a, G.301).
303 (B.306b-307a, G.302).	304-305 (B.307b-308a, G.303-304a).
305-308 (B.308b-311, G.304b-307).	309 (B 312, G.308).
310 (B.313, G.309),	311 (B.314, G.310),

74 THE NATYASASTRA [ IV. 313

Varṇa¹ comes to a close or when any character attains good fortune [in a play].

313. And dance should take place on an occasion in a play when something connected with love occurs between a married couple, for it (the dance) will be a source of joy.

314. Dance should also take place in any scene of a play when the lover is near and a [suitable] season or the like is visible.

Occasions when dances are prohibited

315. But dance should not be applied to the part of a young woman who is enraged (khaṇḍitā),¹ deceived (vipralabdhā)² or separated [from her lover] by a quarrel (kalahāntaritā)³.

316. Dance should not be applied also at a time when a dialogue is going on or when the beloved one is not near at hand, or has gone abroad.

317. And besides this when one realises the appearance of one of the seasons or the like from the words of a Messenger, and feels eagerness or anxiety on account of this, no dance should be applied.

318. But if during the performance of any part of the play the heroine is gradually pacified, dance is to be applied till its end.

319. If any part of a play relates to the adoration of any deity one should perform there a dance with energetic Aṅgahāras which Śiva created.

320. And any love-song mentioning relations between men and women should be followed by a dance with delicate Aṅgahāras which Pārvatī (lit. the goddess) created.

Playing of drums

321. I shall now speak of the rules about the playing of

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312 (B.315, G.311). ¹ See NŚ. (C.) XXIX. 19-32.
313 (B.316, G.312). 314 (B.317, G.313).
315 (B.318, G.314). ¹ see NŚ. XXIV. 216. ² ibid. 217. ³ ibid. 215.
316 (B.319, G.315).
317 (B.320, G.316). 318 (B.321, G.317).
319 (B.322, G.318). 320 (B.323, G.319).

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CHAPTER FIVE

THE PRELIMINARIES OF A PLAY

The Sages question.

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

Bharata answers.

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

Preliminaries defined

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

Parts of the Preliminaries

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

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

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

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

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

8-11 (B.G. same).

V. 16	THE PRELIMINARIES OF A PLAY	77

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

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

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

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

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

78 THE NĀṬYAŚĀSTRA [ V. 17-

The Pratyāhāra

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

The Avataraṇa

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

The Ārambha

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

The Āśrāvaṇā

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

The Vaktrapāṇi

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

The Parighaṭṭanā

The strings of instruments are adjusted duly during the Parighaṭṭanā².

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

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

.V. 24] THE PRELIMINARIES OF A PLAY 79

The Saṁghoṭanā

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

The Mārgāsārita

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

The Āsārita

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

The Application of songs

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

The Utthāpana

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

The Walking-round

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

The Benediction

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

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

80 THE NATYASASTRA [V. 25-

The Śuṣkāvakṛṣṭā Dhruvā

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

The Raṅgadvāra

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

The Cārī and the Mahācārī

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

The Three Men's Talk

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

The Laudation

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

The origin of the Bahirgīta and its justification

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

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

.V. 37 ] THE PRELIMINARIES OF A PLAY 81

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

Daityas and Rākṣasas provoked to jealousy

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

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

The gods approach Nārada to stop the Nirgīta.

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

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

11

82 THE NATYASASTRA [ V. 38-

Nārada pacifies the gods.

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

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

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

The gods are pleased with the Nirgīta (Bahirgīta).

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

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

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

-V. 59 ] THE PRELIMINARIES OF A PLAY 83

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

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

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

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

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

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