नाट्यशास्त्रम् (प्रथम भाग - अभिनवभारती एवं हिन्दी टीका सहित)
Natyashastra of Bharata Muni with Hindi Commentary (Vol 1)
भरत मुनि / आचार्य अभिनवगुप्त द्वारा
V. 151] THE PRELIMINARIES OF A PLAY 95
the Sūcī (Vedha) Cārī, and they should go out together while performing any Cārī other than the Āviddha one.
The Tryasra Preliminaries
143-144. Thus, O Brahmins, should be performed the Preliminaries of the Caturasra type; now I shall speak of that of the Tryasra type. Its use is similar and its component parts are the same; the only feature that distinguishes it from the Caturasra one is its abridged measure of Tāla.
145-146. [In it] the Śamyā should consist of two Kalās and the Tāla of one Kalā, and again the Śamyā is to consist of one Kalā and the Śannipāta of two Kalās. With this kind of measurement of Kalā, Tāla and tempo, should be performed the Tryasra Preliminaries which include the Utthāpana and such other items.
-
The Dhruvā (song) which has the fourth, the eighth, the tenth and the last syllables long in all its four feet of twelve syllables, is called the Utthāpana Dhruvā of the Tryasra (type).
-
In the Tryasra Preliminaries an expert dancer should abridge the instrumental music, movements [of persons], Dhruvā songs and their Tāla.
-
The actions and movements [of a dancer] are to be made of two types—elaborate and abridged—according as the instrumental and vocal musics are such.
150-151. It is said that each movement of hands and feet should be of two Kalās' duration, and in any Walking-round in the Caturasra (Preliminaries) the hands and feet should be moved sixteen times, while in the Tryasra Preliminaries they are to move only twelve times.
151-152. This is the measurement of both (i.e. of hand and foot movements) in the Preliminaries. But in the Walking-round, the foot movement should consist of three steps only, but in bowing
143-144 (B.144-145, G.140-141).
145-146 (B.146-147, G.142-143). 147 (B.148, G.144).
148 (B.149, G.145). 149 (B.150, G.146).
150-151 (B.151-152a, G.147-148a).
151-152 (B.152b-153, G.148b-149).
96 THE NATYASASTRA [ V. 153.
to [the different] directions in the Caturasra Preliminaries one should go five steps.
153. [But all these matters] should be performed in the Tryasra Preliminaries according to the measure of Tāla as the master of the art thinks fit. Hence to avoid repetition no [elaborate] direction about the same has been given [here].
154. O the best of the Brahmins, thus should be performed the pure Preliminaries of the Caturasra and the Tryasra types, which relate to a play depending on the Verbal Style.
The Mixed Preliminaries
155. So much about the pure Preliminaries which I was to describe. I shall now tell you how the producers may turn them to one of the mixed (citra) type.
156-157. After the Utthāpanī (Raising) Dhruvā has been decorated with flowers given by the Fourth Man (caturthakāra) and resounded with the well measured loud songs of musical experts, Dundubhis should be played again and again.
158. [And in the mixed Preliminaries thus begun] clusters of white flowers should be scattered all over [the stage], and the Aṅgahāras should be performed by [dancers dressed as] goddesses.
159-160. The Class Dance which has been described above with its [Piṇḍīs], Recakas, Aṅgahāras, Nyāsas and Apanyāsas should intervene the separate feet of the Benediotory (nāndī) poems (pada). This rule should be put into practice by those who would turn pure Preliminaries into mixed ones.
161. After the 'pure' Preliminaries have been duly made 'mixed' [all the dancers dressed as] goddesses should make their exit.
162. After the exit of all the female dancers the other parts of the Preliminaries should be performed.
| 153 (B.154, G.150). | 154 (B.155, G.151). |
| 155 (B.156, G.152). | 156-157 (B.157-158, G.153-154). |
| 158 (B.159, G.155). | 159-160 (B.160-161, G.156-157). |
| 161 (B.162a, 163a, G.158). | 162 (B.163b-164a, G.159). |
.V. 167 ] THE PRELIMINARIES OF A PLAY 97
-
This is the manner in which the pure Preliminaries should be changed into mixed ones. But in the Preliminaries, be they of any type, there should not be too much dance and song.
-
If [in a performance] songs, music and dance continue for too long [a time] they tire out the artists as well as the spectators.
-
Tired [persons] can neither attain or help to attain a clear impression of the Sentiments and the States, and because of this the rest of the performance (i.e. of the play itself) cannot excite pleasure.¹
-
After performing the Preliminaries, be they Caturasra or Tryasra of the pure or mixed type, the Director along with his Assistants should make their exit from the stage¹.
Introduction of the play
- After the Preliminaries have been duly performed¹ in the manner described, the Introducer (sthāpaka)² should enter [the stage] and he should resemble the Director (sūtradhāra) in every respect (lit. in quality and form).
