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.

---

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

---

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.

---

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.

---

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

---

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.

-XXIV. 225] THE BASIC REPRESENTATION 469

hair hanging loose, is called a Heroine with a sojourning husband (proṣitabhartṛkā)¹.

Heroine moving to her lover

219. A woman who due to love or infatuation is attracted to her lover and gives up modesty for going out to meet him, is called a Heroine secretly moving to her lover (abhisārikā)¹.

Representation of the different Heroines

220. Heroines in a Nāṭaka should be of these conditions. I shall speak of the manner in which the producers are to represent them¹.

Enraged, deceived and quarreling Heroines

221-223. Enraged (khaṇḍitā), Deceived (vipralabdhā), and Quarreling (kalahāntaritā) Heroines should be represented by anxiety, sighs, lassitude, burning of the heart, conversation with female friends, looking to one's own condition, weakness, depression, tears, appearance of anger, giving up of ornaments and toilet, sorrow and weeping¹.

The Heroine with a sojourning husband

223b. The Heroine with a sojourning husband (proṣitabhartṛkā) should also be represented with these states¹.

The Heroine having the husband in subjection

224. A Heroine having the husband in her subjection should be represented with gaudy and brilliant dresses, face beaming with pleasure and having an excess of physical charm¹.

Different classes of Heroine moving to her lover

225. Whether she may be a courtezen, a lady of high family or a maid-servant, the producers should make the Heroine move to her lover in the special manner described below¹.

---

219 (C.XXXI.118; K.XXII.206). ¹ Cf. NL.2572ff; DR. II. 27. see BhP. p. 100.
220 (C.XXXI.119; K.XXII.207). ¹ Yathā yojyaṁ prayoktṛbhiḥ, C. for kāmatantraṁ anekadhā. K.
221-223 (C.XXXI.120-122a; K.XXII.208-210a). ¹ Cf. DR. II. 28; cf. BhP. p. 98-100.
223b (C.XXXI.122b; K.XXII.210b). ¹ Cf. BhP. p. 100.
224 (C.XXXI.123; K.XXII.211). ¹ Cf. DR. II. 28. Cf. BhP. p. 99.
225 (C.XXXI.124; K.XXII.212). ¹ Cf. DR. II. 28. Cf. BhP. p. 100.

470 THE NATYASASTRA [ XXIV. 227-

The Courtezan

226. [In going down to her lover] the courtezan is to have her body beautifully decorated with various ornaments and to walk slowly in the company of her attendants and with [a display of] passion (samadanā) and joy¹.

The woman of high family

227. [And in such a situation] a woman of high family will cover her face with a veil, and walk timidly with her limbs contracted, and will [very often] look back¹.

The hand-maid

228. And [in the same situation] a hand-maid will walk with uneven steps (āviddhagati) and eyes beaming with amorous joy, and will talk distortedly through intoxication (madaskhalita-saṁlāpā).¹

How to meet a sleeping lover

229. If the beloved (lit. this one) is in bed and she finds him manifestly (suvyaktam) asleep she [should] awaken him in the manner I am going to mention¹.

230. A woman of high family is to awaken him by [the sound of] her ornaments, the courtezan by the sweet (lit. cool) scents and the handmaid by fanning the beloved one with her clothes¹.

231. [In this connexion] the scolding words of women friends are to be strong but sweet, and beautifully puctuated by sighs¹.

232. This is the rule of love making for women of high family and others, for the Nāṭaka is to represent all the States [in a Heroine]

---

226 (K.XXII.213). ¹ Read 226 as samadanā prahṛṣṭā ca etc. Cf. NL.2580ff; BhP. p. 101, l. 4-10; SD. 117.

227 (K.XXII.214). ¹ Read 227a. as saṁlīnā sveṣu gātreṣu etc. Cf. NL.2576ff; BhP. p. 100, l. 19-22. SD. 117.

228 (C.XXXI.125a; K.XXII.215). ¹ Read 228a as madaskhalita-saṁlāpā etc. Cf. NL.2580ff; BhP, p. 101, l. 11-15.

