नाट्यशास्त्रम् (प्रथम भाग - अभिनवभारती एवं हिन्दी टीका सहित)
Natyashastra of Bharata Muni with Hindi Commentary (Vol 1)
भरत मुनि / आचार्य अभिनवगुप्त द्वारा
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
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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.
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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.
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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.
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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.
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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
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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.
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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.
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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.
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But in view of the special assembly, place, occasion and expression of meaning these rules may be combined (lit. be made into one).
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Experts should apply to plays the Local Usages which have been prescribed before for different countries.
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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).
.XIV. 63] THE ZONES & THE LOCAL USAGES 245
The two general types of plays
56. The production of a play in conformity with the rules of dramatic practice is of two types : delicate (sukumāra) and violent (āviddha).
The violent types
57-58. The play which requires violent (āviddha) gestures and movements (aṅgahāra) to represent, cutting, piercing and challenging, and contains the use of magic and occult powers as well as artificial objects and make-up, and has more men and less women [among its dramatis personae] and applies [in its production] mostly the Grand and the Violent Styles, is of the violent type.
59. According to the [expert] producers, [plays of] the Ḍima. the Samavakāra, the Vyāyoga and the Īhāmṛga [classes] are known to be of the violent type.
60. Production of plays of this type should be made by [an impersonation of] gods, Dānavas and Rakṣasas who are majestic and haughty, and have heroism, energy and strength.
The delicate type
61. The Nāṭaka, the Prakaraṇa, Vīthi and the Aṅka are plays of the delicate type, and they depend [for their production] [on an impersonation of] human beings only.
The two Practices
62. I shall now define (lit. relate the characteristes of) the two Practices (dharmī) which have been mentioned before.
The realistic Practice
63-64. If a play depends on natural behaviour [in its characters] and is simple and not articial, and has in its [plot]
56 (B.XIII.59 ; G.59)
57 (B.XIII.60-61, G.60-61).
59 (B.XIII.62, G.62).
60 (B.XIII 63, G.63).
61 (B.XIII.64, G.64). $^1$ B. adds five additional couplets after this.
62 (B.XIII.70, G.65). $^1$ For a discussion on Dharmīs see V. Raghavan, Nāṭya Dharmī and Loka Dharmī (Idealism and Realism of Bharata's Stage), Journal of Oriental Researches. Madras, Vol. VII. pp. 359-375.
63-64 (B.XIII.71-72, G.66-67). $^1$ See note 1 to IX. 1-3.
246 THE NATYASASTRA [ XIV. 65-
professions and activities of the people and has [simple acting and] no playful flourish of limbs and depends on men and women of different types, it is called realistic (lokadharmī)$^1$.
The conventional Practice
65-66. If a play contains speech, activity, beings and states of the extraordinary kind, and requires acting with playful flourish of limbs and possesses characteristics of dance, and requires conventional enunciation, and is dependent on emotionally carried persons (lit.) characters it is to be known as conventional (nāṭyadharmī)$^1$.
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If anything used by (lit. among) people, appears (lit. set foot)$^1$ in a play (lit here) as endowed with a corporal from and speech$^2$ the practice is [also] called conventional (nāṭyadharmī)$^3$.
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[The practice in a play according to which persons are supposed] not to hear words uttered in proximity, or to hear what has not been uttered at all, is [also] called conventional.
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If objects like a hill, conveyance, aerial car, shield, armour, weapon or banner-staff are made to appear on the stage (lit. are used) in [human] form, it is known as an [instance of] the conventional Practice.
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If after appearing in a role, one assumes a different role [in the same play], on account of his being an expert in both the cases or being the sole actor available for both the roles, it is known to be an instance of the conventional Practice.
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If after a person has been employed (lit. being) in the role of a woman for whom marital connexion with a particular character is forbidden by the Śāstras, is made to appear in the
65-67 (B.XIII.75, G.70). $^1$ padam; G. reads bhadram.
$^2$ mūrtimat sābhibhāṣam (B. mūrtimat sābhilāṣam).
$^3$ An instance of this is the personification of the Bhramaśāpa in Māyāpuṣpaka (Ag.).
