नाट्यशास्त्रम् (प्रथम भाग - अभिनवभारती एवं हिन्दी टीका सहित)
Natyashastra of Bharata Muni with Hindi Commentary (Vol 1)
भरत मुनि / आचार्य अभिनवगुप्त द्वारा
.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.
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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].
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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.
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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.
-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
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).
Chapter 24: Harmonious Representation / Sāmānyābhinaya (सामान्याभिनय)
CHAPTER TWENTYFOUR.
THE BASIC REPRESENTATION
Importance of Temperament
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The Basic Representation (sāmānyābhinaya)$^1$ is known to depend on the Words, Gestures and Temperament (sattva). [Among these] one should take special care about Temperament,$^2$ for the dramatic production has this as its basis.
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The Histrionic Representation with an exuberant Temperament (sattvātirikta) is superior, the one with the level Temperament (samasattva) is middling, and that with no [exercise of] Temperament is inferior.
The definition of Temperament
- Temperament (sattva)$^1$ is something invisible, but it gives support (lit. shelter) to the States and the Sentiments by means of horripilation, tears and similar other signs displayed in proper places and in harmony with the Sentiments [to be produced].
Feminine graces in the drama
4-5. The dramatic experts know the young women's Graces (alaṃkāra, lit. ornament) to be the support of Sentiments in a drama$^1$, and these consist of changes in respect of their faces and other limbs. Of these, firstly the change of limbs (aṅgaja)$^2$ is of
1 (C 1; K.XXII.1). $^1$ Ag. seems to have no very convincing explanation as to why sāmānyābhinaya was so called. He discusses it from different points of view (pp. 436-430). From the contexts of this Chapter as well as the def. given here and in 72 below, it appears that the expression means a totality of the four kinds of abhinaya (NŚ. VI. 23) and as such it should be distinguished from the citrābhinaya (NŚ.XXVI.) which applies only to the pictorial representation of particular objects and ideas. $^2$ See NŚ.VI. 22 note.
2 (C.2; K.XXII.2).
3 (C.3; K.XXII.3). $^1$ See NŚ. VI.22 note.
4-5 (C. 4-5; K.XXII.4-5). $^1$ K. reads 4a as अलंकाराश्च सत्वस्था ज्ञेया भाव-समाश्रया ; Cf. DR. II. 30a; BhP. p.6. 1.20 ; ND. p. 203. $^2$ See DR. II. 30b ; ND. p. 203.
-XXIV. 11 ] THE BASIC REPRESENTATION 441
three kinds, next the natural (sahaja)^3 change of ten kinds, and involuntary (a-yatnaja)^4 change, of seven kinds.
Physical Graces of women
- Feeling (bhāva), Emotion (hāva) and Passion (helā) arising from one another being different aspects of Temperament (sattva) [are Graces] connected with the physical nature^1.
The origin of these Graces
- Temperament partakes of the nature of the body, and feeling (bhāvā) arises from Temperament, while Emotion (hāva) from Feeling, and Passion (helā) from Emotion^1.
Feeling
- See NŚ. VII. 2. Cf. [Feeling (bhāva) is the first touch of emotion in a nature that was previously unaffected. DR. II. 33].^1
Emotion
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Temperament with excessive Feeling (bhāva) [manifests itself] in relation to persons of the opposite sex. And Emotion (hāva) should be marked as relating to its various conditions.^1
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In the same connexion (lit. there) Emotion (hāva) should be known as arising from the mind (citta) and manifesting itself in changes of eyes and eye-brows and the Recaka of the neck, indicative of the Erotic Sentiment.^1
Passion
- Everyone's Emotion which depends on the Erotic Sentiment and expresses itself as graceful movements (lalitābhinaya) is called Passion (helā) by the wise.^1
^3 See DR. II. 32-33a; ND. p. 203.
^4 See DR. II. 31; ND. p. 203.
6 (C.6; K.XXII.6). ^1 Cf. DR. II. 30b.