163 (B.164b-165a, G 160). 164 (B 165b-166a, G.161).
165 (B.166b-167a, G.162). ¹ B. reads one additional couplet after this.
166 (B 168b-169a, G.163). ¹ B. reads three additional couplets (B. 169b-172a) after this.
167 (B 172b-173a, G.164). ¹ The reading prajujya in this passage seems to be defective; for the nominative to this prajujya cannot be sthāpaka (Introducer). Dhanañjaya (c. 10th century) clearly says that the sūtradhāra (the Director) having gone out after the Preliminaries (pūrvaraṅga), another actor enters to introduce the drama (III. 2). The same is the opinion of Sāradātanaya (c. 1175-1250). See the BhP. p.228, lines 56. Viśvanātha also expressed a similar opinion. See the SD. VI. 26. Hence this passage should be construed somewhat like the well-known proverb rathe ca vāmanaṁ dṛṣṭvā punarjanma na vidyate. It seems that Bhāsa cut down the Preliminaries and made an end of the practice of getting the play introduced by the sthāpaka. This assumption will explain why Bāṇa wrote sūtradhārakṛtārambhaiḥ etc. (Harṣacarita, Introduction, 15).
² Ag. says sūtradhāra eva sthāpakaḥ, cf. note 1 above.
13
98 : THE NĀṬYAŚĀSTRA [ V. 168-
168. He should assume the Vaiṣṇava Sthāna (posture)¹ and the Sauṣṭhava² of the body, and on entering the stage he should observe the foot movements which the Director had used.
169. At the entrance of the Introducer the Dhruvā should be made suitable to the occasion (lit. meaning) and it will be either Caturasra or Tryasra and be in medium tempo.
170. Then he should perform a Cārī in praise of gods and Brahmins in accompaniment with the recitation of Ślokas containing sweet words and evoking various Sentiments and States.
171. After thus pleasing the spectators (lit. the stage) he should announce the name of the play-wright (lit. the poet), and then he is to start the Prologue (prastāvanā) which relates to proclaiming the theme of the play (lit. the poem)¹.
172-173. Then by mentioning (lit. having recourse to) a god in a divine [play], a man in a human [play] and a god or a man in [a play] where gods and men [meet, he] should proclaim in different ways the subject of the play [lit. the poem] by variously alluding to its Opening (mukha) and Germ (bīja)¹.
174. After introducing the play the Introducer (lit. the Brahmin who makes the introduction of the play) should go out [of the stage]. Thus should be performed the Preliminaries according to the rules.
175. If any producer of a play will perform the Preliminaries according to the rules laid down, nothing inauspicious will happen to him and he will [after his death] reach the heavenly region.
176. [On the contrary] whoever produces a play in an willful violation of the rules [in this matter] will sustain great loss and will [after his death] be reborn as a creature of a lower order.
168 (B.173b-174a, G.165). ¹ See XI. 50-51. ² See XI. 89b, 91a.
169 (B.174b-175a, G.166). 170 (B.175-176a, G.167).
171 (B.176b-177a, G.168). ¹ B. reads one additional hemistich.
172-173 (B.178-179, G.169-170). ¹ See SD. VI. 27. also DR. III. 3.
174 (B.180, G.171). 175 (B.181, G.172).
176 (B.182, G.173).
.V. 179] THE PRELIMINARIES OF A PLAY 99
-
Fire fanned by a strong wind does not burn [anything] so quickly as does the wrongly made production.
-
In this manner the Preliminaries of two different extents (pramāṇa) should be performed by the people of Avanti, Pañcāla, Dākṣiṇātya and Oḍra regions.
-
O Brahmins, these are the rules regarding the Preliminaries. Tell me what other rules relating to the Nāṭyaveda should be discussed now¹.
Here ends Chapter V of Bharata's Nāṭyaśāstra which treats of the Preliminaries to the production of a play.
177 (B.184, G.175). 178 (B.184, G.175).
179 (B.185, G.176). ¹ The portion of this chapter after this śloka has not been translated. It is not from the hand of author of the NŚ.
Chapter 6: The Sentiments / Rasas (रस विकल्प)
CHAPTER SIX
THE SENTIMENTS
The sages question.
1-3. After hearing about the rules regarding the Preliminaries, the great sages continued their inquiries and said to Bharata, "Answer five of our questions. Explain how the Sentiments enumerated by experts in dramatic art attain their special qualities. And why are the bhāvas (States) so called, and what do they bhāvayanti (make us feel)? Besides these, what are the real meanings of terms such as, Digest (saṃgraha)$^1$ Memorial Verse (kārikā) and Etymology (nirukta)"?
Bharata answers.
4. At these words of the sages, Bharata continued speaking and mentioned in reply to their question the distinction between the Sentiments and the States.
