नाट्यशास्त्रम् (प्रथम भाग - अभिनवभारती एवं हिन्दी टीका सहित)

-XVIII. 49 ] RULES ON THE USE OF LANGUAGES 331

45. To pure tribes of these names, should be assigned dialects current in Śaurasena.

46. The producer of plays may however at their option use local dialects; for plays may be written in different regions [for local production].

Seven major dialects

47. The Seven [major] dialects (bhāṣā) are as follows : Māgadhī, Āvantī [Āvantījā], Prācyā, Śaurasenī (Śūrasenī), Ardhamāgadhī, Bāhlīkā, Dākṣiṇātyā¹.

48. In the dramatic composition there are, besides, many less important dialects (vibhāṣā)¹ such as the speeches of the Śakāra, Ābhīras, Caṇḍālas, Śabaras, Dramiḍas², Oḍras³ and the lowly speech of the foresters.

Uses of major dialects

49. [Of these] Māgadhī is assigned to guards (lit. inmates) of the royal harem¹, and Ardhamāgadhī to menials, princes and leaders' of merchants' guilds².

---

45 (C.43b-44a; B.XVII.47). 46 (C.44b-45a; B.XVII.48).

47 (C.45b-46a; B.XVII.49). ¹ Māgadhī, Śaurasenī and Ardha-māgadhī are well-known. But any old and authentic description of Āvantī, Prācyā, Bāhlīkā and Dākṣiṇātyā Pkt. seems to be non-existent. According to Pṛthvīdhara a very late authority, Mṛcch. contains the specimens of Āvantī and Prācyā only. It is to be noted that the present list does not include Mahārāṣṭrī.. See M. Ghosh. "Mahārāṣṭrī a late phase of Śaurasenī", JDL.

48 (C.46b-47a; B.XVII.50). ¹ By the word vibhāṣā Pṛthvīdhara understands vividhā bhāṣa hīnāpātra-prayojyatvād hīnāḥ. See Pischel, Grammatik, §§ 3-5. No old and authentic specimen of the vibhāṣās has reached us. According to Pṛthvīdhara the Mṛcch. contains Śākārī and Cāṇḍālī besides Ḍhakkī which last the NŚ. does not know.

² It is curious that after forbidding the use of languages like Dramiḍa (Dramila) in 44 above, the author is including it among the dialects that can be allowed in dramatic works. One possible explanation of this anomaly may be that here we meet with a late interpolation, and passages from 48-61 belong to a later stratum of the text.

³ Read draviḍoḍrajāḥ for dramilāndhrajāḥ, B; draviḍodrajāḥ, C. See 55 note 1.

49 (C.47b-48a; B.XVII.51). ¹ For a list of such persons see DR.II.74.

² According to Pischel this passage assigns AMg. to servants,

332	THE NATYASASTRA	[ XVIII. 50-

50. Prācyā is the language of the Jester¹ and the like ; and Āvanti is of the rogues (dhūrta)². The Heroines, and their female friends are also to speak Śaurasenī when not in any difficulty.

51. To soldiers, gamesters, police chief of the city and the like should be assigned Dākṣiṇātyā¹, and Bāhlīkī is the native speech of the Khasas who belong to the north,

Uses of minor dialects

52. Śākarī should be assigned to the Śakāra and the Śakas and other groups of the same nature¹, and Cāṇḍālī to the Pulkasas and the like.²

53. To charcoal-makers, hunters and those who earn their

---

Rajputs (rājaputra) and leaders of merchants' guild (śreṣṭhi). See Grammatik § 17. But no extant drama seems to illustrate this rule. For Candanadāsa who is a śreṣṭhi, does not speak AMg. (Mudrā, I) while Indra in the disguise of a Brahmin speaks this dialect of Pkt. (Karṇa. ascribed to Bhāsa).

50 (C.48b-49; B.XVII.52). ¹ According to Pṛthvīdhara Viduṣaka in the Mṛcch. speaks Prācyā the sole characteristic of which is abundance of pleonastic ka. See Pischel, Grammatik, Grammatik, § 22.

² C. yojyā bhāṣā for dhūrtānām apy. According to Pṛthvīdhara the the two policemen Vīraka and Candanaka in the Mṛcch. (VI.) speak Āvanti. But according to the latter's own admission he was a Southerner and a man of Karṇāṭa. No old and authentic description of this dialect is available, see Pischel, Grammatik § 26.

51 (C.49b-50a: B.XVII.53). ¹ Candanaka's language in Mṛcch. in spite of Pṛthvīdhara's testimony to the contrary may be taken as a specimen of Dākṣiṇātyā. See 50 note 2 above. No old and authentic description of this dialect is available. Cf. Pischel, Grammatik § 24.

52 (C.50b-51a; B.XVII.54). ¹ śakārāṇām śakādīnām for śakāraghoṣakādīnām (B.), and śabarāṇām śakādīnām (C). According to Pṛthvīdhara Śakāra in Mṛcch. speaks Śākarī dialect. Cf. Pischel, Grammatik, § 24.

² Pṛthvīdhara thinks that Caṇḍālas in Mṛcch (V.) speak the Cāṇḍālī dialect. Cf. Pischel, Grammatik, § 25.

·53 (C.51b-52a; B.XVII.55). ¹ B. śakāra-bhāṣa for śabara-bhāṣā. This dialect seems to have been the parent of the modern Sora language.

.XVIII. 58 ] RULES ON THE USE OF LANGUAGES 333

livelihood by [collecting] wood and leaves should be assigned Śābarī¹ as well as the speech of forest-dwellers.