7 (C.7; K.XXII.7). ^1 Cf. DR. II. 33b-34b.
8 (C.8; K.XXII.8), ^1 Cf. DR. II. 33b; ND. p.204. BhP. p.8. l.4-10.
9 (C.9; K.XXII.9). ^1 See below 10. note 1. K. reads 9a as भावस्यातिशतं सत्त्वं व्यतिरिक्तं च योनिषु.
10 (C 10; K.XXII. 10). ^1 According to ND. (p.204) the bhāva relates to a slight manifestation of erotic feelings through words and gestures, while the hāva to a very clear expression of one's emotion through various gestures.
11 (C.11; KXXII.11). Cf. DR. II. 34b; BhP. p.8, l.13-14. According
56
442 THE NATYASASTRA [XXIV. 12-
Natural Graces of women
12-13. The ten natural Graces (alaṃkāra) of women are: Sportive Mimicry (līlā), Amorous Gesture (vilāsa), Dishabille (vicchitti), Confusion (vibhrama), Hysterical Mood (kilakiñcita), Manifestation of Affection (moṭṭāyita), Pretended Anger (kuṭṭamita), Affected Coldness (bibboka), Lolling (lalita) and Want of Response (vihṛta)¹.
Sportive Mimicry
- Imitating the behaviour of a lover by means of relevent words, gestures and make-up (alaṃkāra, lit. ornament) which are delightful and inspired by affection, is called Sportive Mimicry (līlā)¹.
Amorous Gestures
- Relevant changes of the special kind relating to the standing and sitting postures as well as to gait and the movements of hands, eye-brows and eyes, [which occur at the sight of the beloved] are called Amorous Gestures (vilāsa)¹.
Dishabille
- The great beauty that results from the slightly careless placing of garlands, clothes, ornaments and unguents, is called Dishabille (vicchitti)¹.
Confusion
- Inversion of various items such as words, gestures, dresses, and make-up and Temperament due to intoxication, passion and joy, is called Confusion (vibhrama)¹.
to ND. (pp.204-205) these three aspects of women's Temperament depend on one another. For example the hāva depends on the bhāva and the helā on the hāva.
12-13 (C.12-13; K.XXII.12-13). ¹ DR. II. 37b; BhP. p. 9. l. 5. ND. p. 205.
14 (C.14; K.XXII.14). ¹ Cf. DR. II. 37b; BhP. p. 9. l. 5; ND. p. 205.
15 (C.15; K.XXII. 15). ¹ Cf. DR. II. 38a, BhP. p. 9, l. 6-7, p. 205.
16 (C.16; K.XXII.16). ¹ The word is Pkt. in form and comes probabably from vikṣipti. Cf. DR. II. 38b; BhP. p. p. 9. l. 8-9; ND. p. 205.
17 (C.17; K.XXII. 17). Cf. DR. II. 39a; BhP. p. 9. l. 10-11. ND. p. 205.
-XXIV. 23 ] THE BASIC REPRESENTATION 443
Hysterical Mood
18. Combination of isolated states of smiling, weeping, laughter, fear, sickness, fainting, sorrow and fatigue on account of [excessive] joy, is called Hysterical Mood (kilakiñcita)¹.
Manifestation of Affection
19. Manifestation of Affection (moṭṭāyita) occurs through Sportive Mimicry (līlā), Amorous Gesture (vilāsa) and the like, when at the mention of the beloved, one is being absorbed in thought of him¹.
Pretended Anger
20. Pretended Anger (kuṭṭamita) arises on account of the joy and perplexity in [lover's] touching the hair, the breast, the lip and the like, and it is feigning distress when actually there is delight¹.
Affected Coldness
21. The indifference which women show [to their lovers] on account of vanity and pride, after they have realised their cherished desire (i. e. conquering the lover's heart), is called Affected Coldness (bibboka)¹.
Lolling
22. Graceful movement of hands, feet, brows, eyes, lips etc, made by women is known as Lolling (lalita)¹.
Want of Response
23. That due to bashfulness, pretence and nature women do not make any reply [to her lover] even when they have heard his words, is called Want of Response (vihṛta)¹.
