नाट्यशास्त्रम् (प्रथम भाग - अभिनवभारती एवं हिन्दी टीका सहित)
Natyashastra of Bharata Muni with Hindi Commentary (Vol 1)
भरत मुनि / आचार्य अभिनवगुप्त द्वारा
496 THE NATYASASTRA [ XXVI. 23-
Umbrellas and banners etc.
- Umbrellas¹, banners and banner-staffs and the different weapons should be indicated by representation of the holding of any staff.
Memory and meditation etc.
- Memory and meditation should be represented by indicating attention, downcast eyes, slightly bent head and the left hand with the Sandaṃśa¹ gesture².
Height
- Height¹ should be indicated by the representation of offspring through making the head Udvāhita² and the hands Haṃsapakṣa³ on the right side.
Past and cessation etc.
- The idea of past, cessation, destruction or words listened, is to be indicated by carrying from the left the Arāla¹ hand on the head.
The autumn
- Autumn should be indicated by representing a composure of all the senses, tranquility of all the directions and a view of different flowers.
The early winter
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Early winter (hemanta) should be indicated by the superior and the middling characters through narrowing down their limbs and seeking the sun, fire and [warm] clothing.
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The same should be indicated by the inferior characters through groaning (kūjana) clicking (sītkāra) and trembling of the head and the lips and the chattering of teeth.
23 (C.23; K.XXV.23). ¹ chatra K. (citra. C.)
24 (C.24; K.XXV.24). ¹ K. reads 24b as कुर्वीत हस्तसन्दंशं स्मृ तेऽर्थान वितक.
² See NŚ. IX.109.
25 (C.25; K XXV.25). ¹ K. reads this couplet as उद्वहितं शिरः कृत्वा हंसपक्षम् अधोर्ध्वगम्। प्रासादमुच्छ्रयामाणं दीर्घे, गवे च निर्दिशेत्.
² See NŚ. VIII.27. ³ See NŚ. IX.105.
26 (C.26; K.XXV.26). ¹ śrute, C. (śrānte-K.). ² See NŚ. IX.46-52
27 (C.27; K.XXV.27). 28 (C.28; K.XXV.28).
29 (C.29; K.XXV.29).
-XXVI. 36 ] SPECIAL REPRESENTATION 497
30. The superior characters also may sometimes indicate the winter in this manner if due to accident they are in a miserable condition.
The winter
31. One is to indicate the winter by the representation of smelling the flowers, drinking wine¹ and of feeling an un-pleasant wind.
The spring
32. The spring (vasanta) is to be indicated by the represen-tation of acts of rejoicing, enjoyments and festivities and a display of various flowers.
The summer
33. The summer is to be indicated through the repre-sentation of the heat of the earth, fans¹, wiping off sweat and feeling the hot wind.
The rains
34. The rainy season (prāvṛṣ) is to be indicated through the representation of the Kadamba, the Nimba and the Kuṭaja flowers, green grass, Indragopa insects and groups of peacocks¹.
The rainy night
35. A night in the rainy season¹ should be indicated by the loud sound of the masses of clouds, falling showers of rain, as well as lightning and thunder.
Seasons in general
36. Each season should be indicated by the sign, costume, activity or scenery which is proper to it or whatever is [specially] desired or avoided (lit. undesired) in it.
30 (C.30; K.XXV.30).
31 (C.31; K.XXV.31). ¹ Emend madhudānānt into madhupānāt; see ṚS. V. 5 and 10.
32 (C.32; K.XXV.32).
33 (C.33; K.XXV.33). ¹ savijanaiḥ, K. (suvijanaiḥ, C).
34 (C.34; K.XXV.34). ¹ K. reads 34b as मेघैर्वातैः सुखस्पर्शैः etc.
35 (C.35; K.XXV.35). ¹ varṣārātram, C. (varṣārambham K.)
36 (C.36; K.XXV.36).
498 THE NATYASASTRA [ XXVI. 37-
- These seasons according to the necessity should be indicated with proper Sentiments¹ as being full of happiness for those who are happy, and full of distress for those who are afflicted.