229 (C.XXXI.125bc; K.XXII.216). ¹ Read 229a as स्यादयं शयितो जनो पश्यन् मुखं प्रियं सदा. Cf. BhP. p. 101, l. 16.

230 (C.XXXII.217). ¹ Cf. BhP. p. 101, l. 16-22.

231 (C.XXXI.126). ¹ It seems that one or two couplets have been lost before this. We give merely a tentative trans. of it.

232 (K.XXII.218).

.XXIV. 239 ] THE BASIC REPRESENTATION 1

The Conjugal Union

233. For a woman newly in love or for an enraged woman when she is not coming [of her own accord], the Conjugal Union should be arranged through some means or excuse¹.

234. [A woman] always enjoys with pleasure various ornaments, dresses, scents and garlands which are charming and are of the best kind¹.

235. Just as a man does not come under the control of love when he has not [previously] met any woman, so being united, with the beloved woman [such a person] becomes doubly delighted¹.

Behaviour at the Conjugal Union

236. At the time of Conjugal Union (lit. union of love) there should be amorous feelings, gestures, words and sportful movements of the sweetest kind (lit. having a special quality of sweetness) and especially looking at each other with love¹.

Preparation for the Conjugal Union

237. When the Hero (i. e. the beloved one) comes, a woman on her part should make some special preparation for the Conjugal Union which will give rise to pleasure¹.

238. After wearing simple clothes, putting on garlands and using sweet scents she should take up the mirror again and again even when she had done with it (lit. has become successful)¹.

239. In preparing for the Conjugal Union one should not put on too many ornaments, [among these] the Raśanā and the Nūpura which have a sound are often to be preferred¹.

---

233 (C.XXXI.127; K.XXII.219). ¹ K.'s reading is very corrupt.
234 (C.XXXI.128; K.XXII.220). ¹ C. sāpadeśair for satyādeśair, K.
235 (C.XXXI.129; K.XXII.221). ¹ Here to some passage seems to have been lost before this couplet.
236 (C.XXXI.130; K.XXII.222). ¹ Here also some passage seems have been lost before this couplet.
237 (C.XXXI.131; K.XXII.223). ¹ K. reads 237a as ततः प्रकृष्टे मदने उपचार-समुद्भवै.
238 (C.XXXI.132; K.XXII.224). ¹ K. reads 238b as व्यापयेन्नायककरं कुर्याश्चात्मप्रसाधनम्.
239 (C.XXXI.133; K.XXII.225). ¹ Vāsopacāre K. vāsopacāro C.

472 THE NATYASASTRA [ XXIV. 240

Acts prohibited on the stage

240. [In representing various activities of women] there should be on the stage no ascending of the bed-stead, no bath, no use of unguents and collyrium, no decoration of the body and no handling of their breasts or hair¹.

241. And women of the superior and the middling types should not be shown as poorly draped (apāvṛtā) or wearing only one piece of garment (ekavastrā) and they should use no colour for their lips¹.

242. Such a rule [of dresses] will suit only the women of the inferior type, because of their low nature. But on certain occasions they too are not to be represented like that¹.

243. Men and women of the courtezan class in a play should take up a flower after they have dressed themselves up (lit. having taken ornaments).

244. If a woman with a decoration [of her body] awaits the arrival of her beloved, she should cleverly finish it so that nothing contrary [to propriety] finds expression¹.

The Heroine in expectancy

245. After finishing the preparation for the Conjugal Union, the Heroine should sit down and expect [every moment] the coming of the beloved (lit. Hero) while listening the sound of of striking the Nāḍikās¹.

246. After hearing the sound of [the expected] Nāḍikā the Heroine overcome [with joy] on [the chance of] the beloved one's

---

240 (C.XXXI.134, Cf. K. XXII-225). ¹ This shows the high moral sense of the people of the time.

241 (C.XXXI.135; K.XXII.227). ¹ See above 240 note.

242 (C. XXXI.136; K.XXII.228). ¹ That is, they might appear on the stage as poorly draped or with one piece of garment or might have their lips painted.

