-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.

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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.

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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.

-XXIII. 19 ] THE COSTUMES AND MAKE-UP 413

Finger ornaments

And the Kaṭaka [Vaṭikā]⁴ and the finger-ring (aṅgulīya-mudrā) are ornaments of the finger.

Ornament of the forearm

17. The Hastavī¹ and the Valaya² are the ornaments of the fore-arm (bāhu-nālī).

Wrist ornaments

And the bracelet (rucika)³ and the Uccitikā⁴ are ornaments of the wrist.

Ornaments above the elbow

18. The Keyūra (armlet)¹ and the Aṅgada (arm-band)² are ornaments to be worn above the elbow.

Breast ornaments

And the three-stringed necklace (trisara)³ is the ornament of the breast.

19. The suspended pearl necklace, the flower-garland and the like, are ornaments for the [entire] body.

Waist ornaments

And the Tarala¹ and the golden thread (sūtra)² are ornaments of the waist.

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17 (C.18). ¹ This is seems to be very rarely mentioned in Skt. literature.
² This word is the same as Bengali bālu (bangle).
³ This seems to be a variant of the word rucaka. See note 4 below.
⁴ This word seems to be never met with elsewhere. Ag.'s fragmentary gloss on this word or rucaka is as follows : * * cakra iti karagolake vitatāṃ tata ūrdhve cūliketi prasiddhau (?) niṣkuke agrabāhu-sthāne etat [vibhū]-ṣaṇam (p. 430).
18 (C.19, K.XXI.17). ¹ To be worn above the elbow. Keyūre karpara (kūrpara)-syordhvataḥ (Ag.l.c.), but ke bāhuśīrṣe yauti iti keyūram, Kṣīrasvāmin on Amara II. 6,107.
² To be worn above the keyūra. Tayor (=keyūrayor) ūrdhve tv aṅgadam (Ag. l.c.).
³ Trisara—trisaro muktālatātrayeṇa (Ag. l.c.).
19 (C.20; K.XXI.18). ¹ To be worn below the navel ; ta[ra]lakaṃ nābher ataḥ (Ag. l.c.)
² To be worn below the taralaka. Tasyāpyadhaḥ sūtrakam (Ag. l.c.).

414 | THE NATYASASTRA | [XXIII. 20-

20. These are the ornaments for males in case of the gods and the kings. I shall now speak about the ornaments for females.

Ornaments for females

Head ornaments

21-22. The Śikhāpāśa¹, the Śikhājāla², the Piṇḍapātra³ (Khaṇḍapātra), the Crest Jewel (cūḍāmaṇi)⁴, the Makarikā⁵, the pearl-net (muktā-jāla)⁶ the Gavākṣa⁷ and the hair-net (śīrṣajāla) are ornaments of the head.

22-23. The Tilaka on the forehead should be produced by many artistic touches, and group of design above the eyebrows should imitate flowers.

Ear ornaments

23-25. The ornaments of the ear are the Kuṇḍala, the Śikhipatra¹ (Khaḍgapatra), the braid [of hairs], the lotus² and the Mocaka³ the Karṇikā⁴, the Karṇavalaya⁵, the Patrakarṇikā⁶, the Karṇamudrā⁷ that entwines the ear, the Karṇotkīlakā (ear-top),

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20 (C.21; K.XXI.19).

21-22 (C.22-23a; K.XXI.20-21a). ¹ This is same as cūlāpāśa mentioned in Megha, II. 2.

² Ag. (p. 431) reads it as śikhāvyāla and explains this as nigagranthibhir upānibaddho madhyekarṇikā-sthānīyam, and adds to explain piṇḍipātra (= piṇḍapātra) as tasyaiva dalasandhānatayā citra-vacanāni (?) vartulāni patrāṇi piṇḍipātrāṇi. ³ See note 2 above.

⁴ The same as mentioned in 15 above.

⁵ Ag. reads this makarapatram.

⁶ This is the same word which occurs in Megha, I. 64.

⁷ No head ornament with this name seems to occur anywhere else.

22-23 (C.24; K.XXII.21b-22a).

23-25 (C.23b, 25-26; K,XXII. 21a, 22b-24).

