नाट्यशास्त्रम् (प्रथम भाग - अभिनवभारती एवं हिन्दी टीका सहित)

.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.

---

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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458 THE NATYASASTRA [ XXIV. 129-

The woman of Makara type

129. A woman who is cruel and has a large head, a steady neck, a mouth wide open, very loud voice and the habits of fish, is known to have the nature of a Makara¹.

The woman of ass type

130-131. A woman who has a thick tongue and lips, rough skin and harsh words, is violent during sexual acts, impudent, fond of nail-scratches and biting [from her lover], jealous of her co-wives, clever, fickle, slow in her gait, angry by nature and has many offsprings, is known to have the nature of an ass¹.

The woman of swine type

132-133. A woman who has a large back, belly and mouth, hairy and strong body, a very narrow forehead, is fond of ordinary and bulbous roots, has black teeth and ugly face, large thigh and thick hairs, mean habits and many offsprings, is said to have the nature of a swine¹.

The woman of horse type

134-135. A woman who is faithful, has symmetrical sides, thighs, hips and neck, straight and thick hairs, is charming, munificent, mysterious, fickle-minded, sharp-tongued, quickly moving, and disposed to anger and sexual passion, is said to have the nature of a horse¹.

The woman of buffalo type

136-137. A woman who has broad back, bones, teeth, sides, belly, rough hairs, is faithless, turbulent and hater of men, has a slightly broad (lit. raised) mouth, large forehead and hips and is fond of forests and sporting in water, has the nature of a buffalo¹.

The woman of goat type

138-139. A woman who is thin, has small arms and breasts, [almost] motionless red eyes, short hands and feet, is covered with

---

129 (C.121; K.XXII.124b-125a). ¹ Cf. BhP. p. 111, l. 17-18.
130-131 (C.122-123; K.XXII.125b-127a). ¹ Cf. BhP. p. 111, l. 19-20.
132-133 (C.124-125; K.XXII. 127b-129a). ¹ Cf. BhP. p. 111, l. 21-22.
134-135 (C.126-827; K XXII.129b-131a). ¹ Cf. BhP. p. 112, l. 1-3.
136-137 (C.128-129; K.XXII.131b-133a). ¹ Cf. BhP. p. 112, l. 4-6.
138-139 (C.130-131; K.XXII.137b-139a). ¹ Cf. BhP. p. 112, l. 7-9.

-XXIV. 146] THE BASIC REPRESENTATION 459

fine hairs, and is timid, foolish, mad, fond of forests, restless, swiftly moving, and has many offsprings, is said to have the nature of a goat¹.

The woman of horse type

140-141. A woman who is alert in eyes and limbs, disposed to yawning [often], is talkative and grateful, has a small beaming face, short hands and feet, loud voice, irascible [temper], and low manners, is said to have the nature of a horse¹.

The woman of cow type

142-143. A woman who has large, plump and high hips, thin shanks, short hands and feet, is kind to friends, firm in her efforts, favourable to children, engaged in worshipping ancestors and gods, always clean, respectful to superiors, faithful, and patient in her sufferings, is said to have the nature of a cow¹.

Etiquette towards women

144-145. After knowing a woman's nature one should approch her accordingly. For courteous acts done to a woman according to her nature, even if these are not many, will be pleasing to her, while great many such acts when they are done with an ignorance of her nature (lit. otherwise), will not satisfy her [at all].

145-146. An external love will arise in a woman when she has been courted (lit. looked for) in a proper manner. And certain Etiquette (upacāra) has been prescribed for man and woman in love [with each other].

146-147. Austerities are practiced for the sake of virtue (dharma), and the [acquisition of] virtue is for the purpose of happiness. And happiness has its source in women the enjoyment of whose company is desired [by people in general].

