BIBLIOGRAPHY

1. General Works

Barua, B. M. ... Inscriptions of Asoka, Vol. II, Calcutta 1943.
Chatterji, S. K. ... Origin and Development of the Bengali Language, Calcutta, 1926.
Coomaraswamy, A. K. ... The Mirror of Gestures, New York, 1936.
De, S. K. ... Sanskrit Poetics : Vol. I and II, London, 1903, 1926.
Ghosh, Chandramohan ... Chandaḥsārasaṃgraha (CSS ), Calcutta.
Haldar, Gurupada ... Vyākaraṇa-darśaner Itihāsa (Itihāsa). (An historical account of the grammatical speculation of the Hindus in Bengali), Calcutta. 1350 B.E.
Jolly, J. ... Hindu Law and Customs, Calcutta, 1929.
Keith, A. B. ... Sanskrit Drama, Oxford, 1924.
Konow, Sten. ... Das Indische Drama, Berlin, 1920.
Lévi, Sylvain ... Le Théâtre indien, Paris, 1890.
Mankad, D. R. ... Types of Sanskrit Drama, Karachi, 1936.
Nitti-Dolci, L. ... Les Grammairiens Prakrit, Paris, 1938.
J. Nobel. ... Foundation of Indian Poetry, Calcutta, 1925.
Pischel, R. ... Grammatik der Prakrit-sprachen, Strassburg, 1900.
Pusalker ... Bhāsa, Lahore. 1940.
Raghavan, V. ... Śṛṅgāra-Prakāśa, Bombay, 1940.
Seth, H. D. ... Pāiasaddamahaṇṇavo, Calcutta, 1928.
Sircar, D.C. ... Select Inscriptions bearing on Indian History and Civilization, Calcutta, 1942.
Vidyālaṃkār, S. B. ... Jīvanikośa (A dictionary of the Puranic mythology in Bengali), Calcutta.

2. Original Texts

Abhinavabhāratī (Ag.) ... On chapters I-XX ed. Ramakrishna Kavi in B. On chapters XXI-XXVII and XXIX-XXXII the Ms. of Dr. S. K. De. Reference to the Ms. are to its pages. Printed portion of the commentary when referred to, relates to the relevant text in B.
Abhinayadarpaṇa of Nandikeśvara (AD.). Ed. Manomohan Ghosh Calcutta, 1934.
Abhiṣekanāṭaka (Abhi.). Ed. Devadhar in BhNC.
Arthadyotanikā. Nirnayasagara ed.
Avimāraka. Ed. Devadhar in BhNC.
Arthaśāstra of Kauṭilya (AŚ.). Ed. J. Jolly, Vols I and II, Lahore, 1923-24.

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Uttararāmacarita of Bhavabhūti (Uttara.). Ed. Ratnam Aiyar, Bombay 1930.
Ūrubhaṅga (Ūru.). Ed. Devadhar in BhNC.
Ṛtusaṃhāra of Kālidāsa. Ed. Jivananda Vidyasagar, Calcutta, 1893.
Karṇabhāra (Karṇa ). Ed. Devadhar in BhNC.
Kāvyādarśa of Daṇḍin. Ed. N. Sastri, Lahore, 1990, Saṃvat.
Kāvyālaṅkāra of Bhāmaha. Ed. B. N. Sarma and B. Upadhyaya Chowkhamba. Benares, 1928.
Kāvyālaṃkāra of Vāmana, Ed. K.P. Parab & W. Pansikar, Bombay, 1926.
Kīrtilatā of Vidyāpāti, Ed. Haraprasad Shastri.
Kuṭṭanīmata, Ed. in Bibliotheca Indica, Calcutta.
Cārudatta of Bhāsa (Cāru). Ed. Devadhar in BhNC.
Daśarūpa (DṚ). Ed. K. P. Parab, Bombay, 1897. Our references are to this edition. The ed. of G.C.O. Haas with an English translation has also been referred to. F. Hall's ed. (Bibliotheca Indica) has also been used.
Dūtaghaṭotkaca of Bhāsa (Dūtagha.) Ed. Devadhar in BhNC.
Dūtavākya of Bhāsa (Dūtavā.). Ed. Devadhar in BhNC
Madhyamavyāyoga of Bhāsa (Madhyama.). Ed. Devadhar in BhNC.
Mālavikāgnimitra of Kālidāsa (Mālavi.). Ed. S. P. Pandit.
(Bombay Sanskrit Series), Bombay, 1889.
Mṛcchakaṭika (Mṛcch). Ed. K. P. Parab and W. L. S. Pansikar, Bombay, 1926.
Mudrārākṣasa of Viśākhadatta (Mudrā). Ed. Kasinath Trimbak Telang (Bombay Skt. Series), Bombay, 1928
Meghadūta of Kālidāsa (Megha). Ed. S. Vidyaratna, Calcutta, 1821, Śaka.
Nāṭakalakṣaṇa-ratnakośa of Sāgaranandin (Nāṭakalakṣaṇa, NL). M. Dillon, London, 1939. References are by lines unless otherwise mentioned.
Nāṭyadarpaṇa of Rāmacandra and Guṇacandra (ND.), Ed. in GOS.
Nāṭyaśāstra of Bharata (NŚ). Chapters I-XIV. Ed. J. Grosset, Paris, Lyons, 1898; Chapters I-XX. ed. R. Kavi, Baroda, 1926, 1936. Numbering of couplets in this work is often wrong. In case of chapters I-III this has been corrected, but in case of other chapters wrong numbers have been retained and in some cases where confusion may occur, pages have also been referred to. The edition of Sivadatta and Parab (Bombay, 1894), and the Chowkhamba edition (Benares, 1926) have also been used.
Pañcarātra of Bhāsa (Pañca). Ed. Devadhar in BhNC.
Pañcatantra of Viṣṇuśaraman, Chowkamba, Benares, 1930.
Pāṇinīya-śikṣā (PS.), Ed. Manomohan Ghosh, Calcutta, 1938.
Pratijñā-yaugandharāyaṇa of Bhāsa (Pratijñā.), Ed. Devadhar in BhNC.