243 (C. XXXI.137; Cf. K.XXII.229)

244 (C.XXXI.138; K.XXII.230). ¹ Read the couplet as follows :

नियुक्तमण्डना किञ्चित् प्रतीक्षेत प्रियागमम् । लीलयामण्डितं शेषं कुर्याद्यन्न विरुध्यते.

245 (C.XXXI.139 of K.XXII.231). ¹ Nālikā-K, nāyikā. C.

246 (C.XXXI.140; K.XXIII.231b, 232a). ¹ Nālikā K. nāyikā C. Samna-hṛdayā, C. (trasta-hṛdayā, K).

-XXIV. 253] | THE BASIC REPRESENTATION | 473

coming should run towards the gate [of the house] with a trembling [body] and with her heart about to stop (lit. motionless).

247. And holding the door-frame with her left hand, and a door-blade with the right one, she should with straight eyes look up for the arrival of the beloved.

248. Overcome with apprehension she should show reasonable [signs of] fear when the beloved will fail to appear (lit. not seeing the beloved), and should turn sad for the moment.

249. Then after heaving a deep sigh and lowering her look (lit. face) she should with a motionless heart drop down herself (lit. her limbs) on a seat.

250. Due to a delay of the beloved she should connect (lit. ponder over) his coming with causes (lit. considerations) which may be good or bad,

251. She will think [as follows :] "Could the beloved have been held up by duties to his superiors, by the friends, or by the ministers engaged in affairs of the state, or could he have been detained by some favourite woman ?"

252. She should represent appearances connected with the various good or bad causes [mentioned above] by means of personal omens like quivering or throbbing [of a particular limb].

Personal omens

253. Personal omens indicating occurrence favourable to women will occur to their left [side] while omens in case of all undesireable happenings will take place on their right.

---

247 (C.XXXI 141; K.XXII.232b, 233a). ¹ C reads as 247a एतेनाधोमुखी भूय प्रतीक्षते प्रियागमम्; we with K.
248 (C.XXXI.142; K.XXII.233b-234a). ¹ K.'s reading is corrupt.
249 (C.XXXI.143; K.XXII.234b-235a). ¹ K. reads nayanāmbu for āsyaṁ caiva, C.
250 (C.XXXI.144; K.XXII.235b-236a).
251 (C.XXXI.145; K.XXII 236b-237a).
252 (C.XXXI.146; K.XXII.237b-238a). ¹ K. reads 252 as उतपत्ताविदि-ग्रैवैन शुभाशुभसमुत्थितम्। निमित्तैः सम्यगंगेषु स्फुरितै र्भेदितैस्तथा.
253 (C.XXXI. 147 ; K. XXII. 238b-239a). ¹ aniṣṭeṣu, C. for durukteṣu, K.
60

474 THE NATYASASTRA [ XXIV. 261-

254. If the left eye, eyebrow, forehead, lip, arm, breast or thigh throbs, this will indicate the coming [of the beloved].

255. If these will throb differently¹ that will indicate something calamitous (lit. not desired). In case of perceiving such bad omens she should at once faint².

256. As long as the beloved has not come, her hand will rest on her cheek, and being careless about her toilet she should go on weeping.

257. But afterwards on seeing some good omen indicating his arrival the Heroine should represent that the beloved one has drawn near by means of feeling¹ his smell.

Heroine's reception of the beloved

258. On seeing him [come] she should joyfully get up and proceed to receive the beloved and look at him with eyes beaming in pleasure.

Receiving the guilty lover

259. But [in case of] the beloved one who has come with the signs [of meeting another woman] and green wounds¹ [received from her] she should point out [the man] after assuming the Āyata posture (sthāna) with her hand in the hand of her female friend².

260. And the beloved one being found guilty he should be given censure in due order by means of [appropriate] gestures and reproachful words as well as by Jealous Anger (māna), Insult (avamāna), Fainting (sammoha) or Dissimulation (avahitthā)¹.

