-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

---

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

---

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.

---

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

---

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).

---

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

---

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).

404 THE NATYASASTRA [ XXI, 26-

made in Sanskrit, is used by the eponymous bharatas (actors) as bhāratī (Verbal)¹.

The four varieties of the Verbal Style

26. It has four varieties such as the Laudation (prarocanā), the Introduction (āmukha), the Vīthī and the Prahasana, and these have became its component parts (aṅga)¹.

The Laudation

27. The Laudation (prarocanā) in the Preliminaries is to attain success, prosperity, good luck, victory and removal of all sins.¹

The Introduction

28-29. That part of a play where an actress¹, the Jester or the Assistant has a talk with the Director on some relevent topic, and they use interesting words or adopt any type of the Vīthī or talk in any other way is called the Introduction (āmukha)¹. I shall speak in detail about its five varieties (lit. elements).

The five varieties of the Introduction

30. The Accidental Interpretation (udghātyaka), the Opening of the Story (kathodghāta), the Particular Presentation (prayogātiśaya) the Personal Business, (pravṛttaka) and the Transference (avalgita) are the five varieties of the Introduction (āmukhā)¹.

31. Of these the characteristics of the Accidental Interpretation (udghātyaka)¹ and the Transference (avalgita)² have been mentioned by me. I shall now speak in detail of the characteristics of the rest.

Opening of the Story

32. [That Introduction] in which a character enters [the stage] taking up a remark of the Director or its meaning, is called the Opening of the Story (kathodghāta)¹.

---

¹ NL. 1054ff. DR. II. 5 ; SD. 274, AP. modifies this def. by adding strīyuktā prākṛtoktitā, Haas, on DR. III. 5 (p.81).
26 (C 26; K.XX 26). ¹ Cf. NL. 1008-69; DR. III. 5 ; SD. 285.
27 (C.27; K.XX.27). ¹ Cf. NL. 1070-71ff; DR. III. 6 ; SD. 286.
28-29 (C.28-29; K.XX.28-29). ¹ Cf. NL.1178-81, DR. III. 7 SD. 286.
30 (C.30; K.XX.30). ¹ Cf. NL. 11-88-89 DR. III. 8, SD. 287.
31 (C 31; K.XX.31). ¹ See NŚ. XX.117 Cf. NL. 1189 ;. DR. III. 14 SD. 288. ² See NŚ. XX. 118; NL. 1192, DR. III. 15; SD. 292.
32 (C.32; K.XX.32). ¹ Cf. NL. 1196; DR. III. 9; SD. 289.

-XXI. 39 ] TEN STYLES 405

Particular Presentation

33. When, over this production [of the Introduction] the Director imposes another production and then a character enters [the stage], it is called the Particular Presentation (prayogātiśaya).¹

Personal Business

34. [The Introduction] in which the Director speaks on some business in hand and taking cue from this (lit. with its help) a character enters the stage, it is called the Personal Business (pravṛttaka)¹.

35. Taking up one of these types and skilfully giving double meaning to it, the wise [playwright] should construct the Introduction by freely assembling different characters¹.

36. The wise are thus to know the Introduction with different bases¹. The characteristics of the Vīthī² and the Prahasana³ have been mentioned before.

37. These are the eight¹ different aspects (lit. meanings) of the Verbal Style I spoke of. I shall now explain the rules of the Grand Style (sāttvatī) with its characteristics.

The Grand Style

38. The Style which is endowed with the sāttvata quality, the Nyāyas, metres, and has exuberance of joy and an undercurrent of the State of sorrow¹, is called Grand (sāttvatī)².

39. The Grand Style is known to consist of representation by Words and Gestures, and of strength in speeches and acts showing the rise of spirit.

