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

---

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.

---

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.

---

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.

---

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).

---

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.

---

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

---

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

---

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).

534 THE NATYASASTRA [ XXXIV. 61-

and garlands and clothes [he is to use], and who have under them many persons and are clever, are said to be Āyuktikās or Yuktikās (overseer). These are in general the women of the [royal] harem.

Qualities of women to be employed by the king

61-64. The qualities of those women who are to be employed [by the king] should be as follows : they should not be rash, restless, covetous and very cruel in mind ; they are to be quiet, forgiving, satisfied ; they must have conquered anger and controlled senses, they should have no passion ; they are to be respectable, free from all female diseases, attached¹ and devoted² [to the king] and free from womanly pride³.

Others inmates of the harem

64-69. The hermaphrodites who constitute the third class of characters, should be employed in a royal household for moving about in the harem. But Snātakas¹, Kañcukins as well as Varṣadharas, Aupasthāyika-Nirmuṇḍas are to be placed in different parts (kakṣā) of the harem. Persons who are eunuchs or have given up sexual pleasures should always be made the inmates of the harem in a Nāṭaka. The Snātaka should be made to observe Aryan manners. In errands relating to the polity the Kañcukin should be employed, and in errands relating to love-affairs (kāmacāra) the Varṣadharas are to be engaged. The Aupasthāyika-Nirmuṇḍas are to be engaged in sending out women and in any place for the protection of maidens and girls².

70. And maids in constant attendance should be employed by kings in sending gifts¹ to women [they love] ; women well-versed in all kinds of dance and in the use of different limbs [in dance and acting] should be placed in the [royal] theatre².

---

61-64 ((C.57b-60; K.XXIV 47-48). ¹ Here occurs an expression nānāpārśvasamutthitāḥ which cannot be explained.
² K. omits 64a and reads the rest with a slight variation.
³ vanitā-madavarjitā, K. (sarva-doṣa-vivarjitāḥ, C.).
64-69 (C 61-63a; K.XXIV.50-54). ¹ snātakāḥ K. (kārakāḥ, C.).
² C. omits 66-68 and K. 69b.
70 (C.64a; K.XXIV.55). ¹ Read dānakāryeṣu for māna° (texts).
² K. reads between 70a and 70b the following यन्तःपराधिकारी हि राज्ञामार्थासुवर्त्तणम्.

-XXXIV. 76 ] TYPES OF CHARACTERS 585

The Varṣadharas

71. Those women who have poor vitality and the eunuchs who have the nature of women and are voiceless from birth are known as Varṣadharas (sub-men)¹.

The Nirmuṇḍas

72. Those eunuchs who look like males and have nothing feminine in their nature and have no knowledge of sexual acts are called Nirmuṇḍas¹.

The Kañcukins

73-74. Those who have learning, truthfulness, are free from the sexual passion, and have deep knowledge and wisdom, are known as the Kañcukins. [When they are] Brahmins by birth, clever, old and free from sexual passion, kings are always to employ them to look after the needs of the queens¹.

75. These are the eighteen classes of inmates of the [king's] harem. I shall now speak of persons who move about in public.

External persons

76-77. They are : the king (rājan), the leader of the army (senāpati), the chaplain (purodhas), the ministers (mantrin)¹, councillors (saciva), judges (prāḍvivāka) and the wardens of princes (kumārādhikṛta)² and many other members of the king's court

