नाट्यशास्त्रम् (प्रथम भाग - अभिनवभारती एवं हिन्दी टीका सहित)

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).

-XXIII. 100 ] THE COSTUMES AND MAKE-UP 425

Colours of different tribes

99. Kirātas¹, Barbarians² (barbara), Andhras³, Dramilas,⁴ Kāśīs⁵, Kosalas⁶, Pulindas⁷ and the inhabitants of the South (dākṣiṇātya)⁸ are mostly known to be brown (asita lit. not white).

100. Śakas¹, Yavanas², Pahravas (Palhavas)³ and Vāhlikas (Bāhlikas)⁴ who dwell in the North should be made almost reddish yellow (gaura).

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99 (C.102, K.XXI.88b-89a). ¹ Colours mentioned in this and the following passages probably show that the groups alloted a special colour are approximately of the same complexion and not actually of the colour mentioned. These passages seem to give a valuable information about some ethnological features of ancient India. Pre-Aryan people including the Dravidians (Andhras and Dramilas) were not fair in complexion. The separate mention of the Southerners after Andhras and Dramilas (Draviḍas) taken along with some Northern tribes like the Kāśīs and Kosalas, seem to show that the NŚ. here records the tradition of their once living in the North. Kirāta—a hill tribe probably living in the Himalayan region; see Mbh. XII. 207, 43.

² Barbara—Some non-Āryan tribe mentioned very rarely in Skt. literature (Mbh. XII. 207. 43). This may be a synonym of Mleccha as well.

³ Andhra—This tribe is well-known in history and literature.

⁴ Dramila—Known in Pali (Mahāvaṃsa) as Damila (modern Tamil).

⁵ Kāśī—The tribe after which the ancient kingdom of Kāśī and the city of that name was known.

⁶ Kosala—The tribe giving name to the ancient kingdom of Kosala.

⁷ Pulinda—An aboriginal people living probably in the Vindhya region. See Mallinātha on Raghu, XVI. 32; also Paṇha I. 1. and Ṇāyā I. 1.

⁸ They may be members of Kol and other tribes living in the South.

100 (C.103; K.XXI.19b-90a). ¹ Śaka—Hoards of nomadic tribes from Central Asia who descended on the Indian plains in about 200 B.C. ; mentioned in Manu 10, 44.

² Yavana—Probably the same as Yona in Aśoka's edicts. They seem to have been Perso-Greeks and their descendants.

³ Pahrava (Pahlava)—Usually taken to mean Parthians who annexed the Western Punjab in about 140 A. C.

⁴ Vāhlika (Bāhlika)—Inhabitants of the region known as Balkh.

⁵ Read उत्तरां पश्चिमां श्रितम् (उत्तरां पश्चिमां दिशम्, K. उत्तरां ये श्रितं दिशम् C.). The tribes mentioned here came to from their home in the North-West.

54

426 THE NATYASASTRA [ XXIII. 101

101. Pañcālas¹, Śūrasenas², Uḍhras³, Māgadhas⁴, Aṅgas⁵, Vaṅgas⁶ and Kaliṅgas⁷ should be made dark or deep blue (śyāma) in complexion,

Colours of differen castes

102. Brahmins and Kṣatriyas should be always made red (or reddish yellow)¹ and Vaiśyas and Śūdras dark or deep blue (śyāma) in complexion².

Rules for the beard

103. After painting the face and other limbs one should provide beards to persons after considering their habitation, activity and age.

104. The beard according to the change of States of persons should be of four kinds : shaven (śuddha)¹, black (śyāma)² smartly done (vicitra)³ and bushy (romaśa, lit. hairy)⁴.

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101 (C.104; K.XXI. 90b-91a). ¹ Pañcāla tribe is well-known in Mbh.
² Śūrasena—The tribe which once settled around Mathura. It gave its name to the principal Pkt. of the Indian drama (Śaurasenī).
³ Uḍhra (Uḍra)—The name of a tribe after which the modern Orissa (Oḍriviṣaya) has been named. See Manu. 10; 44.
⁴ Māgadha—The tribe after which the ancient country of Magadha was named.
⁵ Aṅga—The tribe after which the ancient country of Aṅga was named.
⁶ Vaṅga—The tribe after which the ancient Vaṅga (South-East Bengal) was named.