18 (C.18; K.XXII. 18). ¹ Cf. DR. II. 39b; BhP. p.9, l.12. ND. p.206.
19 (C.19; K.XXII.19). ¹ Cf. DR. II. 40a, BhP. p. 9, l. 13-14; ND. p. 206.
20 (C.20; K.XXII.20). ¹ Cf. DR. II. 40b; BhP. p.9, l.15-16; ND. p. 206.
21 (C.20; K.XXII.21). ¹ Cf. DR. II. 41a; BhP. p. 9. b.17-18; ND. p. 235-206.
22 (C.22; K.XXII.22). ¹ Cf. DR. II. 41b; BhP. p. 9, l. 19-20; ND. p. 206.
23 (C.23; K.XXII.23). ¹ Cf. DR. II. 42a; BhP. p. 9, l. 21-22; ND. p. 206.
444 THE NATYASASTRA [ XXIV. 24.
Involuntary Graces of women
- The Involuntary [Graces] are: Beauty (śobhā), Charm (kānti), Delicacy (mādhurya), Radiance (dīpti), Self-control (dhairya), Courage (prāgalbhya) and Dignity (audārya)$^1$.
Beauty
- Decoration of limbs on account of good physical form, youth and loveliness being renderd manifest after the enjoyment [of love], is called Beauty (śobhā)$^1$.
Charm
- Beauty which is full of a lover's passion, is called Charm (kānti)$^1$.
Radiance
A high degree of charm, is called Radiance (dīpti)$^2$.
Delicacy
- Moderation in the movement [of limbs] in all conditions, especially in Radiance (dīpti) and in Lolling (lalita), is called Delicacy (mādhurya)$^1$.
Self-control
- A natural bent of the mind which in all matters is free from rashness and boasting, is called Self-control (dhairya)$^1$.
Courage
- The quality of not becoming agitated in speaking, or acting anything (lit. in practice), is called Courage (prāgalbhya)$^1$.
24 (C.24; K.XXII.24). $^1$ Cf. DR. II. 31.
25 (C.25; K.XXII.25). $^1$ Cf. DR. II 35a; BhP. p. 8. l. 15-16; ND. p. 207. This def. seems to mean that a young woman's loveliness is augmented after she has had her first experience of love's enjoyment and this augmented loveliness is called śobhā.
26 (C.26; K.XXII.26). $^1$ Cf. DR. II. 35b; BhP. p. 8, l. 16.
$^2$ Cf. DR. II. 36a; BhP. p. 8, l. 17-18; ND. p. 207.
27 (C.27; K.XXII.27). $^1$ Cf. DR. II. 36a; BhP. p. 8. l. 19; ND. p. 207.
28 (C.28; K.XXII.28). $^1$ Cf. DR. II. 37a; BhP. p. 8; l. 21; ND. p. 207.
29 (C.29; KXXII.29). $^1$ Cf. DR. II. 36b; BhP. p.8, l. 22; ND. p. 207.
-XXIV. 35 ] THE BASIC REPRESENTATION 445
Dignity
Courteous bearing in all situation, is called Dignity (audārya)$^2$ by the wise.
30. These [Graces] are tender in connexion with performance of delicate nature, but [in other cases] they (i.e. the Graces) except Amorous Gesture (vilāsa)$^1$ and Lolling (lalita)$^2$ are brilliant (dīpta)$^3$.
Eight aspects of the male Temperament
31. Brilliant Character (śobhā), Graceful Bearing (vilāsa), Self-possession (mādhurya), Steadiness (sthairya), Gravity (gāmbhīrya), Sportiveness (lalita), Nobility (audārya) and Spirit (tejas) are the different aspects of the male Temperament$^1$.
Brilliant Character
32. Skill [in various things], heroism, and energy, aversion to mean acts and emulation of the best virtues constitute Brilliant Character (śobhā, lit. beauty)$^1$.