The States
- The States (bhāva)¹ should be indicated by the representation of the Determinants (vibhāva)² and similarly the States are also indicated (lit. accomplished) by the representation of Consequents (anubhāva)³.
The Determinants
- Acts connected with the Determinants should be represented by means the Consequents ; and the States relate to the feeling of one's own self, and the Determinants relate to an exhibition of another person [in relation to the self]¹.
40 A preceptor, a friend, an affectionate companion (sakhā), a relation from the mother's or the father's side who may come and be a announced¹ [properly] is called a Determinant².
The Consequents
- The honour shown to him¹ by rising from the seat, by offering him presents (arghya) and a seat and by using respectful words, is called the Consequents (anubhāva).
37 (C.37; K.XXV.37). ¹ prajuñjītā yathārasam, C. (darśayed virahānugān K).
38 (C.38; K.XXV.39). ¹ K. reads before this the following : यो येन भावेनोद्विष्टः सुखदेनेतरेण वा। स तद्भावितसंस्कारः सर्वं पश्यति तन्मयम्. (He who is imbued with a state pleasant or otherwise, looks under its influence everything as permeated with it). Besides this K. reads 38 as follows : विभावेनाहृतं कार्यनुभावे निरूपणात्। तथैव चानुभावानां भावस्यानुगमेन च. For the def. of bhāva see NŚ. VII. 1-3. ² See NŚ. VII. ³ See NŚ. VII. 4-5.
39 (C 39; K.XXV.40). ¹ Ag. (p. 491) reads ātmānubhavanam for ātmābhinayanam in the text and explains the same as चात्मानुभवनं भाव आत्म-विश्रान्तं यदनुभवनं सुखदुःखविद्रूपं स्वभाव इत्यर्थः। आत्मग्रहणात् घटायनुभवनं भाव इत्युक्तं भवति विश्रमन्थे पठन्ति। ततार्थः चात्मानुभाव्यगत येन न च तादृक् यतन्तीति प्रकर्षेण गम्यते ते यल्लक्षणसार्थ चेत् तदवस्थमनुभूयते सुखादिकं तदैव भाव इत्युक्तं भवति.
40 (C.40; K.XXV.41). ¹ Ag. (l.c) seems to read āveśya for āvedya. ² This is only an example of one of the many vibhāvas which may lead to one of the many States.
41 (C.41; K.XXV.42). ¹ One of the persons mentioned in 40 above.
.XXVI. 50 ] SPECIAL REPRESENTATION 499
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Similarly in other cases also, from an observation of different incidents [in a play] one should find out the Determinants and the Consequents from actions [related to them].
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Reply to a message given to the Messenger is [also] called a Consequent.
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In these ways the States, the Determinants and the Consequents are to be represented by men as well as women.
General directions for the representation
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In the representation of their own nature, men should assume the Vaiṣṇava posture (sthāna)¹ and woman the Āyata² or the Avahittha³ postures in relation to [appropriate] actions.
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[But] there occurring special need for the same, other postures may [also] be introduced for the representation of different States in special (lit. different) types of plays.
Men's and women's efforts
- Efforts of men should be characterised by patience as well as sportive limbs, and those of women by delicate Aṅgahāras.¹
Women's movements of limbs
- Women's movement of hands, feet and other limbs should be graceful (lalita) while men's movement of these should be restrained (dhīra) as well as vehement (uddhata)¹.
Meanings of words
- Representation of the meaning of words are to be made differently by men and women. I shall explain them in detail in connexion with the States and the Consequents.
Joy
- One should indicate one's joy (harṣa) by embracing the [other's] body, by smiling eyes as well as by horripilation¹.
42 (C.42; K.XXV.43). 43 (C.43; K.XXV.44).
44 (C.44; K.XXV.45). 45 (C.45; K.XXV.46). ¹ See NŚ. XI.51-52.
² See NŚ. XIII.157-170. ³ See NŚ. ibid. 46 (K.XXV.47).
47 (C.46; K.XXV.48). ¹ See NŚ. IV.170ff.
48 (C.47; K.XXV.49). ¹ K. adds after this one additional hemistich. 49 (C.48; K.XXV.50b-51a).