---

33 (C.33; K.XX.33). ¹ See NL. 1201-1202; DB. III. 11; SD. 290.
34 (C.34; K.XX.32). ¹ Cf. NL. 1214-1215; SD. 291; DR. III. 10.
35 (C.35; K.XX.35). ¹ i.e. actress, Jester or the Assistant. See 28 above.
36 (C.36; K.XX.36). ¹ Emend vivbudhāśrayam into vividhāśrayam.
² See NŚ. XX. 111ff. ³ See NŚ. XX. 101ff.
37 (C.37; K.XX.37). ¹ Prarocanā, Vīthī, Prahasana and five varieties of Āmukha. See before 26-30.
38 (C.38; K XX.38). ¹ This shows that no pathetic subject-matter should find a place in this Style..
² See NL. 1234ff. SD. 416. DR. II. 53.
39 (C.39; K.XX.39).

406 THE NATYASASTRA [ XXI. 40-

40. It is to contain the Sentiments such as Heroic (vīra), the Marvellous (adbhuta) and the Furious (raudra) and to a small extent (alpa) the Pathetic (karuṇa) and the Erotic (śṛṅgāra), and characters in it should be mostly majestic and defying one another¹.

The four varieties of the Grand Style

41. It is known to have the four varieties such as challenge (utthāpaka), Change of Action (parivartaka), Harsh Discourse (saṁlāpaka) and Breach of Alliance (saṁghāta)¹.

Challenge

42. One’s rising up with a view to conflict after saying “I am getting up [for battle, now] show me your own prowess” is called the Challenge (utthāpaka)¹.

Change of Action

43. If after leaving the thing which caused the rising up, one takes to other things due to some need, it is called the Change of Action (parivartaka)¹.

Harsh Discourse

44. Various kinds of words containing abuse or insult whether these arise from a challenge or not, are called Harsh Discourse (saṁlāpaka)¹.

Breach of Alliance

45. The stopping of an alliance for the sake of a friend,¹ money or due to an accident or [one’s] own fault, is called Breach of Alliance (saṁghāta)².

46. These are the eight meanings¹ of the Grand Style that I spoke of. I shall hereafter describe the characteristics of the Graceful Style (kaiśikī vṛtti)¹.

---

40 (C.40; K.XX.40). ¹ See NL. 1271-1273).
41 (C.41; K.XX.41). ¹ Cf. DR. II. 53 SD. 416, NL. 1274ff.
42 (C.42; K.XX.42). ¹ Cf. NL. 1276, 4278. The text on this point seems to be corrupt, also cf. DR. II. 54; SD. 416.
43 (C.43; K.XX.43). ¹ Cf. DR. II. 55; SD. 419; NL. 1279-1282.
44 (C.44; K.XX.44): ¹ Cf. DR. II. 54; SD. 418, NL. 1288.
45 (C.45; K.XX.45). ¹ Read mitrārtha-kārya.
² Cf. NL. 1298-1299; DR. II. 55; SD. 417.
46 (C.46; K.XX.46). ¹ Utthāpaka, parivarttaka, the two kinds of samlāpaka and the four kinds of samghāta. See before 41, 44, 45.

-XXI. 52 ] TEN STYLES 407

The Graceful Style

47. That Style is called Graceful (kaiśikī) which is specially interesting on account of charming costumes worn by [dramatis personae] mostly women, and in which many kinds of dancing and singing are included and the themes acted are practices of love and are connected with (lit. arising from) its enjoyment¹.

The four varieties of the Graceful Style

48. The Graceful Style is said to have the four varieties such as Pleasantry (narman), Beginning of Pleasure (narma-sphūrja) Unfoldment of Pleasure narma-sphoṭa) and Covert Pleasure (narma-garbha)¹.

The three kinds of Pleasantry

49. The Pleasantry (narma) which abounds in remarks made in jest, is of three kinds : that based on love, that with pure laughter and that having Sentiments other than the Heroic¹.

50. The Pleasantry (narman) is known as concerned with acts of jealousy and anger, words of rebuke, self-reproach and deception of others.

Beginning of Pleasantry

51. The Beginning of Pleasantry (narma-sphurja) is to be known as the first meeting [of lovers] in which words and dresses exciting love [are in evidence] but which ends in fear¹.