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Pratimānāṭaka of Bhāsa (Pratimā.) Ed. Devadhar in BhNC.
Bālacarita of Bhāsa (Bāla.), Ed. Devadhar in BhNC.
Bhāvaprakāśana of Śāradātanaya (BhP.) Ed. in GOS.
Bhāsa-nāṭaka-cakra (Plays ascribed to Bhāsa), critically edited by C. R. Devadhar, Poona, 1937. References are to acts, verse passages and lines after them, e.g. Svapna, I. 12, 23 indicates the twenty-third line afrer the twelfth verse in act I of Svapnavāsavadattā
Vikramorvaśīya of Kālidāsa (Vikram.). Ed. S. P. Pandit. (Bombay Sanskrit Series), Bombay, 1898.
Veṇīsaṃhāra of Bhaṭṭanārāyaṇa (Veṇī.). Ed. K. S. Parab and W. L. S. Pansikar, Bombay, 1930.
Raghuvaṃśa of Kālidāsa (Raghu.). Ed. K.P. Parab and W.L.S. Pansikar, Bombay, 1932.
Ratnāvalī of Śrīharaṣa (Ratnā.), Ed. M. K. Jogelkar, Bombay 1925.
Śakuntalā of Kālidāsa (Śak.) Ed. Isvara chandra Vidyasagar, Calcutta.
Saṃgītaratnākara of Śārṅgadeva (SR.). Ānandāśrama edition.
Sāhityadarpaṇa of Viśvanātha Kavirāja (SD.) Ed. Jivananda Vidyasagar.
Svapnavāsavadattā of Bhāsa (Svapna.), Ed. Devadhar in BhNC.
Harṣacarita of Bāṇabhaṭṭa, Ed. P. V. Kane, Bombay, 1912.

CONTENTS

PREFACE	...	...	VII
LIST OF ABBREVIATIONS AND SYMBOLS		...	IX
BIBLIOGRAPHY	...	...	XII
INTRODUCTION	...	...	XXXVII

I. The Present Work, p. XXXVII; 1. General History of the Study, p. XXXVII; 2. Basic Text, p. XL; 3. Translation, p. XLI; 4. Notes to the Translation, p. XLI.

II. The Ancient Indian Theory of Drama, p. XLII; 1. The Meaning of Nāṭya, p. XLII; 2. The Dramatic Conventions, p. XLIV; 3. The Time and Place of Drama, p. XLV; 4. The Unity of Imperession, p. XLV; 5. Criticism of Drama, p. XLV; 6. The Four Aspects of Drama. p. XLVIII.

III. Literary Structure of the Ancient Indian Drama, p. XLIX; The Ten Types of Play. The Nāṭaka, p. XLIX; (a) Subject-matter and the division into Acts, p. XLIX; (b) Explanatory Devices. p. LI; (i) Introductory Scene, p. LI; (ii) The Intimating Speech, p. LI; (iii) The Supporting Scene, p. LI; (iv) The Transitional Scene, p. LI; (v) The Anticipatory Scene, p. LI; (c) The Plot and its Development, p. LI; The Prakaraṇa, LII; The Samavakāra, p. LII; The Īhāmṛga, p. LIII; The Ḍima, p. LIII; The Vyāyoga, p. LIII; The Utsṛṣṭikāṅka, p. LIII; The Prahasana, p. LIII; The Bhāṇa, p. LIV; The Vīthī, p. LIV. 2. Diction of Play, p. LIV; (a) The Use of Metre, p. LIV; (b) Euphony, p. LIV; (c) Suggestive or Significant Names, p. LV; (d) Variety of Languages Dialects, p. LV.

IV. The Ancient Indian Drama in Practice, p. LV; 1. Occasions for Dramatic Performance, p. LV; 2. The Time for Performance, p. LVI; 3. The Playhouse, p. LVII; 4. The Representation, p. LVIII. (a) The Physical Representation, p. LVIII; (b) The Vocal Representation, p. LXI; (c) The Costumes and Make-up, p. LXI; (d) The Temperament, p. LXIII.

V. Literature on the Ancient Indian Drama, p. LXIV; 1. The Early Writers: Śilālin and Kṛśāśva, p. LXIV; 2. The Socalled Sons of Bharata (a) Kohala, (b) Dattila, (c) Śātakarṇi (Śātakarṇa, Śālikarṇa), (d) Aśmakuṭṭa and Nakhakuṭṭa, (e) Bādarāyaṇa (Bādari), p. LXIV; 3. Sam-

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grahakāra, p. LXV ; 4. The Present Text of the Nāṭyaśāstra, p. LXV ; 5. Medieval Writers on Drama, (a) Nandi (Nandikeśvara), Tumburu, Viśākhila and Cārāyaṇa, (b) Sadāśiva, Padmabhū, Drauhiṇi, Vyāsa, and Āñjaneya, (c) Kātyāyana, Rāhula and Garga, (d) Śakaligarbha and Ghaṇṭaka, (e) Vārtika-kāra-Harṣa, (f) Mātṛgupta, (g) Subandhu, (h) Compilers of the Agnipurāṇa and the Viṣṇudharmottara, pp. LXV-LXVII ; (6) Late Literature on Drama. (a) Daśarūpa, (b) Nāṭakalakṣaṇaratnakośa, (c) Nāṭyadarpaṇa, (d) Ruyyaka's Nāṭakamīmāṃsā, (e) Bhāvaprakāśana, (f) Sāhityadarpaṇa and Nāṭakaparibhāṣa, pp. LXVII-LXX.