102 (C.105; K.XXI 91b-92a). ¹ Red (rakta, C) or reddish yellow colour (gaura, K) assigned to Brahmins and Kṣatriyas probably show that at one time when the various theatrical conventions cystalised, these two sections of the society still retained their original Indo-Iranian physical features one of which was certainly the colour of their skin. The dark colour of the Vaiśyas and Śūdras similarly shows in all likelihood that these were not Aryans or Aryans of the pure type. ² See note 1 above.

103 (C.106; K.XXI.92b-93a).

104 (C.107; K.XXI.93b-94a). ¹ Śuddha (śukla, C.)—clean-shaven, kṣureṇa sarvadā vāsitam, always treated with razor (Ag.).
² Śyāma—ordinarily black in colour ; but see above.
³ Vicitra—cut or done in special fashion. Ag. (p.433) on this point says : विचित्रमि[ति]क्षुरसकर्मो कर्मणा उत्पादनकर्मणा च रचित(तं) विचित्रसन्निवेशं. The reading though evidently corrupt seems to give the meaning suggested.
⁴ Romaśa—bushy, romaśaṁ iti yathotpannam (Ag. l.c.), 'bushy

.XXIII. 111] THE COSTUMES AND MAKE-UP 427

105. The beards of religious mendicants (liṅgin)^1 ministers, priests and persons who are indifferent to sensual pleasure^2 or have consecrated themselves for any ritual^3 should be made [clean] shaven.

106-107. The beards of celestial males such as the Siddhas^1 and the Vidyādharas^2, kings, princes, officers of the king and persons who are foppish and proud of their youth^3, should be made smartly done (vicitra) by the producers of plays.

108. The beard of persons who could not fulfil their promises, are sorry and miserable on that account or have been struck with any calamity, should be made black (śyāma).

109. The beard of sages, ascetics and persons observing a long-standing vow, and of those who are bent on revenge^1 should be made bushy (romaśa).

Rules for different Costumes

110. Thus the beard should be made of different kinds. I shall now speak of costumes suited to different occasions^1.

111. Drapery suited to different ways of painting limbs^1 may be of many kinds ; but generally it is of three varieties : white, red and variegated (vicitra)^2.

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means as they are naturally grown'. The last three classes do not seem to be mutually exclusive.

105 (C.108; K.94b,96a). ^1 Liṅginām—ब्रह्मचारिवानप्रस्थादीनां मध्यस्था ये च पुरुषा ये भिक्षां समाश्रिता इत्यर्थः (Ag. p.433-434).

^2 Madhyasthā—मध्यस्था इति नोत्तमानामधमानाम् इत्यर्थः (Ag. p.434).

^3 It is even now the custom among some Hindus is that they shave themselves clean before consecrating themselves for some special kind of daiva and paitra rites.

106-107 (C.109-110; K.96b-98a). ^1 A class of demigods. See Kumāra. 1,5.

^2 A class of demigods. See Bhartṛhari’s Vair. Śat. 24.

^3 Ag. says यौवनोन्मादिन इत्यमात्य-पुरोधसोऽपीति भावः (p. 434).

108 (C.111; K.XXI 95).

109 (C.112; K.XXI. 98b-99a). ^1 C. reads 109b as सिद्धविद्याधराणां च रोमशस्तु विधीयते which seems to be wrong. See above 106 where Siddhas and Vidyādharas have been taken as clean shaven.

110 (C.113; K.99b-100a). ^1 C. repeats here 10.

111 (C.115). ^1 See above 85ff. ^2 K. omits this.

428 THE NATYASASTRA [ XXIII. 112.

112. Costumes are of three kinds : white, variegated and soiled (malina). I shall now explain their difference according to their use by producers.

113-114. In going to the temple of gods, observing some auspicious rite or a vow or at the conjunction of some Tithis and stars (nakṣatra) or at the time of marriage¹ or any other sacramental rite, men and women should have white costumes and the same is the rule for a trader (prāpaṇika)².