Graceful Bearing
33. Eyes moving straight, gait graceful like that of a bull, and smiling words constitute Graceful Bearing (vilāsa)$^1$.
Self-possession
34. If due to a [long] practice [in this direction] one's sense-organs retain their firmness even when great changes of the natural state have occurred, it is called Self-possession (mādhurya, lit. sweetness)$^1$.
Tenacity
35. Not relinquishing any undertaking relating to duty,
$^2$ Cf. DR. II. 36b, BhP. p.8' l. 20-22 ND. p. 207.
30 (C.30; K.XXII.30). $^1$ See above 15.
$^1$ See above 22. $^3$ See above 26.
31 (C.31; K.XXII.31). $^1$ Cf. DR. II. 10, BhP. p. 9, l.24; p. 10. l. 1; ND. p. 197.
32 (C.32; K.XXII.32). $^1$ Cf. DR. II. 11a; BhP. p. 10, l. 2-3; ND. p. 197.
33 (C.33; K.XXII.33). $^1$ Cf. DR. II. 11b; 11b; BhP. p. 10, l. 4; ND. p. 197.
34 (C.34; K.XXII.34). $^1$ Cf. DR. II. 12a; BhP. p. 10, l. 5.
35 (C.35; K.XXII.35).
446 THE NATYASASTRA [ XXIV. 36-
wealth and enjoyment, irrespective of its good or bad results, is called a Tenacity (sthairya)$^1$.
Gravity
- Gravity (gāmbhīrya) is something due to an influence of which [outward] changes in cases of anger, joy and fear do not occur$^1$.
Sportiveness
- Erotic movements and changes [of features] which are not deliberate and which grow out of a tender nature, constitute Sportiveness (lalita)$^1$.
Nobility
- Making gifts, bestowing favours and speaking sweet words to others as well as to one's own men, is called Nobility (audārya)$^1$.
Spirit
- That one does not tolerate even at the risk of one's life any reproach or insult made by others, is called Spirit (tejas)$^1$.
Histrionic Represesentation through the body
- O the best of Brahmins, I have spoken before about the Histrionic Representation through Temperament (sattva)$^1$, I shall now explain in detail the Histrionic Representation through the body$^2$.
$^1$ DR. II. 13a; BhP. p. 10,16 gives the term as dhairya, ND. p. 198.
36 (C.36; K.XXII.36). $^1$ Cf. DR. II. 12b; BhP. p. 10, l. 7; ND. p. 198.
37 (C.37; K.XXII.37). $^1$ Cf. DR. II. 14a; BhP. p. 10, l. 8; ND. p. 198.
38 (C.38; K.XXII.38). $^1$ Cf. DR. II. 14b; BhP. p. 10, l. 10 ; ND. p. 197.
39 (C.39; K.XXII.39). $^1$ Cf. DR. II. 13b, BhP. p. 10; l. 10; ND. p. 197.
40 (C.40; K.XXII.40). $^1$ See above 1-39.
$^2$ It is curious that the author of the NŚ. is classifying abhinaya in a different manner and reckons its two broad classes : sāttvika and śārīra and gives their sub-divisions. For a four-fold division of the abhinaya see NŚ. VI. 23.
-XXIV. 47 ] THE BASIC REPRESENTATION 447
- This is sixfold : Words (vākya), Sūcā, Aṅkura, Śākhā, Nāṭyāyita and Nivṛttyaṅkura¹.
Words
- Recitatives in Sanskrit and Prakrit composed in verse or prose when they possess meanings giving various Sentiments, constitute the Histrionic Representation by Words¹.
Sūcā
- When the meaning of a sentence or the sentence [itself] is indicated first by Temperament and Gestures, and then the Verbal Representation is made, it is called Sūcā¹.
Aṅkura
- When one skilfully represents by Gestures in the manner of the Sūcā the words which one has in one's heart, it is called the Representation of Aṅkura¹.
Śākhā
- The representation that is made in due order by the head, the face, shanks, thighs, hands and feet in the manner of the Śākhā(?), is known as the Śākhā Representation¹.