¹ Ag. (l.c.) reads śikhāpatra and explains this as śikhāpatra mayūrapicchākāro vicitravarṇa-maṇi-racitaḥ.

² guccha. K. for kañja. C. ³ Rocaka, C. and dārakaḥ K.

⁴ This was never met with before.

⁵ This is perhaps the sames as mod. Bengali kānbālā<•kānbalā< kaṇṇavalaa< karṇavalaya.

⁶ This was never met with before.

⁷ This ornament is still in use among women of backward classes.

-XXIII. 27 ] THE COSTUMES AND MAKE-UP 415

the various kinds of the Dantapatras⁸ set with jewels and the Karṇapūra⁹.

The Tilaka and the Patralekhā¹⁰ are ornaments of the cheeks¹¹.

Neck ornaments

26. The pearl-necklace, the snake-group (vyāla-paṅkti)¹, the Mañjarī², the jewel-string³ the jewel-necklace⁴ and the neck-chain (sūtra)⁵ are ornaments of the neck.

27. The necklace with two, three or four strings as well as a [gold] chain is the ornament of the neck¹.

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⁸ These were possibly made with ivory.
⁹ The well-known ear ornament.
¹⁰ The same as patrabhaṅga (drawing decorative designs with scented pigments).
¹¹ C. reads after this four additional and somewhat corrupt couplets ((C.27b-31a) which may be tentatively translated as follows: And the triveṇī is to be known as the ornament of the breast. The two eyes are to be touched with collyrium, and the lips are also to be painted. The four front teeth (of the upper and the lower rows) are to have varying colours as well as whiteness. When covered with artificial colours their beauty is enhanced. Pearl-like teeth of beautiful young women embellish their smile, and dyed with the colour of lotus petals they will be lovely, and when dyed with emerald colour the lips will attain the beauty of tender leaves. And their amorous look will constitute their charms
26 (C.31b-32a; K-XXI.25). ¹ An ornament with the snake-motif; see above 16 note 1. This was never met with before.
² Mañjarī—This was never met with before.
³ Ratnamālikā—This is to be distinguished from ratnāvalī (see note 4 below) which is a bigger necklace; for the word mālikā means a small mālā.
⁴ Ratnāvalī—See note 3 above.
⁵ Sūtra (lit. thread) evidently means a thin thread-like necklace made of gold; cf. kanakasūtra in Pañcatantra I. (vāyasa-dampati-kathā).
27 (C.32b-33a). ¹ K. omits this passage. The terms like dvisara (wrongly dvirasa), trisara (wrongly trirasa) and catu-sara (wrongly catūrasa) mean respectively necklaces with two, three and four strings.

416 THE NATYASASTRA [XXIII. 28

Breast ornaments

28. The necklaces with the most artistic work¹ are to be ornaments of the breasts.

The jewelled net is the ornament of the breasts (or the back)².

Arm ornaments

29. The arm-band (aṅgada)¹ and the bangles (valaya)² are ornaments of upper (lit. the root of the) arms.

The Varjura³ and the Svecchitikā⁴ are ornaments of the fore-arm.

Finger ornaments

30. The Kaṭaka¹, the Kalaśākha², the Hastapatra³, the Supūraka⁴ and the ring (mudrāṅgulīyaka)⁵ are ornaments of fingers.

Hip ornaments

31. The Kāñcī¹ with a net of pearls, the Kulaka, Mekhalā, the Raśanā and the Kalāpa are ornaments of the hip (śroṇī).

32. The Kāñcī is [a girdle] of one string, the Mekhalā of eight, the Raśanā of sixteen and the Kalāpa¹ of twenty-five strings.