---

71 (C.64b-65; K.XXIV.56). ¹ The reading is corrupt.
72 (K.XXIV.57). ¹ K. omits this.
73-74 (C.65b-66a; K.XXIV.58). ¹ Though the later writers have opined that the Kañcukin should be a Brahmin, the author of the NŚ. did not recognize any such rule. Bhāsa too seems to follow him. In Dūtavā (I. 5, 9) the Kañcukīya falls at the feet of Duryodhana. So we may infer that the Kañc. was not a Brahmin who could not degrade himself by falling at the feet of a Kṣatriya. For later def. of the Kañc. see NŚ. XIII.112-113 notes. ² C. omits 73 and K., 74.
75 (C.66b-67a; K.XXIV.59).
76-77 (C 67b-69a; K.XXIV.60-61). ¹ AS. (I 8 and 9) distinguishes between amātya and mantrin. Kāmandakīya Nītisāra (VIII. 1) also does the same; according this later authority amātya seems to be identical with saciva; see IV. 25, 30, 31. According to Śukranīti saciva, mantrin and amātya are three diff. functionaries. See II. 94, 95, 103.
² Read kumārādhikṛtās tathā for kumārākṛtās tathā. K.

536 THE NATYASASTRA [ XXXIV. 78-

(sabhāstāra)³. I shall speak of their characteristics, please listen about them.

The king

78-82. A king should be [physically] strong, intelligent, truthful, master of the senses, clever, eloquent, high-minded, honest, far-sighted, greatly energetic, grateful, sweet-tongued, skillful; and he should take a vow of proctecting his subjects and must know how to divide duties [amongst his officers]; and he should be always ready to act, alert, advanced in age and be an adept in the Smṛti and the Arthaśāstra literature, expert in detecting enemy’s weakness and the must understand one’s mind from his appearance, he should be magnanimous, well-protected, capable of taking logical view of anything, and a patron of various arts and crafts, and an expert in the Nīti literature.

The leader of the army

82-83. One who is truthful and possesses a good character, is always active (lit. has given up idleness), sweet-tongued, knows the rules regarding the weakness of the enemy, and the proper time for marching against him, has a knowledge of the Arthaśāstra and everything about wealth, is devoted [to the king], honoured in the society and has a knowledge of the time and place, should be made the leader of the army (senāpati)¹.

Councillors

84-85. Those who are intelligent, full of policy, heroic, sweet in speech, well-versed in the Arthaśāstra, attached to the subjects [of the king] and are followers of laws (dharma) should be appointed Councillors (amātya) by the king¹.

---

³ Read sabhāstārāḥ, K. for mānyā jñeyā, C.

78-82 (C.69b-73a). ¹ K. XXIV.62-66 seems to read the passage with some significant variation. On this see the Introduction.

82-83 (C.XXIV.67-68). ¹ The def. of the chaplain (purodhas) and the minister (mantrin) expected here seems to be lost. See above 76-77 note.

84-85 (C.73b-74). ¹ (K.XXIV.69-70a) reads the passage differently and in trans, it will be as follows: The councillors (amātya) and the ministers (mantrin) are to be characterised by the [following] qualities: they should besides being follow-countrymen [of the king] and devoted [to him], high-born, intelligent, honest, virtuous and well-versed in the Vedas (śruti) as well as in polity.

-XXXIV. 85 ] TYPES OF CHARACTERS 537

Judges

85-87. Those who know [well] about commerce and money, are intelligent, conversant with many departments of knowledge, impartial, followers of laws, able to discriminate between good and bad deeds, forbearing, self-controlled, overcome anger, and have the same respect for all people, are to be appointed as judges (prāḍvivāka) by kings¹.

Courtiers

87-90. The members of the court (sabhāstāra) should be appointed after consulting the views of Bṛhaspati¹ who thinks that the following are the qualities required for this office : they should be always ready for work, alert, free from indolence, undaunted by hard work, affectionate, forbearing, modest, impartial, skillful, trained in polity and good manners, deeply conversant with the art of agrumentation and all other branches of knowledge, and not affected by sexual passion and the like.

Next I shall tell you about the rules regarding the distribution roles in a drama.

Here ends Chapter XXXIV of Bharata's Nāṭyaśāstra, which treats of the Types of Different Characters.

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85-87 (C.75-76; K XXIV.70b-72a). ¹ The def. of the warden of the princes (kumārādhikṛta) expected here seems to be lost. See above 76-77.