261-263. Due to reasons like the application of Dissimulation, the use of hidden words or of laughter, curiosity, flurry, calamity and acceding to a situation of fun and to his

---

254 (C.XXXI.148; K.XXII.239b-240a).
255 (C.XXXI.149; K.XXII.240b-241a). ¹ That is, if the right ey and eyebrow etc. throb. ² K. reads 255 a as यतोऽन्यथा स्पन्दमाने दुरितं दक्षिणं भवेत्.
256 (C.XXXI.150; K.XXII.241b-242a).
257 (C.XXX.151; K.XXII.242b-243a). ¹ That is, by representing it with gestures.
258 (C.XXXI.152; K.XXII.243b).
259 (C.XXXI.153). ¹ i.e. of biting and scratching. ² K. omits this.
260 (C.XXXI.154-155a, K.XXII.244-245a).
261-263 (C.XXXI.155a-157a; K.XXII.247-248). ¹ K. reads dharmārtha-kāma-yogeṣu.

-XXIV. 269] THE BASIC REPRESENTATION 475

concealing any fault, the Heroine should speak to the beloved even if [his guilts require that] he should not be spoken to.

263-264. Where there is affection there is fear also. And where there is jealousy there occurs love (madana).

Causes of jealousy

The causes of this (i.e. jealousy) are fourfold : Depression (vaimanasya), Mixed Feeling (vyalīka), Disgust (vipriya) and Anger (manyu). Please listen about their description.

Depression

265. Depression (vaimanasya) arises from seeing the beloved one walking lazily due to sleepiness and lassitude, and discovering signs [of his Union with another woman] and fresh wounds [received from the latter].

266. This should be represented with an intensely jealous face, great trembling of limbs due to anger, and utterance of words like "It is good", "It is nice" and "It is beautiful."

Mixed Feeling

267. Mixed Feeling (vyalīka) arises due to jealousy mixed with joy when one's beloved stays [near by] even after he has been treated with insult.

268. Mixed Feeling should be represented by standing firmly on legs with the left hand on the breasts and the right one violently gesticulating.

Disgust

269. Disgust (vipriya) will arise when the beloved one

---

² K. reads before this three hemistichs (245b-246) as follows : वचनस्य समुत्पत्तिः स्त्रीणां गाथाकृता भवेत्। विस्रम्भेऽनुरागेषु संदेहे प्रणये तथा। परितोषे न हर्षे च दाक्षिण्याक्षेपपातने (Women's outburst of speech should be in Gāthā [in the following cases] : in confidence, affection, suspicion, love, satisfaction, joy, courtesy and infliction of abuse).
263-264 (C.XXXI.157b-159a; K.XXII.249-250).
265 (C.XXXI.159bc; K.XXII.251).
266 (C.XXXI.160; K.XXII.252).
267 (C.XXI.161; K.XXII.253).
268 (C.XXXI.162; K.XXII.254).
269 (C.XXXI.163; K.XXII.255).

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-XXIV. 304 ] THE BASIC REPRESENTATION 479

297. As a Nāṭaka is to be witnessed by the father and the son, the mother-in-law and the daughter-in-law [all sitting together] these acts should be avoided.

298. Experts should write Nāṭakas with pleasant and not very harsh words giving rise to good counsel.

Endearing terms of address for the beloved

299. Now hear about terms which women in love are to use to their beloved ones when the Union takes place.

300. Such terms are “dear” (priya), “beloved” (kānta), “affectionate” (vinīta), “lord” (nātha), “master” (svāmin), “life” (jīvita) and “joy” (nandana).

Angry terms of address for the beloved

301. In case of anger terms used may be “ill-natured” (duḥśīla), “tyrant” (durācāra, lit. ill-doing), “deceitful” (śaṭha), “hostile” (vāma), “indifferent” (virūpa), “shameless” (nirlajja) and “cruel” (niṣṭhura).

Endearing terms of address

302. He who does nothing undesirable, speaks nothing improper, and always conducts himself uprightly is called “dear” (priya).

303. He in whose lips or [other parts of] the body no sign of Union with another woman is visible is called “beloved” (kānta).

304. He who even in his anger does not cross words [with the woman he loves] and does not use any harsh word is called “affectionate” (vinīta, lit. disciplined).

