नाट्यशास्त्रम् (प्रथम भाग - अभिनवभारती एवं हिन्दी टीका सहित)

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

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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]$^1$.

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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.

70. 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,

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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.

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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

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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.

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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

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•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.

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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

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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.

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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 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

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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$^1$.

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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].

15. 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

16. 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).

17. 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

18. 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).

19. Blemishes [in the production of a play] are of three kinds; [that coming] from gods¹, from the actors themselves

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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

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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.

-XXVII. 28] SUCCESS IN DRAMATIC PRODUCTION 515

of memory [of the actors], speaking other words² (anyavacana i.e. those not in the play), [actor's] cry of distress³, want of proper hand movements (vihastatva), falling off of the crown and other ornaments, defects in playing the drums (puṣkaradoṣa), shyness of speech (vāgbhīti), laughing too much and crying too much will be taken as Blemishes to the Success⁴.

26. Attack of insects and ants¹ wholly spoils the Success, while the falling off of the crown and other ornaments will spoil the tumultous applause [in appreciation of the production].

27. Blemishes in the shape of an appearance of animals¹ should be disregarded. But shy speech [of the actors] and the wrong playing of the drums will [however] wholly spoil the Success².

Blemishes without remedy

28. The two [kinds of] Blemishes which cannot be remedied in the production of a play (lit. poem), are faults due to a natural calamity, and the running out of water from the Nāḍikā¹.

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² Ag. (l.c.) explains this as tūṣṇīm kṛtām anyena paṭhanīyam anyaḥ paṭhatīti anyavacanam.

³ Ag. (l. c.) explains this as ārtatvaṃ hi chadmanā pradarśanād asiddhiḥ.

⁴ C. reads one fragmentary hemistich before 25.

26 (C.26b-27a; K.26b-28a). ¹ Ag. (p. 509) probably read in his text pipīlikā-nikṣepa.

27 (C.27b-28b; K.28b). ¹ Ag. (p. 509) reads it as paśu-praveśo and comments on it as follows : सुकुमारप्रकृतेः स्त्रीपात्रप्रायस्य त्रासोत्पादनेन विघ्निविघाताय चौपातिकाय वातः पशुवेशोऽस्मल्लिङ्गकृता(?)इति चायश्चित्तम्, पशोः सिंहादेर्वधं कृत्वा सुकुमारं प्रयोक्तारं भीषयति सामाजिकं वा एवं मातङ्ग्योद्गमलिङ्गमपि कश्चित् करोति छात्तानयनेन प्रकृतप्रयोगविप्रसंवादनायेति.

² C. reads one additional hemistich between 27a and 27b. K. omits 27b.

28 (C.29; K.32). ¹ Ag. (p. 508) says on this उदकनालिकया काल इव लक्ष्यते तस्यशेषत्वम् अन्यकार्याव्यापित्वोग्यता तेन यत्र काशे यदनुचितं तच तन्निबन्धनम्.. etc. Nāḍikā (text nālikā) is a measure of time. See NŚ. XX. 66 note 1. The ancient Indian device for measuring time consisted of a water vessel of particular size with a well-defined tube (nāḍikā) at its bottom. Time required for the complete running out of water from it, was known as a nāḍikā (nāḍī), सुवर्णमाषकाश्चत्वारश्चतुरङ्गुल्यायामाः। तावत् प्रमाणकुम्भच्छिद्रेण जलाढकस्य यावता कालेण स्रुतिः स कालो वा नालिका। (See AS. II. 20 ; also AS. notes, p. 27). Here nāḍikā is used in the sense of the water-vessel used for measuring time. On the necessity of time-keeping see below 39 and NŚ. XX.23, 65-68. Ag's explanation does not seem to be clear.

516 THE NATYASASTRA [ XXVII. 29-

Palpable sources of Blemishes

29-30. Palpable (lit. large) sources of Blemish in a play are : repetition, defective use of compound words (asamāsa), wrong use of case-endings (vibhaktibheda), want of proper euphonic combination (viṣandhi), use of incoherent words (apārtha), faulty use of three genders, confusion between direct and indirect happenings (pratyakṣa-parokṣa-sammoha), lapse in metre, interchange of long and short vowels, and observing wrong caesura¹.

31. Absence of [proper] notes (visvara), of sweetness of notes (viyukta-rāga), and of wealth of notes, and ignorance of voice registers (sthāna) and of tempo (laya) will disturb musical rules [in the production of a play]¹.

32. Non-observance of Sama, Mārga and Mārjana, giving hard strokes¹, and ignorance about the beginning (lit. taking)² and the stopping (mokṣa, lit. release) will spoil the beauty (rasa)³ of the music of drums⁴.