54. For those who live in places where elephants, horses, goats, sheep, camels or cows are kept [in large numbers] Ābhīrī¹ or Śābarī² has been prescribed, and for forest-dwellers and the like, Drāviḍī³ [is the language].

55. Oḍrī is to be assigned to diggers of subterranean passages, prison-warders, grooms for horses¹ ; and Heroes and others like them while in difficulty are also to use Māgadhi for self-protection.

Distinguishing features of various local dialects

56. ¹To the regions [of India] that lie between the Ganges and the sea, should be applied a dialect abounding in e²

57. To the regions that lie between the Vindhyas and the sea should be assigned a language abounding in na¹ ( or ta).

58. Regions like Surāṣṭra and Avanti lying on the north of the Vetravatī one should assign a language abounding ca¹.

---

² See 54 note 3.
54 (C.52b-54a; B.XVII.56). ¹ Ābhīrī dialect is not available in any extant drama. ² See 53 note 1.
³ Drāviḍī dialect is not available in any extant drama. It is possible that it was not a pure Dravidian speech (See 44 above). Possibly a Middle Indo-Aryan dialect in which Dravidian phonetic and lexical influence predominated was meant by this. Its habitat was in all likelihood some region of North India. Cf. Nitti-Dolci, p. 120-122.
55 (C-54b-55a; B.XVII.57). ¹ Emend oḍhrikārasarakṣasāṃ (ḍha in B) into oḍrī kārāśvarakṣatāṃ (C. oṣṭrikānāñ ca rakṣatāṃ and B. sandhikārāśvarakṣātāṃ); for Oḍri Pkt. see 48 note 3. and Nitti-Dolci, pp. 120 f.n. 4 and 122.
56 (C.55b-56a; B.XVII.59). ¹ B. again reads 44 after 55.
² This "e" is perhaps termination of the nominative singular the a-bases in AMg.
57 (C.53; B.XVII.60). ¹ This relates to a dialect of Pkt. which changes na always into ṇa. Though according to some grammarians Pkt. is always to change na into ṇa, it seems that such was not strictly the case with all its dialects. For example in the so-called Jain Pkt. (AMg. of Hemacandra) has initial n and intervocal ṇṇ.
58 (C.56b-57a; B XVII.61). ¹ It seems that at the time of the

334 THE NATYASASTRA [ XVIII. 59-

59. To people who live in the Himalayas, Sindhu and Sauvīra a language abounding in u should be assigned.¹

60. To those who live on the bank of the Carmaṇvatī river and around the Arvuda mountain a language abounding in o¹ (or ta) should be assigned.

61. These are the rules regarding the assignment of dialects in plays. Whatever has been omitted [here] should be gathered by the wise from the popular usage.

Here ends Chapter XVIII of Bharata's Nāṭyaśāstra which treats of the Rules regarding the Use of Languages.

---

author of the passage intervocal ca in this particular region was yet maintained or dental t sounds were mostly changed into c sound (as in ciṭṭha for tiṣṭha).

59 (C.57b-58a; B.XVII.62). ¹ This u perhaps relates to a close pronounciation of the o vowel.

60 (C. omits this ; B.XVII.63). ¹ This o perhaps relates to a open pronounciation of the u vowel.

61 (C.53b-59; B.XVII.64).

CHAPTER NINETEEN

MODES OF ADDRESS AND INTONATION

Different modes of address

1-2. These are, O the best of Brahmins, the rules on the use of languages [in a drama]. Now listen about the rules of popular modes of address¹ or the manner in which persons of equal, superior or inferior status in a play are to be addressed by those of the superior, the medium or the inferior class.²

Modes of addressing males : addressing great sages

3. As the great sages are adorable (lit. god) even to the gods they are to be addressed as “holy one” (bhagavan)¹ and their wives are also to be similarly addressed.²

Addressing gods, sectarian teachers and learned men

4. Gods,¹ persons wearing sectarian teacher's dress² and persons observing varied vows³ are to be addressed as “holy one” (bhagavan)³ by men as well as women.

---

1-2 (C.1-2, B.XVII.65-66). ¹ This manner of addressing different persons includes referring to them before their ownselves or before others e.g.. In Śak. (I), Duṣyanta is referred to by his charioteer as āyuṣman and then he is addressed in the same term (Yathājñāpayati āyuṣman. āyuṣman paśya paśya).

² Rules given hereafter do not cover all the numerous and different cases occurring in the extant dramatic literature in Skt. and Pkt.

3 (C.3; B.XVII.67). ¹ Ex. Kāśyapa (Kaṇva) addressed by his disciple (Śak. IV.) Mārīca by Duṣyanta (ibid. VII.) and Rāvaṇa in ascetic's disguise by Rāma (Pratimā. V).

² No ex. of this seems to be available in any extant drama.

4 (C.4; BXVII.68). ¹ Ex. : Agni (Abhi. VI). & Varuṇa (ibid. IV).

² Ex. (Rāvaṇa disguised as an ascetic addressed by Rāma (Pratimā. V.). The Jester in Pratijñā (III) addressing the Jain monk (śramaṇaka) as bhaavam (bhagavan) to create laughter ; bhadanta would have been the proper term in this case. See below 15.

³ Read here nānāvratadhara (bha in B) for nānāśrutadhara (B) and nānāśrutidhara (C). Ascetics belonging to minor heterodox sects

336 THE NATYASASTRA [ XIX. 8-

Addressing the Brahmin

5. The Brahmin is to be addressed as “noble one” (ārya),¹

Addressing the king

And the king [is to be addressed as “great king” (mahārāja).²

Addressing the teacher

The teacher [is to be addressed] as “professor” (ācārya).³

Addressing an old man

And an old man [is to be addressed] as “father” (tāta).⁴

Brahmins addressing the king

6. Brahmins may address the kings at their pleasure, by their names. This should be tolerated, for the Brahmins are to be adored by the kings.

