नाट्यशास्त्रम् (प्रथम भाग - अभिनवभारती एवं हिन्दी टीका सहित)
Natyashastra of Bharata Muni with Hindi Commentary (Vol 1)
भरत मुनि / आचार्य अभिनवगुप्त द्वारा
282 THE NATYASASTRA [ XVI. 88-
the fifteenth and the last are heavy [and the rest light] is called Vilambitagati.¹
Example :
- vighūrṇita-vilocanā pṛthu-vikīrṇa-hārā punaḥ
pralamba-raśanā calat-skhalita-pada-manda-kramā ।
na me priyam idaṁ janasya bahumāna-rāgeṇa yan
madena vivaśā vilambita-gatiḥ kṛtā tvaṁ priye ॥
O beloved one, your eyes are rolling, the large necklace is displaced, the girdle is hanging loose, and your slow steps are faltering ; I indeed like¹ this your slow gait that you assume out of overwhelming pride due to this man's love and respect [for you].
Citra-lekhā
- [The metre with the] feet of eighteen syllables of which the first five, the eleventh, the twelfth, the fourteenth, the fifteenth, the seventeenth and the last are heavy [and the rest light] is called Citra-lekhā¹.
Example :
- nānā-ratnâḍhyair bahubhir adhikaṁ bhūṣaṇair aṅga-saṁsthaḥ
nānā-gandhâḍhyair madana-jananair aṅga-rāgaiś ca hṛdyaiḥ ।
keśaiḥ snānârdraiḥ kusuma-racitair vastra-rāgaiś ca tais taiḥ
kānte saṁkṣepāt kim iha bahunā citra-lekhêva bhāsi ॥
O beloved one, you shine very much with the many bejewelled ornaments worn in your limbs, various pleasant cosmetics rich in passion-inspiring scents, hairs clean after bath and decorated with flowers, and varied colours of your clothes. What shall I say more? To be brief, you appear like a painted picture.
¹ Scheme (◡ - ◡, ◡ ◡ -, ◡ - ◡, ◡ ◡ -, ◡ - ◡, ◡ -). This is called Pṛthvī by Piṅgala and his followers.
88 (C.85, B.XV.116). ¹ lit. Is it not dear to me?
89 (C.16, B.XV.117). ¹ Scheme (- - -, - - ◡, ◡ ◡ ◡, ◡ - -, ◡ - -, ◡ - -). This is called Kusumita-latā-vellitā by Piṅgala and his followers.
90 (C.87, B.XV.118).
-XVI. 96 ] METRICAL PATTERNS 283
Śārdūla-vikrīḍita
91-92. [The metre with] the feet of nineteen syllables of which the first three, the sixth, the eighth, the twelfth, the thirteenth, the fourteenth, the sixteenth, the seventeenth and the last are heavy [and the rest light] is called Śārdūlavikrīḍita¹
Example :
nānā-śastra-śataghni-tomara-hatāḥ prabhraṣṭa-sarvâyudhāḥ
nirbhinnôdara-pada-bāhu-vadanā nirbhartsitāḥ śatravaḥ ।
dhairyôtsāha-parākrama-prabhṛtibhis tais tair vicitra-guṇaiḥ
vṛttaṁ te ripu-ghāti bhāti samare śārdūla-vikrīḍitam ॥
The enemies have been repelled after [some of them have been] killed with various weapons, Śataghni and Tomara and [some have] their bellies, arms, feet and face pierced and [some have] lost all their weapons. Your enemy-killing exploits in battle comparable to the tiger's sports and characterised by virtues such as, patience, energy and valour, are splendid.¹
Suvadanā
94-95. [The metre with the] feet of twenty syllables of which the first four, the sixth, the seventh, the fourteenth, the fifteenth, the sixteenth and the last are heavy [and the rest light] is called Suvadanā.¹
Example :
netre līlâlasânte kamala-dala-nibhe bhrū-cāpa-rucire
gaṇḍôṣṭhaṁ pīna-madhyaṁ sama-sahita-ghanaḥ snigdhāś ca daśanāḥ ।
karṇāv aṁsa-pralambau cibukam api nataṁ ghoṇā surucirā
vyaktaṁ tvaṁ martya-loke varatanu vihitāsyêkā suvadanā ॥
91-92 (C.88-89. B.XV.119, 120, 121 . ¹ Scheme (---, ᴗ ᴗ -, ᴗ - ᴗ, ᴗ ᴗ -, - - ᴗ, - - ᴗ, -).
93 (C.90, BXV.122). ¹ B. gives an additional example of this (B.XV.123).
94-95 (C.91-92, B.XV.124-125, 126). ¹ Scheme (---, - ᴗ -, ᴗ ᴗ ᴗ, ᴗ ᴗ ᴗ, ᴗ - -, - ᴗ ᴗ, ᴗ -).
96 (C.93, B.XV.127).
284 THE NĀṬYAŚĀSTRA [ XVI. 97-
Your eyes are like lotus-patals, beautiful with the bow-like eyebrows and their ends are playfully lazy ; the cheeks and lips are plump in their middle, the teeth are all equal, in a line, thickly set and shining, the ears are hanging down as far as the shoulders, the chin is bent and the nose is beautiful, O fair lady, in this mortal world you are indeed the only fair-faced woman whose face has been [carefully] fashioned.
