नाट्यशास्त्रम् (प्रथम भाग - अभिनवभारती एवं हिन्दी टीका सहित)
Natyashastra of Bharata Muni with Hindi Commentary (Vol 1)
भरत मुनि / आचार्य अभिनवगुप्त द्वारा
-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).
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).
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.
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
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 25: Courtesans & Dealing with Women (वैशिकोपचार)
CHAPTER TWENTYFIVE
DEALINGS WITH COURTEZANS
The definition of a Gallant
-
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)$^3$.
-
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
- 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),
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.
-XXV. 20 DEALINGS WITH COURTEZANS 485
Functions of the female Messenger
13. She should encourage [the beloved one] by mentioning the various ways of seeing [the lover] and should communicate the exact words [of the latter] and describe his condition¹.
14. Besides this the Messenger should make an exaggerated statement about his birth, wealth and [capacity for giving] love's enjoyment and say what [various] acts should be done [to facilitate the Union]¹.
15. The Messenger should in various ways bring about for the man an Union with a woman who is in love for the first time or a beloved woman who has been angry with him¹.
16-17. The first meeting of men [with women] may be made on a festive occasion, during night, in a park, in the house of a kinsman, a foster-mother or a female, or in a dinner-party (nimantraṇa), on the pretext of seeing a sick person, or in an empty house¹.
18. After meeting a woman in one of these various ways one should ascertain from different marks whether she is friendly or not.
The woman overcome with love
19. The woman who from her nature is smitten with love and does not conceal her amorous behaviour [at the sight of the beloved] is said to be "overcome with love" (madanāturā).
The attached woman
20-23. When a women speaks of her lover's a [good] qualities to her friend, gives him her own money, honours his friends, hates his enemies, seeks to unite with him, becomes much pleased to see him, looks pleased after a talk about him, sleeps after he has slept, kisses after he has kissed her, rises [in the morning] before he gets up, puts up with suffering [for his sake], remain the same in
13 (C.13; K.XXIII.12). ¹ Cf. KS. I.5 28, BhP. p. 94, 1.4-13.
14 (C 14; K.XXIII.13). ¹ Cf. KS. I. 5.28, BhP. p. 94, l.11-13.
15 (C.15; K.XXIII.14). ᶠ Cf. BhP. p. 94, l.14-15.
16-17 (C.16-17; K.XXIII.15-16). ¹ Ag. (p. 480) says गान्धर्वविवाहे वेश्या पुनर्भूसहस्रे वेत्यर्थः 2cf. BhP. p. 94 l.16-19.
18 (C.18; K.XXIII.17). 19 (C.19; K.XXIII.18).
20-23 (C.20-23; K.XXIII.19-22). ¹ See BhP. p. 115, l.2-8.
-XXV. 42] DEALINGS WITH COURTEZANS 487
a woman may be kept out of anger and even if angry she may be pacified¹.
33-35. A covetous woman should be won over by [making her] a gift of money, a learned woman by knowledge of arts, a clever woman by sportfulness, a sensitive woman by acting to her desire, a woman who hates man by stories to her liking, a girl below sixteen (bālā) by a present of playthings, a terrified woman by cheering her up, a proud woman by servile attendance and a noble lady by the practice of arts¹.
The three types of woman
- Women, are by nature of three classes : superior, middling and inferior.
The superior woman
37-39. The woman who remains unperturbed when she has been offended, does not use harsh words to her beloved, has a short-lived anger, possesses skill in arts and crafts, is desired by men for her high birth, wealth, capacity for giving enjoyment and the like, is an expert in the acts of love (kāmatantra), is honest, possesses physical charm, becomes angry only when there is a [proper] cause, speaks without malice and knows the proper occasion [for all acts] is of the superior class (uttamā)¹.
The middling woman
40-41. The woman who desires men and is desired by men, is skilled in the acts of love, jealous of her rivals, is overcome with malice and has a short-lived anger, is proud, and can be pacified in a moment, is of the middling class (madhyamā)¹.