Brahmins addressing ministers

7. A minister is to be addressed by Brahmins as “Councillor” (amātya) or “minister” (saciva),¹ and by other persons, inferior to them (i.e. Brahmins) he [is] always [to be addressed] as “sir” (ārya).²

Addressing the equals

8. One is to accost one’s equals by the name with which they are styled¹.

---

seem to have been included in this term. Ag. reads nānāśrutadharaḥ and explains this as bahuśrutaḥ.

5 (C.5; B.XVII.69). ¹ Brahmin (Keśavadāsa) in Madhyama. addressed by Bhīma.

² Ex. Sumantra addressing Daśaratha (Pratimā, II), and Vibhīṣaṇa addressing Rāvaṇa (Abhiṣeka II).

³ Ex. Cāṇakya addressed by his disciple (Mudrā, I).

⁴ Ex. Bharata addressing Sumantra the old charioteer (Pratimā, VI).

6 (C.6; B.XVII.70). ¹ Ex. Indra disguised as a Brahmin addressing Karṇa (Karṇa.), Cf. Cāṇakya addressing Candragupta mostly as Vṛṣala (or Śūdra) in Mudrā.

7 (C.7; B.XVII.71). ¹ No example of this rule seems to be available in any extent drama. See note 2 below.

² Ex. The door-keeper (pratīhārī) addressing Yaugandharāyaṇa (Pratijñā, I.). But curiously enough Rākṣasa has been addressed not as ‘Ārya’ but as ‘Amātya’ (counciller) by the door-keeper, and by his friend Virādhagupta too he is addressed likewise (Mudrā, II).

8 (C.8; B.XVII.72). ¹ Ex. Cāṇakya addressing Rākṣasa and vice versa (Mudrā, VII.).

-XIX. 11 ] MODES OF ADDRESS AND INTONATION 337

Privileged inferiors addressing superiors

A superior person may however be addressed (or referred to)$^2$ by name by inferior persons when the latter are privileged to do so$^3$.

Addressing employees, artisans and artists

9. Men and women in one's employment$^1$, and artisans and artists$^2$ are to be addressed as such (i. e. according to their status)$^3$.

Addressing persons of respect

10. A respected person is to be addressed as 'honoured sir' (bhāva), and a person of slightly less so as "comrade (mārṣaka or mārṣa).$^1$

Addressing persons of equal status

A person of equal status should be addressed as 'brother' (vayasya)$^2$ and a low person as 'hey man' (ham-ho)$^3$

The charioteer addressing the chariot-rider

11. The chariot-rider should always be addressed by the charioteer as "long-lived one" (āyuṣman)$^1$.

---

$^2$ B. saparivāram, so also Ag.
$^3$ Ex. Haṁsaka referring to Yaugandharāyaṇa before the latter. (Pratijñā. I. 13.14). See above note 1.
9 (C.9; B.XVII.73). $^1$ Yaugandharāyaṇa addressing Śālaka by name (Pratijñā. I. 2. 4) and the hero Cārudatta addressing the maid-servant Radanikā (Cāru. I. 21.15).
$^2$ Ag. explains kāruka and śilpi as follows : कारुकाः सूपकारादयः शिल्पिनश्चित्रकारादयः, artisans are those that build stūpas and the like objects, artists are painters and the like.
$^3$ Ex. The king addressing Haradatta one of the teachers of dramatic art (Mālavi. II. 12.4).
10 (C.10; B.XVII.74). $^1$ Ex. pāripārśvika addressing sūtradhāra as bhāva, and sūtra° addressing pāripārśvika as mārṣa (Abhi. 1. 1.6,8). Śākāra once addressing viṭa as bhāva and next time as māliśa (māriṣa) in Cāru. I.17.3; 26.3). The word mārṣaka does not seem to occur any extant drama while māriṣa occurs very often. See Uttara. (I. 4.7) and Mālavi (I. 1. 3).
$^2$ Ex. Siddhārthaka and Samiddhārthaka addressing each other (Mudrā. VI. 2. 14, 16).
$^3$ Ex. Cāṇakya's spy addressing his disciple as ham-ho bamhaṇa, (Mudrā. I. 18.4).
11 (C.11; B.XVII.75). $^1$ Ex. Duṣyanta's priest addressing the two

43

388 THE NATYASASTRA [ XIX. 12-

Addressing an ascetic or a person with beatitude

An ascetic or a person who has attained beatitude (praśānta) is to be addressed as "blessed one" (sādho)$^2$.

Addressing princes

12. The crown-prince is to be addressed as "sire" (svāmin),$^1$ and othar princes as "young master" (bhartṛ-dāraka)$^2$.

Addressing inferior persons

Inferior persons are to addressed as "pleasing one" (saumya)$^3$, "auspicious-looking one" (bhadra-mukha)$^4$ and such terms should be preceded by 'O' (he)$^5$.

---

disciples of Kāśyapa (Kaṇva) and Gautamī tapasvinaḥ (Śak.V. 11. 6).
$^2$ The word sādhu as a form of address does not seem to occur in any extant drama.