---

140-141 (C.132-133; K.XXII.133b-135a). ¹ This def. seems to be spurious; see 134-135 above.
142-143 (C.134-135; K.XXII.135b-137a). ¹ Cf. BhP. p. 112, l. 10-12.
144-145 (C.136-137a; K.XXII.139b-141a). ¹ See BhP. p.112, l. 14-16.
145-146 (C.137b-138a; K.XXII.141b-142a).
146-147 (C.138b-139a; K.XXII.142b-143a).

460 THE NATYASASTRA [ XXIV. 147-

Two classes of Etiquette

147-148. In the theatrical convention, Etiquette relating to the [practice of] love (kāmopacāra) of men and woman is of two kinds : external (bāhya) and internal (ābhyantara).

148-149. [Of these two], the internal [Etiquette] is to be observed by kings in the Nāṭaka. And the external [Etiquette] is to be observed by courtezans in the Prakaraṇa.

The king's Etiquette towards women

149-150. In this connexion I shall describe in detail the rules of Etiquette for kings in their enjoyment [of women's love], which have been drawn out from (lit. have arisen from) the Aphorisms of Erotics (kāmasūtra)¹.

The three classes of women

150-151. Women who have the nature of various beings are of three classes : "homely" (ābhyantara, lit. inside) "public" bāhya, lit. outside) and "mixed" (bāhyābhyantara, lit. outside and inside). A woman belonging to a high family is a "homely" (ābhyantara) and a courtezan is a "public" (bāhya) woman.

152. A thoroughly tested (kṛtāśaucā) woman, if she is a maiden of high family, is of the mixed (bāhyābhyantara) class¹.

153. A maiden of high family has no occasion to receive the king's Etiquette, and a public woman is never desired by a king and she does not receive his courtesies¹.

154. A king's Union takes place with a "homely" woman, and a common man may unite with a "public" woman, while the king may have Union with a heavenly courtezan [as well]¹.

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147-148 (C 139b-140a; K.XXII.143b-144a).
148-149 (C.140a-141a; K.XXII.144b-145a).
149-150 (C.141b-142a). ¹ This work seems to be lost and is not the present sūtra text ascribed to Vātsyāyana On this see the Introduction.
151 (C.142b 143; K.XXII.145b-146).
152 (C.144; K.XXII.147). ¹ K's reading is fragmentary.
153 (C.145). ¹ The reason is obvious. K. omits this.
154 (C.146). ¹ As in Vikram. K. omits this.

-XXIV. 162 ] THE BASIC REPRESENTATION 461

155. The conduct which (lit. that) is approved by [married] women of high family will hold good in case of maidens too. And [in love affairs] a courtezan too [will behave generally] like a lady of high family¹.

The beginning of love

156. Love of the superior, the middling or the inferior kind arises in men and women, from various causes¹.

157. Love [for a person] grows from hearing [about him], seeing [him, hearing about his] personal beauty, [seeing his] sportive movements of limbs and [hearing his] charming conversation¹.

158. An expert in this matter should then observe the various indications of love in men and women who desire one another’s company.

159. A woman becomes overpowered with love on seeing a young man who has personal beauty as well as other innate qualities, and has besides the knowledge of various arts and crafts¹.

Signs of love

160. The glance in which [the eyes are] charming, tearful drooping and eyelashes are throbbing, is called Kāmyā (lit. loving) and it should be used here¹.

161. The glance in which the corner of the eyes are moving and having sportful expressions, is called Lalita (lit. sportive). It is used in women’s partial looks¹.

162. Due to love, one’s voice becomes slightly impassioned, and the face covered with sweat-drops, and hairs in the body stand on their end¹.

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155 (C.147). ¹ Cf. संयुक्ता नायकेन तदङ्गनाथमैकचारिणीश्लम् etc. KS. IV. 2.1.
156 (C.148). ¹ These three kinds of love have been defined by later authors like Śāradātanaya; see BhP. p. 113, l. 10-14.
157 (C.149). ¹ K. omits this.    158 (C.150; K.XXII.148a).
159 (C.151). ¹ K. omits this.    160 (C.152). ¹ K. omits this.
161 (C.153). ¹ K. omits this. See NŚ. VIII.73.
162 (C.154). ¹ K. omits this. Cf. BhP. p. 113, l. 17-19.

