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.

520 THE NATYASASTRA [ XXVII. 55-

55-56. All these various qualities are not known to exist in one single spectator. And because objects of knowledge. are so numerous and the span of life is so brief$^1$, the inferior common (lit. men) in an assembly which consists of the superior, the middling and the inferior members cannot be expected to appeciate the performance of the superior ones.

57. Hence an individual to whom a particular dress, profession, speech and an act belong as his own, should be considered fit to appreciate the same.

Various classes of spectators

58. Different are the dispositions of women and men, young and old who may be of superior, middling or inferior talents, and on such dispositions [the Success of] a drama rests.

Disposition of different spectators

59. Young people are pleased to see [the presentation of] love, the learned a reference to some [religious or philosophical] doctrine$^1$, the seekers of money [topics of] wealth, and the passionless in topics of liberation (mokṣa).

60-61. Heroic persons are always pleased in the Odious and the Terrible Sentiments, the personal combats and battles, and the old people in Purāṇic legends, and tales of virtue. And [the common] women, children and the uncultured men (mūrkha) are always delighted with the Comic Sentiment and [remarkable] Costumes and Make-up (nepathya)$^1$.

61-62. Thus the man who is fit to assume a particular role by imitating the States of the latter, can be considered a spectator possessing the [necessary] qualifications.

Assessors in a performance

62-64. These should be known as spectators in connexion with a drama. But there being any controversy (saṃgharṣa)

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55-56 (C.56-57; K.53-54). $^1$ K. reads 55b as follows विज्ञेयस्याप्रमेयत्वाद् अल्पत्वाद् चायुषस्तथा.
57 (C.58; K.55). 58 (C.59a, 60b; K.56).
59 (C.59b-60a; K.57). $^1$ samayāśrite, C. (samayānvite, K.).
60-61 (C.61; K.58). $^1$ K. omits 61a 61-62 (C.62; K.59).
62-64 (C.63-64; K.60-61). $^1$ This is a very elaborate arrangement for judging in every detail the Success of a performance.

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522 | THE NATYASASTRA | [ XXVII. 71

Controversy about a performance

71. Controversy arises when the actors (bharata) have the desire of mutual contest at¹ the instance of their masters or for [winning] money and the Banner (patākā) [as rewards].

Procedure in deciding controversies

72. In course of deciding a controversy one should observe [the performance of the parties] without any partiality. The decision about [the award of] the Banner¹ should be according to the stipulation made (paṇaṃ kṛtvā)² [beforehand].

Recording of Blemishes

73. Blemishes affecting the Success should be recorded with the help of reckoners (gaṇaka) by these persons (i.e. Assessors) who are seated at ease, have clean intention, and whose intelligence is [generally] relied on [by the public]¹.

Ideal position of Assessors in a performance

74. Assessors¹ should neither be too near [the stage] nor too far [from it]. Their seats should be twelve cubits (six yards) apart from it.

75. They are to notice the points of the Success mentioned before, as well as the Blemishes¹ which may occur during the production of a drama.

Blemishes to be ignored

76. Blemishes which may be accidental (lit. caused by the

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71 (C.71). ¹ An example of this is the contest between the two nāṭyācāryas in the Mālavi.
² The Indian literary tradition records the fact of Bhāsa's winning Banners, possibly on the occasion of dramatic contests. See Harṣacarita, Introduction, 15.
72 (C.72). ¹ Read patākāsaṃvyavahāram (savyavahāraṃ, C.).
² This stipulation may have the following forms: the Success in producing any particular play, or any new play, or a new play with a particular dominating Sentiment will entitle one group of actors or its leader to the award of the Banner. K. omits this passage.
73 (C.73; K.62a). ¹ K. omits 73a.
74 (C.74; K.62b-63a). ¹ Emend prekṣakaiḥ into prāśnikaiḥ.
75 (C.76-77a; K.63b-64a). ¹ ghātāś ca, K. for yāḥ kāś ca, C.
76 (C.77b-78a; K.64b-65a),

XXVII. 81 ] SUCCESS IN DRAMATIC PRODUCTION 523

gods)¹, the portents or the enemy are not to be recorded by the wise [observers]. But the Blemishes relating to the play² as well as the Blemishes arising from [the actors] themselves³ should be recorded.

Procedure of awarding the Banner

77. After mentioning him to the king the Banner should be given to a person whose Blemishes, have been reckoned as few in number but points of the Success as many.

78. If expert actors¹ are found to be of equal merit (lit. work and quality) in the production of a drama, the Banner should be awarded first to one whose Success² is greater, or in case of equal success³ [of the two contestants] [the award should be made] at the king's command⁴.

