नाट्यशास्त्रम् (प्रथम भाग - अभिनवभारती एवं हिन्दी टीका सहित)
Natyashastra of Bharata Muni with Hindi Commentary (Vol 1)
भरत मुनि / आचार्य अभिनवगुप्त द्वारा
-XIII. 123 ] THE DIFFERENT GAITS 225
Gait of emaciated, sick and fatigued persons
115-117. The Gait of an emaciated person should consist of slow steps. And in case of an attack of fever or other illness, or of fatigue due to austerities, or hunger, a person is to walk with lean and depressed belly, feeble voice, depressed cheek, lusterless eyes, slow movement of the hands and the feet, tremor and affliction of the limbs and with [every] step he is to emit breath.
Gait of a person walking a long distance
- The Gait of a person walking a long distance is to consist of slow steps, narrowing of limbs and the rubbing of the knees.
Gait of a corpulent person
-
A corpulent person is to walk with the feet raised slowly and he is to drag on his body with great effort.
-
A person going with [hurried] steps should be copiously breathing, and be covered with perspiration due to fatigue and his steps should be simple.
Gait of intoxicated persons
-
The Gait of persons with light (lit. young) and medium intoxication will be reeling, with the two feet [sometimes going] backwards.
-
The Gait of persons heavily (lit. worst) intoxicated will consist of unsteady feet, reeling body and staggering steps.
Gait of a lunatic
123-130. The Gait of a lunatic will consist of irregular steps, many Cārīs in imitation of [various types of] men. He has unpolished and dishevelled hair and body covered with dust ; he talks without any reason and talks too much in an unnatural
115-117 (B.XII.115-117, G.114-116).
118 (B.XII.118, G.117).
119 (B.XII.119, G.118). 120 (B.XII.120, G.119).
121 (B.XII.121, G.120). 122 (B.XII.122, G.121).
123-130 (B.XII.123-130, G.122-129).
29
226 THE NATYASASTRA [ XIII. 131-
manner; sometimes he sings and sometimes laughs and is not ready to accompany [any one]; and he [sometimes] dances in joy and [sometimes makes drumming [with any object he may find before him]. Once he runs swiftly and at other times stands still; [again] sometimes he is seated and sometimes lying down. He is to wear rags of different kinds and to make the public road his irregular dwelling place. A lunatic will be of the above description (lit. this man). His gait will be as follows :
After moving in the Baddhā Cārī he is to cross his feet. Then going round in all the four direction with this Cārī he is to perform the Bhramara Maṇḍala outwards and reach one corner of the stage. Then turning the Trika gracefully and holding the Latā hand with irregular movements he is to move with his feet.
Gait of lame men, cripples and dwarfs
131-136. The Gait of lame persons, cripples and dwarfs in connexion with the display of physical defects for the sake of the Comic Sentiment, will be of three kinds. In one [kind of] Gait of lame persons the feet are to remain stiff. In the second one, feet are to be made Agratalasañcara and the body is to held up (lit. raised) by the stiff foot. [And in the third] the body is to move on one foot, and to rest on another foot and setting feet in this order [the lame men] are to go. This will be one’s Gait when one has run a thorn in the sole of one’s foot. The Gait of cripples will consist of the Agratalasañcara and the Añcita feet, the steady body and the Nata shanks. During the Gait of dwarfs all their limbs are to be narrowed down and they should neither move [quickly] nor take [wide] steps.
Gait of the Jester
137-140. The Jester will have the same Gait consisting of simple laughable steps with feet raised high [and put forward]. And his Gait will relate to three kinds of laughter: laughter due to
131-136 (B.XII.131-136; G.130-135a). $^{1}$ For trividha G. reads vividha and omits 133b.
137-140 (B.XII.137-140, G.135b-138). $^{1}$ For vākyakṛta B.G. read kāvyakṛta.
