नाट्यशास्त्रम् (प्रथम भाग - अभिनवभारती एवं हिन्दी टीका सहित)
Natyashastra of Bharata Muni with Hindi Commentary (Vol 1)
भरत मुनि / आचार्य अभिनवगुप्त द्वारा
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.
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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.
-XV. 27 ] RULES OF PROSODY 253
[sometimes] is to be constituted (sādhya)² [and when combined with different case-endings] it may imply indication (nirdeśa)³, giving to (sampradāna), taking away (apādāna) and the like.
25. ¹The verbs relate to actions occurring in the present and the past time and the like ; they are sometimes well-established (prathita)² and sometimes to be constituted (sādhya)², are distinguished and divided according to number and person.
The verb
26. [A collection of] five hundred roots divided into twenty-five classes are to be known as verbs (ākhyāta) in connexion with the Recitation, and they add to the meaning of the nouns¹.
27. Those that upasṛjanti (modify) the meaning of the verbal roots in connexion with the meaning of basic words¹ are for that [very] reason called upasarga (preposition) in the science of grammer (saṃskāra-śāstra).
³ Nirdeśa seems to to relate 'nominatives ; for it is one of the meanings of the case-endings. Enumerating these some grammarian says :
निर्देशः करणं कर्म प्रदानमपकर्षणम् । स्वाम्यर्थोऽथाधिकरणं विभक्तार्थाः प्रकीर्त्तिताः . : (Haldar, Itihāsa, p. 170).
25 (C.24; B.XIV.26b and cf. 29b). ¹ Read the couplet as follows :—
संप्रत्यतीतकालक्रियादियोगः प्रथितसाध्यम् । वचनानां यतियुक्तं पुरुषविभक्तं तदाख्यातम्.
B. 27a seems to be corrupt and redundant.
² In case of verbs prathita seems to relate to irregular froms like paśya in place of dṛś, and sādhya to regularly constructed ones. See also note 1 to 24 above.
26 (C.26a; B.XIV. 27b, 29a). ¹ C. omits 26a and gives only 26b as C. 26a. There are different number of roots in lists (Dhātupāṭha) attached to different grammatical works. It is not known which give their number as five hundred. Dhanapāla (970 A.C.). in his commentary to Jaina Śākaṭāyana's Dhātupāṭha says on the subject as follows :
चतुर्दशशतान्याहुश्चत्वारिंशच्च सप्त च । वाक्यताः श्लोकतश्चैव शतानि त्रीणि धातवः ॥ (Ref. Haldar, Itihāsa, p. 44).
Verbal roots are divided according to Pāṇini into ten classes (gaṇa). Their division into twentyfive classes does not seem to occur in any well-known work.
27 (C.26, B.XIV.30). ¹ This definition of the upasarga follows Śākaṭāyana's view on the subject as expressed in the Nirukta (I. 1.3-4). According to this authority upasargas have no independant meaning and
.XV. 34 ] RULES OF PROSODY 255
The case-ending
31. As they vibhajanti (distinguish between) the meanings of an inflected word or words with reference to their roots or gender, they are called vibhakti (case-endings).
The euphonic combination
32. Where separated vowels or consonants sandhīyate (combine)¹ by coming together² (yogataḥ) in a word or words it is called [an instance of] sandhi (euphonic combination).
33. As due to the meeting of two sounds (lit. letters) or of two words, their sequence (krama)¹ sandhīyate (result in a combination), it is called sandhi (euphonic combination).
The compound words
34. The Samāsa (compound word) which combine¹ many words to express a single meaning and suppresses affixes, has been described by the experts to be of six kinds such as Tatpuruṣa and the like.
31 (C.30; B.XIV.34). ¹ This definition follows the etymological sense of the term (vibhakti). Durgasiṁha of the Kalāpa school says the case-endings are so called because of their giving distinctive meaning to a word (अर्थस्य विभजनाद् विभक्ति). See Haldar, Itihāsa, p. 169).
32 (B.XIV.35) C. omits this. Read viśliṣṭa for viśiṣṭa. ¹ The sandhi is strictly speaking, not merely a combination of two sounds (vowels or consonants), in a great number of cases their mutual phonetic influence constitutes a sandhi. This is of five kinds, and relate to savara-s, vyañjana-s, prakṛti-s, anusvāra-s, and visarga-s.
² This 'coming together' depends on the shortness of duration which separate the utterance of the two sounds. According to the ancient authorities sandhi will take place when this duration will not be more than half a mātrā. It is for this reason that the two hemistichs in a couplet are never combined.
अर्धमात्रोच्चारणकालव्यवहितयोर्वर्णयो द्रुततरोच्चारणं सन्धिः। अतएव श्लोकार्धयोर्मन्त्रार्धयोर्वा न सन्धिः। अर्धमात्रोच्चारणकालव्यवधानस्योचितत्वात्. (Hāldar, Itihāsa p. 166).
33 (C.31; B.XIV.36). ¹ C. reads 33a, as वर्णक्रम सम्बन्धः पदसंयोगोऽन्वयसंधीयते.