VI. The Natyasastra : The Text and its Commentaries, p. LXXI ; 1. Its Author, p. LXXI ; 2. The two Recensions, p. LXXI ; 3. Unity of the Nāṭyaśāstra, p. LXXII ; 4. Its Scope and Importance, p. LXXIV ; 5. Its Style and Method of Treatment, p. LXXIV ; 6. The Early Commentators : Ācārya Kīrtidhara, and Bhāṣyakāra Nānyadeva (b) Bhaṭṭa Udbhaṭa, (c) Bhaṭṭa Lollaṭa, (d) Śrī Śaṅkuka, (e) Bhaṭṭa Nāyaka, (f) Bhaṭṭa Yantra, p. LXXV ; 7. Bhaṭṭa Abhinavagupta, p. LXXVI.

VII. Data of India's Cultural History in the Natyasastra, p. LXXVIII ; 1. Language, p. LXVIII ; 2. Literature, p. LXXVIII ; 3. Art, p. LXXVIII ; 4. Metrics, p. LXXIX ; 5. Poetics, p. LXXIX ; 6. Costumes and Ornaments, p. LXXIX ; 7. Mythology, p. LXXIX ; 8. Geography, p. LXXX ; 9. Ethnological Data, p. LXXX ; 10. Ars Amatoria, p. LXXX ; 11. Arthaśāstra, p. LXXX ; 12. Psychology, p. LXXXI.

VIII. The Date of the Natyasastra, p. LXXXII ; 1. The Geographical Data, p. LXXXII ; 2. The Nāṭyaśāstra earlier than Kālidāsa, p. LXXXII ; 3. The Mythological Data, p. LXXXIII ; 4. The Ethnological Data, p. LXXXIII ; 5. The Epigraphical Data, p. LXXXIII ; 6. The Nāṭyaśāstra earlier than Bhāsa, p. LXXXIV.

THE NĀṬYAŚĀSTRA (Translation)

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C H A P T E R O N E

THE ORIGIN OF DRAMA, Pages 1-17

1. Salutation, p. 1 ; 2-5. Sages question, p. 1 ; 6-23. Bharata answers, pp. 2-5 ; 24-25. The Nāṭyaveda and Bharata’s one hundred sons, pp. 5-6 ; 26-40. Names of Bharata’s one hundred sons, pp. 6-7 ; 41. Performance begins with three Styles, p. 7 ; 42-45. Need of the Kaiśikī Style, p. 7-8 ; 46-47. Creation of Apsarasas for practising the Kaiśikī Style, p. 8 ; 47-50. Names of Apsarasas, p. 8 ; 50-53. Svāti and Nārada engaged to help Brahman, pp. 8-9 ; 53-58. The Banner Festival of Indra and the first production of a play, p. 9 ; 58-63. The pleased gods reward Bharata’s party, pp. 9-10 ; 64-66. Vighnas attack the actors, pp. 10-11 ; 67-68. Indra comes to their protection, p. 11 ; 69-75. The Origin of the Jarjara, p. 11 ; 75-81. The Origin of the first playhouse, pp. 11-12 ; 82-97. Different gods asked to protect different parts of the playhouse as well as the actors, pp. 12-13 ; 98-105. Brahman pacifies the Vighnas, pp. 13-14 ; 106-121. Characteristics of a drama, pp. 14-16 ; 122-129. Offering Pūjā to the gods of the stage, pp. 16-17.

C H A P T E R T W O

DESCRIPTION OF THE PLAYHOUSE, Pages 18-32

1-3. Introduction, p. 18 ; 4-8. Three types of playhouse, pp. 18-19 ; 8-11. Three sizes of the playhouse, pp. 19 ; 12-16. The table of measurement, p. 20 ; 17. The playhouse for mortals, p. 20 ; 18-23. Disadvantage of a too big playhouse, pp. 20-21 ; 24-26. Selection of a suitable site, p. 21 ; 27-28. Measurement of a site, pp. 21-22 ; 28-33. Taking up the string for measurement, p. 22 ; 33-35. The ground plan of the playhouse, p. 22 ; 35-43. The ceremony of laying the foundation, pp. 23-24 ; 43-63. Raising pillars of the playhouse, pp. 24-26 ; 63-67. The Mattavāraṇī, pp. 26-27 ; 68-74. The stage, pp. 27-28 ; 75-85. Decorative work in the stage, pp. 28-30 ; 86-100. Description of a square playhouse, pp. 30-32 ; 101-104. Description of a triangular playhouse, p. 32.

C H A P T E R T H R E E

PŪJĀ TO THE GODS OF THE STAGE, Pages 33-44

1-10. Consecration of the playhouse, pp. 33-34 ; 11-16. Offering Pūjā to the Jarjara, pp. 34-35 ; 17-20. Installation of gods, p. 35 ; 20-32. The Maṇḍala for installing the gods, pp. 35-36 ; 33-39. Offering Pūjā to the gods, p. 37 ; 40-73. Consecration of the Mattavāraṇī, pp. 37-40 ; 73-81. Consecration of the Jarjara, p. 41 ; 81-87. Homa or pouring ghee into sacrificial fire, pp. 41-42 ; 87-89. Breaking the jar, p. 42 ; 89-93. Illumination of the stage, pp. 42-43 ; 93-97. Good results of consecrating

C

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the stage, p. 43; 98-101. Evils following non-consecration of the stage, pp. 43-44.