Sragdharā
97-98. [The metre with] the feet of twentyone syllables of which the first four, the sixth, the seventh, the fourteenth, the fifteenth, the seventeenth, the eighteenth, the twentieth and the last are heavy [and the rest light] is called Sragdharā.¹
Example :
cutāśokāravindaiḥ kuruvaka-tilakaiḥ karṇikāraiḥ śirīṣaiḥ
punnāgaiḥ pārijātair vakula-kuvalayaiḥ kiṁśukaiḥ sātimuktaiḥ ।
etair nānā-prakāraiḥ kusuma-surabhibhir viprakīrṇaiś ca tais tair
vāsantaiḥ puṣpa-vṛndair naravara vasudhā sragdharêvâdya bhāti ॥
O king (lit. best among men), due to the many and various sweet smelling vernal flowers such as, Cūta, Aśoka, Aravinda, Kuravaka, Tilaka, Karṇikāra, Śirīṣa, Punnāga, Pārijāta, Vakula, Kuvalaya, Kiṁśuka and Atimukta, this earth looks today like a woman wearing [many] garlands of flowers.
Madraka
100-101. [The metre with] the feet of twentytwo syllables of which the first, the fourth, the sixth, the tenth, the twelfth, the sixteenth, the eighteenth, and the last are heavy [and the rest light] is called Madraka¹.
97-98 (C.94-95, B.XV.128-129, 130). ¹ Scheme (---, - ᑌ -, - ᑌ ᑌ, ᑌ ᑌ ᑌ, ᑌ -, -, ᑌ - - ᑌ - -). 99 (C.96, B.XV.131).
100-101 (C.97-98, B.XV.132-133, 134). ¹ Scheme (- ᑌ ᑌ, - ᑌ -, ᑌ ᑌ ᑌ, - ᑌ -, ᑌ ᑌ ᑌ, - ᑌ -, ᑌ ᑌ ᑌ, -).
-XVI. 105 ] METRICAL PATTERNS 285
Example :
udyatam eka-hasta-caraṇaṁ dvitīya-kara-recitaṁ suvinataṁ
vaṁśa-mṛdaṅga-vādya- madhuraṁ vicitra-karaṇânvitaṁ bahu-vidham ।
madrakam etad adya subhagair vidagdha-gati-ceṣṭitaiḥ su-lalitair
nṛtyasi vibhramâkula-padaṁ vivikta-rasa-bhāvitaṁ śaśi-mukhi ॥
O fair lady (lit. moon-faced one), you are dancing to-day in accompaniment of sweet sounds of flutes and drums the Madraka¹ dance with one of your hands raised up and another bent, and your feet are restless in a hurry. And you are making happy, clever and graceful movements in pursuance of many and various Karaṇas, and this dance is imbued with a distinct Sentiment (rasa).
Aśvalalita
103-104. [The metre with] the feet of twentythree syllables of which the fifth, the seventh, the eleventh, the thirteenth, the seventeenth, the nineteenth and the last are heavy [and the rest light] is called Aśvalalita.¹
Example :
vividha-turaṅga-nāga-ratha-yaudha-
saṁkulaṁ alaṁ balaṁ samuditaṁ
śara-śata-śakti-kunta-parighâsi-
yaṣṭi-vitatam bahu-praharaṇam ।
ripu-śata-mukta-śastra-rava-bhīta-
śaṁkita-bhaṭaṁ bhayâkulam idaṁ
kṛtam abhivīkṣya saṁyuga-mukhe
samîpsita-guṇaṁ tvayâśvalalitam ॥
[Even after] seeing this completely assembled army consisting of many horses, elephants, chariots and fighters, the manifold assaults spread by hundreds of arrows, darts, javelins, clubs and swords, and the foot-soldiers terrified and afraid on account of the
102 (C.99, B.XV.135). ¹ See NŚ. IV.
103-104 (C.100-101, B.XV.136-137, 138). ¹ Scheme (UUU, U - U, - UU, U - U, - UU, U - U, - UU, U -).
105 (C.102, B.XV.139).
286 | THE NĀṬYAŚĀSTRA | [XIII. 106-
noise of released missiles, and the terror-stricken directions, you have practised in the forefront of the battle the sportful movements of a horse, the merit of which is very much desired [by people].
Megha-mālā
106-107. [The metre with] the feet of twentyfour syllables of which the first six, the eighth, the eleventh, the fourteenth the seventeenth, the twentieth and the twentythird are light [and the rest heavy] is called Megha-mālā.¹
Example :
- pavana vala-samāhata tīvra-gambhīra-
nādā balākāvali-mekhalā
kṣitidhara-sadṛśôcca-rūpā mahānīla-
dhumâñjanâbhâmbu-garbhôdvahā ।
sura-pati-dhanur-ujjvāla-baddha-kakṣyā
taḍit-dyota-sannāha-paṭṭôjjvalā-
gagana-tala-visāriṇī prāvṛṣeṇyā
dṛḍhaṃ megha-mālā 'dhikaṃ śobhate ॥
The sky-covering mass of clouds of the rainy season, having deep and piercing sounds, wearing a flight of cranes as their girdle, carrying in their womb water of deep blue colour comparable to that of smoke and collyrium, girding the waist with the rainbow as the belt, having their armour-plates illumined by the flash of lighting looks indeed very beautiful.