-X.III 146 ] THE DIFFERENT GAITS 227
limbs, due to words and due to the costume and make-up. Of these the ugly and big teeth, baldness, hunch on the back, lameness and, distorted face will be objects of laughter due to limbs. When one walks like a crane looking up and looking down and with wide strides, this too becomes an object of laughter due to limbs.
140-141. Talking incoherently, meaninglessly, unnaturally and uttering obscene words are to be known as [objects of] laughter due to words.
141-142, A person covered with tattered clothes or skin, or smeared with ink (or lamp-black), ashes or yellow ochere is [an object of] laughter due to the costume and make-up. Hence the [Jester] after considering the characters [he will be confronting] should carefully (lit. essentially) assume [one or more of] these states.
143-146. The Gait of the Jester should be distinguished according to his different conditions. [For example] in his natural Gait he is to carry the Kuṭilaka (kuṭila) in his left hand and to show the Catura (gesture) with the right hand. Besides this he is lower by turns one of his sides, head, hands and feet observing proper tempo and Tāla. The Gait other than this which is natural, will be abnormal. His Gait on having some food which was difficult to get, will be arrested.
Gait of the menials
146-148. The Gait to represent the walking of servants of lower order or other persons of the inferior type should be as follows : in the walking of servants, one of their sides or head or a hand or a foot is to be lowered and their eyes are to move to [different] objects.
² For vakavat G. reads khagavad.
140-141 (B.XII.140b-141a, G.139). ¹ For vākyahāsyam B.G. reads kāvyahāsyam.
141-142 (B.XII.141b-142, G.140-141a).
143-146 (B.XII.143-146a, G.141b-144). ¹ B. reads 146a as alābhalābhād bhuktasya etc.
146-148 (B.XII.146b-147, G.145-146).
228 THE NATYASASTRA [XIII. 148-
Gait of the Śakāra
148-149. The Gait of the Śakāra will consist of proud but ordinary steps, and while walking he will touch his clothes and ornaments and often look at them, and from the unnatural motion of his body his garlands, and suspended parts of the clothes are to move to and fro.
Gait of lowly persons
- Persons of inferior birth are to walk with eyes looking around, protecting their limbs from the contact of other people.
Gait of the Mleccha tribes
- The Gait and movements of the men of different Mleccha tribes such as the Pulindas and the Śabaras should be made according to the lands they inhabit.
Gait of birds
- The Gait of birds, beasts of pray and other animals is to be made according to the character natural to them.
Gait of lions, bears and monkeys
- The Gait of lions, bears and monkeys is to be made [like that] which was assumed by the lord Viṣṇu incarnated as the Man-lion. [It is as described below].
154-155. [In this Gait] after assuming the Ālīḍha Sthāna (posture) with limbs conforming to it, that is, one hand on the knee and the other on the breast, one is to look all around and put one’s chin on one’s shoulder and to walk with feet placed five Tālas apart.
- The Gait should be applied to [represent] lions and such other animals at the time of personal combat as well as in entering the stage.
148-149 (B.XII.149-150a, G.147)
¹ G. omits 141a.
150 (B.XII.150b-151a, G.148). 151 (B.XII. 151b-152a, G.149).
152 (B.XII.152b-153a, G.150). 153 (B.XII.153b-154a, G.151).
154-155 (B.XII.154b-156a, G.152-153).
156 (B.XII.156b-157a, G.154). ¹ Lions etc. here indicate actors with the mask of these animals.
-XIII. 165 ] THE DIFFERENT GAITS 229
157. As for the rest of animals the Gait and the Sthāna (posture) for them when entering the stage or carrying any one or anything on the back should be made suitable to the occasion.
158. These [different] Gaits are thus to be used by wise [actors]. The Gaits that have not been described by me, are to be adopted from [the practice of] people.
Walking postures of women
159-160. I shall now speak of the Gaits and movements of women. The Sthāna (posture) of women in walking and speaking [to others] will be Āyata, Avahittha and Aśvakrānta.
160-161. Āyata : In the Āyata Sthāna (posture) the right foot will be Sama, the left (lit. the other at the side) foot Tryaśra (obliquely placed) and the left waist raised.