Nāṭyāyita
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The intimation of Histrionic Representation which is made at the beginning of a drama by [different] practices, for enlivening the time, and which lasts till the coming together of the [dramatis personae on the stage] is called Nāṭyāyita¹.
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The Histrionic Representation of Dhruvās relating to the States and the Sentiments which are made by means of
41 (C.41; K.XXII.41). ¹ Cf. Kālidāsa's pañcāṅgābhinaya, Mālavi. I.6.2.
42 (C.42; K.XXII.42). ¹ This seems to be the same as the vācikābhinaya.
43 (C.43; K.XXII.43). ¹ This kind of representation is mainly to accompany songs and dance.
44 (C.44; K.XXII.44). ¹ This kind of representation is meant to be combined with dance.
45 (C.45; K.XXII.45). ¹ This kind of representation is to accompany recitatives (pāṭhya).
46 (C.46; K.XXII.46). ¹ This is the use of gestures in connection with songs and dance before the beginning of the dramatic performance,
47 (C.47; K.XXII.47).
448 THE NATYASASTRA [ XXIV. 48.
delineating joy, anger, grief and the like, is also to be known as Nāṭyāyita¹.
Nivṛttyaṅkura
- When one represents words of another person by Sūcī it is called Nivṛtyaṅkura¹.
Twelve forms of the Verbal Representation
49-51. These are the [histrionic] ways connected with proper States and Sentiments that are available for the subject-matter of plays. The representation of these, is to take the following twelve forms : Accosting (ālāpa), Prattling (pralāpa), Lament (vilāpa), Repeated Speaking (anulāpa), Dialogue (saṃlāpa), Change of Words (apalāpa), Message (saṃdeśa), Agreement (atideśa), Command (nirdeśa), Pretext (vyapadeśa), Instruction (upadeśa) and Statement (apadeśa)¹.
Accosting
- Accosting (ālāpa) is a sentence used in addressing [any one]¹.
Prattling
Irrelevant (lit. meaningless) words are called Prattling (pralāpa)².
Lament
- Words originating in a pathetic condition are called Lament (vilāpa)¹.
Repeated Speaking
Speaking again and again on anything is called Repeated Speaking (anulāpa)².
Dialogue
- Dialogue (saṃlāpa) is made up of utterance and counter-utterance¹.
48 (C.48; K.XXII.48). ¹ This kind of representation is used by the dancer who interprets other's speeches.
49-51 (C.49-51; K.XXII.49-51). ¹ BhP. p. 10, l. 20-23.
52 (C.52; K.XXII.52). ¹ Cf. BhP. p. 10, l. 24.
² Cf. ibid p. 11, l. 1.
53 (C.53; K.XXII.53). ¹ Cf. BhP. p. 11, l. 2.
² See ibid p. 11. l. 3).
54 (C.54; K.XXII.54). ¹ See BhP. p. 11, l. 4.
.XXIV. 59] THE BASIC REPRESENTATION 449
Change of Words
Change of words (apalāpa)$^2$ is the alteration of words spoken before.
Message
- "Speak this to him", is [an example of] Message (sandeśa)$^1$.
Agreement
Saying "You have said what was uttered by me" is [an example] of Agreement (atideśa)$^2$.
Command
- "I alone am speaking", is [an example] of Command (nirdeśa)$^1$.
Pretext
To speak with the purpose of deception, is called Pretext (vyapadeśa)$^2$.
Instruction
- To say "Do this" or "Take this" is [an example] of Instruction (upadeśa)$^1$.
Statement
* * * is [an example of] Statement (apadeśa)$^2$.
Another classification of the Verbal Representation
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These are the forms [of sentences] that are to create the Verbal Representation. I shall speak [hereafter] of the characteristics of the seven forms which it may have.
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[A sentence may contain a statement which] treats an act visible (pratyakṣa) or invisible (parokṣa); it may relate
$^2$ See ibid p. 11, l. 5.