Krauñca-pādī
109-110. [The metre with] the feet of twentyfive syllables of which the first, the fourth, the fifth, the sixth, the ninth, the tenth, and the last are heavy [and the rest light] is called Karuñca-pādī.¹
106-107 (C.103-104, B.XV.140-141, 142). ¹ Scheme (∪ ∪ ∪, ∪ ∪ ∪, – ∪ –, – ∪ –, – ∪ –, – ∪ –, – ∪ –, – ∪ –).
108 (C.105, B.XV.143).
109-110 (C.106-107, B.XV.144-145, 146). ¹ Scheme (– ∪ ∪, – – –, ∪ ∪ –, – ∪ ∪, ∪ ∪ ∪, ∪ ∪ ∪, ∪ ∪ ∪, ∪ ∪ ∪, –).
-XVI. 114 ] METRICAL PATTERNS 287
Example :
111. yaḥ kila dakṣaṃ vidruta-somaṃ kratuvaram
a-camasam apagata-kalaśaṃ
pātita-yūpaṃ kṣipta-caṣālaṃ vicayanam
a-samidham a-paśukam acarukam ।
kārmuka-muktenâśu cakāra vyapagata-
suragaṇa-pitṛ-gaṇam iṣuṇā
nityam asau te daitya-gaṇârīḥ pradahatu
makham iva ripu-gaṇam akhilam ॥
Let Śiva (lit. the foe of the demons) who by arrows discharged from his bow quickly spilled the Soma-juice, threw away the Camasa, broke the Kalaśa, felled the Yūpa, dislodged the Caṣāla, put out the fire, destroyed the fuel, scared away the [sacrificial] animals, spilled the Caru and put the gods and the Pitṛs to flight in Dakṣa's great sacrifice, always destroy all your enemies like the same (sacrifice).¹
Bhujanga-vijṛmbhita
112-113. [The metre with] the feet of twentysix syllables of which the first eight, the nineteenth, twentyfirst, twentyfourth and the last are heavy [and the rest light] is called Bhujanga-vijṛmbhita.¹
Example :
114. rūpôpetāṃ devaiḥ sṛṣṭāṃ samada-gaja-
vilasita-gatiṃ nirīkṣya tilottamām
prādakṣiṇyāt prāptāṃ draṣṭum bahu-vadanam
acala-nayanaṃ śiraḥ kṛta-vān haraḥ ।
dīrghaṃ niḥśvasyântar-gūḍhaṃ stana-vadana-
jaghana-rucirāṃ nirīkṣyā tathā punaḥ
pṛṣṭhe nyastaṃ devêndreṇa pravaramaṇi
kanaka-valayaṃ bhujaṅga-vijṛmbhitam ॥
111 (C.108, B.XV.147) ³ B. gives one additional example (B.XV.148) which occurs in Halāyadha's commentary to Piṅgala.
112-113 (C.109-110, B.XV.149-150). ¹ Scheme (---, ---, -- u, u u u, u u u, u u u, - u -, u u -, u -),
114 (C.111, B.XV.151).
288 THE NĀṬYAŚĀSTRA [XVI. 115
Seeing the beautiful Tilottamā created by the gods with the gait of an elephant in rut, while she came to circumambulate him, Śiva fixed all the eyes on her and kept his heads and mouths motionless. And then the lord of gods (Śiva) on seeing her who was beautiful on account of her breasts, face and the hip, sighed silently and put away on his back the golden bangles set with the best of jewels in which snakes were yawning.
The uneven and the semi-even metres
115. These are, O the best of Brahmins, the even metres I mentioned [before]. Now listen about the uneven and the semi-even metres.
116. The metres of which the feet belong to different metrical types and are dissimilar, are called uneven (viṣama).
117-118. The metres in which the two [alternate] feet are similar while the two [contiguous] feet are not similar, are called semi-even (ardha-sama). And the metre in which all the feet are dissimilar is called uneven. The semi-even metre is to have its even and odd feet dissimilar and the first of such groups of feet may be shorter or longer than the rest or one of them may be longer and the other shorter than the rest.
Even metres
119. An even metre is defined by defining one of its feet while uneven metre requires the definition of all its feet. And from a definition of the two feet the semi-even metre is known. This is the division of feet [in different semi-even metres].
120. I have described the even metres with reference to their divisions of feet. Now I shall describe the characteristics of the uneven metres in terms of triads, (i.e. gaṇas).
114a, (C.112, B.XV.153). ¹ According to B. it is spurious.
114b (C.113, B.XV.154). 115 (C.114, B.XV.155).
116 (C.115, B.XV.156).
117-118 (C.116-117, B.XV.157-158).
119 (C.118, B.XV.159). 120 (C.119, B.XV.160)
-XVI. 124 ] METRICAL PATTERNS 289
Pathyā
121. If [in Anuṣṭup], the first foot contains sa, sa, ga, ga, and the second sa, ra, la, ga and such will be the remaining even and odd feet¹, it is called Pathyā².
