384 THE NATYASASTRA [ XXI. 28-

Secondary Juncture in the Episode

28. One or more Junctures should be applied in an Episode (patākā). As these serve the purpose of the Principal [Plot] they called Secondary Junctures (anubandha).

Limit of the Episode

29. The Episode should come to an end either at the Develoment (garbha) or at the Pause (vimarśa). Why ? Because its treatment is for the purpose of something else (i. e. the Principal Plot).

The Episode Indication

30. When some matter being taken in hand (lit. already thought about), another matter of similar nature (lit. characteristics) is suggested through an accidental idea (āgantuka-bhāva), it is called Episode Indication (patākā-sthāna).

The First Episode Indication

31. The sudden development of a novel meaning (arthasampatti) due to an indirect suggestion, is called the First Episode Indication

The Second Episode Indication

. 32. Words completely carrying double meaning and expressed in a poetic language, are called the Second Episode Indication.

The Third Episode Indication

33. That which suggests with courtesy the object [of a play] in a subtle manner and in the form of a dialogue, is called the Third Episode Indication.

---

28 (C.29 ; K. XIX. 27). $^1$ Some read anubandha as anusandhi ; cf. DR. III. 26-27.
29 (C.30 ; K. XIX. 28). $^1$ Emend tasmāt into kasmāt.
30 (C.31 ; K. XIX. 29). $^1$ DR.(I. 14) merely defines the term and ignores its varieties. But SD. (298-299) follows NŚ. and defines them. See NL. 1000-1001. Sāgaranandin says that these should not be applied to the last Juncture (nirvahaṇa).
31 (C.32 ; K. XIX. 30). $^1$ Emend guṇavatyupa° into guṇa-vṛttyupa°
$^2$ See SD. 300; NL. 1007.
32 (C.33 ; K. XIX. 31). $^1$ Emend vacasātiśaya° into vacaḥ sātiśaya°. See SD. 301 and NL. 1015.
33 (C.34 ; K. XIX. 32). $^1$ See SD. 302; NL. 1021-1022.

.XXI. 41 ] THE LIMBS OF HE JUNCTURES 385

The Fourth Episode Indication

34. Words with a double meaning expressed in a well-knit poetic language and having a reference to something [other than what appears at first sight] is called the Fourth Episode Indication.

35. The poetical composition meant to be acted should have the five Junctures (sandhi) and four Episode Indications (patākā-sthānaka)¹. I shall next speak of the Junctures.

The five Junctures

36. The five Junctures in a drama are the Opening (mukha), the Progression (pratimukha), the Development (garbha), the Pause (vimarśa) and the Conclusion (nirvahaṇa)¹.

37. The Principal [Plot] is known to be consisting of the five Junctures (sandhi). The remaining Junctures are to be supported by the Junctures of the Principal [Plot]¹.

The Opening

38. That part of a play, in which the creation of the Germ (bīja) as the source of many objects and Sentiments takes place, is called in consideration of its body the Opening (mukha, lit. face)¹

The Progression

39. Uncovering of the Germ placed at the Opening after it has sometimes been perceptible and sometimes been lost, is called the Progression (pratimukha).

The Development

40. The sprouting of the Germ, its attainment or non-attainment and search for it, is called the Development (garbha)¹.

The Pause

41. One's pause (vimarśa, lit. deliberation) over the Germ (bīja) that has sprouted in the Development (garbha) on account

---

34 (C.35; K.XIX.33). ¹ See SD. 303; NL. 1033.
35 (C.36; K.XIX.34).
36 (C.37; K.XIX.35), ¹ See DR. I. 23-24; SD. 331-332; NL. 458.
37 (C.38; K.XIX.36). ¹ These relate to the Subsidiary Plot.
38 (C.39; K.XIX.37). ¹ See DR. I 24-25; SD.333; NL. 536f. quotes NŚ.
39 (C.40; K.XIX.38). ¹ Cf. DR. I. 30; SD. 334; NL. 684f.
40 (C.41; K.XIX.39). ¹ Cf. DR. I. 36; SD. 335; NL. 710f.
41 (C.42; K.XIX.40).
49

386 THE NATYASASTRA [ XXI. 42

of some temptation, anger or distress, is called the Juncture of that name (i.e. Pause)¹.

The Conclusion

42. Bringing together the objects [of the Junctures] such as the Opening (mukha) etc. along with the Germ (bīja), when they have attained fruition, is called the Conclusion (nirvahaṇa)¹.

43. These are Junctures of the Nāṭaka to be known by the producers of a drama. They may occur in the Prakaraṇa and the other types of plays as well.

Junctures vary in different types of drama

44. The Ḍima¹ and the Samavakāra² are to have four Junctures, and the playwright should never make the Pause (vimarśa) in them.