5-7. And then he said, "O sages, I shall tell you in detail and in due order about the Digest (saṃgraha), the Memorial Verse (kārikā) and the Etymology (nirukta). I am not able by any means to exhaust all the topics about drama (nāṭya); for science (jñāna),$^1$ and arts and crafts (śilpa)$^2$ connected with it are repectively manifold and endless in number. And as it is not possible to treat exhaustively (lit. to go to the end of) even one of these subjects which are [vast] like an ocean, there cannot be any question of mastering them all.
8. [Hence] I shall tell you about the Digest on Sentiments, States and such other matters, which has its contents embodied$^1$
1-3 (B.G. same). $^1$ For a possible chronological implication of samgraha, kārikā, nirukta, sūtra and bhāṣya mentioned in this chapter see Skt. Poetics, Vol. I. pp. 28 ff.
4 (B.G. same).
5-7 (B.G. same). $^1$ jñānāni-vyākaraṇādīni śāstrāṇi (Ag).
$^2$ śilpāni—citrapustādi-karmāṇi (Ag).
8 (B.G. same). $^1$ Read sūtragrīthārtha.
[ VI 14- THE SENTIMENTS 101 ]
in a small number of Sūtras (short rules) but which promotes inference [about the understanding of the subject].
Digest, Memorial Verse and Etymology defined
9. When subjects taught in detail have been compressed and brought together in [a number of] Sūtras and their Bhāṣyas (commentary), these latter constitute according to the learned a Digest (saṃgraha).
10. The Digest [of the Nāṭyaveda treats] the Sentiments, the States, the Histrionic Representation (abhinaya), the Practice (dharmī), the Styles (vṛtti), the Success (siddhi), the notes (svara), the instrumental music (ātodya), songs and the stage.¹
11. When a rule (lit. meaning) is explained (lit. uttered) briefly in the manner of a Sūtra by means of a minimum (lit. small) number of words it is called the Memorial Verse (kārikā) which shows the meaning [of the rule clearly].¹
12. The Etymology (nirukta) is that which arises in connexion with various nouns, is helped by dictionaries and rules of grammatical interpretation, includes the meaning of the root involved as well as the reasons modifying it, and is helped by various findings [of Śāstras].
13. When the meaning [of a noun] is established from a consideration of its root [and pratyaya or affix], words expressing [such] meaning in brief are called the Etymology.
14. O the best of the Brahmins, [the subjects included into] the Digest (saṃgraha), which I mentioned earlier, will now be discussed in detail with the necessary Memorial Verses (kārikā) and Etymologies connected with them.
9 (B.G same).
10 (B.G. same). ¹ B. adds one more couplet after 10.
11 (B.12, G. same). ¹ One additional characteristic of the kārikā is that it should be generally composed in metres like āryā or śloka, e.g. the Sāṃkhyakārikā.
12 (B.13, G.12). 13 (B.14, G.13). 14 (B.15, G.14).
102 THE NATYASASTRA [VI. 15-
The eight Sentiments
15. The eight Sentiments (rasa)¹ recognised in drama are as follows : Erotic (śṛṅgāra), Comic (hāsya), Pathetic (karuṇa) Furious (raudra), Heroic (vīra), Terrible (bhayānaka) Odious (bibhatsa) and Marvellous (adbhuta).²
16. These eight are the Sentiments named by Brahman; I shall now speak of the Dominant, the Transitory and the Temperamental States.¹
The Dominant States
17. The Dominant States (sthāyibhāva)¹ are known to be the following : love, mirth, sorrow, anger, energy, terror, disgust and astonishment.
18-21. The thirtythree Transitory States (vyabhicāribhāva)¹ are known to be the following : discouragement, weakness, apprehension, envy, intoxication, weariness, indolence, depression, anxiety, distraction, recollection, contentment, shame, inconstancy, joy, agitation, stupor, arrogance, despair, impatience, sleep, epilepsy, dreaming, awakening, indignation, dissimulation, cruelty, assurance, sickness, insanity, death, fright and deliberation. These are defined by their names.
The eight Temperamental States
22. Paralysis, Perspiration, Horripilation, Change of Voice,
15 (B.16, G.15). ¹ rasa—A. K. Coomaraswamy is for translating the word as 'flavour' (MG. p. 17).
² The later writers on Skt. poetics add one more rasa (śānta) to this number.
16 (B.17, G.16). ¹ bhāva—A. B. Keith translates this word as 'feeling' or 'emotion'. See Skt. Drama, p. 312. A. K. Coomaraswamy and others translate it as 'mood' (loc. cit.). We are with Haas who translates it as 'State.' See DR. p. 108.
17 (B.18, G.17). ¹ sthāyibhāva—Keith translates the term as 'dominant emotion' (Skt. Drama) and Haas as 'Permanent State' (DR.) and others as 'permanent mood' (e.g. S. K. De, Skt Poetics, Vol. II. p. 26).