Example :
122. priya-daivata-mitrāsi priya-sambandhi-bāndhavā¹ ।
²priya-dāna-ratā pathyā dayite³ tvaṃ priyâsi me ॥
You respect the gods and the friends, you love the matrimonial relations and the kinsmen, you are disposed to make affectionate gifts and you are agreeable, O beloved one, you are dear to me.
Uneven Pathyā
123. [The Anuṣṭup metre of which] the first foot contains ma, ra, ga, ga, the second ya, sa, la, ga, the third ra, bha, la, ga and the fourth ja, sa, la, ga [is called an all-uneven (sarva-viṣamā) Pathyā]¹.
Example :
124. naivâcāro, na te mitraṃ na sambandhi-guṇa-kriyā¹ ।
sarvathā sarva-viṣamā pathyā na bhavasi priye ॥
O dear one, you have no [good] conduct, no friend and you have no good action towards the relatives and are in every way very rough ; so you are not agreeable.
121 (C.120, B.XV.162). ¹ C. gives the correct reading yugmāyujakau 'even and odd' (feet).
² (I & III) ᴗ ᴗ —, ᴗ ᴗ —, — — and (II & IV) ᴗ ᴗ —, — ᴗ —, ᴗ —
122 (C.121, B.XV.163). ¹ C. daivata for sambandhi.
² C. varā for ratā.
³ C. yadyapi for dayite.
123 (C.133, B.XV.164). ¹ (I) — — —, — ᴗ —, — —, (II) ᴗ — —, ᴗ ᴗ —, ᴗ —, (III) — ᴗ —, — ᴗ ᴗ, ᴗ —, (IV) — ᴗ ᴗ, ᴗ ᴗ —, ᴗ —.
124 (C.134, B.XV.165). ¹ B. priyā for kriyā.
37
| 290 | THE NATYAŚĀSTRA | [ XVI. 125- |
|---|
Inverted Pathyā
125. These are the characteristics of the first and the third feet¹. They being inverted i.e. the second and the fourth being of this description, the metre will be called the inverted Pathyā.
Example :
126. kṛtena ramaṇasya kiṃ sakhi roṣena te' pyartham ।
viparītā na pathyâsi tvaṃ jaḍe kena mohitā¹ ॥
What is the use of this anger shown to your beloved one ? [It seems that] you are foolish and have been deluded by somebody and have been upset, [so] you are not agreeable.
Capalā
127. [The metre with the feet of eight syllable of which] the fourth, the fifth and the sixth [in the hemistictis] are short, is called Anuṣṭup Capalā.¹
Examples :
128.
na khalv asyāḥ priyatamaḥ śrotavyaṃ vyāhṛtaṃ sakhyā ।
nāradasya pratikṛtiḥ kathyate capalā hîyam ॥
[He] is not this girl’s dearest one. This [information] to be heard [privately] was proclaimed loudly by the female friend. This fickle woman is indeed [to be] called an image of Nārada (the deity of quarrel).
Vipulā
129. [If a metre with the feet of eight syllables has] the seventh syllable short in its second and the fourth feet, it is
125 (C.122, B.XV.166). ¹ A passage before this seems to be lost. C. reads yugmayor—of the two even (feet). B. has ayujor—of the two odd (feet).
126 (C.123, B.XV.167). ¹ We adopt B's reading. (I) ∪ - ∪, ∪ ∪ -, ∪ -, (II) ∪ ∪ -, - ∪ -, - -, (III) - ∪ -, - ∪ -, ∪ -, (IV) ∪ ∪ -, - ∪ -, - -.
127 (C.124, B.XV.168). ¹ C. vipulā for capalā.
128 (C.125, B.XV,169). 129 (C.126, B.XV.170).
-XVI. 135 ] METRICAL PATTERNS 291
called [Anuṣṭup] Vipulā. According to some¹ the seventh syllable in all the feet will be short in [such] Vipulā.
Example :
- saṁkṣiptā vajravan-madhyā hema-kumbha-nibha-stanī ।
vipulâsi priye śroṇyāṁ pūrṇa-chandra-nibhānaṇe ॥
O dear one, you are thin [in body], your waist is slender in the middle like a Vajra, your breasts are like golden pitchers, your hips are large and your face is like the full moon.
- gaṅgêva tvaṁ meghâgame āplāvita-vasundharā ।
kula-vṛkṣān ārujati sravanti vipulâcalāt¹ ॥
You are like the Ganges at the advent of the rains, flooding the earth, destroying the trees on the bank and flowing down from a high mountain
-
The feet of Pathyā are thus of various types ; in the remaining [types of Anuṣṭup] even and odd feet may be made up with other triads (trika)¹.
-
In this metre a triad ending in a heavy syllable (i.e. ma, ra, ya, sa) or consisting of light syllables (i.e. na) is never to occur (lit. desired) after the first syllable while after the fourth syllable a short syllable must occur (lit. is prescribed).
-
If in the feet of a Pathyā there are three heavy syllables at the end it is called [Anuṣṭup] Vaktra.