CHAPTER FOUR

THE CLASS DANCE, Pages 45-75

1-14. Brahman writes the first play and gets it performed, pp. 45-46; 14-16. Two kinds of Preliminaries, pp. 46-47; 16-27. The Aṅgahāras, p. 47; 28-29. Uses of Aṅgahāras, p. 47; 29-61. The Karaṇas, pp. 47-49; 62-169. Definition of 108 the Karaṇas, pp. 49-60; 170-245. Definition of the Aṅgahāras, pp. 60-65; 246-252. The Recakas, pp. 65-66; 253-264. The Piṇḍībandhas, pp. 66-68; 265-272. The Sages speak on the use of dance, pp. 68-69; 273-274. The Vardhamānaka, p. 69; 275. The Āsārita, p. 69; 276. The Upohana, p. 69; 277-294. Entry of female dancers and the four kinds of Piṇḍīs, pp. 69-72; 295-308. The Chandakas, pp. 72-73; 309-310. The gentle dance, p. 73; 311-314. Occasions suited to dance, pp. 73-74; 315-320. Occasions when dances are prohibited; p. 74; 321-324. Playing of drums, pp. 74-75; 325-328. When drums are not to be played, p. 75

CHAPTER FIVE

THE PRELIMINARIES OF A PLAY, Pages 76-99

1-4. The sages question, 76; p. 5-6. Bharata answers, p. 76; 7. Preliminaries defined, p. 76; 8-16. Parts of the Preliminaries, pp. 76-77. 17. Pratyāhāra, and Avataraṇa, pp. 78; 18. Ārambha, and Āśrāvaṇā, pp. 78; 19. Vaktrapāṇi, Parighaṭṭanā, p. 78; 20. Saṃghoṭanā, Mārgāsārita, p. 79. 21. Āsārita and the Application of Songs, p. 79; 22-23. Utthāpana, p 79; 23-24. The Walking-round, p. 79; 24-25. The Benediction, 79; 25-26. Śuṣkāvakṛṣṭā Dhruvā, pp. 80; 26-27. Raṅgadvāra, p. 80; 27-28. The Cārī and the Mahācārī, p. 80; 28-29. Three Men's Talk, p. 80; 29-30. The Laudation, p. 80; 30-32. Origin of Bahirgīta and its justification, pp. 80-81; 33-36. Daityas and Rākṣasas provoked to jealousy, p. 81; 37-38. The gods approach Nārada to stop the Nirgīta, p. 81; 38-44. Nārada pacifies the gods, p. 82; 44-59. The gods are pleased with the Nirgīta (Bahirgīta), pp. 82-83; 60-64. Songs in pure Preliminaries, p. 84; 65-66. The first Walking-round, p. 84; 67-76. The second Walking-round, pp. 84-86; 77-84. The third Walking-round, pp. 86-87; 84-89. The fourth Walking-round, p. 87; 89-101. The Parivartanī Dhruvā, pp. 87-89; 101-104. The Fourth Man enters, p. 89; 104-107. Singing of the Avakṛṣṭā Dhruvā, pp. 89-90; 107-113. Examples of the Benediction, pp. 90-91; 113-116. An example of Śuṣkāvakṛṣṭā Dhruvā, p. 91; 116-119. Raṅgadvāra, p. 91; 119-127. Cārī, pp. 92-93; 127-137. Mahācārī, pp. 93-94; 137-141. The Three Men's Talk, p. 94; 141-142. The Laudation, pp. 94-95;

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143-154. The Tryasra Preliminaries, pp. 95-96 ; 155-166. The Mixed Preliminaries, pp. 96-97 ; 167-179. Introduction of a play, pp. 97-99.

C H A P T E R S I X

THE SENTIMENTS, pages 100-117

1-3. The sages question, p. 100 ; 4-8. Bharata answers, pp. 100-101 ; 8-14. Digest, Memorial Verse and Etymology defined, pp. 101 ; 15-16. The eight Sentiments, p. 102 ; 17-21. The Dominant States, p. 102 ; 22. The eight Temperamental States. pp. 102-103 ; 23. The four kinds of Histrionic Representation, p. 103 ; 24. The two Practices and the four Styles, p. 103 ; 25-26. The four Local Usages, and the Success, p. 104 ; 27-29. The notes, and the four kinds of musical instrument. p. 104 ; 29-31. The five kinds of Dhruvā, pp. 104-105 ; 31-33. The Sentiments explained, pp. 105-136 ; 33-38. The relation between the Sentiment and the States, p. 106-107 ; 38-43. The eight Sentiments from the four original ones, p. 107-108 ; 44-45. The presiding deities of the Sentiments, p. 108 ; 45-48. The Erotic Sentiment, pp. 108-110 ; 48-55. The Comic Sentiment, pp. 110-111 ; 56-57. Of persons of the middling type, p. 111 ; 58-61. Of persons of the inferior type, pp. 111-112 ; 61-63. The Pathetic Sentiment, p. 112 ; 63-66. The Furious Sentiment, pp. 112-113 ; 66-68. The Heroic Sentiment, p. 114 ; 68-72. The Terrible Sentiment. pp. 114-115 ; 72-74. The Odious Sentiment, pp. 115 ; 74-76. The Marvellous Sentiment, p. 116 ; 77. The three kinds of the Erotic, the Comic and the Terrible Sentiments, p. 116 ; 78. The three kinds of the Pathetic Sentiment, p. 116 ; 79. The three kinds of the Heroic Sentiment, pp. 116-117, 80. The three kinds of the Terrible Sentiment, 117. 81. The three kinds of the Odious Sentiment, p. 117 ; 82-83. The three kinds of the Marvellous Sentiment, p. 117.

C H A P T E R S E V E N

THE EMOTIONAL AND OTHER STATES, Pages 118-147.