50 (C.49; K.XXV.51b-52a). ¹ tathollukasana, K. (tathālapakathaiḥ).
500 THE NĀTYAŚĀSTRA [ XXVI. 51-
51. An actress (nartakī) should indicate joy by sudden horripilation, tearful eyes, smiling words and a loving attitude.
Anger
52. One should indicate anger by upturned red eyes, biting of lips, [deep] breathing and trembling limbs.
Jealous Anger of women
53-54. Jealous Anger (īrṣyākrodha) of women should be indicated by tearful eyes, touching of the chin and the lips, shaking of the head, knitting of the eye-brows, keeping silent, curling of the fingers, leaving of garlands and ornaments and assuming the Āyata posture (sthāna)¹.
Men's sorrow
55. Men's sorrow should be indicated by much breathing and sighing, thinking with a downcast face and looking up towards the sky [in a pensive mood].
Women's sorrow
56. Women's sorrow should be indicated by weeping¹, sighing, beating the breast, falling on the ground and striking [the body against] the ground.
57. Crying¹ which has been mentioned before as arising from tears of joy and from jealousy should be applied in case of women and of the inferior male characters.
Men's fear
58. Men's fear should be indicated by acts of consternation (sambhrama), and of dismay (udvega), fall of weapons [from their hands], loss of self-control and the like.
Women's fear
59-60. Women's fear should be indicated by eyes with
51 (C.50; K.XXV.52b-53a).
52 (C.51; K.XXV.53b-54a).
53-54 (C.52-53; K.XXV.54b-56a). ¹ See NŚ. XIII.157-170.
55 (C.54; K.XXV.56b-57a).
56 (C.55; K.XXV.57b-58a). ¹ ruditaiḥ śvasitaiḥ (ruditaiś ca smitaiḥ, C. ruditaiḥ śvasanaiḥ, K.).
57 (C.56; K.XXV.58b-59a). ¹ ruditam, K. sahitam, C.
58 (C.57; K.XXV.59b-60a).
59-60 (C.58-59; K.XXV.60b-62a).
-XXVI, 67.] SPECIAL REPRESENTATION 501
moving eyeballs, throbbing and shaking limbs, glancing sideways for fear (lit. terrified heart), looking for someone to rescue them, weeping loudly and putting their arms round the man [staying close by].
Women’s intoxicated condition
61. Intoxicated conditions (lit. intoxication) which have been mentioned before should be applied to women, and men of the inferior type. Adoption of gestures (lit. form) in such cases should be delicate and graceful.
62. Women’s intoxication should be indicated by rolling of eyes, uttering of irrelevant words (vilāpa = pralāpa) and shaking of limbs.
63. These are the rules to be followed in a theatrical production for the representation of men’s or women’s States when occasion for these will arise.
64. In a theatrical production the States of women are all to be made graceful (lalita) and that of men endowed with Self-control (dhairya) and Equanimity (mādhurya).
Parrots and Śārikās
65. Parrots, Śārikās and small birds like these are to be indicated by two moving fingers in the Tripatāka hand.
Big birds
66. But birds like peacocks, cranes and swans which are naturally big are to be indicated by proper Recakas and Aṅgahāras$^1$.
Asses and camels etc.
67. Asses, camels, elephants, tigers, cows, buffaloes and the like should be indicated by Gaits and gestures [suitable to them]$^1$.
61 (C.60; K.XXV.62b-63a).
62 (C.61; K.XXV.63b-64a).
63 (C.62; K.XXV.64b-65a).
64 (C.63; K.XXV.65b-66a).
65 (C.64; K.XXV.66b-67a).
66 (C.65; K.XXV.67b-68a). $^1$ K. reads 66b as पक्षाङ्गोदारगतिभिरभिनेयाः प्रयोक्तृभिः.
67 (C.66; K.XXV.68b-69a). $^1$ K. reads this as follows : खरोष्ट्र गोऽश्वावतरान् सिंहव्याघ्रगजादिकान् । महाप्रयुक्ताङ्गहारैर्गतिभिश्च प्रदर्शयेत्.