55 (C.55; K.XXII. 54c-55a). $^1$ Cf. BhP. p. 11, l. 6.
$^2$ See ibid p. 11, l. 7.
56 (C.56; K.XXII.55b-56b). $^1$ Cf. BhP. p. 11, l. 8.
$^2$ Cf. ibid p. 11, l. 11.
57 (C.57a; K.XXII.56a). $^1$ Cf. BhP. p. 11, l. 9.
$^2$ The texts omit the def. of apadeśa, which is given by BhP. (p. 11, l. 10) and is as follows : 'यथार्थकथनं यत्तु सोऽपदेश इति स्मृतः'.
58 (C.57bc; K.XXII.57). 59 (C.58; K.XXII.58).
57
-XXIV. 77 ] THE BASIC REPRESENTATION 451
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The seven forms of this (i. e. Verbal Representation) will have many more varieties when they will be modified according to time, and persons who are affected (lit. of the self and others).
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These are the ways of the Histrionic Representation, known to producers of a drama. Different kinds of representations are to be made through these¹.
The Basic Representation
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The Basic Representation (sāmānyābhinaya) is that which is made simultaneously by the head, the face, the feet, the thighs, the shanks, the belly and the waist¹.
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Experts in acting are to represent [a character] by graceful movements of hands and delicate efforts of limbs [in general], which are to delineate the Sentiments and the States.
Regular Histrionic Representation
74-75. The acting (lit. drama) which is [performed] by physical efforts which are not violent, hurried or complex and which rest on proper tempo (laya), time (tāla) and the measurement of Kalās, and in which words are distinctly uttered without harshness and hurry, is called “regular” (ābhyantara).
Irregular Histrionic Representation
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When it is of the opposite kind and observes free movements and is not in harmony with songs and instrumental music accompanying it, it is called “irregular” (bāhya).
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It is called “regular” (ābhyantara, lit. inner) when it conforms to the rule (lit. within the lakṣaṇa or rule) and ‘irregular’ (bāhya, lit. outside) when it is outside [the prescription] of the Śāstra.
70 (C.66; K.XXII.65b-66a). 71 (C.67). ¹ K. omits this.
72 (C.68; K.XXII.67b-68a). ¹ Cf. 1 above.
73 (C.69; X.XXII.68b-69a).
74 (C.70; K.XXII.69b-70a).
75 (C.71; K.XXII.70b-71a). 76 (C.72; K.XXII.71b-72a).
77 (C.73; K.XXII.72b-73a).
452 THE NATYASASTRA [XXIV. 78-
Lakṣaṇa defined
78. As a performance is lakṣyate or marked, it is called lakṣaṇa (characteristic mark). Hence it is of use in a drama.
Practice preferred to the Śāstra
76. Those who have not received training from (lit. lived with) any master (ācārya) or who have no access to the Śāstras, resort to the "irregular" [ways], which depend on merely the practices [of the stage]¹.
Representation of the sensual perception
80. A wise [actor] should represent sound, touch, form, taste and smell by the sense-organs concerned, and by Gestures delineating their objects¹.
Sound
81. By making a sidelong (sācī) glance, bending the head sideways and putting a hand near the ear, one should represent the sound (śabda).
Touch
82. By slightly narrowing down the eyes, raising the eyebrows in the like manner as well as by touching the shoulder and the cheek, the wise one should represent the touch (sparśa).
Form
83. By holding on the head the Patāka hand with its fingers slightly moving, and looking intently [at something] with eyes, the wise one is to represent the form (rūpa).
Taste and Smell
84. By slightly narrowing down the eyes and expanding the nostrils in the like manner as well as by intently gazing [at something] the wise one is to represent the taste (rasa) and the smell (gandha).
78 (C.74; K.XXII.73b-74a).
79 (C.75; K.XXII.74b-75a). ¹ Read the couplet as अनाचार्योषिता ये च ये च शास्त्रबहिष्कृताः । बाह्यं ते तु प्रयोक्ष्यन्ते क्रियामात्रैः प्रयोजितम्. This shows that the ancient India's artists did not follow the Śāstras slavishly.