45. The Vyāyoga¹ and the Īhāmṛga² are to have three Junctures. There should be no Development and Pause (avamarśa = vimarśa) in these two, and the Graceful (kaiśikī) Style also has no place in them.

46. The Prahasana¹, the Vīthi², the Aṅka³ and the Bhāṇa⁴ are to have only two Junctures which should be the Opening (mukha) and the Conclusion (nirvahaṇa), and their Style should be the Verbal one (bhāratī).

47. These are the Junctures to be adopted by the producers in the ten types of play, Listen now about different kinds of Junctures which also will as it were mark their limits.

---

¹ DR. I. 53 calls this avamarśa. SD. 336; NL. 770ff, gives two more definitions of this Juncture. Read the second hemistich as क्रोधव्यसनजो वापि विमर्श स इति स्मृतः.

42 (C.43; K.XIX.41). ¹ Emend the first hemistich as follows :— समानयनम् अर्थानां मुखाद्यानां सबीजिनाम्. Cf. DR. I. 48-49; SD. 337; NL. 554 f.

43 (C.44; K.XIX. 42).

44 (C.45; K.XIX.44a, 43b). ¹ See NŚ. XX. 90ff. ² See ibid 78ff.

45 (C.46; K.XIX.43a, 44b). ¹ See NŚ. XX. 84ff. ² See ibid. 64ff.

46 (C.47-48; K.XIX. 45). ¹ See NŚ. XX. 102ff. ² See ibid 112ff. ³ See ibid 94ff. ⁴ See ibid 107ff.

47 (C.48; K.XIX. 46).

.XXI. 55 ] THE LIMBS OF THE JUNCTURES 387

Subjuncture

48-50. The twentyone Sub-junctures are as follows¹ : Conciliation (sāma), Dissention (bheda), Making Gifts (pradāna), Chastisement (daṇḍa), Killing (vadha), Presence of Mind (pratyutpannamatitva), Blunder in Addressing (gotra-skhalita), Rashness (sāhasa), Terror (bhaya), Intelligence (dhī), Deceit (māyā), Anger (krodha), Strength (ojas), Concealment (saṃvaraṇa), Error (bhrānti), Ascertainment (avadhāraṇa)², Messenger (dūta), Letter (lekha), Dream (svapna), Portrait (citra) and Intoxication (mada).

Alternative Junctures

51 The events of the Junctures in their respective parts (pradeśa)¹ will in due order support those Limbs [of the Junctures] by means of their own qualities.

The sixfold needs of the Limbs of the Junctures

52-53. Expressing¹ the desired object, non-omission of any essential item in the Plot, accession to feeling in production, concealment of the objects to be concealed, telling tales of surprise² and disclosing things to be disclosed are the sixfold needs of the Limbs described in the Śāstra³.

Uses of the Limbs of the Junctures

54. Just as a man without all his limbs are unable to fight a battle, so a play without the Limbs will be unfit for [successful] production¹.

55. A play (lit. a poem) though it may be poor as regards its theme (lit. meaning) will, when furnished with requisite Limbs, attain beauty because of the brilliance of its production.

---

48-50 (C.49-51; K.XIX.191b, 103b). ¹ NL. 925ff. seems to give this passage more correctly with slight variation. The Sub-junctures (sandhināṃ sandhi) are to be distinguished from the Secondary Junctures (anubandha=anusandhi. DR. III.26 mentioned in 28 before.
² Read bhavah for vadhaḥ.
51 (C.52; K.XIX.47). ¹ Pradeśa seems to signify Sub-juncture (sandhīnām sandhi) discussed in 50 above. See NL. 923.
52-53 (C.53-54; K.XIX.48-49). ¹ Read vacanam for racanā.
² Emend āścaryavad abhikhyātam into āścaryavad abhikhyānam.
³ Cf. DR. I. 55; SD.407ff.
54 (C.55; K.XIX.49a, 50a). ¹ Cf. SD. 407ff.
55 (C.56; K.XIX.50a, 51a).

338 THE NATYASASTRA [ XXI. 56-

56. And a play having lofty theme, but devoid of [requisite] Limbs, will never capture the mind of the good [critics] because of its [possible] poor production.

57. Hence in applying the Junctures [in a drama] the playwright should give them their Limbs properly. Now listen about about them [in detail].

The sixtyfour Limbs of the Junctures

58-59. The Limbs of the Opening (mukha) are ; Suggestion (upakṣepa), Enlargement (parikara), Establishment (parinyāsa), Allurement (vilobhana), Decision (yukti), Accession (prāpti), Settling (samādhāna), Conflict of Feeling (vidhāna), Surprise (paribhāvanā), Disclosure (udbheda), Activity (karaṇa), and Incitement (bheda). Now listen about the Limbs in the Progression¹.