462 THE NATYASASTRA [ XXIV. 163-

Signs of a courtezan's love

163-165. A courtezan is to be considered overpowered with love when she expresses her passion by casting side-long glances, touching their ornaments, itching the ears, scratching the ground with her toes, showing the breasts and the navel, cleansing the nails and gathering her hairs¹.

Signs of love in a highborn lady

166-167. Similarly one should know that there are indications [of love] in a woman of high family, These are as follows; she looks continuously with blooming eyes, conceals her smile, speaks slowly and with a down-cast face, gives reply with a smile, conceals her sweats and appearance, has throbbing lips and is trembling¹.

Signs of a maiden's love

168. These are the various signs with which a woman not yet having the experience of love's pleasure (rati) will express her love which has ten stages¹.

Various stages of her love

169-171. First there will be a longing (abhilāṣa), secondly Anxiety (cintā), thirdly Recollection (anusmṛti), fourthly Enumeration of [the beloved one's] Merits (guṇakīrtana), fifthly Distress (udvega), sixthly Lamentation (vilāpa), seventhly Insanity (unmāda), eighthly Sickness (vyādhi), ninthly Stupor (jaḍatā), and tenthly Death (maraṇa)¹. These are the stages of love in case of men as well as of women. Now hear about the characteristics of all these.

Longing

172. Longing (abhilāṣa) arises from efforts born of desire and wish [for the beloved one], and leads to the means of meeting [him]¹.

---

163-165 C.155-157a; K.XXII.148b-150). ¹ Cf. BhP. p. 113, l. 3-9, and p. 114, l. 1-2.

166-167 (C.157b-158ka; K.XXII.151-153a). ¹ Cf. BhP. p. 113, l. 17, p. 114, l. 1-2.

168 (C.159; K.XXII.153b-154a). ¹ BhP. (p.88) gives the number as 'ten or twelve'.

169-171 (C.160-162; K.XXII.154b-157a). ¹ Cf. BhP. (p. 88, l. 3-5) gives two more stages (icchā and utkaṇṭhā). Also cf. KS. V.1-5; NL.2421ff.

•172 (C.163; K.XXII.157bc). ¹ Cf. NL. 2427; BhP. p. 88, l. 15-16.

-XXIV. 179] THE BASIC REPRESENTATION 463

173. One goes out of the place [where the beloved one is] or enters it or stays within his sight, and shows signs of amour in the first stage of his love¹.

Anxiety

174. Anxiety (cintā) should be indicated by speaking to the female Messenger (dūtī) words such as "By what means and in what manner will there be an Union with (lit. obtaining¹) of the beloved² ?"

175. In the second stage [of love] one should look with half-closed eyes and touch the Valaya (bangles), the Raśanā, the Nīvi, the navel and the thighs¹.

Recollection

176. Sighing again and again, thinking deeply of the beloved (lit. desired) person and disliking other engagements, is called Recollection (anusmṛti)¹.

177. Being engrossed in thinking of him (i. e. the beloved) one does not attain composure in sitting or lying in bed, and remains without doing one's duty. The third stage [of love] should be expressed like this¹.

