DATE LABEL THE ASIATIC SOCIETY. 1, Park Street, Catcurra-16. The Book is to be returned on the date last stamped : date last stamped : me age [पि 0. न, BIBLIOTHECA INDICA A GOLLECTION OF ORIENTAL ‘WORKS me THE NATYASASTRA ASGRIBED TO BHARATA-MUNI ६९ Vol, Il (Chapters > ानगन) Completely translated foy-the first timé from thé original Sanskrit with an Introductionvand Various Notes By MANOMOHAN GHOSH RWILLAMJONES| _-. THE ASIATIC socreTY ` Yesue Namber . क्श ae | ५ ¬ ^, मनीषिणि BIBLIOTHECA INDICA Work No. 272 a fs THE NATYASASTRA A TREATISE ON HINDU DRAMATURGY & HISTRIONICS ENGLISH TRANSLATION Volume II = INDICA A COLLECTION OF ORIENTAL WORKS bs [ = T THE NATYASASTRA A Treatise on Hindu Dramaturgy and Histrionics Ascribed to PuUuARATA-MUNI Vol. Il (Chapters XXVILI-XXXVI) Completely translated for the first time from the original Sanskrit with an Introduction and Various Notes By MANOMOHAN GHOSH £ RW ` Work Number 272 Issue | 1581 THE ASIATIC SOCIETY 1, PARK STREET, CALCUTTA 16 1961 PUBLISHED BY THE ASIATIC SOCIETY CALCUTTA DECEMBER 1561 Printed by Sri Kalidas Munshi, Pooran Press, 21, Balaram Ghose Street, Calcutta-4, PREFACE More than ten years have passed since Volume 1 of the translation of the NatyaSastra appeared. During this period anxious cuquiries have repeatedly been made by several readers about the coming out of Volume II. Hence I owe an explanation to them all for this inordinate delay in completing this work, Apart from other minor reasons, extremely corrupt nature of an important part of the original, compelled me to proceed slowly with the translation, and this voltume II, unlike its predecessor, being preceded by the publi- cation of the basic text, made the progress of the work slower still, But Lam sure that scholarly readers will be happy to see the text and the translation together. For this will vive them a facility in studving the Volume II closely and criliculy. It goes without saying that in the present> volume, tov, I had to offer conclusions and interpretations here and there which for lack of better materials could not be made definitive. But whatever tentative assertions I have offered, have been made alter the most careful consideration, with the expectation that they may be helptul to others working in this field. It is just possible that their number will appear to be too many in two chapters of the present volume. But this has been unavoidable. For, the very complex dramatic- cum-musical art described in the present work appears to have become obsolete more than one thousand ‘years ago. ‘The text of the Natyasastra was landed down not because professional actors needed it, but because it was considered a Veda, 1e., the Nityaveda, and as such worthy of being saved from extinction, Hence the work has somehow been preserved. But in the absence of a living tradition, it does not yield a full view of the complex art. ‘hough future researches may extend our knowledge of this, it does uot seem to be very much likely that this complex art will ever be {एर explored. Still we need not be unduly pessimistic in this matter. Kven if some minor details of this great art still elude our view, it may be confidently said that the available text of ( vi ; the NatyaSastra gives us a more or less good general picture of the Hindu dramatic art as it existed in theory and practice nearly two milleniums ago. It may be hoped that any careful reader of this translation (however imperfect it may be) will agree with me in this regard. 10th March, 1961. The Translator ( vii ) CONTENTS INTRODUCTION I. The Present Work, p.1; 1. A Short History of the Study of Indian Music, p.1; 2. ‘The Basic Text, p.4; 3. Transla- tion and Notes, p. 4. II]. The Ancient Indian Theory and Practice of Music, p.5; 1. The Indian Conception of Music, p. 5; 2. The Vocal Music, : (a) Srutis; (b) Mutual Relation of Notes, pé6; (€) Different Gramas; (त) Miirchands, p. 7; (€) The Voice-registers, p. 8; (f) The Overlapping note, p. 9; (g) The Jatis, p. 9; (h) The Jatis in connection with the Sentiments, p. 10; (i) The Dhruvas, p. 10; (j) The con- tents of Dhruvds, p. 11; (k) Metres of Dhruvids, p. 13; (1) Language of Dhruvas, p. 13; (m) The Tala and Graha of Dhruvas, p. 14; (n) Special suggestibility of Dhruvas, p. 14; 3. The Instrumental Music, p. 14; (a) The Stringed Instruments, Varnas, Alamkdras, Gitis, Dhatus, p. 15; The Vrttis, The Jatis of the Instrumental Music. The special manner of playing the Vina, p. 16; The special manner of playing the Vipajfici, playing of stringed instruments before the Preliminaries, p. 17; (9) Hollow Instruments, p. 17; (c) Covered Instruments (Instruments of Percussions ), he Vaskarana, p. 18; Music of Drums, Making of Drums, p. 19. IlJ. Literature on Ancient Indian Music. 1, Early writers (c. 600 B, C.—200 A.C.), p. 20; (a) Narada, p. 20; (b) Svati, (£) Kohala, (d) Sandilya p. 21; (€) Visakhila, (f) Dattila, p. 22; 2. The Date of the Natyasistra; 3. Early Medieval Writers on Music (200 A.C.-600 A.C.) : (8) ViSvavasu, (b) Tumburu, p. 23; (€) The Markandeyapurana, p. 24; (प) The Vayupurana, (€) NandikeSvara, p. 25; 4, Medieval writers of the Transi- tional period (600 A.C.-1000 A.C. ), 7. 25; (a) 6410018, Matatiga, Yastika, 1९855818 and Durgasakti, p. 26; 5. Late Medieval Writings (1000 A. C.-1300 A. C.): (a) The Sangita- makaranda, (9) The Raga-tarangini, p. 27, (c) The Sangita- samayasara, (त) Sangitaratndkara, p. 28. ( viii ) IV. More about the Ancient Indian Theory and Practice of Drama. ue 1, ‘The hree Types of Character. 2. The Prominent position of the Nataka, 3. The Typical Theatrical Troupe, 7. 29 ; 4. The Playwright as a Member of the Theatrical Troupe. 5. Distribution of Roles, p. 31; 6. The Principles of Personation, p. 32; 7. Special Importance of Women in Dramatic Production, 8. I:mpersonation of a king, p. 33, 9. An Ideal Director, p. 34. V. More Data of India’s Cultural History in the Natyasastra. 1. Tanguage. 2 Metre. 3. The Arthasastra, p. 35. TRANSLATION OF THE NATYASASTRA. CHAPTER TWENTYEIGHT Instrumental Music 1-2, Three classes of Instruments. p. 1; 3-6, Threefold Appli- cation of the Instrumental Music. 7. Music of all kinds embellishes the Drama, p. 2; 8&9. Characteristics of the Gandharva, 10. Sources of Gandharva, 11. Three kinds of (sandharva, p.3: 12. ‘Two Bases of Notes, 12-20: Formal Aspects of music of the Vini and the Human ‘Mhroat; Aspects of the Verbal Themes in Music, ‘I‘wenty aspects of the ‘Tala, p. 4: 21-23, {€ Seven Notes, Mutual Relation of Notes, The Sonant and the Consonant Notes, p. 5; 23. The Dissonant Notes, The Assonant Notes, p. 6; 24. Description of the ^ Grimas, p. 7 ; 25-26. Srutis in the Sadja Grama, p.8; 27-28 Srutis in the Madhyama Grama. The Miarchanis, 29-30. Miirchanis 111 the padjagrima, 31-32. Mirchanis in the Madhyamagrama, p- 9, Initial Notes of the Miirchanis in the two grAmas, 33-34. The four classes of Mfirchanais p. 10. Eightfold Tanas of the Mfrchanis, The Hexatonic ‘Tanas, The Pentatonic Tanas, The Two Ways of Tanas, p. 12; The Overlapping, ‘lwo kinds of Overlapping, The Overlapping Notes. p. 13; 36-37. The Overlapping Jati 37-39. The Jatis p. 14 ; 40-41. Seven Jatis in the padjagrama, Eleven Jatis in the Madhyama (rama, ‘Iwo kinds of Jatis, p. 15; 45-55. Modified Jatis p. 16; 56. Number of Notes in Jatis, The Jatis in Sadjagrama, the Heptatonic Jatis, the Penta- tonic Jatis, Jatis in the Madhyama (trima, the Hexatonic Jatis, p. 17 ; 63-64. The Heptatonic Jatis, 65-73. 4114885 in ( ix ) Jatis, 74. Characteristics of Jatis,p.18; 75. The Graha 76-78, The AmsSa, p. 19; 79-93. Améas of JAtis, p. 20; 94. The High Pitch Movement, 95. The Low Pitch Move- ment, p. 21; Reduction and Amplification, 96-97, Aimpli- , fication, Hexatonic Treatment, 98-99, Pentatonic Treatment, 100, The Nyasa and Apanyidsa, p.23; 101-102. Jatis with their Characteristics, 103-104. Sadja. 105-107. Arsabhi, p. 24 ; 108-110. Dhavati, 111-112. Naisidi, 112-114, Sadjakaisiki, 115-117, Naisidi, 112-114. Sadja Kaisiki, 115-117. Sadjo- dicyava, 118-121. Sadjamadhya, 7. 25; 121-123. Gandhari, 124-126. Raktagandhari, 126-127. Gandharodicyava, 128-130. Madhyama, p. 26; 131. Madhyvamodicyava, 132-134, Paficami, 135-136. Gandharapaficami, 137-139, Andhri, 140-143, Nanda- yanti, p. 27 ; 143-145, Karmiaravi, 146-151. Kaisiki, 7, 28. CHAPTER TWENTYNINE Stringed Instruments 1-16. Application of Jatis to Sentiments, p. 29 ;- 17-22, Four Varnas, p. 31; 23-28. The Thirtynine Alamk&ras, p. 33; 29-30. The Monotonic Alainkiras. 31-32, The Mixed Alamk§aras, 33-34. The Ascending Alamkdras, 35-43. The Descending Alamkiras, 44-76. The Definition of the Alamnkaras. p. 35; 77-81. Alamkiras depending on the Giti. p. 39 ; 82. Dhatus, 83-90. The Vistira Dhiatus, p. 40 ; 91-92. The Karana Dhatus, 93-94. 11९ Abiddha Dhatus, 95-102. The Vyafijana Dhatus, p.41; 102-104. The three Vrttis, 72. 42; 105-107. The Jatis, p. 43; 108-114. Three kinds of Music of the Vina, 114-122, The Karanas of Vipajici, p. 44; 122-125. ‘Ihe Bahir-gitas, 126-130. The Aéravana p. 46; 181-36. ‘Ihe Arambha, p. 47; 137-142. The Vaktrapani, p. 47; 143-147, The Samghotand, p. 48 ; 148-150. The Parighattand, 151-154. The Margasirita, 155-156. The Jilakrta, p. 49. CHAPTER ‘THIRTY Hollow Instruments CHAPTER THIRTY-ONE Time Measure 1-61. General terms and their Definitions, p. 53; 62-70. The Asarita, p. 60; 71-73. The medium As&rita, 74-75. The ( 1 ) १. 208 ; 29-30, ‘Iwo classes of Employment for characters, 31-34. Female Inmates of the Harem, 35-37. The Chief Queen, 2. 204 ; 38-39. Other Queens, 40-41. Other Highborn Queens, .42-43, Ordinary Wives, 44-45. Concubines, p. 205; 46-47. Craftswomen, 48-51. Actresses, 51-54. Dancers, p. 206 ; 54-55. Maids in constant Attendance, 55-57. Maids of Special Work, 57-59. Maids in Constant Move, 59-60. Errand Girls, 60-61. Mahiattaris, p. 207 ; 61-62. Pratiharis, 62-63. Maidens. 63-64. Old Daines, 64-66. Ayuktikis, 67-70. Other Women Employees in the Harein, p. 208; 70-73. Other Inmates of the Harem, 73-74. The Snitaka, 75-78. The Kaiicukiyas, 78-79. The Natakiya etc. p. 209; 79-80. ‘The Varsadharas, 80-81. The Nirmurndas, 82-83. External Persons, p. 210; 84-88. ‘The King, 89-90. ‘he Leader of the Army, 91. Chaplains and Ministers, p. 211; 92-93. Secretaries, 93-95. Judges, 95-97. Wardens of Princes, 98-99. Courtiers, p. 212. CHAPTER “PHIR’TYEIVE Distribution Of Roles 1-4. General Principles of Distribution, 5-6. “I‘he Role of Gaods, 7 8. The Role of Rakgasas ete. 9-11. Role of Kings, ‰. 214 ; 12-13. Role of Army-leaders and Secretaries, 14. Role of Kaficukiyas and Srotriyas, 15-17. The Role of Minor characters, 18. The Role of fatigued persons, p. 215; 18. ‘he Role of a person in health, 19-21, Special cases of Assigning Roles, 22-24. Role of a character with Extra and special limbs, 24. Entry of a character, 25. he Result of Impersonation, 26-27. Method of Proper: Jinpersonation, p. 216 ; 28. Three kinds of Impersonation, 29. ‘he Natural Iinpersonation, 30. ‘Ihe Unnatural Impersonation, 31-32. The Imitativé Impersonation, 33-36. Special Suitability of Men and Women, p. 217; 37. Women in Men’s Roles, 38-39. Women’s special Merit, 40-42, Training Women in special Roles, p. 218, 43-46. Results of Proper Assign- ment of Roles, 47. Types of Dramatic Production, 48-52, The Delicate Type of Production, p. 219 ; 53-56. Energetic Type of production, 57-65. ‘Ihe ‘l'ypical Impersonation of a King, p. 220; 66-71. Characteristics of a Director 72-74. Natural Qualities of a Director 7. 222; 74-75, Characteristics of an Assistant of the Director, 75-76. Characteristics of an Actor, 76-77. Characteristics of a Parasite, 78. Characteristics of the Sakara, p. 228 ; 79 ( xiii ) Characteristics of the Jester, 80. Characteristics of a Servant, 81-83. Characteristics of a Courtezan, p, 224 ; 84-86. Charac- teristics of the Typical Heroine, 86-87. Women disqualified to take up a role, 88-90. Members of a typical theatrical party, p. 225; 91. Characteristics of Bharata, 92-93. Characteristics of a Jester, 94. Characteristics of a Master-musician, 95. Meaning of the word Nata, p. 226; 96-97. ‘I‘he Benediction, 98. Definition of a Director, 99. Definition of a Playwright, 100. Definition of an Actor, 101. Definition of an Actress, p. 227; 102. The Crown- inaker, 108. ‘he Maker of Ornaments, 104. Maker of Garlands, the Vesakdra. 105. The Painter, the Dyer, and the craftsman, 106. ‘he KauSilava, p. 228; 107-109. Other members of the party, p. 228. CHAPTER THIR’TYSIX Descent of Drama on the Earth 1-15. Sages question, p. 230 ; 16-29. Bharata answers, p. 231 ; 30-32, Ablution of the Director on the stage, p. 232 ; 33-35. Bharata’s sons offended the sages, 36-42. The Sages curse Bharata’s sons, 43-44. (sods intercede in favour of Bharata’s sons, 45-46. Bharata’s sons approach their Fathet, 47-51. Bharata pacifies them, 52-54. Nalusa invites divine Artistes to the Earth, p. 234; 55-57. Gods reject the request, 58-59. Nahusa approaches Bharata, 60-63. Urvasi and the earthly Drama, 64-67. Bharata grants this request and sends his sons to the earth, 68-70. Kohala is the Successor of Bharata, 71-74, Bharata’s sous come down to the Earth, p. 236; 75-76. Kohala and 1115 associates, 77-79. Value of the Natya- Sastra, 80-82. Value of the Dramatic show, p. 237; 83. The popular practice supplements dramatic rules, The Final Benediction, p. 238, Abhi. AD. Ag. Apte. AS. Bd. Bh P. D., Dattila. DR. Ex. GS. I. GS. IT. KM. Kn. Malati. Malavi. Megh. MH. MI. MM. Mrcch. Nas. ND. Pratima. Sak. Sbh. Sd. SD. SM. SR. Svapna. Vikram. ABBREVIATIONS —Abhiseka-nataka —Abhinayadarpana —Abhinavagupta —Apte’s Sanskrit-English Dictionary —ArthaSastra of Kautilya —Brhaddesi —Bhavaprakasana of Saradatanaya —Dattila’s work on Music —DaéSarfipa —Exainple —Gitasfitrasara (Bengali) —Gitasfitrasara (English Summary) —Kavyamala Series —Catura-Kallinatha, a commentator of the Sangitaratnakara —Malatimidhava —Malavikagnimitra —Meghadiita —Music of Hindostan —Music of India —Mirror of Music —Mrechakatika —Naradiya-siksa —Natyadarpana —Pratima-nataka —Abhijiianasgakuntala —Singhabhipala, a commentator of the Sangitaratnakara —Sarngadeva —Sahityadarpana —Sangitamakaranda -——Sangitaratnakara —Svapnavasavadatta —Vikramorvasiya BIBLIOGRAPHY 1. General works Apte, V.S., The Practical Skt. English Dictionary, Bombay, 1924. Banerjee, Krishnadhan, Gita-siitrasdra (Bengali) Parts I and II with a supplement to Part I by Himansusekhar Banerji, Calcutta, 1984. Banerjee, Krishuadhan, Gita-stitrasira (English), Himansu Sekhar Banerjee’s explanation and notes on Grammar and Theory of Hindusthani Music, as spoken of in Bengali by the author in Gitasitrasdra, Calcutta, 1941. Companion to Shakespeare Studies, Cambridge, 1946. Daniélou, Alain, Northern Indian Music, Vol. I, London, Calcutta, 1949. । Ghosh, Chandra Mohan, Chhandahsara saingraha, Calcutta. (shosh, Manomohan, Contribution to the History of Hindn Drama, Calcutta, 1957. Ghosh, Santidev, Java-O-Balir Nrtya-git (Bengali), Calcutta, 1952. Gupta, Prabhat Chandra (ed.), Gitavitan-Varsiki (Bengali), Vol. I, Calcutta, 1946. Jolly, Julius, Hindu Law and Customs, Calcutta, 1929. Keith, A. B., The Sanskrit Drama, Oxford, 1924. Kommiserjvsky, Th., The Theatre, London, 1935. Popley, H. A., The Music of India, Calcutta 1950. Prajnanananda Svami, Saigita-Samskrti (Bengali) Vol. II, Calcutta, 1956. Roy, Hemendra Lal, Problems of Hindustani Music, Calcutta, 1937. Sen Gupta, N.C., Evolution of Ancient Indian Law, Calcutta, 1953. Strangways, A. H. Fox, The Music of Hindostan, Oxford, 1914, Tagore, Sourindra Mohan (ed), Hindu Music from Various Sources, Calcutta, 1875. Willard, Capt. N. Augustus, A ‘I'reatise on the Music of Hindoosthan (included in the preceding work) Winternitz, M., History of Indian Literature, Vol. 7, Cadcutta, 1927, due @ 2, Original Texts Abhinavabharati (Ag ) Chapter XXVIII—a transcript from the Oriental Institute, Baroda; Chapters XXIX-XXXI, and Chapter XXXII ( fragment )—Dr. S. K. De’s Ms. Abhinayadarpana (AD) of Nandikesvara, ed. Manomohan Ghosh, Calcutta, 1934, 2nd ed. 1957. Abhigekanataka (Abhi) of Bhasa, ed. Devadhar in Collected Works, Poona, 1937. Arthagastra of Kautilya, ed. J. Jolly, Lahore, 1923-24. Dattilam (ID) of Dattila-muni, ed. K. Sambasiva Sastri (TSS. 102) Trivandrum, 1932. N&radiya-siksa (NSS), edition in the Siksa-Samgraha, Benares, 1896. Pratimanataka (Pratima), ed. Devadhar. Prakrta-Kalpatara of Ramasarma, ed. Manomohan Ghosh, Calcutta, 1954. Prakrtanusdsana of Purusottamadeva, ed. Nitti-Dolci, Paris, 1938. Brhatkatha4-sloka-samgraha, ed. Lacote, Paris. Brhaddesi (Bd) of Matangamuni, ed. K. Sambasiva Sastri (TSS. 94), Trivandrum 1929. Bhavaprakasana (Bh P) of Siradatanaya, ed. (7.0.8. Natyadarpana (ND) of Ramacandra and Gunacandra, ed. GOS. Malavikignimitra (MAlavi), ed, S. P. Pandit, Boinbay, 1889, Malatim? dhava (Malati), ed. Nirnayasagar. Meghadiita (Megh), ed. S. Vidyaratna, Calcutta, Saka, 1821. Vikramorvadiya, (ed.J ऽ. P. Pandit, Bombay, 1898. Sakuntala (Sak). ed. Iswar Ch. Vidyasagar, Calcutta, 1872. Sangitadarpana, ed. A. A. Bake with Translation and Notes, Paris, 193 of. Sangitamakaranda of Narada, ed. M. R. Telang, Baroda, 1920, Sangitaratnikara, ed. from Anandasrama and Adyar. Sangitasamayasara of Parévadeva, TSS. Sahityadarpana, ed. Bibliotheca Indica. Svapnavasavadatta, ed. Devadhara. BhAsa’s INTRODUCTION 1. THE PRESENT WORK The Volume II of the N&tyaédstra (translation) falls into two parts: (1) Chapters XXVIII-XXXIII which are on music in its vocal as well as instrumental aspect and (2) Chapters XXXIV-XXXVI which are on residual matters concerning the production of plays, and the legendary origin of drama (Natya). Though the age of the entire work and other relevant matters have been treated of in the Introduction to the Volume J, the remaining Chapters require some preliminary notes. Naturally the Chapters on music are to be taken up first. 1. A Short History of the Study of Indian Musi? As in the case of our drama, ‘William Jones was also the pioneer in studying Indian Music. His article “The Musical Modes of Hindoos”', was originally written in 1784 five years before his translation of the Sakuntala, and it was the first of its kind. Persons who interested themselves during the half a century that followed, discussed Indian music more or less in the lines of Jones, till an English military officer was attracted by the beauty of Indian music. Captain N.Augustus Willard— for that was the name of the officer—was known to be a skilful performer of several instruments and to have enjoyed local advantages of observation from his appointment at the court of the Nawab of Banda”?. This is perhaps the reason why his work 1. Originally published in the Asatik Researches Vol. III and republished in Sourindra Mohun Tagore’s Hindu Music from various Authors, Calcutta, 1875 (pp. 125-160.) 2. See the review of Willard's work mentioned later, in the Journal of the Asiatic Society, Vol. XXV, 1834. This review has also been republished in Tagore’s Hindu Music etc, (pp. 235-239.) THE NATYASASTRA 2 brought about a new orientation in the study of Indian music, and to some extent superceded the work of Jones and his followers. Willard being very cultured, and well-read in his subject and thoroughly proficient in Hindustani, his mode of treatment and the depth of insight displayed in his work, were very remarkable, and according to a specialist, it is the earliest systematic treatise on Hindustani music? which has not perhaps yet lost its value. The author’s own summary of the contents of the work “A Treatise on the Music of Hindoostan” (Calcutta, 1884)4 shows the significant features of his work. But its special importance lies in putting emphasis on the actual practice of music apart from whatever is available from the old Sanskrit texts. William Jones however started his enquiry with such texts, and hence his discussion, according to Willard, has been too academic to do justice to the subject. But in spite of Willard’s emphasis on the practical side while writing on Indian music, his charges against Jones®, were not justified. For, not only all discussion on classical Indian music, should be kept close to the traditional teachings contained in the texts, but one should bear in mind that Jones was a pioneer in the field without the advantage which Willard had intaking up the study after half a centiiry during which much was already written on the subject. If Willard had a positive advantage over . Jones in having what may be called a first-hand knowledge of the । subject, his conclusions based on data collected from Prolessionals only, needed checking in the light of old Sanskrit works. In order to have an historical view of Indian music such Checking was indispensable. As Willard strove much merely to explore the Contemporary (classical) music, and attained Considerable success in this, such a view was naturally beyond hi S T 2 8 . | ken. his is the reason of his strong disapproval of Jones’ writing. की at ~~~ via Hemendra Lal Roy, ‘A notable Book on Hindustani Music’ in the a arati Quarterly, (New Series), Vol. 1, Part 1 July 1935; see also Roy's 70016708 of Hindustan, Music, Calcutta 1937 (pp. 37 ff). 4. The name of the : a. Strangway’s work (MH). work does not occur in the bibliography of F, 5. SeeRoy’s Problems, p. 39, 3 INTRODUCTION Notwithstanding Willard’s criticism, Jones’ method did not Jong remain in disfavour. About thirtyfive years after he had written, Kshetra Mohan Goswami discussed (1863) the practice as well as theory of Indian classical music in his Samgitasara (Essentials of Music) written in Bengali. This was published under the patronage of Sourindra Mohan Tagore who himself compiled some years afterwards (1875) his Saingitasira-samgraha which contained extracts (with English translation) from ancient authors like Sartigadeva® and Damodara’. Considering the relative scarcity of authentic data in the shape of published ` Sauskrit works on music at that time, the contributions of Goswami and ‘Tagore were highly commendable. ‘The next important writer on the Indian classical music, was the reknowned Krishnadhan Banerji’. His magnum opus the Gitasiitra- sara (Kssential Principles of Music) written in Bengali was published in 1885" just after a century of William Jones’ first article on the subject. Banerji besides being an accomplished Indian musician and a scholar, had sufficient acquaintance with the western music, and this imparted singular value to his work. According to a specialist, Banerji has not left a single phase of Indian classical music, without comments made with 1८88011 and insight, and “His critical faculty 15. astonishingly seusitive to finer shades of analogies. ‘he book is valuable for its discussion of fundamentals of music and the searching criticism of existing theories”!°, Writers on Indian music coming after Banerji, are legion, and they being more or less well-known will not be be mentioned in this short sketch. But a complete account of the ancient Indian music descriptive and historical, still remains to be written. For,a very few of the original Sanskrit texts on 6. The author of the Samgita-racnakara. 7, The author of the Samgita-darpana. 8. This scholar-musician of Bengal resigned his post in the Provincial Civil Service and devoted himself entirely to the study and dissemination of music. See the Gitavitana-varsiki, Calcutta, 1944, (p.25). 9. Second Edition in 1897, and Third Edition in 1934. To this third edition, a valuble appendix has been added by Himangsu Sekhar Banerji a very able musical scholar who has made the work upto date. A summary of the work along with this appendix, has also been separately published in English translation in 1941, H.A. Popley in his Music of India (2nd ed.) does not mention this work, 10, H.L. Roy, Problems, p. 50. THE NATYASASTRA 4 music have been critically studied!', and the NatyaSsastra which contains the oldest and most comprehensive treatment on the subject yet remains outside the reach of average interested persons!*, Krishnadhan Banerji whose work 15 otherwise valuable, sometimes made assertions which need correction in the light of the NS. The same may possibly be said of other writers also, and cautious persous like F. Strangways, suspend their judgement in view of proper exploration of the contents of the NS. For exaniple, Strangways once writes, “Unfortunately it is not possible at present to give such a detailed account of the Indian Murchana (the equivalent of Harmonia): more will perhaps be possible when Bharata’s Natyasastra has been adequately translated” (MH.p. 141). 2. The Basic Text The original text of the Chapers XXVIII-XXXIII critically edited by the translator, has been published in a seperate volunie. For details about its reconstruction, the readers are referred to the Introduction to the same and also to the Introduction to the Volume I of the translation (pp.XLI). 3. Translation and Notes Principles regarding the translation and its annotation have also been detailed in the Introduction to the Volume I of the translation (pp.XLI-XL]II). एमी 0 1 श 1 12 ae 11. The onl; | exception in this regard, 1s Damodara's Samgita-darpana ed by es A. a with English translation, notes and introduction under the title +he Mirror of Music’’, Paris, 1930६ This too has b i ° 8 been i i H. A. Popley (the second ed. of his Music of India). i a 12. J. Grosset’s French translation of ४ : the Chapter XXV ८ (treating of music) has not saticfied writers on the subject ease the i Chapters XXIX-XXXIII also dealing also with music have b ° ए. 141. before: a 3 not been translated I. THE ANCIENT INDIAN THEORY AND PRACTICE OF MUSIC 1. The Indian Conception of Music Though music occupied a very important place in the life of Indians of ancient time, one single word such as “Gandharva” denoting all its different aspects (vocal as well as instrumental) appears only in the middle of the 4th century B.C.' This word occurs in the Jatakas. For according to the Guttila Jataka (no.243) the legendary Brahmadatta was born in a family of Gandharvas (musicians), aud after gaining a great proficiency in the art of music he came to be known as a Gandharva. As this Jataka mentions playing of a Vind, and the two kinds of Mirchana? in this connection, the word Gandharva in the sense of music may well be pre-Buddhistic. And it is certainly not later than 200 B.C. For it occurs in the Hithigumpha inscription of Kharvela. In earlier times, gita (song) and vadya (instrumental music) were seperately mentioned, or the compound word gitavaditra (Pali, gitavaditta) represented music in its totality. But daace and drama (101८, nrtya and natya) were very closely associated with music vocal and instrumental, from ancient times, possibly long before the time of Buddha. For preks@ (Pali, pekkha) was an equi- valent of “Natya” which included nrtta, gita and vaditra. Buddha forbade the monks to witness it (pekkh@) as well as the separate performances of क, gita and vaditra. Due to this very close association of the three arts, there came into vogue in about the 3rd century A.C. the word “Samgita” for signifying by means of a single term all the different phases of mtsic including dance. For, according to Indian conception, dance (nytta, गूढ) owing its origin to rhythm like its vocal and instrumental counterparts, was a kind of music, the vehicle of rhythm in this case being human body with its different limbs. The Natya also depending ~ 1, Though some of the Jatakas may be as old as the time of Buddha, all of them may not reach back to such antiquity. But it may be that they were in existence in the 4th century ए, ©, cf. Winternitz, Vol. IL. p. 121. 2, In the Satapatha Brahmana the Uttaramandra Miirchana has been mentioned. See JAOS Vol. 50, 53 and Journal Univ. of Baroda Vol. JI, pp. 263 ff. THE NATYASASTRA 6 on nytia, nrtya and abhinaya (gesture) belonged to the category of dance. Probably these facts led dance especially in its connexion with all kinds of dramatic spectacles, to a substantial union with 11516. 2. The Vocal Music Though the vocal music was perhaps the oldest of human arts, its analytical study seems to have begun only after instru- ments of music came into existence and made considerable progress. For the NS says that the bases of musical notes ( svara) are twofold: the Vina of the human throat (lit. body) and the wooden Vina (harp or lute), and derives the Srutis (intervals) exclusively from the wooden Vina. Now Sruti is the most important term in conuection with the theory of Indian music. (a) Srutis. Though the ancient Indian authorities differ from oue another about the meaning of the word, it may be translated as “inervals” or “musical intervals”’* which make up the notes of the octave (corresponding १५ Indian Sapiaka) in its different Gramas.4 The number of Srutis in the Sadja Grima are as follows: three in Rsabha (ri), two in Ginudhara (va), four 10 Madhyama (ma), four in Pajicama (pa), three in Dhaivata (dha), two in the Nisida (ni) and four in padja (58); And the number of Srutis in the Madhyama Grama are as follows : four in Madhyama (ma), three in Paticama (pa), four In Dhaivata (dha), two in Nisada (ni), four ‘in the Sadja, three in Rsabha (11) and two in Gandhadra (&५).6 | (9) 4utua! Relation of Notes, According as they relate to an interval of more or less Srutis, the notes in different Gramas are ० Consonant (samvadin), Assonant (anuvadin) and Dissonant (ण) with reference to the Souant (vadin) note which has been described as “the melodic Centre of the melody’?, For exaiple, त तवरन are at an interval of nine or thirteen are mutually Consonant, e.g. Sadja and See p. 7, footnote 4 See XXVIII, 24. See XXVIILL. 25. 26, See XXVIII. 27, 08 SeeXXVIII, 22 fn, 1 NNO $ w 7 INTRODUCTION Madhyama, Sadja and Paficama, Rsabha and Dhaivata, Gandhara and Nisada in the Sadja Grama. Such is the case in the Madhyama (rama except that Sadja and Paticama are not Consonant while Paficama and Rsabha are so.