नाट्यशास्त्रम् (प्रथम भाग - अभिनवभारती एवं हिन्दी टीका सहित)

.XXXVI. 25 ] THE DESCENT OF DRAMA 555

for the prosperity of the king, the ferocious beings will make themselves scarce on hearing the sound of the Benediction.

20. The instrumental music, or the drama¹ or the songs together with the instrumental music, will be equal [in importance] to the exposition of the Vedic hymns².

21. I have heard from the god of gods (Indra)¹ and after-wards from Śaṃkara (Śiva) that music [vocal and instrumental] is superior to a bath [in the Ganges] or Japas for a thousand times².

22. The places in which there occur the instrumental music and dramatic performance¹, or the song and instrumental music, will surely² never know any kind of inauspicious happening.

23. Thus I have devised the Preliminaries as a ceremony of adoration for worshipping the deities with laudatory verses and Mantras¹.

The ablution of the Director on the stage

24. As the head¹ becomes fatigued by bowing on the stage, the rule permits the Director to bathe it with water².

25. After the ablution the Director should worship the Jarjara with Mantras. All this has been said in connexion of the Preliminaries¹. This is the reason for the ablution.

20 (C.24; K.21). ¹ nāṭyam, K. (śrutvā, C.).
² This seems to show that in the beginning, the early Vedic people were not favourably disposed to the dramatic performance. For more on this see the Introduction.
21 (C.25; K.22). ¹ Cf. 20 note. ² above.
² This seems to indicate that not only the early Vedic people who cared little for the asceticism, but other religious sects as well, did not favour the dramatic performance. This may be the reason to put the thea-trical performances which included music above the religious practices of such sects. For more about this see the Introduction.
22 (C.26; K.23). ¹ Read ātodya-nāṭyaś ca for °nātyastha, C. °nāṭyasya, K. ² Read niścayam for niscayaḥ, C. śubhaḥ, K.
23 (C.27; K.24). ¹ This seems to show that the drama was also connected with a particular religious cult.
24 (C.28a; K.25). ¹ Read śiras tu for śirasaḥ kṛtam tad, K.
* C. omits 24b. See below 25 note.
25 (K.26). ¹ C. omits this this. See NŚ. V. 10-83.

.XXXVI. 43 ] THE DESCENT OF DRAMA 557

33. In the community of the sages and Brahmins, or in meeting them you will appear as being no followers of the Vedas and will attain the conduct of the Śūdras.

34. You will become mere Śūdras, and attain their functions, and those to be born in your line will be Śūdras [too]¹.

35. Those actors (nartaka) who are already born in your line will be Śūdras, and so will be those together with their women, boys and young men, who associate with them'.

36. The gods on learning the origin of the curse on my sons became anxious and went to the sages.

Gods intercede in favour of Bharata's sons

37. Then the gods with Śakra (Indra) as their leader said that, afflicted with this misery the drama would perish¹.

38. The sages said in reply that the drama would not perish, but the remaining portion only of their curse will take effect in its entirety.

Bharata's sons approach their father

39-40. On hearing these words of the very spirited sages, my sons¹ became [very] sad and with a desire to defend themselves they approached me in anger and said, 'We have been ruined by you, for the fault of the drama we have been endowed with the character of Śūdras'.

Bharata pacifies them

41-42. For their consolation I said, 'Do not to be sorry for it; the rule that words of the sages will never prove untrue, has indeed been made by Fate (kṛtānta); so you should not turn to the destruction [of the art]. 'These are my words of consolation.

43. Know this dramatic art that has been described

33 (C.35; K.34). 34 (C.36; K.35a). ¹ K. omits 34a.
35 (C.37; K.35b-36a). 36 (C.38; K.36b-37a).
37 (C.39; K.37b-38a). ¹ Read 37b as follows: इदानीं दुःखयुक्तेन नाट्यमेतद्विनङ्क्ष्यति.
38 (C. 40; K.38b-39a).
39-40 (C.41-42; K.39b-41a). ¹ Read sutāḥ, for surāḥ, C. and tataḥ, K.
41-42 (C.43-44; K.41b-42). 43 (C.45; K.43).