12 (C.12; B.XVII.76). $^1$ No example of this rule seems to be available in any extant drama. On the other hand svāmin is very often used in addressing a king. Ex. Yaugandharāyaṇa addressing the king Udayana (Svapna. VI. 17.1). Kauñjāyana and Bhūtika addressing the king Kuntibhoja (Avi. I. 5.3; 8.5). On the use of the word svāmin in inscriptions see Sylvain Lévi, Journal Asiatique, Ser. 9, XIX.95ff. I. Ant. Vol. XXXIII. p. 163. Sītā's maid addresses Rāma as bhaṭṭā (Pratimā. I. 9.2). The door-keeper (pratīhārī) refers to the crown-prince Rāma as bhaṭṭidā-raassa rāmassa (Pratimā. I. 2.9). and not as sāmiassa rāmassa,

$^2$ The word has been used with reference to the crown prince in Pratimā. (loc. cit. I). In referring to other princes play-wrights use the word kumāra. In Pratimā. (III. 14.12) Bharata has been addressed with this term. In Mudrā. (IV. 12.5) Malayaketu has been addressed similarly. Avimāraka, the lover of Kuraṅgī is addressed as bhaṭṭidāraa by her maid (Avi. III. 17 2).

$^3$ This use of the term saumya does not seem to occur in extant drama, and bhadra appears to have taken its place, e.g. Bharata addressing the messenger (bhaṭa) in Pratimā (III.4.2). Duṣyanta addresses his chief of the army (senāpati) similarly (Śak. II. 5.4).

$^4$ Ex. Rākṣasa's spy (puruṣa) addressing his door-keeper (Mudrā. IV. 8.2). In Abhi, (VI. 31.1) Agni (god of fire) addresses Rāma as bhadra-mukha though earlier, (VI. 26.7) he says : na me namaskāraṁ kartuṁ arhati deveśaḥ. The Jester addresses the caṇḍālas as bho bhaddamuha (Mṛcch. X. 23.3).

$^5$ It does not seem to occur before these terms in any extant drama.

-XIX. 16 ] MODES OF ADDRESS AND INTONATION 339

Addressing persons by their occupation or birth

13. In a play a person is to be addressed by a term appropriate to his birth or to the vocation, art or learning practised by him.¹

Addressing a son or a disciple

14. A disciple or a son is to be addressed by the guru or the father as "child" (vatsa)¹ "son" (putraka)², "father" (tāta)³ or by his own name or clan-name (gotra)⁴.

Addressing Buddhist and Jain Monks

15. Buddhist and Jain (nirgrantha) monks are to be addressed as "blessed sir" (bhadanta)¹.

Addressing persons of other sects

Persons of other sects² are to be addressed by terms enjoined by their own rules³.

People addressing the king

16. The king is to be addressed by his servants as well as

---

13 (C.13; B.XVII.77). ¹ Not many examples of this rule seem to be available in any extant drama. In Mṛcch. (X. 20.1) Cārudatta's son addressing the Caṇḍālas as are caṇḍālā may be an example of this.

14 (C.14; B.XVII.78). ¹ Ex. Sauvīra king addressing Avimāraka (Avi. VI. 17.4). Cf. Droṇa addressing Duryodhana (Pañca. I.22.3).
² Ex. The form putraka does not seem to occur in any extant play. The from usually available form is putra. Droṇa addressing Duryodhana as putra (Pañca I. 23.3). Duryodhana addressing his son similarly (Ūru. I. 42.3).
³ No example of this seems to be available in any extant drama.
⁴ Ex. Vālī addressing Aṅgada by name (Abhi. I. 25.2). Kāśyapa (Kaṇva) addressing Śāriṅgarava by name (Śak. IV. 16.1). Instances of a son or a disciple addressed by clan-name (gotra) do not seem to occur in any extant drama.

15 (C.15; B.XVII.79). ¹ Ex. Kṣapaṇaka addressed by Rākṣasa and Siddhārthaka as bhadanta (Mudrā IV. 18.2; V. 2.1). A Buddhist monk is very rarely met with in extant dramas. Aśvaghoṣa's drama included such a character, but one cannot say from the fragments how he was addressed. (See Keith, Skt. Dr. p. 82)
² According to Ag. one is to understand by 'other sects' Pāśupatas and the like.
³ An example of such a rule is a term like bhāpuṣan or bhāsarvajña used in addressing Pāśupata: teachers (Ag.).

16 (C.16; B.XVII.80),

340 THE NATYASASTRA [ XIX. 17-

his subjects as "lord" (deva),¹ but when he is an overlord [of other kings] he is always [to be addressed] by his servants as "sire" (bhaṭṭā)².

Sages addressing the king

17-18. The king is to be addressed by sages (ṛṣi) as "king" (rājan)¹ or by the patronymic term².

The Jester addressing the king

And he should be addressed as "friend" (vayasya)³ or "king' (rājan)⁴ by the Jester (vidūṣaka).

Jester addressing the queen and her maids

The queen and her maids are to be addressed by him as "lady" (bhavatī)⁵.

The king addressing the Jester

The Jester is to be addressed by the king by his name or as "friend" (vayasya)⁶.

---

¹ Ex. The Kañcukin addressing the king (Mudrā. III. 10.3). Gaṇadāsa addressing the king (Mālavi. I. 12. 8). Vibhīṣaṇa refers to Rāma as deva (Abhi. VI. 20.3) when he is not yet a king; besides this the same Vibhīṣaṇa addresses Rāvaṇa as mahārāja (Abhi. III. 15.1). See also 12 note 1.

² Ex. Yavanikā addressing the king Duṣyanta (Śak. VI. 24.10). But in Bāla. (III. 3.1) the cowherds address Saṅkarṣaṇa as bhaṭṭā, and Nandagopa too addresses Vāsudeva likewise (Bāla. I. 19. 30).

17-18 (C. 17-18; B. XVII. 81-82). ¹ Ex. Bhagavān (Yudhiṣṭhira) addressing the king Virāṭa (Pañca. II. 14.2).

² No ex. of this seems to occur in extant dramas. Nārada addresses the two kings simply as Kuntibhoja and Sauvīrarāja in Avi (VI. 20. 8, 12).