1-3. Bhāvas (States) explained, p. 118 ; 3-4. Vibhāvas (Determinants) explained, pp. 118-119 ; 4-6 Anubhāvas (Consequents) explained, p. 119 ; 6-7. The three kinds of State ; Dominant, Transitory and Temperamental, pp. 119-120 ; 7-8. Difference between the Dominant and the other States pp. 120-121 ; 8-9. Love, p. 121 ; 9-10. Laughter, p. 121 ; 10-14. Sorrow, p. 122 ; 14-20. Anger, pp. 122-123 ; 20-21. Energy, pp. 123-124 ; 21-25. Fear, p. 124 ; 25-26. Disgust, p. 125 ; 26-27. Astonishment p. 125 ; 27-29. The Transitory States, pp. 125-126 ; 27-30. Discouragement, p. 126 ; 30-32. Weakness, pp. 126-127 ; 32-35. Apprehension, pp. 127 ; 35-37. Envy, pp. 127-128 ; 37-46. Intoxication, pp. 128-129 ; 46-47. Weariness, p. 129 ; 47-48. Indolence, pp. 129-130; 48-49. Depression, p. 130 ; 49-51. Anxiety, p. 130 ; 51-53. Distraction, pp. 130-131 ; 53-55.

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. hand gestures, p. 185 ; 166-167. Spheres of hand gestures, p. 186 ; 168-177. The quantity of gestures, pp. 186-187 ; 178-204. The Dance-hands, pp. 187-189 ; 205-211. The four Karaṇas of the hands, pp. 189-190 ; 212-214. The movements of arms. p. 190.

C H A P T E R T E N

THE GESTURES OF OTHER LIMBS, Pages 191-196.

1-9. The breast, pp. 191 ; 10-15. The sides, p. 192 ; 16-17. Uses of the sides, p. 192 ; 18. The belly. p. 192 ; 19-20. Uses of the belly, pp. 192-193 ; 21-24. The waist, p. 193 ; 25-26. Uses of the waist, pp. 193-194 : 27-31. The thigh, p. 194 ; 32-33 Uses of the thigh, p. 194 ; 34-37. The shank, pp. 194-195 ; 38-40. Uses of the shank, p. 165 ; 41-51. The feet and their uses, pp. 195-196 ; 52-54. The Cārīs, p. 196.

C H A P T E R E L E V E N

THE CĀRĪ MOVEMENTS, Pages 197-206

1-3. Definitions, p. 197 ; 4-6. Uses of the Cārīs, p. 197 ; 7-12. The thirtytwo Cārīs, pp. 197-198 ; 13-28. The earthly Cārīs, pp. 198-199 ; 29-49. The aerial Cārīs, pp. 199-201 ; 50-71. The Sthānas, pp. 201-203 ; 71-88. The four Nyāyas in using weapons, pp. 203-205 ; 88-91. The Sauṣṭhava, p. 205 ; 91-92. The Caturasra, p. 205 ; 92-94. The four acts relating to the bow, p. 205 ; 94-96. The method of exercise, pp. 205-206 ; 96-100 Health and nourishment of persons taking exercise ; p. 206.

C H A P T E R T W E L V E

THE MAṆḌALA MOVEMENTS, Pages 207-212

1-5. The Maṇḍalas, p. 207 ; 6-41. The aerial Maṇḍalas, pp. 207-210 ; 42-68. The earthly Maṇḍalas, pp. 210-212.

C H A P T E R T H I R T E E N

THE DIFFERENT GAITS, Pages 213-237

1. Gaits for different characters, p. 213 ; 2-3. Entrance of dramatis personae, p. 213 ; 4-7. Posture for superior and middling characters at the entrance, p. 213 ; 8-10. The interval of their feet, pp. 213-214 ; 10-11. The time for their steps, p. 214 ; 12-14. The tempo of their Gait, p. 214 ; 15-24. The natural Gait, pp 214-215 ; 25-29 Gait of kings, p, 216 ; 30-34. Gait under special conditions, p. 216 ; 35-40. Tempo of Gaits under special conditions, pp. 217 ; 41-48. Gait in the Erotic Sentiment, pp. 217-218 ; 48-54. Gait in the Terrible Sentiment, p. 218 ; 54-56. Gait in the Odious Sentiment, p. 218 ; 57-58. Gait in the Heroic Sentiment, pp. 218-219 ; 59-60. Gait in the Marvellous and the Comic Sentiments, p. 219 ; 61-69. Gait in the Pathetic Sentiment, pp. 219-220 ; 70-75. Gait (of inferior characters) in the Terrible Sentiment, p. 220 ; 76-78. Gait of