60-61. The Limbs of the Progression (pratimukha) are : Amorousness (vilāsa), Pursuit (parisarpa), Refusal (vidhūta), Pessimism (tāpana), Joke (narma), Flash of Joke (narmadyuti), Moving Forward (pragamana), Pacification (paryupāsana), Sweet Words (puṣpa), Thunderbolt (vajra)¹.

62-64. The Limbs of the Development (garbha) are: Misstatement (abhūtāharaṇa), Indication (mārga), Supposition (rūpa), Exaggeration (udāharaṇa), Progress (krama), Propitiation (saṃgraha), Deduction (māna), Supplication (prārthanā), Revelation (ākṣipta), Quarrel (toṭaka), Outwitting (adhibala), Dismay (udvega) and Consternation (vidrava)¹.

64-66. The Limbs of the Pause (vimarśa = avamarśa) are : Censure (apavāda), Angry Words (sampheṭa), Insolence (abhidrava) Placation (śākti), Assertion (vyavasāya), Reverence (prasaṅga), Rebuke (dyuti), Lassitude (kheda), Opposition (niṣedhana),

---

56 (C.57; K.XIX,51b, 52a). 57 (C.58;K.XIX.52b, 53a).
58-59 (C.59-60; K.XIX.53b, 25 a). ¹ See DR. I. 25-26; SD. 338; NL. 552ff.
60-61 (C.61-62; K.XIX.55b. 57). ¹ DR. I. 31-32 reads śamana for tāpana; SD. 351. NL. 645ff.
62-64 (C.63-65; K.XIX.58-59). ¹ DR. I. 37-38, omits prārthanā and vidrava, adds saṃbhrama, and gives ākṣipta as ākṣepa ; SD. 365. See NL. 724ff. 64-66 (C.65-67; K.XIX.60-61).

.XX. 71 ] THE LIMBS OF THE UNCTURES 389

Altercation (virodhana), Sumning up (ādāna), Concealment (chādana), and Foresight (prarocanā)$^1$.

66-69. The Limbs of the Conclusion are : Junction (sandhi), Awakening (vibodha), Assembling (grathana), Ascertainment (nirṇaya), Conversation (paribhāṣaṇa), Confirmation (dhṛti), Gratification (prasāda), Joy (ānanda), Deliverance (samaya), Surprise (apagūhana), Clever Speech (bhāṣaṇa), Retrospect (pūrva-vākya), Termination of the Play (kāvya-saṃhāra) and Benediction (praśasti). These are the sixtyfour Limbs of the Junctures [in a play]$^1$.

Limbs of the Opening

69. I shall now give their definitions in due order$^1$.

Suggestion

Suggestion (upakṣepa) is the origin of the object of the play.$^2$

Enlargement

70. Enlargement (parikara) is the amplification of the object originated$^1$.

Establishment

Describing it (i. e. the object) thoroughly is called Establishment (parinyāsa)$^2$.

Allurement

71. The mentioning of good qualities is known as Allurement (vilobhana)$^1$.

---

$^1$ Emend vidrava into abhidrava. DR. I. 44-45. omits abhidrava, kheda, niṣedhana and sādana and adds vidrava, drava chalana and vicalana; SD. 378ff. follows NŚ. except that abhidrava appears there as drava; chādana should be emended into sādana; see NL. 798ff.

66-68 (C.67-69; K.XIX.62-63). $^1$ Emend dyuti. See SD. 391 reads kṛti as dhṛti. DR. I. 49-50 gives dhṛti as kṛti, pūrvavākya as pūrvabhāva, upasaṃhāra as kāvyasaṃhāra. NL. 850ff. omits sandhi and vibodha, gives dhṛti as dyuti, and instead of the first two gives artha and anuyoga.
$^2$ Cf. DR. I. 40; SD. 374; NL. 755.

69 (C.71; K.XIX.64b-95a). $^1$ C. reads before this another couplet which in trans. is as follows : For the development of the Germ, all these (i.e. 64 limbs) should make up the Junctures properly and have clear meanings. This does not occur in K.
$^2$ See NL. 556; SD. 338 Cf. DR. I. 27.

70 (C.72; K.XIX.65b-66a). $^1$ See NL. 569; SD. 340 DR. I. 27.
$^2$ See NL. 575; SD. 341; DR. I. 27.

71 (C.73; K.XIX.69b-67a). $^1$ See DR. I. 27; SD. 342; NL. 586.

390 THE NATYASASTRA [ XXI. 72-

Decision

Settling the issues is called Decision (yukti)².

Accession

72. Accession (prāpti) is summing up the purpose of the Opening (mukha)¹.

Settling

Settling (samādhāna) is summing up the purpose of the Germ (bīja)².

Conflict of Feelings

73. Joys and sorrows occurring in a situation, is called conflict of Feelings (vidhāna)¹.

Surprise

Surprise (paribhāvana) is an excitement giving rise to curiosity².