The inferior woman
- The woman who is angry without a suitable cause, ill-natured, very proud, fickle, harsh and remains angry for a long-time, is of the inferior class (adhamā)¹.
¹ Read 32b. as yena ca priyate etc.
33-35 (C.33-35; K.XXIII.31b-33). ¹ K. omits. 54a.
36 (C.36; K.XXIII.34).
37-39 (C.37-39; K.XXIII.35-37). ¹ Cf. BhP. p. 102, l. 1-5.
40-41 (C.40-41; K.XXIII.38-39). ¹ Cf. BhP. p. 102, l. 6-9.
42 (C.42; K.XXIII.40). ¹ Cf. BhP. p. 102, l. 10-13.
488 THE NATYASASTRA [ XXV. 43-
The four stages of woman's youth
43. The youth of women when they have tasted love's pleasures is manifested in four stages through dresses, limbs and their movements as well as [inner] qualities¹.
The primary youth
44. The primary (prathama) youth which has an enthusiasm for sexual acts, is characterised by plump thighs, cheeks, hips, lips and firm breasts which are conducive to (lit. charming in) love's pleasures¹.
The secondary youth
45. The secondary (dvitiya) youth which affords the best pleasure of love is characterised by full and round limbs, plump breasts and slender waist¹.
The tertiary Youth
46. The tertiary (tṛtīya) youth which creats the utmost brilliance [in women] is full of all kinds of beauty, exciting sexual desire and is maddening and rich in various qualities¹.
The quartenary youth
47-48. The quartenary (caturtha) youth which is the enemey of love's pleasure, comes when the primary, the secondary and the tertiary youths have gone by [one after another]. It is characterised by reduced physical charm due to sunken (lit. pale) cheeks, hips, lips, breasts as well as lack of enthusiasm for sexual acts¹.
Behaviour in the primary youth
49. A woman in her first youth is to be known as one who cannot take much pains, is neither pleased or displeased with her rivals (females), and is attached to persons of mild qualities¹.
Behaviour in the secondary youth
50. A woman in her secondary youth takes offence lightly,
43 (C. 43; K.XXIII.41). ¹ Cf. BhP. p. 103, l. 10.
44 (C.44; K.XXIII.42). ¹ Cf. BhP. p. 103, l. 11-16.
45 (C.45; K.XXIII.43). ¹ Cf. BhP. p. 104, l. 2-11.
46 (C.46; K.XXIII.44). ¹ Cf. BhP. p. 104, l. 13-14.
47-48 (C.47-48; K.XXIII.45-46). ¹ Cf. BhP. 105, l. 1-6.
49 (C.49; K.XXIII.47). ¹ Cf. BhP. p. 104, l. 2-6.
50 (C.50; K.XXIII.48).
.XXV. 56 ] DEALINGS WITH COURTEZANS 489
and her anger and malice is also not great, and in her anger she remains silent¹.
Behaviour in the tertiary youth
51. A woman in her tertiary youth is an expert in love's pleasures, full of malice for her rivals, has many qualities and is not secretive about her proud acts¹.
Behaviour in the quartenary youth
52. A woman in her quartenary youth is capable of captivating a man, has no malice to her rivals even if she is an expert in love's enjoyments, and she always desires to remain unseparated [from her beloved]¹.
Five types of men
53-54. These are the four stages of youth for the Heroine in a drama. I shall now describe the types (lit. qualities) of men with regard to their love-affairs (kāmitantra)¹. With reference to their dealings (lit. application) with woman they are of five types, such as "excellent" (catura, lit. clever), "superior" (uttama), "middling" (madhyama), inferior" (adhama), and "too old" (sampravṛddha)².
The excellent man
55. A man is to be known as "excellent" when he is sympathetic, able to endure hardship, skilled in pacifying anger in connexion with love, expert in sexual acts and is honest.