Enumeration of Merits

178. To express by means of sportful movement of limbs, smiles and glance and [other efforts] the idea that 'there is no one else like him', is called Enumeration of [the beloved one's] Merits.¹

179. The representation [of love] in the fourth stage (i.e. in the Enumeration of Merits) should be made by horipillation

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173 (C.164; K.XXII.158). ¹ Cf. NL. 2428ff; BhP. p. 88, l. 17-20.
174 (C.165; K.XXII.159). ¹ Read samprāptiḥ (sambhrāntiḥ, C; sāmānyaḥ K). ² Cf. NL. 2436ff; BhP. p. 88, l. 21-27.
175 (C.166; K.XXII.160). ¹ Cf. BhP. p.89, l. 3-5.
176 (C.167; K.XXII.161). ¹ Cf. NL.2449; BhP. p. 89, l. 7-8.
177 (C.XXXI.76; K.XXII.162). ¹ Cf. NL.2449; BhP. p. 89, l. 9-11. C.'s reading of the portion of this chapter (XXIV.) given in pp. 281 (line 27)-289 (line 3) is merely an unacknowledged copy of K.s reading of the same. C.'s. own reading occurs in pp. 348 (line 14)-355 (line 8) as a part of the chapter XXXI.
178 (C.XXXI.77; K.XXII.163). ¹ Cf. NL.2456; BhP. p. 89, l. 12-14.
179 (C.XXXI.78; K.XXII.164). ¹ Cf. BhP. p. 89, l. 15-18.

464 THE NATYASASTRA [ XXIV. 180

wiping off tears, sweats, and talking confidentially to the female Messenger to relieve the pangs of separation¹.

Distress

180. That one is not satisfied or pleased with sitting or lying in bed and is always eagerly expecting [the beloved one] is the stage of Distress (udvega) in love¹.

181. By representing anxiety, sighs, lassitude and burning of the heart in an exaggerated manner, one should express the stage of Distress¹.

Lamentation

182. Lamentation (vilāpa) is represented by speaking sorrowfully words such as "He stood here ; he sat here, and here he approached me, etc¹."

183. A lamenting woman is distressed by very eagerly expecting [the beloved one], and out of uneasiness she moves from one place of grief to another¹.

Insanity

184. When a woman is always engaged in talking about him (i. e. the beloved) and hates all [other] males, it is a case of Insanity (unmāda).

185. To represent Insanity one should sometime look with a steadfast gaze, sometimes heave a deep sigh, sometimes be absorbed within oneself and sometimes weep while walking about¹.

Sickness

186. Being devoid of all pleasures of love and of [any] expectation [about them] one gets Sickness (vyādhi)¹.

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180 (C.XXXI.79; K.XXII.165). ¹ Cf. NL.2462ff; BhP. p. 89, l. 19-22.
181 (C.XXXI.80; K.XXII.166). ¹ See note of 180 above.
182 (C.XXXI.81; K.XXII.167). ¹ Cf. NL.2470; BhP. p. 90, l. 1-3. An example इह तया सह हसितम्, इह तया सह कथितम्, इह तया सह पर्युषितम्, इह तया सह कुपितम्, इह तया सह शयितम् etc (Svapna 1.15, 2-4).
183 (C.XXXI. 82; K.XXII. 168). ¹ Cf. BhP. 90, l. 4-8.
184 (C.XXXI.83; K.XXII. 169b). ¹ Cf. NL. 2484ff; BhP. p.90 l.9-15.
185 (C.XXXI.84; XXII.170). ¹ See above 184 note.
186 (C.XXXI.85; K.XXII.171). ¹ BhP. p. 90. l. 16-18. follows K. NL .(2476) has ātaṅka (disquietude) which precedes unmāda.

.XXIV. 194] THE BASIC REPRESENTATION [465

187. To represent Sickness the eighth stage, one is to show that the heart becomes paralysed, the body is in fever, the head aches badly, and one does not have any tranquility¹.

Stupor

188. In Stupor (jaḍatā) one does not respond when questioned, and does not hear or see [anything]. It is a pathetic condition in which one's mind is deranged¹.

189. To represent Stupor one is to utter response (huṃ) on the wrong occasion, and is to have one's limbs relaxed and the mouth given to excessive breathing (lit. swallowed by breathing)¹.

Death

190. If even after adopting all the means [available for the purpose] the Union [with the beloved] does not take place, then burnt in the fire of love one's Death (maraṇa) takes place¹.