502 THE NATYASASTRA [ XXVI. 68-
Bhūtas and Piśācas etc.
68-69. Bhūtas, Piśācas, Yakṣas, Dānavas and Rākṣasas when they are not visible should be indicated by the Aṅgahāras. But when they are visible they should be indicated by [the representation of] fear, dismay and astonishment¹.
- When they remain invisible, gods are to be indicated according to the necessity by making obeisance to them and by movements suitable to the States.
Greeting an invisible person
70-71. Greeting a man when he is invisible is to be indicated by touching the head with the Arāla hand¹ raised from the side.
Greeting gods and superiors etc.
71-72, Greeting gods, superiors (guru), and ladies is to be indicated by the Kaṭakāvardhamāna¹ or the Kapota hand² [touching the head similarly].
72-73. Gods and honourable persons when they appear physically should be indicated by obeisance to them and by the deep influence [they have over the surroundings].
A great crowd and friends etc.
73-74. A great crowd, friends, Viṭas and rogues are to be indicated by means of the Parimaṇḍala (Uromaṇḍala)¹ hand.
Mountains and tall trees etc,
74-75. Mountains in connexion with their height, and tall trees are to be indicated by lifting upwards the outstretched hands.
Wide expanse of water
75-76 A wide expanse of sea-water¹ is to be indicated by two Patāka hands thrown out [side-ways], and heroism, haughtiness,
68-69 (C.67-68a; K.XXV.69b, 70b-71a). ¹ K. adds after 68a the चण्डैरभिनिर्द्देश्या कर्मसंकीर्त्तनादपि. 69-70 (C.68b-69a; K.XXV.72).
70-71 (C.69b-70a; K XXV.73). ¹ See NŚ. IX. 46-52.
71-72 (C.70b-71a; K.XXV.74). ¹ NŚ. IX.136. ² NŚ. IX.129.
72-73 (C.71bc; K.XXV.75).
73-74 (C.72; K.XXV.76). ¹ See NŚ. IX.196.
74-75 (C.73; K.XXV.77).
75-76 (C.74-57ab; K.XXV.78-79). ¹ Emend sāgarāmnānām into sāgarāmbhasām.
504 | THE NATYASASTRA | [ XXVI. 85-
mode of speaking will present [the substance of] a dialogue by means of replies related to various [imaginery] questions (lit. causes) which may arise out of the play².
Speaking Aside
85-86. When overwhelmed with excessive joy, intoxication, madness, fit of passion repugnance, fear, astonishment, anger and sorrow one speaks out words which are in one’s mind (lit. heart), it is called Speaking Aside (ātmagata).
Concealed Speaking
And Concealed Speaking (apavāritaka) is related to secrecy.
Private Personal Address
87-88. When out of necessity persons standing close by are [supposed] not to hear what is spoken to someone else, this constitutes Private Personal Address (janāntika)¹.
Thinking within oneself
It relates to something within one’s self (lit. heart) which is a matter of deliberation² and feeling³ and [which is] indeed a kind of Speaking Aside (ātmagata).
88-90. Words in a play, which are connected with secrecy should be spoken in one’s ears preceded by “so, so”.
Mentioning incidents that occurred already
90-91. When one is to speak from necessity of something
² K. reads rasabhāva°.
85-86 (C.82a; KXXV.89b-90). ¹ Read the first three hemistichs as follows:
अतिहर्षमदोन्मादरागद्वेषभयार्दितः । विस्मयक्रोधदुःखात्तिबमादैकोऽपि भावते । हृदयस्थं वचो यत्तु तदात्मगतमिष्यते.
87-88 (C. 82b-83; K.XXV. 91a-92). ¹ It is because both the janāntika and the apavāritaka are supposed to be inaudible to others on the stage Ag. (p.424) quotes a view on their distinction as follows:
त्र्यङ्गुलाङ्गुष्ठमयमेतेञ्जनान्तिकमेव यावतो हि जनस्य तद् वक्तव्यं तावतोऽन्तिके सामीप्ये तदुच्यते यत्त तस्मात् परम् उद्दिस्य नोच्यते अथ च परः शृणोत्ययमेवाशयो वचने तदपवारितकेन निगूढेण भावेनाशयेन संयुक्तम्.