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merchants and ministers, p. 220 ; 79-86. Gait of ascetics and sectarians, pp. 220-221 ; 87. Gait of a person in darkness, p. 221 ; 88-92. Gait of one riding a chariot, pp. 221-222 ; 92-95. Gait while moving in the sky, p. 222 ; 96-100. Gait in ascending a lofty palace, p. 222 ; 101-104. Gait in getting down into a lower place, pp. 222-223 ; 105-107. Gait in travelling by boat, p. 223 ; 108. Gait in riding a horse, p. 223 ; 109. Gait of serpents, p. 223 ; 110. Gait of a Parasite, p. 224 ; 112-114. Gait of the Kāñcukīya, p. 224 ; 115-117. Gait of emaciated, sick and fatigued persons, p. 225 ; 118. Gait of a person walking a long distance, p. 225 ; 119-120. Gait of a corpulent person p. 225 ; 121-122. Gait of intoxicated persons, p. 225 ; 123-130. Gait of a lunatic, p. 225 ; 131-136. Gait of lame men, cripples and dwarfs, p. 226 ; 137-146. Gait of the Jester, pp. 226-227 ; 146-148. Gait of manials, p. 227 ; 148-149. Gait of Śakāra, p. 228 ; 150. Gait of lowly persons, p. 228 ; 151. Gait of the Mleccha tribes, p. 228 ; 152. Gait of birds ; 153-158. Gait of lions, bears and monkeys, pp. 228-229 ; 159-171. Walking postures of women, pp. 230-229 ; 171-177. Gait of women, p. 230 ; 177-179. Gait of young women, p. 231 ; 179-181. Gait of aged women, p. 231 ; 181-183. Gait of handmaids, p. 231 ; 183-186. Gait of half-women, p. 231 ; 186-187. Gait of children, p. 242 ; 187-181. Gait of hermaphrodite, p. 232 ; 188-189. Gait in the change of a role, p. 232 ; 189-191. Gait of persons in disguise, p. 232 ; 192-193. Gait of the tribal women, p. 232 ; 193-195. Gait of women ascetics ; pp. 232-233 ; 195-199. Sitting postures for men and women, p. 233 ; 196-197. Sitting at ease, p. 233 ; 197-198. Sitting in a thinking mood, p. 233 ; 198-199. Sitting in sorrow, p. 233 ; 199-200. Sitting in fainting and intoxication, p. 233 ; 200-201. Sitting in shame and sleep, p. 234 ; 201-202. Sitting on ceremonial occasions, p. 234 ; 202-203. Sitting in pacifying a beloved woman, p. 234 ; 203-206. Sitting in worshipping a diety, p. 234 ; 206-207. Seats for different characters, p. 234 ; 208-210. Seats for male characters, p. 235 ; 210-214. Seats for female characters, p. 235 ; 215-216. Seats for ascetics and sectarians, p. 235 ; 217-220. General rules about seats, p. 236 ; 221-228. Lying-down postures, pp. 236-237.

C H A P T E R F O U R T E E N

THE ZONES AND THE LOCAL USAGES, Pages 238-247

1. The Zones, p. 238 ; 2. The arrangement of drums, p. 238 ; 3. The Zonal division, p. 238 ; 4-7. Utility of the Zonal division, p. 238 ; 8-10. Indicating relative location on the stage, p. 239 ; 11. The east on the stage, p. 239 ; 12-15. The rule of exit, p. 232 ; 16. Indication of rank in group walking, p. 239 ; 17. Indicating distance great, small and medium, p. 240 ; 18-20. Movements of gods and demigods p. 240 ; 21. Movement of men in Bhāratavarṣa, p. 240 ; 22. Departure for a distant place,

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p. 240 ; 23-32. Time allowed for the events of an Act, pp. 240-241 ; 32-35. Movements of gods, p. 241 ; 36. The four Local Usages, pp. 241-242 ; 37-39. The Dākṣiṇātyā Local Usages, pp. 242-243 ; 40-42. The Āvanti Local Usage, p. 243 ; 43-46. The Oḍra-Māgadhī Local Usage, 243 ; 47-49. The Pāñcāla-Madhyamā Local Usage, p. 244 ; 50-55. The two-fold entrance in observing Local Usage, p. 244 ; 50. The two General types of plays, p. 245. 57-60. The violent type, p. 245 ; 61. The delicate type, p. 245 ; 62. The two Practices, p. 245 ; 63-64. The realistic Practice, pp. 245-246 ; 65-78. The conventional Practice, pp. 246-247.

C H A P T E R F I F T E E N

RULES OF PROSODY, Pages 248-261

1. The actor's speech, p. 248 ; 2-4. Importance of speech in drama, p. 248 ; 5. The two kinds of recitation, p. 248 ; 6-7. Different aspects of Recitation, p. 249 ; 8. The speech-sounds, p. 249 ; 9-19. Consonants ; their articulation, pp. 249-251 ; 20. Vowels ; their quantity, p. 251 ; 21-22. The four kinds of word, p. 252 ; 23-25. The noun, pp. 252-253 ; 26-27. The verb, p. 253 ; 28. The particle, p. 254, 29. The affixes, p. 254 ; 30. The nominal affix, p. 254 ; 31. The case-ending, p. 255 ; 32-33. The euphonic combination, p. 255 ; 34-35. The compound words, pp. 255-256 ; 36. The two kinds of word, p. 256 ; 37. Words in prose, p. 256 ; 38. Words in verse, p. 256 ; 39. Syllabic metres, p. 256 ; 40-42. Rhythm-types, pp. 256-257 ; 43-49. Twenty-six Rhythm-types, p. 257 ; 49-79. Possible metrical patterns, pp. 257-258 ; 79-89. Another method of defining metres, pp. 258-259 ; 89-90. The regular couplet, p. 259 ; 90-91. The stop and the foot, pp. 259-260 ; 93. Quality of syllables, colours of metres, p. 260 ; 94-95. Pitch of vowels, p. 260 ; 95-97, Three kinds of syllabic metres, p. 260 ; 98-102. Classes of metres, p. 261.