87-90 (C.77-79; K.XXIV.72b-73, 74b, 75a). ¹ Read 89a, as विप्रैश्चापि कर्मज्ञैः सभास्तारादि कल्पनम (cāpadhuryam- K. for cāpi karmajñaiḥ, K. °rādikaithanam; K. for °ravikalpanam, C.).

CHAPTER THIRTYFIVE

DISTRIBUTION OF ROLES

1. I shall [now] speak of the distribution of roles in a play or of the kinds of men by which different roles are to be represented.

General principles of distribution

2. After considering together from their gait, speech and movements of the limbs as well as their strength and nature¹, the experts are to employ² actors to represent different roles [in a play]³.

3. Hence the selection of actors should be preceded by an enquiry into their merits. The Director (lit. the master) will not feel difficulty¹ in the choice [if such a procedure is followed].

4. After ascertaining their natural aptitudes he is to distribute roles to different actors¹.

The role of gods

5-6. Persons who have all the limbs intact, well-formed and thick-set, who are full-grown (rayo'nvita) not fat or lean or tall or lazy, who have vivacity, pleasant voice and good appearance, should be employed to represent the role of gods¹.

The role of the Rākṣasas, the Dānavas etc.

7-8. Persons who are fat, and have a large body and a voice like the peal of thunder (lit. cloud), furious looking

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1 (C. K. same). ¹ vibhāgam (vinyāsam, K.).
² K. reads 1b. with a slight variation.
2 (C.2a; K.2). ¹ sattvaśīlaiḥ, K. (sattvaśīla°, C.).
² Emend yuṣṭād, K. into yujyād.
³ 2b. and the following thirteen couplets have been omitted by C.
3(K.3). ¹ Literally, 'this will not bring weariness to the intellect of the Director.'
4 (K.4). ¹ This passage is slightly corrupt.
5-6 (K.5-6). ¹ This seems to be comparable to the Hellenic conception of gods.
7-8 (K.7-8). ¹ Cf. Bhaṭṭi, II. 30.

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540 THE NATYASASTRA [ XXXV. 18-

expressionless (lit. motionless) eyes¹, one eye blind², small chin and low nose, ugly raiments, evil nature, deformed body and are born of slaves should be employed in the role of slaves (dāsa).

The role of fatigued persons

18. A person who is naturally thin, should be employed in a play (lit. there)¹ to represent the tired characters.

The role of persons without disease

A fat person should be employed to represent the persons without any disease².

Special cases of assigning roles

19. If, however, such persons are not available the Director (lit. the master) should exercise discretion to employ [some one] after a consideration of the latter's nature and movement as well as the States [to be represented].

20. Such persons' natural movements whether good, bad or middling should be regulated by a contact with the Director (lit. the master)¹ and then they will properly represent [all] the States².

21. In other cases too similar dramatic convention has been prescribed, and roles should be assigned to persons after considering their native place (deśa) and costume (veśa).

The role of characters with extra or special limbs

22-23. In case of characters which have many arms, many heads, and uncouth faces, and faces of animals including beasts of prey¹, asses², camels, horses and like, the Director (lit. the

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¹ Read viṣṭabdhanetram for niṣṭabdhanetram, K. visṛṣṭnetaram., C.
² kāṇākṣam, K. (kāryāṇām, C.).
18 (C.4b-5a; K.18). ¹ tatra śrānteṣu, C. tapa(ḥ)śrānte K.
² hyarogeṣu pra°, C. °mupayogeṣu, K. 19 (C.5b-6a; K. 19).
20 (C.6b-7b; K.20ab.). ¹ tathā cāryayogena. K. (tathā cānyayo- gena, C.).
² C. 6b and 7a seem to be variant of each other. See K. 20a which we accept. 21 (C. 8). ¹ K. omits this.
22-23 (C.9-10; K.XXVI.13b-15a). ¹ śvāpadavaktraś ca, K. śvā- padasiṃhaś ca, C.
² kharoṣṭrāśvānanās tathā K. khasoṣṭra vāraṇās tathā, C.
. 24 (C.11; K.XXVI.15b-16a).