°. (€) Different Gramas. The Grama may be translated as “scale”. There are three Gramas in Indian music: Sadja, Madhyama and Gandhara. According to F. Strangways the Sa-grama (Sadja- griia) is the western Major with a sharpened Sixth, the Ma- grama (Madhyama-grima) the western Major C-c, but intended presumably to be used as an F-f scale with a sharpened Sixth, and Ga-grama (GAndhira-grama) possibly intermediate between these two long obsolete (MH. p. 106). ‘The NS does not describe this Gandhara Grama, because it went out of use at its time. (d) The Murchanas. According to the Hindu theorists, each of the Grimas is the source of seven Mirchanais. About the meaning of the term Mirchana which is now generally considered to be equivalent to mode of the Greeks, there is some obscurity. The Sadja Grima gives rise to seven Marchanis such as Uttara- mandra, Rajani, Uttarayata, Suddhasadja, Matsarikrta, Asva- kranta and Abhirudgata.’ These are constituted as shown below. sa-ri-ga-ma-pa-dha-n1 Uttaramandra!® ri-ga-ina-pa-dha-ni-sa Rajani ga-ma-pa-dha-ni-sa-rl Uttariyata mna-pa-dha-ni-sa-ri-ga Suddhasadja pa-dha-ni-sa-ri-va-ma Asvakranta dha-u1-sa-ri-ga-ma-pa Matsarikyta ni-sa-ri-ga-ina-pa-dha Abhirudgata The first six of these have a striking resemblance with the Greek!! modes which having eight notes including the first note repeated at the end, are as follows :— sa-ri-ga-ina-pa-dha-ni-sa = Ionian mode ri-ga-ma-pa-dha-ni-sa-r1 Dorian mode ga-ina-pa-dha-ni-sa-ri-ga == Phrygian mode ma-pa-dha-ni-sa-ri-ga-ma Lydian mode pa-dha-ni-sa-ri-ga-ma-pa Mixolydian mode dha-ni-pa-ri-ga-ma-pa-dha Aeolian mode ० ~ ~ =» =-= 8. See XXVIII 22-23 9. See XXVIIL 29. 10. See note 2 above. 11. These Greek modes were modified by St. Ambrose (c. 4th century) and partly by St. Gregory (604 A.C.). See ERE. THE NATYASASTRA 8 The Madhyama Grama’? gives rise to the following seven Miirchanas: Sauviri, Harinaéva, Kalopanata, Suddhamadhyd, Margavi, Pauravi and Hrsyaka. These are constituted as shown below. ma-pa-dha-ni-sa-ri-ga = Sauviri pa-dha-ni-sa-ri-ga-ma -Harinasva dha-ni-sa-ri-ga-ina-pa Kalopanata ni-sa-ri-ga-ma-pa-dha Suddhamadhya sa-ri-ga-ma-pa-dha-n1 Margavi Ti-ga-ina-pa-dhi-na-sa Pauravi ga-ma-pa-dha-ni-sa-ri Hrsyaka The Gandhara Grama also gave rise to seven Mfirchanas ;1* this Grima becoming obsolete at the time of the NS, they were not mentioned by the author. The four kinds of Murchanas—The Mirchanas described above are heptatonic (pirna-full), But there are also three other kinds of them, viz. hexatonic (sadava), pentatonic (audava) and Miirchanas including Overlapping notes (sadharani-kyta).'4 To distingwish these three kinds from the heptatonic Murchanas they are also called Tanas.'® Though these Miirchanais and {14185 were used te embellish the songs, they were also used in connexion with the vocal training of the singer. For the NS says: The variety of the Tanas and the Miirchanas thus arising, provides cnjoyment to the hearer as well as to the musician. The Marchand aud Tana are also of use because their practice helps the (easy) attainment of Voice-registers (sthanaprapti)}®. (€) The Voice-registers. ‘Chere are three Voice-registers the oe 1 ( pe nd head | alae nes Notes and 1 165९ : 11८९ registers. In calling one ce, notes proceeding from the head 12. See XXVIII. 30. 13. See NaS. 1. 2. 9 and SR. 1. 425.26. 14. See XXVIIL 32-33, 15. See notes on XXVI IT. 33.34, 16. See “The two ways of Tanas” under XXV UII-33-34 (pp. 12.13) 17. SeeXX, 38.40, 41-42, | 9 INTRODUCTION register is used; but, for calling one who is not at a great distance, notes from the throat, and for calling a person who is by one’s side, notes from the chest register serve the purpose. (f) The Overlapping note: The Overlapping note mentioned above is a transtional note like Kakali Nisdda.'* As regards the use of the note in the Marchand there appears to be a rule that it should be in the ascending scale (@rohin) and be made specially weakened (alpa). If it is made descending (avarohin) it will lead the Srutis to Jati ragas or Jatis. (g) The Jatis: The Jatis whatever may be interpretation of this term by the scoliasts, probably stand for melody-types of the recognised kind, as opposed to those which were hybrids or got mixed up with folk-tunes.'® Besides this, they developed some technical complexities from which the Mfirchands, if they were melody-types too, were free. The Jatis eighteen in number were of two kinds ; pure (suddha) and modified (vikrta). In the Sadja Grima the pure Jatis are Sadji, Arsabhi, Dhaivati and Naisidi,?° and in the Madhyama Grama, they are Gandhari, Madhyama and Paficami. “Pure” in this connexion means having Améa, Graha, and Nydsa consisting of all the notes. When these Jatis lack two or more of the prescribed characteristics except the Nydsa, they are called “modified” (vikriz).2! In the observa- tion of the Nyasa in the pure Jatis, the note should be regularly Mandra, but in the case of the modified Jatis there is no (fixed) tule. The modified Jatis are eleven in number and they grow from combination of pure Jatis with each other. The Jatis which seem to be the fore-runner of later Indian Ragas and Raginis were sometimes, heptatonic, sometimes hexatonic and sometimes pentatonic. And they had ten characteristigs such as, Graha, Améa, Tara, Mandra, Nyasa, Apany4sa, Reduction, Amplifica- tion, hexatonic treatment and pentatonic treatment.?? Among these, Graha has been sometimes considered to be equivalent to “clef” of the western music. Améa has been rightly compared 18. Daniélou calls it “intercalary note”. See XXVIII. 34-35. 19. Forthe meaning of Jati sce the note on XXVIII. 38-39 (p. 14). A Daniélou's interpretation of the word does not seem to be convincing (see Northern Indian Music. pp. 101, 122-123). See also XXVIII. 38-44, 20. See XXVIII. 44. 21. Ibid. 22. See XXVIII. 74-100, 2 THE NATYASASTRA 10 with ‘the Governing note’ or ‘the Keynote’ of the western music, The Ny&sa also has been compared with the cadence of the western music probably with some justification. T he other terms in this connexion do not seem to have any equivalent in the western music. (1) The Jatis and their connexion with the Sentiments: As songs included in the preformance of plays were meant, among other things, for the evocation of Sentiments according to the require- ment of theatrical production, the Jati songs had a distinct part to plav in this regard. Hence the theorists have assigned them according to notes constituting them, to different Sentiments.2% For example, the Sadjodicyavati and the eadjamadhya are to be applied in the Erotic and the Comic Sentiments respectively, because of Madhyama and Paficama in them. The Sadji and the Arsabhi are to be applied in the Heroic, the Furious and the Marvellous Sentiments after making respectively Sadja and Rsabha their Graha note. The Naisidi with Nisida as its Améga note and the Sadjakaisiki with Gandhira as its Améga note should be the Jati to be sung in the Pathetic Sentiment. The Dhaivati with Dhaivata as its A msa note shonld be applied in the Odious and the Terrible Sentiments, Besides this, the Dhaivati is applicable in‘ the Pathetic Sentiment and similarly the Sadjamadhya is to be applied a connexion with mad ness. (1) The Dhruvts : Ihe dramatic songs fer excellence were the Dhruvas in which Varna, Alamkara, tempo (laya), Jati and Pani regularly occurred. They were of five classes such as Pravesili, Aksepiki, Naiskramiki, Prasadiki and Antari related respectively to entrance (pravesa), diversion (aksepa), departure (niskrama), calming e(prasada) and transition (antara) in course of the progress of plays.?4 Themes of various Sentiments sung at the entrance of characters in the stage are called Pravegiki Dhruvas,25 Songs sung at the exit of characters to indicate their going out are called Naiskramiki Dhruvas.26 Antara Dhruvas were sung to divert the attention of the RRR ---~-~ ~ Yo oe 23. See XIX, If, 24, See XXXII. 26-27. 25. See XXXII, 365, 26. Se XXXII, 366, 11 INTRODUCTION audience from some shortcomings of the performance or when the principal characters became gloomy, absent-minded, angry etc.?7 Prasidiki Dhruvds were sung for claming the audience after they witnessed something which roused their feeling very much.” Aksepiki Dhruva was sung on occasions like one’s being captured, obstructed, fallen, attacked with illness, dead or in swoon.?? The dhruvas from their detailed description seem to have been a sort of “background” music suggesting acts and moods of different characters in a play. And the suggestion had its vehicle in the contents of songs as well as in their metre,?° language,?! tempo3? and (18.93 The two Vindis which were to follow the Dhruvas*‘ also added to their power of suggestion. (1) Contents of Dhruvas ; Dhruvas in case of men and women of superior, inferior or middling class should relate to objects comparable to them in quality.25 In case of gods, and kings the comparable objects were the moon, fire, the sun and wind and in case of Daityas and Raksasas they are clouds, mountains and seas,®6 Ex. (i) The moon which has its body covered with the canopy of clouds and has been robbed of beauty by the rays of the sun, and which has become colourless due to the advent of the morning, is no longer chasing the darkness with its (very bright) smile. (ii) Here arises in the sky the sun the lamp of the world. He is clad with myriads of rays, and his warmth is adored by Brahmins and Muuis. (iii) The strongly blowing wind, shaking the tree-tops with constant rustle, moving about at the foot of the mountain ne mee ---~ “~ 27, See XXXII. 367. 28, See XXXII. 368, 29. See XXXII, 373, 30. See XXXII. 37ff, 31. See XXXII. 440 ff. 32. See XXX11. 32 ff. 33. Ibid. 34. See XXX11, 499.500 35, See XXXII, 407 36. See XXXII 408 and the notes. THE NATYASASTRA 12 and raising up dusts red and brown, is running along like a very angry person. . : ; (iv) This cloud looking like smoke 15 roaring and with its lightning, is, as it were, piercing the earth, and like a terrible elephant, it is pouring quickly masses of water to cover the entire world. (v) With his head struck by lightning this lord of moun- tains sleeping under heat of fever, sinks down as it were into the earth. (vi) The sea on which the wind has raised ripples and waves, which has become very noisy due to the succession of waves, has its birds scared by swiftly blowing wind, has more waves due to perturbed fishes, has the sound of agitated clouds, suddenly appears now angry at the moment being surrounded by high mountains, In case of Siddhas, Gandharvas and Yaksas the comparable objects were the plants, stars and bulls, and for those persons engaged in the practice of austerities, comparable objects were the sun, fire and wind.37 Ex. (i) On learning that the moon in the sky has lost her beauty’on being eclipsed by Rahu, the stars are weeping, as it were, in great grief, and are shedding tears in (the shape of) their rays, (ii) ‘he sun of unparalleled brightness which is the crown of the eastern mountain, and is adored by Brahmins and Munis, is moving about in the sky. Cranes, peacocks, Krautica, ruddy geese and lakes with Kumuda flowers have qualities (enough) to be compared with middling characters,’ 8 | Ex. 1) The female crane which dwells in the lotus-lake is moving to her dearest one’s abode on the beach of the river. (11) At the appearance of clouds the peacocks are dancing. (1) The cakravaki with her lover is passionately moving about in wate T § ee —— bee, २१ ; Osprey, owl, crane, pegion and a ६ pared with inferior objects,39 LU > ७ ~ ~ 37. See XXXII 409 and the notes 38. See XXXII 415 and the notes, 39, See.XXXII 416 and the notes, 13 INTRODUCTION Ex. (i) The cuckoo which has always a voice sweet to ears, is roaming about in the vernal forest where the Cita, Tilaka, Kuruvaka and Asoka trees have flowered and attracted humming bees, is creating intoxication in young damsels. (ii) O fair one, the bee after roaming for a long time in the lotus-lake, is now flying through the sweet-smelling Cita forest adorned by spring, and it has a desire for tasting the dsava (honey) from the mouth of its female companion. (111) At the close of the night the terrible owl which had a fearful hooting, has behind it a group of chasing crows, and it is (now) hastily searching for its own hollow (of the tree). But the wives of superior, middling and inferior characters were compared with another set of objects or animals. The night, earth, moon-light, lotus-lake, female elephant and the river were compared with the wives of kings.‘ Ex. (i) The night which has rays of the moon as her necklace, the stars as the head-ornaments, and planets as orna- ments of other limbs, looks beautiful like a youthful woman. (ii) The humming of bees declares, as it were, that the lotus-lake which has just now opened beautifully its lotus-face, 1s shining while it is surrounded by lovers of lotus. ° (iii) In the great mountain ravaged by wind and struck by lightning, the she-elephant is weeping (in distress). Similarly, lake, osprey, creeper, female crane, pea-hen and female deer were compared with wives of middling characters as well as courtesans.4! A hen, bee, crow, cuckoo and owl of the female species, were comparable in Dhruvas to wives of inferior characters.*? (k) Metres of Dhruvas : Metres of varying length of their fect were suited to suggest different movements, situations and seuti- ments.4? For example, in the various acts of gods when there was no obstacle, the Anustubh metre was to be used, and metres like Mala, Vaktra and Aparavaktra were suite: to Pravesiki Dhruvas, and Puta and Cilika suited to Naiskramiki Dhruvas. (1) Language af Dhruvas: Though the general rule about 1 1 40, See XXXII 418 and the notes 41, See XXXII 419 and the notes 42, See XXXII 420 and the notes 43, See XXXII 427 # ; 444 ff, THE NATYASASTRA id Dhruvas was that they were to be in Sauraseni, some times Magadhi, Sanskrit and half-Sanskrit also were used.** Magadhi sed in case of inferior characters. But Sanskrit was evidently u a while in case of human was prescribed for heavenly beings, Sanskrit was used. ‘This half-Sanskrit was possibly beings half- f the metrical portion of the something like the language 0 Mahavastu. | (m) The Tala and Graha of Dhruvas : Definite instructions regarding the use of Kalas and Padapata show the important part Tala played in singing of Dhruvas. The NS. devotes one long chapter XXXII over a very complex system of Tala to be used in all kinds of musical performance iucluding the singing of Dhruvas. Besides this, there are special rules of Grahas for such Talas in connexion with Dhruvas.*° (n) Special suggestibility of Dhurvas: Besides suggesting the situations and moods of characters, Dhruvas suggested also the time of different happenings. For example, the Pravesiki Dhruva was sung to indicate anything in the forenoon and the Naiskramiki indicated anything occurring throughout the day and night. And gentle Dhruvds indicated the forenoon, while the pathetic Dhruvas indicated the happenings in afternoon and evening.‘ ® ; 3. The Instrumental Music It has been suggested before‘? that the study and analysis of notes in congs began probably after the instruments of music were invented and considerably improved. The description of Varyas and Alamkatas given in the NS. in the chapter on stringed instruments seems to suggest this. It is also clear that the stringed instruments (tata) especially the Vind, played the most important part in this connexion. Besides the stringed ones there are also two other kinds of instrument. They are hollow (susira), and the covered (avandha) or instruments of percussion. 44, See XXXII 440 ff. 45, See XXXII 471 ff, 46. See XXXII 464 ff. 47, Seq above p. 6 of this Introduction. 15 INTRODUCTION (a) The Stringed Instruments : (i) Vargas: Varnas‘*® produced in a stringed instrument,‘® as they are in the ascending (21007) or descending (avarohin) order or are repeated ( sthdyin-staying ) or are mixed in form, are called respectively Ascending, Descending, Monotonic or Mixed Varnas, (11) Alamkaras : The Varnas in their different combinations give rise to thirtythree Alamkaras.5® But this number varies with authors according as they are early or late. The Alamkaras as its name implies is meant for embellishing the instrumental music. ‘l’anas seem to be the vocal counterpart of the Alamk&ras of the stringed instruments.®! (iii) The Gitis : The NS mentions after the Alamkaras four Gitis (lit. songs). But their special connexion with the stringed instruments remains obscure. Gitis have been described by some as an ancient system of classification of rhythm.5? (iv) The Dhatus : (radical sounds).5® The playing of stringed instruments have four kinds of Dhatus (radical sounds). They are Vistara, Karana, Aviddha and Vyajijana. All of these have subdivisions, and they relate to different types of stroke, their pitch, number, grouping and the manner of production. For example : (1) The Vistara includes four kinds of stroke: Samghataja (growing out of contrast), Samavayaja (growing out of combina- tion). Vistéraja (growing out of amplitude) and Anubandhaja (growing out of mere succession). 48, Modern writers except Daniélou have mostly ignored this. A. Daniélou (NIM p. 99) translates this as “Melodic movement”. SeeeX XIX 17-18 and the notes. 49, Vocal Music also includes Varnas. 50. A. Daniélou translates this as “Ornamental vocalization” (Northern Indian Music p. 102). Other modern writers except Krishnadhan Banerji have ignored this. His treatment (G.S.I.p. 124) however is very short. 51. It seems that with the development of the Raga music, Alamkaras and Varnas which constiuted them became less important in the eyes of musicians. Hence in spite of their use no one paid special attention to them. 52. HIMANSU BANERJI thinks that an old system of classification of rhythm depended on the Giti and it also included special formation of syllables and variation of speed. See GS. II pp. 72-73. Other modern writers ignore this altogether. The function of Giti in the dramatic.performance is not clear. 53. See XXIX, 82 ff. and the notes. Modern writers ignore this altogether, THE NATYASASTRA 16 (2) The Karana Dhatu consists of three, five, seven or nine strokes or all these combining and ending in a heavy stroke. (3) The Aviddha Dh&tu consists of two, three, four or nine strokes made gradually and slowly, or a combination of these. (4) The Vyafijana Dhatu consists of touching a string simul- taneously with the two thumbs, striking a string simultaneously with the two thum)hs, striking a string with the left thumb after pressing it with the right one, striking it with the left thumb only, and striking with the left forefinger only, etc. (v) The Vritis ~ Vhe Dhatus described above relate to the three Vrttis in which the stringed instruments are to be played.*4 The Vrttis or styles of Procedure are three: Citra, Vrtti and Daksina. ‘lhey take their character from the kind of instrument, its Tala, Laya, Giti, Yati and the Grahamarga (way of beginning) resorted to in a performance. For example, in the Citra, the Magadhi Giti, concise instrumental music, Tala of one Kala, quick Laya, level Vati and Anagata-Graha preponderate. In the Vrtti style of procedure the Sambhavita Giti instrumental music, * + the time-measure of two Kalas, the tempo medium, Srotogata Yati Sama Grahamarga are preponderant. In the Daksina style, the Prthtula Giti, Tala of four Kalas, slow tempo, Gopuccha Yati and Atita Grahamirga are preponderant. These three styles of Procedure give quality to the instrumental music as well as to the song. (vi) The 1210 of the Instrumental Music : Styles of Procedure described above give rise to the Jatis®® of the instrumental music when Dhatus of different kind are combined with these. For example, Vistira (expansion ) Dhatus give rise to the Udatta Jati of the instrument, the Vyanjana Dhatus the Lalita Jati, the Aviddha Dhatus‘ the Ribhita Jati and the Karana Dhatus the Ghana Jati. Among these, the Udatta वव seems to possess a general character, the Lalita Jati is noted for its gracefulness, the Ribhita Jati is characterised by its frequency of strokes and the Ghana seeins to be characterised hy its proper observance of quantity of strokes. (vil) The special manner of playing the Vina: After giving | 54 See XXIX. 102 ff. and the notes, Modern writers ignore this altogether, 55. See EXIX. 105 ff, 17 INTRODUCTION detailed instructions about the different aspects of the stringed instruments, the NS, mentions three kinds of music produced by the Vind.5¢ They are Tattva, Anugata and Ogha.® The Tattva expresses properly the Laya, Tala, Varna, Pada Yati and Aksara of songs. The Anugata is the iustrumental music following a song. And the Ogha is the music which abounds in the Aviddha Karanas, has the Uparipani Grahamarga, quick Jaya, and does not care for the meaning of the song. (viii) The special manner of playing the Vipaitct: Wike the Vina which is to be played by fingers, the Vipafici which is a Vina with nine strings is to be played with a plectrum.®*® It seems to have six ways of producing Karanas from it. Karanas here, as in the case of dance, seems to have been minor patterns made up of notes. (ix) Playing of stringed instruments before the Preliminaries : The twelve kinds of Bahirgita or musical performance held before the actual beginning of a play, included playing of stringed instru- ments.°* This seems to have been a musical prelude to prepare the audience for the dramatic spectacle which was to follow. Very elaborate instructions as regards the 10168, Tala and Laya, etc., of the twelve kinds of music described, shows with what seriousness the ancient masters looked to every part ofa dramatic performance from the stand-point of music. (b) Hollow Instruments : Hollow (susira) musical instruments were originally made of Vaméa (bamboo).*° Hence they were called Vaméa-vadya or in short Vaméa (flute). In later times flutes were made of wood, ivory and of different kinds of metal. Notes of 8 flute were known to consist of two, three and four Srutis, and according to their manner of production they were shaken (kampita), half-open (ardha-mukta) and fully open (xyakta-mukta), Just as additional Srutis changed the character of a note of the Vina, so addition of a Sruti gave rise to a changed note. 56. For the indentification of Vina and its different parts see AK. Coomaraswamy’s Parts of a Vina in JAOS, Vol. 50. 1930 (pp. 244 ff). 57. See XXIX. 108 ff. 58. See XXIX. 114 ff. 59. See XXIX. 122 ff. 2 (| ५1 8.6 60. See XXX. I ff. + 2 + {ˆ ˆ {:52 THE NATYASASTRA 18 The note produced from a flute-hole thoroughly free from finger, consists of four Srutis, that from a hole with a shaken finger placed on it, consists of three Srutis, and a note consisting of two Srutis is produced from a hole partly free from a finger on it. All these are the notes in the Madhyama Grama. Notes of the 58012 Grama will be as follows :— adja, Madhyama and Paficama will arise from a hole fully open, Dhaivata and Rsabha from a hole covered by a shaken finger, and from a hole partly free from finger Gandhara and Nisada will arise. Nisaida and Gandhara coming respectively in juxtaposition with Sadja and Madhyama and modifying them- selves in characteristic Srutis, will give rise to Overlapping (Svara- sadharana) and the Kakali notes. According to the NS, the notes of a flute should be perfected with the help of the Vina and the human throat. The very notes which the singer has attained, should be sung in accompaniment ofa flute. A unision of the human throat, the Vind and the flute is specially praised. (©) Covered Instruments (Instrument of Percussion) ~ The chapter on Covered musical instruments begins with a legendary account of their origin. The story goes that one day the sage (mun) Svati watched the sounds that torrential rains made on the lotus-leaves ina lake, and got therefrom the suggestion of making drums.¢! Drums give rise to regular notes, Karanas®? and Jatis.¢3 But among them the Mrdanga, Panava and Dardara (Dardura) more important than the rest, are used much in connexion with the production of plays.*¢ Drums called Bheri, Pataha, Bhambha, Dundubhi and Dindima are merely for very deep and lowd sounds.®5 @) The Vaskarana: The various syllables (sixteen in number) available from the drums are as follows : k, kh, g gh, t, th, त, nm t, th, त्‌, dh, m, r n, 1 and h combined with the vowels a, 4, 1, 1, u, fi, & ai, ० au, am रे Se 61. See XXXIII. 4१ 62. See XXXIII.91 & 63. See XXXIII. 120 # 64. See XXXIII. 65-91. 65, See XXXII. 24, 19 INTRODUCTION ah;they give rise to all the Vaskaraya or Bol®* of the modern drummers. (ii) The music of drums has the following aspects®’: Four Margas, Vilepana (plastering), six Karanas, Three Yatis, three Layas, three Gatis, three Pracdras, three Samyogas, three Panis, five Pani-prahatas, three Prahdras, three Marjanas, eighteen Jatis and twenty Prakaras. Hence it is apparent that the playing of drums was a pretty complex affair. All the three principal drums, had their own peculiarities of technique, in spite of their having some common features in this regard. Thus there were almost endless varieties of playing of drums, and these were to accompany the various activities of different types of character on the 54668, For example, in walking and other movements, the experts were to provide for playing of drums with Talas of three or four kalas, after considering the tempo and the manner of walking of characters concerned. In case of movements of boats, chariots, and aerial cars, birds, moving heavenly bodies, the playing of drums should be by running the fingers on the surface of the drums, or by Catuskala strokes with two hands alternately. {0 case of sorrow, suffering, illness, cure, death of dear ones. loss of wealth, killing, imprisonment, vow, austerity, fasting, etc. the playing drums in the Utthdpaua should be according to the Alipta-m4rga mentioned before. This playing of drums varied as the character concerned were superior, middling, inferior or male, female or hermaphro- dite. The NS lays down elaborate rules in this regard. (iii) Making of Drums, Elaborate rules have been given about the making of drums*®. Characteristics of good hides to cover them have also not been left unmentioned’®. There were elaborate ceremonies prescribed for the installation of 66, See XXXIII, 30, 40, 42. 67, See XXXII. 37 ff. The text enumerating the three Jatis and the three Layas contain a misprint (omission). 68, See XXXIII. 227 ff, 69. See XXXIII. 242 ff. 70. See XXXI1I1. 250 ff. गधि NATYASASTRA 20 drums, in connexion with which various deities were to be worshipped’! _ | क The chapter on drums after describing 10 detail the characteristics of good drummers’, of a good player of Mrdatiga 78 and Payava, the general rules of drumming’* and qualities of the तक्वा, emphasizes the importance of drumming as follows : “One should first of all bestow care on the playing of drums. For this playing has been called the basis of the dramatic performance. This playing, and songs being well- performed the production of plays does not run any risk”? 6 Hl. LITERATURE ON ANCIEN’T INDIAN MUSIC I. Early Writers (c. 600 B.C.—200 A.C. ) (a) Narada. Narada mentioned repeatedly in later literature ० music, seems to be the earliest writer on the subject, and the Siksa named after पपार; appears, apart from its interpolated passages, to bea very old work, and it may be as old as 600 B. C.. and its teachings may be earlier still, As one couplet?® from it has been quoted by Patafijali with a slight variation, it is not later than 200 B.C. Like the Paniniya Siksa (c. 600 B.C.) it is written chiefly in the Anustubh metre ; and it treats of musical theories in connexion with the singing of Simas. The fact that it describes the Gandhara Grama in detail (together with its Mirchan4s) Shows clearly that it is much anterior tothe NS which ignores altogether this Grama and was written when they become obsolete. ‘Ihe NS quotes the NaS. (1.3. 13) at least once (XX XITI. 71. See XXXILI. 259 ¶ 72. See XXX111, 263 ff. 73. See XXXII. 295-296, 74. See XXX1L1. 299, 75. See XXXILII, 300 76. See XXXIII. 301, 77. NaS ( Naradiya~siksa). 18. मनो हीनः खरतो ada) गा मिष्या प्रयुक्तो न तमधंमाड | स वाग्वजो यजमानं हिनसि gears: खरतीऽपराधात्‌ ॥ Pataiijali reads as Se. शब्दः खरतो aga} वा etc, Evidently the author of the 8024358 changed the éouplet to suit his own Purpose, 91 INTRODUCTION 227) without naming it. As this Siks4 discusses the seven notes in the three Gramas andthe 07608185 and 14145 connected with them, the Indian Music seems to have been pretty advanced at the time when this work was composed. (0) ण्व, Svati has been mentioned in the NS along with Narada, but not even 8 fragment of his teaching has reached us, and we are not sure whether he wrote any work on the subject or anything was written on his views. (c) Kohala. In the NS (I. 26) Kohala has been mentioned as one of the hundred sons of Bharata and as such he was anterior to the author of this work. From another passage in the NS (XXXVI 61) we learn that Ssesem uttaratantrena Kohalah kathayisyatt ‘Kohala will speak of the remaining (teachings) on dramaturgy in a supplementary treatise. Hence it may be presumed that Kohala was not widely separated in time from the author of the NS. Kohala’s opinion has been referred to in Dattila’s work in connexion with ‘ala. ‘his is perhaps the earliest reference to his teaching. ‘I'he Brhaddesi also refers to Kohala’s views no less than five times while discussing notes, ‘ana and Jati. The author of the Saingitamakaranda also mentions him twice in the chapter 0 dance (nytya), Parsvadeva in his Samgit-asamayasar& names Kohala in the beginning of his chapter on Tala. In his commen- tary of the chapters on music, Abhivavagupta while discussing Tala, refers at least twice to Kohala. From Abhinava’s commen- rary, it is further learnt that Kohala wrote a work named the Samgita-meru. Hence it is natural that Sarhgadeva has named him as one of the old masters. Two other works the ‘ala-laksaya and the Kohala- rahasya, have also been ascribed to 4181419. These may genuinely reflect the the teachings of Kohala. From all these it appears that Kohala was a very important early writer on music. (d) Sandilya and Vatsya. ‘The NS has twice mentioned Vatsya and Sandilya together. Sandilya not peing included amongst the hundred sons of Bharata, seems to be somewhat later. But one cannot be sure on this point. Sandilya has not been quoted in an early work. Only the author of the commen- tary “Tilaka” on the Ramayana, mentions him twice in connexion 79, Svami Prajfianananda—Sangita-O-Samakrti (Bengali) vol. V1. pp. 347 ^. THE NATYASASTRA 22 with the Marchand and the Jati®®. And Vatsya is not known to have been quoted by any work. | (€) Visakhila: Dattilam is the earliest work to mention Visakhila.