161-164 (Uses) : This Sthāna is to be used in invocation, dismissal, observing carefully, thinking and dissimulation. And first appearance on the stage, scattering handfuls of flowers on the stage, anger due to jealous love, twisting the forefinger, prohibition, pride, profundity, silence, fit of resentment (māna) and looking to the horizon are also to be represented from this Sthāna¹.
164-165. Avahittha : The left foot will be Sama and the right (lit. the other at the side) foot Tryaśra (obliquely placed) and the left waist raised up.
165-167. (Uses) : This Sthāna is known (lit. remembered) as natural for women during conversation [with anyone], in determination, satisfaction and conjecture In representing
157 (B.XII.157b-158a, G.155). 158 (B.XII.158b-159a, G.156).
159-160 (B.XII.159b-160, G.156c-157). ¹ B. reads five additional hemistichs after this.
160-161 (B.XII 163b-164a, G.158).
161-164 (B.XII.164b-167a, G.159-161).
164-165 (B.XII.167b-168a, G.162) ¹ B.G. read two additional couplets after this.
165-167 (B.XII.171b-172a, 170b 171a, G.165-166).
280 THE NATYASASTRA [ XIII. 167-
anxiety, amorousness, sportiveness, grace, the Erotic and the like [Sentiments] and looking towards the way of someone [coming or going] this Sthāna is to be used.
167-168. Aśvakrāntā : The Sthāna in which one foot is raised and the other is resting on its fore-part and [ready for] the Sūcī or the Āviddhā Cārī is called Aśvakrāntā¹.
168-169. (Uses) : This Sthāna is to be assumed in taking hold of the branch of a tree, plucking a cluster [of flowers] or in the taking of rest by goddesses or women for any purposes.
169-171. The Sthāna will be [maintained by a dancer] till any movement begins. For during a dance the Sthāna is at an end when the Cārī has begun (lit., is present). This is the rule of the Sthāna for women and for men as well. I shall now describe women’s Gait in relation to their nature.
Gait of young women
171-176. [Such a Gait will serially include the following Sthāna and movements] : The Avahittha Sthāna, the left hand pointing downwards, the right hand with the Kaṭakāmukha gesture placed on the navel, the right foot raised gracefully up one Tāla and thrown on the left one and simultaneously with that the left hand with the Latā gesture placed on the navel and the right side bent, placing the right hand on the hip and the Udveṣṭita movement of the left hand, then the left foot put forward, the right hand with the Latā gesture, [After assuming this Sthāna and movements] they are to walk five steps with the body slightly bent and the head gracefully held in the Udvāhita posture.
176-177. The rules for going about on the stage which have been prescribed for men will apply also for women.
167-168 (B.XII.172b-173a, G.167). ¹ B. reads two additional couplets after this.
168-169 (B.XII.175b-176a, G.168).
169-171 (B.XII.176b-178a, G.169-170).
171-176 (B.XII.178b-183a, G.171-175).
176-177 (B.XII.183b-184a, G.176).
-XIII. 184 ] THE DIFFERENT GAITS 231
Gait of young women
177-179. The steps of women should not be made of six or eight Kalās duration. Such a step will be irksome for them. This will be the Gait of women in their youth. I shall speak [now] about the Gait of women who are aged (sthavīyasī).¹
Gait of aged women
179-181. After assuming the Avahittha Sthāna and putting the left hand on the waist and the right hand with the Arāla gesture upturned, placed between the navel and the breasts, they are to walk gradually with their body neither relaxed nor stiff nor [much] moved about.
Gait of handmaids
181-183. The Gait of hand-maids should be made bewildered (udbhrāntā). They are to walk with slightly raised body and flourishing arms, after assuming the Avahitta Sthāna with the left hand pointing downwards and the right hand showing the Kaṭakāmukha hand held on the navel.
Gait of half-women
183-184. The Gait of the half-women, an admixture of that of men and of woman will consist of stately but graceful movement of limbs and playful steps (lit. feet).