Example :
- danta-kṣatâdharaṁ subhru jāgara-glāna-netrântam ।
rati-sambhoga-khinnaṁ te darśanīya-taraṁ vaktram ॥
O fair lady, the lips being bitten by teeth, eyes being languid due to keeping awake, your face has become more charming, after its exhaustion in love's enjoyment.
¹ Saitava—mentioned in Piṅgala and Agni P. See CSS. p. 38.
130 (C.127, B.XV.171).
131 (C.128, B.XV.172). ¹ B. C. vanāt for calāt.
132 (C.129, B.XV. 174). ¹ We follow B. 133 (C.130, B.XV.175).
134 (C.131, B.XV.176). 135 (C.132, B.XV.177).
292 THE NATYASASTRA [ XVI, 136-
136. These are all-uneven metres of the Anuṣṭup class. The authorities differ from one another as regards [the arrangement of] the triads and syllables.¹
Vānavāsikā
137. The metre which has its feet consisting of sixteen Mātrās as parts of Gāthā to be divided into four sections in terms of triads and the part of a triad, is called Vānavāsikā.¹
Example :
138. asaṁthita-padā suviḥvalâṅgī
mada-skhalita-ceṣṭita-manojñā ।
kva yāsyasi varoru surata-kāle
viṣamā kiṁ vānavāsikā tvam ॥
O fair lady, your gait is unsteady, limbs are agitated, and your faltering movements due to ardent passion are charming. Where are you going at the time of love’s enjoyment ? Are you a perverse woman of Vanavāsi ?
Ketumatī
139. The metre of which the first and the third feet consist of sa, ja, sa, ga and the second and the fourth bha, ra, na, ga, is called Ketumatī.¹
Example :
140. sphuritâdharaṁ cakita-netram
rakta-kapolam ambuja-dalâkṣam ।
kim idaṁ ruṣâpahṛta-śobhaṁ
ketumatī-samaṁ vada mukhaṁ te ॥
Your lips are throbbing, the eyes which are like lotus-petals are trembling and the cheeks are red. Tell me why has your face robbed of its beauty by anger, become like Ketumatī (flame) ?
136 (B.XV.178). ¹ C. omits this.
137 (C.146, B.XV.179). ¹ Piṅgala calls this Mātrāsamaka. His Vānavāsikā is simply a variety of this. See CSS. p. 21.
138 (C.147, B.XV.180).
139 (C.140, BXV.181). ¹ Scheme : (I & III) ᴗ ᴗ -, ᴗ - ᴗ, ᴗ ᴗ -, -, (II & IV) - ᴗ ᴗ, - ᴗ -, ᴗ ᴗ ᴗ, - -
140 (C.141, B.XV.182).
-XVI. 145 ] METRICAL PATTERNS 293
Apaarvaktra
- In the metre called Aparavaktra the first and the third feet consist of na, na, ra, la, ga and the second and the fourth of na, ja, ja, ra.¹
Example :
- sutanu jala-parita locanaṃ
jalada-niruddham ivêndu-maṇḍalam ।
kim idam apara-vaktram eva te
śaśi-vadane'dya mukhaṃ parāṅ-mukham ॥
O fair lady (lit. moon-faced one) why are your eyes full of tears and why do you look like like the orb of the moon obscured by the clouds and why has your face turned today like some one else's face ?
Puṣpitâgrā
- In Puṣpitâgrā metre the first and the third feet consist of na, na, ra, ya, and the second and the fourth of na, ja, ja, ra, ga.¹
Example :
- pavana-raya-vidhūta-cāru-śākhaṃ
pramudita-kokila-kaṇṭha-nāda-ramyam ।
madhukara-parigīyamāna-śabdaṃ
varatanu paśya vanaṃ supuṣpitâgram ॥
O fair lady, look at the top of the blossoming forest in which the wind is shaking the beautiful branches of trees, the gladdened cuckoos are singing with sweet voice and the bees are humming all around.
Udgatā
- In Udgatā metre the first foot consists of sa, ja, sa,
141 (C.142, B.XV.183, 184). ¹ Scheme : (I & III) ᴗ ᴗ ᴗ, ᴗ ᴗ ᴗ, ᴗ –, (II & IV) ᴗ ᴗ ᴗ, ᴗ – ᴗ, ᴗ – ᴗ, – ᴗ – .
142 (C.132, B.XV.177).
143 (C.144, B.XV.186). ¹ Scheme (I & II) ᴗ ᴗ ᴗ, ᴗ ᴗ ᴗ, – ᴗ –, ᴗ – –, (II & IV) ᴗ ᴗ ᴗ, ᴗ – ᴗ, ᴗ – ᴗ, – ᴗ –, –
144 (C.145, B.XV.187). 145 (C.135, B.XV.188).
294 THE NATYASASTRA [ XVI. 150-
la, the second of na, sa, ja, ga, the third of bha, na, ja, la, ga and the fourth of sa, ja, sa, ja, ga.¹
Example :
146. tava roma-rājir atibhāti
sutanu madanasya mañjarīm |
nābhi-kamala-vivarôtpatita-
bhramarâvalīva kusumāt samudgatā ||
O fair one, the hairs which rise from the hollow of your lotus-like navel are comparable with a swarm of bees coming out of flowers and they exceed in beauty Cupid's blossoms.