Unfoldment of Pleasantry

52. The Unfoldment of Pleasantry (narma-sphoṭa) is the cause of the Sentiment contributed by small fraction of different States (bhāva) and not by any State as a whole¹.

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47 (C.47; K.XX.47). ¹ Cf. SD. 411; DR. II. 47; NL. 1304ff.

48 (C.48; K.XX.48). ¹ Cf. DR. II. 48; SD. 411; NL. 1308ff.¹

49 (C.49; K.XX.49). ¹ Cf. DR. II. 48-50; SD. 412; NL. 1310 defines narma as follows : परापवादैः परुषैरश्लीलैश विवर्जितम्। शुद्धमन्तर्गताकूतं नर्म स्याच्छुद्धगर्भकम्; but the def. of the NŚ. as well has been referred to.

50 (C.50; K.XX.50).

51 (C.51; K.XX.51). ¹ Cf. NL. 1342-1343; DR. II. 51; SD. 413.

52 (C.52; K.XX.52). ¹ Cf. DR. II. 51; SD. 414; NL. 1336 f.

408 THE NATYASASTRA [ XXI. 53

Covert Pleasure

53. When the Hero acts incognito out of any necessity through his qualities such as intelligence, [good] appearance and affection, it is called Covert Pleasure (narma-garbha)¹.

54. These are the eight different meanings of the Graceful Style that I was to speak about. I shall hereafter describe the Energetic Style (ārabhaṭī) which is concerned with haughty Sentiment.¹

The Energetic Style

55. The Style which includes mostly the qualities of a bold person (ārabhaṭa) such as speaking many words¹, deception, bragging and falsehood, is to be known as Energetic (ārabhaṭī)².

56. The Style in which there is a representation of falling down¹, jumping, crossing over, deeds of magic and conjuration, and various kinds of fighting, is called Energetic (ārabhaṭī)².

The four varieties of the Energetic Style

57. It has varieties such as Compression (saṁkṣiptaka), Commotion (avapāta), Raising Various Feelings (vastūtthāpana) and Conflict (sampheṭa)¹.

Compression

58. Compression (saṁkṣiptaka) is furnished with workmanship (śilpa) in the true sense of the words and it includes the

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53 (C 53; K.XX.53). ¹ According to Sāgaranandin Ārabhaṭī is an aṅga of the Gauḍī vṛtti : NL. 1385. Cf. DR. II. 52; SD. 415; NL. 1338 f. C. adds an additional def. (C.54) of this, but it is wanting in K.
54 (C.55; K.XX.54) ¹ The three kinds of narma, the three kinds of marma-garbha and narma-sphūrja and narma-sphoṭa.
55 (C.56; K.XX.55). ¹ 'Many words' probably mean altercation or verbal duel. ² Cf. NL. 1348 ff. DR. II. 56-57; SD. 420.
56 (C.57; K.XX.56). The reading prastā° in prastāva° seems to be corrupt. Emend this to vastva°.
² See above 56 note 2. C. adds one more def. (C.58) of ārabhaṭī but this is wanting in K. In trans. it will be as follows : That which includes excitement due to an application of the sixfold policy (ṣaḍguṇa), running away due to deception of the enemy, and that which relates to [material] gain or loss, is called the Energetic Style.
57 (C.59; K.XX.57). ¹ Cf. NL. 1356 f. DR. II. 56-57. SD. 420.
58 (C.60; K.XX.58). ¹ Cf. DR. II. 57-58, SD. 422, NL. 1358 f. gives another def. saṁkṣipataka.

.XXII. 65 ] THE STYLES 409

presentation of model works (pusta) drawings, and dresses, and relates to some condensed matter.

Commotion

59. Commotion (avapāta) is known to relate to the occurrence of fear and jubilation, panic, flurry, many kinds of speaking, quick entrance and exist¹.

Raising the Theme

60. That deed which is represented as being connceted with panic or no panic, and includes a combination of all the Sentiments is called the Raising the Theme (vastūtthāpana)¹.

Conflict

61. Conflict (sampheṭa) is known to include excitement, many fights, personal combats, deception, split and [mutual] striking of weapons¹.