§! As we have already seen that Dattila was anterior to the NS. Visakhila was also a very old writer on music. The Brhaddesi also once refers to him.*? The passage in question being somewhat corrupt it has escaped the notice of other writers. It is as follows: nanu miirchand-tanayoh ko bhedah? ucyate—miarchana- tanayo nunatvantaram (=stu narthantaram) iti Vigrankhila (= Visakhilah) etaccdssmgatam. (Tr. Now, what is the difference between the Mfrchana and the Tana? Visakhila’s view that the Miirchana and the 1508 are identical, is uot correct.) Visakhila has been quoted and referred to at least seven times by Abhinavagupta in his coinmentary on ch. XXXVIII of the NS.83 Cakrapanidatta (€. lith century) also has quoted from Visakhila in his commenary on Caraka, Nidana-sthana, VII. 7.४५. The relevant passage is as follows: Yad uktam Visakhina (wrong reading for ViSakhilena) Samya daksina-hastena vamahastena talakah / ubhabhy4am vadanam yat tu sannipatah 58 ucyate / / (Jr. As has been said by Visakhila, the Samya is struk by the right hand, the Tala by the left hand, and that struk by both the hands is the Sannipata.) (f) Dattila: Another very old authority on music was Dattila®®. Mentioned by the NS as one of the sons of Bharata, he is earlier than the writer of this work. But the work going by his name, r.ay not be actually written by him; but its antiquity is great. For the teachings ascribed to him as available in the text named after him, seems to be less developed than that available in the NS. For example, according to Dattila, Alamkaras are thirteen in number while according the NS ( XXIX. 23-28 ) they are thirtythree, and later writers further add to their number. The Brhaddedi makes quotation twice ( pp.29-30 ) from 80. Ibid. pp. 352-353, 81, Dattils, 4. 177. 82. See page 26, 83. Pages 14, 15, 24, 34, 41, 72. and 86 of the transcript from Baroda. 84, ed. Haridatta Sastri Pp. 473-474, 85. ed. EK. Sambasiva Sastri. 28 INTRODUCTION Dattila. Ksirasvamin (11th century) the commentator of the Amara-koga (ed.R.G.Oka, Poona, 1913) also quotes passages twice from Dattila. Abhinavagupta in his commentery on the chapter XXVIII of the NS, has quoted passages from Dattila no less than ten times. And another comentator of the Amara-kosa(Vandyaghatiya Sarvananda ) also quoted from him the following: Mukham pratimukham caiva grabho vimarsa eva caetc.®* I*rom this it appears that Dattila wrote not only on music, but also on dramaturgy. 2. The Date of the Natyasastra. In the Introduction to the volume I of the present work the translator wrote “it may be reasonable to assume the existence of the Natyasastra in the 2nd century. A.C. (p.LXXVI). By the Natyasastra was meant the present text of the work including some spurious passages (p..XV) Hence the date of the NS in its original form will be earlier. After making a closer study of the concluding chapters, the translator is inclined to Support the view of the late Haraprasad Sastri who concluded that the work belonged to 200 B.C.* But the question will be taken up later on. 3, Early Medieval Writers on Music (200 A.C.—600 A.C.) (a) {407४45४ The view of ViSvavasu on Sruti has been quoted in the BrhaddeSi (p.4). But it is difficult to identify him with Visvavasu the king of Gandharvas who according to the Mahabharata was an expert in playing a Vina. | (9) Yumburu. Tumburu’s view also has been quoted in the Brhaddesi (p.4). But due to the corrupt nature of the passage quoted, this has escaped the notice of the earlier writers. The passage in question is as follows :— Apare tn vata-pitta-kapha-sannipata-bheda-bhinnam catur- पतता पधा pratipedire. tatha caiha Tumburwh (the last word wrongly read as caturah): uccaistaro dhvani rukso vijiieyo vatajo (wrongly valajah) budhaih. gambhiro ghanalinasca ( wrongly 1111856६ ) jfieyo’sau pittajo dhvanih. snigdhaS ca sukumA&ragca og 86 See the Introduction to this text (Baroda ed.) 87, See JPASB, vol. V. (N.S.) pp. 351 ff, ; also vol, VI pp. 307 ft THE NATYASASTRA 94 madhurah kaphajo dhvanih. trayanam gunasamyukto vijfieyo + sannipatajah. This quotation from Tumburu occurs in a correct from in Kallinatha’s commentary on the SR (1.3.13-16). Some writers think on the basis of the occurrence of the expression “Tumburu- nataka’ in Locana’s Raga-tarangini (12th century) that Tumburu wrote a play. But this tumburu-nataka seems to have meanta kind of dance-drama originating with Tumburu. (c) The Markandeyapurana. Though not a work on music, the Markandeya-purana may be considered in the present connexion ; because it gives us valuable informations regarding the musical theory and practice at the time of its compilation. Though here is no direct avidence about its exact age, scholars are agreed about its great antiquity, and according to Pargiter who studied this work very closely, its oldest parts may belong to the third century A. C.°8, This suit very much the data of music obtained from it. For, it mentions the seven svaras ( notes ), seven Grama- ragas, seven Gitakas and as many Miirchanas, fortynine Tanas, the three Gramas, four Padas, three Kalas (wrongly Talas ), three Layas, three Yatis and four Atodayas. Except the Grama-ragas mentioned in this Purana, all other terms occur in the N§. The Grama-rigas are ignored by the NS. They are probably related to the Grama-geya-gana (songs to be sung ina village) of the Vedic S4ma-singers as distinguished from the Sama-singers’ Araynya- gana or forest songs which were taboo in villages®*®. It seems that the term which may be earlier the NS was not recognised by the NS, for some reason or other. The three Kalas might also relate to the time required to pronounce short, long and pluta syllables. From these facts, it may he concluded that the Mk. Purana was not compiled much later than the NS. Those who assign a lower date to the Purana refer to the Devi-mahatmya (61.81-89) which in their opinion is not much earlier than 600 A.C. This however seems to be far from justified. For Durga glorified in this Purana was already an important deity in the later Vedic period, the Devi-stikta being a part of the Khila- | | 88. Winterniz. Vol. I. p, 560. The chapter 23 of the Mk. Purina has been critically edited and published by Alain Daniélou and N. R. Bhatt in ‘Textes des Purana sur la theorie musicale,’ Pondichery, 1959, 1 reached the present author late. e 89. Winternity, p. 167, 25 INTRODUCTION portion of the Rgveda. Hence the Mk. Purana may very well be placed in the 3rd century A.C. (d) The Vayupurana, The Vayupurina also should be con- sidered in connection with the medieval writings on music. For it contains two chapters (86-87) which treat of the Marchanas, Tanas and Gitalamkaras®®. Even if these two chapters are in a very Corrupt state, from them one can form a fairly correct idea about the musical teachings of the time. Though this Purana des- - cribes the rule of the Gupta dynasty as it was in the 4th century A.C.°!, and though the Guptas, one very great among them being Samudragupta, were patrons of music, these two chapters seem to repeat only what is already available in the NS, except that they give the number of Alamkdras as thirty. (The second half of the first couplet of the chapter 87 should be emended as follows: trimsat ye vai alamkaras tan me nigadatah 411४ (see 51.21 below). But the NS gives the number of Alamkaras as thirty-three (X XIX, 23-28). Another new information available in the Vayupurana is the affiliation of Tnas to different Vedic sacrifices. Due to a loss of some Slokas between the two hemistichs of the couplet 41 of the chapter 86, some writers were led to attach these names to Miirchanas. If these slokas occuring in the Brhadde4i h&ve not been taken from the Vayupurana, they must have been taken from a Common source by both these works. (€) Nandikesvara, The Brhaddesi quotes (p.32) in one passage the view of NandikeSvara on the Marchand. From this we learn that he recognised a class of Marchand consisting of twelve notes. We also know one Nandike$vara as a writer on abhinaya (gesture) and Tala. And the two may be identical. The Rudra-damariid- bhava-sitra-vivaranam a commentary on the Mahesvara- 5111788, 1S also ascribed to Nandikegvara. This also may be from the hands of Nandikesvara the author on abhinaya etc. But before the work has been critically studied, one cannot be sure about this. And Nandikesvara the author of the Abhinaya-darpana as we have seen elsewhere*? was posterior to the 5th century. 90. Svami Prajianananda has printed these in his vol. II of the Sangita O-Samskrti, pp. 484 ff. The Visnudharmottara (C. 8th century) also contains some chapters on music. But these are not of much importance in the present connection. See Textes des Purana surela theorie musicale ed. by Daniélou and Bhatt. 91. Winternitz. op. cit, p. 554. 92. See the Introduction to the Abhinayadarpana ed. M. Ghosh (2nd ed). Calcutta, 1957. ° 4 THE NATYASASTRA 26. ` 4, Medieval writers of the Transtiional Period (600 A.C.-1000 A.C.) (a) Sardiila, Matanga, Yastika, KaSyapa and Durgasasktt. It was during this period that the Ragas of later Indian music slowly developed from the Grama-ragas®® of early medieval music, which have been mentioned in the Markandeya Purana. The Giti or the Bhasa-giti of various kinds mentioned in the Brhaddesi®* had probably connection with this Gramaraga. And from this work, it is also learnt that Sardila recognised only one Giti called Bhasagiti, Matanga two Gitis, Bhasagiti and Vibhasa-giti, YVastika three of them named 218541४1, Vibhasagiti and Antar-bhasikagiti. Durgaéakti however gave their number as five, viz. Suddha, Bhinna, Vesara, Gaudi and Sadhdrani. Kasyapa seems to agree with VaAstika in this regard ; but one cannot be sure on this point. The personal view of the author of the Brhaddesi is that the Giti is of seven kinds: such as Suddha, Bhinnaka, Gaudika, Ragagiti, Bhasagiti and Vibhdsagiti. It is probably to demonstrate the fuller nature of his own classification, that he brings in the view of his predecessors, which have been mentioned above. The evidence at our disposal for ascertaining the time of these authorities is meagre. But we are possibly not quite helpless in this matter. For, the term Bhasagiti seems to give some indication as to the upper limit to the age of these teachers. It seems to be evident that 81242 in this connection is nothing other than the desa-bhasa. or regional dielects or languages, and that is the reason why the songs composed in defa-bhasa were also called Desi from which the Brhaddesi derives its name. Now 6282 came to be accepted as a vehicle of literary expression as early as the 6th century A.C. ; for Banabhatta mentions among his friends one Igina who was a 5hasa-kavi or a poet writing in bhasa.°5 Hence it may naturally be assumed that bhas@ attained some prestige at that time in connection with the music also. In all probablity Sardaila who recognised one kind of Giti called the Bhasagiti, might have 93. See above p. 24, 94. See page 82. 95 Bulletin of the School of Oriental Studies Vol. I (1917-20), Grierson, Indo-Aryan Vernaculars, Chapter II, p. 65. 27 INTRODUCTION been an younger contemporary of Banabhatta. Matanga, Yastika, Kasyapa and Durgasakti all of whom might have followed him in later centuries, probably one after another, added to the number of Gitis or Bhasagitis. The new era reached right down to the time of the author of the Brhaddegi who seems to have flourished about the 10th century A.C. when the Bhasa- movement may be said to have culminated in the development of New Indo-Aryan languages and bhasi became the vehicle of the classical melodies of the Raga-type. (b) The Brhaddesi. The work ascribed to Matatga cannot be taken as a work written by Matanga. For as we have seen above, Matatiga’s view has been quoted in the work itself along with the view of other earlier writers. Hence it seems have been compiled by some one other than Matanga himself, and was ascribed to the old master evidently for giving it a greater authority. About the date of this work we have given our view above. The fact that Sarigadeva recognised Durgasakti’s view about the number of Gitis in opposition to the one given by the author of the Brhaddegi**, probably shows that the two authors were not widely separated in time. The Brhaddesi extensively makes quotation form the NS. + 3. Late Medieval Writings (1000 A.C.-1300 A.C.) (a) The Sangtta-makaranda. This work 97 ascribed to Narada, was evidently not from the hands of the author connected with the SiksA named after him. The fact that the Ragas known in later music make their appearance in it, speaks for its lateness. As it has, been utilized by Sarigadeva (1210-1247 A.C.) it may be tentatively placed in the 11th century A.C. (0) The Raga-tarangini. ‘This was composed by Locana- Kavi, the court-musician of the king Vallalasena of Bengal. It was written 1160 A.C.°*, the year of Valldlasena’s accession 96. See SR. II. 1.7. 97. Ed. M. २. Telang. 98. See Kshitimohgn Sen, Banglar Sangitacarya in the Gitavitana-varsikt Vol. I, 1350 (B.E.) Songs of Vidyapati available in the present text of the Ragatarangini are evidently a later interpolation and hence do not determine its date. See ibid. : THE NATYASASTRA 28 to the throne. He therefore lived one generation earlier than Jayadeva the celebrated author of the Gita-govinda which was a lyrical poem to be sung with musical accompaniment. From the Ragatarangini it is learnt that the author also wrote other works such as the Raga-gitasamgraha. But these have not come down to us. Locana’s work mentions twelve basic (janaka) Ragas to which eighty-six derivative (janya) Ragas owe their origin. (€) The Sangita-samayastra. This work®® was written by Parsvadeva of whom we do not know anything more. He was probably a Jain; and as he names Bhoja!®® and Someévara!®?! he was later than these personages. But Sarngadeva who mentions them does not mention Parévadeva. Parévadeva therefore may be placed in the 13th century A.C. and may be considered to be a contemporary of the author of the Saigita-ratnakara. Paréva’s treatment of Ragas though pretty exhaustive, is shorter than that of Sarngadeva. (d) The Sangita-ratnakara. This is the most exhaustive treatise on Indian music. It was written by Sarigadeva (1210-1247) a South Indian whose grandfather was a Kashmirian. In the seven ` chapters of the work, he treats of notes, Ragas, miscellaneous topics, musical compositions, rhythms, musical instruments and gestures. He describes Sruti, notes, Gramas including the obsolete Gandhara Grama, Miirchana, Tana, Varna, Alamk4ra, Jati, Vadi, Samvadi, Vivadi and Anuvaédi notes very clearly, and summarizes whatever has been said by his predecessors. This gives the work a special importance in connection with a critical study of the NS. Many things occurring in this latter work when otherwise obscure, become elucidated as soon as they are compared with similar items discussed in the Safgita-ratnakara. As Sarngadeva elaborately describes the Ragas with their late developments, his work serves, as a bridge between the tradition of the NS and the works written in late medieval times (after the 13th century) which almost exclusively treat the Ragas and their different varieties. As these works are not of much importance regard- ing the study of Indian music in its ancient and early medieval aspects, we refrain from mentioning them. 99. Ed. Ganapati Sastri. 100. Ibid (11.5). 101. Ibid (II. 5; 1X. 2). 29 INTRODUCTION IV. MORE ABOUT THE ANCIENT INDIAN THEORY AND PRACTICE OF DRAMA 1. The Three Types of Character Characters of all kinds male, female and hermaphrodite in- the ancient Indian plays, were classified into three types: superior, inferior and middling!, for the purpose of distinguish- ing them by assigning to them special movements to be followed by appropriate music and drumming. Division of Heroes (nayaka) and Heroines (72072) into four classes, had also included the same purpose. 2. The Prominent Position of the Nataka From the very detailed description given in the NS of the various types of character such as the king and his entourage, inside and outside the royal palace?, it appears that the Nataka which usually include such characters, was the most prominent among the ten kinds of play. The special purpose of the description seems to have been to help the playwrights who cannot always be expected to possess a first-hand knowledge of habits and customs of such characters. 3. The Typical Theatrical Troupe From a detailed description of the various members of theatrical troupes?, it appears that such troupes moved from place to place just like the Bengali Jatrawalas, to give performance before people of different regions. It is only on the assumption of this kind that we may easily explain inclusion into the troupe, of such members as makers of headgears (mukutakaraka) and of ornaments, the dyer (rajaka), the painter and craftsmen of various kinds. If like the members of modern theatres of India they were restricted in their activity to any particular place, there might not have been any necessity of counting them as members of theatrical troupes. As communication and transport at that ancient time were not easy, the treatrical parties did not 1, See XXXIV. 2 ff, 2. See XXXIV, 29 ff. 3. See XXXV., 89-90. THE NATYASASTRA 30 probably like to add to their luggage in the shape costumes and लाः paraphernalia of a dramatic performance. Skilled persons who accompanied them prepared these anew in every region, and ‘hese were used for a number of performances held in places not very distant from one another. The Arthasastra of Kautilya seems to envisage this kind of itinerant theatrical troupes. 4. The Playwright as a Member of the Theatrical Troupe The playwright (natyakaraka)* appearing as one of the aembers probably shows also that theatrical troupes moved rom place to place and did not depend exclusively on a fixed epertoire, but often constructed special plays based on local istory or popular legends, to suit the taste and interest of € people before whom they were called upon to give 8 erformance. The position of the playwrights was probably analogous ' some extent to their modern counterparts attached to some ‘ban theatres of modern India, which employ them for salary ith the purpose of making their dramatic compositions the cclusive property. 5. Distribution of Roles The NS lays down some general principles for the stribution of roles in a play.’ For example, it says: “After considering together their gait, speech and ovement of the limbs, as well as their strength and nature, € experts are to employ actors to represent different roles [in a ay]’® “Hence the selection of actors should be preceded by an quiry into their merits. The Director will have no difficulty er the choice [if such a procedure is followed]. After sertaining their natural aptitudes, he is to distribute roles to ferent actors”. To clarify further these principles, the NS adds: “Persons who have all the limbs intact, well-formed and ck-set, who are full-grown, not fat or lean, or tall or large, who 4. See XXXV. 99, 5. See XXXV. 6. See XXX ५४, 5-6. 31 INTRODUCTION have vivacity, pleasant voice and good appearance, should be employed to represent the role of gods.’ “Persons who are fat, and have a large body, a voice like the peal of hunder, furious looking eyes, and naturally knit eye-brows should be employed to represent the role of २३154585, Danavas and Daityas ; for the performance of the male actors [should be] in conformity with their limbs and movements”.$ “Actors of the best kind who have beautiful eyes, eye-brows, forehead, nose, lips, cheeks, face, neck and every other limb beautiful, and who are tall, possessed of pleasant appearance and dignified gait, and are well-behaved, wise, steady by nature, should be employed to represent the role of kings and princes.° In a similar manner the NS gives directions about assigning roles of army-leaders, councillors (ministers and = secretaries) Kaficukins, the Srotriyas'® as well as minor characters.!! The directions about the representation of fatigued and healthy characters show how careful the ancients were about the assign- ment of roles. For the NS says. “A person who is naturally thin should be employed in a play to represent tired characters.”?? , “A fat man should be employed to represent persons without any disease”,!8 From the very elaborate rules quoted above, it appears that the author of the NS was very careful in the assignment of toles. His rules were often found difficult to be carried into practice. But in spite of this, he was not a doctrinnaire in this regard, and permitted the Directors of theatres to train up properly persons available, even when they did not come up to the standard. On this point he says: त “If however, such persons are not available, the Director should exercise discretion to employ [some one] after a consideration of the latter’s nature and movement as well as all the States [to be represented].” 7. XXXV. 5.6, 8. XXXV. 7-8. 9. XXXV.9-11. 10, XXXV, 12.14, 11, XXXV, 15-17, 12. XXXV, 18. 13. Ibid, THE NATYASASTRA 32 “Such persons’ natural movements whether good, bad or middling, should be regulated by a contact with the Director and then they will properly represent all the States”!‘. 6. The Principles of Personation The NS also very clearly laid down the principles of personation. It says ‘One should not enter the stage in his own natural appearance. His own body should be covered with paints and decorations”!5, “In the production of a play, a person in his natural form of the body should be employed [to assume a role] according to his age and costume”! S, ‘Just as a man who renounces his own nature together with the body, and assumes nature of someone else by entering into his body, so the wise actor thinking within himself that “I am he”, should represent the States of another person by speech, gait, gestures and other movements”?7. The stage-representation of characters according the NS, are of three kinds: natural (anurupa) unnatural (viriipa) and imitative (rupanusarini)'®, These three kinds of representation are described as follows :— “When women impersonate female characters and men male characters and their ages are similar to that of characters represented, the impersonation is called natural)” “When a boy takes up the role of an old man or an old man that of a boy and betrays his own nature, the representa- tion is called unnatural?®, When a man assumes a woman’s role, the impersonation is Called imitative by the best actor. A woman also may assuine if she likes, a man’s role in actual practice. But an 14. XXXV. 19-20, 15. XXXV. 24, 16. XXXV. 25. 17. XXXV, 26-27. 18. XXXV 28, 19. XXXV. 29. 20. XXXV. 30. 38 INTRODUCTION ‘old man and.a young man should not try [to imitate] each other’s manners? ५, | 7. Special Importance of Women in Dramatic Production Unlike what was the practice in ancient Greece or in medieval Europe, ancient Indians had no scruple to employ actresses possibly from the very ancient times. Hence the ‘NS points out their special fi tness on certain points. The relevant passages in the N§ are as follows :— “A delicate person’s role is always to be taken up by women. Hence in case of women as well as gods and men of delicate nature [women are to assume the roles]. [It is for this reason that] drama came to be established in heaven through Rambha, Urvaéi and the like [nymphs]. And similar has been the case in king’s harems in this world”??. ‘Want of fatigue in dance and music, is always considered a quality of women, and a dramatic production partly attains its Sweetness and partly its strength due to this”?°. “This delicate type of production is pleasing to kings. Hence plays of this class including the Erotic Sentiment, should be produced by women”?‘. An instance of the production of a play exclusively by women occurs in the Priyadarsika (III) of Harsa. Also in Cambodia the country which owes its drama to India, plays are produced exclusively by women?5. In the palaces of some Sultans of Java too, women are exclusive performers of dance-dramas?*. It can scarcely be doubted that this practice had its origin in India in hoary antiquity and the relevant passage of the NS, quoted above, seems to support our assumption. 8. Impersonation of a King Though the NS has given description of a person suited to represent a royal character?’, it closes the topic of impersona- 21, XXXV. 31-32. 22, XXXV, 38-39. 23. XXXV. 44. 24. XXXV, 49, । 25. See the author's Contributions to the History of Hindu Drama, Calcutta, 1957, p. 41. 26, See notes on XXXIV. 48-51. 27, XXXV. 9-11. 5 THE NATYASASTRA 34 tion by giving rather elaborate directions about the impersonation of a king. On this point it says ; “How are the qualities of a king to be represented by an actor who has a few wearing apparels ? In this connection it has been said that when dramatic conventions have come into vogue I have made plays furnished with all these (i.e. conventions)”. ‘In them (ie. plays) the actor (nata) covered with paint, and decorated with ornaments, reveal the signs of kingship when he assumes a grave and dignified attitude and then he alone becomes, as it were, a refuge of the seven great divisions (saptadvipa) of the world”?®. “He should move his limbs only after he has been covered with paints. And trimmed according to the discretion of the Director and having the Sausthava of limbs, the actor becomes like a king, and [thus trimmed] the king also will be [very much] like an actor. Just as the actor is, so 1s the king, and just as a king is, so is the actor”?’. 9. An Ideal Director Principles and practices of the ancient Hindu drama as described before, placed a very great responsibility on the Director of a theatre. Hence the NS describes the characteris- tics of an ideal Director as follows :— He should have “a desirable refinement of speech, knowledge of the rules of Tala, the theory of notes and instru- ments [in general]”. And he who is “an expert in playing the four kinds of instruments, has various practical experience, is conversant with the practices of different religious sects, and with polity, science of wealth and the manners of courtezans, ars amatoria and knows various conventional gaits and move- ments, thoroughly understands all the sentiments and the states, and 15 an expert in producing plays, acquainted with all arts and crafts, with words and rules of prosody, and proficient in all the Sastras, the science of stars and planets and the working of the human body, knows the extent of the earthly continents divisions, and mountains, and people inhabiting them and customs they have, and the names of descendants of Goyal et ~-~ -~~ ~ -~ ---- 28. XXXV. 57-59. 29. XXXV. 60-61. | + 35 INTRODUCTION 11168, and who listens about acts prescribed in 6151185, can understand the same, and puts them into practice after under- standing them and gives instruction in the same, should be made a Director,>° V. MORE DATA OF INDIA'S CULTURAI, HISTORY IN THE NATYASASTRA I. Language The NS mentions besides Sanskrit and the various kinds of Prakrit the Ardha-Samskrta as the language of Dhruvas.*? By this last term we are probably to understand the so-called (ratha-Sanskrit which Prof. Edgerton has called hybrid Sanskrit. His hypothesis about its origin does not however appear to be convincing. This new nomenclature seems to ignore the historical circumstances which brought this kind of language into existence. 2. Metre In course of describing Dhruv4s the NS has described . 9 4 32 various metres. Most of these names are otherwise unknown.*? 3. The Arthasastra The NS (XXXIV. 82-98) describes a king, an army-leader, a purohita (chaplain), ministers, secretaries, judges, wardens of princes (kumaradhikrta) and refers in this connexion to the views of Brhaspati who seems to be no other than the old master of this name repeatedly referred to in the Arthasastra of Kautilya. This probably points to the great antiquity of the NS. It is also gathered from the NS (XXXIV. 78) that- Dauvarika** mentioned as a great dignitary connected with the royal palace was a sndtaka®* ie., a Brahmana who has duly finished his Vedic studies. This seems to give a clue to the sudden rise of the Suigas (who were Brahmanas) after the Maurya dynasty declined. Pusyamitra Sunga described by Sylvain Lévi as a “~ ~~ ~ ~ = -~ ~ = = eee 30. XXXV. 65-71. 31. XXXII. 440-442. 32. See XXXII. 33. See AS. 34. See XXIV. 73-74. THE NATYASASTRA 86 a“mayor of the palace” was probably a snataka employed as Dauvarika by the 185६ Maurya king. The Sabhastéara mentioned in the NS. (XXIV. 83,98) translated as members of the (royal) court, is also a very old word. The Kumaradhiksta (XXXIV. 83,97) seems to be the warden of princes mentioned in the ArthaSastra. THE NATYASASTRA CHAPTER TWENTYEIGHT ON THE INSTRUMENTAL MUSIC Three Classes of Instruments I shall now explain the formal aspects (lit. rule) of the instrumental music (a@todya). They are as follows: 1, Regular musical instruments’ are of four kinds, such as ‘strinpd’ (iata),’ ‘covered’ (avanaddha),* ‘solid’ (ghana) and ‘hollow’ (susira). 2. [Among these,] the ‘stringed’ are those with strings, the ‘covered’ means the drums, the ‘solid’ the cymbals and the ‘hollow’ the flutes. eee. "~~~ (1) 1 लक्षणान्वितम्‌ भातोद्य' literally means ‘musical instruments po8sessed of auspicious marks’. NS. here considers only the traditional or well-known musical instruments as auspicious. 