33-36. Omission due to loss of memory, and defective enunciation in the declamation, putting on ornaments in wrong places, falling off of the crown, not putting on any ornament¹, want of hand-movements owing to an ignorance about mounting or

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29-30 (C.30-31, K.30-31). ¹ Actors and actresses at the time of the NŚ. usually being speakers of Middle Indo-Aryan (Prakrit) and not trained scholars, there occured all sorts of lapses in their Sanskritic recitation and declamation. Hence is to be justified the humorous reference to the naṭa (actor) in the following traditional couplet : वैयाकरणकिरातादपशब्दमृगाः क्व यान्ति संत्रस्ताः। ज्यौतिर्नटविटगायकभिषगाननगह्वराणि यदि न स्युः (Haldar, Itihāsa, p. 143). which in trans. is as follows : Where would the vulgarly-used words have gone for fear of hunter-like grammarians, if there were no mouth caves of astrologers, actors, gallants, singers and physicians?

31 (C.32; K.27). ¹ For the technical terms of music used here see NŚ. XXVIII.

32 (C.33; K.29). ¹ bahulaprahāra, K. (kulaprahāraṁ ca. C). ² graha, K. (gṛha, C.). ³ Read rasam for māriṣam, C. and mārṣam, K. ⁴ puṣkaragata, K. (puṣpagata, C). For technical terms of music used here see NŚ. XXXIII.

33-36 (C.34-37; K.33-36). ¹ Read bhūṣaṇāgraham for bhūṣaṇa°.

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518	THE NATYASASTRA	[XXVII. 42-

playwright into that of another it is also to be recorded by the experts as his Blemish¹.

42. When anyone knowingly (lit. not out of ignorance) interpolates (lit. mixes) in [his] play the name of another author then his Blemish in it being definite, should be recorded in due order¹.

43. When anyone produces a play using costumes and languages in violation of the rules [regarding the same laid down in the Śāstra] then his Blemish about the same should be recorded¹.

Limitation of human efforts in a play

44. Who is able to observe properly the rules of [constructing] plays or producing [them on the stage]? Or who can be bold or keen (lit. eager) enough in mind to [claim to] understand properly all that have been said¹?

45. Hence one should include in plays words which have deep significance, are appoved of by the Vedas as well as the people, and are acceptable to all persons¹.

46. And no play (lit. nothing) can be devoid of any merit

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¹ This seems to show clearly that theatrical Directors did not hesitate sometimes to insert passages taken from one playwright's work into that of another to add to the effect of the latter. K. omits this passage.

42 (C.43). ¹ From this it appears that the practice of putting in the name of the author of a play in the Prologue (prastāvanā) was not a very old one. This seems to explain the absence of the authors name in dramatic the works ascribed to Bhāsa. K. does not have this passage.

43 (C.44; K.41). ¹ From a close study of avalable plays it does not appear that the rules laid down in the Śāstra were very scrupulously followed, or it is also likely that the rules regarding the use of different languages in a play, changed with the linguistic development as well as other conditions connected with the use of languages.

44 (C.45; K.47). ¹ This seems to point out that no Śāstra can exhaustively lay down all the rules which can never be made very clear and precise, for many things in theatre relate to so many fluctuating factors.

45 (C.46; K.43). ¹ One should mark the stress put on the Vedas and the popular practice in connexion with the Nāṭya. See NŚ. XXVI. 118-120.

46 (C.47; K.44).

-XXVII. 54] SUCCESS IN DRAMATIC PRODUCTION 519

or totally free from faults. Hence faults in the production of a a play should not be made much of¹.

47. But the actor (naṭa) should not [for that reason] be careless about Words, Gestures and Costumes¹ of minor importance (lit. non-essential) as well as about [minor] Sentiments and States², dance, vocal and instrumental music and popular usages³ of the same kind [relating to the performance].

Spectators of a performance

48. These are [the rules] defining the characteristics of the Success. I shall hereafter describe that of [an ideal] spectator¹ (prekṣaka)¹.

49-52. Those who are possessed of [good] character, high birth, quiet behaviour and learning, are desirous of fame and virtue, impartial, advanced in age, proficient in drama in all its six limbs, alert, honest, unaffected by passion expert in playing the four kinds of musical instruments, acquainted with the Costumes and Make-up, the rules of dialects, the four kinds of Histrionic Representation, grammar, prosody, and various [other] Śāstras, are very virtuous, experts in different arts and crafts, and have fine sense of the Sentiments and the States, should be made spectators¹ in witnessing a drama².

53. Anyone who has (lit. is characterised by) unruffled senses, is honest, expert in the discussion of pros and cons, detector of faults and appreciator [of merits], is considered fit to be a spectator in a drama.

54. He who attains gladness on seeing a person glad, and sorrow on seeing him sorry and feels miserable on seeing him miserable is considered fit to be a spectator in a drama¹.

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¹ This is a very wise counsel for the hasty critics of a play.
47 (C.48; K.45). ¹ nepathye, K. (nepathyaiḥ, C).
² rasabhāvanṛttagīte, K. (°nṛtyagītaiḥ, K).
³ lokayukte, K. (°yuktyā, C).
48 (C 49; K.46). ¹ preṣkakānām (prekṣaṇānām, C.praśnikānām, K).
49-52 (C.50-53; K.47-50). ¹ prekṣaka, C; prāśnika, K.
53 (C.54; K.51).
54 (C.55; K.52). ¹ The critic must be a man with sympathy.