191. Thus in case of her meeting (lit. getting) the beloved, one should represent, according to the Science of Erotics (kāmatantra), for the Heroine all the stages of love except the last one¹.

Manifestation of men's love

192. Even a man separated from his beloved one will thus make a manifestation of his love in diverse ways through different States¹.

Characteristics of love

193. One should represent men as well as women who are expressing these stages of love by bringing in their common characteristics [in particular stages]¹.

Women separated from the beloved one

194-196. All the stages of love should be represented in diverse ways by anxiety, sighs, lassitude, weariness of the body, and

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187 (C XXXI.86; K.XXII. 172). ¹ Cf. BhP. p. 90, l. 19-22.
188 (C.XXXI.87; K.XXII. 173). ¹ Cf. NL.2499ff; BhP, p 91, l. 1-6.
189 (C XXXI.88, K.XXII.174). ¹ See above 188 note.
190 (C.XXXI.89; K.XXII.175). ¹ Cf. NL.2505ff. BhP. p. 91, l. 7-8.
191 (C.XXXI. 90; K.XXII.176). ¹ Cf. NL.2510ff. BhP. p.91, l. 9-10.
192 (C.XXXI.91; K.XXII.177). ¹ See above 182 note.
193 (C.XXXI.92; K.XXII.178). ¹ K. reads after this two additional (XXII.179-180) couplets.
194-196 (C.XXXI.93-95; K.XXII.181-183).
59

466 THE NATYASASTRA [ V. 197.

following [the beloved] or gazing [at him] or gazing [vacantly] at the sky, talking pathetically, touching [different ornaments], twisting [some objects] or clinging to some support and similar other conditions and situations arising from an absence of Union (vipralambha).

Relief in love-sickness

197. When burning very much with the fire of love one will use [special] clothes, ornaments, scents, rooms and gardens which have a cooling effect.

The female Messenger

198. Being over-powered with a burning love and affected through its several stages one should send a female Messenger [to the beloved] to speak of one's conditions.

199. One should ask a female Messenger to carry a message of love [to the beloved]. She [should deliver the same] with proper courtesy [and the like] after saying "This is her condition".

200. After the substance (lit, meaning) of the message has been communicated one should think of the means of fulfilling the love. This is the rule where love is to be practised secretly.

The king's Etiquette to women

201. I shall now speak in detail about the rules regarding the practice of kings in relation to "homely" women and these rules are taken out the Science of Erotics (kāmatantra)$^1$.

202. Happy and unhappy conditions which occur [in connexion with love] in persons of various dispositions, and which are assumed by kings, are also followed by common people.

203. Kings have no difficulty in obtaining women; because means for this, is at their command. And the love that grows out of liberality becomes pleasing.

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197 (C.XXXI.96; K.XXII.184). 198 (C.XXXI.97; K XXII.185).
199 (C.XXXI.98; K.XXII.186). 200 (C.XXXI.99; K.XXII.187).
201 (C.XXXI.100; K.XXII.188) $^1$ This does not seem to indicate any particular treatise.
202 (C.XXXI.101; K.XXII.189).
203 (C.XXXI.102; K.XXII.190).

.XXIV. 210] THE BASIC REPRESENTATION 467

204. Out of respect for the queens and for fear of their favourite women, kings are secretly to make love to queen's maids.

205. Though the kings may have many ways of making love, the making it secretly will be [the most] pleasing [of all].

206. That a woman resorts to wily ways, that one is shut out from her and she become available only with difficulty, imparts the supreme pleasure to her love.

207. In case of women of the harem, the king's Union (saṁbhoga) with them in day time may be permitted, but in dealing with external women Union should take place at night¹.

Reasons for Conjugal Union

208. The following six are reasons¹ for the Conjugal Union (rāsaka) : scheduled order (paripāṭi), [desire for] progeny (phala), newness of relation (navatva), birth of a child (prasava), time of sorrow (duḥkha) and of joy (pramoda)².