³ Ex The Jester in Śak. (II. 2.1) and Mālavi. (V. 3.18).

⁴ No example of this seems to occur in any extant drama. In Ratnā. (I. 16.35) the Jester once addresses the king as bhaṭṭā.

⁵ Bhavatī in the Jester's speech would be bhodi. Ex. The Jester addressing the queen's maid in Svapna. (IV. 0.28) also addressing the queen (Mālavi, IV. 4.23.) and addressing the queen's maid Susamgatā (Ratnā. IV. 0.30).

⁶ Examples are easily available. See Svapna, Śak. Vikram. etc. The Jester is addressed also as sakhe. See Mālavi. (IV. 1.1 and Vikram II. 18.11. etc.) and as bhadra (Vikram. II. 18.15).

-XIX. 22 ] MODES OF ADDRESS AND INTONATION 341

Women addressing their husband

19. By all women in their youth the husband should be addressed as “noble one's son” (ārya-putra)$^1$, but in other cases, the husband is to be addressed simply as “noble one” (ārya)$^2$, and in case of his being a king he may be addressed as “great king” (mahārāja)$^3$ also.

Addressing the elder and the younger brothers

20. The elder brother should be addressed as “noble one” (ārya)$^1$ and the younger brother like one's son$^2$.

These are the modes of address to be used to male characters in a play.

Modes of addressing women

21. I shall now speak of the modes of address to be used to female characters in a play.

Addressing female ascetics and goddesses

Female ascetics and goddesses are to be addressed as “holy lady” (bhagavatī)$^1$.

Addressing wives of senior persons, and elderly ladies

22. Wives of respectable seniors, and other elderly ladies (sthānīyā) are to be addressed as “lady” (bhavatī)$^1$.

---

19 (C.19; B.XVII.83). $^1$ Examples are easily procurable; see Śak, Mālavi, Svapna etc.

$^2$ Ex. Naṭī in the prologue (prastāvanā) addressing the sūtradhāra her husband (Cāru. and Mudrā).

$^3$ Ex. Gāndhārī addressing Dhṛtarāṣṭra (Ūru. I. 38.2). Urvaśī refers to the king likewise (Vikram. IV. 39.2).

20 (C.20; B.XVII. 84a 85a). $^1$ Ex. Lakṣmaṇa addressing Rāma (Pratimā. I. 21.2). Sahadeva addressing Bhīma (Veṇī. I.19.12).

$^2$ Usual from in such a case is vatsa; but the younger brother is also sometimes differently addressed, e.g. by name of the mother as Saumitre, (Pratimā. I. 21.1), Kaikeyīmātaḥ, (ibid. IV. 2.21). See above 14 and 4.

21 (C.21; B.XVII.85a-86a). $^1$ The king addressing the privrājikā (Mālavi. I. 14.2) ; the Kañcukin addressing the female ascetic (tāpasī) in Vikram. (V. 9.2).

22. (C. 22; B. XVII 86b-87a). $^1$ Ex. Sumantra addressing the widowed wives of Daśaratha as bhavatyaḥ (Pratimā. III. 12.2 ). The Kañcukin addressing the Pratīhārī in Svapna. (VI. 0.6).

342 THE NATYASASTRA [ XIX. 23-

Addressing an accessible women and an old lady

An accessible woman (gamyā)$^2$ is to be addressed as "gentle-woman" (bhadre)$^3$ and an old lady as "mother" (amba)$^4$.

Addressing king's wives

23. In a play king's wives are to be addressed by their servants and attendants as "mistress" (bhaṭṭinī), "madam" (svāminī)$^1$ and "lady" (devī)$^2$.

24. [Of these], the term "lady" (devī)$^1$ should be applied to the chief queen (mahiṣī) by her servants as well as by the king. The remaining [wives of the king] are to be addressed [simply] as "mistress" (bhaṭṭinī) and "madam" (svāminī)$^3$.

Addressing unmarried princesses

25. Unmarried princesses are to be addressed by their handmaids as "young mistress" (bhartṛ-dārikā)$^1$.

---

$^2$ gamyā— not within the prohibited degree of sexual relationship.

$^3$ Ex. Avimaraka addressing Kuraṅgikā (Avi. III. 19.0). Duṣyanta addressing Priyaṃvadā (Śak. I. 22.6). But the king addresses Citralekhā as bhadramukhī (Vikram. II. 15.9) as well as bhadre (ibid. III. 15.0).

$^4$ Ex. The king, Urvaśī and their son addressing the female ascetic. (Vikram. V. 12.3,5,18).

23 (C. 23; B. XVII. 87b-88a). $^1$ Ex. (i) bhaṭṭinī. Nipuṇikā addressing the queen (Vikram II. 19.19); Kāñcanamālā addressing the queen (Ratnā I. 18.11). But in Pratimā (I. 5.4) the maid (ceṭī) addresses Sītā who is not yet a queen, as bhaṭṭinī. (ii) Svāminī as a term of address to the queen does not seem to occur in any extant drama.

$^2$ Ex. The maid (ceṭī) addressing the queen Bhānumatī (Veṇī. II. 2.14).

24 (C.24; B. XVII. 88b-89a). $^1$ See above 23 note 2. For an example of king addressing the queen as devī see Pratijñā. II. 10.12.

$^2$ The term bhoginī meant those who were merely an object of enjoyment i.e. those who were not dharma-patnīs (wives elligible to take part in religious rites .

$^3$ No example of svāminī being used in addressing such a wife seems to occur in any extant drama. In Mālavi. IV. 17.8 Nipuṇikā addressing Irāvatī the second wife of Agnimitra uses the term bhaṭṭinī the very term to be used rightly for the chief queen Dhāriṇī.