And a late writer says:
इह यद्वृत्तमेकस्यैव गोप्यं बहूनामगोप्यं तज्जनान्तिकम् तद्विपरीतम्-अपवारितम्.
ND. p.31. But all this does not seem to fit in well with the examples of the apavāritaka available in extant dramas. Cf. Lévi. p.61.
² savitarkam, C. (savikalpam, K.).
³ bhāvastham C. (bhavavaśād, K.).
88-90 (C.84-85; KXXV.93-94). ¹ K reads 88b differently.
90-91 (C.86; K.XXV.95).
-XXVI. 95 ] SPECIAL REPRESENTATION 505
which has occurred earlier, for avoiding repetition this should be [similarly] spoken in one's ears.
90-91. Without making any confusion (lit. mistake) [among these] one should resort to Speaking to the Sky (ākāśa-vacana), Private Personal Address (janāntika) and Speaking Aside (ātmagata) which will [relate sometimes] to a visible or an invisible person and [sometimes] to one's ownself or others¹.
Representing Concealed Speaking
91-92. Concealed Speaking (apavāritaka) and Private Personal Address (janāntika) should be indicated by a Tripatāka hand covering [the speaker]¹.
Repetition of words
92-93. Words which are uttered due to fright, calamity, anger and intense sorrow are to be repeated¹.
93-94. [In such cases] words such as "tell", "well done", "ah", "alas", "go away", "what", "let me go", "no" and "speak" should be repeated twice or thrice¹.
Suspension of representation
94-95. Distorted or incomplete words used [in a play] should not be represented by gestures¹ for explaining them (lit. for the sake of definition)².
Observing proper States
95-96. The State (bhāva) which is proper to a superior [character] should not be applied to a middling one ; and similarly the State which is proper to a middling [character] should not be applied to an inferior one¹.
90-91 (C.86; K.XXV.95).
¹ Read this passage as follows : अव्यभिचारेण पठेदाकाश-जनान्तिकात्मगतवाक्यम् । प्रत्यक्षपरोक्षगतात्मसंसृत्यान् परस्मांश्च (C. पाठैः; K. यावन् for पठेत् ; C. वाक्यैः, K. पाठात् for वाक्यान्). The trans. is tentative.
91-92 (C.87; K.XXV.96). ¹ Cf. DR. I. 65b; BhP. p. 219, l. 21-22; SD. 425. Lévi. p. 61.
92-93 (C.88; K.XXV.114). ¹ K. reads punaruktam na teṣv iha.
93-94 (C.89; K.XXV.115). ¹ K. reads 93b as हाअहो सुष्ठु वा इति किं किं मा वदीति च.
94-95 (C.90; K.XXV.114). ¹ K. reads pratyaṅgahīnam, C. pratyaṅgrhītam, K. ² lakṣaṇakṛte, C. lakṣaṇakṛtas, K.
95-96 (C.81; K.XXV.118).
64
•XXVI. 108 ] SPECIAA REPRESENTATION 507
Representation of death
102-103. Representation of death which may arise from different conditions will be of different nature. [For example] sometimes it is indicated by throwing out all the hands and feet, and sometimes by a paralysis of movement of all the limbs¹.
Death from disease
103-104. Death from an attack of disease should be represented by an occurrence of hiccough, [hard] breathing and imperceptible movement of limbs which should be relaxed¹.
Death from drinking poison
104-105. Death from drinking poison should be represented by throwing out of hands and feet and other limbs, and the power of the poison will lead to the quivering action of the [different] parts of the body.
The eight stages in death from poison
105-107. The first stage of the action of poison is the general weakness of the body, the second tremor, the third a burning sensation, the fourth hiccough, the fifth froth [in the mouth], the sixth breaking of the neck, the seventh paralysis and the eighth death¹.
Weakness
107-108. Eyes with sunken eyeballs [depressed] cheeks, lips, belly and shoulder and feebleness of arms will represent [general] Weakness¹.