558 THE NĀṬYAŚĀSTRA [ XXXV. 44

by Brahman [himself], and teach it to your disciples and others through its application.

44. Do not destroy this drama which has been devised with great difficulty and which includes great things, brings great merit and has its origin in the Aṅgas and the Upāṅgas of the Vedas¹.

45. After holding the dramatic performance according to the rules which I heard from the Apsarasas, you all are to undergo a purificatory ceremony (prāyaścitta)¹.

Nahuṣa invites divine artistes to the earth.

46. In course of time a king named Nahuṣa¹ attained the kingdom of Heaven through his polity, intelligence and prowess².

47. He then governed the kingdom and felt a divine desire. And on seeing the musical performance (gāndharva) and the drama [of the gods] he became anxious [about these].

48. He thought¹ within himself how the dramatic performance by the gods² should take place in his house³ [on the earth].

49. Then for such a performance the king said to the gods with folded palms : 'Let the drama [produced] by the Apsarasas be performed in our house (i. e. on the earth).'

Gods rejected the request

50. But in reply, the gods with Bṛhaspati as their leader said to him : The meeting of divine damsels and mortals has not been prescribed [anywhere].

51. As you are the lord of Heaven you should be given an advice which is both good and pleasant. Let the master [of the dramatic art] go there (i.e. at your place) and please you.'

44 (C.46; K.44). ¹ Cf. above 20 notes.
45 (C.47; K.45). ¹ Emend 45a as follows: अप्सरोभ्य इदं चैव यथातत्त्वं मया श्रुतम्.
46 (C.48; K.XXXVII.1b-2a). ¹ Nahuṣa mentioned in the Ṛgveda, Rām., Mbh. and several Purāṇas, was possibly an historical person. See J.K. sub voce.
² K. reads one fragmentary hemistich before this.
47 (C.49; K.XXXVII.2b-3a).
48 (C.50; K.XXXVII.3b-4a). ¹ Read so'cintayat tu for sa cintayitvā, C. iṣṭacintāsu, K.
² Read bhaved devagaṇaiḥ kṛtaḥ for bhaved iti sasambhramaḥ, C. bhaved divi devara eva san. K.
³ gṛhe mama, K. ('gre unmanāḥ, C.)
49 (C.51; K.XXXVII.4b-5a).
50 (C.52; K.XXXVII.5b-6a).
51 (C.53; K.XXXVII.6b-7a).

-XXXVI. 58 ] THE DESCENT OF DRAMA 559

Nahuṣa approaches Bharata

52. Then the king with folded palms said to me, ‘O revered sir, I should like to see this dramatic performance established on the earth.

53. I have been promised earlier the help of your professional service (ācāryaka)$^1$. O the best of Brahmins, I have now got it directly (vyaktabhāvāśrayaṃ kṛtvā)$^1$.

Urvaśī and the mundane drama

54. In the house of my grandfather (Purūravas) this [drama] together with his work has been described by Urvaśī to the members of the harem.

55. But when the members of the harem were distressed by the death of the king who turned mad$^1$ due to her disappearance from the earth, this (dramatic art) was lost.

56. I wish this again to be openly produced on the earth, so that the sacrifices to be done on different days of the moon (tithi) may be rendered auspicious and happy.

57. Hence plays (bandha, lit. composition) relating to many characters produced in my house through the graceful movements of women, will add to your fame’.

Bharata grants the request and sends his sons to the earth

58-61. ‘Let this be so’ said I then [in reply] to Nahuṣa the king, and I called my sons along with the gods in a spirit of conciliation and said to them :

‘This king Nahuṣa begs us with folded palms that you may go down with your associates to the earth to produce the drama there. The drama being properly produced there, I shall make an end of your curse and you will no longer be despised by Brahmins and kings. So go down to the earth to

52 (C.54; K.XXXVII.7b-8a).
53 (C.55; K.XXXVII.8b-9a). $^1$ Read 53a as follows: पूर्वमाचार्यकं देव भवती हि प्रतिश्रुतम्.
54 (C.56; K.XXXVII.9b-10a).
55 (C.57; K.XXXVII.10b-11a). $^1$ See Viṣṇu P. IV. 6, 7. Ref, JK.
56 (C.58; K.XXXVII. 11b-12a). 57 (C.59; K.XXXVII.12b-13a).
58-61 (C.60-63; K.XXXVII.13b-17a),

560 NATYASASTRA XXXVI. 62

produce dramas there, [for] I shall not be able to disregard the words of this earthly king.