The superior man
56-57. A man is to be known as "superior" when he does not do anything displeasing, is exalted (dhīrodātta)¹, sweet-tongued, dignified, and knows thoroughly the mysteries of [human] feelings (lit. heart). One who is sweet [in manners], munificent and feels love, but is not overcome by passion, and when insulted by a woman gets disgusted with her, is [to be hnown as] a "superior" man.
¹ Cf. BhP. p. 104, l. 13-18.
51 (C.51; K.XXIII.49). ¹ Cf. BhP. p. 105, l. 1-4.
52 (C.52; K.XXIII.50). ¹ Cf. BhP. p. 105, l. 8-10.
53-54 (C.53-54; K.XXIII.51). ¹ K. omits 53.
² Cf. BhP. 91. l. 20ff. 55 (C.55; K.XXIII.52).
56-57 (C.56-57; K.XXIII.53). ¹ The term is used in later classifications of Heroes. Cf. DR. II. 3-6a, BhP. p. 92 l. 2-3.
62
490 THE NATYASASTRA [ XXV: 58-
The middling man
58. A man who takes in every way the [emotional] states of a woman with calmness and is disgusted with her on discovering any fault of her, is to be known as "middling".
59. A man who makes a gift in proper time, does not have much anger even when he is insulted, but on discovering her act of deceit gets disgusted with a woman, is to be known as "middling".¹
The inferior man
60-61. A man who shamelessly approaches a woman with a steadfast love even when she has insulted him and loves her more strongly in spite of a friend's advice to the contrary even when he has come to know directly of her deceit, is to be known as "inferior".
The too old man
62-63. A man who does not care for fear or anger, is foolish, naturally inclined to women¹ (?), obdurate, shameless in acts of love, rough in love-quarrels [and] in striking connected therewith, a laughing stock (lit. play thing) of women, is to be known as "too old".
Psychological approach to women
64. Women are of different nature¹ and their hearts are mysterious. Hence a wise man should know them properly before approaching them.
65. A man should deal with a woman according to the Science of Erotics (kāmatantra) after he has measured her feelings through different acts.
66. Such acts are : Conciliation (sāma)¹, Gift (pradāna =
58 (C.58; K.XXIII.54).
59 (C.59; K.XXIII.55). ¹ K. reads this as follows : सर्वार्थे मध्यस्थो भाव-ग्रहणं करोति नारीणाम् । किंचिद्दो' दृष्ट्वा विरज्यते मध्यमव्यमोऽयमिति.
60-61 (C.60-61; K.XXIII. 56-57).
62-63 (C.62-63; K.XXIII. 58-59). ¹ Read prakṛti-prasakta-bhāvaś ca.
64 (C.64; K.XXIII.60). ¹ nānāśīlā, K. nānātītā, C.
65 (C.65; K.XXIII.61).
66 (C.66; K.XXIII.62). ¹ Cf. BhP. p. 214. l. 7. These terms have been from the Arthaśāstra.
492 THE NĀṬYAŚĀSTRA [ XXV. 74
A courtezan’s mercenary treatment of men
74. Courtezans except when they belongs to gods or the king are always available for money to a man whether he is dear to them or not.
75-76. [To them] a man [giving money] becomes dear even if they hated him before, becomes dearer than ever if she already was dear to them, appears to be well-behaved even if he is wicked, and to be possessed of good many qualities even if has none.
On seeing him their eyeballs dance [in joy] and they smile as it were with eyes, and due to simulation of [proper] feeling their faces put up a pleasant colour.
77. Hence after understanding the feeling or its want in women one should approach them according to the methods mentioned in the Science of Love (kāmatantra)¹.
78. Passion arises in them after they have been treated properly or they have been separated after the first Union just as fire comes out of the wood.
79. This is the traditional method of dealing with women so far as Gallants are concerned. This should be utilised in suitable measure in the Nāṭaka or the Prakaraṇa.
80. This is the method of dealing with courtezans to be followed by the experts. Now listen about the Special Representation.
Here ends the Chapter XXV of Bharata’s Nāṭyaśāstra, which treats of the External Manners.
74 (C.74; K.XXIII.70),
75-76 (C.75-76; K.XXIII.71-72).