Tremor
108-109. Tremor (vepathu) should be represented by shaking simultaneously according to the situation the head, the hands and the feet or one of these limbs separately.
हिक्काश्वासोपेतौ मूर्च्छोपगतौ तु मरणवत् कथयेत् । अनिम्(?)एतेष्वपि कार्यं पाठ्यं पुनरुक्तसं प्रयुक्तम् (हिक्काश्वासोपेतमनगंचित मूर्च्छनं मरणं कथनीशो etc. C.
102-103 (C.97b-98a; K.XXV.102). ¹ Read sannais tathā gātraiḥ (sarvais tathā gātraiḥ, C. saṃtrais tathā kāryaḥ, K.).
103-104 (C.98b-99a; K.XXV.103). ¹ K. reads 104a as follows : व्याधिषुते तु मरणं विषवग्गतेष संप्रयोक्तव्यम्. 104-105 (C.99b-100a, K.XXV.104).
105-107 (C;100b-102a; K.XXV.105-106). ¹ Read kārśya, K.(kārya,C.)
107-108 (C.102b-103a; K.XXV.107). ¹ praviṣṭatārake, C. (pravṛd-dha-tālake, K). 108-109 (C.103bc; K.XXV.108).
508 THE NATYAŚĀSTRA [ XXVI. 109-
Burning sensation
109-110. Burning sensation (dāha) should be represented by shaking violently the entire body, scartching the [different] limbs and throwing out the hands and other limbs¹.
Hiccough
110-111. Hiccough (hikkā) should be represented by repeated blinking of eyes, belching, vomitting, convulsion (ākṣepa), and uttering of indistinct sounds.
Froth in the mouth
110-111. Froth (phena) [in the mouth] should be represented together with belching, vomitting, licking the corners of the mouth, senselessness and lack of movement of the eyes.
Breaking of the neck
111-112. Breaking of the neck (śirobhañja = gvīvābhaṅga) should be represented by the shoulder touching the cheek and the lowering of the head.
Paralysis
Paralysis (jaḍatā) should be represented by inaction of all the sense-organs¹.
Death
112-114. Death (maraṇa) whether it is due to a growth of disease or to snake-bite should be represented, according to the dramatic convention (nāṭyadharma) by the closing down of the eyes.
114-115. These particular representations should be combined with suitable Temperament (sattva) and States (bhāva)¹, and
109-110 (C.104; K.XXV.109). ¹ K. reads sarvāṅga-vepanaṁ vepathus tu for sarvāṅgavepanod-vejanena, C).
110-111 (C.105; K.XXV.110).
111-112 (C.106a; K.XXV.111). ¹ C. omits 112a and reads the passage as follows : उद्गारवमनयोगैः सृक्कालिहनैर्वि वर्तनैश्चाक्ष्णोः। फेनस्यादभिनेतव्यो निःसंज्ञतयाऽनिमित्तश्च.
112-113 (C.106b; K.XXV.112). ¹ C. omits 112b which K. reads as follows: अंसकपोलस्पर्शाच्छिरसश्च विनामनाच्छिरोभङ्गात्.
113-114 (C.107; K.XXV.113).
114-115 (C.108; K.XXV.119). ¹ sattvabhāva, C. for sarvabhāva, K.
510 THE NATYASASTRA [ XXVI. 124-
their different conditions, may be (lit. should be) included in a play, by those well-versed in the Canons of Drama (nāṭyaveda).
124. Whatever Śāstras, laws, arts and activities are connected with the human usage (lokadharma) may be produced (lit. called) as a drama.
125. Rules regarding the feelings and activities of the world moveable as well as immoveable cannot be formulated (lit. ascertained) exhaustively by the Śāstra.
126. The people have different dispositions, and on their dispositions the drama rests. Hence playwrights and producers (prayoktṛ) should take the people as their authority [as regards the rules of the art].
127. Thus they (prayoktṛ) should pay attention to the feelings, gestures and the Temperament in representing the States of various characters [that may appear in the drama]¹.
128. The men who know in this order the art of Histrionic Representation and applies it on the stage, receives in this world the highest honour for putting into practice the theory of dramâ (nāṭyatattva) as well as [the art of] acting (abhinaya)¹.