C H A P T E R S I X T E E N

METRICAL PATTERNS, Pages 262-292

1-2. Tanumadhyā, p. 262 ; 3-4 Makaraka-śīrṣā, p. 262 ; 5-6. Mālatī, p. 263 ; 7-8. Mālinī, p. 263 ; 9-10. Uddhatā, pp. 263-264 ; 11-12. Bhramaramālikā, p. 264 ; 13-14. Siṃhalekhā, p. 264 ; 15-16. Mattaceṣṭita, pp. 264-265 ; 17-18. Vidyullekhā, p. 265 ; 19-20. Cittavilashita, pp. 265-266 ; 21-22. Madhukarī, p. 266 ; 23-24. Kuvalayamālā, p. 266 ; 25-26. Mayūrasāriṇī, pp. 266-267 , 27-28. Dodhaka, p. 267 ; 29-30. Moṭaka, pp. 267-268 ; 31-32. Indravajrā, p. 268 ; 33-34. Upendravajrā, pp. 268-269 ; 35-36. Rathoddhatā, p. 269 ; 37-38. Svāgatā, pp. 269 ; 39-40. Śālinī, p. 270 ; 41-42. Toṭaka, p. 270 ; 43-44 Kumudanibhā, pp. 270-271 ; 45-46. Candralekhā, p. 271 ; 47-48. Pramitākṣarā, pp. 371-272 ; 49-50. Vaṃśasthā, p. 272 , 51-52. Hariṇaplutā, pp. 272-273 ; 53-54. Kāmadattā, p. 273 ; 55-56. Aprameyā, p. 273-274 ; 57-58. Padminī, p. 275 ; 59-60. Paṭuvṛtta,

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addressing superiors, pp. 336-337; 9. Addressing employees, artisans and artists, p. 337; 10. Addressing persons, of respect, addressing persons of equal status p. 337; 11. The charioteer addressing the chariot-rider, Addressing an ascetic or a person with beatitude, pp. 337-338; 12. Addressing princes, Addressing inferior persons, p. 338; 13. Addressing persons by their occupation or birth, p. 339; 14. Addressing a son or a disciple p. 339; 15. Addressing Buddhist and Jain monks, Addressing persons of other sects, p. 339; 16. People addressing the king, pp. 339-340; 17-18. Sages addressing the king, The Jester addressing the king, The Jester addressing the queen, her maids, and the king addressing the Jester, p. 340; 19. Women addressing their husband, p. 341; 20. Addressing the elder and the younger brothers, p 341; 21. Modes of addressing women and female ascetics and goddesses, p. 341; 22. Addressing wives of senior persons, and elderly ladies, Addressing an accessible woman and an old lady, pp. 341-342; 23-24. Addressing king's wives, p. 342; 25. Addressing unmarried princesses and a sister, pp 342-343; 26. Addressing a Brahmin lady, a nun or a female ascetic, addressing one's wife, p. 343; 27. Women addressing their equals, addressing a hand-maid, p. 343; 28. Addressing a courtezan, p. 343; 29. Addressing the wife in love-making, p. 344; 30. Giving names to different characters in a play, p. 344; 31. Names of Brahmins and Kṣatriyas, p. 344; 32. Naming merchants and warriors, p. 344; 33. Naming king's wives and courtezans, p. 345; 34. Naming handmaids and menials, p. 345; 45. Naming superiors, p. 345; 37-37a. Naming other persons, p. 345; 37-38. Qualities of Recitation, p. 346; 38-40. Seven notes to suit different Sentiments, p. 346; 40-43. Uses of the three voice registers, p. 346; 43. Uses of the four accents, p. 347; 43-44. Two ways of intonation, p. 347; 45. The Six Alaṃkāras, p. 348; 45 57. Uses of the six Alaṃkāras, pp. 348-350; 58-59. Intonation in different Sentiments, Six limbs of enunciation, pp. 350-351; 59-60. Pause defined, pp. 351-352; 60-61. Uses of Pause, p. 352; 62-67. Hands in connexion with Alaṃkāras and Pause, p. 352; 68-78. Drawn-out syllables and their use, pp. 353-354.

C h a p t e r T w e n t y

TEN KINDS OF PLAY, Pages 355-379

1-9. Tenfold division of plays and their structure, p. 3 55; 10-12. The Nāṭaka, p. 356; 13-18. The Act, pp. 356-357; 19-26. Incidents not directly presentable in an Act, pp. 358-359; 27-35. The Introductory Scene, pp. 359-360; 36-38. The Supporting Scene, pp. 360-361; 39-40. Number of dramatis personae, p. 361; 41-42. Introducing chariots and palaces on the stage, pp. 361-362; 43-47. Introducing an army on the stage p. 362; 48-50. The Prakaraṇa, pp. 262-364; 59-63. The Nāṭikā, pp. 364-365; 64-66. The Samavakāra, pp. 365-366; 67. The first act of the

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Pleasure, p. 408 ; 55-56. The Energetic Style, p. 408 ; 57. The four varieties of the Energetic Style, p. 408 ; 58. Compression, pp. 408-409 ; 49. Commotion, p. 409 ; 60. Raising the Theme, p. 409 ; 61-62. Conflict p. 409 ; 63-65. Styles according to Sentiments, p. 409 ;