Lalitā
147. The metre Lalitā has its first foot consisting of sa, ja, sa, la the second foot of na, sa, ja, ga, the third foot of na, na, sa, sa, and the fourth foot of sa, ja, sa, ja, ga.¹
Example :
148.
lalitā kula-bhramita cāru-vasana-kara-cāru-pallavā |
pravikasitakamala-kānti mukhi pravibhāsi-devi surata-śramâturā||
O lady, hurriedly but gracefully moving the beautiful clothes and the delicate hands and having a blooming lotus-like face you look charming after the fatigue of love's sports.
149. These are the syllabic metres of the even and uneven types, to be used in dramas and poems.
150. There are besides many other syllabic metres which have been mentioned here collectively. They are not to be used because they do not embellish [a composition].
¹ Scheme (I) ᴗ ᴗ –, ᴗ – ᴗ, ᴗ ᴗ –, ᴗ, (II) ᴗ ᴗ ᴗ, ᴗ ᴗ –, ᴗ – ᴗ, –, (III) – ᴗ ᴗ, ᴗ ᴗ ᴗ, ᴗ – ᴗ, ᴗ –, (IV) ᴗ ᴗ –, ᴗ – ᴗ, ᴗ ᴗ –, ᴗ – ᴗ, –
146 (C.136, B.XV.189).
147 (C.137, B.XV.190). ¹ Scheme (I & II) same as in Udgatā. (III) ᴗ ᴗ ᴗ, ᴗ ᴗ ᴗ, ᴗ ᴗ –, ᴗ ᴗ–, (IV) ᴗ ᴗ –, ᴗ – ᴗ, ᴗ ᴗ–, ᴗ – ᴗ, Piṅgala's Lalitā has the fourth foot similar to that of Udgatā
148 (C.133, B.XV.191).
149 (C.148, B.XV.192). 150 (C.149 B.XV.193).
·XVI. 158 ] METRICAL PATTERNS 295
- The syllabic metres forbidden here after may be used in songs. I shall describe their varieties while treating the Dhruvās.
Āryā metres
-
This is the definition of various syllabic metres briefly treated by me. Next I shall give the definition of the Aryās.
-
The Aryās are of five types, viz, Pathyā, Vipulā, Capalā, Mukha-capalā, and Jaghana-capalā.
-
I shall speak about their caesura and division of Mātrās and their varieties depending on Gaṇas which have been prescribed as characteristics of these.
-
In these metres the cæsura marks the division [of feet]; the Gaṇa consists of four Mātrās, the second and the fourth (lit. the last) feet are the even ones, and the first and the third (lit. the rest) odd ones.
-
[In an Āryā] the odd Gaṇas consisting of four Mātrās should have no ja and the even Gaṇas may be of any type according to the choice [of the poet].
156 a. The eighth Gaṇa in every Ārya is to be known as half a Gaṇa (i.e. two Mātrās).
-
The sixth Gaṇa may be of two alternative types and the eighth will consist of one [syllable]. The sixth Gaṇa in the second hemistich will consist of one Mātrā only¹.
-
In one alternative is that the sixth Gaṇa will be ja, (∪ – ∪,) and in the other it will consist of four short syllable, (∪ ∪ ∪ ∪) and these relate to the caesura (yati).
| 151 (C.150, BXV.194). | 152 (C.151, B.XV.195). |
| 153 (C.152, B.XV.196). | 154 (C.153, B.XV.197). |
| 155 (C.154, BXV.198). | 156 (C.155, B.XV.199, 211, 208a). |
| 157 (C.156, B.XV.200, 208b-209a). | ¹ Read 157b (with C) as पश्चार्धे यो गणः षष्ठ एकमात्रः स उच्यते. |
| 158 (C.157, B.XV.201, 209b-210a). |
296 THE NATYASASTRA [ XV. 159-
159. The caesura may occur when the second la after the fifth Gaṇa has been completed or it may occur from the first syllable [of the sixth Gaṇa], or after the fifth Gaṇa [has been completed].¹
Pathyā-Āryā and Vipulā-Āryā
160. The Āryā metre of which the caesura occurs after the three Gaṇas (lit. feet are made up of three Gaṇas) is called Pathyā. The Vipulā Āryā is different from this, only because it observes no cæsura (yati) of any kind [within its hemistichs].¹
Examples :
Pathyā Āryā
161.
rakta-mṛdu-padma-netrâsita-dīrgha-bahula-mṛdu-[kuṭila]-keśī।
kasya tu pṛthu-mṛdu-jaghanā tanu-bāhvaṃsôdarī [na]pathyā ॥
To whom is not agreeable a woman with lovely and lotus-like soft eyes, copious long, black and [curled] hairs, large and soft hip, slim arms and abdomen ?
Vipulā Āryā
162.
vipula-jaghana-vadana-stana-nayanaiś
tāmradharoṣṭha-kara-caraṇaiḥ।
āyata-nāsā-gaṇḍair lalāṭa-
caraṇaiḥ śubhā kanyā ॥
A maiden is auspicious when her hip, face, breasts and eyes are large, lips, palm and feet are red and nose, cheeks, forehead and ears are prominent.