77 (K.XXIII.743). ¹ C. omits this passage which is merely a variant of 65 (K.61).
78 (C.77; K.XXIII.74). 79 (C.78; K.XXIII.75).
80 (C.79; K.XXIII.76).
CHAPTER TWENTYSIX
SPECIAL REPRESENTATION
Special Representation
1. The peculiarity (viśeṣa) which [is required] from time to time one in the use of Gestures and Words etc¹, and which has yet been left unmentioned is known as the Special Representation (citrābhinaya)².
Day, night and season etc.
2-4. To indicate morning and evening, day and night, seasons¹, extreme darkness, wide expanse of water, directions, planets, stars, and anything that is slightly fixed, one is to make the following gestures : two hands raised with Patāka² and Svastika³ gestures, Udvāhita head⁴ looking upwards with various eyes [fitting each occasion].
Objects on the ground
5. With same¹ gestures of the hands and of the head together with the eyes looking downwards one is to indicate [objects] resting on the ground.
Moonlight, happiness and air etc.
6. To indicate moonlight, happiness, air, flavour (rasa) and smell, one is to use gestures for representing touch and horripiliation.
1 (C.1; KXXV.1). ¹ Aṅgādyabhinayasyāiva, K (Aṅgābhinayanasyēha. C.).
² Ag. (p. 487) makes a scholastic discussion on the justification of the term citrābhinaya. But this does not appear to be convincing. The term seems to hint at the pictorial effect of the direct or indirect use of gestures and may be explained as citratvam abhinayasaya, See NŚ. XXIV. 1 note.
2-4 (C.2-4; K.XXV.2-4). ¹ K. reads 3b as जन्तून व्यस्तान् समस्तांय etc. and 4 as दिशो यद्वान् समन्तत दृष्टयश्च भवे(व)दिह । तान्येवमभितो(ने)यानि नानाभावरसार्थतः. ² See NŚ. IX.17-26 ³ See NŚ. IX.134 ⁴ See NŚ. VIII.27
5 (C.5; K.XXV.5). ¹ As described above.
6 (C.6; K.XXV.6).
494 THE NATYASASTRA [ XXVI. 7-
The sun, dust and smoke etc.
7. To indicate the sun, dust, smoke and fire one is to cover one's face with clothes. And heat of the ground and heat [of any other kind] are to be indicated by a desire for a shady place.
The midday sun
8. The mid-day sun is to be indicated by looking upward with half-shut eyes, and the rising or the setting sun by a representation of the idea of depth.
Pleasant objects
9. To indicate anything pleasant and happy, one is to use gestures for representing the touch of one's body together with horripilation.
Sharp objects
10. And to indicate things of sharp nature one is to use gestures for representing touch of one's limbs and uneasiness and to narrow down his mouth.
Deep and exalted feeling
11. To indicate these in connexion with deep and exalted feelings one is to have the Sauṣṭhava¹ of the limbs and a display of pride and conceit.
Necklace and flowers etc
12. To indicate a necklace and a flower garland one is to hold the two Arāla hands¹ in the place where the sacred thread is held and then to separate them from the Svastika² position.
The idea of entirety
13. To indicate the sense of "entirety" one is to move on the index finger, look round and press the Alapallava hand¹.
Audible or visible objects
14. To indicate anything audible or visible whether it relates to the speaker or to the person spoken to, or to anyone else, one should point to the ears and eyes respectively.
7 (C.7; K.XXV.7). ¹ Rajo-dhūmānalāṁs tathā, C. (rājadharmānilau tathā. K).
8 (C.8; K.XXV.8). 9 (C.9; K.XXV.9). 10 (C.10; K.XXV.10).
11 (C.11; K.XXV.11). ¹ See NŚ. IX.88-91.
12 (C.12; K.XXV.12). ¹ NŚ. IX. 46-52. ² See NŚ. IX.134.
13 (C.13; K.XXV.13). ¹ See NŚ. IX.90.
14 (C.14; K.XXV.14).