25 (C.25; B. XVII. 89b-90a). $^1$ Ex. The maid (ceṭī) addressing Padmāvatī (Svapna. I. 15.11) and Kuraṅgī (Avi. III. 0.45).

-XIX. 28 ] MODES OF ADDRESS AND INTONATION 343

Addressing a sister

An elder sister is to be addressed as "sister" (bhaginī)(^2) and an younger sister as 'child" (vatse)(^3).

Addressing a Brahmin lady, a nun or a female ascetic

26. A Brahmin lady, a nun (liṅgasthā) or a female ascetic (vratinī) is to be addressed as "noble lady" (ārye)(^1).

Addressing one's wife

A wife is to be addressed as "noble lady" (ārye)(^2) or by referring to her father's(^3) or son's(^4) name.

Women addressing their equals

27. Women friends among their equals are to be accosted by one another with the word "hallo" (halā)(^1).

Addressing a handmaid

By a superior woman a handmaid (preṣyā) is to be accosted with the word "hey child" (haṃ-je)(^2).

Addressing a courtezan

28. (^1)A courtezan is to be addressed by her attendents as Ajjukā(^2), and when she is an old woman she is to be addressed by other charactors in a play as Attā(^3).

---

(^2) This mode of address does not seem to occur in any extant drama. cf. Karp. I. p. 18.
(^3) Ex. Yaugandharāyaṇa in the role of an elder brother addresses the queen who is playing the role of his younger sister as vatse (Pratijñā. I. 9.11). C. om. 25a.
26 (C. 25b-26a; B. XVII. 90b-91a). (^1) No ex. of this rule seems to be available in any extant drama. Parivrājikā in Mālavi (I) and the female ascetic in Vikram. (V) could have been addresses as ārye instead of as bhagavatī. In Madhyama. Ghaṭokaca addresses the wife of the Brahmin as bhavatī.
(^2) Ex. Sūtradhāra addressing his wife (Mṛcch. I Malati. I)
(^3) e.g. Māṭharaputrī (Māṭhara's daughter). No example seems to occur in any extant drama.
(^4) e.g. Somaśarma-jananī (Somaśarman's mother). No example seems to occur in any extant drama.
27 (C. 26b-27a; B. XVII. 91b-92a). (^1) For ex. see Śak. Vikram. etc.
(^2) Ex. Sītā addressing her maid (Pratimā. I. 4.21), Irāvatī addressing Nipuṇikā (Mālavi. III. 14.1).
28 (C. 27b-28a; B. XVII. 92b-93a). (^{-1}) Read the hemistich 28a as या तत्र वृद्धा सा त्वाख्याता परिजनेन च.

344 THE NATYASASTRA [ XIX. 29-

Addressing wife in love-making

29. In love-making the wife may be accosted as “my dear” (priye)$^1$ by all except the king. But priests’ and merchants’ wives are always to be addressed as “noble lady” (ārye)$^2$.

Giving names to different characters in a play

30. The playwrights should always assign significant names [to characters] which are not well-known and which have been created [by them]$^1$.

Name of Brahmins and Kṣatriyas

31. Of these, Brahmins and Kṣatriyas in a play should, be given, according to their clan or profession, names ending in śarman or varman$^1$.

Naming merchants

32. The names of merchants$^1$ should end in datta$^2$.

Naming warriors

To warriors should be given names indicating much valour.$^3$

---

$^2$ Ex. the heterae (gaṇikā) addressed by her maid (Caru. II. 0.6). The word ajjukā (°āryakā, OIA) “madam” afterwards came to mean ‘heterae’ as in the title of the Prahasana Bhagavadajjukīyam by Baudhāyana Kavi
$^2$ No example of this seems to be available in any extant drama. But the word occurs in the form of attiā in Mṛcch. (IV.30).

29 (C.28b-59a, B. XVII. 93b 94a). $^1$ Śakuntalā is addressed as priye by Duṣyanta (Śak. VII. 20.6), but the occasion is strictly not one of love-making (śṛṅgāra); Udayana while lamenting for Vāsavadattā says Hā priye, hā priya-śiṣye etc. (Svapna. I. 12.53).
$^2$ No example seems to be available in any extant drama.

30. (C.29b-30a: B.XVII. 94b-95a). $^1$ No example of such names seems to occur in any extant drama.

31 (C.30b-31a; B.XVII. 25b-96a). $^1$ No example of such names seems to occur in any extant drama.

32 (C.31b-32a; B.XVII. 96b, 97b). $^1$ Ex. Cārudatta the hero of Bhāsa's play of the same name.
$^2$ B. reads after this one additional hemistich which in translation is as follows : The name of Kāpālikas should end in ghaṇṭa. The interpolator had evidently Bhavabhūti’s Aghoraghaṇṭa (Mālati) in mind.
$^3$ Ex. Vīrasena in Mālavī. (I.8.1).

-XIX. 37 ] MODES OF ADDRESS AND INTONATION 345

Naming king's wives

33. The king's wives should be given names [which are connected] with the idea of victory (vijaya)$^1$.

Naming courtezans

Names of courtezans should end in dattā$^2$, mitrā$^3$ and senā$^4$.

Naming hand-maids

34. In a play hand-maids should be given the names of various flowers$^1$.

Naming menials

Names of menials should bear the meaning of auspiciousness$^2$.

Naming superior persons

35. To superior persons should be given names of deep significance so that their deeds may be in harmony with such names$^1$.

Naming other persons

36. The rest of persons$^1$ should be given names suitable to to their birth and profession.

Names [that are to be given] to men and women [in a play] have been properly described [by me].