18-21 (B.19-22, G.18-21). ¹ These are also known as sañcāri-bhāva.
22 (B.23, G.22). ¹ sāttvika bhāva—The word sāttvika cannot be
.VI 24 ] THE SENTIMENTS 103
Trembling, Change of Colour, Weeping and Fainting are the eight Temperamental States¹.
The four kinds of Histrionic Representation
- The four kinds of Histrionic Representation are Gestures (āṅgika)¹, Words (vācika)², Dresses and Make-up (āhārya)³ and the Representation of the Temperament (sāttvika)⁴.
The Two Practices
- The Practice of Representation (dharmī)¹ in a dramatic performance is twofold : realistic (lokadharmī, lit. popular) and conventional (nāṭyadharmī, lit. theatrical).
The four Styles
And the Verbal (bhāratī), the Grand (sāttvatī), the Graceful (kaiśikī) and the Energetic (ārabhaṭī) are the four Styles (vṛtti)².
properly translated into English. Keith does not make any such attempt (see Skt. Drama) Haas translates the sāttvika-bhāva as 'Involuntary States'. But this seems to be very misleading, for the NŚ. takes sattva to be connected with manas. (see VI. 94), and most of the later writers follow this work in this respect. So the author of the ND. (III. 153) writes सर्वाङ्गं मन सत्त्व तत्प्रयोजनं हेतुस्त्येति सात्त्विकः मनोऽनवधाने हि न शक्यन्त एव स्वरभेदादयो नाट्येन दर्शयितुम्. The NŚ. has also a definition of sattva which is as follows : देहात्मकं भवेत् सत्त्व (XXIV. 7). The author of the BhP. elaborately defines the term sattva and discusses the psychological process connected with its use ; see (pp. 13-14). Viśvanātha in his SD. (164) defines sattva as follows : सत्त्वं नाम सात्त्विकस्यात्म-प्रकाशको कश्चनान्तरो धर्मः.
23 (B.24, G.23). ¹ āṅgikā—means Gestures of special kind defined in the śāstra ; see NŚ. VIII-XII.
² vācika—means Words suitable for representation of the different States (bhāva) composed by the playwright. See NŚ. XV-XXII.
³ See NŚ. XXIII. ⁴ See NŚ. XXIV.
24 (B.25-26a, G.24-25a). ¹ dharmī—This word has not been very correctly used. But the meaning is clear ; for details about dharmī see NŚ. XIII 69-81.
² Haas translates vṛttis as Styles of Procedure (DR. p. 67). The four Styles are translated by him as Eloquent (bhāratī), Grandiose (sāttvatī) Gay (kaiśikī) and Horrific (ārabhaṭī). We follow Keith's translation (Skt. Drama, p. 326). For details about vṛttis see NŚ. XXII. 1ff.
104 THE NATYASASTRA [ VI. 26-
The four Local Usages
25-26. Āvanti, Dākṣiṇātyā, Oḍramāgadhī and Pañcāla-madhyamā are the four Local Usages (pravṛtti)¹ in a dramatic performance.
The Success
The Success² in the dramatic performance is of two kinds : divine (daivikī) and human (mānuṣī).
The Notes
27-29. And [musical] notes such as, Ṣaḍja, Ṛṣabha etc. are seven¹ in number, and they fall into two groups : human (śārīrā lit. from body) and instrumental (vaiṇavā lit. from the Vīṇā).¹
The four kinds of musical instruments
The musical instruments are of four kinds² : stringed (tata) covered (avanaddha), solid (ghana), and hollow (suṣira). Among these, the stringed (tata) means an instrument with strings, the covered (avanaddha) means a drum, the solid (ghana) a cymbal and the hollow (suṣira) a flute.
The five kinds of Dhruvās
29-30. Songs which relate to Dhruvās are of five kinds¹ :
25-26 (B.26b-27a, G 25b-26a). ¹ pravṛtti—Haas translates this word as 'Local Characteristics', (See DR , p 74). The five geographical names (Avanti, Dākṣiṇātya, Oḍra, Magadhī and Pañcāla) probably show that these were the parts of India where dramatic show was current at the time when tradition recorded in this NŚ, arose. Omission of the north-eastern part of India, including Bengal and Assam, probably shows that at that time these places were still in many respects outside the pale of Aryanized India. And the omission of the north-western India from this list may be explained on the assumption that it being on the way of the new immigrants who frequently poured into this country the formation of any established usage was difficult. For details about pravṛttis see NŚ. XIV. 36-56.
² siddhi (success)—For details about the Success see NŚ. XXVII. 1 ff.
27-29 (B.28a-30, G.27b-29). ¹ See NŚ. (C.) XXVIII. 19, 11.
² See NŚ. (C.) XXVIII. 1-2.
29-30 (B.31-33a, G.30-31a). ¹ See NŚ. (C.) XXXII. 334-352.