115. Costumes of gods, the Dānavas, the Yakṣas, the Gandharvas, the Nāgas, the Rākṣasas, kings, and people of foppish nature¹ should be variegated (citra = vicitra).

116-117. Costumes of Kañcukins (armour-bearer), ministers, leaders of army, priests, the Siddhas, the Vidyādharas, merchants, adepts in Śāstras, Brahmins, Kṣatriyas, Vaiśyas and kings' officers (sthānīya)¹ should be made white in a dramatic production.

118. Costumes of lunatics, intoxicated persons, wayfarers and persons struck with calamity should be made soiled (malina).¹

119. Costumes and decorations of the sages, the Jain (Nirgrantha) and the Buddhist (Śākya) monks, the Tridaṇḍis¹ and Brahmins well-versed in the Vedas (śrotriya) should be made according to their respective sectarian rules.

120. Costumes of the wandering ascetics (parivrāj), great sages and other ascetics should be made, whenever necessary, with dark red (kāṣāya) cloth¹.

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112 (C.116; K.XXI. 100b-101a).
113-114 (C.117-118 ; K.XXI. 101b-102a). ¹ K. omits. 113. Ag. (p.434) explain śuddha as गृहयवस्त्रादिप्रायः.
² Prāpaṇikā (C. prāpatnikā, K. prayat°, prāyat°) see Māgh. IV. 11.
115 (C.119; K.102b-103a). ¹ Emend karkaśa° into kāmuka°.
116-117 (C.120-121; K.103b-105a). ¹ They were possibly inferior in rank to prādeśikas of Aśoka. See B.M. Barua, Inscriptions of Aśoka Pt. II. Calcutta, 1943, p.242.
118 (C.122; K.XXI 105b-106a). ¹ K. reads after this three more hemistichs (106b-107).
119 (C.123; K.XXI.108). ¹ A sannyāsin who carries three staves tied together and has control over his mind, speech and body. See Manu 12, 10. (Ref. Apte). For tridaṇḍi-śrotriyeṣu, K. reads yatipāśupateṣu (members of the Pāśupata sect.).
120 (C.124). ¹ K. omits this.

-XXIII, 128] THE COSTUMES AND MAKE-UP 429

121-122. To the Pāśupatas should be given a veriegated dress, and costumes of persons of high family should be made according to their position. Besides this the ascetics are sometimes to have the bark of trees and the [animal] skin as their clothing.

122-123. To persons engaged in guarding the harem should be given armour and clothes of dark red (kāṣāya) colour. The same should be the dresses of females when they attain special conditions.

124. Costumes of the warriors should be suitable for fighting a battle, and they are to be provided with brilliant weapons, armours, quivers¹ and bows

125. Kings should always be made to have a many-coloured dress ; but when due to ominous appearance of any star (nakṣatrotpāta)¹ they are engaged in any propitiatory rite their costumes should be white.

126. Thus should be made the dresses of persons (lit. types men and women) of the superior, the middling and the inferior classes according to their age, birth and other conditions (lit. qualities).

127. These are the rules of costumes in a dramatic production according as persons attain different conditions, and practice good or bad deeds.

Use of masks

128. Similarly different masks (pratīśira)¹ are to be used for gods and men according to their habitation, birth and age.

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121-122 (C.125, 127a; K.XXI 110b,109). 122-123 (C.126, 127b; K.XXI. 109b-110a, 111a). 124 (C.128; K.XXI-111b-112a). ¹ C. baddhatrāṇa for baddhatūṇa. 125 (C.129; K.XXI.112b-113a). ¹ नक्षत्रोत्पातप्रशमनार्थं यन्मङ्गलं, Ag. (p. 434). 126 (C.130; K.XXI.113b-114a). 127 (C.131; K.XXI.114b-115a). 128 (C.132; K.XXI-115b-116a). ¹ Pkt. paḍisisaa = Skt. pratīśīrṣaka (Karp I.). It is not laid down anywhere whether masks are to be used in all types of plays and for all characters. For a discussion on this see the Introduction.

430	THE NATYASASTRA	[ XXIII. 129

Three kinds of crown

129. [In the masks] crowns for the gods and kings are of three kinds: Pārśvagata (= Pārśvamauli), Mastakī and Kirīṭī.¹

130. For the gods [in general], the Gandharvas, the Yakṣas, the Pannagas (Nāgas) and the Rākṣasas the crowns of the Pārśvamauli (Pārśvagata) type have been prescribed¹.