129. These are to be known as the modes of representation dependent on Words, Costumes, Make-up and Gestures. An expert in dramatic production should adopt these for the Success [in his undertaking]¹.
Here ends Chapter XXVI of Bharata's Nāṭyaśāstra which treats of the Special Representation .
124 (C.117; K.XXV.128). 125 (C.118; K.XXV.129).
126 (C.119; K.XXV.130).
127 (C.120). ¹ K. omits this.
128 (C.121; K.XXV.131). ¹ C. reads after this an additional couplet.
129 (C.122). ¹ K. omits this.
Chapter 27: Success in Dramatic Production (सिद्धिव्यञ्जक)
CHAPTER TWENTYSEVEN
SUCCESS IN DRAMATIC PRODUTION
1. I shall now describe the features of the two kinds of Success (siddhi) relating to the drama. For the production of a drama is wholly meant for (lit. based on) attaining the Success in it¹.
The two kinds of Success
2. The Success [in the dramatic production] which arises from Words, Temperament and Gestures and which relates to various States and Sentiments is of two kinds : divine (daivikī), and human (mānuṣī)¹.
The human Success
3. [Of these two] the human [Success] has ten features, and the divine [Success] two; and they (i. e. such features) consist [mostly] of various Temperaments expressed vocally (vāṅmayī) and physically (śārīrī).
The vocal Success
4. Slight Smile (smita)², Smile (ardhahāsa)¹ and Excessive Laughter (atihāsa)³, 'well-done' (sādhu), 'how wonderful' (aho), 'how pathetic' (kaṣṭam), and tumultuous applause (pravṛddhanāda, swelling uproar) are the signs of the Success expressed vocally (vāṅmayī).
The physical Success
5. Joy expressed in horripilation (saromañca-pulaka), the rising up from the seat (abhyutthāna), and the giving away¹
1 (C. K. same). ¹ This chapter discusses the appreciation of theatrical productions by spectators who include persons of various types possessessing different psychological and cultural traits.
2 (C. K. same). ¹ vāk-sattvāṅga. These three constitute the Basic Representation. See NŚ. XXIV. 3 (C. K. same).
4 (C K. same). ¹ See NŚ. VI. 52.
² The ardhahāsa seems to be the same as hasita, smile; see note 1 above. ³ See note 1 above.
5 (C. K. same). ¹ The age-long custom in India was that the wealthy among the spectators on being very highly pleased with a dramatic performance did at once' take out from their own body the
512 THE NATYASASTRA [ XXVII. 6-
of clothes (celadāna) and of rings (aṅgulīkṣepa) are signs of the Success expressed physically (śārīrī).
6. When actors produce the Comic Sentiment slightly dependent on words of double entendre the spectators should always receive the same with a Smile (smita).
7. When they (i.e. the actors) have a laughter not very clear, or words which do not directly cause laughter the spectators are always to receive the same with a Smile (ardhahāsya).
8. Laughter created by the bragging of the Jester or by some artifice (śilpa)$^1$ should always be received by the spectators with an Excessive Laughter (atihāsya).
9. [Representation of deeds] which relate to the practice of virtue and is endowed with excellence, should be greeted by the spectators with the word "well-done" (sādhu).
10. Similarly, "how wonderful" should be uttered by the spectators in connexton with States like Astonishment (vismaya) and in course of the Erotic, the Marvellous and the Heroic Sentiments.
11. But in the Pathetic Sentiment they should utter with tears "how pathetic." And in cases of Astonishment there should always be a tumultuous applause (pravṛddhanāda, lit. swelling uproar).
12. In cases of insulting words used in acting a play they should be attentively received with horripilation (lit. throbbing hairs) by the spectators whose curiosity has been evoked$^1$.
costly shawls, other wearing apparels or ornaments to give them way to the talented actors. Cf. also NL. 2289f. $^2$ See note 1 above.
6 (C. K. same). $^1$ kiñcic-chliṣṭa, C. kimcicchiṣṭo, K.
$^2$ This prescription simply points out what should actually happen.