.VI. 31 ] THE SENTIMENTS 105
entering (praveśa), casual (ākṣepa), going out (niṣkrama), pleasing (prāsādika) and intermediate (āntara). And the playhouse is of the three types : oblong (vikṛṣṭa), square (caturasra) and triangular (tryasra)$^2$.
- So much about the Digest on drama giving its contents (lit. meaning by a small number of Sūtras (concise rules). I shall now speak about the contents of the Sūtra-work$^1$.
The Sentiments explained
In that connexion I shall first of all explain the Sentiments (rasa). No meaning proceeds [from speech] without [any kind of] Sentiment. The Sentiment is produced (rasa-niṣpattiḥ) from a combination (saṁyoga)$^2$ of Determinants (vibhāva), Consequents (anubhāva) and Transitory States (vyabhicāri-bhāva). Is there any instance (dṛṣṭānta) [parallel to it]. [Yes], it is said that, as taste (rasa) results from a combination of various spices, vegetables and other articles$^3$, and as six tastes (rasa) are produced by articles such as, raw sugar or spices or vegetables, so the Dominant States (sthāyibhāva), when they come together with various other States (bhāva) attain the quality of the Sentiment (i.e. become Sentiment)$^4$. Now one enquires, 'What is the meaning of the word rasa"? It is said in reply to this [that rasa is so called] because it is capable of being tasted (āsvādyate). How is rasa tasted ? [In reply] it is said that just as well-disposed persons while eating food cooked with many kinds of spices enjoy (āsvādayanti) its tastes (rasa) and attain pleasure and satisfaction,
$^2$ B. adds one couplet after 30.
31 (B.33b-34a, G.31b, c). $^1$ The original of the next passage till the beginning of 33 is in prose.
$^2$ The NŚ. nowhere explains the terms niṣpatti and saṁyoga of this definition and does not include the sthāyibhāva in it (the def.). Hence the theory of rasa has come to be interpreted differently in later times by Lollaṭa, Śaṅkuka, (Bhaṭṭa) Nāyaka and Abhinavagupta. For a brief exposition of their views see Viṣṇupada Bhaṭṭācārya—Sāhityamīmāṁsā (Bengali), Calcutta, 1948. pp. 33 ff.
$^3$ G. adds here one sentence more (tathā......... .. niṣpattiḥ).
$^4$ tatrāha (G. ṛṣaya ūcuḥ).
14
106 THE NATYASASTRA [ VI. 32-
so the cultured people taste the Dominant States (sthāyi-bhāva) while they see them represented by an expression of the various States with Words, Gestures and the Temperament and derive pleasure and satisfaction. Thus is explained [the Memorial Verse ending with] tasmān nāṭyarasā iti⁵. For in this connexion there are two traditional couplets :
32-33. Just as connoisseur of cooked food (bhakta) while eating food which has been prepared from various spices and other articles, taste it, so the learned people taste in their mind the Dominant States (such as love, sorrow etc.) when they are represented by an expression of the States with Gestures. Hence these Dominant States in a drama are called the Sentiments.¹
The relation between the Sentiments and the States.
²Now one enquires, “Do the States (bhāva) come out of the Sentiments (rasa) or the Sentiments come out of the States ?” On this point, some are of opinion that they arise from their mutual contact. But this is not so. Why ?
“It is apparent that the Sentiments arise from the States and not the States from the Sentiments. For [on this point] there are [traditional] couplets such as :
34-35. The States are so called by experts in drama, for they cause to originate (bhāvayanti) the Sentiments in connexion with various modes of dramatic representation. Just as by many articles of various kinds auxiliary cooked food (vyañjana) is
⁵ See below 33-34.
32-33 (B.35-36, G.32-33). ¹ For a discussion on Bharata's theory of rasa see Skt. Poetics, Vol. II. pp. 25 ff.
² The original of this passage till the beginning of 34 is in prose, but its reading seems to be confused. In the light of the five kārikās that follow one may be justified in changing the order of some sentences and in emending it partially as follows : अत्राह केषाञ्चिन्मतं भावेभ्यो रसानामभिनिर्वृत्तिरिति, न तु रसेभ्यो भावानामभिनिर्वृत्तिरिति। तन्न कस्मात्। दृश्यते हि परस्परसंयोगादेषामभिनिर्वृत्तिरिति.
But if it is really an instance of textual corruption it may be said to have been sanctified by time, for Bhoja who refuted Bharata’s view on bhāvas giving rise to rasas relied on this text. Cf. V. Raghavan, Śr. Pr. p. 26.
34-35 (B.38-39, G.34-35).
-VI. 42 ] THE SENTIMENTS 107
brought forth, so the States along with different kinds of Histrionic Representation will cause the Sentiments to originate.
36. There can be no Sentiment prior to (lit. without) the States and no States without the Sentiments [following it], and during the Histrionic Representation they are produced from their mutual relation.