34 (C.32; B.XIV.37). ¹ Reads saṁharat samāso'pi (B.) for saṁharanti saṁkṣepāt (C.).
256 THE NATYASASTRA [XV. 35
35. Observing such rules of grammar (śabda-vidhāna) one should compose series of inflected words (pada) combined in verse or in prose, which have the quality of suggesting extensive meaning (lit. extensiveness )¹.
Two kinds of word
36 Padas are inflected words¹ and are of two kinds, viz. those used in verse, and those in prose, Now listen² [first] about the characteristics of words used in prose.
Words in prose
37. Words used in prose are not schematically combined, have not the number of their syllables regulated, and they contain as many syllables as are required to express the meaning [in view]¹.
Words in verse
38 Words used in verse consist of schematically combined, syllables which have caesura and stops¹ and which have their number regulated ².
Syllabic metres
39. Thus arises a Rhythm-type (chandas) called Vṛtta (syllabic metre) made up of four feet¹ which expresses different ideas and consists of [short and long] syllables.
Rhythm types
40. Rhythm-types in feet are twenty-six in number. Syllabic metres with these Rhythm-types are of three kinds, viz. even (sama), semi-even (ardha-sama) and uneven (viṣama).
35 (C.33; B.XIV.38). ¹ Read the couplet as follows :—एभिः शब्दविधानैर्विस्तारव्यञ्जनार्थयुतैः। पदबन्धाः कर्तव्याः वृत्तनिबद्धास्तु चूर्णा वा.
36 (C.34; B.XIV.39). ¹ C. vibhajyakapadam for vibhaktyantam ; C. bahir-bodhata for saṃvibodhata.
37 (C.35; B.XIV.40). ¹ B. anibaddhapadam chandas for anibaddhapadavṛnda ; C. arthopekṣākṣarayutam and B. °syutam for arthāpekṣyakṣarayutam.
38 (C.36; B.XIV.41) ¹ C. padaccheda for yaticcheda.
39 (C.37; B.XIV.42). ¹ B. pramāṇa-niyatātmakam for pramāṇaniyatākṣaram; Read pādair-varṇair for pādairvarṇair.
40 (C.38 ; B.XIV.43).
.XV. 51] RULES OF PROSODY 257
41-42. This Rhythm-type which assumes the form of different syllabic metres, is the body of words. There is no word, without rhythm and no rhythm without word. Combined with each other they are known to illuminate the drama.
Twentysix Rhythm-types
43-49. [The Rhythm-type] with one syllable [in a foot] is called Ukta, with two syllables is Atyukta, with three syllables Madhya, with four syllables Pratiṣṭhā, with five syllables Supratiṣṭhā, with six syllables Gāyatri, with seven syllables Uṣṇik, with eight syllables Anuṣṭup, with nine syllables Bṛhatī, with ten syllables Paṅkti, with eleven syllables Triṣṭup, with twelve syllables Jagatī, with thirteen syllables Atijagatī, with fourteen syllables Śakkarī, with fifteen syllables Atiśakkarī, with sixteen syllables Aṣṭi, with seventeen syllables Atyaṣṭi, with eighteen syllables Dhṛti, with nineteen syllables Atidhṛti, with twenty syllables Kṛti, with twentyone syllables Prakṛti, with twentytwo syllables Ākṛti, with twentythree syllables Vikṛti, with twentyfour syllables Saṃkṛti, with twentyfive syllables Atikṛti¹, and with twentysix syllables Utkṛti.
Possible metrical patterns
49-51. Those containing more syllables than these are known as Mālā-vṛttas. And the Rhythm-types being of many different varieties, metrical patterns according to the experts¹ are innumerable. The extent of these such as Gāyatri and the like, is being given [below] But all of them are not in use.
51-76. [Possible] metrical patterns of the Gāyatri [type] are sixtyfour, of the Uṣṇik one hundred and twenty-eight, of the Anuṣṭup two hundred and fiftysix, of the Bṛhatī five hundred and twelve, of the Paṅkti one thousand and twentyfour, of the Triṣṭup two thousand and forty-eight, of the Jagatī four thousand
41-42 (C.39b-40; B.XIV.44b-45).
43-49 (C.41-47a; B.XIV.46-52a). ¹ also called abhikṛti.
49-51 (C.47b, 58b-59a, B.XIV.52b-54a). ¹ These experts are mathematicians like Bhāskarācārya. See Līlāvatī, section 84, (ed Jīvānanda, p. 50).
51-76 (C.59b-80a; B.XIV.54b-79).
