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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.

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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.

XXXVI

CHAPTER THIRTYSIX

THE DESCENT OF DRAMA ON THE EARTH, Pages 553-661

1-9. Sages question, pp. 553-554; 10. Bharata's reply, pp. 554; 11-23. The Preliminaries and their uses, pp. 554-555; 24-26. The ablution of the Director on the stage, p. 555; 27-29. Bharata's sons offended the sages by caricature, p. 556; 30-36. The sages curse Bharata's sons, pp, 556-557; 37-38. Gods intercede in favour of Bharata's sons, p. 557; 39-40. Bharata's sons approach their father, p. 557; 41-45. Bharata pacifies them, pp, 557-558; 46-49. Nahuṣa invites divine artistes to the earth, p. 558; 50-51. Gods reject the request, p. 558; 52-53. Nahuṣa approaches Bharata, p. 559; 54-57. Urvaśī and the mundane drama, p. 559; 58-61. Bharata grants the request and sends his sons to the earth, pp. 659-560; 62-63. Kohala is the successor of Bharata, p. 560; 65-68, Bharata's sons come down to the earth, p. 560; 62-70, Kohala and his associates, p. 560; 71-73 Value of the Nāṭyaśāstra, p. 561; 74-77. Value of the dramatic show, and the final Benediction, p. 561.

ADDITIONS AND CORRECTIONS ... p. 562

INTRODUCTION

I. The Present Work

1. General History of the Study

Since the West came to know of the Sanskrit literature through William Jones’s translation of the Śakuntalā¹, the nature and origin of the ancient Indian theatre have always interested scholars, especially the Sanskritists, all over the world. H. H. Wilson who published in 1826 the first volume of his famous work on the subject² deplored that the Nāṭyaśāstra, mentioned and quoted in several commentaries and other works, had been lost for ever³. F. Hall who published in 1865 his edition of the Daśarūpa⁴, a medieval work on the Hindu dramaturgy, did not see any Ms. of the Nāṭyaśāstra till his work had greatly advanced⁵. And for the time being he printed the relevant chapters of the Nāṭyaśāstra as an appendix to his Daśarūpa. Later on he undertook to critically edit the Ms. of the Nāṭyaśāstra he acquired; but this venture was subsequently given up, due perhaps to an insufficiency of materials which consisted of one unique Ms. full of numerous lacunae.⁶ But even if the work could not be brought out by Hall, his very important discovery soon helped others to trace similar Mss. elsewhere. And in 1874 Heymann, a German scholar, published on the basis of Mss. discovered up till that date a valuable article⁷ on the contents of the Nāṭyaśāstra. This seems to have been instrumental in attracting competent scholars to the study of this very important text. The French Sanskritist P. Regnaud published in 1880 chapter XVII⁸ and in 1884 chapter XV (in part) and the chapter XVI⁹ of the Nāṭyaśāstra. This was soon followed by his publication of chapters VI and VII in 1884.¹⁰ And J. Grosset another French scholar and a pupil of Regnaud, published later on (in 1888) chapter XXVIII¹¹ of the Nāṭyaśāstra which treated of the general theory of Hindu music.

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¹ Sacontala, or the Fatal Ring. Translated from the original Sanskrit and Pracrita, Calcutta 1789.
² H. H. Wilson, Select Specimens of the Theatre of the Hindus (3 vols), Calcutta, 1826-1827.
³ Wilson, p. 37. Grosset, Introduction, p. iij.
⁴ The Dasarupa by Dhananjaya (Bibliotheca Indica), Calcutta, 1861-1865.
⁵ Grosset, Introduction, v. iij.
⁶ See note 5 above.
⁷ Ueber Bharata's Natyasastram in Nachrichten von der Koeniglischen Gesellschaft der Wissenschaften, Goetingen 1874, pp. 86 ff. Ref. Grosset, Introduction p x, ID. pp 2-3.
⁸ Le dix-septieme chapitre du Bharatiya-natyasastra. Annales du Musee Guimet; Tome, 1. 1880, pp. 85 ff.
⁹ La metrique de Bharata, texte Sanscrit de deux chapitres du Natyasastra public pour premier fois et suivi d'une, interpretation francaise, Annales due Musee Guimet, Tome, II, 1884, pp. 65 ff.
¹⁰ Rhetorique sanscrite, Paris, 1884.
¹¹ Contribution a l'etude de la musique hindou, Lyons, 1888.