184-186. The time required for the Gait which has been prescribed for persons of the superior type will be halved in case of women and the inferior types of men. And the Gait [prescribed for persons] of the superior, the middling and the inferior types will apply in case of women [of those types] except for the footsteps which will be graceful [for the latter].
177-179 (B.XII.184b-186a, G.177-178). ¹ B.G. read sthāniyā yā striyas tāsām for sthavīyasīnām etāsām. The word sthavīyas may well be a comparative degree form of sthavira. Cf. davīyas for dūra.
179-181 (B.XII.186b-188a, G.179-180).
181-183 (B.XII.188b-190a, G.181-182).
183-184 (B.XII.190b-191a, G.183).
184-186 (B.XII.191b-193a, G.184-185).
232 THE NATYASASTRA [ XIII. 186-
Gait of children
186-187. The Gait of children will be according to their will and no Sauṣṭhava and [fixed] measrement will be required.
Gait of hermaphrodites
187-188. The third type of persons will be hermaphrodites in whose case women's Gait to the exclusion of their [partial] male character, should be applied.
Gait in the change of role
188-189. A change [of their role] by men, women and hermaphrodites should be represented by assumption on their part of Gaits suitable to those [new roles] to the exclusion of their own [original] character.
Gait of persons in disguise
189-191. For disguise, sports or deception [of others] a woman assumes the role of a man, and a man that of a woman. [In such cases] the woman should play the role of a man with patient and liberal spirit and intelligence, and with acts as well as dress, words and movement suitable to that [character].
191-192. To play the role of a woman a man is to wear her clothes, speak like her and look at things and abstain from looking at these as she does, and is to assume a delicate and slow Gait.
Gait of the tribal women
192-193. Women of inferior birth and of the Pulinda and the Śabara tribes are to have Gaits natural to their community.
Gait of women ascetics
193-194. In case of observing a vow or practising austerities or bearing the mark [of religious sects,] or staying in the sky the Samapada Cārī is to be used [as their Gait].
186-187 (B.XII.193b-194a, G.186).
187-188 (B.XII.194b-195a, G 187).
188-189 (B.XII.195b-196a, G.188).
189-192 (B.XII.196b-199a, G.189-191).
192-193 (B.XII.199b-200a, G.192).
193-194 (B.XII.200b-201a, G.193).
234 THE NATYASASTRA [ XIII. 200-
Sitting in shame and sleep etc.
200-201. When a person is ill, ashamed, asleep or in meditation he is to lump together his limbs between legs and knees.
Sitting on ceremonial occasions
201-202. In offering a libation of water to the spirits of deceased parents, muttering of Mantras, saying the Sandhyā prayers and making Ācamana, one is to assume the sitting posture with the hump raised, in which the hip and the heels come together.
Sitting in pacifying a beloved woman
202-203. In appeasing [the anger of] a beloved woman and pouring ghee into the sacrificial fire and doing similar other acts, a person is to put one of his stretched knees on the ground [from the sitting posture mentioned above].
Sitting in worshipping a deity
203-206. Downcast face and the sitting posture with the two knees on the ground (i.e. kneeling down) is to be assumed in adoring a diety, pacifying the angry [superiors], bitterly crying for sorrow, seeing a dead body, the fear of persons of low spirits, the begging of something by lowly persons and servants, and, attendance during the Homa and the sacrificial work. Ascetics (muni) while practising austerities are [also] to assume this sitting posture (lit. rule about sitting).
Seats for different characters
206-207. Now the seats (lit. rules regarding the seats) for males and females in a drama are twofold : public (bāhya) and private (ābhyantara). [These two terms] public and private relate to the royalty (lit. the king).
200-201 (B.XII.207b-208a, G.200).
201-202 (B.XII.208b-209a, G.201).
202-203 (B.XII.209b-210a, G.202).
203-206 (B.XII.201b-213a, G.203-205).
206-207 (B.XII.213b-214a, G.206).
