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PREFACE

The preparation of an annotated English translation of the Nāṭyaśāstra entrusted to me as early as 1944, by the Royal Asiatic Society, has been delayed for various reasons which need not be recounted here in detail. But mention must be made of one important factor of this delay, viz., the inherent difficulty of this very old text which is not yet available in a complete critical edition. From my first serious acquaintance with it in 1925 in connection with the editing of the Abhinayadarpaṇa (Calcutta, 1934) this work has always engaged my attention in the intervals of other duties. But it was only a few years ago, that I came to believe that the entire work could be translated into English. It was, however, only after making some actual progress in translation that I realised the difficulty of the task and understood to some extent at least why no complete translation of this very important text had so far not been made.

However, I considered it a duty to make strenuous efforts and proceeded patiently with the work and finished at last translating the major portion of the Nāṭyaśāstra. I am now genuinely happy to place it before the scholarly public, not because it could be done in an ideal fashion, but because it could be finished at all.

In handling a difficult old text like this it it natural that one has to offer conclusions and interpretations, here and there, which due to the absence of better materials cannot be placed on surer grounds. But whatever tentative assertions I have made, have been made after the most careful consideration with the expectation that they may prove helpful to others working in this field, and it may be hoped that their number has not been too many, and in a few cases where I myself had any doubt about the interpretation offered, the same has been expressly mentioned in the footnote.

The chapters on music covering a little more than one fourth of the Nāṭyaśāstra still remain to be done. These when completed will be published in the second volume. As the work on it, is progressing very slowly and it cannot be said definitely when it will be finished, it was thought advisable to publish the portion of the translation already prepared. Though the musical terms occurring in the present volume remain undefined, the absence of chapters on music where they have been discussed, will not, it is hoped, seriously interfere with the understanding of the dramaturgy and histrionics treated here.

For information regarding the plan and scope of the present work, the reader is referred to the Introduction, section I.

For the purpose of this volume, works of various scholars have been helpful to the translator and they have been mentioned

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in proper places. But among them all, the American Sanskritist Dr. G. C. O. Haas deserves to be specially mentioned ; for his plan of the translation of the Daśarūpa, has been adopted in a slightly modified manner in the present work.

I am indebted to Dr. S. K. De, due to whose kindness I could utilise the unpublished portion of the Abinavabhāratī. It is also a great pleasure to acknowledge the uniform courtesy of different officers of the Society from 1947-1950, especially Dr. K.N. Bagchi, and Dr. Niharanjan Ray, the General Secretaries and Mr. S. K. Saraswati, the Librarian and Mr. Rakhahari Chatterji. the Superintendent of the office, whose patience I had to tax on different occasions in course of the publication.

I am grateful to my father-in-law Sri Kali Charan Mitra who read the original draft of the first fourteen chapters of the present work and made suggestions regarding the language, and to my esteemed friend Dr. S. N. Ray, M.A., Ph.D. (London) formerly Head of the Department of English in the University of Dacca, for reading the proof of the first twelve formes and also for going through in Mss. the Introduction and for making welcome suggestions.

I wish to mention here very gratefully the debt I owe to Dr. Kalidas Nag in connexion with the preparation and the publication of this work. But for his suggestion to undertake this work it might not have reached at all the stage of publication.

Last but not the least it becomes my most cheerful duty to express my gratitude to Prof. Suniti Kumar Chatterji, who has also helped me otherwise in connexion with this work. This help and his constant encouragement have rendered this work less arduous than it might otherwise have been.

I should here also apologise to the readers for the many misprints that have crept into the volume. They are requested to make kindly, the necessary corrections pointed out in the corrigenda.