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28 (C. 33b-34a; K.XXI.26). ¹ nānā-ratnakṛta (in K.) meaning 'made up of many jewels'.
² Pṛṣṭha-vibhūṣaṇa (in K.) meaning 'ornaments of the back'.
29 (C.34b-35a; K.XXI.28b, 28a). ¹ K's reading is corrupt. See above 18 note 2.
² It is now-a-days called ananta in Bengal. Kālidāsa's Yakṣa (Megha, I. 2) had a kind of valaya in his prakoṣṭha (fore-arm).
³ This seems to connected with the bāju still in use among women of rural areas in Bengal.
⁴ Svecchitikā—This was not heard of before.
30 (C.35b-36a; K.XXI.27b, 27a). ¹ K. reads of 30a as śaṅkha-kalāpī. kaṭakaṁ tathā syāt patrapūrakam. Kaṭaka is usually met with in the sense of an ornament of the wrists. ² This was never met with before.
³ This was never met with before. There is however an ornament hasta-sūtra (Apte). ⁴ This was not met with before.
31 (C.36bc; K.XXI.29). ¹ K. reads 31a differently. All the ornaments except kulaka have been defined in 32 below. Kulaka seems to be a girdle of the special kind.
32 (C.37; K.XXI.30). ¹ Kalāpa seems to have been used by Kālidāsa in the sense of a necklace (Kumāra I. 42).

-XXIII. 40] THE COSTUMES AND MAEKE-UP 417

33. The pearl necklace of the goddesses and the queens are of thirtytwo, sixtyfour or one hundred and eight strings.

Ornaments of the ankles

34. The Nūpura, the Kiṅkiṇī, the Jewel-net (ratnajāla)$^1$ and the ringing Kaṭaka are the ornaments on the ankles.

35. The Pāda-patra is the ornament of the shanks (jaṅghā) and the toe-rings that of the toes, and the Tilaka on the big toe are ornaments of the feet.

36. Similarly [an additional decoration of the feet] will be the lac-dye applied on them in various patterns to impart to them the natural colour of Aśoka blossoms.

37. These are the decorations of women from the hair to nails [of the feet]$^1$. Considering the States and the Sentiments these are to be applied [in different parts of the body].

38. These ornaments (lit. works) having their origin in Viśvakarman$^2$ are to applied also after a consideration of the tradition (āgama), measurements [of the wearer] and her physical form.

39. [In dramatic production] one is not entitled to decorate the limbs freely and at one's will, with gold, pearls and jewels.

40. Utilised on account of wealth$^1$, the jewelled ornaments put on in proper places will lend beauty to the limbs$^2$.

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33 (C.38, K.XXI.31).

34 (C.39, K.XXI.32). $^1$ K. reads ghaṇṭika lālam evā ca.
$^2$ Hollow bangles within which small stone bits are lodged.

35 (C.40; K.XXI.33). $^1$ C. reads jaṅghayoḥ for padayoḥ.
$^2$ This was never met with before. Ag. (p. 431) reads tilakā iti vicitraracanākṛtā.

36 (C.41). $^1$ This passage is wanting in K.

37 (C.42; K.XXI.34b, -34a). $^1$ Ag. (l.c.) ānakhād—alaktaka-rāga-paryantam.

38 (C.43; K.XXI.35). $^1$ Ag. (l.c.) explains āgama as upādānakāraṇam.
$^2$ An authority of arts and crafts (śilpa).

39 (C.44; K.XXI.37b-38a). $^1$ K. reads tarhi śaktyanusāreṇa.

40 (C.45). $^1$ Read vibhavato.
$^2$ K. omits this passage.

53

418 THE NATYASASTRA [XXIII. 41-

41. But in the production of plays there should not be a use of too many ornaments ; for these by stiffening movements will cause fatigue [to actors and actresses]¹.

42. Weighed down with heavy ornaments one cannot move much, and one so weighed down, is likely to be exausted and to be faintaing.

43. Hence [in a dramatic production] there should be not used ornaments made of pure gold, but those made of lac and inlaid slightly with jewels, will not bring exaustion [to the wearers in a play].

44. The rules of decoration are optional¹ in case of the celestial beings (gods and goddesses) ; but the decoration of human beings are to be made carefully.

45. The celelstial females are to be distinguished for their own roles by means of ornaments and Costumes suited to the various States.

46. Women of the Vidyādharas, the Yakṣas, the Nāgas, and the Apsarasas, and the daughters of sages and gods are to be distinguished by their Costumes.