79. If the king has similar admiration for the two rivals, then both of them should be awarded [the Banners]. With an eye to all these rules one should provide [in the production of a play] for the recitation, the [distribution of] roles and the Sentiments¹.

80. Thus cultured persons who are well-acquainted with the rules [of theatrical production] and capable of appreciating merits¹ should sit at ease with an unruffled mind² and see to the proper judgement³ [in awarding the Banners].

81. The Assessors¹ are to point out (lit. take) the [measure

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¹ daivotpātasamūttha. K. (daivotpannasamartha, C.
² ghāta, K. (yāstā, C.). Blemishes relating to a play seems to be its literary drawbacks. It is likely that in dramatic contests choice of defective plays brought discredit on the contestants. ³ See above 24-25.
77 (C.75; K.65b-66a).
78 (C.78b-79a; K.66b). ¹ Read bharatāḥ prayogeṣu ca.
² Depending on the vocal applause as well as the silent approbation of spectators. ³ sammasiddhau, K., (samasiddhā, C.). ⁴ vājñayā nṛpateḥ, C. ; K. omits 77a and reads 77b with some variation.
79 (C.79b-80a; K.67a). ¹ K. omits 79b.
80 (K.68). ¹ Read guṇādadhbhiḥ for guṇādibhiḥ, K.
² Read svasthacittaiḥ for svasvacittaiḥ K.
³ Read vyavahāraḥ samañjasaḥ for vyavahāraḥ samañjasam, K.
81 (K.69). ¹ Emend prekṣakaiḥ into prāśnikaiḥ.

524 THE NĀTYAŚĀSTRA [ XXVII. 82

of] achievement as well as the slightest of faults² which may relate to the theory of theatrical production³.

82. Hence producers¹ [of plays] should know [properly] about Co-ordination (sama), Charm of Limbs (aṅgamādhurya), Recitatives (pāṭhya), rôles (prakṛti), the Sentiments (rasa), songs (gāna), instrumental music (vādya), and the Costumes and Make-up (nepathya)².

Co-ordination

83. Gestures (aṅga) which are simultaneously¹ made in a play in harmony with the different aspects of the arts in course of the Dhruvā songs and of dances² is called Co-ordination (sama).

84. When in course of the performance [of a play] Gestures of different limbs major and minor, are accompanied by songs with proper Time (tāla) and tempo (laya) and by the playing of drums it is called Co-ordination.

Charm of Limbs

85. The position in which the chest is not bent¹, the two arms are Caturasra and spread out (āyata)² and the neck is Añcita, gives rise to the Charm of Limbs (aṅgamādhurya).

86. And as for the remaining subjects¹ which are to be mastered (sādhya)² by the actors (sādhaka) they have been discussed before. But they are to look after the instrumental music (vādya)³, the rôles (prakṛti, lit. the origin) and the songs (gāna).

87. The Success arising from the Gestures and the various Sentiments should be expressed out of joy through all the signs (lit. the places) of the same.

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² Read dūṣaṇābhāsaṃ for dūṣaṇābhāsaḥ, K.
³ Read prayogasamayāśritaṃ for prayoga-samayāśritaiḥ.
82 (C.80b; K.70). ¹ prayoktṛbhiḥ C. (prayatnataḥ, K.).
² C. omits 82a). 83 (C.81; K.71). ¹ samantāt, K. samarthāt, C.).
² dhruvānāṭyaprayoge, C. (gītavāditratālena, K.). 84 (K.72).
85 (C.82; K.73). ¹ anirbhugnam, C. (sanirbhugnam, K.).
² srāyatau bhujau, C. °srakṛtaukarau, K.
86 (C.83; K.74). ¹ These are pāṭhya, rasa and nepathya; see NŚ. XIX., VI. and XXIII. ² sādhyam. C. (prekṣyāṇi, K.).
³ Read vādyaṃ prakṛtayo gānaṃ for vadya-prakṛtaye'ṅgānāṃ, C. and vādyaṃ prakṛtayo jñānam, K. 87 (C.84; K.75).

.XXVII. 97 ] SUCCESS IN DRAMATIC PRODUCTION 525

Suitable times for dramatic performance

88. Producers [of plays] should know the time (kāla) for a performance (vāra), which depends on various considerations to be [generally] day and night¹. Listen now when a performance may take place during these two periods.

89. The performance in the evening, the midnight and the dawn belongs to the night².

90. The performance in the forenoon and the afternoon belongs to the day.

Time of performance according the subject and the Sentiment

91. I shall now speak how these times are suited to [different] Sentiments after mentioning the time (kāla) to which a performance belongs.