Disclosure

74. The sprouting of the purpose of the Germ (bīja), is called Disclosure (udbheda)¹.

Activity

Taking up the matter in question is called Activity (karaṇa)²

Incitement

75. That which is meant for disrupting an union is called Incitement (bheda)¹.

These are the limbs of the Opening (mukha).

Limbs of the Progression

I shall now speak of those of the Progression (pratimukha).

---

² See SD. 343; DR. I. 28; Haas translates it differently. SD. 343 and NL. 593 seem to misunderstand this definition.
72 (C.74; K.XIX.67b-68a). ¹ Emend sukhārtha° to mukhārtha°. See NL. 598-599. DR. I. 28; and SD. 344 follows what seems to be a wrong reading of the NŚ. ² See NL. 605 f. Cf. DR, l. 28; SD. 345.
73 (C.75; K.XIX.68b-69a). ¹ See DR. I. 28; SD. 346; NL. 609-610. ² See NL. 617; Cf. DR. I. 29; SD. 347.
74 (C.76; K.XIX.69b-70). ¹ See SD. 348; NL. 620. Cf. DR. I. 29. ² See SD. 349; NL. 623. Cf. BR. I. 29.
75 (C.77; K.XIX.70b). ¹ See NL, 626; SD. 350. Cf. DR. I. 29.

•XXI. 80 ] THE LIMBS OF THE JUNCTURES 391

Amorousness

76. Amorousness (vilāsa) is the desire for the pleasure of love (rati)¹.

Pursuit

Pursuit (parisarpa)² is the pursuing of an object once seen and then lost.

Refusal

77. Refusal (vidhūta)¹ is not complying with the request made [by any one].

Pessimism

Thinking about (lit. seeing) some danger [in future] is called Pessimism (tāpana)².

Joke

78. The laughter which is meant for sports is called Joke (narma)¹.

Flash of Joke

The laughter which is meant for concealing one's fault is called Flash of Joke (narma-dyuti)².

Moving Forward

79. Speaking words which bring in other words after them is called Moving Forward (pragamana)¹.

Hindrance

Appearance of some calamity is called Hindrance (nirodha)².

Pacification

80. Conciliating an angry person is called Pacification (paryupāsana)¹.

---

76 (C.78; K.XIX.71). ¹ See SD. 352; NL. 650ff. Cf. DR. I. 32.
² See SD. 353; DR. I. 32-33. Cf. NL. 657.
77 (C.79; K.XIX.72). ¹ Cf. NL 663; DR. I. 33; SD. 354 has vidhṛta for vidhūta.
² See NL. 669 Cf. SD. 355 defines it as upāyadarśana. DR. defines śama instead of tāpana (I.33).
78 (C.80: K.XIX.73). ¹ Cf. DR. I. 33; DR. 356; NL. 1310ff.
² Cf. DR. I. 33; SD. 357; NL. 672.
79 (C.80; K.XIX.74). ¹ Read uttarottaraṁ vākyaṁ tu bhavet prāgamanam. Cf. NL. 676; DR. I. 34; SD. 358.
² See NL. 683; DR. I.34; SD. 359 reads virodha for nirodha.
80 (C.82; K.XIX.75). ¹ See NL. 687. Cf. DR. I. 34; SD. 360.

392	THE NATYASASTRA	[ XXI. 81-

Sweet Words

Mentioning some favourable peculiarity is called Sweet Words (puṣpa, lit. flower)².

Thunderbolt

81. Harsh words uttered on one's face is called Thunderbolt (vajra)¹.

Reference

Reference (upanyāsa) is a remark based on reason.

Meeting of Castes

82. Coming together of the four castes is called Meeting of Castes (varṇa-saṃhāra)¹.

These are the Limbs of the Progression (pratimukha).

Limbs of the Development

Now listen about those in the Development (garbha).

Mis-statement

83. [A speech] founded on deceit is called Mis-statement (kapaṭāśraya)¹.

Indication

Speaking out [one's] real intention (lit. reality) is called Indication (mārga)².

Supposition

84. A hypothesis with which novel meanings are combined, is called Supposition (rūpa)¹.

Exaggeration

A speech with an overstatement is called Exaggeration (udāharaṇa)².

---

• ² Cf. DR. I. 34; SD. 361; NL. 691.
• 81 (C.83; K.XIX.76). ¹ Emend pratyakṣa-rūpaṃ into pratyakṣa-rukṣam. Cf. NL. 697; I. 35 SD. 362.
• ² See NL. 700; cf. DR. I. 35; SD. 363ff. defines it differently and refers to the view of the NŚ as kecit tu etc.
• 82 (C.84; KN.XIX.77). ¹ NL. 704ff. defines it as varṇitasyārthasya tiraskāro (concealing the matter expressed), and refers to the view of the NŚ. as caturṇāṃ varṇānāṃ sammelanam api ke'pi varṇayanti. See SD. 364; DR. I. 35.
• 83 (C.85; K.XIX.78). ¹ Cf. DR. I. 38; SD. 365; NL. 727.
• ² Cf. SD. 366; NL. 730; DR. I. 38.
• 84 (C.86; K.XIX.79). ¹ Cf. DR. I. 39; SD. 367; NL. 735.
• ² Cf. NL. 738; DR. I. 39; SD. 368.