25th November, 1950

The Translator

ABBREVIATIONS AND SYMBOLS

a.	... The first hemistich of a verse.
Abhi.	... Bhāsa's Abhiṣekanāṭaka.
AD.	... Nandikeśvara's Abhinayadarpaṇa.
A. dy.	... Arthadyotanikā, Rāghavabhaṭṭa's commentary on the Śakuntalā.
Ag., Abhinava	... Abhinavagupta or his commentary of the Nāṭyaśāstra.
AMg.	... Ardhamāgadhī.
Avi.	... Bhāsa's Avimāraka.
AŚ.	... Kauṭilya's Arthaśāstra (ed. Jolly).
AŚ. notes.	... Kauṭilya's Arthaśāstra (ed. Jolly). Vol. II.
B.	... Baroda ed. of the Nāṭyaśāstra.
b.	... The second hemistich of a verse.
Bāla.	... Bhāsa's Bālacarita.
Bhāmaha.	... Bhāmaha's Kāvyālaṃkāra.
BhNC.	... Bhāsa-nāṭaka-cakra ed. by C. R. Devadhar
BhP.	... Śāradātanaya's Bhāvaprakāśana.
C.	... Chowkhamaba (Benares) edition of the Nāṭyaśāstra.
c.	... The third hemistich in a stanza.
Cāru.	... Bhāsa's Cārudatta.
CSS.	... Chandaḥ-sāra-saṃgraha.
Daṇḍin.	... Daṇḍin's Kāvyādarśa.
def.	... Definition or definitions.
De's Ms.	... The Ms. of the Abhinavagupta's commentary (Abhinavabhāratī) belonging to Dr. S. K. De.
DR.	... Dhanañjaya's Daśarūpa.
Dūtagha.	... Bhāsa's Dūtaghaṭotkaca.
Dūtavā.	... Bhāsa's Dūtavākya.
Ex.	... Example or examples.
Foundation.	... Nobel's Foundation of Indian Poetry.
G.	... J. Grosset's edition of the Nāṭyaśāstra.
GOS.	... Gaikwar's Oriental Series.
Haas.	... Haas's translation of the Daśarūpa.
I.Ant.	... Indian Antiquary.
IHQ.	... Indian Historical Quarterly.
ID., Ind. Dr.	... Sten Konow's Indische Drama.
Itihāsa.	... Hāldār's Vyākaraṇa-darśaner Itihāsa.
JDL.	... Journal of the Dept. of Letters, Calcutta University.
JK.	... Vidyālaṃkāra's Jīvanīkośa.

B

x

K. ... Kāvyamālā ed. of the Nāṭyaśāstra.
KA. ... Hemacandra's Kāvyānuśāsana.
Karṇa. ... Bhāsa's Karṇabhāra.
Kavi. ... Ramakrishna Kavi or his commentary to the ch. XVII. of the NŚ.
KS. ... Vātsyāyana's Kāmasūtra.
Kumāra. ... Kālidāsa's Kumārasambhava.
Kuṭṭa. ... Dāmodaragupta's Kuṭṭanīmata.
Lévi, ... Sylavain Lévi's Le Théâtre indien.
Madhyama. ... Bhāsa's Madhyamavyāyoga.
Mālati. ... Bhavabhūti's Mālatīmādhava.
Mālavi. ... Kālidāsa's Mālavikāgnimitra.
MG. ... Coomaraswamy's Mirror of Gestures.
Mṛcch. ... Śūdraka's Mṛcchakaṭika.
Mudrā. ... Viśākhadatta's Mudrārākṣasa.
Nāṭakalakṣaṇa. } ... Sāgaranandin's Nāṭakalakṣaṇaratnakośa.
NL., }
ND. ... Rāmacandra and Guṇacandra's Nāṭyadarpaṇa.
NIA. ... New Indo-Aryan.
Nitti-Dolci. ... Nitti-Dolci's Le Grammairiens Prakrit.
NŚ. ... Nāṭyaśāstra.
P. ... Purāṇa.
Pañc. ... Pañcarātra
Pāṇ. ... Pāṇini.
Piṅgala. ... Pāṅgala's Chandaḥsūtra.
Pischel. ... Pischel's Grammatik der Prakrit-sprachen.
Pr. P. ... Prākṛta-Paiṅgala.
Pr. ... Prātiśākhya.
Prak. ... Prakaraṇa.
Pratimā. ... Bhāsa's Pratimā-nāṭaka.
Pratijñā. ... Bhāsa's Pratijñā-yaugandharāyaṇa.
PŚ. ... Pāṇinīya-Śikṣā.
PSM. ... Pāia-sadda-mahaṇṇavo.
R., Rām. ... Rāmāyaṇa.
Ratnā. ... Harṣa's Ratnāvalī.
RS. ... Kālidāsa's Ṛtusaṃhāra.
Śak. ... Kālidāsa's Abhijñānaśakuntala.
SD. ... Sāhityadarpaṇa.
SR. ... Śārṅgadeva's Saṃgītaratnākara.
Śṛ. Pr. ... Bhoja's Śṛṅgāraprakāśa.
Svapna. ... Bhāsa's Svapavāsavadattā.
tr., trans. ... translation or translated.
Uttara. ... Uttararāmacarita of Bhavabhūti.