131. And the Kirīṭī crown has been prescribed for the superior gods, and the middling gods are to have crown of the Mauli (= Mastakī?) type, while the common (lit. inferior) gods are to have crowns of the Pārśvamauli¹ type.

132-133. The kings should be given crowns of the Mastakī type. While the Vidyādharas, the Siddhas and Cāraṇas¹ should be provided with crowns made up of locks of hairs (keśa-mukuṭa).

133-134. The masks of ministers, Kañcukins (armour bearer), leaders of the merchants' guild, and priests should be furnished with turbans¹.

134-135. And the masks of the army-leaders (senāpati) and the crown-prince should be combined with a small crown (ardha-mukuṭa, lit. half-crown).

135-136. As for the rest [of persons] the head [in the mask] should be treated in dramatic production in relation to their habitation, birth and age.

136-137. The heads of boys should be adorned with the Śikhaṇḍa¹ and that of the sages should have a crown of matted hair (jaṭā-mukuṭa).

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129 (C.133a; K.XXI.116b-117a). ¹ C. omits 129b.
130 (K.XXI.117b-118a). ¹ C. omits 130.
131 (C.133b; K.XXI.118b-119a). ¹ C. śīrṣamauli
132-133 (C.134, 135a, 138; K.XXI.119b-120). ¹ K. vānaraṇām. Cāraṇas are demigods who sing the praise of superior gods. C. reads after this five more hemistichs.
133-134 (C.138b-139a; K.K.XXI.123). ¹ Read veṣṭita-baddha-paṭṭāni (C. veṣṭanam baddha-paṭṭādi. K. veṣṭita-baddha-baddhāni).
134-135 (C.139b-140; K.XXI,122).
135-136 (C.141; K.XXI.127).
136-137 (C.142; K.XXI.125). ¹ Read śiraḥ śikhaṇḍa-bhūṣitam

.XXIII. 145] THE COSTUMES AND MAKE-UP 431

137-138. The masks of the Rākṣasas, the Dānavas and the Yakṣas¹ should be furnished with brown hairs and twany beards.

138-139. The masks of the Piśācas, lunatics, the Bhūtas, spiritual aspirants, ascetics and those who have not yet fulfilled their vows should have long hairs.

Rules of different hairs

139-141. The head [in the mask] of the Buddhists monks (śākya), experts in Vedic studies (śrotriya), the Jain monks (Nirgrantha), wandering ascetics and those who have consecrated themselves for a ceremony should be shaven clean. And according to their [respective] sectarian doctrine (vṛta) the remaining ascetics should have their heads shaven or should have curling hairs or long hairs loosely hanging down.

141-142. Married women, officers of the king and men of foppish nature should have on their head curling hairs.

142-143. The menials should have three Śikhās on their head or will have the head clean shaven. And the Jester should have a bald head or head with the Kākapada (lit. crow's foot)¹.

143-144. Thus after carefully distinguishing these [persons] in different ways, their conditions and nature should be represented by means of ornaments, different costumes and garlands, for giving rise to [proper] Sentiments at the time of production [of a play].

145. After men and women have been treated like this (lit. made to attain these treatments), their limbs will have to be painted to suit their different roles.

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(K. śiras triśikha-bhūṣitam; C. na śikhaṇḍa°). Śikhaṇḍa means locks of hair left on the sides of the head. These are three or five in case of the Kṣatriyas (vide Apte s.v.)

137-138 (C.143; K.XXI.121). ¹ Read rakṣo-dānava-yakṣiṇām (C. °dānava-daityānām, K. devadānava°).

138-139 (C.144; K.XXI.124).
139-141 (C.145-146). 141-142 (C.147).
142-143 (C.148; K.XXI.126). ¹ For kākapada see Apte s.v.
143-144 (C.149, 150a). 145 (C.150b-151a).

432 THE NATYASASTRA [ XXIII. 146-

The Sañjīva

146. Now I shall speak of the characteristics of what is known as Sañjīva (= living object). The entrance of animals [in the stage] is called Sañjīva¹.