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297 (C.289; K.XXII.283). $^1$ See above 294-295 note
298 (C.290; K.XXII.284). 299 (C.291; K.XXII.285).
300 (C.292; K.XXII.286). $^1$ BhP. (p. 107, l. 7-9) has eleven terms.
301 (C.293; K.XXII.287). $^1$ BhP. (p. 108, l. 10-11) has eight terms.
302 (C.294; K.XXII.288).
303 (C.295; K.XXII.289). $^1$ Cf. BhP. p. 107, l.14-15.
304 (C.296; K.XXII.290).

480 THE NATYASASTRA [ XXIV. 305-

305. He who maintains an intercourse with a woman by sweet words (sāma, lit. conciliation), gifts (artha), providing, enjoyment, caress and maintinance, is called “lord” (nātha).

306. He who is a well-wisher [of his beloved woman], is able to protect her, is not conceited or jealous, is always alert on every occasion, is called “master” (svāmin).

307. He who takes to the bed to please the woman tactfully by [providing] enjoyments according to her wishes and desires, is called “life” (jīvita).

308. He who is high-born, patient, clever, kind, master of words and fit to be praised among women friends, is called “joy” (nandana).

309. These words are used to highten the charm of love's enjoyment. I shall now speak of words which indicate an want of love. Hear about them.

Angry terms of address explained

310. He who is cruel, impatient, conceited, shameless, bragging, given to crossing words is called “ill-natured” (duḥśīla).

311. He who out of indiscretion restrains a woman’s movement or beats her or uses harsh words to her, is called a “tyrant” (durācāra).

312. He who for his own purpose speaks sweet words but does not put them into practice is called “deceitful (śaṭha).

313. He who even being forbidden to do anything does that very thing, is called “hostile” (vāma).

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305 (C.297; K.XXII.291). ¹ Cf. BhP. p. 107b, l. 16-17.
306 C. 298; K.XXII.292). ¹ Cf. BhP; p. 107b, l. 18-19.
307 (C.299 K.XXII.293). ¹ Cf. BhP. p. 103b, l. 4-5; the term here is jīviteśa, ‘lord of life’.
308 (C.300; K.XXII.294). ¹ Cf. BhP. p. 108b, l. 2-3.
309 (C.301; K.XXII.295).
310 (C.302; K.XXII.296). ¹ Cf. BhP. p. 108b, l. 14-15.
311 (C.303; K.XXII.297). ¹ Cf. BhP. p.109b, l. 4-5.
312 (C.304; K.XXII.298). ¹ Cf. BhP. p. 108b, l. 20. p. 109b, l. 1.
313 (C.305; K.XXII.299). ¹ Cf. BhP. p. 108b, l. 12-13.

-XXIV. 321 ] THE BASIC REPRESENTATION 481

314. He who has green wounds [received from a another woman] and is proud of it and remains silent [in conceit] is called "indifferent" (virūpa)¹.

315. He who approaches the woman more resolutely than ever even when he is guilty [towards her] and bears the marks of such a guilt and is forbidden to approach, is called "shameless" (nirlajja)¹.

316. He who being guilty towards her tries to enjoy a woman's embrace by force and does not think of concilating her, is called "cruel" (niṣṭhura)¹.

317. These are the ways of using words to indicate whether a lover is dear or not so. In different circumstances¹ one should use the opposite [of these]².

318. These should be the rules [of address] in songs with a gentle dance as well as anything to be expressed in words for the Erotic Sentiment¹.

319. This is the rule about the representation of incidents relating to the harem. I shall now describe in detail the rules regarding the goddesses (lit. celestial females)¹.

Goddesses in human roles

320. The dress of goddesses is always brilliant, their mind is always full of joy and their time is always passed happily and in sports.