-XXI. 89 ] THE LIMBS OF THE JUNCTURES 393

Progress

85. Foreseeing of what is coming afterwards, is called Progress (krama)$^1$.

Propitiation

Use of sweet words and gift, is called Propitiation (saṃgraha)$^2$.

Deduction

86. Perceiving something by the name of a thing similar to it in form, is called Deduction (anumāna)$^1$.

Supplication

Request for love's enjoyment (rati), rejoicing, festivity and the like, is called Supplication (prārthanā)$^2$.

Revelation

87. The unfolding [of the Germ] in the Development (garbha), is called Revelation (ākṣipta)$^1$.

Quarrel

An angry speech is called Quarrel (toṭaka)$^2$.

Outwitting

88. Cheating of a deceitful person is called Outwitting (adhibala)$^1$.

Dismay

Fear arising from the king, an enemy or a robber is called Dismay (udvega)$^2$.

Panicky Commotion

89. Flurry caused by fear from the king or fire is called Panicky Commotion (vidrava)$^1$.

These are the Limbs in the Development (garbha).

Limbs of the Pause

Now listen about those in the Pause (avamarśa = vimarśa).

---

85 (C.87; K.XIX.80). $^1$ Emend bhāvaktvo into bhāvitatvo. Cf. SD. 369; NL. 740; DR. I. 39.
$^2$ Cf. SD. 370; NL. 744; DR. I. 40.
86 (C.88; K.XIX.81). $^1$ Cf. NL. 746; DR. I. 40; SD. 371.
$^2$ Cf. SD. 372; DR. I. 40. NL. 749.
87 (C.89; K.XIX.82). $^1$ Cf. DR. I. 42 has ākṣepa; SD. 373 has ṣipti = ākṣipti; NL. 751 has utkṣipta.
88 (C.90; K.XIX. 83). $^1$ Cf. SD. 375; DR. I. 40; NL. 752.
$^2$ Cf. SD. 376; NL. 761; DR. I. 42.
89 (C.91; K.XIX. 84a). $^1$ Cf. DR. I. 42; SD. 377, NL. 766.
50

394 THE NATYASASTRA [ XXI, 90-

Censure

90. Proclaiming anyone's fault is called Censure (apavāda).¹

Angry Words

Words spoken in anger are called Angry Words (sampheṭa)².

Insolence

91. Trangression of the superiors is called Insolence (abhi-drava)¹.

Placation

Allaying of disagreement [with anyone] is called Placation (śakti)².

Assertion

92. A promise made on account of some reason is called Assertion (vyavasāya)¹.

Reverence

Mentioning one's superiors is called Reverence (prasaṅga)².

Rebuke

93. Words spoken in contempt are called Rebuke (dyuti)¹.

Lassitude

Fatigue arising from a mental effort is called Lassitude (kheda).

Opposition

94. Obstruction to one's desired object is called Opposition (niṣedha)¹.

Altercation

Speaking and counter-speaking in excitement is called Altercation (virodhana)².

---

90 (C.92; K.XIX.84b-85a). ¹ See NL. 801; Cf. DR. I. 45; SD. 378.
² See NL. 807, Cf. DR. I. 45; SD. 379.
91 (C.93; K.XIX.86b-86a). ¹ Emend vidrava into abhidrava. See NL.813. SD.381 and DC. I. 45, has drava in place of abhidrava.
² Emend virodhopagamo into virodhopaśamo; cf. NL. 819; DR. I D. 383.
92 (C.94; K.XIX.87a-86b). ¹ Emend pratiñājdoṣa into pratijñāhetu ... 824; SD. 380 DR. I. 47.
² DR. I. 46; SD. 384. NL. 826 defines differenely.
93 (C.95; K.XIX.90b.). ¹ Cf. NL. 829; DR. I. 46, SD.382; SD. 385.
² SD. 385.
94 ... 838, and SD. 386 has pratiṣedha in place of this.
² Cf. ... 840; SD. 387.

-XXI. 99 ] THE LIMBS OF THE JUNCTURES 395

Summing up

95. Bringing together (lit. attaining) [all aspects] of the Germ (bīja) and the action is called Summing up (ādāna)¹.

Humiliation

Putting in insulting words for some purpose is called Humiliation (sādana)².