37. Just as a combination of spices and vegetables imparts good taste to the food cooked, so the States and the Sentiments cause one another to originate (bhāvayanti).
38. Just as a tree grows from a seed, and flowers and fruits [including the seed] from a tree, so the Sentiments are the source (lit. root) of all the States, and likewise the States exist [as the source of all the Sentiments]¹.
The eight Sentiments from the four original ones
Now we shall describe the origins, the colours, the [presiding] deities, and examples of these Sentiments. Sources of these [eight] Sentiments are the four [original] Sentiments e. g. Erotic, Furious, Heroic and Odious.²
39. The Comic [Sentiment] arises from the Erotic, the Pathetic from the Furious, the Marvellous from the Heroic, and the Terrible from the Odious.
40-41. A mimicry of tho Erotic [Sentiment] is called the Comic, and the result of the Furious Sentiment is the Pathetic, and the result of the Heroic Sentiment is called the Marvellous, and that which is Odious to see results in the Terrible.
42-43. The Erotic Sentiment is light green (śyāma), the Comic Sentiment white, the Pathetic (Sentiment) ash-coloured
36 (B.40, G.36). 37 (B.41, G.37).
38 (B.42, G.38). ¹ B adds one prose sentence more after this passage.
² The original of this passage till the beginning of 39 is in prose.
³ Bhoja criticises this view of the author of the NŚ. in his Śr. Pr. See Ramaswamy Sastri Bh. P. Introduction p. 28; V. Raghavan, Śr. Pr. 27.
39 (B.44, G.39). 40-41 (B.45-46, G.40-41).
42-43 (B.47-48, G.42-43).
108 THE NATYASASTRA [ VI. 44-
(kapota), the Furious Sentiment red, the Heroic (Sentiment) light orange (gaura), the Terrible (Sentiment) black, the Odious (Sentiment) blue and the Marvellous (Sentiment) yellow.
The presiding deities of the Sentiments
44-45, Viṣṇu is the god of the Erotic, Pramathas of the Comic, Rudra of the Furious, Yama of the Pathetic, Śiva (Mahākāla), of the Odious, Yama (Kāla) of the Terrible, Indra of the Heroic, and Brahman of the Marvellous Sentiments.
¹Thus have been described the origins, the colours and the deities of these (Sentiments). Now we shall explain the Determinants (vibhāva), the Consequents (anubhāva), the Transitory States (vyabhicārin), their combination, and their definitions and examples.
We shall now enumerate the Dominant States in different Sentiments.
The Erotic Sentiment
Of these, the Erotic (śṛṅgāra) Sentiment proceeds from the Dominant State of love (rati) and it has as its basis (lit. soul) a bright attire; for whatever in this world is white, pure, bright and beautiful is appreciated in terms of the Dominant State of love (śṛṅgāra). For example, one who is elegantly dressed is called a lovely person (śṛṅgārin). Just as persons are named, after the custom of their father or mother or family in accordance with the traditional authority, so the Sentiments, the States and other objects connected with drama are given names in pursuance of the custom and the traditional authority. Hence the Erotic Sentiment has been so named on account of its usually being associated with a bright and elegant attire. It owes its origin to men and women and relates to the fullness of youth. It has two bases: union (sambhoga) and separation (vipralambha). Of these two, the Erotic Sentiment in union arises from Determinants like the pleasures of the season, the enjoyment of garlands, unguents, ornaments [the
- 44-45 (B. 49-50, G. 44-45). ¹ The original of this passage till the beginning of 46, is in prose.
-VI. 47 ] THE SENTIMENTS 109
company of) beloved persons, objects [of senses], splendid mansions, going to a garden, and enjoying [oneself] there, seeing the [beloved one], hearing [his or her words], playing and dallying [with him or her]. It should be represented on the stage by Consequents such as clever movement of eyes, eyebrows, glances, soft and delicate movement of limbs, and sweet words and similar other things. Transitory States in it do not include fear, indolence, cruelty and disgust. [The Erotic Sentiment] in separation should be represented on the stage by Consequents such as indifference, langour, fear, jealousy, fatigue, anxiety, yearning, drowsiness, sleep, dreaming awakening, illness, insanity, epilepsy, inactivity, [fainting], death and other conditions.
Now it has beeen asked, “If the Erotic Sentiment has its origin in love, why does it [sometimes] manifest itself through pathetic conditions ?” [In reply to this] it is said, “It has been mentioned before that the Erotic Sentiment has its basis in union as well as in separation. Authorities on ars amatoria (vaiśika-śāstra) have mentioned ten conditions [of the persons separated from their beloved ones, which are pathetic], We shall discuss them in the chapter on the Common Histrionic Representation.² The Pathetic Sentiment relates to a condition of despair owing to the affliction under a curse, separation from dear ones, loss of wealth, death or captivity, while the Erotic Sentiment based on separation relates to a condition of retaining optimism arising out of yearning and anxiety. Hence the Pathetic Sentiment, and the Erotic Sentiment in separation differ from each other. And this is the reason why the Erotic Sentiment includes conditions available in all other Sentiments.