-XIII. 216 ] THE DIFFERENT GAITS 235
Seats for male characters
208-210. O Brahmins, gods and kings are to be given the Lion-seat (i.e. throne), the priests and the ministers the cane-seat, the commander of the army and the crown-prince the Muṇḍā-seat, the Brahmins the wooden seat and the other princes the carpet-seat. This rule of seats should be observed in the royal court.
Seats for female characters
210-214. I shall now speak of the rule of seats for women. The chief queen should be given the Lion-seat, the female relatives and wives of the king other than the chief queen the Muṇḍā-seat, the wives of priests and ministers the cane-seat, the concubines [of the king] the seat consisting of cloth, skin or carpet, the wives of Brahmins and female ascetics the seat made of wood (paṭṭa), the wives of Vaiśyas the seat of pillow (cushion), and for the remaining women the ground will be the seat. So much about the rule of seats in the inner appartments as well as in public places. While residing in one's own house one can take any seat according to one's liking.
Seats for ascetics and sectarians
-
The seats for the ascetics should be according to the rules [of the order] they are observing. For the members of different sects with special marks the seats will be according to their vows.
-
While pouring ghee into the sacrificial fire or doing the sacrificial duty in general or offering a libation of water to the departed parents one is to sit on a Vṛṣī¹, Muṇḍa-seat or cane-seat.
208-210 (B.XII.214b-217a, G.207-210a). ¹ A cane-chair.
² muṇḍāsana is probably nothing other than Bengali moḍā.
210-214 (B.XII.217b-221, G.210b-214).
215 (B.XII.222, G.215). ¹ For example, some have tiger-skin as their seat, some deer-skin or a piece of woolen blanket.
216 (B.XII.223, G.216). ¹ a seat made of kuśa grass (Apte).
236 THE NATYASASTRA [ XIII. 217-
General rules about seats
217. Other local people (sthānīya) who are of [high] birth and possess [great] learning should be honoured by the king by [an offer of suitable] seats.
218. To his equals he (i.e. the king) the is to offer seats equal in height to that of his own, to persons of medium importance, the seats of middling height, and to persons who are superior to him, should be given a more elevated seat, while the lowly persons are to be seated on the ground.
219. Before the preceptor, the king or the spiritual guide (guru) wise persons are to sit on the ground or on an wooden seat.
220. Sitting together with the spiritual guide, the preceptor or the king in a boat, on an elephant or in a chariot, is allowed (lit. not to be objected to).
Lying-down postures
221. Postures in the bed are known (lit. proclaimed) as Ākuñcita, Sama, Prasārita, Vivartita, Udvāhita and Nata.
222. Ākuñcita : Lying down with limbs narrowed down and the two knees sticking to the bed is called the Ākuñcita posture. It is to be used in representing persons attacked with cold.
223. Sama : Lying down with the face upwards and the hands free and turning downwards is called the Sama posture. It is the posture in deep sleep.
224. Prasārita : Lying down with one arm as the pillow and the knees stretched, is called the Prasārita posture. It is to be used to represent one enjoying a sleep of happiness.
225. Vivartita : Lying down with the face downwards is called the Vivartita posture. It is to be assumed in [representing
| 217 (B.XII.224, G.217). | 218 (B.XII.225, G.218). |
| 219 (B.XII.226, G.219). | 220 (B.XII.227, G.220). |
| 221 (B.XII.228, G.221). | 222 (B.XII.229, G.222). |
| 223 (B.XII.230, G.223). | 224 (B.XII.231, G224). |
| 225 (B.XII.232, G.225). |
-XIII. 228 ] THE DIFFERENT GAITS 237
wound from any weapon, death, vomitting, intoxication and lunacy.
-
Udvāhita : Lying down with the head resting on the hand and making a movement of the knee, is called the Udvāhita posture. It is to be used in sports and on entrance of the master.
-
Nata : Lying down with the legs (lit. shanks) slightly stretched and the two hands loosely resting is called the Nata posture. It is to be used in laziness, fatigue and distress.