80 (C.76; K.XXII.75b-76a). ¹ See also NŚ. VIIIff.
81 (C.77; K.XXII.76b-77a). 82 (C.78; K.XXII.77b-78a).
83 (C.79; K.XXII.78b-79a). 84 (C.80; K.XXII.79b-80a).
-XXIV. 93 ] THE BASIC REPRESENTATION 453
85. These are the gestures which arise from the activities of the five sense-organs such as skin, eyes, nose, tongue and ears.
Importance of the mind
86. When an object of a sense-organ is contemplated in mind it gets represented [outwardly]. A person out of his mind cannot know the object of senses which come through five sources.
The three aspects of the mind
87. With reference to the representation, the mind has three attitudes [towards objects], viz. favourable (iṣṭa), unfavourable (an-iṣṭa) and indifferent (madhyastha).
The favourable mind
88. Everything favourable should be represented by the happy movement of limbs, horripilation and the opening of the mouth.
89. In case of a favourable sound, form, touch, smell or taste, one should show a happy face by concentrating the senses [concerned] in mind¹.
The unfavourable mind
90. By turning the head, not using the eyes and keeping them fixed to the nose, one should represent whatever is unfavourable.
The indifferent mind
91. An indifferent attitude should be represented by expressing not too much delight or to much abhorrence, and by keeping oneself in the middling state.
92. The representation of words like "[It is done] by him", "It is his", or "He does this" which relate to invisible acts is [an example of] indifferent attitude.
The meaning of "personal"
93. The object which a person himself feels is called "personal" (ātmastha).
85 (C.81; K.XXII.80b-81a). 86 (C.82; K.XXII.81b-82a).
87 (C.83; K.XXII.82b-83a). 88 (C.84; K.XXII.83b-84a).
89 (C.85; K.XXII.84b-85a). ¹ The expression used is indriyair manasā prāptair, 'by means of senses coming together with the mind'.
90 (C.86; K.XXII.85b-86a). 91 (C.87; K.XXII.86b-87a).
92 (C.88; K.XXII.87b-88a). 93 (C.89; K.XXII.88b-89a).
454 THE NATYASASTRA [ XXIV. 94.
The meaning of "external"
And anything which is to be described by another is called "external" (parastha).
Desire
94-95. Almost all the States proceed from passion which combined with desire will be considered as having many forms such as, desire for virtue (dharma-kāma), desire for wealth (artha-kāma) and desire for liberation (mokṣa-kāma).
Love
95-96. The union of a man and a woman is called love (kāma). This love which may end in joy or sorrow for all people, is mostly to be observed as leading to happiness even in unpappy situations.
Erotic Affair
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The union of men and women which finds them sexually united is known as an Erotic Affair (śṛṅgāra). This benefits the two, and brings them happiness¹.
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In this world people always desire happiness of which women are indeed the source. These women are of various nature¹.
Various types of women
99-100. Women are known to possess the nature of gods, Asuras, Gandharvas, Rākṣasas, Nāgas, birds, Piśācas, Yakṣas, tigers, men, monkeys, elephants, deer, fish, camel, Makara, asses, horses, buffaloes, goats, cows and the like¹.
The woman of divine type
101-102. A woman who has delicate limbs, steady and soft looks from the corner of her eyes, is free from any disease, has lustre, munificence, truth and simplicity, emits very little sweat, has
94-95 (C.90-91a; K.XXII.89b-90a).
95-96 (C.91; K.XXII.91b-92a).
97 (C.92; K.XXII.92b-93a). ¹ C. omits 96.
98 (C.93; K.XXII.93b-94a). ¹ Cf. BhP. p. 109, l. 9-10.
99-100 (C.94-95; K.XXII 94-96a). ¹ See BhP. p. 109, l. 12-15.
101-102 (C.96-97; K.XXII.96b-98r). ¹ Cf. BhP. p. 109, l.16-19.