7 (C. K. same). $^1$ See above 2 note 2.
8 (C. K. same). $^1$ vidūṣakoccheka, K. vidūṣakoccheda, C.
$^2$ For example, the art of comic make-up.
9 (C. K. same). $^1$ dharmapada°, C. garvapada°, K.
10 (C. K. same). 11 (C. K. same).
12 (C. K. same). $^1$ The trans. is tentative.
-XXVII. 19] SUCCESS IN DRAMATIC PRODUCTION 513
13-14. If the play is a brilliant one with [a plot containing] cutting and piercing [of limbs], fight, portentous calamity, terrific happening or minor personal combat, it should be received by the clever spectators with tears and rising up [from the seat, and with shaking the shoulder and head].
- This is the manner in which the human Success¹ gets expressed. Now listen about the divine Success which I am going to describe.
The divine Success
-
The Success [in dramatic production] which includes an excessive [display] of the Temperament, and expresses the States [clearly]¹ is to be taken by the spectators as divine (daivī).
-
When there is no noise, no disturbance, no unusual occurrence [during the production of a play] and the auditorium is full [of spectators], the Success is called divine¹.
Three kinds of Blemishes
-
These are the varieties of the Success to be known by the spectators as human and divine. I shall speak hereafter of the Blemishes (ghāta) coming from gods (deva).
-
Blemishes [in the production of a play] are of three kinds; [that coming] from gods¹, from the actors themselves
13-14 (C. K. same).
15 (C. K. same). ¹ This "human" Success seems to relate to the common "human" beings or average spectators, and they should be compared with men occupying the gallery of a modern theatre. They are generally moved by outward and not deep aspects of a dramatic performance. See below 16 note.
16 (C. K. same). ¹ These are the deeper aspects of a dramatic performance.
17 (C. K. same). ¹ The "divine" Success seems to relate to cultured spectators who generally take interest in deeper and more subtle aspects of a dramatic performance and as such are above ordinary human beings and may be called "divine".
18 (C. K. same).
19 (C. K. same). ¹ "Gods" here means the source of various accidents. See 20 below.
65
514 THE NATYASASTRA [ XXVII. 20-
(ātman)², and from an enemy (para)³. Sometimes a fourth variety of it is what comes up due a portentuous calamity.
Blemishes from gods
20. Blemishes from gods are : [strong] wind, fire, rains, fear from an elephant or a serpent, stroke of lightning, appearance of ants, insects, ferocious and other animals.
Blemishes from an enemy
21. Blemishes created by an enemy¹ are : all round screaming, buzzing (visphoṭita), noisy clapping, throwing of cowdung, clods of earth, grass and stones [in the place of performance].
22. Blemishes created by an enemy¹ are considered by the wise to be due to jealousy, hostility [to the party injured], or being partial [to the party's enemy], or receiving bribe from the latter (arthabheda)².
23. Blemishes resulting from portents (autpātika) are those due to earthquake, storm, the falling of meteors and the like¹.
Self-made Blemishes
I shall now describe Blemishes arising from the actors themselves (ātma-samuttha).
24-25. Un-naturalness [in the acting], wrong movement [of the actors], unsuitability of a role [to an actor] (vibhūmikatva)¹, loss
² Their acts of ommission or commission are these Blemishes. See below 24-25.
³ See below 21-22.
20 (C. K. same).
21 (C. K. same). ¹ The rival groups of actors who contested for rewards from their patrons, became enemies to one another ; see below 72ff.
² This kind of improper and dishonest acts sometimes occurs also now-a-days in meetings supporting candidates from rival political parties. Human psychology has not much changed since the NŚ. was compiled more than sixteen hundred years ago.
22 (C. K. same). See above 20 note 2.
²It seems that the leaders of actors did not scruple even to bribe individual spectators to gain their ends.
23 (C. K. same). ¹ It is possible that due to superstitious fear arising from an appearance of these natural phenomena confusion occurred during the performance.
24-25 (C.24,25b-26, K.24-25). ¹ Ag. (p. 509) explain this as anya-bhūmikocita-svatva-śrī-ca (?) svīkāra.