-
This is the [rule of] Gait and movements I was to tell you. Whatever remains unsaid should be devised according to the demand of circumstances. I shall hereafter speak about the division of the stage into Zones in connexion with going about on it.
Here ends Chapter XIII of Bharata's Nāṭyaśāstra which treats of the Gaits and other Movements.
226 (B.XII.233, G.226). 227 (B.XII.234, G.227).
228 (B.XII.235, G.228).
Chapter 14: Zones and Local Usages (कक्षाविभाग)
CHAPTER FOURTEEN
THE ZONES AND THE LOCAL USAGES ETC.
- One should fix the Zones [of the stage] after knowing the division of the three [kinds of] playhouse, that have been mentioned before by me.
The arrangement of drums
- The producer [of a play] should arrange the drums between the two doors of the tiring room, which I have described before.
The Zonal division
- The Zonal division¹ is to be indicated by going about on the stage. [When one is in a particular] Zone [of the stage, it] will change [lit. be another] with his walking out of it.
Utility of the Zonal division
4-6. [It is] from the [convention of] the Zonal division that one is to know [whether the place in which the scene has been laid] is a house, a city, a garden, a pleasure resort, a river, a hermitage, a forest, the earth, the sea, [any part of] the Three worlds, any one of the Seven great divisions of the earth or its continents, any of the different mountains, the sky (lit. light), the [surface of the] earth or the nether world (rasātala), the places of rest, cities or palaces of the Daityas¹.
- The Zones should be fixed with reference to places such as a city, a forest, a continent or a mountain in which the scenes have been laid (lit. the event occurs).
1 (B.XIII.1, G.1). ¹ See NŚ. II. 63ff.
2 (B.XIII.2, G.2).
3 (B.XIII.3, G.3). ¹ As modern devise of the change of scenes was absent in the ancient Hindu theatre, the convention of the Zonal division indicated the locality in which different characters met.
4-6 (B.XIII.4-6, G.4-6), ¹ B. reads daityanūgālayas for daityānām ālayas.
7 (B.XIII.7, G.7).
-XIV. 16] THE ZONES & THE LOCAL USAGES 239
Indicating relative location
8. [The Zonal] division should relate to location inside, outside or in the middle and to a place far or near.
9. According to the convention of the Zonal division those who have entered [the stage] earlier, should be taken as being inside [a house], while those entering it later are to be known as remaining outside it.
10. He who enters the stage with the intention of seeing them (i. e. those entering earlier) should report himself turning to the right.
The east on the stage
11. The direction which the drums and the two doors of the tiring room face, should always be considered as the east in course of the dramatic performance.
The rule of exit
12. If any person will go out from the place (lit. there i.e. inside the house) on any business he is to make his exit by the very door he used when entering¹.
13. If after going out he is to re-enter that house he will make his exit [if necessary] by the door through which the men [who enter later] came.
14-15. If out of necessity he goes along with latter, [re-] enters the house with the latter, or by himself alone, another Zone should be prescribed for the two. This other Zone will be indicated by their [order in] walking.
Indication of rank in group walking
16. With the equals, one is to walk side by side and with one's inferiors one is to walk surrounded [by the latter], and handmaids are to be known by their walking before [the master].
8 (B.XIII.8, G.8). 9 (B.XIII.9, G.9). 10 (B.XIII.10, G.10).
11 (B.XIII.11, G.11).
12 (B.XIII.12, G.12). ¹ B. reads the couplet differently.
13 (B.XIII.13, G.13). 14-15 (B.XIII 14, G.14).
240 THE NATYASASTRA [ XIV. 17-
Indicating distance great, small and medium
17. The same place if much walked over will be taken as a distant land. And near by lands or lands of medium distance are to be indicated likewise (in the same principle)¹.
Movement of gods and demigods
18-20. According to the various needs of the plot (lit. play) gods and demigods are to move to cities, forests, seas or mountains through the sky, by an aerial car, by their occult power or by different other acts. But while in disguise in a play they (i. e gods and demigods) are to move on the ground, so that they may be visible like human beings (lit. through human causes)¹.