-XXXV. 30 ] DISTRIBUTION OF ROLES 541

master) should, according to his discretion, have the masks (lit. them) made by means of clay, wood lac and leather.

The first entry of a character

24. After concealing his identity (lit. his own form) by means of painting and make-up one should enter the stage in his natural State (bhāva)¹.

The result of proper impersonation

25-26. If in the production of a play a person is to be assigned¹ a role which fits in with his nature and physical form, then he [very naturally] represents it (lit. renders his States). [He will be] like a man who renounces his own nature together with the body, and assumes another's nature by entering into the latter's body.

The psychological preparation for impersonation

27. Thus after thinking within himself that "I am he" a wise actor should represent the States of another person by speech, gait, movements and gestures¹.

Three kinds of impersonation

28. Human characters according as they are represented on the stage [by actors] fall into three classes : natural (anurūpā), unnatural (virūpā) and imitative (rūpānusāriṇī).

The natural impersonation

29. When women impersonate female characters and men male characters, and their ages are similar to that of the characters represented, the impersonation is called "natural" (anurūpā)¹.

The unnatural impersonation

30. When a boy impersonates the role of an old man, or an old man that of a boy, and betrays his own nature in acting, the representation is called "unnatural" (virūpā).

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¹ The implication of this is not clear.

25-26 (C.12-13; K.XXVI.16b-18a). ¹ prayojyam, K. prayuktam, C. Cf. NŚ. XXIII. 79.

27 (C.14; K.XXVI.18b 19a). ¹ A very practical instruction.

28 (C.15; K.XXVI.1).

29 (C.17; K.XXVI.2). ¹ C. reads 38 before this with a slight variation.

30 (C.18; K.XXVI.3).

542	THE NATYASASTRA	[ XXXV. 31-

Imitative impersonation

31-32. When a man impersonates a woman's character¹ the impersonation is called "imitative" (rūpānusāriṇī). [Following this very principle] a man's character may, at one's option, be represented by a woman. But in cases of such an inversion of roles (lit. mutual efforts), one should see that persons employed are neither old nor ugly (lit. should make them old or ugly).

Suitability of women in some roles

33-35. Characters of delicate nature¹ are always² to be represented by women, and hence³ such roles of gods and mortals [are mostly to be represented]⁴ likewise. [For] just as among the gods (svarge)⁵ drama depends on [females like] Rambhā, Urvaśī and the like, similarly among the mortals (mānuṣe loke) too the same rule holds good in the harem of kings. And [hence] teachers (ācārya)⁶ should instruct women [in acting] according to the Śāstras.

35-36. As amorousness (vilāsa) is natural in women they possess likewise naturally graceful limbs which are easily accessible to the Sauṣṭhava. But the men's Lolling (lalita) should depend on decorative movements (alaṅkāra).

Training for women in different roles

37. A good Director (lit. wise man) should not get women's roles supervised by himself (syayam). But masculine (lit. production depending on men when assigned to women should be carefully directed [by him].

Result of proper assignment of roles

38. Roles assigned to persons of various nature, and age,

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31-32 (C.19-20; K.XXVI.4-5). ¹ As in the Shakespearian stage. Ag. (p. 502) explains bāliśa as virūpa (ugly).
33-35 (C.21-23a; K.XXVI.6-8.). ¹ bhūmikāṃ sukumārām, C. bhūyiṣṭham, K.) ² nityam, C. vṛttam, K. ³ atyartham C. ityartham K. ⁴ mānuṣiṇām, C. prakṛtinām, K. ⁵ Cf. Vikram. III. (Viṣkambhaka). ⁶ The trans. is tentative.
35-36 (C.24b-25; K.XXVI.12-13a). ¹ See NŚ. XI. 88-91.
37 (C.26a, 56c; K.XXVI.10a-11b).
38 (C.16; 26b; K.XXVI.10b-11a).