Capalā Āryā
163. In the Capalā (Āryā) the second and the fourth
159 (C.158, B.XV.202, 210b). ¹ Read 159 as द्वितीयादि लघुर्ज्ञेयः समाप्ते प्रथम यतिः.
160 (C.159, B.XV.203). ¹ Read the couplet as गणेषु त्रिषु पादः स्यात् यस्या प थ्या तु सा भवेत् । अतश्च विपुलाऽन्या तु विशेषाद्यतिलक्षणा.
161 (C.160, B.XV. 213).
• 162 (B.XV.214). 163 (B.XV.215, 204).
.XVI. 167 ] METRICAL PATTERNS 297
Gaņas in each hemistich are to consist of a ja (lit. Gaņa with a heavy syllable in the middle).
Example :
- ¹udbhartṛ-gāminī paruṣa-bhāṣiṇī kāma-cihna-kṛta-veśā ।
²yā nâti-māṃsa-yuktā surā-priyā sarvatas capalā ॥
The woman who goes defying her husband, speaks harshly, has erotic signs in her dress, is not very fleshy and is fond of meat, is inconstant in every respect.
Mukha-capalā and Jaghana-capalā Āryā
- When the definition of a Capalā applies to the first hemistich [only] of an Āryā it is called the Mukha-capalā. And when the same applies to the second hemistich [only] it is called Jaghana-capalā.
Examples :
Mukha-capalā Āryā
- āryā mukhe tu capalā tathâpi caryā na me yataḥ sā tu ।
dakṣā gṛha-kṛtyeṣu tathā duḥkhe bhavati duḥkhârtā ॥
My lady is talkative, but still her conduct [in general] is not bad, for she is an expert in my household work, and in my misery she feels miserable.
Jaghana-capalā Āryā
- vara-mṛga-nayane capalâsi
varôru śaśâṅka-darpaṇa-nibhâsye ।
kāmasya sārabhūtena
pūrṇa-mada-cāru-jaghanena ॥
O fair lady with the eyes of the best deer, and a face like the moon or the mirror, by your hips which constitute the best prize of love and which are charming on account of your swelling passion, you are [marked as] faithless (lit. inconstant).
164 (B.XV.216). ¹ B. reads udbhaṭa.
² B. reads jānāti, for yā nâti. Prof. S. P. Bhattacharya suggested this emendation
165 (B.XV.217). 166 (B.XV.218). 167 (B.XV.219).
38
298 THE NATYASASTRA [ XVI. 168-
168. When the two hemistichs of a Capalā have the same characteristics it is called the all-round Capalā.
169. This metre is known have thirty Mātrās in its first hemistich and twenty-seven in the second¹.
170. Following these rules (lit. thus) one should compose plays (lit. poetical composition) utilising (lit. having) therein different metrical patterns belonging to (lit. arising from) different Rhythm-types, and such plays are to have the thirtysix characteristic marks (lakṣaṇa).
Here ends Chapter XVI. of Bharata's Nāṭyaśāstra which treats of the Metrical Patterns.
168 (B.XV.220 ; C.162b-163a).
169 (B.XV.205, 201 ; C.163b-164a,). ¹ The five couplets after this (B.XV.222-226) are corrupt and appear to be spurious. These will be discussed in the Introduction.
170 (C.186b-189, B.XV.227).
Chapter 17: Diction of a Play & Alaṅkāras (काव्यलक्षण)
CHAPTER SEVENTEEN
DICTION OF A PLAY
Thirtysix marks of a good play
1-5. The thirtysix characteristic marks (lakṣaṇa)¹ of [a good] dramatic composition (kāvya)² are as follows : Ornateness (bhūṣaṇa), Compactness (akṣara-saṁghāta), Brilliance (śobhā), Parallelism (udāharaṇa), Causation (hetu), Hesitation (saṁśaya), Favourable Precedent (dṛṣṭānta), Discovery (prāpti), Fancy (abhiprāya), Unfavourable Precedent (nidarśana), Convincing Explanation (nirukta), Persuation, (siddhi), Distinction (viśeṣaṇa),
1-5 (C.1-5, B. p.348-350, XVI.1-5). ¹ About the significance of the the term lakṣaṇa, the commentators of the NŚ. are not at all unanimous. Ag. mentions no less than ten different views on the subject. Evidently some of these are far-fetched and off the mark. It seems that lakṣaṇa in this connexion is comparable to the same word occurring in the compound word mahāpuruṣa-lakṣaṇa (characteristic marks of a superman). According to one view this lakṣaṇa differs from the alaṁkāra (ornament) and the guṇa (qualities) of a person as figures of speech (alaṁkāra) and excellences (guṇa) of a composition differ from its characteristic marks (lakṣaṇa). The composition in this connexion is evidently a dramatic one though some of the commentators think otherwise. For a discussion on the position of lakṣaṇas in the history of the Alaṁkāra literature see S. K. De, Skt. Poetics, II. pp. 4-5 ; see also Ramakrishna Kavi, (B.II.pp. 348 349) and V. Raghavan's paper on Lakṣaṇas in the Journal of Oriental Research, Vol. VI. pp. 70, 71, 81, 82. Mss. of the NŚ. fall into two distinct recensions as regards the text treating the thirty-six lakṣaṇas. One recension followed by older commentators, and late writers like Viśvanātha, and Śiṅgabhūpāla, uses Anuṣṭup verses for the enumeration of lakṣaṇas We have adopted this as the basis of our translation. The second recension which seems to be later, has been followed by commentators like Kirtidhara, Abhinavagupta and late writers like Dhanañjaya and others. This greatly varies from the other recension with which it has not more than seventeen names (of lakṣaṇas) in common, and among these, definitions of eight only are similar in both the recensions.