68 (B.XIII.76, G.71). $^1$ For āsannoktam, G. reads atroktam caiva.
69 (B.XIII.77, G.72). $^1$ G. omits two couplets (70 and 71) after this.
70 (B.XIII.78)
71 (B.XIII.79).
Chapter 15: Verbal Representation & Metres (वाचिकाभिनय)
CHAPTER FIFTEEN
RULES OF PROSODY
The actor's speech
- O the best of Brahmins, I shall now speak about the nature (lit characteristics of) the Verbal Representation which has been mentioned before¹ and which relates to (lit. arises from) vowels and consonants.
Importance of speech in drama
-
One should take care of words¹. For these are known as the body of the dramatic art (nāṭya). And Gestures, Costumes and Make-up and the Temparamental (sātvika) acting [merely] clarify the meaning of words.
-
In this world (lit. here) the Śāstras are made up of words and rest on words; hence there is nothing beyond words, and words are at the source of everything¹.
-
The Verbal representation is related to [a knowledge of] nouns (nāma), verbs (ākhyāta), particle (nipāta), preposition (upasarga), nominal suffix (taddhita) compound words (samāsa), euphonic combination (sandhi) and case-endings (vibhakti).
The two kinds of recitation
- The Recitation (pāṭhya) [in a play] is known to be of two kinds : Sanskritic and Prakritic. I shall speak of their difference in due order.
1 (C.1; B.XIV.1). ¹ For the four kinds of Histrionic Representation which includes the Verbal one see NŚ. VI. 23.
2 (C.1; B.XIV.2). ¹This rule applies to the actors as well as to the play-wright. On this Ag. says : वाचि यत्नस्तु कर्तव्य इति कविना निर्माणकाले नटेन प्रयोगकाले.
3 (C.3; B.XIV.3). ¹ This view is also held by Bhartṛhari (circa 600 A.C.) in his Vākyapadīya (Āgamakāṇḍa). See B. p. 224, foot note.
4. (C.4; B.XIV.4). 5 (C.5; B.XIV.5).
.XV. 9 ] RULES OF PROSODY 249
Different aspects of Recitation
6-7. [They consist of] vowels, consonants, euphonic combination, case-endings, nouns, verbs, prepositions, particles and nominal suffixes. The Sanskritic Recitation is characterised by [a due regard to] these aspects and compound words, and includes various verbal roots¹. Now listen about its application.
The speech-sounds
8 The fourteen sounds beginning with a and ending in au, are known as vowels, and the group of sounds beginning with ka and ending in ha are known as consonants.
Vowles are fourteen in number¹. A, ā, i, ī, u, ū, ṛ, ṝ, ḷ, ḹ, e, ai, o and au are to be known as the vowels.
The group of letters beginning with ka, are consonants. Ka, kha, ga, gha, ṅa, ca, cha, ja, jha, ña, ṭa, ṭha, ḍa, ḍha, ṇa, ta tha da, dha, na, pa, pha, ba, bha, ma, ya, ra, la, va, śa, ṣa sa and ha² [constitute] the group of consonants³.
Consonants : their articulation
- The first two sounds of each group [of the stop consonants] are known as unvoiced (aghoṣa) and the rest [of the group] are called voiced (ghoṣa).
6-7 (C.6-7; B.XIV.6-7). ¹ Read nānādhātu-samāśrayam, C.
8 (C.8; B.XIV.8). ¹ Different Śikṣās and Prātiśākhyas enumerate vowels differently. According to the PŚ. they are 22 in number, while the Atharva, Taittirīya, and Vājasaneyī, Prātiśākhyas and the Ṛktantra Vyākaraṇa (Sāmaveda Pr.) give their number respectively as 13, 13, 16, 23 and 23. See PŚ. (ed. Manomohan Ghosh) p.51.
² PŚ. counts anusvāra, visarga, jihvāmūlīya and upadhmānīya among consonants. See ed. Ghosh, p. 50.
³ B. reads after this a couplet (B.10) from PŚ. see ibid, p. 59. Not occurring in most of the mss. this may be taken as spurious. This is followed in B. by a prose passage which also seems to be spurious. The same is our view about the couplet B.11 which follow this prose passage. The substance of this couplet (B.11) occurs in 9 below.