62. These are the Styles to be reckoned by the wise in connexion with the drama. Now listen about their application in different Sentiments, which I am going to tell you.

Styles according to Sentiments

63-64. The Style in the Erotic and Comic Sentiments should be Graceful and in the Heroic, the Furious and the Marvellous Sentiments it should be Grand. And in the Terrible, the Odious and the Furious Sentiments one should use the Energetic Style, while the Verbal Style is applicable in the Pathetic and the Marvellous Sentiments¹.

65. I have spoken properly about the Histrionic Representation dependent on Words, Gestures, Temperament and the Styles. Now I shall treat of the Costumes and the Make-up used in the production of plays.

Here ends Chapter XXII of Bharata's Nāṭyaśāstra which treats of the Styles.

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59 (C.61; K.XX.59). ¹ Cf. DR. I. 59. SD. 423; NL. 1368f.
60 (C.62; K.XX.60). ¹ Cf. DR. II. 59, SD. 420; NL. 1372f,
61 (C.63; K.XX.61). ¹ Cf. DR. II. 50; SD. 421; NL. 1380f.
62 (C.64; K.XX.62).
63-64 (C.65-66; K.XX.63-64). ¹ Cf. NL. 1059-1562. DR. II. 62; SD. 410. C. repeats after this two couplets from the Ch. VII. (118-119).
65 (C.69; K.XX.65).

52

CHAPTER TWENTYTHREE

THE COSTUMES AND MAKE-UP

Necessity of the Costumes and Make-up

1. I shall similarly speak in due order, O Brahmins, about the Costumes and Make-up; for the production [of a play] depends on this¹.

2. The Extraneous Representation (āhāryābhinaya) deals with the rules of the Costumes and Make-up (nepathya)². Anyone who wishes for the success (lit. well-being) of a dramatic production should pay attention to these¹.

3. The dramatis personae are of different types¹. Indicated first² by their Costumes and Make-up they accomplish the representation without much effort by means of Gestures and the like.

Four kinds of the Costumes and Make-up

4. The Costumes and Make-up (nepathya) are of four kinds: model work (pusta)¹, decoration (alaṃkāra), painting the limbs (aṅga-racanā) and living creatures (sañjīva).

The four kinds of model-work

5. [Of these] the model-work is of three kinds and of various forms. They are: the Joined Object (sandhima), the Indicating Object (vyājima) and the Wrapped Object (veṣṭima)¹.

6. The model work which is made up of mat, cloth, skin and the like, is called the Joined Object (sandhima)¹.

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1 (C.1; K.XXI.1). ¹ K. reads 1b differently.
2 (C.2; K.XXI.3). ¹ C. reads after this an additional couplet.
3 (C.4; K.XXI.2). ¹ Nānāvastha—nānābhūtā yā śokādyā nānābhūtāśrayāś ca (Ag. p. 429).
² Read pūrvam (pūrva, C.) nepathya-sūcitaḥ (sūcikaḥ, C. sādhitāḥ)
4 (C.5; K.XXI.4). ¹ K. mukta for pusta.
² K. nāṭyāṅga-racanā for tathāṅga-racanā.
5 (C.6; K.XXI.5). ¹ Ceṣṭimaḥ, C. for veṣṭimaḥ, K.
6 (C.7; K.XXI.6). ¹ Sandhimaḥ—sandhānatayā nirvṛttaḥ (Ag. p. 429).

.XXIII. 12] THE COSTUMES AND MAKE-UP 411

7. That which is made by means of a mechanical device (yantra) is called an Indicating Object (vyājima)$^1$ and that which is produced by wrapping, is called a Wrapped Object (veṣṭima)$^2$.

8. Hills, carriages, lofty palaces, shields, armours, banner-staffs and elephants$^1$ which are constructed for use in a dramatic performance are called model-works (pusta).

Decorations

9. Decorations (alaṃkāra) are known to consist of flower-garlands, ornaments and drapery which are differently used on different parts of the [human] body.