CHAPTER TWENTYTHREE

THE COSTUMES AND MAKE-UP, Pages 410-439

1-3. Necessity of the Costumes and Make-up, 410 ; 4. Four kinds of Costumes and Make-up, p. 410. 5-8 The four kinds of model-work, pp. 410-411 ; 9. Decoration, p. 411 ; 10. Garlands, p. 411 ; 11. Four kinds of ornament, p. 411 ; 12. Piercing ornaments, Tied-up ornaments, p. 411 ; 13. Worn ornaments, Put-round ornaments, p. 412 ; 14. Ornaments according habitation and tribal origin, p. 412 ; 15. Ornaments for males : Head ornaments, Ear ornaments, p. 412 ; 16. Neck ornaments, Finger ornaments, pp. 412-413 ; 17. Ornaments of the forearm, Wrist ornaments, p. 413 ; 18. Ornaments above the elbow, Breast ornaments, p 143 ; 19. Ornaments for the entire body, Waist ornaments, p. 413 ; 20-23. Ornaments for females : Head ornaments, p. 419 ; 23-25. Ear ornaments, pp. 414-415 ; 26-27. Neck ornaments, p. 415 ; 28. Breast ornaments, p. 415 ; 29. Arm ornaments p. 416 ; 30. Finger ornaments, p. 416 ; 31-33. Hip ornaments, pp. 416-417 ; 34-36. Ornaments of the ankles, p. 417 ; 37-44. Other rules about ornaments, pp. 417-418 ; 45-51. Costume of celestial women p. 418-419 ; 52. Siddha women ,p. 419 ; 53. Gandharva women p. 419 ; 54. Rākṣasa women, p. 419 ; 55. Goddesses, p. 419 ; 56-57. Monkey females, pp. 419-420 ; 58. Human females according to their countries, p. 420 ; 59. Women of Avanti and Gauḍa, p. 420 ; 60 Ābhīra women, p. 420 ; 61. Women of the North-east, p. 420 ; 62-63. Women of the South, p. 420 ; 64. Ornaments to be worn in the right place, pp. 420-421; 65-67. Dresses to suit the condition of females, p. 420 ; 68. Painting the limbs, p. 421 ; 69. The four original colours, p. 421 ; 70. The derivative colours, p. 421 ; 71-74. The primary derivative colours, pp. 421-422 ; 75-80. The secondary derivative colours, p. 422 ; 81. Living beings, p. 422 ; 82. Lifeless objects, p. 422 ; 83. Lifeless objects in human form, p. 422 ; 84. Painting the limbs, p. 422 ; 85-87. Colour for gods, p. 423 ; 88-89. Colours for demigods, 90-92. Colours for human beings in different regions, p. 424 ; 93. Colours for Bhūtas and Dwarfs, p. 424 ; 94-98. Colours of different peoples of Bhāratvarṣa, p. 424 ; 99-101. Colours of different tribes, p. 425 ; 102. Colours of different castes, p. 426 ; 103-109. Rules for the beard, p. 426-427 ; 110-127. Rules for different costumes, pp. 427-429 ; 128. Use of masks, p. 429 ; 129-139. Three kinds of crown, pp. 430-431 ; 139-145. Rules of different hairs, p. 431 ; 146-148. The Sa jīva, p. 432 ; 148-155. The use of weapons, pp. 432-433 ; 156-158. Use of other objects, p. 433 ; 159. Indra's Banner-staff, p. 433 ; 160-167. The Jarjara, pp. 433-434 ; 167-170.

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The Daṇḍakāṣṭha, p. 434; 170-180. The making of masks, pp. 435-436; 180-187. Other accessories, p. 436; 187-198. The realistic and conventional objects, p. 437; 198-208. Making of ornaments, pp. 438-439; 208-211. Use of weapons on the stage, p. 439.

C H A P T E R T W E N T Y F O U R

THE BASIC REPRESENTATION, Pages 440-482

1-2. Importance of Temperament p. 440; 3. The definition of Temperament, p. 440; 4-5. Feminine graces in the drama, pp. 440-441; 6. Physical graces of women, p. 441; 7. The origin of these graces, p. 441; 8. Feeling, p. 441; 9-10. Emotion, p. 441; 11. Passion, p. 441; 12-13. Natural Graces of women, p. 442; 14. Sportive Mimicry, p. 442; 15. Amorous Gestures, p. 442; 16. Dishabille, p. 442; 17. Confusion, p. 442; 18. Hysterical Mood, p. 443; 19. Manifestation of Affection, p. 443; 20. Pretended Anger, p. 443; 21. Affected Coldness, p. 443; 22. Lolling, p. 443. 23. Want of Response, p. 443; 24. Involuntary Graces of women, p. 444; 25. Beauty, p. 444; 26 Charm, Radiance, p. 444; 27. Delicacy p. 444; 28. Self-control, p. 444; 29-30 Courage, Dignity, p. 444-445; 31. Eight aspects of the male Temperament, p. 445; 32. Brilliant Character, p. 445; 33. Graceful Bearing, p. 445; 34. Self-possession, p. 445; 35. Tenacity, pp. 445-446; 36. Gravity, p. 446; 37. Sportiveness, p. 446; 38. Nobility, p. 446; 39. Spirit, p. 446; 40-41. Histrionic Representation through the body, p. 446; 42. Word, p. 447; 43. Sūcā, p. 447; 44. Aṅkura, p. 447; 45. Śākhā, p. 447; 46-47. Nāṭyāyita, p. 447; 48. Nivṛtyaṅkura, p. 448; 49-51. Twelve forms of the verbal Rerpesentation, p 448; 52. Accosting, Prattling, p. 448; 53. Lament, Repeated Speaking, p. 448; 54. Dialogue, Change of Words, pp. 448-449; 55. Message, Agreement, p. 449; 56. Command, Pretext, p. 449; 57. Instruction, Statement, p. 449; 58-71. Another classification of the Verbal Representation, pp. 449-451; 72-73. The basic Representation, p. 451; 74-75. Regular Histrionic Representation, p. 451; 76-77. Irregular Histrionic Representation, p. 451; 78. Lakṣaṇa defined, p. 452; 79. Practice preferred to the Śāstra, p. 452; 80. Representation of the sensual perception, p. 452; 81. Sound, p. 452; 82. Touch, p. 452; 83. Form, p. 452; 84-85. Taste and Smell, pp. 452-453; 86. Importance of the mind, p. 453; 87. The three aspects of the of the mind p. 453; 88-89. The favourable mind, p. 353; 90. The unfavourable mind, p. 453; 91-92. The indifferent mind, p. 453; 93. The meaning of "personal", and the meaning of "external", pp. 453-454; 94-95. Desire, p. 454; 95-96. Love, p. 454; 97-98. Erotic Affair, p. 454; 89-100. Various types of women, p. 454; 101-102. The woman of divine type, pp. 454-455; 103-104. The woman of Asura type, p. 455; 105-106. The woman of Gandharva type, p. 455; 107-108. The woman of

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