9 (C.9 ; B.XIV.12). ¹ In C. this couplet occurs after 8 and before the prose passage that follows it.
32
250 THE NATYASASTRA [ XV. 10-
- These¹ [consonants] are to be classified into (lit. known as) voiced and unvoiced, velar, labial, dental, lingual (jihvya)², nasal, sibilant, palatal and Visarjanīya.
11 In these groups [of consonants] ga, gha, ṅa, ja, jha, ñ, ḍa, ḍha, ṇa, da, dha na, ba bha, ma, ya, ra, la and va are voiced, while ka, kha, ca, cha, ṭa, ṭha, ta, tha, pa, pha, śa, ṣa, sa and ha are unvoiced.
12-14. Ka, kha, ga, gha, and ṅa, are velar (kaṇṭhastha)¹ ca, cha, ja, jha, ña, i, ī, ya and śa palatal, ṭa, ṭha, ḍa, ḍha, ṇa, ṛ, ra, and ṣa cacuminal (mūrdhanya), ta, tha, da, dha, na, la, and sa dental, pa, pha, ba, bha, and ma labial; a and ha are from the throat (kaṇṭhastha), o and au are throat-labial (kaṇṭhyoṣṭha-sthāna)², e and ai, throat-palatal (kaṇṭha-tālavya).
14-15. The Visarjanīya is from the throat, and ka and [kha] are from the root of the tongue¹. The place of articulation for pa and pha are lips, and the same will be for the closed (avivṛta) vowels u and ū².
15-16. [The group of sounds] beginning with ka and ending in ma are called stops (sparśa), śa, ṣa sa, and ha are open
10 (C.10; B.XIV.13). ¹ Read the first hemistich as एते घोषाघोषाः कण्ठोष्ठदन्तजिह्वाग्रनासिकाः.
² The jihvya does not seem to occur in any well-known grammatical work. This is perhaps synonymous with mūrdhanya; for in the production of mūrdhanya sounds jihvā (tongue) plays the most important part. The Taittirīya. Pr. describes the manner of their production as follows : Jihvāgreṇa prativeṣṭya mūrdhani ṭa-vargasya (II.37). Curiously enough this term has never again been used in the NŚ.
11 (C.11; B.XIV.14).
12-14 (C.12-14a; B.XIV.15, 15 of p.230 and 16). ¹ For different traditional views about the places of articulation of consonants see PŚ. p. 62. Read 11b as follows :—कखचछटठतथपफ-शषसा इति वर्गेष्वघोषाः.
² Read 12a as follows :—कखगघङाः कण्ठस्थास्तालुस्थाना मतास्तु चछजझञाः.
³ Read 13b as follows :—तालव्या इचुयशाः स्युष्टं टुरषा मूर्ध्नि स्थिता ज्ञेयाः.
⁴ Read 14a as follows : चो चौ कण्ठ्योष्ठौ ए ऐ कारो च कण्ठतालव्यौ.
14-15 (C.14b-15a, B.XIV.16b-17a). ¹ See note 1 to 12-14 above.
² Read 14b-15a, as follows : कण्ठ्यो विसर्जनीयो जिह्वामूलीयौ कखयोः । पफयो-रोष्ठानौ भवे दुकारस्तथास्वरोऽविवृतः.
15-16 (C.15b-16a, B.XIV.17b-18a). ¹ C. saṃvṛtāḥ for saṃvṛtajāḥ.
-XV. 21 ] RULES OF PROSODY 251
(vivṛta) while semivowels (antaḥstha) are closed (saṃvṛta), ṅa, ña, ṇa, na and ma are nasal [sounds].
16-17. Śa, ṣa, and sa and ha are sibilants (ūṣman, lit. hot) ; ya, ra, la and va are semivowels (antaḥstha, lit. intermediate), ḫka from the root of the tongue (jihvāmūlīya) and ẖpa from the Upadhmā (upadhmānīya).