147-148. The animals may be fourfooted, two-footed and with no foot (apada). Of these, serpents are without foot, birds and men are two-footed, and different animals in the forest or human settlements are known to be fourfooted.

Use of weapons

148-149. In fight, angry conflict (sampheṭa) or siege in a play they (people) are to be furnished with different weapons.

149-150. Weapons and armours should be proportionate to the stature of men. I shall now describe them together with the rules for their measurement.

150-151. The Bhiṇḍi should measure twelve Tālas, the Kunta (javelin) ten and the Śataghni, the Śūla (spike), the Tomara and the Śakti eight¹.

151-152. The bow should measure eight Tālas and its width should be two cubits. Arrows, mace and the Vajra should be four Tālas long.

152-153. The sword should measure forty Aṅgulis and the disc (cakra) twelve and the Prāsa the latter’s half.

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146 (C.151b-152a; K.XXI.128). ¹ This seems to show clearly that sometimes living animals were brought on the stage. This was however not the the general rule. See NŚ. XIII. 106-107.

147-148 (C.152b-153; K.XXI.129-130a).

148-149 (C.154; K. 130b-131a). ¹ Ete means the different types of characters mentioned before.
² On this point Ag. (p.434) says : नानाप्रहरणोपेता इति युद्धोपयोगिन इत्यर्थः । तथा च नानान्ते दत्ते सर्पाकृति प्रदर्शनीया एवं नृसिंहास्ते तदाकृतिरित्यादि दर्शयति.

149-150 (C.155; K.XXI.131b-132a).

150-151 (C.156; K.XXI.132b-133a). ¹ For the measurement of Tālā see NŚ. III. 21 note.

151-152 (C.157; K.XXI.133b-134a).

152-153 (C.158; K.XXI.134b-135a).

-XXIII. 161 ] THE COSTUMES AND MAKE-UP 433

153-154. The Paṭṭiśa will measure like the Prāsa, and the rod (daṇḍa) should measure twenty Aṅgulis while the Kampana (Kaṇapa) will be of the same measure.

154-155. The shield (carma) should be sixteen Aṅgulis in width and two cubits in length, and it should have Vālyas (hairs ?) and bells attached to it. The Kheṭaka (rider's shield) should be thirty aṅgulis in width [and two cubits in length]¹.

Use of other objects

156-157. The Jarjara¹, the Daṇḍakāṣṭha², masks, umbrellas, chowris, banner-staffs, and water-jars (bhṛṅgāra)³ and every other thing that men make use of, are [also] to be utilised in the production of a play.

158. The characteristics of all these have been mentioned by those to whose sphere they belong. Now I shall speak of the characteristics of the Jarjara and the Daṇḍakāṣṭha¹.

Indra's Banner-staff

159. Trees planted under the Puṣyā asterism, on the white soil have been made eligible for Indra's banner-staff by Viśvakarman¹.

The Jarjara

160. Some of these trees should be [fashioned into] the Jarjara by a carpenter. The branch of a tree may also be [fashioned into] the Jarjara¹.

161. But the bamboo will be most suitable [for this kind of work] and its length should be one hundred and eight Aṅgulis (4½ cubit).

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153-154 (C.159; K.XXI.135b-136a).
154-155 (C.160; K.XXI.136b). ¹ K. omits 154b.
156-157 (C.161b-163a; K.XXI.137b-139a). ¹ See NŚ. III. 73ff.
² See NŚ. I. 58-61 note 2. ³ See NŚ. I. 58-61.
158 (C.163b-164a; K.XXI.139b). ¹ Emend dantakāṣṭha into daṇḍakāṣṭha.
159 (C.164b-165a; K.XXI.142). ¹ विश्वकर्ममते बहुभेदं महेन्द्रध्वजस्य लक्षणमुक्तम् इत्यर्थः (Ag. p.434)..
160 (C.165b-166a; K.XXI.140b-141a). ¹ See above 157-157 note 1.
161 (C.166b-167a; K.XXI.141b, 143a).