² Kāvya in this connexion means the dṛśya-kāvya or dramatic composition.
300 THE NATYASASTRA [ XVII. 6-
Accusation of Virtue (guṇātipāta), Excellence (guṇātiśaya), Inference from Similitude (tulya-tarka), Multiplex Predication (padoccaya), Description (diṣṭa), Pointed Utterance (upadiṣṭa), Deliberation (vicāra), Inversion (viparyaya), Slip of Tongue (bhraṃśa), Mediation (anunaya), Series of Offers (mālā), Clever Manner (dākṣiṇya), Censure (garhaṇa) Presumption (arthāpatti), Celebrity (prasiddhi), Interrogation (pṛcchā), Identity (sārūpya), Indirect Expression of one's Desire (manoratha), Wit (leśa), Concealment (saṃkṣepa)$^3$, Enumeration of Merits (guṇa-kīrtana), Semi-uttered Expression (anukta-siddhi) and Compliment (priyavacana = priyokti).
Ornateness
- $^1$To adorn the composition with many figures of speech (alaṃkāra) and Guṇas as if with ornaments, for creating manifold meanings is called Ornateness (bhūṣaṇa, lit. ornament)$^2$.
Compactness
- $^1$When an wonderful sense is expressed by means of a small number of syllables with double entendre, it is called the mark named Compactness (akṣara-saṃghāta, lit. assemblage of syllables)$^2$.
$^3$ Emend saṃkṣobho to saṃkṣepo. See below 38 note 1.
6 (C.6; B.p 350, XVI.6) $^1$ A close study of Ag's. commentary on passsages dealing with lakṣaṇas is liable to give one an impression that the exact meaning of some of the terms at least relating to this subject, has been to some extent lost, and various explanations have been partly based on guess. But in the absence of anything better we are to depend on them though very cautiously. Definitions of various lakṣaṇas are mostly not at all clear without examples which have been very liberally given by Ag. To avoid prolixity we refrain from quoting them here. Interested persons may see them in the Baroda ed. of the NŚ. (Vol. II pp. 294ff.). For an example of bhūṣaṇa. See Kavi. As any old commentary to these (NŚ.) passages dealing with lakṣaṇas, has not come down to us, we used in this connexion the one prepared by M. Ramakrishna Kavi. See B. II pp. 348ff. (Referred to as Kavi).
7 (C.7; B.p.350, XVI.7). $^1$ See Kavi.
-XVII. 12 ] DICTION OF A PLAY 301
Brilliance
- $^1$If a charming and novel meaning [arises] when a less known object is referred to by likening it to a well-known one, and a wonderful sense is expressed through double entendre$^2$ it is called Brilliance (śobhā, lit. beauty)
Parallelism
- When by words expressing similar circumstances$^1$ a suggestion is cleverly made to accomplish an object, it is called Parallelism (udāharaṇa, lit. example)$^1$.
Causation
- When brief and pleasing words by the force of their [tactful] use achieve the desired object, it is called [an instance of] Causation (hetu)$^1$
Hesitation
- When due to many considerations a sentence is brought to an end without fully communicating the essential theme [in view], it is [an instance of] Hesitation (saṃśaya, lit. doubt).$^1$
Favourable Precedent
- That which supporting the case in hand$^1$ is an example of its reason and is pleasing to all people, is a Precedent Favourable to the speaker (dṛṣṭānta, lit. example).$^2$
8 (C.8; B.p 350, XVI.8). $^1$ C. yatra sliṣṭaṃ viśiṣṭyarthaṃ for yatra śliṣṭā vicitrārthā. See Kavi.
9 (C.9; B.p.351, XVI.9). $^1$ C. tvalpārtha for tulyārtha. Cf. SD.438 Ag's definition in trans. is as follows. When from the occurrence (lit. sight) of a single word good many unmentioned ones can be inferred (lit. accomplished) it is called Sample (udāharaṇa).
10 (C.10; B.p 352, XVI.10). $^1$ Cf. SD. 439. Ag. reads this definition as follows:
बहूनां भाषमानानां ह्येकस्यार्थविनिर्णयम् । सिद्धोपमानवचनं हेतुरित्यभिसंज्ञितम्
(B.XVI.14). Its meaning is not clear, Ag.'s explanation does not seem to be convincing. Possibly there is textual corruption in this.
11 (C 11; B.p.352, XVI.11). $^1$ Cf. SD. 440.
12 (C.12; B. p.352, XVI.12). $^1$ C. pakṣapakṣārtha for yastu akṣārtpha. Cf. SD. 341. Ag.'s text in translation is as follows : That a