Kohala is the successor of Bharata

62-63. For us and for Nahuṣa, the self-born one (Brahman) has spoken in brief on the dramatic art which depends on his own instruction. The rest will be uttered by Kohala¹ in his supplementary treatise (uttara-tantra) which consists of the application [of the rules], the Memorial Verses (kārikā) and the Etymologies (nirukta).

64. This Śāstra for the purpose of diversion (lit. toy) has been established by me in Heaven with the help of the Apsarasas and the sages Svāti and Nārada.

Bharata's sons come down to the earth

65. Then, O Brahmins, they went down to the earth in the house of Nahuṣa and devised in due order the production of various plays with the help of women.

66. Then they, my sons, begot progeny in women of the earth and devised for them more dramas (lit. creation) on various themes.

67. After begetting sons and devising plays in due order they were permitted to return again to Heaven.

68. Thus through a curse the dramatic performance has been brought down to the earth, and the future generation of the dramatic artists (bharata) came into being.

Kohala and his associates

69-70. Kohala Vātsya¹, Śāṇḍilya², Dhūrtila (Dattila?)³ and others stayed in the earth for sometime as mortals and put into practice this Śāstra which augments the intellect of men, deals with the deeds of the Three Worlds and is an epitome of all other Śāstras.

62-63 (C.64-65; K.XXXVII.17b-19a). ¹ See the Introduction.
64 (C.66; K.XXXVII.19b-20a). 65 (C.67; K.XXXVII.20b-21a).
66 (C.68; K.XXXVII.21b-22a). 67 (C.69; KXXXVII.22b-23a).
68 (C.70; K.XXXVII.23b-24a).
69-70 (71-72; K.XXXVII.24b-26a). ¹⁻³ See the Introduction.

(इस पृष्ठ पर कोई पाठ नहीं है / This page is blank)

ADDITIONS AND CORRECTIONS

Page XLVI line last Read ‘depends’
„ XLVIII „ 14 „ ‘XXVII. 63-69’
„ LXIV „ 14 „ ‘Nāṭyaśāstra’
„ LXXII „ 16 „ ‘corresponding’
„ „ 3 (from the bottom) Read ‘about’ after ‘doubt’, and ‘of’ for ‘are’
„ LXXIII „ 3 Read ‘summed’
Page 1 line 13 Read ‘Pitāmaha’ for ‘Pitmāha’
„ 3 „ 26 „ ‘Brāhmaṇa’ for ‘Brāmaṇa’
„ 5 „ 14 Omit the fullstop.after ‘ordered’
„ 6 „ 3 (from the bottom) Read SD. (294)
„ 7 „ 2 Read ‘Bhayānaka’ for ‘Bhyānaka’
„ 7 „ 15 „ ‘Need of the Graceful Style’
„ 8 „ 4 „ ‘for practising the Graceful Style’
„ 9 „ 4 (from the bottom) Read ‘case-endings’ for ‘nominal’
„ 11 „ 13 Read ‘said’ for ‘saids’
„ 14 „ 20 „ ‘of the gods’ for ‘of the Daityas’
„ 16 „ 9 (from the bottom) Read ‘reads one’ for ‘readsone’
„ 19 „ 7 Read architect’ for ‘architecht’
„ 19 „ 12 „ (avara)¹ for (avara)
„ 19 „ 23 Omit ‘According’ from here and put it before ‘to Ag.’s’ in the next line.
„ 19 „ 25 Read ‘medium’ after (iv)
„ 27 „ 2 (from the bottom) Carry ‘and’ after raṅgapīṭha
„ 29 „ 12 ( „ „ ) Read कुर्यात् for कर्षात्
„ 31 „ 17 Put ¹ at the end of the line.
„ 3 (from the bottom) Read B. 102b for 1026.
„ 34 „ 10 ( „ „ ) Read ‘rather’ for ‘very’
„ 9 ( „ „ ) Add the following : Yājñavalkya who has been assigned to the 400 A.C. by Jolly, mentions Gaṇeśa, (See Hindu Law and Customs, pp. 42-44)
„ 4 (from the bottom) Read samprayujya
„ 35 „ 17 Read ‘18-20’ for ‘18’.
„ 35 „ 2 (from the bottom) Omit ‘¹ See ‘diagram 1.’
„ 37 „ 12 Put a comma after ‘sweet meats’
„ 40 „ 20 „ ‘Then an’ for ‘Then a’.
„ 57 „ 23 Omit ‘(Vaktra)’ after ‘Aviddha’ (for ‘āviddha’)
„ 28 Put ‘(krama)’ after ‘Cārī’ last. Omit ‘Defined nowhere in the NŚ.’