Foresight

96. That which represents the Conclusion (saṃhāra) [in advance] is called Foresight (prarocanā)¹.

These are the limbs in Pause (avamṛśa = vimarśa).

The Limbs in Conclusion

Now listen about those in the Conclusion (saṃhāra = nirvahaṇa).

Junction

97. The coming up of the Opening (mukha) and the Germ is called Junction (sandhi)¹.

Awakening

Looking duly for the Dénouement (kārya) is called Awakening (vibodha)².

Assembling

98. Intimation of [the various aspects] of the Dénouement is called Assembling (grathana)¹.

Ascertainment

Declaration of facts personally known is called Ascertainment (nirṇaya)¹.

Accusation

99. That which is said to blame some one, is called Accusation (paribhāṣaṇa)¹.

---

95 (C.97; K.XIX. 99). ¹ See NL. 844, DR. I. 48; SD. 389.
² Emend chādana into sādana. See NL. 848. DR. I. 46 has wrongly chālana for sādana SD. 390 also has chādana wrongly.
96 (C.98; K.XIX.88a, 91a). ¹ See SD. 388; NL. 850. DR. I. 47.
97 (C.99; K.XIX. 91b-92a). ¹ Emend sukhabījo into mukhabījo ; cf. DR. I. 51; SD. 392.
² Cf. DR. I. 51; SD. 393.
98 (C.100; K.XXI.92b-93a). ¹ Cf. DR. I. 51, SD. 394; NL. 864.
² Cf. S. 395; DR. I. 51 ; NL. 870.
99 (C.101; K.XIX.93b-94a). ¹ Cf. NL. 873; SD. 396, DR. I. 52 defines the Limb differently.

396 THE NATYASASTRA [ XXI. 100-

Confirmation

Turning to use (lit. conquering) the object gained is called (dhṛti)².

Gratification

100. Treating one with waiting upon or the like, is called Gratification (prasāda)¹.

Joy

Attaining objects [of one's desire] is called Joy (ānanda)².

Deliverence

101. Passing away of all misery, is called Deliverance (samaya)¹.

Surprise

Appearence of something wonderful is called Surprise (upagūhana)².

Clever Speech

102. Words mentioning conciliation, gift and the like are called Clever Speech (bhāṣaṇa)¹.

Retrospect

Retrospect (pūrva-vākya)² is to be understood as a reference to something spoken before.

Termination

103. Giving and receiving of a boon is called Termination (kārya-saṃhāra)¹.

Benediction

[A prayer seeking perfect] peace to the king and the country is called Benediction (praśasti)².

104. With a view to introducing Sentiments (rasa) and

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² Emend dyuti into dhṛti Cf. DR I. 53; SD, 397.
100 (C.102; K.XIX.94b-95a). ¹ Cf. NL. 879; SD. 398; DR; I. 52.
² Cf. NL. 881; SD. 399; DR. I. 52.
101 (C.103; K.XIX.95b-96a). ¹ Cf. DR. I. 52; SD. 400; NL 883.
² Cf. NL. 889; SD. 401 ; DR. I. 53.
102 (C.104; K.XIX.96b-97a). ¹ Cf. SD. 402; DR. I. 53. NL. 891.
² Cf. NL. 891; SD. 403.
103 (C.105; K.XIX.97a-98a). ¹ See SD. 404; cf. NL. 893, DR. I. 54.
² Read nṛpa-deśa. Cf. SD. 405, NL. 895, DR. I. 54.
104 (C.106; K.XIX.98b-99a). ¹ Cf. SD. 406; NL. 906.

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398 THE NATYASASTRA [ XXI. 110

The Introductory Scene

110. The Introductory Scene (praveśaka) in relation to the Nāṭaka and the Prakaraṇa, is to occupy a place between two Acts and to treat the summary of the Prominent Point (bindu)².

111. The Introductory Scene should be known as not consisting of the exploits of the superior and the middling characters and there should be no exalted speech in it, and its language should be Prakrit¹.

The Transitional Scene

112. As in practice it falls between two Acts or within an Act, and relates to the purpose of the Germ (bīja), it is called the Transitional Scene (aṅkāvatāra).

The Anticipatory Scene

113. When the detatched beginning of an Act is summarised beforehand by a male or a female character, it is called the Anticipatory Scene (aṅkamukha)¹.

An ideal Nāṭaka

114-117. The playwright should write a Nāṭaka having

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110 (C.112; K.XIX.108). ¹ Cf. DR. I. 60-61; SD 309; NL. 307ff.

111 (C.113; K.XIX.109). ¹ See NŚ. XX. 32. Cf. DR. I. 60-61. SD. 309. C. gives one additional couplet after this. But this (not occuring in K.) seems to give no new information.