XI

Ūru. ... Bhāsa's Ūrubhaṅga.
Vikram. ... Kālidāsa's Vikramorvaśīya.
Winternitz. ... Winternitz's History of Indian Literature.

N.B. (a) Numerals preceding the paragraphs of the translation relate to the serial number of couplets in the original. When the same number is repeated in two consecutive paragraphs, in the first place it will indicate the first hemistich and in the second the second hemistich. Roman figures relate to the chapter of the NŚ.

(b) For the manner of referring to dramas, see under the Bhāsa-nāṭaka-cakra in the Bibliography (Original Texts).

(c) In the footnotes to the Introduction long vowels, cerebral sounds and the labial sibilant have been indicated by italics.

BIBLIOGRAPHY

1. General Works

Barua, B. M. ... Inscriptions of Asoka, Vol. II, Calcutta 1943.
Chatterji, S. K. ... Origin and Development of the Bengali Language, Calcutta, 1926.
Coomaraswamy, A. K. ... The Mirror of Gestures, New York, 1936.
De, S. K. ... Sanskrit Poetics : Vol. I and II, London, 1903, 1926.
Ghosh, Chandramohan ... Chandaḥsārasaṃgraha (CSS ), Calcutta.
Haldar, Gurupada ... Vyākaraṇa-darśaner Itihāsa (Itihāsa). (An historical account of the grammatical speculation of the Hindus in Bengali), Calcutta. 1350 B.E.
Jolly, J. ... Hindu Law and Customs, Calcutta, 1929.
Keith, A. B. ... Sanskrit Drama, Oxford, 1924.
Konow, Sten. ... Das Indische Drama, Berlin, 1920.
Lévi, Sylvain ... Le Théâtre indien, Paris, 1890.
Mankad, D. R. ... Types of Sanskrit Drama, Karachi, 1936.
Nitti-Dolci, L. ... Les Grammairiens Prakrit, Paris, 1938.
J. Nobel. ... Foundation of Indian Poetry, Calcutta, 1925.
Pischel, R. ... Grammatik der Prakrit-sprachen, Strassburg, 1900.
Pusalker ... Bhāsa, Lahore. 1940.
Raghavan, V. ... Śṛṅgāra-Prakāśa, Bombay, 1940.
Seth, H. D. ... Pāiasaddamahaṇṇavo, Calcutta, 1928.
Sircar, D.C. ... Select Inscriptions bearing on Indian History and Civilization, Calcutta, 1942.
Vidyālaṃkār, S. B. ... Jīvanikośa (A dictionary of the Puranic mythology in Bengali), Calcutta.

2. Original Texts

Abhinavabhāratī (Ag.) ... On chapters I-XX ed. Ramakrishna Kavi in B. On chapters XXI-XXVII and XXIX-XXXII the Ms. of Dr. S. K. De. Reference to the Ms. are to its pages. Printed portion of the commentary when referred to, relates to the relevant text in B.
Abhinayadarpaṇa of Nandikeśvara (AD.). Ed. Manomohan Ghosh Calcutta, 1934.
Abhiṣekanāṭaka (Abhi.). Ed. Devadhar in BhNC.
Arthadyotanikā. Nirnayasagara ed.
Avimāraka. Ed. Devadhar in BhNC.
Arthaśāstra of Kauṭilya (AŚ.). Ed. J. Jolly, Vols I and II, Lahore, 1923-24.