( B )

Page 58 line 3 (from the bottom) Read 'Talāgra°'.
,, 67 ,, 6 ( ,, ,, ) Read Harivaṃśa for Hraivaṃśa.
,, 73 ,, 12 ( ,, ,, ) Read (sukumāra) for (sukmāra).
,, 76 ,, 2 ( ,, ,, ) Put '(p.194)' after BhP. and 'See also' before SR. and Read परिवर्त्तनीय for धरिवर्त्तनीय.
,, 82 ,, 4 (from the bottom). Add after 'drama' the following :
Sitar probably is developed from the citra (vīṇā).
,, 86 ,, 6 (from the bottom) Put ² before 'B. reads'.
,, 97 ,, 24 25 Read prayujya for prajujya
,, 105 ,, 7 Close the bracket after 'meaning'.
,, 108 ,, 12 (from the bottom) Read family' for 'famiiy'.
,, ,, 9 ... Read 'traditional authority'.
,, 111 ,, 9 Read 'Excessive' for 'Violent'
,, ,, 17 ,, middling type'
,, 113 ,, 1 'Sentiments'
,, 118 ,, 11 ,, 'bhavita' for 'bhāvita'
,, 119 ,, 9 ,, 'Determinant' for 'Diterminant'
,, 127 ,, 15 ,, 'Mouth' for 'Mouto'
,, 128 ,, 18 ,, 'Intoxication' for 'Iotoxication'
,, 130 ,, 5,6,12 Correct the misspelt 'Depression'
,, 132 ,, 18 Omit the comma after 'biting'
,, 134 ,, 14 Read prakṛti-vyasana
,, 140 ,, 9 (from the bottom) Insert 'and' after 'potsherd'
,, 141 ,, 2 Read 'is' for 'ie'
,, 142 ,, 10 Omit the fullstop after 'mounts' and insert 'and'
,, 143 ,, 11 (from the bottom) read 'stage' for 'tage'
, 145 ,, 10 ( ,, ,, ) Insert 'and' after 'sleeping'
,, 146 ,, 16 Read 'Sentiment'
,, 17 ,, 'depend' for 'depends'
,, 150 ,, 11 ,, चङ्कुरभूत for चङ्कुरभूतो
,, 152 ,, 10 Omit '[slightly]' and insert 'up' after 'raised'
,, 164 ,, 5 (from the bottom) Read 'Pūrṇa' (full)
,, 165 ,, 6, 18 Read 'lip' for 'lips'
,, 168 ,, 10 Add the following after 'will' [enhance the charm of the night]
,, 173 ,, 13 Read 'With' after the fullstop.
,, 174 ,, 7 (from the bottom) shift 'from' before 'Kuṇḍala'.
' ,, 2 ( ,, ,, ) Read 'Andre et'.
,, 224 ,, 11 ( ,, ,, ) Read कञ्चुकीत्यभिधीयते।
,, ,, 2 ( ,, ,, ) kañcukin.
,, 230 ,, 16 Read 'gait of women'
,, 240 ,, 17 ,, 'distant place'.

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