37a. Names in a play should always be made in this manner by the playwright.

---

33 (C. 32b-33; B.XVII. 98). $^1$ No example of this seems to occur in any extant drama.
$^2$ No example seems to occur in any old drama. And the name Vāsavadattā for the queen in several dramas seems to be a clear violation of the rule (See Svapna. Ratnā. etc.).
$^3$ No example seems to occur in any old drama.
$^4$ Ex. Vasantasenā in Bhāsa's Cāru. and Śūdraka's Mṛcch.
34 (C.33b-34a; B.XVII. 99). $^1$ Nalinikā in Avi. (II) and Padminikā in Svapna (V) seems to be rare examples of this.
$^2$ Ex. Jayasenā the servant (bhaṭa) of the king (Avi. I).
35 (C.34b-35a; B.XVII 100). $^1$ No example seems to occur in any extant play.
36 (C.35b-36a; B.XVII. 101). $^1$ E.g. Brahmacāri (Svapna. I), Viṭa (Cāru.) Devakulika, and Sudhākāra (Pratimā. IV.) etc.
37a (C. 36b; B. XVII. 102a).

44

346 THE NATYASASTRA [XIX 37-

37-38. After knowing exhaustively everything about the rules of language¹ in a drama, one shonld practise Recitation which is to have six Alaṃkāras.

Qualities of Recitation

²I shall now describe the qualities of Recitation. In it there are seven notes (svara), three voice registers (sthāna), four Varṇas (lit. manner of uttering notes), two ways of intonation (kāku), six Alaṃkāras and six limbs (aṅga). I shall now explain their characteristics.

The seven notes (svara) are : Ṣaḍja, Ṛṣabha, Gāndhāra, Madhyama, Pañcama, Dhaivata and Niṣāda. These are to be made suitable to different Sentiments.

Seven notes to suit differment Sentiments

38-40. In the Comic and the Erotic Sentiments the notes should be made Madhyama and Pañcama. Similarly in the Heroic, the Furious and the Marvellous Sentiments they should be made Ṣaḍja, and Ṛṣabha. In the Pathetic Sentiment the notes should be Gāndhāra and Niṣāda, and in the Odious and the Terrible Sentiments they should be Dhaivata.

Uses of the three voice registers

There are three voice registers (sthāna) : the breast (uras) the throat (kaṇṭha) and the head (śiras).

40-41. In the human body as well as in the Vīṇā notes and their pitches proceed from the three registers : the breast, the throat and the head.

41-42. In calling one who is at a distance, notes proceeding from the head register should be used, but for calling one who is not at a great distance, notes from the throat register is to be used, while for a person who is by one's side, notes from the breast [will be proper].

---

37-38 (C. and prose 37a ; B.XVII. 102b, 103a). ¹ It will be apparent from the notes given above that the rules regarding forms of address have very often been overlooked in extant dramas.
² The text from here till the beginning of 38-40 is in prose.
38-40 (C.38-39; B.XVII. 103b, 104-105a).
40-41 (C.40. 41a; B.XVII. 105b-106).

• 41-42 (C.41b-42a; B.XVII.107).

-XIX. 44 ] MODE OF ADDRESS AND INTONATION 347

42-43. At the time of Recitation, a sentence begun with notes from the breast should be raised to notes of the head register and at its close it should be brought down to notes of the throat.

Uses of the four accents

43. In Recitation the four accents will be : acute (udātta) grave (anudātta), circumflex (svarita) and quivering (kampita).

¹ Recitation in circumflex and acute accents is suitable to the Comic and the Erotic Sentiments, acute and quivering accent is suitable to the Heroic, the Furious and the Marvellous Sentiments, while grave, circumflex and quivering accents are appropriate to the Pathetic, the Odious and the Terrible Sentiments.

Two ways of intonation

There are two ways of intonation, e.g. one entailing expactation (sākāṅkṣa) and another entailing no expectation (nirākāṅkṣa). These relate to the sentence uttered.

44. A sentence which has not completely expressed its [intended] meaning, is said to be entailing an expectation (sākāṅkṣa) and a sentence which has completely expressed such a sense, is said to be entailing no expectation (nirākāṅkṣa).

¹Now, entailing an expectation relates to [the utterance of a sentence] of which the meaning has not been completely expressed and which has notes from the throat and the breast, and begins with a high pitch (tāra) and ends in a low pitch (mandra) and has not completed its Varṇa or Alaṃkāra.

And, entailing no expectation relates to [the utterance of a sentence] the meaning of which has not been completely expressed and which has notes from the head and begins with a low pitch (mandra) and ends with a high pitch (tāra) and has completed its Varṇa and Alaṃkāra.

---

42-43 (C.42b-43a; B.XVII.408).
43 (C. 43b, 43c; B. XVII. 109-110). ¹ The text from here till the beginning of 44 is in prose.
44 (C. 44; B. XVII. 111). ¹ The text from here till the beginning of 45 is in prose.

348 THE NATYASASTRA [ XIX. 45.

The six Alaṃkāras

45. The six Alaṃkāras of the [note in] Recitation are that it may be high (ucca), excited (dīpta), grave (mandra), low (nīca), fast (druta), and slow (vilambita). Now listen about their characteristics.

Uses of the six Alaṃkāras

$^1$The high (ucca) note proceeds from the head register and is of high pitch (tāra); it is to be used in speaking to anyone at a distance, in rejoinder, confusion, in calling anyone from a distance, in terrifying anyone, in affliction and the like.

The excited (dīpta) note proceeds from the head register and is of extra high pitch (tāratara); it is to be used in reproach, quarrel, discussion, indignation, abusive speech, defiance, anger, valour, pride, sharp and harsh words, rebuke, lamentation$^2$ and the like.