2Explaining in detail the importance of stringed instruments (tata) in the production of a play Ag. says : तव qua ततसुधिरयोरुपयागः। तौ हि खरस्य परमाथ रक्तिलचणं वितरतः। गातणां वाकंपारुष्यादि- दोषोपडतानां खरण्तनवेविशसखरेण qatar नौयते खभावत एव तप्राधुर्यात्‌ । बाङमाधयं यावद्धौनं तदायं मधुरं निरोपितं माधयम्‌ wee भाद्ररेयुः। ततानुवद्खत्वात्‌ खरस्य न नुानाधिकभावाशड़ा काचित्‌ तव ूर्दितायां बौणायाम्‌ सगिधितेनाप्यभिइननेन सरतोपलम्धः। न लव वं वथ ति ततातौदाखं व प्राधान्यम्‌. And after a while he explains why hollow instruments (susira) in spite of their affinity with the stringed ones, were not mentioned imme- diately after these, and then he discusses the position of ‘hollow’ and ‘solid’ instruments in the Orchestra. The relevant passage is as follows : सुषिरस्य qumae पि तदा(द)नन्तरं तद्यानभिधानमिति चन्न, aor एव सखरभागे पराधानबात्‌ । धातुवायगेषशषवप्रकतिलवादया( द )वनड्‌ख wana चनस्य, dea ( बोणायाम्‌ एव ) सुषिर तत एवांनुमवेश्;। ततस्तु वंशसलव्र॒चतुविं धातीद्यमुपरश्चकम्‌। उपरक्ननौयाश्ाभिनय इति तयोरेकव सत्रिवेशाककः समूहः कर्तव्यः । तत्र घतुवि धमातीद' खरतालप्राधान्या[द्‌] feed कृतं ततमवनह चति । सुषिरिघनयीः क्रमेण aaa AAT, ; $ चामेगन्धनाद्‌ Te, Ag. ५सृतिकादिनन चनं, Ag. अश्या, 3-7] THE NATYASASTRA 2 Threefold Application of the Instrumental Music 3. Inconnexion with the dramatic performance (nataka) they have threefold application : [that in which] the stringed instruments (tata) [ preponderate ], [that in which | the drums (avanaddha) [preponderate], and their [general] appli- cation during the dramatic performance (nat yakria). 4-5. In the Orchestra of the stringed instruments (kutapa)', [appear] the singer (gayana) and his attendants’ and players of Vipaiici,’ Vina! and flute. Players of Mrdanga (earthen drum ), Panava* and Dardura® are [collectively] called the Orchestra of the covered instruments (lit. in the rule of the covered instruments). 6. The Orchestra related to actors and actresses (prakrti)' of the superior, the middling and the ordinary type, occupies different positions? on the stage during the produc- fion of plays (nat yayoga). Music of all kinds embellishes the Drama 7: Thus the song (gana), the instrumental music (vadya) and the acting (natya)' having different kinds of ० ~ कन्न nn ee (4-5) Jad we पाति, a च रङ्ग" तपतु्ज््वलयति Ag. The commentator again seems to give this word a new meaning. See Introduction to the Vol. I. pp. LXXVIf. Here kutapavinyasa should be read as kutapavinyase. “परिग्रहो गायकस्य az यथा गायकाः कास्थतालिकाहलाः Ag. It appears from this that the singer had near him attendants with brass cymbals. Sfe( fa ast भपूणतन्तौका कोणवादनौया ator क विंशतितबौका Ag. Vipafict seems originally to have been a ten-stringed Vina to be played with a plectrum. 4See note 3 above. ° पकवोऽन्तत्तन्तौको हड़ंकारः Ag. Panava is a small drum or tabor. Sag रो agrawiatt: Ag. describes Dardura as being like a large gong made of bell-metal ; some consider it to be a flute. See Apte sub voce. Dardurika may however be derived from dardura which means a conch-shell the valve of which opens to the right. See Apte sub voce. But in spite of all this, Dardura was a kind of drum. See XXXIII. 4. (6) "8८८ XXXIV. 1-12. 7On the Ag. says: ततावनञ्जयोः gavAfieueaen पुष्कराध्याये वच्यते । नाग्यकुतपख्य तु प्रवीणे मा भूदया(दन्य)वधिरिति सुत्रिधिमाव्रम्‌ उपयोगि न तु देशनियमः. (7) Phis acting included dancing. $ INSTRUMENTAL MUSIC [xxvin, 8.11 appeals (vividhasraya, lit. depending on different things)’ should be made by the producers of plays like a brilliant entity (alatacakra-pratima.).° Characteristics of the Gandharva 8, That which is made by the stringed instruments and depends [as well] on various other instruments, and consists of notes (savra), Tala (time-measure) and _ verbal themes (pada) should be known as the Gandharva.' 9. As itis very much desired by gods and as it gives much pleasure to Gandharvas, it is called the Gandharva (1.6. a thing belonging to Gandharvas.) Sources of the Gandharva 10. Its source is the human throat (lit. body), the Vina and the flute (vamsa). I shall describe the formal aspects of (lit. arising from) their notes. Three kinds of the Gandharva 11. The Gandharva is of three kinds' : that of the notes (svara), that of the Tala and that of the verbal theme. (pada). ~~~ ~~~ ~~ ee ~~ -~~~~ ०8९6 note 3 below. । ०2110232 uses this expression. See Vikram. V. 2. 0. Ag. explaining why these three different items are to be given unity, says : aang विविधा्रयं fae द्दिग्राद्य-विविधक्रियाङपं cere यवं नासेयकता संपादा यैरेकबद्ि-विषयता तत्‌ सामालिकख गच्छं त्‌। In this connexion he rejects the suggestion that the mere reading of plays can fulfil their purpose, and says : wal तु मन्वनतं गोतातीदयविषहौनादपि प्रयोगात्‌ पद्यमानादपि दशङ्पकाद भवति सिद्धिरित्यनेन सूचितम्‌ दति । तत्‌, न सम्यगिव ( गेव ) तावतो यपरिपूषता aaa, परिपूणं च स्वाुग्ाहि नाव्यखङ्पम्‌ भमिधितृसितं सुभैः, Cf. Aristotle’s view of tragedy (see Introduction to vol I. pp. XLII- शना), (8) 1Gandharva seems to be a combination of the vocal music and the music of instruments, such as vind and flutes (See 10 below). From the Mrcch. (III. 2.1) we learn that vin@ as as well human voice charmed Carudatta in a performance of Gandharva. Ag.’s explanation of aaafafa as गन्धो मितिमानं sciaq went वो यख etc., seems to be fanciful. See XVII. 92, 94, 98, 102 etc. and XXI. 24, 25, 73, 77 etc. The expression should be taken simply as a combination of gandharvam and iti. (11) !The three kinds of gandharva seem to be three kinds of musical performance in which individual notes, beating time, or songs respec- tively play their principal or only part. शरणा, 12-20] THE NATYASASTRA 4 I shall describe the characteristics and the function of the three. Two Bases of Notes The notes (svara) have two bases: the human 12. I shall speak about the throat (lit. body) and the Vina. forma] aspects of the notes arising from the two. Formal Aspects of Music of the Vina 13-14. Notes (svara)', Gramas, Miirchanis’, Tanas’, voice- registers (sthana), Vrttis’, Overlapping (sadharana) notes. Varnas, Alamkaras, Dhatus’, Srutis® and Jatis which are con- stituted by the regular notes (vidhisvara), are available (lit. united) in the wooden Vina. Formal Aspect of Music of the Human Throat 15. Notes, Gramas, Alamkaras, Varnas, voice-réfisters 4१818 and Overlapping notes are available in the Vina of the human throat. Aspects of the Verbal Theme in Music 15-17. Consonants', vowels, euphonic combinations (4472402), case-endings (vibhakti), nouns (nama), verbs (akhyata), prefixes (upasarga), particles (1110210), secondary suffixes (taddhita), and syllabic and moric metres always relate to the verbal themes of music (pada). These are of two kinds: composed (ntbaddha) and improvised’? (anibaddha, lit. not com posed). Twenty Aspects of the Tala 18-20, Now’l shall speak of the Tala’. Avspa? Nis- krama, Viksepa, Pravesgaka, Samya, Tala, San nipata, Parivarta, Oe re i ee (13-14) 1This and the succeeding terms have been defined below. 2 It seems that Murchanas, Tanas, Vrttis, Dhatu and Sruti related practically to the Vina or the stringed instruments of its class. 8 See note 2 above. 4 Ibid, 5 Ibid. ठ Ibid. (16-17) 1 This and the folloing terms have been defined in XV. 9, 33, 39ff. The aGkhar of the Bengali kirtan, is probably an example of the anibaddha pada. . (18-20) 1Here tilagatasyapi should be read as talagatam$ capi. *Jhis and the following terms have been defined later on. 5 INSTRUMENTAL MUSIC [xxvim. 21-29 Vastu, Matra, Vidari, Anga, tempo (Jaya), Yati, Prakarana, Giti, Avayava, Marga, Padabhfiga, and Pani are the twenty’ formal aspects of the Tala. These [are] in brief about the Gandharva. Listen next in details about the same. The Seven Notes On the Notes (svara) : 91. The seven notes are: Sadja (sa), Rsabha (v2), Gandhara (ga), Madhyama (ma), 12268718, (pa), Dhaivata (dha) and Nisada (ni). Mutual relation of the Notes 09. [According] as they relate to an interval of [more or less] Srutis, they are of four classes, such as Sonant’ (vadin), Consonant (samvadin)? Assonant (anuvadin’, and Dissonant (vivadin)'. The Sonant and the Consonant Notes That which is an Améga* [note] anywhere, will in this connexion, be called there Sonant (vadin), Those two notes a RD AE *The text ity ekavimsako should be read as ity evam vimsako. (22) 170 an explanation of this and succeeding terms see below and GS. I. pp. 462, 463, 467, 468; GS. II. pp. 117-123, MM. ए. 9. MH. p- 108.cf. MI. pp. 27-28. According to Dr. A. A. Bake (MM. p. 9.) “the sonant note is the melodic centre of the melody.” Sce below note 1 of 76-78. 2See SR. I. 3. 47ff. Kn. says : aa: खरयोरनलरगोचराः arnegat विहाय मध्यवतिन्यः Baal हादशाशौ वा दश्वन्ते तौ faa: संवादिनौ भवतः इति । Sbh. too says: wremet वा qa यथोरन्तरं वर्तन्तं तौ मिधः परस्परं संवादिनौ मवतः. But Matanga (Bd. p. 14, IJ. 1-2) says : संवादिनस्तु ga: सभश्रुतिकल्वं सति वयोदशनवान्तरलवे नावबोद्धग्याः ; and Dattilla (18) too says : faa: aafeat sat व्रथीदशनवान्तरौ. The difference between the two views, is more apparent than real. For 501, says ययौ; gat: खरावखितौ ते amt fae wee शुतयी दादशा्टौ वा यदि wafer तदा तयोः खवादिलम्‌ इत्यनेनाभिप्रायेनेवम्‌ उकम्‌ । मतक्गादिभिस्त्‌ यो यख dard) तस्यावश्यानश्रुतिमपि सधय गणयित्वा वयीदशनवाग्तरम्‌ उक्तमिति न faz विसंवादः (on SR. I. 3. 48-49), 8See below note 2 on 23. 4See below note | on 23. 5From its several variants it appears that the term amsa is nothing but amga misread from some very early ms, For more about this see the Introduction. ॐअ 7. 23] THE NATYASASTRA 6 which are at an interval, of nine or thirteen Srutis from each other are mutually Consonant (samvadin) e.g. Sadja and Madhyama, Sadja and Pajficama, Rsabha and Dhai- vata, 68710418 and Nisada in the Sadja Grama. Such is the case in the Madhyama Grama, except that Sadja and Paiicama are not Consonant while Paticma and Rsabha are so. [On these there] is a [traditional] Sloka : 23. In the Madhyama Grama, Pajicama, and Rsabha are Consonant while Sadja and 2708108 are so in the Sadja Grama [only]. The Dissonant Notes The notes being at an interval of [two or] twenty Srutis are Dissonant' e.g. Rsabha and 68०10819, Dhaivata and Nisada. The Assonant Notes Now Sonant, Consonant and Dissonant notes having been determined (lit. established) the remaining ones are to be called Assonant’, e.g. Rsabha, Gandhara, Dhaivata and 1580४ to Sadja; Madhyama, Paiicama and Nisdda to २९81018 ; and Madhyama, Paiicama and Dhaivata to Gandhara; UVhaivata, 9708702 and Nisada to Madhyama ; ~~~ -*--~ an A -- = ee (23)! Matanga (p. 15. 11 11-12) says : हान्तरलत्वादृ faafeaq उक्ताम्‌ and Dattila (19) too says : grr} तु विवादिनौ Kn. says एकेन qarafedl परस्परं बिवादिनौ इति rea afa'a भवति and reconciles this with the view of the NS, and other earlier writers as follows : . शर्वीरकखाधारश्ुत्या ay wae विवर्धितल्वादे कञ्चुत्यन्तरितत्वमेवाथः (on SR. I. 3. 49). SR. (I. 3. 48) defines vivadi notes differently. It makes ni and ga, vivadi to ri and dha respectively. ?Matanga (p. 144ff.) says that the “mutually anuvadi pairs of notes are : sa.and ri, pa and dha, sa and dha, pa and ri in the Sadja-grama. Sbh. adds one more pair (ma and ri) to these (on SR. I. 3. 50). भव Grama may be translated as ‘scale’. Strangway’s theory about its meaning does not appear to be sound (see MH. p. 106). Weber thinks that the Greek word gamma in its musical sense, is nothing but a derivation from the Sanskrit word grama. Indische Streifen, 1.3. (Ref.MM. p- 10). According to Narada there is one more Grama named Gandhira (NaS. I. 2. 8). SR (I. 4. 5) too mentions this. For more about Grama see MH. pp. 1084112. 7 INSTRUMENTAL MUSIC [xxvm. 24 Dhaivata and Niséda to Paiicama; Rsabha, 29708109 and Madhyama to Dhaivata. [All these are] in the Sadja Grima, In the Madhyama Grama 100, Paficama, Dhaivata and Nisada [are Assonant] to Madhyama; Rsabha Sadja, and 6901819 to Paficama ; Sadjé, Rsabha and Gandhara to Dhaivata ; the same (Sadja, Rsabha and Gandhara) to Nisida. As 9 note [prominently] sounds it is called Sonant ; as it sounds in cosonance [with another] it is Consonant; as it sounds discordantly [to another] it is Dissonant, and as it follows [another note] it is called Assonant. These notes become low or high according to the adjustment of the strings, and the varying condition (lit. diversity) of the beam of the Vina and of the sense- organs. So much about the aspects of four classes of notes. Description of the Two Gramas Now, there are two Gramas’: Sadja and Madhyama. Hach of these two (lit, there) include twentytwo, Srutis in the following manner : 24. Srutis in the Sadja Grama are shown as follows :-— three [in Rsabha],' two [17 6871818], four [in Madhyamal], four [in Pajicama], three [in Dhaivata], two [in Nisida] and four [in Sadja]. In the Madhyama Grama Pajicama should be made difficient in one Sruti. The difference which joccurs in Paficama when it is raised’ or lowered by a Sruti and when consequential slackness’ or tenseness [of strings] occurs, will indicate a typical (pramana) जता We shall he a ~~ ne Eg ~~~“ ~~न (24) !Probably due to the exigency of metre, the NS. in describing here the Srutis of each note, begins from Rsabha. 2 Utkarsas (increase) tivrata, apakarso (decrease) mandata, Ag. 3 Mardavam (slackness) tantryah sithiltkaranam, viparitatvam ayatatvam (tenseness) Ag. 4Sruti may be translated as ‘interval’. Early authorities differed from one another as to the nature and number of Srutis. Visvavasu thought they were two, some authority considered that their number was three, xxvii. 25-26] THE NATYASASTRA 8 explain the system of these [Srutis]. The two Vinaés with beams (danda) and strings of similar measure, and with similar adjustment of the latter in the Sadja Grama should be made [ready]. [Then] one of these should be tuned in the Madhyama Grama by lowering Paficama [by one of Sruti]. The same, (Vina) by adding one Sruti (lit. due to adding of one Sruti) to Pancama will be tuned in the Sadja Grama. This is the meaning of de- creasing a Sruti (lit. thus a Sruti is decreased). Again due to the decrease of a Sruti in another [Vina] Gandhara and Nisdda will merge with Dhaivata and Rsbha respectively, when there is an interval of two Srutis between them. Again due to the decrease of a Sruti in another (Vina) Rsbha and Dhaivata will merge with Sadja and Paficama respectively when there is an interval of [three] Srutis Similarly the same [one] Sruti being again decreased Pajicama, Madhyama and Sadja will merge with Madhyama, Gandhara and Nisada respectively when there is an in interval of four Srutis between them. Thus according this system of Srutis [each of] the two Gramas should be taken as consisting of twentytwo Srutis. [The following] are the Slokas_ to this effect : Srutis in the Sadja Grama 25-26. In the Sadja Grama, Sadja, includes four Srutis, Rsabha three, Gandhaéra two, Madhyama four, Paficama four, Dhaivata three and Nisada two some twentytwo, some sixtysix and some infinite. Views of the anony- mous authorities are known from the following couplet of Kohala : दाविंशति कंचिदुदाषरन्ति aah: afamafaaeazey: | षटषरटिभिन्राः खलु केविदासामानन्तमन। प्रतिपादयन्त ॥ See Bd. pp. 4, 5; Sbh on SR. I. 3. 8. 9. For an elaborate discussion on the nature of Srutis in relation to the seven notes in the ancient Hindu scale see GS. I. pp. 298-379 ; GS. II. pp. 138-143. The following passage in NS. from निदशन त्वाखाम्‌ to wfaufa श्रुतयः sean: occurs in the Bd (pp. 5-6) with a slight modification. SR. too follows this (See I. 3. 1 1-22). 5Ag. explains this ‘measure’ (pramana) as length and thickness, others include the number of strings also in this ( प्रमाणम्‌ भानाडपरिणाौ तन्नौ्ां तुख्यल' संख्या ख्ीख्धादिना चेति केचित्‌) 9 INSTRUMENTAL MUSIC [xxvin. 27-30 Srutis in the Madhyama Grama 97-28, [In the Madhyama Grima] Madhyama consists of four Srutis Paficama three, Dhaivata four, Nisada two, Sadja four, Rsabha three and Gandhara two Srutis’. [Thus] the system of [mutual] intervals (antara) has been ex- plained. The Murchanas Now about the Mfirchanas’*. They are of fourteen kinds in the two Gramas’, Murchanas in the Sadja Grama 29-30. Based on the Sadja Grima there are seven Mir- 0041188 : the first Uttaramandra, the second Rajani, the third Uttarayata, the fourth Suddhasadja, the fifth Matsarikrta the sixth Asvakrantad and the seventh Abhirudgaté. The first notes of these are [respectively]: Sadja, Nisida, Dhaivata. Pancama, Madhyama, Gandhara and Rsabha in the Sadja Grama. Miurchanas in the Madhyama Grama In ‘the Madhyama Grama [occur the following March- ands]. (27-28) गट Gandhara Grama became obsolete at the time of the NS., which ignores it. For its Srutis see SR. I. 4. 4-5 and MM p. 10 2The ‘Miarchana’ has often been translated as ‘mode’ of the Western music (See GS. I. p. 284; MH. ए. 106; MM. pp. 10-11). But we are not sure about the accuracy of this. For further details about the term see GS. I. pp. 285ff; GS. II. pp. 14, 857, Matanga explains the term as follows : महनाष्दबुपततिमूष्ा नोह eget i «qt येन रागो हि qugafizefnm (Bd. p. 22). Sbh. further explains this as follows : wants qena’ म ॒लारोडकावरोडणङ्पाया क्रियाया wigra तेनेव (~ मतङ्ग नेव ) चारोदशाव रोयशक्रमेख खरसपकम्‌। gemma’ हि fea तद्‌ विषे; (on 9९२. 7, 4 9-11). But curiously enough Ag. writes: क्रमान्‌ भतिक्रमेनोध्वं यछ .वमाणम्‌ अद (अा)रीहणं तदुपलच्चतं खरसप्तकखकपवहो ( हा ) YET! Ber हि समुच्छायि पठ्यते 3For-the Marchanas of the Gandhara Grama see NaS. 1, 2, 9 and SR, I. 4, 25-26 2 xxvin. 31-34] THE NATYASASTRA 10 31-32. Based on the Madhyama Grama there are seven Mirchanis: the first Sauviri the second Harinasvi, the third Kalopanaté, the fourth Suddhamadhya, the fifth Margavi, the sixth Pauravi and the seventh Hrsyaka. [The first] notes' of these are respectively Madhyama, Gandhara, Rsabha, Sadja, Nisada, Dhaivata and Pancama. Initial Notes of the Murchanas in the two Gramas [Thus] the first notes of these serially are: in the Sadja Grama—Uttaramandra [is to begin] with Sadja, Rajani with Nisada, Uttarfyaté with Dhaivata, Suddhasadjai with Pan- cama, Matsarikrtaé with Madhyama, Aégvakranta with G4n- dhara, and Abhirudgata with Rsabha. And in the Madhyama Grama—Sauviri [is to begin] with Madhyama, Harinasv4 with Gandhiara, Kalopanata& with Rsabha, Suddhamadhyam& with Sadja, Margi (M4rgavi) with Nisada, Pauravi with Dhaivata, and Hrsyaka with Paficama. The Four classes of MurchanAas Thus combined in [different] orders, the notes constitute fourteen Mirchanas of four classes, such as heptatonic (pirna, lit. full), hexatonic (sadavakrta), pentatonic (audavitikrta? and that including the Overlapping note (sadhdranakria). 33-34, The seven notes combined in [different] orders (lit. having an order) are called [full or heptatonic] Mircha- nas, ‘Tanas' consisting of six and five notes are [respec- (31-32) 1Though NS. is silent on the point, the SR. gives the differ- ing pitch of notes as they appear in the Marchanas. (See I. 12-14 and Sbh. thereon). (33-34) !'Tanas or pure Tanas are included into the Marchanas. Difference between them seems to be that the latter includes all the seven notes, while in the former, one or two notes except Madhyama in all Gramas, and Dhaivata in the Sadja Grama, and Paficama in the Madhyama Grama are so very weakly ‘worked’ that they are considered as dropped. For the two ways of working such Tanas see below. N&§. does not seem to be quite clear about the function of Murchanas, and Tanas which they include. But Ag. says amma कुतप उपयुज्यन्ते, It is doubtful whether the modern use of the term Tana, is very old. The Murchana in its original , sense seems to have disappeared from the later Indian music (see MH. p. 11 INSTRUMENTAL MUSIC (xxv. 33-34 tively] called hexatone (420८): and pentatone (audavita).> Besides these, there is another kind of Mirchana which includes the Overlapping notes or is combined with the Kakali notes or the intermediate notes (antarasvara), and this belongs to both the Gramas (Sadja and Madhyama). The same Mirchan& is produced (lit. accomplished) in two ways. In this connexion, Gandhara being reduced to Dhaivata by an increase of two Srutis in it, [the two terms] the Grama and the Miirchan4 become differentiated in the Sadja Grima, and due to that, Madhyama and the notes following it, become serially reduced to 15808 and the notes following it. In the Madhyama Grama too, Dhaivata being softened (curtailed in Srutis) and Nisdda being augmented, the two [terms] are differentiated. [In case of this Grama too] there being an interval of the same [number of] Srutis, the difference of terns [becomes justified]. The interval between Paiicama and Dhaivata is of four Srutis ; similarly due to an increase of Gandhara, the interval will be of four Srutis. The remaining Madhyama, 9708108, Dhaivata, Nisdda,’Rsabha and Sadja become reduced [serially]. to Madhyama and the notes following it. This is due to an interval of the same number of Srutis. The system of [mutual] intervals has been explained in connexion with the system of Srutis. 106). About the function of the Murchana and Tana, Sbh. says : my ॒मूषनालावल्‌ जातिरागमावाऽदिषु पयोगिन्व इति ge met Rey; तानाम्त॒कुबोपयुज्यनतं ? खच्यन्तं । इयीग्रामयीजौतिरागान्दलयप्रतिपादपानायं प्रयोगल्तानानामितुाक्त' awa (on SR.I. 4. 29-31). But Matanga’s view given here, is not quite clear. IThe term audavita and audava have often been read respectively as auduvita and auduva with a notion about their connection with udu (star). Odava or audava which lies at the basis of these terms, appears to be a non-Aryan word meaning probably ‘five’, and sadava too may likewise be of the same origin, and may mean ‘six’, and its another form might have been sodava connected with soda in sodasa. This hypothesis may better explain in case of saf, the appearance of a cerebral sound in place of I-E &k. | ° 9€€ note 2 above. xxvin. 33-34] THE NATYASASTRA 12 Eightyfour Tanas of the Marchanas Tanas which depend on Mirchanas are eightyfour in number. Among these the hexatonic ones are fortynine, and the pentatonic ones thirtyfive. The Hexatonic Tanas The hexatonic ones have seven varieties,'e.g. four Tanas devoid of Sadja, Rsabha, Nisdda and Paficama in the Sadja Grama; three Tanas devoid of Sadja, Rsabha and (8101188 in the Madhyama Grima. Thus these being worked in all, the Mirchands [in the two Gramas] will give rise to fortynine Tanas. The Pentatonic Tanas The pentatonic ones have five varieties e.g. three Tanas devoid of Sadja and Paficama, of Rsabha and Pajicama, and of ७०01912 and Nisdda in the Sadja Grama, two 1910 98 devoid of Rsabha and Dhaivata, and of Gandhara and Nisada in the Madhyama Grima. Thus these being worked in all, the pentatonic Mirchan4s [ii the two Gramas] will give rise to thirtyfive Tanas, twentyone in the Sadja Grama and fourteen in the Madhyama Grama. The Two Ways of Tanas Thzre are two ways of working the Tana in the string’ (tanirt): Entrance (fravesa) and Arrest (nigraha), The Entrance is made by sharpening (lit. emphasizing) the preceding (adhara) note and by softening (mardava) the succeeding (uiiara) note. And the Arrest is non-touch- ing, 1.6. not touching the Madhyama note. The Mar- chanaé is indicated by the Madhyama note of the Vina, because it is constant (2122. lit. not perishable). Hence the Entrance and the Arrest [do not] relate to the Madhyama note. The variety of the Tanas and the 10100888 thus (arising], provides enjoyment to the hearer as well as to the musician (prayokir, lit. producer). The Mirchan& [and Tana] are also of use [because their practice helps] the 13 INSTRUMENTAL MUSIC [कश्या 34-35 attainment of the voice-registers (sthdna-praptt).* There are three voice-registers. Their description has been given in the rules regarding the Intonation (kaki).° The Overlapping I shall now relate the rules regarding the Overlapping of notes (sadharana-vidhi). The Overlapping (sadharana) means the quality of a note rising between two [consecutive] notes {in a Grima]. Why? The thing which exists between the two [similar things, partly merging into each other] is over- lapping (sadharana), e.g., the transition of 9 season. 35. In the shade one feels cold, but while staying in the sun one sweats ( lit. the sweat comes out ). [It seems that at this time] neither has the spring come [fully], nor has the winter gone away completely. This is an example of the overlapping season. Two kinds of Overlapping There are two kinds of Overlapping: Overlapping in notes (savarasadharana) and Overlapping in Jatis (fatisgdharana). The Overlapping Notes The Kakali and the transitional note (antarasvara) are the Overlapping notes (svarasadharana). Now if two Srutis are added to Nisada, it is called Kakali Nisaéda and not Sadja ; as it 18 a note rising between the two (pure Nisdda and Sadja), it become Overlapping. Similarly [the two rutis being added to it] Gandhara becomes transitional Gandhara and not Madhyama, because it is a transitional note (aniarasvara) between the two (Madhyama and Gandhara). Thus the Overlapping notes [occur]. Why 18 1588४ called Kakali? 236५9086 if 18 an in- distinct second, or it is produced with [slight] pulling (akrstatva') or due to its very fineness (sauksmya’) or = 06- 1It appears from this that by imitating the Murchanas and Taras produced in the Vina, singers attained the facility of producing notes from any voice-register they liked. See above note 2 on 13-14. ` 'See XIX, 37ff before. | (35) ` चक्ञट = ईषत ( तदप्य नञ्‌ )। ठ सौदा वेचिवा' निर्शसाध्यता च, Ag. अण्ण. 35-39] THE NATYASASTRA 14 cause it behaves like the crow’s eye (kakakst)? and relates to the two [notes, 15809 and Sadja], it is called (kakali). Just as salt among the six [kinds of] taste (rasa), is called Ksfra (corrosive), so Nisada is called Ka&kali, and the Overlapping note is called the transitional note. The Overlapping Jati The Overlapping वः (jatisddharana) [arises] from observing in another Grama the notes which belong to the minor limbs of two or more J&tis which are in the same Grama and have common Amésas, The Overlapping note (svarasadharana) belonging to the two Graémas (Sadja and Madhyama) is of two kinds. Why? For, occur- ring in the Sadja Grama it is the Overlapping Sadja, and in the Madhyama Grama it is Overlapping Madhyama. The Overlapping here is a special nature of the note. This is so in the Sadja Grama, and the same [also] is the case in the Madhyama Grama. Due to the delicacy of its production (proyoga-sauksmya) it is fitly called Kaigika (capillary). This is the Overlapping note which is used in J&tis where 1568 and Gandhara are weak (alpa). On these points there are the two Slokas : 34 The transitional note (antarasvara) should always relate to the ascending scale (arohin) and be made especially weakened (alpa), but it should never be in the descending scale (avarohin). 37. If it is made in the descending scale whether weak or strong, the transitional notes will lead Srutis to the Jati-ragas. The Jatis We shall now explain the Jatis. 38-39. The Jatis' relating to the Overlapping notes > Cf. काकाचिगोलकन्धाय. (38-39) 1On the meaning of Jati, Kn. Says यासदयाव्लायन्त इति जातयः and 801. सकल रामादैज हेतुत्ाच्जातयः (on SR. I. 7. 3). See also Bd. pp. 55-56. But Jatis are the primitive melody-types from which Ragas of later Hindu music developed. ati meaning ‘birth’ probably stands here for recog- 15 INSTRUMENTAL MUSIC (xxv. 39-44 are three in number : Madhyama, Paficami and Sadjamadhya. Their constituent parts are Sadja, Madhyama and Paficama of which the Pancami will be distinct, but weaker than the rest in its own note (i. 6. Pancama). Seven Jatis in the Sadja Grama 40-41, The seven Jatis' in the Sadja Grima are ; Sadji, Arsabhi, Dhaivati, Naisidi, Sadjodicyavati, Sadjakaisiki and Sadjamadhyamé. Eleven Jatis in the Madhyama Grama 49-43. The eleven Jatis' in the Madhyama Grama are ; 49010817, Raktagandhari, Gdndh4rodicyavé, Madhyamodi- cyava, Madhyama, Paficami, Gandbiarapaiicami, Andhri, Nandayanti, Karm4ravi and Kaigiki. 44. There are the eighteen Jatis of which I spoke before. I shall now describe the Nydsa (terminal note): and Apany4sa (semi-terminal note) which they include. Two kinds of Jatis Of these eighteen, seven owe their names to the seven notes. They are of two kinds :' pure (Suddha) and modified (vikrta). In the Sadja Grama the pure (Jatis) are श्वत, Arsabhi, Dhaivati and Nisidavati (=Naisidi) and in the Madhyama Grama they are Gandhari, Madhyama and Pajicimi. “Pure’ (Suddha) in this connexion means having Svarimésa’ (= Amésa), Graha’ and Ny4sa’ consisting of all the [seven] notes (lit. not difficient in notes). When some of a ne ® nized melody-types of the day, which were considered to be of (pure) birth as opposed to other types which were hybrids. For the charac- teristics of the Jatis see 73-74 below. जायते एद्धमिघ्रगोडरागाधारदमाषाविभाषाक्षकं गोतिसपतकं Tefefentalacet च यतशतो जातयः (Ag.). | (40-41) 86८ SR I. 7. 17. (42-43) 1See SR. I. 7. 18. SR. (I. 7. 18-20.) classifies them also into (9 Purna (heptatonic), (ii) Pirna-sadava (heptatonic and hexatonic) and {iii) Purna-sadavaudavita (heptatonic, hexatonic as well as pentatonic). (44) 1See above'note | of (40-41) and 41-42), ` 9For a definition of these term see below 74ff. xxvin. 44-52] THE NATYASASTRA 16 these [Jatis] lack two or more of the [prescribed] characteris- tics except the Ny4sa, they are called ‘modified’ (vtkréa). Hence (lit. due to this) those indeed are pure Jatis, and these indeed are modified ones (i.e. ¶818). In the observation of the Nyasa in the [pure], Jatis the note should be regularly Mandra ; but iff case the modified Jatis, there is no rule [about 1४]. The modified [Jatis] are eleven in number and they grow from combination. [These] eleven are formed from their mutual combination, as follows : 46. J&tis are pure as well as modified, and the [latter} arises from the combination [of other वह]. Among them seven are pure while the remaining eleven are modified, The modified Jatis 46. I shall now speak in due order and with proper brevity, of Jaétis which grow out of notes, and Amgas of these [pure] Jatis. 47, The Sadja-madhyama‘ is formed by the Sadii, the Madhyama. The Sadjakaisiki? Jati is formed by the Sadji and the Gandhari 48. The Sadjodicyavati is formed by the Sadji, the Gandhari and the Dhaivati combined or asseciated with one another. 