92. [The performance] which is pleasant to the ear and is based on a tale of virtue (dharma), whether it is pure (śuddha) or mixed (vikṛta), should be held in the forenoon.

93. That which is rich in instrumental music, includes the story of strength and energy, and carries [a chance of] abundant success should be performed in the afternoon.

94. That which relates to the Graceful Style, the Erotic Sentiment and is full of vocal and instrumental music¹ should be performed in the evening.

95. The drama which relates to the magnanimity [of the Hero], and contains mostly the Pathetic Sentiment should be performed in the morning and it will scare away sleep.

96. The drama should not be performed in the midnight or at noon or at the time of the Sandhyā prayer or of taking meals.

97. Thus after looking into the time, place and the basis (plot) of a play one should bring about its production according to the States and the Sentiments it contains.

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88 (C.85; K.76) ¹ Read 88b as दिवसश्चैव रात्रिश्च तयोर्वारं निबोधत.
89 (C.87; K.77). ¹ reads 89a as पूर्वाह्ने अथ मध्याह्ने चापराह्ने तथैव च and 89b correspondingly. 90 (C.86; K.78). 91 (C 88; K.79). 92 (C.89; K.80).
93 (C 90; K.21). 94 (C.91; K.82). ¹ gītavāditrabhūyiṣṭham C. nṛtyavāditragītāḍhyam. K. 95 (C.92; K.83) 96 (C.93; K.84).
97 (C.94; K.85). ¹ prasamīkṣya sasaṁśrayam, C. but parṣadam ca samīkṣya tu, K. parṣadam in K. may be a wrong reading for pārṣadam (assembly).

526 THE NATYASASTRA [ XXVII. 98

Emergency performances are independent of time

98. But when the patron (lit. master) orders, the time and place are not to be taken into consideration and the performance should be held without any hesitation.

99. Proper Co-ordination (lit. co-ordinated production) Brilliance [of Pageant] (samṛddhi), and actors capable of [good] production are the three [points of] merits [in a performance].¹

Qualities of an actor

100-101. Intelligence, strength, physical beauty¹, knowledge of Time (tāla) and tempo (laya), appreciation of the States and the Sentiments, [proper] age, curiosity, acquisition [of knowledge and arts], [their] retention, vocal music, dances, suppression of stage-fright, and enthusiasm will be the requisite qualities of an actor (pātra).

An ideal performance

102. That which includes good instrumental music, good songs, good recitatives as well as Co-ordination of all acts prescribed by the Śāstra, is called an [ideal] production.

Brilliance of Pageant

103. Use of proper ornaments, good garlands, clothes and proper painting or the Make-up [for the characters] gives rise to Brilliance of Pageant (samṛddhi).

The best performance

104. According to the producers of plays the best (lit. the ornament) [of the performance] occurs when all these factors combine.

105. Thus I have spoken to you properly of the characteristics of the Success. Now I shall speak to you about the different branches of music (ātodya, lit. instrumental music)¹.

Here ends Chapter XXVII of Bharata’s Nāṭyaśāstra, which treats of the Success in Dramatic Production.

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98 (C.95; K.86).
99 (C.96; K.87). ¹ See below 103.
100-101 (C.97-98; K.88-89). ¹ surūpatvam, K. (svarūpatvam ca, C).
102 (C.99; K.90).
103 (C.100; K.91).
104 (C.101; K.92).
105 (C.102; K.93). ¹ The Chapters XXVIII-XXXIII which treat of the theory and practice of the different branches of music, will be published in the second part of the present work.

CHAPTER THIRTYFOUR

TYPES OF CHARACTERS

Three types of character in a drama

1. Whether male or female, characters (prakṛti) in general [in a play] are of three types : the superior, the middling and the inferior¹.

A superior male character

2-3. A man who has controlled his senses, is wise, skilled in various arts and crafts, honest, expert in enjoyment¹, brings consolation to the poor, is versed in different Śāstras, grave, liberal, patient and munificent, is to be known as a “superior” (uttama) character².

A middling male character

3-4. A man who is an expert in dealing with people, well-versed in books on arts and crafts as well as in Śāstras, has wisdom and sweetness [of manners] is to be known as a “middling, (madhyama) character¹.

An inferior male character

5-7. A man who is harsh in words, ill-mannered, low-spirited, of small intelligence, irascible, violent, can kill his friend, can kill anyone cruelly, is treacherous, haughty in words, ungrateful, indolent, expert in insulting the honoured persons, covetous for women, fond of quarrel, doer of evil deeds and stealer of others’ property, is to be known as an “inferior” (adhama) character. Similarly female characters too are of three kinds¹.