Movement of men in Bhāratavarṣa
21. The gods and demigods can at their will move to any of [the nine] divisions [of the Jambudvīpa], but it is prescribed that men are to move in Bhārata [varṣa] (India) alone.
Departure for a distance place
22. If a person departs on business to a distant place this is to be indicated by closing the Act [with his departing] and mentioning again this fact in an Introductory Scene (praveśaka).
Time allowed for the events of an Act
23. To indicate the attainment of an object one is to traverse a measure of distance. But in case of failure in this matter (lit. in non-attainment of the object) the Act should be brought to an end.
24. [Incidents in a play occurring for] a Kṣaṇa, a Mūhurta, a Yāma and a day are to be accommodated in an Act in pursuance of the Germ (bīja) [of the play].
25. But a month or a year is [to be considered] finished with the end of an Act; and events occurring more than one year after, should not be put in an Act.
16 (B.XIII.16. G.16).
17 (B.XIII.17, G.17). ¹ For an example of this see Uttara I.
18-20 (B.XIII.18-20, G.18-20). ¹ B.G. add one couplet after this.
21 (B.XIII.21, G.22). 22 (B.XIII.23, G.23). 23 (B.XIII.24, G.24).
24 (B.XIII.25, G.25). 25 (B.XIII.26, G.26).
242 THE NATYASASTRA [ XIV. 37-
[Now comes the question] : Why is [it called] pravṛtti (report) [of the Local Usages] ? [In answer to this] it is said that pravṛtti is so called because it informs [one] about the Local Usages regarding costumes, languages, manners and professions in different countries of the world. Vṛtti and pravṛtti mean 'information', There are many countries in this world. Hence it is asked, "How a fourfold division of these (i.e. the four pravṛttis) [can be] proper ? And an observance of all these pravṛttis possess [some] common characteristics." [In reply] it has been said, "It is true that their observance has [some] common characteristics ; but as people have different native countries, costumes, languages and manners, I have prescribed a fourfold classification of the dramatic performance which is attached to four different Styles according to the preference of [different] people. [Hence] countries are connected with the performance which relate to the Styles such as the Verbal (bhāratī) the Grand (sāttvatī), the Graceful (kaiśikī) and the Violent (ārabhaṭī). And from these [countries] arise the four pravṛttis (Local Usages) and also the [entire] performance including them.
The Dākṣiṇātyā Local Usage
Now [it is said] in that connexion (lit. there) that the Southern [countries] favour various kind of dances, songs and instrumental music, an abundance of the Graceful (kaiśikī) Style and clever and graceful gestures. They are as follows :
37 Countries adjacent to mountains named the Mahendra, the Malaya, the Sahya, the Mekala and the Kālapañjara¹, are known as the Dākṣiṇāpatha (Deccan).
38-39 [But] Kosala, Tosala, Kaliṅga¹, Yavana, Khasa, and countries like Dramiḍa, Andhra, Mahārāṣṭra², Vaiṇṇa and Vana-
37 (B.XIII.39, G.39). ¹ Kālapa jara seems to be same as modern Kāliñjara (=Kālapi jara) ; piñjara is a variant of pañjara; see Paia-saddamahannavo, sub voce.
38-39 (B.XIII.40-41, G.40-41). * See note 1 to 43-45.
• ² Andhra-Mahārāṣṭra may also be taken as the name of the great Andhra empire (mahā-rāṣṭra).
-XIV. 46] THE ZONES & THE LOCAL USAGES 243
vāsika which lie between the Southern Ocean and the Vindhya [mountain] are always to take to the Dākṣiṇātyā Local Usages³.
The Āvantī Local Usage
40-41. Avantī, Vidiśā, Saurāṣṭra, Mālava, Sindhu, Sauvīra, Arvudeya¹ Daśārṇa, Tripura, and Mṛttikāvat always take to the Āvantī Local Usage².