49. The Gandharodicyava is formed by the हवती, the Gandhari, the Dhaivati and the Madhyama 60. The Madhyamodicyava is formed by the Gandhari, the Paficami, the Dhaivati and the Madhyama 01. The Raktagindhiri is formed by the four: the G4ndhiri, the Pajicami, the Naisadi and the Madhyama 52. The Andhri is formed by the Gandb§ri. and the Arsabhi'. The Nandayanti is formed by the Gandhari, the Paficami and the Arsabhi (47) "ल constitution of modified Jatis, has been given in Bd. in a slightly different language (pp. 54-55). The passage appears there as ‘a quotation from Bharata, though actually it has been re-written. See also SR. I. 7. 10-16 See note 1 above (52) ® reads Sadji instead of Arsabhi. But Bd.- read (p. 54 ° आषभ्यास्तु wey गान्धार्यां ब सडरात्‌, See also SR. 1. 7, 12 17 INSTRUMENTAL MUSIC [xxvin. 53-62 53. The Gandharapancami is formed by the Gandhari and the Pajicami. 53-54, The Karm4ravi 18 formed by the Nais&di, the Arsabhi and the Paicami, and it is heptatonic (lit. full). The Kaisiki is formed by the Sadji, the Gandhari, the Madhyama, the Pajicami and the Naisadi (lit. the pure Jatis except the Dhaivati and the Arsabhi). 55. These are the distinct Jatis growing out of mutual combination of notes in the two Grimas. The Number of Notes in the Jatis of the two Gramas 56. Of these the four heptatonic (saptasvara) and the ten pentatonic (pafcasvara) and the four hexatonic (satsvara)', Jatis in the Sadja Grama : The Heptatonic Jatis 57. [Of these] the Madhyamodicava, the Sadjakaigiki, the Karmaravi and the Gandhdrapancami are heptatonic (lit. full) १8181. The Pentatonic Jatis ; 58-60. The Gandhari, the Raktagindhari, the Madhyama, the Paiicami, the Kaisiki, the five [J&tis] in the Madhyama [Grama], the Arsabhi, the Dhaivati, the Naisadi, the Sadja- madhyama and the Sadjodicyavati, [the five Jatis] in the Sadja Grama, are the ten pentatonic Jatis. The Jatis in the Madhyama Grama : The Hexatonic Jatis 60-61. The Gandharodicyava, the Nandayanti and the Andhri, [the three Jatis, in the Madhyama Gram4, and the Sadji alone in the Sadja Grima, are hexatonic, 62. The 48018 (lit. thosey which have been described as pentatonic and hexatonic. may on rare occasions be changed respectively into hexatonic ( sadavibhuta) and pentatonic (audavikyia)'. (56) 1866 Bd. 188 (p. 55) ; SR. I. 7. 18. (57) 1See Bd. 189 (p. 55). (58-60) 4See Bd. 192, 191, 190 (p. 55). (62) See Bd. 194, 195 (p. 55). 8 अप्या, 63-74] THE NATYASASTRA 18 The Heptatonic Jatis 63-64. The Karmaravi, the Madhyamodicyava and the Gandh4rapaiicami are the heptatonic (lit. full) Jatis in the Madhyama Grama, and the heptatonic J&ti in the Sadja Grima is the Sadjakaisiki. 64-65. (A variant of 606-612.) Amias in the Jatis 65-69. So much about the Jitis in the two Gramas. I shall now describe their different Améas. The Sadjamadhyama should have no hexatonic treat- ment including 2415808 (lit. the seventh), and there should be no Gandhara there, because of an elimination of its Consonant note ; and the Gandhiri, the Raktagandh&ri and the Kaisiki should have no Paficama, and the S&dji should have no Gandhara, and the SAadjodicyava no Dhaivata in their hexa- tonic treatment. These seven [notes] are to be discarded in connexion with the hexatonic treatment of the ¶ 2118 named, because of the elimination of their Consonant notes. 69-71. The Gandhari and the Raktagandhari Jatis should have no Sadja, Madhyama, Pajicama and Naisada in their pentatonic treatment, and the Sadji and the Madhyama respectively should have no Gandhara and Nisada, and the Paficami no Rsabha, and the Kaigiki no Dhaivata in their pentatonic treatment. These are the twelve notes which should be discarded in the pentatonic treatment. 72-13. Hence these Jatis should always be without pentatonic treatment. From the Jatis any of (lit. all) the notes may be left out ; but Madhyama should never be left out. For the great sages who chanted the Simans, expressed an opinion in the Gandharva Kalpa that Madhyama the best of notes, is indispensible (lit. imperishable). The Characteristics of the Jatis 74, Ten characteristics of the Jatis are: Graha, Amsa, Tara, Mandra, Nyasa, Apanyasa, Reduction, (alpatva), (74) }This and the following nine terms have been defined below (750). A later writer adds the Antaramarga, Samny4sa and Vinyasa to these, and make the number thirteen (MM. pp. 36-37). 19 INSTRUMENTAL MUSIC [xxvm. 75-78 Amplification (bahuiva), hexatonic treatment (sadava), and pentatonic treatment (audavita). The Graha 75. ‘Grahas have been like the Améa of all the Jatis. That note which is taken up in the beginning [of a song] is the Graha, and is an alternative? term for the Améa. The Amia 76-78. The ten characteristics of the Améga' are [as follows] :— The Améa [is that note in the song] on which its charm (raga) depends, and from which the charm proceeds ; it is the basis of the variation into low (mandra) and high (tara) pitches depending on the [first] five notes (pafcasvarapara), and in the combination of many notes it is perceived promi- nently (atyartham), and Snoreover other strong notes may be toitin relation of Consonance and Assonance, and it is (75) 'The Graha is the note in which the song begins. Matanga says शात्यादिप्रयोगो zea येना ay :(Bd. p. 66). रागादौ पितो aq स ग्रह खर उच्यते (wrongly ascribed by GS. to SR.) ; a¥ खर स इतुक्तो यो गौतादौ समपित । सक्गौतनारायण (The last two passages are quoted in GS, I. p. 121). ए. Strangway’s suggestion is that the term possibly means ‘clef’, though some writers differ from him, (See MM. pp. 12-13). But this view seems to be right, because the Graha and the Améa are taken as synonymous by SR. See Sbh. and Kn. on. SR I. 7. 29-34, For 2 further discussion about it see GS. I. pp. 66-67, 121 and GS. II. p. 21. The assumption of a rulg of the Graha as well as of the Nyasa with regard to the Ragas only, seem however to be erroneous. These two relatemerely to songs in general (see GS. I. pp. 67, 121). 38८९ below note | on 76-78. (76-78) !1This Amsa has been rightly compared to the Governing note or the Key-note of the Western music. It is also called Vadin (Sonant) note and is the basis of the melodic structure of a song (हद). For more about the term see GS. II. pp. 21, 29, 113, 117. See also above note 1 to 75, Though the Graha and the Amia are synonmous, there is a distinction between the two. On this Kn. says, नल शो ay इति भरतादैशेन ade nag प्रहस प्राप्त षु ग्रहंशयोः को विशेष एति चेत्‌, Tut—aeeiniteang प्राप्त म कबलं xxvut. 79-87] THE NATYASASTRA 20 related to the Graha, Apanydsa, Vinyasa’, Samnydasa’ and Nydsa [notes], and it lies scattered throughout the song. Amias of the Jatis 79. The Jatis in the two Gramas have always sixtythree 4171588 as well as Grahas. We shall now discuss the rule about the Amsa and the Graha [in relation to the Jatis]. 80. Pancama 18 the Amésa and the Graha of the Madhya- modicyava, the Nandayanti and the 68001419 10976811 Jatis. 81. Dhaivata and Rsabha are the Amga and the Graha of the Dhaivati Jati. Rsabha and Pancama are the Améga and the Graha in the Pancami वत्ति. 82. Sadja and Madhyama are the Amsa and the Graha in the Gandh4rodicyva, Rsabha, Dhaivata and Nisada are the Améa and the Graha of the Arsabhi. ¢3-84, Rsabha, (38711878, and Nisdda are the Améa and the Graha of the Naisadi. ई Sadja, Gandhira and Paficama are the Améa and the Graha ‘of the Sadjakaisiki, Thus have been described [the three Amsas] and ths Grahas of the three Jitis. 84-85. Sadja, Madhyama, Dhaivata and Nis&da are the four Améas and the Grahas of the Sadjodicyavati. €5-86. Ksabha, Paficama, Dhaivata and Nis&da are the four Amsas [and the Grahas] of the Karmaravi. 86-87 Rsabha, Gandhara, Paiicama and 1१15802 are the four Améas and Grahas of the Andhri. बादित्वमेव घमः, भपि तु बादितवादिचतुश्यमपौति ane: इति । तथोक्ष' aaa (p. 56) SQ बादेपव परं यस्तु वाद्यादिभेदभित्रबतुविध इति (on SR. I. 7. 29-34). On the etymological sense of the term Sbh. says ननु कथम्‌ अस्या गष्टवाश्यलम्‌ ? Se भाग खच्यते ; अथमपि जाति रागादिविभागकारितवदंभब्दोनाश्यते। कारे का्ैवदुपचारात्‌ (on SR. 1. 7. 32-34), ‘Am$a’ in a few places has its varjant as amga which seems to be the original form of the term. ‘Amga’ note means the note which is an essential requisite or component of the song. For this meaning see Apte sub voce. 2See below note 1 of 101-105. 8See bélow note 1 of 101-105. 2! INSTRUMENTAL MUSIC [xxvin. 87-94 87-88. Sadja, Rsabha, Madhyama, Paficama and Dhai- vata are the five Amsas and the Grahas of the Madhyama, 88-89. Sadja, Gandhira, Madhyama, Paiicama and Dhaivata are the [five] Amséas and the Grahas of the Sadji. 89-90. Rsabha, Gandhara, Madhyama, Pajicama and Nisada are the [five] Amsas and the Grahas of the GAndhari and the Raktagandhari. 90-91. All the notes except Rsabha are the six Amsas [त the Grahas] of the Kajisiki. All the notes are the seven Améas and Grahas of the Sadjamadhyama. These are the sixtythree Amsas and Grahas in the J&tis, 4111488 are always Grahas in all these Jatis, 92-93. Groups (gana) of all these Jatis are made up of three of them. They are always to be arranged (lit. known) as consisting of increasing [number of] notes in ascending order, such as those of one note, those of two notes, three notes, four notes, five notes, six notes and seven notes. The High Pitch Movement + The High pitch movement (taragati) depending on the [first] five notes, e.g. 94. The raising of the pitch from the any of the Amsa [notes] should be up to the note fourth from it, or it may be to the fifth note even, but not to any beyond it.’ The Low Pitch Movement Three kinds of the low pitch movement : that depending on the Amsa, on the Ny4sa, and on the Apanyasa. ~~~ =-= ~ (94) 1111. gives the method of raising the pitch as follows. षडजमध्यमग्रामयोः Mra प्राषख्धाश्च यिन्‌ ग्रामे TAG Alas शः षडजी वा AVA वा भवेत्‌। तारख्छिताद्‌ हिगुणात्‌ aan Heats वा मध्यमाद्‌ वा AAT खरान्‌ । मध्यमग्रामे. ` `` तारमध्यमपराम्ं तख्मादिति तमारमेःवयधः । "तेन ay CTT सपधनौना च।रोहदित्यधः। षडजयामे तु तारषवज- पराम canteen cet) ततः परां्तुरः खरान्‌ रिगभपान्‌ भारोहेदिति (on SR. I. 7. 35- 36). अण्या. 95-96] THE NATYASASTRA 22 95. There 18 no pitch lower than that of the Améa. [notes]; in the Ny&sa such a pitch will be separated by two. notes, and when the Gandhara is the Graha and the Nydsa, Rsabha and Dhaivata are seen [to bear a low pitch].' Reduction and Amplification Reduction (alpatva)’ is of two kinds : that due to skipping over (/amghana) a note, and that due to non repetition of the same. Among these two (lit. there) the Reduction [of notes] due to skipping over, [leads to] the hexatonic and the penta- tonic treatment of the Amésgas of songs, when they reach the Antaramarga’ ; and the Reduction of notes due to their non-repetition, consists of enunciating them once according to the Jatis [in which a particular songs is to be sung]. The Amplification The Amplification (bahutva)* is the opposite of the Reduction. Likewise the Movement’ (samcara) of the other notes which are strong, is of two kinds. 96, The Reduction ‘as well as the Amplification always occurs from convention (lit. early fixation) in relation to [particular] notes of the Jati, and the Reduction is of two kinds, (95) 1 The translation is tentative. For the method of lowering pitch given in SR I. 7. 34-37 see Sbh.’s comment thereon (GS. II. pp. 113-124). ? Alpatva (Reduction) of a note is qualitative as well as quantitative. The former is skipping over or very lightly touching the note, and the latter is its non-repetition (See GS. II. p. 79). *The Antaramarga has been taken as an additional characteristic of the Amsa. But this is no addition to the definition of the term given in NS., but an amplification of the same. See SR. I. 7. 30, and Kn.’s comment thereon. * Bahutva (Amplification) is also of two kinds: (2) qualitative ३.५. the note being perfectly (२.८. most audibly) produced and (6) quantitative १०८, the note being repeated in many ways (See GS. II. p. 79). 5 The tranSlation is tentative. 23 INSTRUMENTAL MUSIC [xxvut. 97-100 97. The Movement (samcara) of notes relates to the strong Amsa notes, and the Reduction to the weak notes. [These are] the two treatment of the Antaramfrgas which gives character to the Jatis. The Hexatonic Treatment Hexatonic treatment (sddavita) relates to six notes [in a Grama]. They are of fourteen kinds and have fortyseven subdivisions. These have been described before in their 018 and Améas. The Pentatonic Treatment 98. The pentatonic treatment relates to five notes fin a Grima] and is to be known as being of ten kinds. Its subdivisions are thirty and have been mentioned before, 99, [Groups of] six notes as well as of five notes have their application. Similarly [groups of] four notes also have their uses in the Avakrsta Dhruvas. The Nyasa and the Apanyasa Now about the Ny&sa‘. It occurs at the conclusion of the song (lit. limb) and is of twentyone kinds. The Apany4sa similarly occurs within the song’ (lit. limb) and is of fifty- six kinds. | 100, The Ny’sa at the conclusion on the song (lif. limb)’ should be made of twentyone kinds, and the 4 87 $ २६४ occurring within the song is of fiftysix kinds. (97) !That is, anuvadin and samvadin notes to it. ?See 58 60-61 before (98) 1566 58 before (99) The Nyasa has been compared to Cadence of the Western music. See GS. II. pp. 35, 118. Some later writer connects the Nyasa with Ragas : न्वासखरस्तु विन्न a यस्तु रागखमापकः (wrongly ascribed by GS. to SR.) ; while the rest take this in connection with songs in general and not merely to Jatis. ¢.g. गीति darfremna: (SR. 1. 7. 38) ; na: aug विक यो असु गौतसमापक (aytreqe, 146) The Apanyasa note occurs at the conclusion of each division (ण) of the song. Matanga says on this point: ख च qequing efit भवति, जौतानां सधे Hee । यथा यत्र ससाप्तभिव ate प्रतिभासते सीऽपन्वामः। स च विदारिमधे। भवति। मौतश्रौरमध्य way. See also GS. II. p. 118. (100) ! The emendation of the text, should be cancelled. xxvi. 101-107] THE NATYASASTRA Jatis with their Characteristics 101-102. I have thus spoken properly of the charateris- tics of the Jatis'. I shall now speak of their Nyasa and Apany4sa. The Sadji 103-104. In the हवित Jati, the Améa is of five notes [of the Grama], Nisida and Rsabha being excluded. Its Apanyasa is Gandhara and Paiicama, and Nyasa Sadja, and 415808४ (lit, the seventh) should be dropped from it. Its. hexatonic treatment should exclude Nisada (lit. the seventh). In it, Dhaivata and Nisdda should be reduced ; and Sadja and Gandhara as wellas Dhaivata and Sadja should move together, and Gandhara should be amplified. The Arsabhi 105-107. In the Arsabhi Jati, the Améa is Rsabha,. Dhaivata and 15808. These are its ApanySsa, and the Nyasa is known as Rsabha, Skipping over Paiicama in the ascending scale will be its‘-Reduction giving rise to a special hexatonic treatment. Its [ordinary] hexatonic treatment will exclude Nisada, and the pentatonic treatment Paicama. In it, the moving together of the Dissonant notes has been prescribed. [भोम ee wears: (101-105) ‘But the Vinyasa and the Samnyasa mentioned in 76-78 above, have not been defined or explained. It is possible that the passages treating these items, have been lost. The Samnyasa is the closing note of the first division of a song, and is not vivadin to the Amia. According to Matanga, भश विवादौ यथा न भवति प्रथमविदायांमनतं यदि agat भवति तदा dene इतुच्यते (Bd. quoted by Sbh. comm. on SR. I. 7, 51-52). The Vinyasa is the closing note of the padas in a division of the song, and it is samuadin or 4170417 to the Amsa. According to Mat nga एष एव तु संन्वारुखरो यदा पदान्तं freed तदा विन्वासः । अत एवां ग्भ संवादयनुबादौ वा पदविदार्यन्तं भवतौतुाक्षम्‌ (on SR. 1. 7. 47-51). SR. defines the Vinyasa as follows: विन्यासः स तु awa) यो बिदारौभागङ्पपदप्रानते safawa (1. 7. 48). Kn. explained it follows : विदायां masanfe वलं कारादियुश्नख रागख बाक्धस्था नौयेख्यावथवभूतानि पदवत्‌ पदानि तेषां खरससुदयात्मानां प्रान्तं यीऽवतिहत इति (on SR. I. 7. 48). 9 25 INSTRUMENTAL MUSIC [xxvum. 108-120 The Dhaivati 108-110. In the Dhaivati Jati the Amsa is Rsabha and Dhaivata, the Nyésa Dhaivata, the Apanyasa Rsabha, Madhyama and Dhaivata, and the pentatonic treatments will exclude Sadja and Paficama, and the hexatonic treatment Paiicama [only]. In it the two (the pentatonic and the hexatonic treatments) should be in an ascending scale, and Nisada and Rsabha should be skipped over and 67011819 should be amplified (lit. made strong), The Naisadi 111-112. In the Naisaédi बद्र the Amsa is Rsabha, 0800181४ and Nisada, and the Apanyisa the same, and the Nyasa Nisdida, Its hexatonic and pentatonic treatments will be like those of the Dhaivati. And similar is its skipping over (Reduction) of notes, and strong notes (1.6. their ampli- fication), The Sadjakaisiki 112-114. In the Sadjakaisiki the Améa is Sadja, Gandhara and Pancama, the Apanyasa Sadja, Pancama and Nisdda, and the Ny’sa Gandhara. No note will be omitted from it. Hence itis called a complete [Jati]. In it Rsabha and Dhaivata should be weakened (i.¢., reduced). The Sadjodicyava 115-117. In the Sadjodicyava Jiti, the Améa 18 Sadja, Madhyama, Dhaivata and Nisdida, the Nyasa Madhyama, and the Apanyasa Sadja and Dhaivata." The Améa notes here are prescribed to come together (sam-car) with one another. Its pentatonic treatment excludes Rsabha and Paiicama, and the hexatonic treatment Rsabha, And Gandhara should be made strong (1,6,, amplified), The Sadjamadhya 118-120, In the Sadjamadhy4 (-madhyama) Jati all the notes [in the Grima] are the Améa; the same are the Apanyasa. Its Nyasa 18 Sadja and Madhyama, and the pentatonic treatment is wanting in GAndhara 91 Nisada, 4 अह्ण, 120-130] THE NATYASASTRA 26 (lit. the seventh), and the hexatonic treatment in Nisada, Coming together (sam-cara) of all its notes have been prescribed. 120-121. These are the seven Jatis depending on the Sadja Grama. I shall now speak of those depending on the Madhyama Grima. The Gandhari 121-123. In the Gandhari Jati the Améga will be the five notes [of the Grama] Dhaivata and Rsabha being excluded, and its Apanyasa Sadja and Pancama, and the Ny4sa 81101819. Its hexatonic treatment excludes Rsabha, and the pentatonic treatment Rsabha and Dhaivata. [Besides these] they (i.e., Rsabha and Dhaivata) should be skipped over and Rsabha should always go to Dhaivata', and Sadja and Madhyama should be amplified in it. The Raktagandhari 124-126. In the Raktagandhiri all the characteristics, such as the Ny4sa, the exclusion of notes in hexatonic and pentatonic treatments, and the Améga will be like those of the 6800081. Its Dhaivata and Nisdda should be amplified (lit. treated as strong), ‘and Gandhara and Sadja will come together (sam-car) with notes other than Rsabha, and its Apanyadsa should be Madhyama. The Gandharodicyava 126-127. In the Gandharodicyavéa the Amsa is Sadja and: Madhyama. There is no pentatonic treatment in it. Its hexatonic treatment will exclude Rsabha, Its Reduction, Amplification, Nyasa and Apanyasa will be like that of the Sadjodicyavati. The Madhyama 128-130. In the Madhyama the Améga 18 Sadja, Rsabha, Madhyama, Paficama and Dhaivata, and they are the Apanyasa, and the Nyasa is Madhyama. The two notes of two Srutis (i.e, Gandh4ra and Nisada) are to be weakened, and its pentatonic treatment excludes 67010818 and Nis&da, while its hexatonic treatment excludes Gandhara. In it the pi! INSTRUMENTAL MUSIC [xxvu. 131-143 Amplification of Sadja and Madhyama, and weakness (Reduc- tion) of Gindhara have been prescribed. The Madhyamodicyava 131. In the Madhyamodicyava Jati the Amésa is Paficama. The rest of the rules, is similar to those of the Gindharodicyava. The Pancami 132-1384. Inthe Paficami, the Amsa is Rsabha and Paficama, the Apanyisa 18 Rsabha, Paficama and Nis&da, the Nyasa is Pancama ; Rsabha and Madhyama are dropped from it. The hexatonic and pentatonic treatments in it should be as in the Madhyama, And Sadja, Gandhara and Madhyama should be made weak (1.6, reduced), and Madhyama and Rsabha should come together (sam-car) in it and go to Gandhiara, and Nisdda should also be made weak (1.8., reduced). The Gandharapaficami 135-136. In the G&ndhiarapaficami, the Améga 18 Paiicama, the Apanyasa Rsabha and Pajicama, the प $ ६६४ Gandhara, and no note is wanting in it. Gandhira and Pajicama in it come together. The Andhri 137-139. In the Andhri, the Améga consists of four notes such as, Rsabha, Paiicama. Gandhara and Nisdda, and similar 18 its Apanyasa. Its Nydsa is Gandhara and the hexatonic treatment is free from Sadja, and in it Gandhara and Sadja come together. [Besides these] its Dheivata and 15808 should be amplified in an ascending scale, and Sadja should be skipped over (i.e., reduced) there should be no pentatonic treatment of it. The Nandayanti 140-143. In the Nandayanti the Améa is always Pancama, the Apanyasa Madhyama and Paficama. In the hexatonic treatment it excludes Sadja which should be skipped over (i.e., reduced). Notes coming together (sam-cara) in it are like those in the Andhri, And Rsabha also should be skipped over, and there should be the low pitch (sandra-gatt) शाय, 143-151] THE NATYASASTRA 24 there, and Sadja should be in the high pitch and it should not be in a descending scale (lit. go backward). Its Graha should be 68001518 and the Ny4sa also the same. The Karmaravi 143-145. In the Karmaravi the Améa 18 Rsabha, Paiicama, Dhaivata and 15509, and the same are its Graha. The Apanyasa is [also] the same, and the Nyssa is Paicama, and no note 18 left out. Notes other than those in the Amésa are strong (i.e., are to be amplified) and Gandhara comes together with all other notes. The Kaisiki 146-149. In the Kaisiki Jati the Améga consists of all the notes [in the Grama] except Rsabha, and these are the ^ 0211 ए 82, and the Nyasa is Gandh&ara and Nisada, but when the Dhaivata and 15809 are the Amga in it Paficama will be the Nydsa. In it Rsabha is weak and it is skipped over, and sometimes Rsabha will be its Apany4sa. Its hexatonic treatment excludes Rsabha, and the pentatonic treatment Rsabha and Dhaivata. Sadja (lit. the first) and Pajicama are strong notes (1.6. should be amplified) in it. And Rsabha should be weakened and it will be specially skipped over, and coming together (sam-cara) of notes should be as in the Sadjamadhyama. 160-151. These are the Jatis with their ten characteris- tics. These should be applied in the song (pada) with dance movements (Karanas) and gestures suitable to them (lit. their own). I shall now speak of their distinction in relation to the Sentiments (rasa) and the States (bhava). Listen about the manner in which they are to be applied in particular Sentiments. ` Here ends the Chapter XXVIII of Bharata’s N&tyasastra, which treats of Formal Aspects of the Instrumental Music. CHAPTER TWENTYNINE ON STRINGED INSTRUMENTS Application of Jatis to Sentiments 1. The Sadjodicyavati and the Sadjamadhya should be applied in the Erotic and the Comic Sentiments respectively because Madhyama and Pajicama' are amplified in them.’ 2. The Sadji and the Arsabhi should be applied in the Heroic, the Furious and the Marvellous Sentiments after making [respectively] Sadja and Rsabha their Graha note’. 8. The Naisddi with (lit. (in) Nisdda as its Améga note, and the Sadjakaisiki with (lit. in) Gandhara (as its Améa note] should be the Jati sung (lit. made) by expert singers' in the Pathetic Sentiment. 4. The Dhaivati' with (lit. in) Dhaivata as its Amga note [is to be applied] in the Odious and the Terrible [Sentiments]. [Besides this] the Dhaivati is applicable in ere = ~~~ ee (1) 1 The notes marked out for amplification are the Amia notes of the Jatis (See 15 below). In the present case, Madhyama only is the Amia note of the Sadjodicyavati (°cyava), and while both Madhyama and Pajicama are such notes to the Sadjamadhya. See XXVIII, 84, 91. 9 As songs included in the performance of a play, were to serve its principal purpose which was the evocation of Sentiments, the author discusses here how Jatis can be applied for this purpose. The seven notes which have already been assigned to different Sentiments (XIX. 31-40), played an important part in this connexion. All these ultimately led to the formation of the Ragas of the later Indian Music, in which the particular melody-types were meant not only to create a Sentiment appro- priate to a situation in a play, but also to act on the hearers’ emotion in such a way that they might experience in imagination the particular situa- tions described in isolated songs as well. (2) } Sadja and Rsabha are respectively included into the Graha notes of the Sadji and Arsabhi Jatis. See XXVIII. 88, 89, 92. (3) 1 Nisida and Gandhara are respectively included into the Amia _notes of the Naisadi and the Sadjakaisiki Jatis. See XXVIII. 83-84. (4) 1 Dhaivata is included into the Améa notes of the Dhaivati Jati. See XXVIII, 81. xxIx, 5-12] THE NATYASASTRA 30 the Pathetic Sentiment’, and [similarly] the Sadjamadhya is to be applied in connection with madness. 6. The Jatis should be made in the application of Dhruvis by the producers, after [very carefully] considering the Sentiments, the action and the States [in a play]. 6. These are the Jatis of the Sadja Grama known to the wise. I shall now speak of the Jatis of the Madhyama Grama. 7. The Gandhari and the Raktagandhari, when they have Gandhira' and Nisada as their Améga notes, should be applied in the Pathetic Sentiment. 8-9. In the Erotic and the Comic Sentiments, the Madhyama, the Pajicami, the Nandayanti, the Gandhari, the Paficami and the Madhyamodicyava Jaitis with Madhyama and 9768109 amplified, should he applied 9-10. In the Heroic, the I‘urious and the Marvellous Sentiments, the Karm4ravi, the Andhri and the Gandharo- dicyava, with Sadja and Rsabha as their Amsa notes, should be applied. And in the Odious and the Furious Sentiments the Kaisiki with Dhaivata as their Améga note, should be applied. 11. Only the Sadjamadhya is the Jati which can accommodate all the Sentiments. All notes [of the Grima] may be its Amsa and these have been dealt with in the rules of [dramatic] production. 12, When a note [representing a particular Senti- ment] is prominent (lit. strong) in a J&ti, the producers, in regard to the production of such a Sentiment should combine the song with it, ie, should give it prominence there. 2 As Gandhara and Nisada are not‘Ami$a notes in the Dhaivati, it is not clear how this Jati can be applied in the Pathetic Sentiment. Cf. XIX. 38-40. (7) !Ga and ni are included into the Am$a notes of both the Gandhari and Raktagandhari Jatis. See XXVIII. 89-90. (8-9) 1142 and pa are included into the Améa notes of the Madhyama Paficami, Gandharapaiicami and Madhyamodicyava Jati. See XXVIII. 80. 91 STRINGED INSTRUMENTS XXIX. 13-18 13-14. [For example,] 9 song in the Erotic and the Comic Sentiments should abound in many Madhyamas and Pajicamas (i.e., should be Jatis containing these notes in profusion), and in the Heroic, the Furious and the Marvellous Sentiments, songs should be made with many Sadjas and Rsabhas. And the song in the Pathetic Senti- ment should be full of many Gandharas and Nisddas (lit. the seventh). Similarly a song in the Odious and _ the Terrible Sentiments should have many Dhaivatas. 15. In all the Amsis, these notes are to be applied according to rules with the suitable Kakali and Antara-svara, and are to be made specially strong. 16. These Jatis relating to the dramatic performance, should be known by the wise. Now, listen about the notes prescribed in the instrumental music. 1691112. The notes Madhyama and 97169108 are to be produced in the Comic and the Erotic Sentiments, Sadja and Rsabha in the Heroic, the Furious and the Marvellous Senti- ments, Gandhara and 15869 in the Pathetic Sentiment, and Dhaivata is to be produced in the Odious and tho Terrible Sentiments. I shall speak after this on the characteristics of the Varnas' and the Alamkaras’, The four Varnas 17-18. The Varnas' on which the Alamk4ras’ depend are of four kinds, viz. ‘Ascending’ (arohin)’ ‘Descending’ "नन ~~~ nn ----* -------- - (16-16kha) 19९८ below note 1 on 17-18. #See below note | on 23-28, (17-18) 1 The Varna means the production of notes in a particular way i.e., in a particular order, pitch or with a particular grouping. SR. defines the term as गानक्रियोश्यते वणः; (1, 6. 1.) In explaining this 801, says खराणं वच्यमाणप्रकारैण गानक्रिया गानकरणम्‌ उश्वारणम्ति यावत्‌। सा TIME नश्यते, But he also adds the view of Matanga as follows: aa ताने सश्चरन्ि खरा say ( wala? ) सहिताः 1 एकंकशो fest वा स der} ag aaa; The Varnas are used to make up the «. Alamkaras (see below 23 ff.) It is probably this term which we meet with in Kalidasa ( इसवदिथा वद्परिभभ' करेदि, Sak. V). 2 See below note 1 on 23-28, $ See below note 1 on 18-19. Xxx. 18-28] THE NATYASASTRA 32 (avarohin)' ‘Monotonic’ (sthayin, lit. staying)’ and ‘Mixed’ (samearin, lit. moving together)’. 18-19. The Varna in which the notes go up [in the scale], is called Ascending’ and in which they go down [17 the scale], is called Descending?» The Monotonic Varna is that in which notes are the same and are equal [in pitch]’, and when the various notes come together they constitute what is called a Mixed Varna.’ 20. These four Varnas having [clearly] defined aspects, are taken (lit. born of) from the human (lit. physical) voice and they relate to the quality of the three voice registers (sthana). 21. When a regular (lit. having a characteristic) song (pada) adds [at least] two Varnas to it, then the Varnas' give rise to Sentiments. 22. These four Varnas are to be known as applicable to songs. Now listen properly about the Alamkaras which depend on them. “ The Thirtythree Alamkaras 23-28. The Alamkaras' are: Prasannadi, Prasannanta, Prasannadyanta, Prasannamadhya, Sama, Bindu, Venu, Nivrtta-pravrtta’, Kampita, Kuhara, Recita, Prenkholitaka, 4 See below note 2 on 18-19. 5 See below note 3 on 18-19. 6 See below note 4 on 18-19, (18-19) ! Example : sa ri ga ma pa dha ni. ° Ex: nidha pa marisa. 5 Ex: sa sa*sa sa or ma ma ma ete. 4 Ex : sa ri ga ga ri sa, ri ga ma ma ga ri etc. (21) 1 Varnas embellishing the notes of a song seems to enhance its power of evoking Sentiments. (23-28) + The Alamkara known in later writing also as Varna- lamkara, Svaralamkara or Murchandlamkara, was evidently means to embellish songs. It seems that without these proper Alamkaras a song remained merely a chant, and authorities differ very much among them- selves about the number and definitions of the different Alamkaras. See below notes on 43 fF: also GS. pp. 124ff. 9 Written in NS. as two words (Nurtiah Pravytiah), but this is probably an error. Cf. SR (1. 