33
258 THE NATYASASTRA [ XV. 77-
and ninetytwo, of the Śakkarī sixteen thousand three hundred and eighty-four, of the Atiśakkarī thirtytwo thousand seven hundred and sixty-eight, of the Aṣṭi sixtyfive thousand fiive hundred and thirty-six, of the Atyaṣṭi one lac thirty one thousand and seventy-two, of the Dhṛti two lacs sixty-two thousand one hundred and forty-four, of the Atidhṛti five lacs twenty-four thousand two hundred and eighty-eight, of the Kṛti ten lacs forty-eight thousand five hundred and seventy-six, of of the Prakṛti twenty lacs ninety-seven thousand one hundred and fifty-two, of the Ākṛti¹ forty-one lacs ninety-four thousand three hundred and four, of the Vikṛti eighty-three lacs eighty thousand six hundred and eight, of the Saṃkṛti one crore sixty-seven lacs seventy-seven thousand two hundred and sixteen, of the Abhikṛti (Atikṛti) three crores thirty-five lacs fifty-four thousand four hundred and thirty-two, of the Utkṛti six crores seventy-one lacs eight thousand eight hundred and sixty-four.
77-79. Adding together all these numbers of different metrical patterns we find their total as thirteen crores forty-two lacs seventeen thousand seven hundred and twenty-six.¹
Another method of defining metres
79-81. I have told you about the even metres by counting [their numbers]. You should also know how the triads which make up the syllabic metres. Whether these are one, twenty, thousand or a crore, this is the rule for the formation of all the syllabic metres or metres in general.
81-82. Triads are eight in number and have their own definitions. Three syllables heavy or light, or heavy and light make up a triad which is considered a part of each metrical pattern.
¹ Ślokas giving the numbers of metres of the ākṛti, vikṛti, saṃkṛti, abhikṛti (atikṛti) and utkṛti classes seems to be corrupt in C.
77-79 (C.80b-82a; B.XIV.80-82a). ¹ Readings of B. and C. do not literally agree.
79-81 (C.82-84a; B. foot note 4 in p. 241). ¹ C. omits 79b.
81-82 (C.84b-85; B.XIV.83b-84).
-XV. 90 ] RULES OF PROSODY 259
83-84. [Of these eight triads] bha contains two light syllables preceded by a heavy one (— ◡ ◡), ma three heavy syllables (— — —), ja two light syllables separated by a heavy syllable (◡ — ◡), sa two light syllables followed by a heavy syllable (◡ ◡ —) ra two heavy syllables separated by a light one (— ◡ —), ta two heavy syllables followed by a light one (— — ◡), ya two heavy syllables preceded by a light one and (◡ — —), na three light syllables (◡ ◡ ◡).
85-86. These are the eight triads having their origin in Brahman. For the sake of brevity or for the sake of metre they are used in works on prosody, with or without [inherent] vowels (i. e. a ).¹
86-87 A single heavy syllable should be known as ga and such a light syllable as la.
Separation of two words [in speaking a verse] required by rules [of metre] is called caesura (yati).
87-88. A heavy syllable is that the which ends in a long or prolated (pluta) vowel, Anusvāra, Visarga or comes after a conjunct consonant or sometimes occurs at the end [of a hemistich].
88-89. Rules regarding the metre, relate to a regular couplet (sampat), stop, foot, deities, location, syllables, colour, pitch and hyper-metric pattern.
The regular couplet
89-90. A couplet in which the number of syllables is neither in excess nor wanting is called a regular one (sampat).
The stop
90-91. The stop (virāma) occurs when the meaning has been finally expressed.
83-84 (C.86-87; B.XIV.85-86).
85-86 (C.88-89a; B.XIV.87, 88b). ¹ B. reads one additional hemistich between 85b and 86a.
86-87 (C.89b-90a; B.XIV.89).
87-88 (C.90b-91a; B.XIV.90).
88-89 (C.48; B.XIV.102). 89-90 (C.49, B.XIV.103).
90-91 (C.50; B.XIV.104).
260 THE NATYASASTRA [ XV. 91-
The Foot
The foot (pada) arises from the root pad, and it means one quarter [of a couplet].
The presiding deities of metres
91-92. Agni and the like presiding over different metres are their deities.
Location
Location is of two kinds, viz, that relating to the body and that to a [particular] region.
Quantity of syllables
93. Syllables are of the three kinds, viz. short, long and prolated (pluta).
Colours of metres
Metres have colours like white and the like.
Pitch of vowels
94-95. The pitch of vowels is of three kinds, viz. high, low and medium. I shall speak about their character in connexion with the rules of Dhruvās Rules [about their use] relate to the occasion and the meaning [of thing sung or recited].
Three kinds of syllabic meters
95-97. Syllabic metres are of three kinds, viz. even (sama), semi-even (ardha-sama) and uneven viṣama).
If the number of syllables in a foot of any metre is difficient or in excess by one, it is respectively called Nivṛt or Bhurik. If the deficiency or excess is of two syllables, then such a metre is respectively called either Svarāṭ or Virāṭ.
91-92 (C.51; B.XIV.105).
93 C.53b-54a, B.XIV. (107b-108a). This couplet is preceded by in B. three hemistichs which do not occur in some versions, and which seem to be irrelevant.
94-95 (C.53b-54a, B.XIV.108b-109).
95-97 (C.54b-58a, B.XIV.110-112a).