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.XXIII. 178 ] THE COSTUMES AND MAKE-UP 435

The making of masks

170-171 Similarly one should prepare the Paṭī of the masks which will have their special measurements or will measure thirtytwo Aṅgulis¹.

171-173. The Paṭī should be made by using the Bilva-paste on cloth. Masks should be made with ashes or husks of paddy being mixed up with the Bilva-paste or some watery form of it, after covering these with cloth smeared with the thick Bilva-paste¹.

173-174. The Paṭī made out of cloth smeared with the Bilva-paste should neither be made too thick nor too thin and neither should it be made too soft.

174-175. After getting it (the Paṭī) dried up by fire or the sun one should pierce holes in it according to the rule, by means of a sharp instrument, and these holes should be made after dividing it into two [equal] halves.

176. In the Paṭī so prepared an opening six Aṅgulis long and an Aṅguli wide should be made in the form of the fore-head, and it should have [two] angles [at the two end].

177. Then [a pair of] openings two Aṅgulis long and one and a half a Aṅguli¹ wide should be made for the cheeks, and after [this has been done for] the cheeks [another opening] three Aṅgulis more [in length] are be made for the ears.

178. The opening for the ear being three Aṅgulis¹ long the same should be the length for the opening of the mouth,

---

170-171 (C.176; K.XXI.159). ¹ We follow C. Ag. seems to read śīrṣa[vi]bhāgārtham for śīrṣavidhānārtham and he explains it as शीर्षविभागं प्रति त्रिशिरा विशिरा इत्यादि दृश्यते। येन वा निजशिर एव वाच्छाद्य शिरोऽन्तरं प्रदर्श्यते, प्रतिवा(प)ट् प्रतिच्छादिरिव एव कल्पः (p. 435).

171-173 (C.177-178); K.XXI.153-154). ¹ This passage seems to be corrupt. The trans. is tentative.

173-174 (C.179; K.XXI.155).

174-175 (C.180-181a; K.XXI.156-157a).

176 (C.181b-182a; K.XXI.157b-158a).

177 (C.182b-183a; K.XXI.158b-159a). ¹ Read adhyardham.

178 (C.183b-184a; K.XXI.150b-160a). ¹ tryaṅgulam, C. aṅgulaṁ, K.

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-XXIII. 196 ] THE COSTUMES AND MAKE-UP 437

The realistic and conventional objects

187-188. Some accessories [however] will be realistic (lokadharmī), while others will be conventional (nāṭyadharmī). Any thing following its natural form is called realistic while any deviation from the same will be known as conventional.

188-189. Accessories for use on the stage should not be made with stone as well as iron and other metals, for these due to their heaviness will create fatigue [in actors].

189-190. Light objects should be made with lac, wood, leather, cloth, leaves [of trees] and sliced bamboo, for their use as accessories in a dramatic production.

190-192. Skeleton frames of armours, shields, banner-staffs, hills, palaces, gods, caves, horses, elephants, aerial cars, and houses should first be made with pieces of sliced bamboo and then by covering such frames with painted cloth, likenesses of such objects are to be produced.

192-193. But if it is not found possible to use cloth suitably for this purpose then palm-products¹ and mats (kiliñja)² may also be used instead.

193-194. Similarly weapons are to be made with grass and pieces of sliced bamboo, and with lac and Bheṇḍa (Bhāṇḍa)¹ other objects should be represented.

194-195. Imitation legs, heads and skin should be made with grass, mat and Bheṇḍa (Bhāṇḍa).

195-196. Various articles should [thus] be made with earth in imitation of their proper forms.

196-197. Various hills and shields, armours, banner-staffs

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188-189 (C.194; K.XXI.170). 189-190 (C 195; K.XXI.171).
190-192 (K.XXI.172-173).
192-193 (C.196; K.XXI.174). ¹ Tālyair iti tālapatraiḥ (Ag. p.435). ² Read kiliñjair for kilajair.
193-194 (C.197; K.XXI.175). ¹ Bheṇḍa K, bhāṇḍa C. भाण्डे (भेण्डे) रित्यलाबुदल-खड्गादिभिः (Ag. p. 435).
194-195 (C.198; K.XXI.176). 195-196 (C.199; K.XXI.177).
196-197 (C.200; K.K.XXI.178a).