46. And the Sentiment called Erotic is rich in pleasure, connected with desired objects, enjoyment of seasons, garlands and similar other things, and it relates to [the union of] man and woman.
There are besides two Āryās related to the preceding Sūtra :
47-48. The Erotic Sentiment arises in connexion with
² See NŚ. (C.) XXIV.
46 (B.52, G.46).
47-48 (B.54-55, G.47-48).
110 THE NATYASASTRA [ VI. 49-
favourable seasons, garlands, ornaments, enjoyment of the company of beloved ones, music and poetry, and going to the garden and roaming there. It should be represented on the stage by means of serenity of the eyes and the face, sweet and smiling words, satisfaction and delight, and graceful movements of the limbs.
The Comic Sentiment
$^1$Now the Comic (hāsya) Sentiment has as its basis the Dominant emotion of laughter. This is created by Determinants such as showing unseemly dress or ornament, impudence, greediness. quarrel, defective limb, use of irrelevant words, mentioning of different faults, and similar other things. This (the Comic Sentiment) is to be represented on the stage by Consequents like the throbbing of the lips, the nose and the cheek, opening the eyes wide or contracting them, perspiration, colour of the face, and taking hold of the sides. Transitory States in it are indolence, dissimulation, drowsiness, sleep, dreaming, insomnia, envy and the like. This (Sentiment), is of two kinds : self-centered and centered in others. When a person himself laughs it relates to the self-centred (Comic Sentiment), but when he makes others laugh it (the Comic Sentiment therein) is centred in others.
There are two traditional Āryās here :
49. As this makes one laugh by an exhibition of oddly placed ornaments, uncouth behaviour, words and dress and strange movement of limbs, it is called the Comic Sentiment.
50. As this makes persons laugh by means of uncouth behaviour, words, movement of the limbs and strange dress, it is known as the Comic Sentiment.
51. This Sentiment is mostly to be seen in women and persons of the inferior type, and it has six varieties of which I shall speak presently.
52. They are: Slight Smile (smita), Smile (hasita), Gentle Laughter (vihasita), Laughter of Redicule (upahasita), Vulgar
$^1$ The original of this passage till the beginning of 49 is in prose.
49 (B.58, G.49). 50 (B.59, G.50).
51 (B.60, G.51). 52 (B.61, G.52).
-VI, 60] THE SENTIMENTS 111
Laughter (apahasita) and Excessive Laughter (atihasita). Two by two they belong respectively to the superior, the middling and the inferior types [of persons].
- To persons of the superior type belong the Slight Smile (smita) and the Smile (hasita), to those of the middling type the Gentle Laughter (vihasita) and the Laughter of Ridicule (upahasita) to those of the inferior type the Vulgar Laughter (apahasita) and the Violent Laughter (atihasita).
There are Ślokas on this subjects :
-
The Slight Smile (smita) of the people of the superior type should be characterised by slightly blown cheeks und elegent glances, and in it the teeth should not be visible.
-
Their Smile (hasita) should be distinguished by blooming eyes, face and cheeks, and in it the teeth should be slightly visible.
Of persons of the middle type
-
The Gentle Laughter (vihasita) should have slight sound, and sweetness, and should be suitable to the occasion and in it the eyes and the cheeks should be contracted and the face joyful.
-
During the Laughter of Ridicule (upahasita) the nose should be expanded, the eyes should be squinting, and the shoulder and the head should be bent.
Of persons of the inferior type
-
The laughter on occasions not suitable to it, the laughter with tears in one's eyes, or with the shoulder and the head violently shaking, is called the Vulgar Laughter (apahasita).
-
The Excessive Laughter (atihasita) is that in which the eyes are expanded and tearful sound is loud and excessive, and the sides are covered by hands.
-
Comic situations which may arise in the course of a
| 53 (B.62, G.53). | 54 (B.65, G.54). | 55 (B 66, G.55). |
| 56 (B.68, G.56). | 57 (B.69, G.57). | 58 (B.71, G.58). |
| 59 (B.72, G.59). | 60 (B.73, G.60). |
112 THE NATYASASTRA [V. 25-
play, for persons of the superior, middling or inferior type are thus to be given expression to.
61. This Comic Sentiment is of two kinds : self-centred and centred in others; and it relates to the three types of persons : superior, middling and inferior, and has thus [on the whole] six varieties.