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Uttararāmacarita of Bhavabhūti (Uttara.). Ed. Ratnam Aiyar, Bombay 1930.
Ūrubhaṅga (Ūru.). Ed. Devadhar in BhNC.
Ṛtusaṃhāra of Kālidāsa. Ed. Jivananda Vidyasagar, Calcutta, 1893.
Karṇabhāra (Karṇa ). Ed. Devadhar in BhNC.
Kāvyādarśa of Daṇḍin. Ed. N. Sastri, Lahore, 1990, Saṃvat.
Kāvyālaṅkāra of Bhāmaha. Ed. B. N. Sarma and B. Upadhyaya Chowkhamba. Benares, 1928.
Kāvyālaṃkāra of Vāmana, Ed. K.P. Parab & W. Pansikar, Bombay, 1926.
Kīrtilatā of Vidyāpāti, Ed. Haraprasad Shastri.
Kuṭṭanīmata, Ed. in Bibliotheca Indica, Calcutta.
Cārudatta of Bhāsa (Cāru). Ed. Devadhar in BhNC.
Daśarūpa (DṚ). Ed. K. P. Parab, Bombay, 1897. Our references are to this edition. The ed. of G.C.O. Haas with an English translation has also been referred to. F. Hall's ed. (Bibliotheca Indica) has also been used.
Dūtaghaṭotkaca of Bhāsa (Dūtagha.) Ed. Devadhar in BhNC.
Dūtavākya of Bhāsa (Dūtavā.). Ed. Devadhar in BhNC
Madhyamavyāyoga of Bhāsa (Madhyama.). Ed. Devadhar in BhNC.
Mālavikāgnimitra of Kālidāsa (Mālavi.). Ed. S. P. Pandit.
(Bombay Sanskrit Series), Bombay, 1889.
Mṛcchakaṭika (Mṛcch). Ed. K. P. Parab and W. L. S. Pansikar, Bombay, 1926.
Mudrārākṣasa of Viśākhadatta (Mudrā). Ed. Kasinath Trimbak Telang (Bombay Skt. Series), Bombay, 1928
Meghadūta of Kālidāsa (Megha). Ed. S. Vidyaratna, Calcutta, 1821, Śaka.
Nāṭakalakṣaṇa-ratnakośa of Sāgaranandin (Nāṭakalakṣaṇa, NL). M. Dillon, London, 1939. References are by lines unless otherwise mentioned.
Nāṭyadarpaṇa of Rāmacandra and Guṇacandra (ND.), Ed. in GOS.
Nāṭyaśāstra of Bharata (NŚ). Chapters I-XIV. Ed. J. Grosset, Paris, Lyons, 1898; Chapters I-XX. ed. R. Kavi, Baroda, 1926, 1936. Numbering of couplets in this work is often wrong. In case of chapters I-III this has been corrected, but in case of other chapters wrong numbers have been retained and in some cases where confusion may occur, pages have also been referred to. The edition of Sivadatta and Parab (Bombay, 1894), and the Chowkhamba edition (Benares, 1926) have also been used.
Pañcarātra of Bhāsa (Pañca). Ed. Devadhar in BhNC.
Pañcatantra of Viṣṇuśaraman, Chowkamba, Benares, 1930.
Pāṇinīya-śikṣā (PS.), Ed. Manomohan Ghosh, Calcutta, 1938.
Pratijñā-yaugandharāyaṇa of Bhāsa (Pratijñā.), Ed. Devadhar in BhNC.

