नाट्यशास्त्रम् (प्रथम भाग - अभिनवभारती एवं हिन्दी टीका सहित)

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CHAPTER TWENTYFOUR.

THE BASIC REPRESENTATION

Importance of Temperament

1. 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.

2. 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

3. 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

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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

6. 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

7. 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

8. 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

9. 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

10. 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

11. Everyone's Emotion which depends on the Erotic Sentiment and expresses itself as graceful movements (lalitābhinaya) is called Passion (helā) by the wise.^1

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^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

14. 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

15. 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

16. The great beauty that results from the slightly careless placing of garlands, clothes, ornaments and unguents, is called Dishabille (vicchitti)¹.

Confusion

17. 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.

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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.

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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

24. The Involuntary [Graces] are: Beauty (śobhā), Charm (kānti), Delicacy (mādhurya), Radiance (dīpti), Self-control (dhairya), Courage (prāgalbhya) and Dignity (audārya)$^1$.

Beauty

25. 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

26. 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

27. Moderation in the movement [of limbs] in all conditions, especially in Radiance (dīpti) and in Lolling (lalita), is called Delicacy (mādhurya)$^1$.

Self-control

28. A natural bent of the mind which in all matters is free from rashness and boasting, is called Self-control (dhairya)$^1$.

Courage

29. The quality of not becoming agitated in speaking, or acting anything (lit. in practice), is called Courage (prāgalbhya)$^1$.

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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,

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$^2$ 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

36. Gravity (gāmbhīrya) is something due to an influence of which [outward] changes in cases of anger, joy and fear do not occur$^1$.

Sportiveness

37. Erotic movements and changes [of features] which are not deliberate and which grow out of a tender nature, constitute Sportiveness (lalita)$^1$.

Nobility

38. Making gifts, bestowing favours and speaking sweet words to others as well as to one's own men, is called Nobility (audārya)$^1$.

Spirit

39. 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

40. 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$^2$.

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$^1$ 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

41. This is sixfold : Words (vākya), Sūcā, Aṅkura, Śākhā, Nāṭyāyita and Nivṛttyaṅkura¹.

Words

42. Recitatives in Sanskrit and Prakrit composed in verse or prose when they possess meanings giving various Sentiments, constitute the Histrionic Representation by Words¹.

Sūcā

43. 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

44. 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

45. 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

46. 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.

47. The Histrionic Representation of Dhruvās relating to the States and the Sentiments which are made by means of

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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

48. 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

52. Accosting (ālāpa) is a sentence used in addressing [any one]¹.

Prattling

Irrelevant (lit. meaningless) words are called Prattling (pralāpa)².

Lament

53. 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

54. Dialogue (saṃlāpa) is made up of utterance and counter-utterance¹.

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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

55. "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

56. "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

57. 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

58. 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.

59. [A sentence may contain a statement which] treats an act visible (pratyakṣa) or invisible (parokṣa); it may relate

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$^2$ 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

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-XXIV. 77 ] THE BASIC REPRESENTATION 451

70. 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).

71. 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

72. 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.

73. 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

76. 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).

77. 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.

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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).

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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).

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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

97. 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.

98. 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

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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.

-XXIV. 109 ] THE BASIC REPRESENTATION 455

middling sexual passion, takes moderate food, loves sweet scent and is engaged in vocal and instrumental music, is known to possess the nature of a goddess¹.

The woman of Asura type

103-104. A woman who transgresses laws and practices trickery, is confirmed in anger, very cruel, fond of wine and meat, always irascible [in temper], very proud, fickle-minded, very covetous, harsh, fond of quarrel, jealous and inconstant in affection, is said to possess the nature of an Asura¹.

The woman of Gandharva type

105-106. A woman who enjoys roaming in many gardens, is adorned with good nails and teeth, speaks with a smile, is slim-bodied, has a slow gait, loves sexual pleasure, is always pleased to hear music (gīta and vādya) and to witness dance, is careful about the cleanliness [of the body] and has soft skin, glossy hairs and charming eyes, is known to possess the nature of a Gandharva¹.

The woman of Rākṣasa type

107-108. A woman who has large and broad limbs, red wide eyes, hard hairs, loves to sleep in day time, speaks loudly, has the habit of hurting [one] with nails and teeth, is disposed to anger, jealousy and quarrel, and likes to roam at night, is said to possess the nature of a Rākṣasa¹.

The woman of Nāga type

109-110. A woman who has a pointed nose and sharp teeth, slender body, reddish eyes, complexion of a blue lotus, is fond of sleep, very irascible, has an oblique (tiryak) gait and unsteady efforts, takes pleasure in [the company of] many persons (lit. beings), and loves sweet scent, garlands and similar other objects, is said to possess the nature of a Nāga¹.

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103-104 (C.98-99; K.XXII.98b-100a). ¹ Cf. BhP. (p. 109, 1.20-22) here this type is called daityaśīlā.
105-106 (C.100-101; K.XXII.100b-102a). ¹ Cf. BhP. p. 108, 1.1-4.
107-108 (C.102-103; K.XXII.102b-104a). ¹ Cf. BhP. p. 110, 18-11.
109-110 (C.104-105; K.XXII.104b-106a). ¹ Cf. BhP. p. 110, 1. 21-22, p. 111, 1.1.

456 THE NATYASASTRA [ XXIV. 111-

The woman of bird type

111-112. A woman who has a very large mouth, energetic character, loves streams, enjoys spirituous liquor and milk, has many offsprings, likes fruits, is always given to breathing and is always fond of gardens and forests, is [very] fickle and talkative, is said to possess the nature of a bird¹.

The woman of Piśāca type

113-114. A woman who has more or less than the usual number of fingers, is merciless during sexual acts, has the habit of roaming in gardens and fields, and of terrifying children, is treacherous, speaks with a double entendre, behaves abominably during sexual acts, has a hairy body and loud voice, and is fond of spirituous liquor and sexual indulgence, is said to have the nature of a Piśāca¹.

The woman of Yakṣa type

115-116. A woman who sweats during sleep, loves quiet rest in bed or seat, is [very] intelligent, fearless and fond of wine, sweet smell and meat, takes delight on seeing the beloved one after a long time, feels gratitude [to him], does not sleep for a long time, is said to have the nature of a Yakṣa¹.

The woman of tiger type

117. A woman who takes honour and dishonour in the same spirit, has a rough skin and harsh voice, is wily, speaks untruth and haughty words and has tawny eyes, is said to have the nature of a tiger (vyāla)¹.

The type of human female

118-119. A woman who loves uprightness, is always clever and very virtuous, has regular features (vibhaktāṅgī), is grateful [to her benefactors], disposed to worship the elders and gods,

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111-112 (C.106-107a; K.XXII. 106b-108a). ¹ Cf. BhP. p. 1. 12-12.
113-114 (K.XXII.108b-110a). ¹ Emend Janādhikāṅguliḥ into ūnādhikāṅguliḥ. Cf. BhP. p. .. 15-18.
115-116 (C.107b-108; K.XXII. 110b-112a). ¹ Read 115b. at medhāvinī bhayahīnā etc. Cf. BhP. p. 110, l. 5-7.
117 (C. 109; K.XXII.112b-113a). ¹ Cf. BhP. p. 110, 110 l. 19-22.
118-119 (C.110-111; K.XXII.113b-115a). ¹ Cf. BhP. p. 111, l. 3-4.

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