17-18. Ka, ca, ṭa, ta and pa are [simply] uttered (svarita), and kha, cha, ṭha, tha and pha are uttered [markedly] from the throat, and ga, gha, ja, jha, ḍa, ḍha, da, dha, and ba, bha from the throat as well as the breast (kaṇṭhorashya)¹.
18-19. The Visarjanīya should be known as a sound from [the root of] the tongue¹. These are the consonants which have been briefly defined by me. I shall now discuss the vowels with reference to their use in words.
Vowels : their quantity
- ¹Of the above mentioned fourteen² vowels ten constitute homogenous pairs (samāna), of which the first ones are short and the second ones long.
The four kinds of word
- ¹Constituted with vowels and consonants [described above] the words include verbs (ākhyāta), nouns (nāma), roots (dhātu), prepositions (upasarga) and particles (nipāta), nominal affixes (taddhita), euphonic combinations (sandhi) and case-terminations (vibhakti).
16-17 (C.16b-17a; B.XIV.18b-19a).
17-18 (C.17b-18a, B.XIV.19b-20a). ¹ Read this couplet as follows : कचटतपाः स्वरिताः स्युः खछठथफाः स्पृष्टाः कण्ठ्याः । कण्ठोरस्यान् विद्याद् गजभडदघझढधभान् तु पाठ्ये.
18-19 (C.18b-19; B.XIV.20b-21). ¹ See note 1 to 12-14 above. Read 18b as follows : ज्ञेयो विसर्जनीयो जिह्वामूलस्थितो वर्णः. See the foot-note in B. under B. 20b.
20 (C.20; B.XIV.22b-23a). ¹ B. reads one additional hemistich (B 22a), before this. ² About the number of vowels see 8 note 1 above.
21 (C.21; B. foot note 4 in p. 231).
252 THE NATYASASTRA [ XV. 23-
22. The characteristics of vocables have been mentioned in detail by the ancient masters. I shall again discuss those characteristics briefly when an occasion will arise¹.
The noun
23. The noun¹ has its functions determined by the case-endings such as 'su' and the like, and by special meanings derived therefrom²; and it is of five³ kinds and has a basic meaning (prātipadikārtha) and gender⁴.
24. It (the noun) is known to be of seven¹ classes and has six cases, and [sometimes] it is well-established (prathita)² and
22 (C.22; B. foot-note 5 in p. 231).
23 (C.25; B XIV.28). ¹ This couplet has evidently been misplaced in C. as well as B. Begin it as svādyādyā?.
² The second hemistich should be emended as follows : प्रातिपादिकार्थलिङ्ग-युक्तं पञ्चविधं नाम ज्ञेयम्. (mss. लिङ्गयुक्तं, ॰विधमिदं ज्ञेयम् ).
³ The five kinds of noun have been enumerated as follows : उणाद्यन्तं मदन्तं च तद्धितान्तं समासजम् । शब्दानुरूप्यं चैव नाम पञ्चविधं स्मृतम् ॥ Goyīcandra, Saṃkṣiptasāra-vivaraṇa (Ref. Haldar, Itihāsa, p. 174).
⁴ There is a difference of opinion about the number of basic meanings (prātipadikārtha) of a word. According to Pāṇini they are two : charcteristics of a species (jāti) and object (dravya). Kātyāyana adds one more to the number which is gender (liṅga). But Vyāghrapāt—a rather less known ancient authority—took their number to be four. According to him they are : characteristics of a species, object, gender and number (saṃkhyā). Patañjali however considered them to be five in number, e.g. characteristics of a species, object, gender, number and case (kāraka). (Haldar, Itihāsa p. 447-48.
24 (C.23; B.XIV.25b-26a). ¹ The seven classes probably relate to the seven groups of case-endings.
² The words prathita and sādhya as grammatical terms are scarcely well-known. Prathita seems to relate the well-known words as a whole, which cannot be conveniently analysed into component parts. (Uṇādi derivation should in this connexion be considered as the most artificial). It may be in contrast to these that the words which can be built up from the verbal roots and affixes etc. are known as sādhya (to be made). These two terms may therefore be taken as synonymous with rūḍha and yaugika respectively.