112 (C.115; K.XIX.110). ¹ Cf. DR. I. 62.63; SD. 311; NL. 398-399. The def. is not very clear. The aṅkāvatāra seems to furnish an indication of the subject-matter of the next Act. An example of this seems to be the dialogue of the Ceṭī and Vāsavadattā at the end of the Act II. of Svapna. This relates to the making of a garland by Vāsavadattā. Another example may be Avimāraka speaking एषः समासः। सर्वथा प्रवेष्टव्यं कुन्तिभोजस्य कन्यान्तःपुरम्। तदनुगन्तुमर्हसि महाब्राह्मणः; II. 5-6. This gives a clue to the subject-matter of the next Act which treats Avimāraka's entry into the royal harem.

113 (C.116; K.XIX 111). ¹ The aṅkamukha seems to relate mostly to plays other than of the Nāṭaka and the Prakaraṇa types. Examples of this are perhaps the speeches of the Bhaṭa in the beginning of the Karṇa, and of the Dūtagha., The reason for the above assumption is that the rules prescribe viṣkambhaka for Nāṭakas only (see 107), and praveśakas for both Nāṭakas and Prakaraṇas (see 110). Cf. DR. I. 62; SD. 312, 313; NL. 408.

114-117 (C.117-120; K.XIX.112-115).

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400 THE NATYASASTRA [ XXI. 123-

123. The Nāṭaka is to be so composed as to include all States, Sentiments, inclination to all deeds, and the various conditions [of men and nature]$^1$.

124. The various arts and crafts produced by human beings may be applied in the Nāṭaka$^1$ in their endless forms$^1$.

125. One is to construct a Nāṭaka [only] after observing the human character, strength and weakness of men, their [mode of] enjoyment and reasoning$^1$.

126. In succeeding ages men will be difficient in wisdom; hence those who will be born [after us] will have small learning and intellect.

127. When the world deteriorates, men's intellect, activity, [production of] crafts and skill in arts will dwindle.

128. Hence after observing the strength and the weakness of human feeling, one should compose the Nāṭaka with pleasant and easily intelligible words.

129. The plays (lit. poems) which contain [harsh], words like cekriḍita$^1$ is repulsive (lit. do not shine) like a courtezan in the company of a Brahmin bearing a Kamaṇḍalu.

130. O Brahmins, I have spoken about the Plot with its Junctures and Limbs. I shall hereafter speak of the characteristics of the Styles.

Here ends chapter XXI of Bharata's Nāṭyaśāstra, which treats of the Limbs of the Junctures.

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123 (C.126; K.XIX.121). $^1$ Cf. NŚ. I.113
124 (C.127; K.XIX.122). $^1$ Emend ekakarma into lokakarma.
125 (C.128; K.XIX. 123). $^1$ This puts emphasis on depicting characters in a drama.
126 (C.129; K.XIX.124). 127 (C.130; K.XIX.125).
128 (C.131; K.XIX.126).
129 (C.132; K.XIX.127). $^1$ Bhāsa actually uses the root of this verb form in his Avi. (III.18.0).
130 (C.133; K.XIX.128).

CHAPTER TWENTYTW0

THE STYLES

The origin of the Styles

1. I shall now explain in detail (lit. from the beginning) the rise of the Styles (vṛtti) and [in relation to them] the origin and the formation of dramas¹.

2-3. When the lord Acyuta (Viṣṇu) after reducing the universe into a single [vast] ocean and compressing the creation [into a seed] by his supernatural power, was lying on the couch of snake, the two Asuras Madhu and Kaiṭabha maddened with the pride of their strength challenged the god at once for battle¹.

4-5. These two, after making gestures of challenge, (lit. rubbing their arms) fought the imperishable lord Viṣṇu (bhūtabhāvana, lit. the creator of beings) with their fists and legs (lit. knees), and while doing so they also assailed him (lit. one another) with harsh words and shook as it were the ocean with their reviling speech¹.

The origin of the Verbal Style

6-7. Hearing the various [abusive] words of these two who were threatening¹ [Viṣṇu], Druhiṇa (Brahman) was slightly perturbed in mind and said, "Is it the bhāratī vṛtti that start with these words [for the fighters] and goes on increasing stage by stage ? Kill the two [at once]."

8-10. Hearing these words of Pitāmaha (Brahman), Madhusūdana (Viṣṇu) said, "Yes, I have made this bhāratī vṛtti

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1 (C.1; K.XX.1). ¹ Sāgaranandin explains the vṛtti as follows : नेपथ्ये गीतवादित्तरसभावाभिनयवृत्त्यादीनां काऽपि विश्रषे वर्तनमिति वृत्तिः कथितः। अथवा विलास-विन्यासक्रमो वृत्तिरिति, NL. 1044ff.

2-3. (C.2-3; K.XX.2-3). ¹ The story of Nārāyaṇa's reducing the three worlds into 'a single ocean' occurs in the Rām. VII. 72.; Kūrma P. XIII. See JK. under Viṣṇu (8) and Nārāyaṇa (8).