6. 47) where we have Samnioztta-pravyttah. 33 STRINGED INSTRUMENTS (xxix. 29-35 Mandrataraprasanna, Taramandraprasanna, Prasvara, Pra- sida, Udvahita, Avalokita, [Krama,] Niskijita, Udgita, Hrada- mina, Raijita, Avarta, Parivartaka, Udghattita, Aksipta, Sampradana, Hasita, Humk4ra, Sandhipracchadana, Vidhina’, and GAtravarna. The Monotonic Alamkaras 29-30. The Monotonic Alamk4ras' are: Prasannddi, Prasannanta, Prasannadyanta, Prasannamadhya, Sama’, Recita, Prasvara? and 2198809, Listen again, about the Alamkaras depending on the Mixed Varnas. The Mixed Alamkaras 31-32. Mandratiraprasannu, Bindu, Prenkholita, Nivrttapravrtta, Recita, Kampita, Sama, Kuhara, Venu, Raijita, Avalokita, Avartaka and Parivartaka are of the mixed class’. The Ascending Alamkaras 33-34. The Ascending Alamk4ras' are: Niskijita, Humkara, Hasita, Bindu, Recita, Prenkholita, Aksipta, Vidhiina, Udghattita, Hradamaina, Sampradana, ° Sandhi- pracchadana, Prasannadi and Prasannanta, The Descending Alamkaras 35. The Descending Alamkaras' are Vidhiina, Gatra- varna, Udvahita, Udgita and Venu. rem re en ~~~ ee व : : 4 ge ४ Written in some versions of NS. as Vidhuta also. (29-30) ‘See Bd. (125-126) SR. has under this head two different names with different definitions. 2 SR. (I. 6. 5-6) has Krama in its place. $ SR. (loc. lit.) has Prastara in its place. (31-32) ‘See Bd. (128-129) omits Nivrttapravrtta, Recita, Kampita and Sama ; this seems to be due to the loss of a hemistich in the text. SR. (I. 6. 26-29) has twentyfive names under this head, and they have been differently defined. (33-34) 'See Bd. (130-131). Though some names are in a corrupt form, this text seems to follow NS. SR. (I. 6. 14-15) gives thirteen names and the common names have different definitions. (35) 1966 Bd. (132). SR (I. 6. 26) has the same names here as under the previous head (@rohi-varna), but with a direction that the notes are to be produced in these in descending order (avaroha-krama). ° 5 XxIx. 36-43] THE NATYASASTRA 34 36. These Alamkaras attached to songs of seven' forms, should be known to the wise. These [however] are not generally used (lit. desired) in the Dhruv4s’, because of their giving prominence to the Varnas of Jatis [which are not used there]. 37. Alamk§&ras, such as Bindu and Venu, are not to be used in their own measure (pramana) while they are applied in the Dhruvas. 38-39. For the Dhruva conforming to the meaning of the play, is to suggest its meaning, while the Varnas (i.e., Varnalamkara) are to soften to (lit. weaken) the pada’. Now listen about the Varnas which are [commonly] used. 39-43. [The Alamkaras] such as Prasannadi, Prasannanta, Prasannadyanta Prasannamadhya, Bindu, Kampita, Recita, Tara, Taramandra, Taratara, Prenkholita, Mandra, Mandratara, Sama, Nivrttapravrtta, Prasida, Apanga, Avaloka and Venu, belong to all the Varnas', and all the Varnas except the Monotonic ones, have their use [in 80108] Next I shall describe the characteristic’ of the Alamkdaras arising from the Varnas. ee et a tat tr (36) 11115 relates to the seven very old types of songs such as, Madraka, Ovenaka, Aparantaka, Prakari, Ullopyaka, Rovindaka and Uttara (NS. XXXI. 220-221; SR. V. 58). Some authorities add seven more names (SR. V. 59.) 2It appears from this that the Dhruvas were a kind of chant, an early form of songs. (38-39) } This again shows that the Dhruvas were a kind of chant. For according to this passage, the Varnas (i.e. the Varnalamkaras) made the words (pada) of the song obscure by softening them. (39-43) 1See Bd. (133-135) seems to be corrupt and it omits some names from the list. SR. has nothing analogous. 2The monotonic Varnas are in general use, while the rest are to be used only to give special character to a song. 3’These characteristics as defined in later works such as SR. (I. 6, Off.) vary from that given in NS. 35 _ STRINGED INSTRUMENTS [xxrx. 44047 The Definition of the Alamkaras Prasannadi‘—that in which a note rises (lit. becomes brilliant) gradually [from the low pitch]. 44, Prasannanta’ this (Prasannadi) enunciated in the reverse order. Prasannadyanta’that in which the beginning and the ending notes are in a low pitch [and the middle one is in high pitch]. 45. Prasannamadhya'—when note in the middle is of low pitch [but notes in the beginning and in the end are in high pitch], Sama’*—that in which a note repeats itself in the same pitch and is equal in all [parts]. 46. Bindu'—when a note of one Kala of low pitch after touching high pitch comes back [to its original pitch]. Nivrttapravrtta’—[when a note of one Kala of high pitch], after touching low pitch comes back to its original pitch, 47. Venu'—that in which the tempo (/aya) is play- like. Kuhara’— that in which notes (lit. the wind) being in the medium pitch (lit. stopped in the vocal passage) are (in a play-like tempo). ‘The definitions of the Alamkaras are not always very clear. But with the help of Bd. which in many matters seems to be in general agreement with NS., they may be rightly interpreted. It is a pity that the former work has not been properly edited. See D. [00-101 ; Bd. pp. 35, 47. Besides in these places, Bd. quotes verbetim though in a corrupt form, the definitions of Alamkaras in 140-169 (pp. 44-47). These have been referred to in the foot-notes to the translation whenever necessary. (44) ‘See D. 101 ; Bd. ibid. 2 See D. 101 ; Bd. ibid. (45) 1 See D. 101 ; Bd. ibid. 2 See D. 106 ; Bd. pp. 36, 47. (46) 1 See D. 102-103 ; Bd. 1444. 2 See D. 103 ; Bd. ibid. (47) 1} See Bd. 1414, > Bd. 1074. अ 48-53] THE NATYASASTRA | 36 48. Recita'—trembling notes of three Kalas in high pitch (lit. in the head). Kampita’—trembling notes of three Kalas in low pitch (lit. in the breast). 49-60. Prenkholita'—that in which the notes ascend- ing and descending occur [in each Kala]. Tara—'a note of medium pitch (lit. in the throat)’. Mandra—a note of low pitch (lit. in the breast)*. 50-51. Taratara—--a note of high pitch (lit. in the head)’. Taramandraprasanna’—when (in a Kala the fourth or the fifth note gradually falls (lit. assumes low gait) from a high pitch. 51-52. Mandratdraprasanna'— when in [a Kala of] four or five notes they gradually rise to a high pitch from a low one after skipping over other low notes. Prasvara’—when [in a Kala], a note ascend gradually by one 11016. 53, Prasida'—- when in a Kala, notes descend gradually by one note. Apangika’—when ih a Kala, notes come together (1.e., once ascend and once descend). (48) 1 See D. 107 ; Bd. ibid. ” See D. 107 ; Bd. ibid. (49-50) " See D. 104 ; Bd. pp. 37, 47. 2 The NS. has the name of pitches as mandra (low), madhya (medium) and {2/4 (high, lit. loud). But in the passage in hand it has mandra (low), tara (medium, lit. loud), taératara (high, lit. extra-loud) in their places ; cf. D. 8. It is not apparent why the term madhya (medium) has been given up here. See XIX. 45 7 ; 58-59 ff. ° See note 2 above. (50-51) + See note 2 or 49-50 above. 2 See D. 104-105 ; Bd. pp. 37, 47. (51-52) + See D. 105-106 ; Bd. ibid. ° Bd. (p. 37, 48) has Prastara (perhaps wrongly) for Prasvara. (53) ¬ See Bd. pp. 38, 48. ०९९५. ibid. om. Apangika. 37 STRINGED INSTRUMENTS [xxix. 54-63 64. Udvahita'—when in a Kala two consecutive notes ascend, and two such Kalas make one unit. 55. Avalokita (-loka)'—when in the Udvahita the repeated Kalas are in the descending scale. Krama’—when successive 12188 include one two, three, four, five, six, seven consecutive notes which ascend. 56. Niskijita’- containing 8188 in which notes after ascending to the note following the one next to it, comes back to it. 57. Udgita'—Kalés in the Prasvara once (lit. in the beginning) ascending and next (lit. in the end) descending. 58. Hrddamina'—notes in this order (i.e as in the Udgita) in two Kalas consisting of at least two or at most six notes, where alternate notes come together. 59. Rajijita'—after staying in two consecutive notes of two Kalas, it ascends half a Kala and then again descends to the preceding note. 60-61, Avartaka'— eight Kalas of four consecutive notes ascending and descending. It 18 also formed with two alter- native notes. In that case four Kalas will have ascending and descending notes. 62. Parivartaka'—eight Kalas in which 9 note ascends to the third one from it and skips over the next one to ascend in the note following, and descends in the same manner [in the next Kala'. 63. Udghattita'—containing [eighteen] Kalas which ascend for two notes and thén leaving out the next note ascend to the following one. (54) > See Bd. pp. 38, 48. (55) 1 Bd. (pp. 39, 48) has Upalolaka for Avaloka. 7 See Bd. ibid. (56) ¬ See Bd. ibid. (57) } NS. puts this after 69, though serially it comes after 56. See Bd. 164 and also pp. 42. Bd. has the name as Udgiti. (58) ` See Bd. pp. 39, 48. (59) ¬ See Bd. pp. 40, 48. (60-61) " See Bd. 1014. (62) 1 See Bd. 164, का (63) 1 See Bd. ibid. In p. 48 Bd. writes Udvahita (perhaps wrongly) for Udghattita. गा, 64-72] THE NATYASASTRA 98 64, Aksiptaka'—containing six Kalas of three notes. _ 66, Sampradina'—as in the Aksipta, constituted with Kalas of four notes, [alternating with] Kalas [of three] notes. in which, alternate notes are included. 66. Hasita'—constituted with double Kalas of two consecutive notes like laughter, as in the Aksipta. 67. Humkara'—ascending as in the Hasita, at least. two or at most four notes in each Kala. 68. Sandhipracchidana'—having groups of four Kalas with notes ascending from the beginning (lit. place) to high note and ascending from it to the original one and there being. no throwing up. 69. Vidhina'—after producing first the pada (song) containing two short notes, two consecutive notes will ascend in each Kala, 70-71. Gatravarna'—as in the Humkara notes ascend consecutively in the alternate Kalas [of four notes] in which the first two are trembling and the next two are of low pitch. 71-72. E and O as well as the other long vowels’ are to be added [to notes in Alamkaras]. This is the properly given rule of the Karanas’ of the Alamkaras in songs. Songs should be decorated with these Alamkaras without [coming in] conflict with [the rule concerning] the Varnas.° EE शा त 1 (64) |! See Bd. ए 40, 49. (65) 3 See Bd. ibid. (66) " See Bd. p. 41. (67) } See Bd. p. 41. (68) } See Bd. p. 42. (69) 1 See Bd. (p. 42) which writes the name as Vidhita. (70-71) ` See Bd. pp. 42-43. (71-72) } The other long vowels are probably &, 1 and i. ° Compare the Karanas of dance mentioned in IV. 29 ff. ४ Bd. (167) reads the second half of this passages 25 ufircejareear afratafatiwa, songs should be decorated with these Alamkaras without [coming into] conflict [with their spirit]. 39 STRINGED INSTRUMENTS [xx1x. 73-8] 73. Alamk&ras should be attached to proper places for example, the girdle (कीन) should not be placed (lit. fastened over the breast. And too many Alamkaras without any song (varna) should not be used. 74. These are the Alamkaras depending on the Varnas. Now I shall speak of those depending on rhythm (chandas) and [the quality of] the syllables (aksara). 75. Asong without any Alamkara will be like a night without the moon, a river without water, a creeper without a flower and a woman without any ornament.’ 76. These are the thirythree Alamkaras I spoke of. I shall now mention the characteristics of the Gitis.’ Alamkaras depending on the Giti 77. Gitis are of four kinds: the first 28 Magadhi, the second Ardhamagadhi, the third Sambhavité and the fourth निपा. 16. The Magadhi is sung in different tempos (ण). The Ardhamagadhi changes (lit. revises) its tempo after half-time, ; 19. The Sambhavité is known to be constituted with long syllables and the Prthulé with short syllables. 80-81. These Gitis are known to be without any connexion with the Dhruvas.' But they are always to be (73) +} See XXIII. 31-32. (75) } See above note 1 on XXVIII. 8. : (76) ` See Bd. 171 ff.; SR. I. 8. 14 ff. On the Giti depended an ancient system of classification of rhythms. The Giti also included special formations of syllable and variation in speed. See Banerji, GS. II. pp. 72-73. (77) + See note 1 on 76 above. (78) 4 Also mentioned as gati-vrtti in XXIX. 102 ff. Sarngadeva uses the term marga to indicate गुं or gati-vytti. See SR. V. II. On Marga or Vrtti too was based an ancient system of classifying of rythms, including that of Tala. See GS. II. p. 72. - (80-81) ` 8९ XXXII. below. From this passage too it appears that the Dhruvas were a kind of chant. अ. 82-89] THE NATYASASTRA 40 applied by the musicians in the Gandharva’ only. I have spoken properly of the Gitis. Now listen about the Dhatus,’ I shall now speak of the playing of the Dhatus, Dhatus in playing stringed instruments 89, Four Dhitus' depending on the playing [of stringed | ‘nstruments? are: Vistara (expansion), Karana (production). Abiddha (breaking up) and Vyafjana (indication). The Vistara Dhatus 88. The Vistara includes four kinds of strokes: Samghataja (growing out of contrast), Samavayaja (growing out of combination), Vistaraja (growing out of amplitude) and Anubandhaja (growing out of mere succession). 84-85, Its (1.6. of the Vistara) rules have been men- tioned first as follows: [the Vistara is of one stroke ;]' the Samghitaja and the Samavdyaja consist respectively of two and three [strokes], The first is of four kinds, and the second of eight kinds. According, to the special ways of their production they have different rules. 86-87. [Notes are] known to be of low and of high pitch as they come out [respectively] of low (=mild) or high (=strong) [81068]. This is the rule of striking that the players of stringed instruments' should know. The Samghataja strokes have the following varieties : two high, two low, low-high and high-low. 88-89, The Samavayaja strokes have the following varieties: three high; three low; two low, one high ; two a ee ~ -----------~ 2 See before the note | on XXVIII. 8. 3 This is evidently a grammatical metaphar. The Dhatus (roots) relate to different aspects of strokes in playing stringed instruments. Sarngadeva (V. 122). says : थे प्रहारविश्रषील्याः que धातवो मताः, (82) " See SR. V. 123-127. 2 As Dhatus relate to the tata or stringed instruments, we shall translate vaditra as ‘stringed instruments.’ See below 91 । (vina-vadye karanadhatuh) and 101 (vinagam vyanjano dhatuh). (84-85) " एकप्रहारभवी विस्तारजः (Kn. on SR. VI. 183). ( 86-87) ` Sce above note 2 on 82. 4] STRINGED INSTRUMENTS [xxrx. 90-100 high, one low; one high, two low; one low, two high ; one low, one high, one low ; and one high, one Jow, one high, 90. The Anubandha [-krta] due to [its formation by] breaking up, and combining [of the groups of strokes described before,] is irregular. These are always the fourteen kinds of the Vistéra Dhatus. The Karana Dhatus 91. In the playing of the Vina the five kinds of the Karana Dhatu are: Ribhita, Uccaya, Niratita, Hrida and Anubandha. 92. The Karana Dhatus will consist respectively of three, five, seven and nine [light] strokes, and the being combined’ and all ending in a heavy [stroke]. The Abiddha Dhatus 93. The Abiddha Dhatu is of five kinds: Ksepa, Pluta, Atipata, Atikirna and Anubandha. 94. The Abiddha Dhatus will consist respectively of two, three, four and nine strokes made gradually and slowly, and a combination of these.' The Vyanjana Dhatus 95-100. The Vyaijana Dhatu in playing the Vin, is of ten kinds. They are: Kala, Tala, Niskotita, Unmrsta, Repha, Avamrsta, Puspa, Anusvanita, Bindu and Anubandha. Kala—touching a string simulteneously with the two thumbs. Tala—striking a string with the left-thumb after press- ing it with the right one. (92) Anubandha here means ‘mixture’ or ‘combination.’ See Kn. on SR. VI. 147. It may be that in the Anubandha variety of the Karana Dhatu, the strokes are 3 +- 5, 349, or 5+7, 5 + 9 etc. (94) 1 See above note 1 to 92. Inthe Anubandha of the Abiddha Dhatu too, the number of strokes are to be increased by adding together the numbers available in other Dhatus. (95-100) 1 Savya means ‘right’ as well. See Apte sub voce, But here it is to be taken in its generally accepted sense. ° ibid. 6 अश्र. 101-102] THE NATYASASTRA 42 Niskotita—striking with the left' thumb only. Unmrsta—striking with the left? fore-finger (pradesini) Repha—one single stroke with all the figures of a hand. Avamrsta—three strokes low down [in the string] with the little finger and the thumb of the right hand. Puspa—one stroke with the little finger and the thumb. Anusvanita—the stroke being lower [in the string than] in the Tala [described above]. Bindu—one heavy stroke in a single string. 101, Anubandha—one irregular combination’ (lit, breaking up and combination) of all these and it relates to all the DhAtus. These are the ten Vyaijana Dhatus to be applied to the Vina. 102. These are the four Dhatus with their charac- teristics, which relate to the three Vrttis' on which the playing of [stringed] instruments depends. The three Vrttis Styles of Procedure (gatz-vritz) to be principally reckoned are three: Citra (variegated), Vrtti (movement, i.e. having a simple movement) and Daksina (dexterous). Instrumental music, time-measure (fala)? tempo (laya)’, Giti (rhythm)', Yati' (101) 1 See above note 1 of 92. (102) 1" See above note | on 78. 2 See XXXI. * The word laya signifies the speed at which a piece of music is performed. There are three primary degrees of speed 1.८ rate of movement, in the Indian music: slow (vilambita), medium (madhya) and quick (druta). As in the European music, there is no fixed absolute measure of time for different degrees of speed mentioned here. See GS. Il. p. 33. Sarngadeva (V. 48). defines laya as क्रियामन्तरविग्रान्तिः, 4 See above note | on 76. > The Yati means ‘succession of different kinds of speed’ in the whole song, ¢g. a song may be sung at a slow speed in the beginning, at a medium speed next and at a quick speed in the end, or these speeds at the singer’s discretion may be taken up in a different order, See SR. V, 30 ff. and Kn, theron, 43 STRINGED INSTRUMENTS [xxix. 103-107 and Graha-marga (way of beginning)’ will determine their respective characters. [For example], in the Citra, [the Magadhi is the Giti], the instrumental music is concise (1.6. not elaborate), [the unit of] time-measure [is one Kala], tempo is quick, and Yati is level (sama)’ and the Anagata Grahas pre- ponderate. Similarly in the Vrtti [the Sambhavita] is the Giti, the instrumental music is * * , [the unit of] time-measure is two Kalas, the tempo is medium (madhya), the Yati is Srotogata*, and the Sama Graha-mirgas are preponderant. In the Daksina, the Giti is [Prthula,] the unit of time-measure is of four Kalas, the tempo is slow (vilambiia), the Yati is Gopuccha’ and the Atita Graha-margas are preponderant. 103. Names of the thres Styles of Procedure (vii) are Citra, Daksina and Vrtti. They give quality to the instru- mental masic as well as to the song, and have been defined in due order. 104. The Lalita’ etc, the Jatis’ of all these Styles of Procedure (vrtti), when combined in the Dhatus, will become richer in quality. The Jatis 105. And from a combination of the Dhatus, come forth the Jatis such as, Udatta, Lalita, Ribhita and Ghana. 106. The Udatta relates to the Vistara Dhatus or to many other things. The Lalita relates to the Vyaiijjana Dhatus and is 80 called because of its gracefulness. 107. The Ribhita relates to the Abiddha Dhatus and is characterised by multitude of strokes. 6 Marga in the text, should be taken here as graha-marga, which has been twice used later in this passage. Graha-marga means the manner of following a song or a piece of music by an instrument of Tala. See GS. I. pp. 197 ff, 469. SR. V. 54-56, 58 and VI. 186-187. 1 See SR. V. 31. $ See SR. V. 51-52. 9 See SR. V. 52-53. (104) 3 See below 105. 9 This term has been used-also in relation to songs. See XXVIII, 38 f. and XXIX.1ff xxix. 108-115] THE NATYASASTRA 44 The Ghana relates to the Karana Dhatus and depends on their quantity (lit. aggregate of long and short notes). Three kinds of music of the Vina 108. ‘The experts are to produce three kinds of music from the Vind. They are Tattva, Anugata, and Ogha which combine [in them] many Karanas. 109. The music which expresses [properly] the tempo, time-measure, Varna, pada, Yati, and syllables of the song, is called the Tattva. And the instrumental music which follows the song, is called the Anugata. 110. The Ogha is the music which abounds in the Abiddha Karanas, has the Uparipaini Graha-marga, quick tempo and does not care for the meaning of the song, 111. The rule in the playing of musical instruments, is that the Tattva is to be applied in a slow tempo, the Anugata in a medium tempo, and the Ogha in a quick tempo. 112. The experts in observing tempo and time-measure, should apply the Tattva in the first song [to be sund during a performance], and the Anugata in the second, and the Ogha in the third one. 113. These are the Dhatus in the music of the Vina, to be known by the experts. I shall now explain the Karanas included in the rules of playing the Vipaici.' ‘fhe Karanas of the Vipaiici 114. The Karanas' [in playing the Vipaici] are Ripa, Krtapratikrta, Pratibheda, Ripasesa, Ogha and Pratisuska, 115. When on the Vind, two heavy and two light syllables are played, it is the Riipa.' ete ० ७ la a ee (113) " See below 120 for the definition of a (भील. (114) 1 CSR. VI. 112. (115) ५ Cf SR. VIL 113-114. 45 INSTRUMENTAL MUSIC [xxrx. 116-121 And this Ripa performed in the Pratibheda it is the Krtapratikrta,’ 116. When two different Karanas are side by side played on the Vina, and heavy and light syllables are shown, it is called the Pratibheda.' Continuing [the music] in another Vina, when the [principal] Vina has stopped, 18 called the Riipasesa,’ 117. The Ogha' includes the Abiddha Karanas_per- formed in the Uparipini Graha-marga. The Pratiguska’ is the Karana which is played by means of one string [only]. 118. During the application of the Dhriivas, the experts should generally play with the plectrum (kona) two Vinas to accompany 9 song or other instruments, 119. Whether it be a place or a character, one should equally reflect it together with the song on the strings, and in the Vipaiici it will be something like the Karana called the Ogha. 120. The Citra‘ is [a Vina] with seven strings, and the Vipaiici?’ is that with nine strings. And the latter (Vipaiici) 18 to be played with the plectrum, and the Citra with the fingers only. 121. The experts are thus to know of the Vipafici which includes many Karanas. I shall next explain the Bahir-gitas whic have [their fixed] characteristics. eee Ral eee re = = = ~ ° Cf) SR. VI. 115. (116) " Cf SR. VI. 115-116. 2 Cf. SR. Vi 117. (117) `" Cf SR. VIL 118. = ? See cf. SR. VI. 119-120. (120) ! This Citra (vin@) probably developed later into Persian sitar. It may be that the Greek kithara with seven strings is also connected with it. The seven strings in the Citra, were probably meant for pro- ducing seven notes of the octave. 2 The nine strings of the Vipaiici were probably for producing seven notes together with two Kakali notes (svara-sadharana, XXVIII. 36). xxix. 122-130] THE NATYASASTRA ॥ The Bahir-gitas 199-134, Asravani,| 4140000) Vaktrapani, “Bamghotang Margasarita’, Lilakrta’, and the three kinds* of Asiritas are the Bahir-gitas’ to be applied first [in a play] by the producers, and [all] these should be applied without (alas or with '[alas, and in the Styles of Procedure called the Citra and the Vrtti. 125. The need for all {1686 has already been men- tioned by me in the rules for the Preliminaries’. I shall [now] describe their characteristics together with examples. Tha Asravana 126. The Agrévani should be [performed] with twice repeated Karanas' of the Vistara? Dhatu in [successive] sections (Kalis), and then with a gradual increment by two repeated Karanas. 127-128. It will consist of a pair of twentyfour syllables (varna) of which the first two, the eleventh, the fourteenth, the fifteenth and the twentyfourth are heavy, and a [three-fold fifteen syllables of which] the first is light, the next seven including the eighth heavy the next six again light, the final [three] syllables being heavy.’ 129-130. The Tala in the Agriavani will be (a8 follows : three Samya4s, and a Pala in the Uparipani, two Samyas and two Talas and again a Samy4 and two Talas, in the SamapAni, and suitable Uttara and Cajicatputa [Talas] of two Kalas.’ (Lis example is corrupt and untranslatable)? Parighattand, न ~ ~ ae ----#.-------.- -.----~ (122-124) ` See V. 8-11, 18-21. ४ ibid. * ibid. + ibid. © ibid. 1 ibid. 5 It seems that this item was not originally included in the Bahir-gitas (See V. 8-11). 8 Short, medium and long. ५ These are called Bahir-gitas because they were outside (bahis) the performance of the play and were included in its Preliminaries. See V. (125) |} See V. 8-11, 18-21. (126) " See XXI1X 82. * 1610, also SR. VI. 134-144. (127-128) Cf. SR. VI. 182-184. (129-130) ! Cf. SR. VI. 186 ff ° It seems that these passages evidently corrupt, included magical formul]as (mantra) for warding off evils. See V. 45-55, 176. 47 STRINGED INSTRUMENTS (xxix. 131-137 The Arambha 131-132. The [constituting] syllables in the Arambha are as follows : the first eight heavy, the next twelve and the final one light [in the first section], and the four heavy, eight light, one heavy, four light, four heavy [in the second section], eight light and the final (light) [will form the next section].' 133-134, It should be performed in three sections with the Karanas such as the Tala the Ribhita' and the Hrida’ in which the Vistéra Dhitus’ will preponderate, and in it an ascent will be followed by a descent’. And in it the Karanas will first be descending twice or thrice and then will be played in the reverse order, and then all these are to be repeated.' । 135-135. Its first Tala of three Kalas there will be a Samya of one Kala, a ‘Tala of two Kalas, then a Samy4 of two {0188 a Tala of two Kalas and a Sannipita of two Kalfs and a Satpitaputraka and a Caiicatputa of two Kalas.’ (Its example ts corrupt and untranslatable)? The Vaktrapani 137. The music of the Vaktrapfni will include the Karanas of the Abiddha' [Dhatu] and it has two members Ekaka of Vrtt (= pravrita)? and it is to have in its music half the member of the Vyiijana* Dhatus. = न~ = a NR = en et ~~~ , (131-132) 'The text the of the passage, is probably still more corrupt. Cf. SR. VI. 200 ff. (133-134) 186८ XXIX. 91-92., SR. VI. 145-146. =: 1014. 3 See XXIX, 83-90., cf. SR VI. 134 f. 4 cf. SR. VI. 197. 5 The translation is tentative. Cf. SR. VI. 198-199. (135-136) "४, SR. VI. 204 ff. 2 See note 2 of 129-130 above. (137) ` See ॐ, 82, 93-94 ; cf. SR. VI. 148-150. 4 XXXII. 201. ff. 3 See XXIX. 95-101. cf, SR. VI, 151-160, अञ. 138-147] THE NATYASASTRA 48 138-139. [The syllabic scheme of] the Vaktrap4ni will be as follows: five heavy, six light, four times heavy, two heavy one light, four heavy, four light, three heavy, sight ligh and one heavy.' 140. The scheme of the Samyi and the Tala used in the Madraka song of two Kalas, will be used in the Vaktrap&ni, but at the Mukha (beginning) it will consist of eight Kalas.’ 14 ' -142. The Tala in the Mukha and Pratimukha of the Vaktrapani will be as follows: 9 Samya, a Tala, a Tala, a Samya, and a Tala, a Samyé, a Tala and a Sannipata and four Pajicapanis.' (Its example is corrupt and untranslatable)? The Samghotana 143. The music of the Samghotana will be by means of three Karanas of the Vistara' [Dhatu] class and it will observe the Citra’ and the Vrtta’ Styles of Procedure, and the three [such Karanas] will be repeated and will [gradually] rise. 144-145. The syllables (lit. sequence of heavy and light syllables) of the theme of the Samghotana will be as follows : two heavy, eight light, two heavy, one light, one heavy, one light, four light, eight light and heavy in the end. 146. In the Samghotana, the Vina taken with the two hands by its beam (danda), should be played with the fingers of the right hand and the two thumbs. 147. The Samghotana 18 so called because of the playing together (samghotana) of the Consonant and the Dissonant notes together with the remaining Assonant ones, Its Tala, as in the Sirsaka will consist of the Paiicapinis, (Its example is corrupt and untranslatable) a a te a ee Fe ~~~ (138-139) 1 Cf. SR. VI. 209-210. (140) 1 Cf. SR. VI. 211. (141-142) ' Cf. SR. VI. 212. * See note 2 of 129-130 above. (143) 1 See XXIX 83-90 ; cf. SR. VI. 134 mM. 2 See XXIX. 103; cf. SR. V. 11. 2 ibid. (144-145) 1 Cf. SR. VI. 213. (147) * The translation is tentative, 2 See note 2 of 129-130. 49 STRINGED INSTRUMENTS [xxix. 148-156 The Parighattana 148-149, [The syllabic scheme of] the Parighattan4, is as follows: eight heavy, twentyfour light', one heavy, sixteen light and two heavy. / 150. Its music should consist of many Karanas of the Vyaijana [Dhatu] and should be performed with Upavahana (= Upohana) by clever hands. 151. Its Tala will be Samparkest&kah [as it will stand] combined with the Karana of the Dhatu (i.e. Vyaitijana) due to the syllabic scheme (of the Parighattani]'. The Margasarita 151-152. The syllabic scheme of the Margfisarita in its Vastu will be as follows: four heavy, eight light, eight heavy, eight light and the final heavy. 153. The instrumental music in the M4rg4sarita will consist Of Karanas of the Vistara and Abiddha Dhatus, and it will observe all 1178198 agreeing with its syllabic scheme. (The example is corrupt and untranslatable) 154. Or it may be: four heavy, eight light, three heavy, three light, and heavy in the end. (The example is corrupt). The Lilakrta | 156, The expert producer, as an occasion will arise, should perform the Lilakrta as well as Abhierta and Parisrta according to the rules of the short Asarita, and it should observe {18188 sweet to hear. The Asaritas may be long (jyestha), medium (madhya) and short (kanistha). They in [relation to] their Tala and measurement, will be explained in due order in the rules on Talas.' 