Garlands

10. Garlands are of five kinds : encircling (veṣṭita)$^1$, spread-up (vitata), grouped (saṃghāya)$^2$, tied-round (granthima), and hung-down (pralambita).

Four kinds of ornament

11. Ornaments of the body are known by the wise to be of the four kinds : that to be fixed by piercing the limbs (āvedhya)$^1$, that to be tied up (bandhanīya), that to be worn (prakṣepya), and that to be put round (āropya)$^2$.

Piercing ornaments

12. [Of these, the ornaments] to be fixed by piercing the limbs are ear-rings (kuṇḍala) and other ear ornaments$^1$.

Tied-up ornaments

And those to be tied-up (bandhanīya) are the girdles (śroṇī-sūtra) and the Aṅgada (arm-band).

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7 (C.8; K.XXI.7). $^1$ Vyājimaḥ—vyājaḥ sūtrasyākarṣākādirūpaḥ kṣepas tena nirvṛtto vyājimaḥ (Ag. p. 430).
$^2$ Read 7b as वेष्टातै नैव यद्रूप वेष्टिमं स तु संचितः. Ag. (p. 430) explains veṣṭimaḥ as follows : upari jatu-sikstādinā veṣṭanena nirvṛtto veṣṭimaḥ.
8 (C.9; M.XXI.8). $^1$ Emend nagāḥ into nāgāḥ.
9 (C.10; K.XXI.9).
10 (C.11; K.XXI.10). $^1$ C. ceṣṭitam.
$^2$ K. tepitam for saṃghātya. Ag. with C.
11 (C.12; K.XXI. 11). $^1$ C. āvedya.
$^2$ K. āropyaka, C. āropaka.
12 (C.13; K.XXI.12). $^1$ The reading of 12b seems to be slightly corrupt.

412 THE NATYASASTRA [ XXIII, 13-

Worn ornaments

13. The ornaments to be worn (prakṣepya) are the anklets (nūpura) as well as the wearing apparels.

Put-round ornaments

And those [ornaments] to be put round (āropya) are the golden neck-chain (hemasūtra) and necklaces (hāra) of different kinds.

Ornaments according to habitation and tribal origin

14. I shall now speak of the varieties of ornaments of men and women according to their habitation and tribal origin.

Ornaments for males :
Head ornaments

15. The crest-jewel (cūḍāmaṇi)¹ and the crown (mukuṭa)² are called ornaments of the head.

Ear ornaments

And the ear-ring (kuṇḍala)³, Mocaka (ear-pendant)⁴ and ear-top (kīla) are ornaments of the ears.

Neck ornaments

16. The pearl-necklace (muktāvalī) the Harṣaka¹ and the [gold] thread (sūtra)² are ornaments of the neck.

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13 (C.14; K.XXI.13).
14 (C.15; K.XXI.14).
15 (C.16; KXXI.15). ¹ To be worn on the top of the head. Cūḍāmaṇiḥ śiromadhye (Ag. p. 430).
² To be worn above the forehead. Mukuṭo lalāṭordhve (Ag. l.c.).
³ To be worn in the lower lobe of the ear. Kuṇḍalam adhara-pālyām (Ag. l.c.).
⁴ To be worn in the hole in the middle of the ear. Mocakaḥ karṇaśaṣkulyā madhyacchidre uttara-karṇiketi prasiddham (Ag. l.c.).
16 (C.17; K.XXI.16). ¹ harṣaka—a snake-shaped ornament, samudgata-sarpādi rūpatayā prasiddham. (Ag. l.c.).
² Sūtram—golden neck-chain, sūtrakam iti guccha-grīvā-sūtrāditayā prasiddham (Ag. l.c.).
³ Kaṭakaḥ (vaṭikā, K.). Ag. (l.c.) reads the term differently. He says vetiketi sūkṣmakaṭaka-rūpā.
⁴ Aṅguli-mudrā—In later times the two members of this compound word (aṅguliya and mudrā) gave rise to two different synonyms for the object (ring) denoted by it.