4-5 (C.4-5; K.XX.4-5). ¹ Madhu and Kaiṭabha charged Nārāyaṇa with the theft of the Vedas. Rām. VII. 72. See JK. under Kaiṭabha.

6-7 (C.6-7; K.XX.6-7). ¹ Emend garjatoḥ into tarjatoḥ (tarjatām, K).

8-10 (C.8-10; K.XX.8-10).

51

402 THE NATYASASTRA [ XXI. 11-

for the purpose of my work. It will be the bhāratī vṛtti of the speaker, in which words will preponderate. I shall kill these two Asuras today". So saying Hari (Viṣṇu) with his perfect gestures¹ and Aṅgahāras² severely fought these two Daityas who were experts in the method of battle.

11. At that time Hari's pacing with the Sthānakas¹ on the ground created a great bhāra (burden) on the earth (bhūmi); the bhāratī vṛtti (Verbal Style) was built on that (bhāra)².

The origin of the Grand Style

12. And at that [very] time, by the rebounding of the bow named Śārṅga which was intensely brilliant, steady and full of much sattva (strength) the sāttvatī vṛtti (Grand Style) was made¹.

The origin of the Graceful Style

13. When [in course of fighting] the god moved sportively with various Aṅgahāras and tied up his śikhā (keśa?) the kaiśikī vṛtti (Graceful Style) was made¹.

The origin of the Energetic Style

14. Then from the various personal combats which were full of energy and excitement, and which entailed various Cāris the Energetic (ārabhaṭī vṛtti) was made¹.

15. Whatever acts the god Brahman observed as arising out of the different Styles (vṛtti), were associated¹ by him (Druhiṇa = Brahman) with words suitable to their meaning.

16. When the two Asuras Madhu and Kaiṭabha were killed by Hari (Viṣṇu) Brahman spoke to him (Nārāyaṇa = Viṣṇu) who was the subduer of foes (arindama).

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¹ aṅgaiḥ here means āṅgikaiḥ and aṅgahāraiḥ.
² See NŚ. IV.19-27, 170ff.
11 (C.11; K. XX.11). ¹ See NŚ. XI. 49ff.
² This is a clear instance of folk-etymology and does not really explain the origin of this Style. It possibly comes from the Bharata tribe; see NŚ. I. 41 f.n.
12 (C.12; K.XX.12). ¹ See above 11 note 2.
13 (C.13; K.XX.13). ¹ See above 11 note 2.
14 (C.14; K.XX.14). ¹ See above 11 note 2.
15 (C.15; XX.K.15). ¹ Emend pratyapūjayat into pratyayojayat.
16 (C. 16; K.XX.16).

-XXI. 25 ] TEN STYLES 403

The origin of the Nyāya

17-18. O god, thou hast killed the Dānavas with various clear, expressive and graceful Aṅgahāras ; hence this method of personal combat [applicable] in throwing all kinds of missiles in this world, will be termed as Nyāya¹.

19. Even this fight made with the Aṅgahāras which arose from the Nyāyas and observed them (Nyāyas) [in practice] will be called the Nyāya¹.

20. Then the high-souled Druhiṇa (Brahman) gave over to the gods this Style full of various States and Sentiments, [for its use] in the production of plays.

21-22. The name Style (vṛtti) was made a repository of the various States and the Sentiments. And whatever was made and in whatever manner, the exploits of the god (Viṣṇu) were utilised by the sages in fashioning the similar Styles arising from the Words and the Gestures which have their origin in materials taken from the four Vedas¹, and which also have Words and Gestures as their chief characteristics.

23. These Styles which were desired, wellborn and full of various Cārīs, were again, taken by me at Druhiṇa's command, for the purpose of making plays (lit poem)¹.

24. The Verbal Style (bhāratī vṛtti) was from the Ṛgveda, the Grand (sāttvatī) from the Yajur-veda, the Graceful (kaiśikī) from the Sāma Veda and the remaining one (i.e. the Energetic or (ārabhaṭī) from the Atharva [Veda]¹.

25. The Style which is to be applied by the male characters and not by females and which gives prominent place to speeches

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17-18 (C.17-18; K.XX.17-18). ¹ See NŚ. XI. 74ff.
19 (C.19; K.XX.19). ¹ See NŚ. IV. 170ff.
20 (C.20; K.XX.20a, 21a).
21-22 (C.21-22; K.XX.21b-23a). ¹ Emend nāṭyaveda into caturveda.
23 (C.23; K. XX.20b, 23b). ¹ Emend 23a as follows. पुनरिष्टा सुजाता च नानाचारी-समाकुला.
24 (C.24; K.XX.24). ¹ This is a different story about the origin of the vṛttis. See before 2-14.
25 (C.25; K.XX.25).