47. The same rule applies also to women of the Siddhas, the Gandharvas, the Rākṣasas, the Asuras, the godly monkeys, and human females.

48. The Vidyādhara women should be made to have hairs (śikhā) tied in top-knot decorated with string of many pearls and clothes [completely] white¹.

49. The Yakṣa women and the Apsarasas should have

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41 (C.46). ¹ A very sensible warning.
42 (C.44). See above 41 note.
43 (C.48).
44 (C.49). ¹ For gods are beautiful by nature.
45 (C.50). ¹ Read 45a as भूषणैश्चापि वेधैस्तु नानावस्था समाश्रयैः.
46 (C.51, K.XXI.42).
47 (C.52). ¹ Read divya-vānara-nārīṇām ; cf. 57 below.
² K. omits this passage.
48 (C.53, K.XXI.44).¹ K. reads citra for śuddha, C.
49 (C.54, K.XXI.43),

.-XXIII. 56] THE COSTUMES AND MAKE-UP 419

ornaments of jewels, and the same will the dresses of [all] these, except that the Yakṣa women are to wear the simple Śikhā¹.

50. The Nāga women are to wear like the goddesses¹ the ornaments abounding in pearls and jewels, but they are also have hoods² [in addition to these].

51. The daughters of sages are to wear a single Veṇī of the hair on their head, and they should not be made to have too much decoration.

Siddha women

52. The Siddha women should have ornaments abounding in pearls and emeralds, and their dresses should be of yellow colour.

Gandharva women

53. Ornaments of the Gandharva women should be made to abound in rubies. And they are to carry a Viṇā in the hands and to have clothes of saffron colour.

Rākṣasa Women

54. The Rākṣasa women are to have saffires as their ornaments, and their teeth are to be made white and the dresses of black colour.

Goddesses

55. The celestial women are to have lapis lazuli and the pearls as their ornaments, and their dresses are to be made green like [the colour of] the parrot's tail.

Monkey females

56. The women of the [godly] monkeys are to have topaz¹ and [sometimes] lapis lazuli as their ornaments, and their dresses are to be made of blue colour.

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¹ Read samas tvāsām for samastānām (K). and yas tvāsām (C.)
50 (C.55, K.XXI.38b). ¹ K. omits 50a. ² Read phaṇās tāsām (K).
51 (C.56, K.XXI.39 and 45). ¹ Read tāsāṁ veśo vanocitaḥ (K).
52 (C.57). ¹ For the Siddha women see Megha I. 14.
53 (C.58). ¹ Read kuryāt before padma-maṇi°.
54 (C.59). 55 (C.60).
56 (C.61). ¹ Puṣparāga = puṣparāja, NIA. pokh-rāj.

420 | THE NATYASASTRA | [ XXIII. 57

57. This should be the dress of celestial women in their love-making. But in other conditions their dresses are to be made white.

Human females according to their countries

58. Human females are to have dresses and ornaments according to their places of origin. Listen properly about them.

Women of Avanti and of Gauḍa

59. The young women of Avanti are to have curling hairs, and the women of Gauḍa are to have hairs mostly curled and they are to have the Śikhāpāśa and the Veṇī.

Ābhīra women

60. The Ābhīra women are to have two Veṇīs on their head which should be covered with a [piece of] deep blue cloth.

Women of the North East

61. The women of the North East are to hold up their Śikhaṇḍas, and in dressing themselves they cover the body up to their hair.

Women of the South

62. The women of the South are to have Ullekhya with Kumbhīpadaka, and Āvarta on the forehead

63. Thus, dresses, ornaments, and hair-cutting etc. should be regulated for the remaining characters according to their habitation and birth.

Ornaments to be worn in the right place

64. An ornament not put on in its proper place will create

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57 (C.62; K.XXI.40a, 46). ¹ Read divyāṅganā° ca.
58 (C.63; K.XXI.47, 40a).
59 (C.64; K.XXI.48). ¹ Probably the district of Malda and neighbouring regions in modern Bengal.
60 (C.65; K.XXI.49). 61 (C.66; K.XXI.50).
62 (C.67; K.XXI.51). ¹ Ullekhya is probably connected with Bengali ulki (tatto).
² Possibly a special kind of tatto. ³ Some kind of circular mark.
63 (C.68b-69a; K.XXI.52). ¹ K. omits 62a C. adds one hemistich (C. 68a) before 62, which in trans. is follows : Courtezans are to have the decoration [of the body] according to their choice.
64 (C.69b-70a; K.XXI.53).