156. These are to be known about notes arising form the body of the Vina. I shall next explain the characteristics of the hollow musical instruments (sisiratodya), Here ends the Chapter XXIX of Bharata’s Natyasastra, which treats of the Rules of the Stringed Musical Instruments, (148-149) * lit. twice 8 light, twice 4 light. (151) ` Cf SR. VI. 211 ff (155) ` See XXX], | CHAPTER THIRTY ON HOLLOW INSTRUMENTS 1 The hollow (susira) musical instruments, as the wise should know them, are made of bamboo’. The rules regarding their notes (svara) and the Grama are the same as that of the Vina. 2, The notes of a flute are known to have two, three and four [Srutis], and they are either ‘shaken’ (kampita), ‘half-open’ (ardha-mukta) and ‘fully open’ (vyakta-mukta).' 8. As, above that’, a note of the Vina is changed into another, so in the case of the flute also it does likewise. 4. The number of Srutis in notes [produced in a flute], will be two, three or four, and by prolonging the blow the remaining notes' may also be produced. 5. Notes have characteristics determined by the Srutis numbering four, three or two produced by the application of fingers while playing the flute. Listen about that. 6-7. The note produced from a [flute-]hole thoroughly free from a finger, consists of four Srutis, and that from ww vom TS A RS OE (1) 1 As the first Indian flute was made from vamsa or bamboo, it was called Vamia. Sd. mentions also horns besides flutes made of wood (khadira and sandal), ivory and different metals (iron, kamsya, silver, and gold), which came into use in later times (see SR. VI. 424ff). The conchshell (faakha) is also another hollow (susira) instrument, but it is scarcely used as a musical appliance. (2) 1 These indicate the ways of producing the notes. See 5 ff below. §d. however, mentions five such ways as kampiia, valita, mukta, ardhamukta and nipidita (SR. VI. 457 ff). (3) ' Here tatropari (lit. there above) means ‘if Srutis are further increased’. (4) 1 These are the Sadharana and the Kakali notes. See 9-10 below. (6-7) } Sd. gives more elaborate directions in this regard (SR. VI. 447-448), | HOLLOW INSTRUMENTS (xxx. 7-11 a hole on which a shaking finger is placed, consists of three Srutis, and a note consisting of two rutis, is produced from @ hole which is partly (lit. half) free from a finger,’ 7-9. All these are the notes in the Madhyama Grama.’ Notes of the Sadja Grama will be as follows: Sadja, Madhyama and Paijicama will arise from 9 hole fully open, Dhaivata and Rsabha from a hole covered by a shaking finger, and from a hole partly (lit. half) free from a finger, will arise Gandh&ra and Nis&da,’ 9-10. Nisdéda and G&ndhira [respectively] coming in juxtaposition with Sadja and Madhyama and modifying themselves in characteristic Srutis, will give rise to the Overlapping (svara-sadharana) and the Kakali notes.' 11. The notes of the flute should be perfected (lit, accomplished) with the help of the Vina and of the human throat. Lhe very notes which the singer will attain, should be sung in accompaniment of a flute, A unision of the human throat (lit. the body), the Vina and the flute, is [specially] praised.' (7-9) ! Though the Sadja Grama has been mentioned first in XXVIII (25-26), it has been given here the second place. The significance of this, is not clear. ° "To show the connexion of different fingers of the two hands with the production of seven notes, Ag. (p. 563) quotes the following : षदअस्तनानिकाङ्ग.ल्यादषभो मध्यमाङ्ग लौ । निरङ्ग.खधाञ् गान्धार मध्यमः afadt यचा ॥ MATT waa चत्वारो ees ga: | पश्चमोऽनानिकायां तु घेवतो AAT लौ ॥ भ्ादैजिन्यां निषादस्तु मध्यमः कन्पिती या । (9-10) Sd. gives more detailed directions about the production of notes (SR. VI. 449-453). Mr. Fox Strangways gives a number of flute scales collected from different parts of India (MH. p. 102). These possibly include some valuable materials for the study of ancient Indian musical scales and intervals, for the flute has been one of the most primitive instruments of Indian music. (11) ' See SR. VI. 651. xxx. 12-13] THE NATYASASTRA 52 12, The music of the flute, which 18 steady, not very loud and furnished with the Varnas and the Alamkaras, and follows rules,' is sweet and soothing. 13. These should be known regarding [musical] notes by persons playing flutes. I shall next speak of the solid musical instruments, Here ends the Chapter XXX of Bharata’s N&tyasastra, which treats of the Hollow Musical Instruments. (12) ! The rules mentioned here possibly relate to the manner in which the flute should be played on different occasions ina play. The following quotation from Matanga by Ag. (p. 567) probably gives such rules. अध्वन्वागमने चैव afar निर्जितस्य च । निर्जिंतख्छ प्रकुर्वीत मध्यः च खदुमिग्रितम्‌ ॥ श्क्रारे बा नियोक्तव्यमन्यन्तललितं दर्‌ तम्‌ | we वाचाभिधानेऽपि स्फ fraz तकम्पितम्‌ ॥ ‘This passage seems to have been paraphrased by Sd. in his SR. (VI. 652-653); but it does not occur in Bd. ascribed to Matanga. CHAPTER THIRTYONE ON THE TIME-MEASURE 1. The [instrument named] Tala' is of the ‘solid’ class (ghana), and it relates to a division into Kalas (kalapata)? and to an observation of the tempo (/aya).‘ Those who apply Talas in a musical performance, should know Kalas to be the measure of time (tala.) 2. The popular Kala,' [together with] the Kastha’ and Nimesa’‘, which has been accepted (lit. remembered) by the wise, is not the Kal4 in [observing] the Tala. The Kala arising from the ‘l'ala is different. 3. Five Nimesas will make one Matra', and the Kala arises from the grouping of Matras. And five Nimesas are also to be known as [the period of] interval between [two] Kalas, at the time of singing. And from these again, the (1) 1 This word comes from tala (the palm of the hand), and primarily refers to the beating of time by the clapping of hands, e.g. talaih sifijavalaya-subhagaih nartito kantaya me (Megh. 79). But generally it is used in the sense of ‘time-measure.’ $d.’s explanation of this word (SR. VI. 2) seems to be fanciful. The word is also used as a variety of audible Tala which is of four kinds. See below 32. ° By following Sd. (SR. V. 5-6) one will probably see in this compound two words kala and pata. But such a view will be misleading. 3 See below 4 and 486. (2) 1 According to Amara. (I. 3. 11), 18 Nimesas=1 Kastha, and 30 Kasthas=1 Kala ( अष्टादश निमेषास्तु काष्टा वि शत्‌, ताः wen). From this we have one Kala equivalent to eight seconds. In other systems of computation, it may be equal to fortyeight seconds and even to one minute. See Apte sub voce and also SM. II. 3. 53. 2 See note 1 above. 3 Ksirasvamin defines Nimesa as the time required for a twinkling of eyelids (nimeso’ksispanda-kalah) and sce also SM. II. 3. 53. (3)? According to Sd., Matra is the time required to pronounce five short syllables (pafica-laghvaksaroccara-mita matra, SR. V» 16). भा, 4-10] THE NATYASASTRA 54 tempo is made according to the time of the Kalas [into which they (1080188) are divided]. 4. The tempo (/aya) is of three kinds: quick (druta), medium (madhya) and slow (vilambita)', and among these, the medium tempo determines the normal Kal& (pramana-kala). 5. This (i.e. the Kali) is known to be of three kinds, and is determined, according to the wise, by the three Margas.’ In the Citra [Style of Procedure] there should be three Matras, in the Vrtti the twice of it, and in the Daksina, its fourfold. These are the three [types of] Kalas. The Tala is so called because it measures [time by a division] of [songs into] Kalas. 7. The {818 is of two kinds: Caturasra' (lit. four- cornered) and Tryasra’ (lit. three-cornered) ; but the origin of these two kinds, is the same. 8. Now listen about their twofold sources. ‘hey are the Caficatputah' and the Capaputah.’ 9-10, From each of these, the ‘lala of four or of two Kalas' proceeds. ‘lhe Cajicatputah is known to be Caturasra, and the Capaputah is Tryasra, They consist of long and short syllables. ee ee = ~~ => ५ == ~ (4) ' See below 468. (5) 1 See above note 6 to XXIX. 103 prose, and also 487 below. The Margas are equivalent to the Panis (KX XI. 493-495). (7) } This term is significant when the ‘alas mentioned below are made up of two or four Kalas. 2 1624. (४) ' This and similar other terms are probably mnemonics, and have no special significance. The variants of this term are Caficiputah (NS., KM ed.) and Caccatputah (SR.) The variants of this term are Cayaputah (NS., KM. ed.) and Cacaputah (SR). (9-10) ` Each of these two Talas have three varieties : yathaksara (literal), dvi-kala consisting of two Kalas, and catus-kala (consisting of four Kalas). ¢ 55 SOLID INSTRUMENTS [xxx 10.15 10-11, The Caicatputab' will consist of two long sylla- bles followed by one short syllable and the final Pluta syllable.’ 11-12. The Capaputah which is Tryasra, will consist of one long syllable followed by two short syllables and the final long syllable. A combination of these two, is called a mixed Tala. 13-14. This (i.e. the mixed Tala) includes the Satpité- putrakah' and the Paficapinih.’ constituted according to long and short syllables occurring in their names. These in brief are the three kinds of Tala. : 14-15. [Their Patakala’ will be as follows :] Sannipata,’ Samya,’ Tala, Samya ; or Samya, Tala, Samya, Tala’; or Tala. Samya, Tala, Samya [in the Caiicatputah of one Kala]. 15-16. The Cajicatputah will, thus, be of three kinds ` Sannipatadi,' Samyadi? and Taladi.’ -- ~ 1 -- - ~--~ “ ^ ~ ~ ~ ~~~ ~ ~ = ~~~ (10-11) ' This is called the yathaksara variety of it. Yathaksara (according to the syllables) means that the syllables (short and long) in the name (e.g. Caficatputah) indicate the syllables that this Tala contains. See SR. V. 18. 9 This is to modify here the term yathaksara, for according to the last aksara the final syllable was to be long and not Pluta. (13-14) 1 See above note | to 8. 2 tbid. (14-15) 1 This term has been explained by Kn. (on SR. V. 27) as follows : पाता; amar घर वादयः, कला निःशब्दा भावापादयः। तामि; पातकलाभिर्योगः सन्बनधः. > Absence of mumerical adjectives before these names means that they are single, i.e. one Sannipata, one Samya etc. 3 See below note 1 to 32-33. 4 See SR. V. 28. 29. (15-16) } It means the variety ‘beginning with the Sannipata’, or Sannipata, Samya and Tala Samya. See above 14-15, 2 ‘Beginning with the Samya, or Samya, Tala, Samya and Tala. See abéve 14-15. 3 ‘Beginning with the Tala’, or Tala, Samy, Tala and Samya. See above 14-15, xxxp 16-25] THE NA TYASAS TRA 56 16-17 The Sannipatadi will | 08 Ca 9878 in | the Natya, and the Samyadi will be applicable in the Asaritas. And similarly the Taladi in the Panika' and other [songs]. 18. The three varieties of the Caffcatpu ta such as the Sannipatadi etc , will hold good in case of the Cfipaputah [too].' 19. The Sannipaitadi as well asthe as other two, 18 strong in this (Capaputah) and Talas of six or of eight Kalas proceed from this (i.e. the Sannipatadi)'. 20. Due to the Samya, Tala and Pravesa, the another Tryasra is also produced. It is the Satpitaputrakah called the Paiicapanih.' 21-22. [Its Patakala is as follows :] the first syllable is Pluta, the second short, the third and the fourth long, the fifth short and the final Pluta', and this is the Satpitaputrakah with its long and short syllables. It is also called the Paficapinih consisting of six Patas and six syllabies. 23. Its six Patas are as follows: Sannipata, ‘Tala, Samya, Tala, Samy4 and Tala.’ 24; Another Tryasra variety of the Taladi, is called the Samparkestikah.' It consists of five long syllables including the initial and final Pluta syllables’, Its Patas will be as follows: [119] Samya, Tala, Samy4 and ‘Tala. 25, When the Tryasra will consist of all three heavy syllables and its Kalas will be as follows: Niskrama, Samya and Samyi, it will be called the Udghattah.’ (16-17) । 1 This is ‘only a variety of very primitive songs. (18) 1 Sd. curiously enough on the authority of the NS recognizes only two of them in case of the Capaputah (his Gacaputah). See SR. V. 30. (19) 1 The translation ts tentative. (20) 1 The translation is tentative. (21.22) Cf. SR. V. 31. (23) 1 See SR. V. 31. (24) 1 Its variants are Sampatkestakah (NS. KM. ed.) and Sam- pakkestakah (SR.), Sampadvestikah (SM.) ५ See SR. V. 4!. 3 SR. V. 41. Read 24a as qe} तालस्ततः etc. (25) " See SR. V. 40. 7 THE TIME-MEASURE [xxxt. 26-34 96-28. Thus, there should be the pure Caicatputah ete. of one Kala. Such Talas have three varieties such as Yathaksara,’ Dvikala’, and Catuskala,’ each succeeding one being twice as long as its predecessor. ‘he Caturasra 'I'ala is known to have three [special] varieties having respectively four, eight and sixteen Kalas. 28-29. The Tryasra Tala has six [special] varieties having respectively three, six, twelve, twentyfour, fortyeight and ninetysix Kalas. 30-31. Thus, the Tryasra (ayugma) 19128 are of nine’ kinds. And the Tala [in general] is of two kinds : silent (lit, without sound) and audible (lit. having sound), Listen about the {0 uses’? which they have. I am going to describe them. 31-32. [Of the two kinds], the silent Tala has four varieties such as, Avapa, Niskrima, Viksepa and Pravesaka,' 32-33. The audible Tala is to be known as having four varieties such as Samya,' Tala,? Dhruva and Sannipata’. 33-34. Ishall now speak in due order, of the movement of hands and fingers' in relation to them, and their.charac- teristics and measure. द ~ ----~ ~~~ - (26-28) 1 See above note 1 to 9-10 and note | to 10-11. 2 ibid. $ ibid. (30-31) 1 The three general varieties (26-28) and the six special varieties (28-29) make up the nine varieties mentioned here. 2 The purpose of having two such different sets of gesture for Talas, is not quite clear. It seems that the two different primitive methods of observing simple time-measures which included very few Kalas, originated independently. But these were subsequently brought together for the facility of indicating developed time-measures which included more complex schemes of very numerous Kalas. Two different varicties of gestures in all likelihood helped the musicians to avoid confusion which was possible in case of using only one kind of them. (31-32) 14130 called Kalas by Kn. (on SR. V. 5). (32-33) 1 Sd. has this term as Sampa. 2 This is different from the word standing for the time-measure in general. 3 Also called Patas and Kalas by Kn. (on SR. V. 5). (33-34) ¬ These were possibly required to guide the players of instruments for observing time-measure, ; 8 अश्मा, 34-42] THE NATYASASTRA 58 34-36. The Avapa is the curving of fingers pointing upwards', the Niskrama is spreading out the fingers [of the palm] turned downwards’, Swiftly moving that (1.6, the plam turned downwards) to the right side is the Viksepa," and the Pravega' 18 the drawing away of the palm turned downwards. 36-37. After showing the Avapa (lit. the curving the fingers) one should be making the Niskrama and then the Viksepa and next the Pravesana (Pravesa). 37-38. This is the rule when a combination [of Talas] consists of four 1९91881. [For] the Niskrama and the Pravesa [only will] make up two Kalas’. The alternate placing (lit. falling) of these, is known as the Pata’. 39-40. ; These are to be known Samy8, Tala and Sanni- pita.’ The Samya is of the right hand, the Tala of the left hand, and the two hands coming together is the Sannipata, and the Dhruva is stopping (lit. falling) for a Matra, and it makes for the way of the Ragas’, and [moreover] the placing (lit. falling) of the three ९8188 mentioned before, 18 also called Dhruva. | 41-42. Inthe ४ 81915819" (1918, it (the Dhruva) will be a long syllable. The Tala consisting of Yathaksara Patas is its ordinary (yathasthita) type. With doubled long syllables it will consist of two Kalas. The doubling of two Kalas will make it consist of four Kalas. eS Ce ET oe EE Ee ae ere eee ~ (34-36) } See SR. V. 7. * ibid. 3 ibid. 4 ibid. (37-58) 1 ‘Kalas’ here means syllables and not the component parts of a Tala, which itself may consist of more than one syllable as in the Dvikala or the Catuskala Talas. 2 Significance of this rules is not clear. 3 The translation is tentative. Kn. applies this term to the audible Talas. See above note 3 to 32-33. (39-40) } It seems that one hemistich is missing here. 2 This use of the word ‘Raga’ is likely to hava some connexion with the melodic types of the same name in the later Indian Music, 59 THE TIME-MEASURE [xxx1. 43-5] 43-44, I have [already finished] describing the Pata arising in the Yathaksara [Tala]. Hence the Cajicatputah, the Capaputah the Paiicapanih’ [types] have three varieties. 44-45. Apart from the Caturasra (yugma) and the Tryasra (0105) types there are five kindsof Talas. These are called the Udghattakah' etc., and are of the mixed kind and they relate to the different limbs of songs. 45-46. These (1.6. the mixed Talas etc.) 1118. consist of five, seven, nine, ten or eleven Kalas’ , and are [hence] called miscellaneous Talas. 46-47. These have no use in the seven kinds of songs' and in the Dhruvas.’ And these are to be used by the singers in the Pravrtta’ etc. 47-48. I am [now] speaking about the theory that the Dhruvas will have the Caturasra and the Tryasra Talas consisting [respectively] of eight and of six Kalas. 48-51. [The Tala of eight Kalas will be like this] : by the little finger‘ the Niskrama and the Samy, by the little and the ring finger, the Niskrama, the Tala and the, Samyi, by the middle finger the 11876६8, and by the fore finger are shown the Niskrama and the Sannipata. This is the method of showing Kalis by fingers, in the Caturasra ( yugma) Tala, (43-44) 1 Another name for the Satpitaputrakah. See SR. V. 23. (44-45) 1 Udghattakah and Samparkestakah. (45-46) 1 Sd. seems to ignore these. (46-47) 1 See below 220. 2 XXXII. ५ See XXX, 207. (47-48) ' The Dhruvas used in connexion with the performance of the Natakas, were probably very early types of Indian songs, for their schemes of time-measure consisted of six or eight Kalas only, while in the later songs, the number of Kalas was much greater. (48-51) ‘It is not clear why individual fingers were substituted for the hand-gestues which were conventionally used to indicate the timeemeasure. This may be compared with practice of indicating by fingers, different notes in the chanting of the Sama-veda (see MH. p. 259). अभा. 51-64] THE NATYASASTRA 60 51-53. [The Tala of six Kalas will be like this] by the little finger the Niskrama, the 9871198, the Tala, and the Samy4, and by the forefinger the Samy4 and the Sanni- pata are to be shown. Thisis the method of showing Kalas by fingers in a Tryasra Tala 54-57. By the little finger the Niskrama and the Pravesa, by the little and the ring fingers the Tala and the Samya, by the middle finger the Niskrama and the Tala, by the forefinger the Niskrama, the Samya and the Tala, by the little finger the Pravesa, by the forefinger the Niskrama and the Sannipata 58. This is the rule regarding the Tala of four Kalas in terms of Avapa and Viksepa, shown by fingers mentioned above, 59. The Padabhagas consisting of two or four Kalas have been described [by me]. The four Padabhagas are technically called Matras'. 60. These are the different varieties of the Carficatputah, the Capaputah and the Pajicapanih {1188 61. Thus I have described in brief the (8198 which relate to the Asirita' and the Vardhamina’? and to the body of other songs. The Asarita 62-63. Now I shall speak of the characteristics of the Asaritas. In this, the master producer (lit. one who knows the art of production) first takes up the Caiicatputah with its long, short and Pluta syllables and then the twofold Paficapanih. 63-64. And in the preceding Tala (i.e. the Caficatputah) he puts the syllables as indicated by the latter [in it name] ee = ~ ~ ~~~ ~ ~ — =-= कन ~ (59) 1 But according to Kn. the Kala is ordinarily identical with Matra ; but in the Ekakala Dvikala and Catuskala Talas) it means the long syllables qa कंकलदि कलचतुष्कलशब्द षु कलाशब्द न BATH इत्यथः । waa Aral कला (on SR. V. 19). (61) 1 See below. 2 See below 76 ff. 61 THE TIME-MEASURE [xxx1. 64-75 Thus we get the same Pata as follows: Tala, Samya, Tala Samya, Tala 64-66. In the first syllable of the Paiicapanih one should put in Sannipata, then Tala, Samya, Tala, Samy4 and Tala And in the second syllable also, this is the rule in the Pajca- panih. And the Sannipéta is to occur in case of the final Pluta. This is known by the wise as the short Yathaksara Asirita. 67-68. Now listen about the distribution of Pata as described in the name of the Talas. The ca (can) will indicate the Tala, cat (lit. the second) the Tala, pu again Samy4, and the ¢a (tah) the Tala. Thus one should know the Cajicatputah and the Paiicapanih comes afterwards 69-70 The saé will indicate the Sannipata, the fz the Tala, the ta Samy, the pu the Tala, the éra the Samya, ka (kah) the Tala. ‘I'he same will hold good in case of the second, and then comes the Sannipita, The medium Asarita 71, On combining here the long syllables this (the short Asarita) will be the medium [Asirita].' 71-73. The Kali that will follow the doubling of the combined heavy syllables, should be applied in due order as before. And the medium [Asirita] when doubled, is called the long Asirita, In it, the Kalas will be double the number of that in the medium [Asarita]. Their Vastu is characterised by the occurrence of Sannipatas. The Layantarita 74. I shall now speak of the characteristics of the Vayantarita. That which has the shortest Tala, is called the Layantarita. The Kala differing on account of the time required for it, becomes a different Kala. 75. ‘The application of these Talas gives special success, and in the Laydantarita, there occurs a difference there in words and in the tempo. ee पा eee ~~~ eee - --= -- - --- (71) 1 The transl. is tentative. The text is possibly cerrupt here. ॐ. 76-88] THE NATYASASTRA 62 The Vardhamana 76. A combination of the Asaritas, is called the Vardhamana, Listen about its origin and characteristics as I am describing them. 77-78. After killing the terrible Danavas, Rudra invented in the past the beautiful dance called the Tandava. Now the great-souled Bhiitas created at that time the Vardha- mana adorned with the Pindibandhas.' 79. On seeing this, Siva with his consort (Parvati) was much pleased, and he as well asthe goddess gave them the best boon. 80. Those who perform the Vardhamdna as defined by him according to the traditional rules and order, will attain the proximity of Siva [after their death]. 81. This was seen by me for the purpose of the Pindibandhas. Listen now about their characteristics. 82. Performed in the three Margas, such as the Vrtti, Daksina and Citra, the Vardhamina which is constructed according to its own measure, is of two kinds. The Asaritas 83. Its measure has two aspects: one with the Tala and the other without the Tala. There are four parts (kandkia) in all the Asaritas. 84. [Each] part in the Dhruva 18 composed of Kalas by gods. The Margas are available (lit. joined) in the Vardhamana. 85-87. The first [group] is made up of nine Kal&s, the second (lit. the next) of eight Kalas, the third of sixteen Kalés and the fourth of thirtytwo Kalaés. Thus in the Vardhamana each part is made up of a fixed [number of] Kalas and it is born of the [proper] Marga and is devoid of tempo which is its minor limb.' 87-88. [The parts (kandika) are made up] of one, two, three and four [Kalas] and by them (i.e. the Kalas) are made (77-78) 1 The group-dances, See V (85-86) «! The text is possibly corrupt here in 86. 63 THE TIME-MEASURE [xxxr. 88-98 the Asaritas in the Vardham4na observing the [proper] Marga and limbs of Talas. The Short Asarita 88-89. After finishing the first part combined with the short (6214) ‘Tala, one should make up the short Asirita, of which the second half will be deficient in one Kala. 89-90. If after finishing the second part, one adds to the first part in all its Kalisin the previous Tala, then it becomes the Layantara (‘tarita) [in the Vardhamana]. And Vardhamina at that time should be done in the Citra Marga and not in the Vrtti, 91-92. Whether in the Vardham§4na or in other songs (lit. outside it) there is no short Asarita in the Daksina Marga. From the short Tala, as it doubles the number of syllables and applies other Margas, and regulates the time of dance, the Layantara (“tarita) proceeds, The medium Asarita 92-93. The Tala which I have prescribed in case of the short Asarita, is wholly to be observed in the first two parts. ‘The third, the second and the first [parts] will have the same number of Kalas. Then this will be the medium Asarita. The Long Asarita 94, If the fourth part is made the first १.९. the parts are taken in an inverted order, and the four parts have an addition of four Kalas to them, then it is called the long Asarita, ॥ 95. When their application is taken in connexion with the Pindibandhas, then each of their limbs (minor parts) is to be made distinct (lit. separate). 96. Mukha, Pratimukha, Deha and Samharana are the four limbs' in all the Asaritas, 97-98, The Upohana is the Mukha, the Yugma is the Pratimukha, the Ojah is the Sarira (Deha) and the Samh4ra (*harana). This is the serial order of the limbs and thus the Asaritas consist of four limbs, - (96) । See SR. V. 183-184, ॐ, 98-108] THE NATYASASTRA 64 The Vardhamana 98-99. A song composed of the four’ Asiritas, is called the Vardhaminaka, ‘The Vardhamfna is so called because of the [gradual] increase in it of the syllable (varna), Tala, tempo (/aya\, the instrumental music and gestures, which lead to the embellishment of the performance of the dancers. 100-101. The body of the Vardhamana and the Asirita being mutually related [respectively] as effect and cause constitute each other. Just as the seed grows from the tree, and the tree [in its turn] from the seed, [here too], the same [law of] mutual causal connexion is applicable. The Layantarita 102. One Kala being added to the short [Asarita] it gives rise to the Liydntara (= Layantarita); and two Kalas being added [it becomes] the medium [Asirita], and four Kalas being added [it is] the long [Asirita]. The Short Asiarita 103. The rule of the Pata for the short [As&rita] is as follows: 99105, Tala, Samya, Tala, (lit. one turn of the Caiicatputah beginning with Sainya), Sannipata, Tala Samya, Tala, Samyad, Tala, Sannipata, Tala, Samyda, Tala Samya, Tala, (lit. two Paiicapanihs beginning with Samy4) 104. This is the scheme of Tala in the Laydntarita, and its characteristic growth has been mentioned before, and there will be here a difference of words and tempo. 105-106. (The text is corrupt, but it is clear that the schemes of Tala for the medium and the long Asarita occur here). 107. Those who have the short (lit. young) [6 89119] as consisting of nine Kalas, are not supported by the good authorities. The placing of the Sannipata [in it] has been made [by them] according to the rule of the Kala. 108. For them the two 198 at the Mukha of it (i.e., the short Asarita) are regulated by the Dhruva Pita. I shall [now] speak of its [full] measure (mana) and [sequence of] long and short syllables । ee ~ = + eee (98-99) ' ! Short, Layantarita, medium and long. See below 102, 65 THE TIME-MEASURE (र्ध, 109-114 109. The Mukhas of the long and the medium Asiritas, the Layantarita and the short Asirita, will res- pectively consist of eight, seven, six' and five Kalas, 110-111. In the Upavahanas of the Asirita [of all kinds] 48191188! to be employed are of eight syllables two long, four short, two long [for the short Asarita], of twelve syllables two long, eight short, two long [for the Lay&ntarita], of sixteen syllables two long, twelve short, two long [for the medium Asirita] and of twenty syllables, two long, sixteen short, two long [for the long Asarita}. I shall now speak about the syllables which were sung in the past by Brahman. Example, (the text here is corrupt). 112 This rule of the Upavahana, depending on the arrangement of syllables in Kalfis and in the sequence of their being long and short, has been prescribed in case of the Mukhas of the Asiritas, 113, Thus I have described the extent and measure- ment [of the Upavahana]. In the Caturasra (yugma) there are four ganas, and in the Tryasra (014) there are six ganas, The Short Asarita 114. In the Paiicapanih and the Capaputah (lit. the second) {the number of ganas] will be six and a half. Thus will be the short [Asarita] in its syllables measured by 11४8. Tix. Devam devaih samstutam Isam daityair yaksaih pranamita-caranam, trailokyahitam Isam Haram rudram saranam upagatah. Tr. I have come to take refuge with Hara (Siva)' the terrible one, the benefactor of the three worlds, who is worshipped as the Lord God by the gods, and to whose feet Daityas and Yaksas bow down, (109) 1 Read sad eva for sasthi. See. SR. V. 182. (110-111) 1 The term is probably synonymous with Asarita. 2 The transl. is tentative, for the text seems to be corrupt. (114) ' This and similar examplés below perhaps show the originial connexion of dance and drama with Siva, . 9 श्य. 115-116] THE NATYASASTRA 66 The Medium Asarita 115-116. In the Caficatputeh (lit. the first Tala) there should be eight regular ganas, and the ganas in the Satpita- putrakah should be twelve, and in the third part of the Vastu' there should be thirteen ganas anda half’. These is the arrangement of syllables in the medium Asirita ; Ex. Bhitadhipatim Bhaganetraharanam Isam devair vandyam suramakhamathanam raudram bhayadam gaja- carmapatam. Sambhum tryaksam jvalananibhajatam bhujanga- parikaram. Tridasaganavrtam daityair nityam paripathita- caritam amarapatinamitam abhimatasukhadam Rudram pitam pitrvananilayam Gangaplavita-sobhanajatam tam saranam gato’smi varadam ca Mahesvaram*. Tr. I have come to take refuge with Mahesvara, the giver of boons, the lord of creatures, who took out Bhaga’s eyes, who is adorable to the gods, who destroys the sacrifice of the gods, who is terrible and fearful, who wears the hide of an elephant, who is the source of bliss, who is three-eyed and has matted hairs shining like fire, and who has serpents as his girdle, who is sorrounded by gods, whose exploits are always recited by the Daityas, who is bowed to by the lord of gods, who gives one pleasures of one’s own choice, who is terrible, yellow, and is a dweller of the cremation ground, and whose beautiful matted hairs are soaked in water of the Ganges. (115-116). 