321. Celestial males have no jealousy, anger and malice in life and they require no propitiation of their females.

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314 (C 306; K.XXII.300). ¹ Cf. BhP. p. 108b, l. 14-15.
315 (C.307; K.XXII.301). ¹ Cf. BhP. p. 108b, l. 18-19.
316 (C.308; K.XXII.302). ¹ Cf. BhP. p. 108b. l. 20-21.
317 (C.309; K.XXII.303). ¹ That is, in irony (solluṇṭhaṇa-bhāṣita). See SD. 107.
² K. reads 317b as नर्तकीसंश्रिता कार्या बह्वोऽन्येपि नाटके.
318 (C.310; K.XXII.304). ¹ K. reads 318b as शृङ्गाररससंभूतो रतिसंभोग-खेदजम्.
319 (C.311; K.XXII.307). ¹ K. repeats before this 277a and the following शृङ्गार एवमेष स्यात्तथाप्यपक्रमो भवेत् and XXII. 278 afterwards.
320 (C.312; K.XXII 308).
321 (C.313; K.XXII.309).

61

462	THE NATYASASTRA	[ XXIV. 322-

322. When celestial women unite with human beings they are to assume all the States of a mortal.

323. When celestial women sustain a fall [from the heaven] due to a curse, they are to be united with human males and should be approached in a suitable manner.

324. [Remaining] invisible, she should tempt them with her voice and with [the scent of] flowers in her decoration and then revealing herself for a moment she should disappear¹.

325. Infatuation in a play grows out on coming to have dresses, ornaments, garlands [of Heroines] and letters [sent by them].

326. Love growing out infatuation will be pleasing, and that [love] which is natural will bring about different enjoyments.

327. Being reduced to human existence celestial males should assume all the States which are proper for men and should behave like them.

328. This should be the practice in connexion with kingly Etiquette in relation to the harem. The Etiquette in relation to the outsiders will be treated in rules regarding Courtezans (vaiśika).

Here ends Chapter XXIV of Bharata's Nāṭyaśāstra which treats of the Basic Representation

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322 (C.314; K.XXII 310).
323 (C.315; K.XXII.311).
324 (C.316; K.XXII.312). ¹ Read pralobhayet (pulo bhavet, K. °trāpi ya bhavet, C.).
325 (C.317; K.XXII.313).
326 (C.318; K.XXII.314).
327 (C.319; K.XXII.315).
328 (C.320; K.XXII.316).

CHAPTER TWENTYFIVE

DEALINGS WITH COURTEZANS

The definition of a Gallant

1. One excelling (viśeṣayet)$^1$ in all the arts (kalā)$^2$ is called a Gallant (vaiśika) or one is so called because of his dealings with the courtezans (veśyopacāra)$^3$.

2. A man who has learnt all the arts (kalā)$^1$ and is an adept in all the crafts (śilpa)$^2$ and can [besides] captivate the heart of women, is called a Gallant$^3$.

Qualities of a Gallant

3. His thirtythree [characteristic] qualities are briefly of three classes : physical, extraneous (āhārya) and psychological (sahaja, lit. natural).

4-7. One who is well-versed in the Śāstras, skilled in arts and crafts, well-formed, pleasant-looking, powerful, possessing self-command, desireable age, dress and pedigree, is friendly (surabhi),

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1 (C.1; K.XXIII.1). $^1$ This is an instance of folk-etymology. Vaiśeṣa the base of the participle viśeṣayet should have given rise to vaiśeṣika and not to vaiśika. See BhP. p. 106, 1-10.

$^2$ These are generally considered to be sixtyfour in number. See Vātsyāyana. KS. I. 3. 34. But the Jains have their number as seventytwo (See Amulya Chandra Sen, "Social Life in Jain Literature," Calcutta, 1933. pp. 12-15).

$^3$ This etymology is rather sensible. For veśa (residence of courtezans) is connected with veśyā (woman who is available for all the members of the tribe or the settlement).

2 (C.2; K.XXIII.2). $^1$ See above 1 note 2.

$^2$ The word kalā is usually synonymous with śilpa. For the most of the sixtyfour items included by Vātsyāyana (l.c.) are nothing but crafts. But when the two words are used together in a sentence śilpa may be taken in the sense of 'craft' only.

$^3$ Another name for vaiśika (Gallant) seems to be viṭa. See KS. I.4.16; SD.80 and also NŚ. XXXV.74.

3 (C.3; K.XXIII.3).

4-7 (C.4-7; K.XXIII.4-7). See BhP. p. 106, 1.2-9.