209. When the Conjugal Union (rāsaka) is due, kings should go to the bed-chamber of a queen even if she may be in her menses or may not be his favourite.

Eight kinds of Heroine

210-211. In this connexion Heroines (nāyikā) are known to be of eight kinds such as, "one dressed up for Union" (vāsakasajjā), "one distressed by separation" (virahotkaṇṭhitā), "one having her husband in subjection" (svādhīna-bhartṛkā), "one separated [from her lover] by a quarrel" (kalahāntaritā), "one enraged with her lover" (khaṇḍitā), "one deceived by her lover" (vipralabdhā) "one with a sojourning husband" (proṣitabhartṛkā) and "one who moves to her lover" (abhisārikā)¹.

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204 (C.XXXI.103; K.XXII.191). 205 (C.XXXI.104; K.XXII.192).
206 (C.XXXI.105; K.XXII.193).
207 (C.XXXI.106; K.XXII.194). ¹ Cf. KS. V. 1, 16.
208 (C.XXXI.107; K.XXII.195). ¹ See Hemacandra's vṛtti on this passage quoted in KĀ. (p. 307) where he copies Ag. (p. 477) verbatim.
² This rule of the Conjugal Union (vāsaka) seems to have been relaxed at the time of Vātsyāyana. See KS. III. 2, 61-63.
209 (C.XXXI.108; K.XXII.196).
210-211 (C.XXXI.109-110; K.XXII.197-198) ¹ See DR. II. 23-27.

468 | THE NĀṬYAŚĀSTRA | [ XXIV. 212-

The Heroine dressed up for Union

212. A woman who in eager expectation of love's pleasure decorates herself joyfully when the Conjugal Union (vāsaka) is due, is a Heroine dressed up for Union (vāsakasajjā)¹.

The Heroine distressed by separation

213. A woman whose beloved one does not turn up on account of his preoccupation with many other engagements and makes her sad, is a Heroine distressed by separation (virahotkaṇṭhitā)¹.

The Heroine having her husband in subjection

214. A woman whose husband captivated by her conduct as well as by love's pleasure (surata) from her, stays by her side, and who has pleasing qualities, is a Heroine having the husband in subjection (svādhīnabhartṛkā)¹.

The Heroine separated by quarrel

215. A Heroine separated by quarrel (kalahāntaritā) is a woman impatient for her lover who has gone away due to a quarrel or jealousy, and does not return¹.

The enraged Heroine

216. A woman whose beloved one on account of his attachment for another female does not come for the Conjugal Union when it is due, is an enraged (khaṇḍitā) Heroine¹.

The deceived Heroine

217. A woman whose lover does not come to her for a certain reason even when the female Messenger was sent to him and a tryst was made, is a deceived Heroine (vipralabdhā)¹.

The Heroine with a sojourning husband

218. A woman whose husband (lit. the beloved one) is living abroad on account of various duties and who wears her

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212 (C.XXXI.111; K.XXII.199). ¹ Cf. NL. 2525ff; DR. II. 24; BhP. p. 99.
213 (C.XXXI.112; K.XXII.200). ¹ Cf. NL. 2530ff; DR. II 25; BhP. p. 100.
214 (C.XXXI.113; K.XXII.201). ¹ Cf. NL. 2568ff; DR. II. 24; BhP. p. 99.
215 (C.XXXI.114; K.XXII.202). ¹ Cf. NL. 2550; DR. II. 26; BhP. p. 99.
216 (C.XXXI.115; K.XXII.203). ¹ Cf. NL. 2536ff; DR. II. 25; BhP. p. 98.
217 (C.XXXI.116; K.XXII.204). ¹ Cf. NL. 2542ff; DR. II. 26; BhP. p. 99.
218 (C.XXXI.117; K.XXII.205). ¹ Cf. NL. 2556ff; DR. II. 27; which uses the the term proṣitapriyā. BhP. p. 100.