A superior female character

8-10. I shall now speak in due order of female characters. A woman who has a tender nature, is not fickle or cruel,

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1 (C.1b-2a; K.XXIV.1). ¹ C. reads before this one additional couplet.
2-3 (C.2b-4a). ¹ Emend bhagalakṣā into bhogadakṣā.
² Cf. K. XXIV. 86b-88a).
3-4 (C.4b-5a). ¹ Cf. K.XXIV. 88b-89.
5-7 (C.56-7a). ¹ Cf. K.XXIV. 89b-92a.
8-10 (C.8b-11a). ¹ Read smitabhāṣiṇya.

528	THE NATYASASTRA	[ XXXIV. 11-

speaks smilingly¹, is obedient to her superiors (guru)², bashful, good-mannered, has physical charm as well as high birth, and other natural qualities, and is grave and patient, is to be known as a "superior" (uttama) character³.

A middling female character

11. A woman who does not possess these qualities to a great extent and always, and has some slight faults mixed with them, is to be known as a "middling" (madhyama) character.

An inferior female character

12. Description of the inferior male characters will generally apply in case of female characters of that type.

A mixed character

13. A hermaphrodite is to be known as a character of the "mixed" (saṃkīrṇa) and inferior type. Maid-servants and the like are also characters of the mixed type.

14. The Jester, the Śakāra¹ and all others like them in a play, are characters of the mixed type².

So much about the characters which may be male, female and hermaphrodite.

The four types of the Heroe

15-16. I shall now describe their classes¹ according to their conduct. Among these [characters], Heroes (nāyaka) are known to be of four classes, and they belong to the superior and the middling² types and have various characteristics.

17. The Hero is described as being of four kinds : the self-controlled and vehement (dhīroddhata), the self-controlled and light-hearted (dhīra-lalita), the self-controlled and exalted (dhīrodātta) and the self-controlled and calm (dhīra-praśānta).

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² Read gurūṇāṃ vacane. ³ Cf. K.XXIV. 109-110a.
11 (11b-12a).
12 (12b-13a).
13 (13b-14a; K.XXIV.10b, 10a).
14 (14bc; K.XXIV.11). ¹ K,d. śakāras caiva ceṭaś ca.
² Read saṃkīrṇā prakṛtir for saṃkīrṇa nāṭake.
15-16 (C.15-16; K.XXIV.12ab. 2). ¹ vibhāgam, K. (vidhānaṃ, C).
² madhyottamāyāṃ, C. (tatrottamāyāṃ, K.)
• 17 (C.17; K.XXIV.3).

.XXXIV. 24 ] TYPES OF CHARACTERS 529

18-20. Gods are self-controlled and vehement (dhiroddhata), kings are self-controlled and light-hearted (dhīralalita)¹, the councillors are the self-controlled and exalted (dhīrodātta), and Brahmins and merchants are the self-controlled and calm (dhīrapraśānta) classes of Heroes. To these again belong the four classes of Jesters.

The four types of Heroines

20-21. These are always the Heroes in dramatic works (lit. poetical composition). I shall now speak of the Heroines who are of four classes : a goddess, a queen, a woman of high family and a courtezan .

21-22. These may, according to their characteristics, be of four types: self-controlled, (dhīrā), light-hearted (lalitā), exalted udāttā) and modest (nibhṛtā)¹.

22-23. Goddesses may possess all these qualities, and women of high family may be exalted and modest, while the courtezans and the crafts-women light-hearted and exalted¹.

Two classes of employment for characters

24. The characters [in a play] are of two kinds : external (bāhya) and internal (ābhyantara)¹. I shall now describe their characteristics².

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18-20 (C.18; K.XXIV.4). ¹ syur dhīrlalitā nṛpāḥ. K. (lalitas tu nṛpaḥ smṛtaḥ, C.).

20-21 (C.19; K.XXIV.5). ¹ C. reads after this, three and a half additional (corrupt) couplets (C.20-23a) which may be tentatively translated as follows: They (Jesters) are serially [of two types]: lowborn and cultured. They are to be attached to gods, kings, ministers, and Brahmins. And in his separation [from the beloved] a friendly maidservant clever in conversation, who feels distressed at his misfortune should be attached to the king. Among many (lit. in the multiplicity of) male characters in a play, the chief one is called the Hero. When in a play (lit. there) more [male characters] than one meet the misfortune and get back the prosperity, then one whose conditions appear remarkable should be taken as the Hero.