The grave (mandra) note proceed from the breast register and is to be used in despondency, weekness, anxiety, impatience, low-spiritedness, sickness, deep wound from weapons, fainting, intoxication, communicating secret words$^4$ and the like.

The low (nīca) note proceeds from the breast register but has a very low pitch (mandra-tara) sound; it is to be used in natural speaking, sickness$^5$, weariness due to austerities and walking a distance, panic, falling down, fainting and the like.

The fast (druta) note proceeds from the throat register and is swift; it is to be used in women's soothing children (lallana) refusal of lover's overture (manmana)$^6$, fear, cold, fever, panic$^7$, agitation, secret emergent (ātyayika), act, pain and the like.

---

45 (C.45; B.XVII. 112-114). $^1$ the text from here till the beginnig of 46 is in prose.
$^2$ C. om. °krandita, °nirbhartsana.
$^3$ B. inserts krīḍā after vyādhi.
$^4$ C. om. guhyārthanthavacana.
$^5$ After vyadhi read tapa-pathesrānta-trasta.
$^6$ C. skhalita-vellana-madana for lallana-manmana. On the meaning of lalla (lallana) and manmana there is no unanimity. We follow Ag's upādhyāya, who says लल्लमन्मना नायिकागतौ बालविनोदन-सान्त्वनादौ, मुखत्येव प्रायपर[भियोगानङ्गीकर]णादौ च (Ag)
$^7$ After trās (trastā, C.) read yastvātyayika (gūḍha) kāryavedanādiṣu.

-XIX. 55 ] MODES OF ADDRESS AND INTONATION 349

The slow (vilambita) note preceeds from the throat register and is of slightly low pitch (mandra)$^8$ ; it is to be used in love$^9$, deliberation, discrimination, jealous anger, envy, saying something which cannot be expressed adequately, bashfulness, anxiety, threatening, surprise, censuring, prolonged sickness$^{10}$, squeezing and the like. [On this subject] there are the following traditional couplets :

46-48. To suit various Sentiments the intonation (kāku) should always be made high (ucca), excited (dīptā), and fast (druta) in a rejoinder, confusion, harsh reproach, representing sharpness and roughness, agitation, weeping, challenging one who is not present (lit. away from the view) threatening and terrifying [anyone], calling one who is at a distance, and rebuking [anyone].

49-50. Intonation should be made grave (mandra) and low (nīca) in sickness, fever, grief, hunger, thirst, observation of a lesser vow (niyama), deliberation, deep wound from a weapon, communicating confidential words, anxiety and state of austerities.

51. Intonation should be made grave (mandra) and fast (druta) in women’s soothing children (lallā)$^1$, refusal to love’s overture (manmanā)$^2$, panic and attack of cold.

52-55. The intonation should be made slow (vilambita), excited (dīptā) and of low pitch (mandra) in following an object lost after being seen, hearing anything untoward about a desired object or person, communicating something desired, mental deliberation, lunacy, envy, censure, saying something which cannot be adequately expressed [by words], telling stories, rejoinder, confusion, an action involving excess, wounded$^1$ and diseased limb, misery, grief, surprise jealous anger, joy and lamentation.

---

$^8$ C. mandra for tanumandra. $^9$ B. reads karuṇa after śṛṅgāra.
$^{10}$ C. reads roṣa for roga.
46-48 (C.46-48; B.XVII. 115-117).
49-50 (C om. B.XVII. 118-119).
51 (C.49; B. XVII. 120). $^1$ C. malle ca mardane for lalle ca manmane. $^2$ See note 1.
51-55 (C. 50; 51a-53a, 51b, 53b, B.XVII.121-124). $^1$ Read vikṣate vyādhite tvaṅge.

350 THE NATYASASTRA [ XIX. 56-

56. Grave (mandra) and slow (vilambita) intonations have been prescribed for words containing pleasant sense and bringing in happiness¹.

57. Exited (dīpta) and high (ucca) intonations have been prescribed for words which express sharpness and roughness. Thus the Recitation should be made to have to different intonations (lit. shelter) by the producers¹.

Intonation in different Sentiments

58-59. Slow intonation is desired in the Comic, the Erotic, and the Pathetic Sentiments. In the Heroic, the Furious and the Marvellous Sentiments the excited intonation is praised. Fast and low intonations have been prescribed in the Terrible and the Odious Sentiments. Thus the intonation should be made to follow the States (bhāva) and the Sentiments.

Six limbs of enunciation

¹Now there are six limbs [of enunciation] such as Separation (viccheda), Presentation (arpaṇa), Closure (visarga), Continuity (anubandha), Brilliance (dīpana) and Calming (praśamana).

Of these, Separation (viccheda) is due to pause (virāma). Presentation (arpaṇa) means reciting something by filling up the auditorium with graceful modulation of voice². Closure (visarga) means the finishing of a sentence. Continuity (anubandha) means the absence of separation between words³ [in a sense group] or not taking breath while uttering them. Brilliance (dīpana) means the gradually augmented notes which proceed from the three voice registers (sthāna), and Calming (praśamana) means lowering the notes of high pitch (tāra) without making them discordant.

Now about their uses in connexion with different Sentiments.

---

56 (C.54; B.XVII.126). ¹ B. reads one additional couplet before this.
57 (C.55; B.XVII.127). ¹ C. reads three additional hemistiches after this.
58-59. (C.57b, 58; B.XVII. 128-131). ¹ The text from here till the beginning of 60 is in prose.
² B. līlāyamānamadhuravalguṇā for līlāvarṇa.
³ B. padāntareṣu vicchedaḥ for °ateṣvavicchedaḥ.