- The performance [of a play] by [people of] these [countries] should depend on the Grand (sāttvatī) and the Graceful [kaiśikī] Styles and [such a procedure] should be adopted by the producers.
The Oḍhra-Māgadhī Local Usage
43-45. Eastern¹ [countries such as] Aṅga, Vaṅga, Kaliṅga², Vatsa, Oḍhra (Oḍra), Magadha, Puṇḍra, Nepāla, Aṃtargira, Bahirgira, Plavaṃgama, Malada³, Mallavartaka,⁴ Brahmottara,⁵ Bhārgava,⁶ Mārgava,⁷ Prāgjyotiṣa, Pulinda, Videha and Tāmralipta, adopt the Local Usage known as the Oḍhra-Māgadhī.
- In relation to other countries too known in the Purāṇas as belonging to the East the Oḍhra-Māgadhī Local Usage is applied.
³ Geographical names mentioned in this passage and the passages that follow, are mostly to be met with in the Purāṇas (sometimes with variant readings). For a discussion on the same see Dines Chandra Sircar, ‘Text of the Puranic Lists of Peoples’ (IHQ. Vol. XXI. 1945 pp. 297-314).
40-41 (B.XIII.42-43, G.42-43). ¹ Arvuda or modern Ābu in Rajputana is probably meant by this name.
42 (B.XIII.44, G.44).
43-45 (B.XIII.45-47, G.45-47). ¹ B. prāṅgā pravṛttayaḥ.
² The twofold mention of Kaliṅga requires an explanation. It is possible that the two different Usages were current in this region.
³ Maladā be may modern Maldah District of Bengal.
⁴ Mallavartaka may be modern Mallabhum (Bankura in Bengal).
⁵ For Brahmottara see Viśvabhāratī Patrikā, Vol. IV. pp. 250ff.
⁶ Bhārgava remains unidentified.
⁷ Mārgava remains unidentified.
46 (B.XIII.48, G.48).
244 THE NATYASASTRA [ XIV. 47-
The Pāñcāla-Madhyamā Local Usage
47-48. Countries such as Pañcāla, Śūrasena, Kāśmīra, Hastināpura, Vālhika, Śākala¹, Madra and Uśīnara which are contiguous either to the Himalayas or to the Northern bank of the Ganges, take to the Pāñcāla-madhyamā Local Usage.
- In this Usage the Grand (sāttvatī) and the Violent (ārabhaṭī) Styles are known [to predominate]. The application of these [means] paucity of song and excessive movement and extraordinary Gaits and steps.
The twofold entrance in observing Local Usages
-
Going about on the stage in [observing] Local Usages, will be in two ways, viz. by entering from the right and by entering from the left.
-
In the Āvantī and the Dākṣiṇātyā Local Usage the going about [on the stage] will be from the right, and in the Pāñcālī and the Oḍhra-Māgadhī it will be from the left.
-
In case of the Āvantī and the Dākṣiṇātyā Local Usages the door to be used in entering should be the Northern one, while in case of the Pāñcālī and Oḍhra-Māgadhī Local Usages the Southern door should be used.
-
But in view of the special assembly, place, occasion and expression of meaning these rules may be combined (lit. be made into one).
-
Experts should apply to plays the Local Usages which have been prescribed before for different countries.
-
In musical plays (gānakādi) these rules should be simplified. One should produce them (lit. practice those acts) in disregard of the multiplicity of Local Usages.
47-48 (B.XIII.49-50, G.50-51). ¹ The reading Śalyaka of some mss. may be a variant of Śālvaka. As in the Purāṇas an expression like śālvāḥ śākalavāsinaḥ is met with. Śālvas or Śālvakas might have been the name of a tribe residing in the ancient Śākala region.
49 (B.XIII.51, G.49). 50 (B.XIII.52, G.52).
51 (B.XIII.53, G.53). 52 (B.XIII.54, G.54).
53 (B.XIII.55, G.55). 54 (B XIII.56, G.56). 55 (B.XIII.57, G.58).