21-22 (C.23b-24a; K.XXIV.6-8a). ¹ C. omits 20b-21 and reads 20a as follows एते तु नायका ज्ञेया नानाप्रकृतिलक्षणाः. We with K.

22-23 (C.24b-25; K.XXIV.8b-9). ¹ K. reads 22b as follows दिव्याराजाङ्गना श्वेता गुणैर्युक्ता भवन्ति हि.

24 (C.26; K.XXIV.12b). ¹ Read prakāro dvividhaḥ smṛtaḥ

² K. omits 24b.

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532 THE NATYASASTRA [ XXXIV. 44-

of speaking according to the occasion, have young age, and beauty of form, are known to be actresses (nāṭakīyā)¹.

Dancers

44-48. Women who are expert in the representation of Passion (helā) and Feeling (bhāva), know [well] the representation of the Temperament (sattva), have sweetness [of manners], are skilled in playing musical instruments, have beautiful limbs, are conversant with the sixtyfour arts and crafts, are clever and always bold, free from indolence, inured to hard work, capable of practising various arts, and skilled in dancing and singing, and due to their young age superior to all other women standing near by, in the beauty of form and in the brilliance of appearance, are known as dancers (nartakī)¹.

Maids in constant attendance

48-49. Women who do not under any condition leave the king, are maids in constant attendance (anucārikā)¹.

Maids of special work

49-51. Those women who are clever, skillful, regular, and who know the art of making bed, serving wine and victuals, shampooing, preparing and applying perfumes, decorating one with ornaments and garlands, are to be known as maids of special work (paricārikā)¹.

Maids in constant move

51-53. Those women who [always] roam about in different parts [of the palace], gardens, temples, pleasure pavilions, and strike

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¹ K'.s slightly different reading in trans. will be as follows : A woman who knows to begin [a song] and to stop it, and the proper tempo to be followed in it, can represent the Sentiments and the States, understand other people's intention and hints, is obedient to the teacher, clever, expert in acting, skilled in discussion, conversant with the playing of drums and other musical instruments, is called an actress.

44-48 (C.44-45; 47; K.33b, 33a, 34). ¹ K. reads between 47a and 47b an additional couplet.

48-49 (C.48a; K.XXIV.35). ᵀ C. omits 40a.

49-51 (C.48b-50a). ¹ K'.s reading which is slightly different will in trans. be as follows : A woman who is in charge of the king's umbrella, bed and seat, and looks after the cooked food, shampooing, toilet, wearing of ornaments and garlands is his maid of special work (paricārikā). Cf. AS. II. 27, 41.

51-53 (C.50b-52a; K.XXIV.40-41).

-XXXIV. 58 ] TYPES OF CHARACTERS 533

the [bell indicating] the Yāma¹ and are prohibited intercourse by the playwrights, are to be known as maids in constant move (sañcārikā).

Errand girls

53-54. Women who are employed by kings in secret commissions connected with his love-affairs and are often to be sent [in some such work] are to be known as errand girls (preṣaṇacārikā)¹.

Mahattarīs

54-55. Women who for the immunity of the entire harem [from evils] and for [the king's] prosperity takes pleasure in [singing] hymns [to gods] and in performing auspicious ceremony, are known as Mahattarīs (matrons).

Pratīhārīs

55-56. Women who lay before the king any business related to various affairs [of the state] such as treaty (sandhi), war (vigraha) and the like, are called Pratīhārīs (usher).

Maidens

56-57. Girls who have no [experience of] love's union (ratisaṃyoga) and are quiet, devoid of rashness, modest and bashful are said to be maidens (kumārī).

Old dames

57-58. Women who know the manners of the departed kings and have been honoured by them¹ and who know of the character of all [members of the harem]² are said to be old dames (vṛddhā).

Āyuktikās

58-60. Women who are in charge of the stores, the weapons, the fruits, roots and grains, who examine the [cooked] food for [the king] and are in charge of (lit. thinkers of) the scent, ornaments

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¹ yāma=a period of three hours.
53-54 (C.52bc; K.XXIV.42).
¹ Read the passage as follows: प्रेष्यैः कामसंयुक्ता गुह्यसमुत्थितैः । हृद्येष्वेव प्रेषणीया ज्ञेयाः प्रेषणचारिकाः. 54-55 (C.53; K.XXIV.43).
55-56 (K.XXIV.44). 56-57 (K.XXIV.45).
57-58 (C. 54; K.XXIV. 46). ¹ pūrvarājñāvai pūjitāḥ, C sārvarājasu pūjitāḥ, K.). ² sarvānucaritajñā°, C. (pūrvarājopacārajñā, K.).
58-60 (C.55-57a; K.XXIV.36-37).