-XXIII. 72 ] THE COSTUMES AND MAKE-UP 421

no beauty; for by wearing a Mekhalā (girdle) on the breast one will create laughter.

Dresses to suit the condition of females

65. Similarly, the condition of females whose lover has gone abroad and who are afflicted with misery are to not to have a clean dress, and they are to wear their hair as a single Veṇī of the head.

66. The dresses of women who are separated from their lovers, should be white and they are not to wear many ornaments and not to cleanse their body¹.

67. Such should be [the dresses] of women according to their habitation and the condition [of existence]. Now I shall speak about the proper dresses of men.

Painting the limbs

68. But in their (i.e. men's) case the producers of plays should first of all paint the limbs, and then Costumes according to their habitation should be provided.

The four original colours

69. The four original (lit. natural) colours are black, blue, yellow and red; the limbs should be painted with these.

The derivative colours

70. There are besides these, the primary and the secondary derivative colours. I shall speak about the ways in which the producers are to make them.

The primary derivative colours

71. The yellowish white (pāṇḍu) colour is made up of the white and the yellow¹, and the pegion (kāpota) colour, of the white and the blue².

72. The lotus (padma) colour is made up of the white and the red, and the green (harit) colour, of the yellow and the blue.

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65 (C.70b-71a, K.XXI.54).
66 (C.71b-72a, K.XXI.55). ¹ na vāpi hi nṛtā (=mṛjā) yuta, (K).
67 (C.72b-73a, K.XXI.56). ¹ Veśā deśasamudbhavā (K).
68 (C.73, K.XXI.57). ¹ C. omits 68b.
69 (K.XXI.58). ¹ C. omits this passage.
70 (K.XXI.59). ¹ C. omits this passage.
71 (C.74a, K.XXI.60a, 61a). ¹ C. nīla for pīta. ² C. omits. 71b.
72 (C.74-75a, K.XXI.60b-61b).

422	THE NATYASASTRA	[ XXI. 73-

73. The dark red (kāṣāya) colour is made up of the blue and the red, and the pale-red (gaura) colour, of the red and the yellow.

74. These are the primary derivative colours. Besides these there are [many] secondary derivative colours which may be made up of three or four [original] colours.

The secondary derivative colours

75. Of these, the strong colour should form one part and the weak colour two parts ; but the blue colour should be taken as directed below.

76 'The blue should form only one part while the other colours will form three parts, for the blue is known to be the strongest of colours.

77. Knowing these rules of colours which are to be prepared by mixing them variously¹, one should paint the body of different characters.

78. The painted body together with the change of the Costume is to be considered as due to the convention (nāṭyadharma) affecting the dramatis personae¹.

79-80. Just as [the soul of] a man on entering the body of another being, renounces his own nature connected with a different body and assumes another character¹, so a person having (lit. covered with) [a different] colour and Costume adopts the behaviour connected with the clothes he will wear.

Living beings

81. As they have breath, the gods, the Dānavas, the Gandharvas, the Yakṣas, the Rākṣasas and the Pannagas (Nāgas) are called living beings (prāṇin)¹.

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73 (C.75b-76a, K.XXI.62).
74 (C.76b-77a, K.XXI.63).
75 (C.77b-78a, K.XXI.64).
76 (C.78b-79a, K.XXI.65).
77 (C.79b-80a, K.XXI.66). ¹ nānāsaṃyoga (C) for mānasamyoga(K).
78 (C.80b-81a, K.XXI.67). ¹ C. reads after this an additional couplet.
79-80 (C.82b-83a, K.XXI.65). ¹ Read parabhāvaṃ for parābhāvaṃ.
81 (C.84b-85a, K.XXI.70). ¹ C. reads an additional couplet after this.