XIV

Pratimānāṭaka of Bhāsa (Pratimā.) Ed. Devadhar in BhNC.
Bālacarita of Bhāsa (Bāla.), Ed. Devadhar in BhNC.
Bhāvaprakāśana of Śāradātanaya (BhP.) Ed. in GOS.
Bhāsa-nāṭaka-cakra (Plays ascribed to Bhāsa), critically edited by C. R. Devadhar, Poona, 1937. References are to acts, verse passages and lines after them, e.g. Svapna, I. 12, 23 indicates the twenty-third line afrer the twelfth verse in act I of Svapnavāsavadattā
Vikramorvaśīya of Kālidāsa (Vikram.). Ed. S. P. Pandit. (Bombay Sanskrit Series), Bombay, 1898.
Veṇīsaṃhāra of Bhaṭṭanārāyaṇa (Veṇī.). Ed. K. S. Parab and W. L. S. Pansikar, Bombay, 1930.
Raghuvaṃśa of Kālidāsa (Raghu.). Ed. K.P. Parab and W.L.S. Pansikar, Bombay, 1932.
Ratnāvalī of Śrīharaṣa (Ratnā.), Ed. M. K. Jogelkar, Bombay 1925.
Śakuntalā of Kālidāsa (Śak.) Ed. Isvara chandra Vidyasagar, Calcutta.
Saṃgītaratnākara of Śārṅgadeva (SR.). Ānandāśrama edition.
Sāhityadarpaṇa of Viśvanātha Kavirāja (SD.) Ed. Jivananda Vidyasagar.
Svapnavāsavadattā of Bhāsa (Svapna.), Ed. Devadhar in BhNC.
Harṣacarita of Bāṇabhaṭṭa, Ed. P. V. Kane, Bombay, 1912.

CONTENTS

PREFACE	...	...	VII
LIST OF ABBREVIATIONS AND SYMBOLS		...	IX
BIBLIOGRAPHY	...	...	XII
INTRODUCTION	...	...	XXXVII

I. The Present Work, p. XXXVII; 1. General History of the Study, p. XXXVII; 2. Basic Text, p. XL; 3. Translation, p. XLI; 4. Notes to the Translation, p. XLI.

II. The Ancient Indian Theory of Drama, p. XLII; 1. The Meaning of Nāṭya, p. XLII; 2. The Dramatic Conventions, p. XLIV; 3. The Time and Place of Drama, p. XLV; 4. The Unity of Imperession, p. XLV; 5. Criticism of Drama, p. XLV; 6. The Four Aspects of Drama. p. XLVIII.

III. Literary Structure of the Ancient Indian Drama, p. XLIX; The Ten Types of Play. The Nāṭaka, p. XLIX; (a) Subject-matter and the division into Acts, p. XLIX; (b) Explanatory Devices. p. LI; (i) Introductory Scene, p. LI; (ii) The Intimating Speech, p. LI; (iii) The Supporting Scene, p. LI; (iv) The Transitional Scene, p. LI; (v) The Anticipatory Scene, p. LI; (c) The Plot and its Development, p. LI; The Prakaraṇa, LII; The Samavakāra, p. LII; The Īhāmṛga, p. LIII; The Ḍima, p. LIII; The Vyāyoga, p. LIII; The Utsṛṣṭikāṅka, p. LIII; The Prahasana, p. LIII; The Bhāṇa, p. LIV; The Vīthī, p. LIV. 2. Diction of Play, p. LIV; (a) The Use of Metre, p. LIV; (b) Euphony, p. LIV; (c) Suggestive or Significant Names, p. LV; (d) Variety of Languages Dialects, p. LV.

IV. The Ancient Indian Drama in Practice, p. LV; 1. Occasions for Dramatic Performance, p. LV; 2. The Time for Performance, p. LVI; 3. The Playhouse, p. LVII; 4. The Representation, p. LVIII. (a) The Physical Representation, p. LVIII; (b) The Vocal Representation, p. LXI; (c) The Costumes and Make-up, p. LXI; (d) The Temperament, p. LXIII.

V. Literature on the Ancient Indian Drama, p. LXIV; 1. The Early Writers: Śilālin and Kṛśāśva, p. LXIV; 2. The Socalled Sons of Bharata (a) Kohala, (b) Dattila, (c) Śātakarṇi (Śātakarṇa, Śālikarṇa), (d) Aśmakuṭṭa and Nakhakuṭṭa, (e) Bādarāyaṇa (Bādari), p. LXIV; 3. Sam-

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

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

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

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

THE NĀṬYAŚĀSTRA (Translation)

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C H A P T E R O N E

THE ORIGIN OF DRAMA, Pages 1-17

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

C H A P T E R T W O

DESCRIPTION OF THE PLAYHOUSE, Pages 18-32

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

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

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

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

C

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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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