The Pathetic Sentiment
$^1$Now the Pathetic (karuṇa) Sentiment arises from the Dominant State of sorrow. It grows from Determinants such as affliction under a curse, separation from dear ones, loss of wealth, death, captivity, flight [from one's own place], [dangerous] accidents or any other misfortune. This is to be represented on the stage by means of Consequents such as, shedding tears, lamentation, dryness of the mouth, change of colour, drooping limbs, being out of breath, loss of memory and the like. Transitory States connected with it are indifference, langour, anxiety, yearning, excitement, delusion, fainting, sadness, dejection, illness, inactivity. insanity, epilepsy, fear, indolence, death, paralysis, tremor, change of colour, weeping, loss of voice and the like.
On this point there are two Āryās :
62. The Pathetic Sentiment arises from seeing the death of a beloved person, or from hearing something very unpleasant and these are its Determinants.
63. This is to be represented on the stage by Consequents like weeping loudly, fainting, lamenting and bewailing, exerting the body or striking it.
The Furious Sentiment.
$^1$Now the Furious (raudra) Sentiment has as its basis the Dominant State of anger. It owes its origin to Rākṣasas, Dānavas and haughty men, and is caused by fights. This is created by
61 (B.74, G.61). $^1$ The original of this passage till the beginning of 62 is in prose. 62 (B.76, G.62).
63 (B.77, G.63). $^1$ The original of this passage till the beginning of 64 is in prose.
-VI. 66 ] THE SENTIMENS 113
Determinants such as anger, rape, abuse, insult, untrue allegation, exorcizing, threatening, revengefulness, jealousy and the like. Its actions are beating, breaking, crushing, cutting, piercing, taking up arms, hurling of missiles, fighting, drawing of blood, and similar other deeds. This is to be represented on the stage by means of Consequents such as red eyes, knitting of eyebrows, defiance, biting of the lips, movement of the cheeks, pressing one hand with. the other, and the like. Transitory States in it are presence of mind, determination, energy, indignation, restlessness, fury, perspiration, trembling, horripilation, choking voice and the like.
Now one enquires, “Is it to be assumed from the [above] statement about Rākṣasas that they only give rise to the Furious Sentiment, and that this Sentiment does not relate to others ?” [Reply]. “No, in case of others too this Sentiment may arise. [But in case of Rākṣasas] it is to be understood as their special function. They are naturally furious, ²for they have many arms, many mouths, standing and unkempt hairs of brown colour, and prodigious physical frame of black complexion. Whatever they attempt, be it their speech, movement of limbs or any other effort, is by nature furious. Even in their love-making they are violent³. It is to be easily inferred that persons who imitate them give rise to the Furious Sentiment from their fights and battles.
On these points there are two Āryās :
-
The Furious Sentiment is created by striking, cutting, mutilation and piercing in fights, and tumult of the battle and the like.
-
It should be represented on the stage by special acts such as the release of many missiles, cutting off the head, the trunk and the arms.
-
Such is the Furious Sentiment viewed [by experts] ; it is full of conflict of arms, and in it words, movements and deeds are terrible and fearful.
² G. considers this passage till the end of this sentence as an āryā (G.64).
³ Cf. Bhaṭṭikāvya, VIII. 98.
64 (B.79, G.65). 65 (B.80, G.66). 66 (B.81, G.67).
15
114 THE NATYASASTRA [ VI. 67-
The Heroic Sentiment
¹Now the Heroic (vīra) Sentiment, relates to the superior type of persons and has energy as its basis. This is created by Determinants such as presence of mind, perseverance, diplomacy, discipline, military strength, agressiveness, reputation of might, influence and the like. It is to be represented on the stage by Consequents such as firmness, patience, heroism, charity, diplomacy and the like. Transitory States in it are contentment, judgement, pride, agitation, energy (vega), ferocity, indignation, remembrance, horripilation and the like.
There are two Āryās [on these points] :
67. The Heroic Sentiment arises from energy, perseverance, optimism, absence of surprise, and presence of mind and [such other] special conditions [of the spirit].
68. This Heroic Sentiment is to be properly represented on the stage by firmness, patience, heroism, pride, energy, agressiveness, influence and censuring words.
The Terrible Sentiment
¹Now the Terrible (bhayānaka) Sentiment has as its basis the Dominant State of fear. This is created by Determinants like hideous noise, sight of ghosts, panic and anxiety due to [untimely cry of] jackals and owls, staying in an empty house or forest, sight of death or capitivity of dear ones, or news of it, or discussion about it. It is to be represented on the stage by Consequents such as trembling of the hands and the feet, horripilation, change of colour and loss of voice. Its Transitory States are paralysis, perspiration, choking voice, horripilation, trembling, loss of voice, change of colour, fear, stupefaction, dejection, agitation, restlessness, inactivity, fear, epilepsy and death and the like.
On these points there are two traditional Āryās :
69. The Terrible Sentiment is created by hideous noise,
¹ The original of this passage till the beginning of 67 is in prose.
67 (B.83, G.68).
• 68 (B.84, G.69). ¹ The original of this passage till the beginning of 69 is in prose.
69 (B.86, G.70).