-XXIII. 89 ] THE COSTUMES AND MAKE-UP 423

Lifeless objects

82. Hills, palaces, mechanical contrivances (yantra), shields, armours, banner-staffs and the various weapons are known as lifeless objects (aprāṇin)¹.

Lifeless objects in human form

83. But whenever necessary (lit. due to a reason) they may assume a human form with [suitable] dress and speech according to the dramatic convention (nāṭya-dharma).

Painting the limbs

84. After learning the rule of making colours one should paint the limbs [of the dramatis personae] in keeping with their habitation, birth and age.

Colours for gods

85. Gods as well as the Yakṣas and the Apsarasas should be painted reddish yellow (gaura), and Rudra, Arka (the Sun) Druhiṇa (Brahman) and Skanda are to have the colour of gold.

86. Soma (the Moon), Bṛhaspati, Śukra, Varuṇa and the stars, the ocean, the Himālaya, and Gaṅgā (the Ganges) are to be made white in colour.

87. Aṅgāraka [Maṅgala = Mars] should be painted red and Budha and Hutāśana (Agni) yellow and Nārāyaṇa and Nara as well as Vāsuki should be dark blue (śyāma).

Colour for demi-gods

88. The Daityas, the Dānavas, the Rākṣasas, the Guhyakas, the Piśācas, gods of hills, and the sky are dark blue in colour.

89. The Yakṣas, the Gandharvas, the Bhūtas, the Pannagas (Nāgas), the Vidyādharas, the Pitṛs and the monkeys are of various colours.

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82 (C.86b-87a; K.XXI.71). ¹ Read तेऽप्राणिनः.
83 (C.87b-88a; K.XXI.72). 84 (C.88b-89a, K.XXI.73).
85 (C.89b-90a; K.XXI.74). ¹ Read rudrārkadruhiṇa (K.) for rudraḥ sadruhiṇaḥ (C.).
86 (C.90b-91a; K.XXI.75). 87 (C.91b-92a, K.XXI.76).
88 (C.92b-93a; K.XXI.77). ¹ Presiding deity of hills (Ag.).
89 (C.93b-64a; K.XXI.78). 90 (C.94b-95a, K.XXI.79).

424	THE NATYASASTRA	[ XXIII. 90-

Colours for human beings in different regions

90. Human beings who dwell on the Seven Continents (sapta-dvīpa) are to be painted in the colour of burnished gold.

91. But among the inhabitants of Jambudvīpa where men of various colours live, every one except those who dwell in the North Kuru region should be given the colour of gold.

92. People of Bhadrāśva¹ should have the white colour of their body, and so should these of Ketumāla. But those of other Continents should be made reddish yellow (gaura) in colour.

Colours for Bhūtas and dwarfs

93. Bhūtas and the dwarfs are known to be of various colours. They possess odd faces and may have faces of boars, rams, buffaloes and deer as well¹.

Colours of different peoples of Bhārata-varṣa

94. Listen now about the different colours of the people of Bhāratavarṣa. Kings there should be of lotus colour, or dark blue or reddish yellow [in complexion].

95-96. And the happy mortals there are to be made of the reddish yellow (gaura) colour. Those who practice vile acts, are possessed of evil spirits, diseased or engaged in penance and do not perform sacrifices (yajña) and are of inferior birth, should be made brown (a-sita, lit. not fair). And the sages should always be given the colour of plum (vadara). And such should be the colour of sages observing penance (tapas).

97. But out of any necessity and not according to one’s pleasure, colours of persons may be varied according to the habitation, birth and age.

98. An expert in [dramatic] production should paint persons after knowing their, place [of action] and time of action, birth and the region of the earth they dwell in.

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91 (C.95b-96a; K.XXI.80).
92 (C.96b-97a ; K.XXI.81). ¹ Read bhadrāśvaḥ.
93 (C.97b-98a ; K.XXI.82). ¹ K. reads this differently.
94 (C.98b-99a; K.XXI.83). ¹ padmavarṇaḥ for pañcavarṇaḥ.
95-96 (C.99b; K.XXI.84-86a). ¹ C. omits 95b-96.
97 (C.100; K.XXI.86-87a).
98 (C.101; KXXI.87b-88a).