1 The Vastu (thing) is a technical word meaning princi- pal parts of songs. See helow XXX II. 7. This is probably equivalent to what the singers of North India call tuk in connexion with Dhrupada songs. See GS. I. ए. 78. This word (Vastu) has been used by Kalidasa (Malavi. II.0.5; 3.1; 4.1.) It also means a song, and is equivalent to the term. ij. (lit. thing) used by the modern North Indian singers. See SR. V.6; V. 61 ff. 2 See below 127. 2 This very exhaustively describes Siva’s mythological character, ‘ 67 THE TIME-MEASURE [xxxr. 117-118 The Long Asarita 117-118. There should be first the Cajcatputah (=yugma) Tala of sixteen ganas, next the Capaputah (0/2) Tala of twentyfour ganas, and in the third there should be twenty- four ganas and a half.’ These is the arrangement of syllables in the long Asarita. Ex. Amarapravaram Madanadigaharam bhuvanaika- nitham abhayapradam Tripurandsakaram devam tam aham pranatah. Surapitrmunigana-pranatacaranam = prthivisalils- nalapavana-yajiadhipati - stirya - candra - vyomakhyah astau munibhir yasya karya proktah trailokyagurum tam acintyam ajam vidydnilayam bhairavariipam khatvangadharam sthityut- pattipralayanimittam siiksmaksam acintyam candrardha- dharam tilakirdhadharam netraérdhadharam kucardhadharam kantardhadharam bahulair vividhair vidbrtair vikatair mundair vimukhair visamair pramathaih parivrtam Igam satatam pranatah.’ Tr. 1 bow to the god (Siva) the greatest deity, the destroyer of Madana’s body, the supreme master of the world, the giver of immunity from fear, and-the destroyer of Tripura. I always bow to the Lord (Siva) who is worshipped at his feet by gods, fathers and sages, who, the sages say, has created the eight [forms] known as the earth, water, fire, air, the master of sacrifices, the sun, the moon, and the space (lit. the sky), who is the preceptor of the three worlds, is beyond the reach of thought, is eternal (lit. without birth), the abode of knowledge, terrible in form, holder of khatvanga, the cause of existence, origin and destruction [of the world], who has subtle vision, who is unthinkable, who bears [ in his person | half of a crescent, of a tilaka, of an eye, of breasts and of the beloved wife, and who is surrounded by many and various, aweful, shaven-headed, ugly and strange Pramathas. (117-118) 1 See below 127. 2 See above note 3 to 115-116, xxxI. 119-128] THE NATYASASTRA 68 119. The three varieties of Asarita, have been described, viz., literal (_yathaksara ), double ( dvisamkhyata ) and triple (trisamkhyata).' 120. The literal 4881108 is known to be made up of ganas of equal Varnas doubled in observing T4las, and its syllable are not repeated.’ 121. The literal Asarita (lit. that ) when it is [once] repeated, is called the double Asarita' and when twice repeated it is called the triple Asarita. 122. In[ the Tala of ] the Asdrita songs, one should make its [ Kala] of four etc., consist of ganas made up of four 1087188, their long and short syllables being as pres- cribed before.’ 123-124. That’ which is of four mitras in aksaras will be two 1180168 in Varnas.' The Kalas in the Vrtti [ Marga ] will be twice that in the Citra Marea. Hence, that Kala which is of four 1081188 in the measure of Varna in the Vrtti [Marga], will be doubled in the Daksina [ Marga ]. 125. No change of the Marga, is available as regards the syllables [ indicated by the name of Talas ].' It is only due to doubling the Matra that the variation of Varnas has been described. 126, This is mostly the rule relating to the Varna and the Tala in Asarita songs of the literal class. 127. In the double Asarita the repetition (nivriti) should be made by adding half [gana] to [the literal Asirita], and in the triple Asdrita, the double one should be augmented by half [a gana]. 128. The double Asarita should not be performed in the Citra Marga, and the Triple one in the Vartika Marga.’ . (119) " See SR. V. 190. (120) `" ४64. (121) 1 See SR. V. 191. (122) 1 The transl. is tentative. (123-124) 1 The meaning is not clear. (125) 1 Aksaresu here means yathaksaresu. See SR. V. 192. (128) 1 See SR. V. 192. 69 THE TIME-MEASURE [xxx1. 129.137 129. The triple Asarita should be in the Daksina Marga’, the double Asarita in Vartika Marga? and the literal Asarita in the Citra Marga.’ This is the fixed rule relating to Margas. । 130, ¶76 rule of observing the Marga in the triple Asarita is, that it should begin in the Daksina, and in repeti- tion the Vrtti and the Citra [are to be adopted] serially, 131-132. The double Asarita too should be performed ( lit. desired ) according to this principle. Its performance may bein the Vrtti or Daksina Marga. After considering the relative strength (lit. strength and weakness ) of the different limbs of a Vastu, the expert musician should observe the repetition at its beginning, middle or conclusion. 133. When due to the composition of the Vastu, a Kala becomes wanting at the repetition, then [ the singer | should prolong the Varna till this Kala is completed. 134, ‘The needs for repetition are as follows: enrich- ment of the Varnas and Alamkdaras, rest for the producing organs, and the application of the Tattva’ etc. : 135. Thus I have mentioned the [ mutual | connexion between the Varnas, Talas and syllables in [course of perform- ing ] the Asarita and the Vardhamana. The four limbs of the Vardhamana 136. There are four limbs of the Vardhamana [song], viz. Visala, Samgataé, Sunanda and Sumukhi.’ 137. Of these, the first [limb] consist of nine Kalas, the second of eight, the third of sixteen and the last of thirtytwo Kalas.' (129) 1 SR. V. 192. 2 Cf. SR. V. 192. 3 Cf. 125 above. (134) } See XXIX. 109. (136) >¬ See SR. V. 195. (137) ! See SR. V. 1 96. श, 138-145] THE NATYASASTRA = 70 138-139. The Upohana of the Visali consists of five Kalas, that of Samgata of six Kalas, that of Sunand4 of seven Kalas, and the Upohana of the Sumukhi is always eight Kalas.! I shall now speak of their sequence of long and short syllables. 140. In the Upohana' of the Visala there should be two long syllables first, then fourteen short ones, and _ finally a long syllable.' Ex. (The passage 1s possibly corrupt). 141. The sages have said that four more short syllables, and the three long ones [being added to this i.e. to the Upohana of the Visala], will make the Upohana of the Samgata'. Ex. ( missing ). 142. The learned are to know that the rule about the Upohana of the Sunand4, is that it will have four short syllable, and three long syllables [more than that of the Samegata,]' Ex. (The passage is possibly corrupt). 143. The rule of Upohana of the Sumukhi, is that it is to be known as consisting of twentyeight short and [three] long syllables.. Hix. (The passage is possibly corrupt.) 144 Because, from this, the notes [in a song] are carried forward, and because from this, songs proceed, this consisting of unmeaning (lit. dry) syllables, is called the Upohana (= Upavahana). 145. Or, because a performance is carried forward by means of acts beginning with sucana' this song depending on the musical instuments, is called the Upohana, (138-139) ! Fronf Kn. (on SR. V. 196-197) we learn that the Upohanas of the four parts of the Vardhamana consist respectively of five, six, seven and eight Kalas. (140) 1 See SR. V. 197. (141) 1 Cf. Kn. on SR. V. 197. (142) 1 Here evam guru-samyutaih means that there will be three more long (guru) syllables as in the preceding Kandika ofthe Vardhamana. Also cf. Kn. on SR. V. 177. (143) 1 Kn. on SR. V. 197. (145) 1 Kn. (on SR. V. 92-93) reads stavanadikah for sucana@dibhih. The original reading probably was stavana@dibhih (=by means of praises etc.). १ 71 THE TIME-MEASURE [xxxr. 146-156 146. The Tala of the Upohana in the Vigala 18 ag follows : Samya, Tala, Samya, Tala, Sannipata 147. The Tala in [the Upohana of] the Samgata is the Cajicatputah of two Kalas, and this in its Taladi variety, preceded by the Tala of three Kalas (i.e Udghatta), will be the Tala of the Upohana of the Sunanda 148. The Tala of the Upohana of the Sumukhi, will be the Cajicatputah of two Kalas. Upohanas twice repeated [in each case] will make up the Kandika. 149. ‘Thus I have spoken of the four Upohanas, Now listen about the performance of the limbs from the beginning 150. The Tala of the Visalé is as follows: Samy 0819, Samy4, Tala and Sannipata of three Kalis 151. The Tala of the Samgata is Caiicatputah of two Kalas and that of the Sunanda is the same (i.e., Caiicatputah) of the four Kalas.’ 152. And the Tala of the Sumukhi should be the double' Caifcatputah (=yugma) of four Kalas together with two Sannipatas 153. I have thus spoken of the Talas in the individual limbs of the Vardham4na songs, Now listen about them collected together. 154. First there should be the Visala produced with the shortest (lit. young) Tala, The Tala which has its end consisting of three Kalas, is the short (lit. young) Asfrita. 155. When after taking up (lit. making the Graha of) the Samgata, one applies Visala in all its Kalas and couples it with the previous Tala, then it is the Layantarita 156. Then one should perform the Sunand4é and again the Samgata and again Visalia and next the Sumukhi, (146). 1 See SR. V. 202 | (147) 1 The Tala of the Samgata is Niskrama, Samya, Tala, Samya, Niskrama, Sannipata, and in the Tala of the Sunanda these will be added to the preceding Tala (150) " Cf. SR. V. 202 (151) 3} See SR. V. 202. (152) 1 The reading divictirastu is probably corrupt. It secms to have been something like dvih citras tu. Cf. SR. V. 202. अशा, 157-167] THE NATYASASTRA 72 157. The Tala that has been mentioned in the short Asarita, is wholly to be applied first at the beginning (lit. the rise) of the Kandika. 158. Then after taking up (lit. making) the Graha of Sunanda one should perform Sunanda, Samgaté and Vigala. 159. The Tala that has been prescribed by me in case of the medium Asarita, should be observed in the three 52111588 in case of the Sunanda and what follows. 160. And again Sumukhi, Sunand& and Samgata should be performed (lit. is desired), and they should be applied beginning from the Sumukhi ete. 161. Then one should know about the end of Vigala and of the respetitions (1121402). The Tala in the long Asarita is either silent or audible. 162. The same [Tala] should be performed in all [the limbs]. These are four Talas prescribed in the combina- tion of limbs. From a combination of these limbs the Vardhmana is made (lit, desired). 163. The short (lit. youngest) [Asarita] consists of nine Kalas, the Layantara (= Layantarita) of seventeen Kalas, the medium [Asirita] of thirtythree, and the long of sixtyfive Kalas.’ 164. This is the rule about the Tala in all the Asiritas. The Vardhamanaka is so called because of a [gradual] increase of Kalas due to [gradual] increase (vardhana) of syllables, and because of an increase of the Laya (tempo) in its successive phases. ; 165. In all the Asaritas and the Vardhamana songs the law of the syllables relates to an application of double the {ordinary] Tala. 166-167. The Sannipata without an end (?) occurs at the end, then the final Kala should known as being made up of two 1080188. This is the characteristics of the Vardhamana as described by me. I shall now give a tabular view of the brief characteristics of the Asirita, (163) '«See SR. V. 195. 73 THE TIME-MEASURE (xxxn. 168-177 168. The wise prescribe the Dhruva [Tala] in 9 Kala which is not deficient. The remaining and final [1198] should be conforming to the syllables of the Talas (i.e. the names of the Talas). 169, There is no (1.6. should be no) Samya (= Samya ?) in the pluta and short syllables represented by Dhruva Tala ००१ --- Damatva 18 prescribed by means of three Pitas.’ 170, The Asaritas, short medium and long are to be furnished (lit, made) with Talas, Sannipatas, Samyis and Dhruvas.' * मै भ र 171. By doubling afterwards the Kalas of this (i.e. of the short Asarita) the medium Asirita consisting of Samya in the intervals of प्रइ should be made, 172. In the first Vastu of the medium Asiarita there should be the Uttarah (=Satpitaputrakah) Tala leaving out the three 8188, and in it thore should be two complete repetitions (pariurtta).’ 173-175. [The Pata of the medium Asiarita will be as follows]: Samy, Tala of two Kalas, Samya of two Kalas, Tala of 0116 Kala, Sannipata of three Kalas, Tala of thee Kalas, Samya of one Kala, Tala of two Kalas, Samya of two Kalas, Tala of two Kalas, Sannipaita of three Kalas again, In the third [Vastu] there are Sannipatas of twelve Kalais at the end. 176. The first part of the medium Asirita is said to consist of eight Kalas, the second of twefve Kalas and the third should have a part [of twentyfour Kalas] ending in a Sannipata, 177. The Pravesa, Viksepa and Niskrama made with fingers, which have been mentioned before, should all be observed by the experts in the medium Asirita. (169) 1 The text seems to be corrupt. (170) 3 Cf. SR. V. 179. (172) ` See SR. V. 180. 10 अशा, 178-194] THE NATYASASTRA 74 178. 0 171 1116 long As&rita the wise should make the body made up of Samy4 and Tala with proper tempo (laya) and [this body] should consist of sixtyfive Kalas 179. In it the Avipa, Niskrama, Viksepa and Pravesgaka of the fingers should consist [of groups] of four Kalas. 180. The long Asarita should have groups of four Kalas with its Avapas and Viksepas, and its Vastu in other places will consist of seventeen Kalas beginning with Samya.,' 181-183. [The Pata of this ^ 81179 will be as follows :] 9811198 and Tala of four Kalas, Samya of four Kalis, Tala of two Kalas, Sannipita of six Kalas, Tala of six Kalas, Samya of two Kalas, Tala of two Kalas, and Sannipata of six Kalas 184, This is the entire rule [of Talas] in the third Sannipata, but at the end I shall speak of the throw of fingers [indicating them] . 185-188. Avapa, Samy’, Niskrama, Viksepa, Tala, Avapa, Niskrama with the ring-finger, Viksepa, Samyi, Avapa, Tala, Vikesepana (Viksepa), Pravesa with the middle finger, Avipa and Niskrima again Viksepa and Sannipata with the forefinger, these are the seventeen Kalfis in the first Sannipata.' 189-193. ^ ११0४, Nirgama (Niskrima) with the little finger Viksepa, Pravesa, Avapa and Tala with the ring and the little fingers, Tala and Viksepa with the ring and the little fingers, 98702, Avapa and Niskrama, Viksepa, and Samya with the forefinger, and these are the fifteen Kalas. and Avapa, Tala, Vésepa, Pravega, Avapa, Niskrama with the forefinger, Niskrama, Viksepa, Sannipata will make up the twentyfour Kalas [of the second Sannipata]. 194. This is the rule [of 'T4las] in the third Sannipita. This is the arrangement of fingers in showing the Talas in the long Asarita. There will be sixteen Kalas in the first (180) + It seems that a portion of the text, has been lost after this. (188) 1! The text dealing with the medium Asarita seems to be lost from here. (189-191) } The text here seems to have some lacuna. Cf. SR. V. 181, ट 78 THE TIME-MEASURE (xxx. 197-206 Sannipata, and twentyfour in the second and one more Kala than this (i.e. the second) in the third Sannipata. In each of these there should be ten or seven groups made up of Samya, Tala as well as Sannipata. 197-198, In the first Vastu of the short and the medium Asaritas, the other two are to be applied as [pres- cribed ] before. The three Vastus [in them] will consist of six Samyas, eight Talas and three Sannipatas. One should know the Asarita to consist of seventeen Pata [Kalas]. 198-200. Hight Talas, six Samyads and three Sannipatas are to be known [as used] in each of the Asiritas. This is the description of the As&rita spoken by me. [Now] I shall consider the application of the uses of the Vastus of songs. Next I shall speak about the characteristics of songs. 201-202. In the Vastus' and bodies of the songs there are limbs such as Vivadha,’ Ekaka and Vrtta.’ The Ekaka consists of one Vidari,' and the Vivadha of two and the Vrtta not less than three and not more than six Vidaris. 208, That which consists of Padas or Varnas, is called a Vidari. And that which ends in the Nyasa, Apanyasa and Améga isa Vastu.’ 204. Because it splits (vidarayaii) notes, it is called Vidari' and it resembles heavy Varnas. 905-206. ‘The Vivadha and the Hkaka are generally used in the Madraka [song], in each half Vastu of the Prakari, and in each quarter of the Rovindaka. But in the Rovindaka, Uttara, Ullopyaka, Panikaé, Bahirgitas and Lasya, the Vrtta is used, म (197-198) 1 See SR. ४. 197. (201-202) 1 Defined below in 203-204. 2 Dattila, (144) and SR. (¥. 70) have this as ‘Vividha’. 3 Defined below in 204. (203) 1 See Dattila, 140. (204) 1 See Dattila, 142. अशा. 207-217] THE NATYASASTRA 76 207. The Vrtta is of two kinds : Pravrtta and Avagidha. The Avagadha is due to being in an ascending scale and the Prayrtta due to being in a descending scale. 208. Ascending as well as descending is of two kinds: one prescribed in connexion with tho Nyasa and the Apanyisa [notes], and the other made in the Margantara ( = Antara- marga ?). 209. Vidaéris in a song are said to be three’ in the minimum and eleven in the maximum, [but] their highest number may [in rare cases] be twentyfour. 210. But in case of the Ullopyaka and the Vaihayasa [the number of] Vidaris will be half as much more in the third Sannipata. 211. They are to be performed thore with the Vivadha or the twofold Vrtta, and the Anga will not come toa close in a half of the Sannipita. 212, The Vivadha is said to have been of three kinds, viz. 88117028, Ardhasémudga and Vivrtta. 218. The Vivadha is always to be known as ending in the Nyasa note except in the case of the Goyaka, and in the beginning of the Madraka the Samudga has been prescribed. 914. But the Geyaka in the Samudga should be applied 1116 the short Varnas. And applied at the end and in the third [Vid4ri] it is called Geyaka. 215. When in application, one half of a Vid4&ris is similar to [one half of another Vidari] and the other half is dissimilar [to the «remaining half of it], it is called the Ardhasamudga. 216. The Vidari is uneven in the Nyasa and the Apanyasa, and its copious use is called the Vivrtta. 217. The Vivadha, Ekaka and Vrtta are respectively to end in the Nydsa, the Apanyasa and the Améa [notes]. (207) + See above note 3 on 202. (209) 1 See SR. छ, 77. The text' of SR. is corrupt here. Ava- vaikadasapara should be emended into Tryavaraikadasapara. Kn. ’s Comm. too requires emendation. It should begin as tryavaraf ca etc ; otherwise the next sentence which supports the emended text, becomes meaningless. ys THE TIME-MEASURE [xxx1. 218.223 918. The Sannyasa and the Vinyasa notes occur in the middle of the Anga, and the Vinyasa is known to occur in the middle of the Vidari. | 219. The Vinyfsa may rarely be at the end of a word in a Vidari; but too much of it has not been prescribed by the experts. The Seven Types of Songs 220. The Seven [traditional Types of] songs are the Madraka, Ullopyaka, Apardintaka, Prakari, Ovenaka, Rovin- daka and Uttara.’ . The Madraka 221. [Among these] the Madraka' is of two kinds : one consisting of four Vastus and the other consisting of three Vastus’, and that which consists of three Vastus, includes a Sirsaka.° The Aparantaka 222. In the Aparantaka, Sirsakas should be five, six or seven in number, and in the Prakari they should be four, three and a half and (1.6. seven and a half in all).' The Rovindaka 993. The Rovindaka consists of seven limbs [in the minimum] and sixteen limbs in the maximum, and Kkakas in them should consist of two [consecutive] padas' consisting of equal Varnas. enn ERE geen = mre (220) 1 See SR. V. 58. The later Indian music seems to com- pletely ignore these Seven Types of Songs. (221) `" See SR. V. 77 ff. 2 See above note 1 on 115-116. 3 A part of the song with a particular kind of time-measure. (222) 1 See SR. V. 92. (223) 1 Pada=one quarter of a couplet in a song. शय, 224-934] THE NATYASASTRA 78 224, And in that (i.e. Rovindaka) one is to apply in the beginning the Pravrtta and Vivadha and then the body and the limbs are to be placed in their proper position. 225, In its middle should occur Akara (i.e. the syllable 2) and in the end too the same, and in its end should come a clear Sirsaka. The Ovenaka 226. The Ovenaka is known to be consisting of seven or twelve limbs. And that with seven limbs ends in two (9) and that with twelve limbs ends in three (9). 227-228. The twelve limbs of the Ovenaka are Pada, Sandhi, M4saghata, Vajra, Sampistaka, Sirsaka, Caturasra, Upavartana, Upapata, two Pravenis and Samharana having two limbs. 229. When Sampistaka, Upapata, two Pravenis and Upavartana are left out from among the twelve limbs, the Ovenaka is called a seven-limbed one, 230. The-seven limbs common to the both [Ovenakas] having similar Varnas and Padas are called Vivartana, and in the twelved-limbed [Ovenaka], Padas [in other limbs] are to be different. The Ulopyaka 231-234. The rule about the limbs of the Ullopyaka is 11118. Its three limbs are Avagadha, Pravrtta and Maha- 187118४. It becomes two-limbed when the Mahijanika is left out. ‘And when Sthita is combined with Pravrtta, it [the Ullopyaka) is also called one-limbed, and the Mahajanika also may constitute the one-limbed Ullopyaka. And the Sthita and the Pravrttaka may constitute a two-limbed Ullopyaka or an one-limbed one (separately). (231-234) 1 The original of this sentence seems to be corrupt and superfluous. ° The original of this passage seems to be a variant of 234-236, र THE TIME-MEASURE [xxx1. 234-244 In the two-limbed (Ullopyaka) the rule of the Dhruvas and the Dhatus [hold good] separately, and in a combined manner. 234-236. The three limbs [of the Ullopyaka] is the Sthita, Pravrtta and the Mah&janika. And the two- limbed [Ullopyaka] will exclude the Mahfjanika, and the Mahajanika [only] will constitute the one-limbed [Ullopyaka]. These are, separately and in combination the rules about the many limbs [of the Ullopyaka] which may be Caturasa, Tryasra and Visra (Dvisra= Dvyasra?). 237. The Samhaira (=Samharna) of the Ovenaka is made up of two limbs or one. And this (Samhiara) should not be used at the beginning or in the middle.’ 288. The Ekaka or the Vivadha should always be used in the end, and the Ullopyaka should not have less than six and more than twenty limbs.' 239-240. Of these [limbs] the Samharana will have the Mukha and the Pratimukha [as its two parts], and it may be with the Vaihadyasaka or without it. And it will not have less than three and more than twelve limbs. And the Vaihayasaka will consist [even] of one limb and not more than six limbs, 241-242. Three limbs having been sung the performance it is to begin. The limbs Mukha and Pratimukha have been prescribed for the Ullopyaka and the Uttara. Then the other limbs may be compressed or oxtended. 243-244, The Mukha and the Pratimukha are to be known as the Vivadha, The Vrtta occurs in the Pratimukha and may shortly be in other [limbs] as well, and the Sakha in the Ullopyaka, the Uttara and the Aparantaka as well as the Pratisakha will have same kinds of Varnas and Padas [as the Mukha and the Pratimukha have. | (237) ¬ This passage seems to have belonged to the discussion on the Ovenaka (226-230 above). (238) 1 See Dattila, 194-195. XXXI, 244-255] THE NATYASASTRA 80 The Uttara 244-245. The Uttara will not, have less than six and more than twelve limbs * * * Its Sirsaka should specially be placed at the end. 246. This is the rule of limbs to be observed in case of Songs of Seven Forms. Next I shall speak of the measure- ment of Vastus in the songs. The Madraka 247. Inall the Vastus, Kalas should consist of sixteen १1188. And each quarter of it is a Padabhaga. 248-249, 1187 eight in the beginning are long and the next eight short, and one is to make Upohana (Upavahana) with two long 2180788 in the beginning, and than the third will be long to make the Pratynupohana and in the fourth and the fifth long syllables there will be [two] Samyss 250. The sixth and the seventh will be Tala and then the eighth will be Samy, [all these] in the heavy syllables. Then a pada of eight Kalés 18 to be made with short syllables + 251-253. In Talas of heavy syllables {१688 will consist of one [entire] Kala [The Patakala will be as follows: ] Samya, Tala, Tala, Samya, Tala, Samyaé, Tala and Sannipata. Thus the Sirsaka is to be constructed with the Caficatputah, and this will be the system of 11188 of one Kala in the Madraka [song]. When heavy syllables are separated in a pada they will bo considered as consisting of two Kalas. 254-255. After separating them the Kalas are to be arranged as was done previously, And in the Madraka of two Kalas, the Upohana will consist of three 9188 and the Pretyupahana of one or two Kalas.' (248-249) See Kn, on SR. V. 79. (250) |! Yato’rdhakalikam in the text should be emended into tato’sta-kalikam ; see above note 1 on 248-249. (251-253) } The text here seems to be corrupt. (254-255) ' See SR. V. 80 ff. and Kn, on it. 81 THE TIME-MEASURE [xxx1. 256-259 266. Four [Kalas] will make one Matra! and the Vastu will consist of three Matras. [Each of] these three Vastus will consist of two Kalas. This is the rule of Pada in P&ta. 257. The P&tas such as Samya and Tala etc., which have been prescribed in case of heavy syllables, should be used in the 80801869 of two Kalas. 258. The eighth the tenth and the sixteenth will have Samya and in the twelfth and the fourteenth will have Tala.’ 959. The rule of Pata in case of eight light [syllables] has been mentioned before. In three Vastus of two Kalas too, these Patas should be applied. And _ the Sirsaka of six Kalas should be made with Paiacapanih.* Kramdam kramdam gailendra-raja-samsthitam isam gintam Sivam pannagendra paribaddhajatam. Munigana-namitam dhyanabhiratam jijanamayam madanamgaharam vibhum prabhum. Sarandgato’ham daityair nagaih samstutam Tsam tvim vedamayam tvam kartéram bhavanapatim sarvaloka-namaskrtam Rgyajuh-paripathitam gamgadharam siladharam bhuja- gendradharam pranato’smi Sivam mrgaraja-carma- paribaddha-tanum. Vipulagatim vrsabhagatim jvalanasikhisadysa-kapila- jatam tam aham namami Sivam sirasa. (Here ends the Madraka of two Kalas) Devam pranatartiparam mayadharam mayaripam jatilam nam4mi Sivam sirasa. (Here ends the Sirsaka of six Kalas) Tr. L seek shelter with Thee, the peaceful lord Siva whose matted hairs have been tied up with the king of serpents, who is bowed to by the Munis, who is constantly engaged _ (256) “1 See SR. V. 21 , and notes on 254-254 above. (258) 1 See Kn. on SR. V. 84 (asya prastarah etc.) The fourth foot should be read as talam vat etc. (259) 1 See Kn. on SR. V. 79 (asya prastirah etc.). 1} XXXI. 260-264] THE NATYASASTRA 82 in meditation, and is full of wisdom and who has destroyed the body of Madana (Kama) and who is supreme and all-powerful, who is adored by the Daityas, and Serpents and who is the creator and the lord of the world and is bowed to by all the people. To Thee who is praised by the Rk and Yajur Veda, who carries, Gamga [on his head], the spike [in his hands], the lord of Serpents [in his matted hairs], I bow my head to Thee who is bliss, and is clad in the skin of the lord of beasts, whose gait is prodigous and is comparable to that of a bull, and his twany matted hairs are like the burning fire. (The end of the Madraka of two Kalas). I bend my head to Siva, the pure god who removes the affliction of persons bowing to him, who is the con- tainer of the Maya, and is himself the (5 in form, and who wears matted hairs (The end of the Sirsaka of the Madraka of two Kalas). 260. I shall now speak properly of the Catuskala [Madraka which will be characterised] in terms of Padabhagas of four Kalas. 261. Four [Kalas] will make one Matra and three 0140188 will make one Vastu'. In giving the Padabhagas I shall speak of the Pata in due order. [This is as follows]. 262. [In the first Vastu] there will be Samya at the end of the fourth, fifth, eighth, tenth, the eleventh Kalas and in the beginning’ (lit. not second) of the ninth Kala, 263. [And in it] at the end of the sixth, seventh and ninth and in the beginning (lit. not second)! of the tenth and seventh there will be Talas. 264, And at the end of the twelfth, first of all there will be Sannipata. Thus there will be the rule of Pata and thus one should apply all the Vastus. (261) ` See 256 above and its notes. (262) ` Read शम्याऽहितौया for sear दितौया. 2 See notes on-259 above, (263) ` Read चेवा हितीयः (= चेव अदितीयः) for चेष हितीयः 88 THE TIME-MEASURE [xxx1. 265-273 266, In the first Vastu, the eight Kalas in the beginn- ing will constitute the Upohana, and the Pratyupohana in the second Vastu will be of two Kalas. 266. In the third [Vastu] there will be three Kalas and in the fourth four Kalas, and the Sirsaka at its end will be made up of Satpitaputrakah. 967. In (the Vastu of] two Kalds there should apply a time-measure consisting of four Yathaksara Paficapanih, and in the third and the fourth [Vastu] there should be Dvigeyaka' in due order. 968-269. And in the fourth [Vastu] the Parivarta should come to an end. And the first and the second Vastus will be the Upohana and parts of the Madra[ka] and they will include three Vastus of three [different] lengths arising out the Tryasra Tala.’ 269-270. The double of a Vastu of two Kalas will make up a Vastu of four Kalas. In it the seventh and the final [syllables] will be light and the doubling has been prescribed here. So the four Kalas are regular here, and the Wpohana (will then] consist of eight Kalas, and Pratyupohana will consist of one, two or four Kalas. 971-272. Sirsaka of the [ordinary] Madraka should be in the Yathaksara' Paiicapanih. But in the Divkala [Madraka] of two Kalas, the same (Paiicapanih) will consist of two Kalis and in [the Madraka of] four Kalas the same will consist of four Kalas. 273. It will consist of three Vastus of three different measures and they will arise from the Tryasra Tala, Thus the Madraka will have thirteen Patas. (265) ‘See SR. V. 86. (267) Ivfaa:) भंशादिरंशसखर एव यहो यसति स॒ aaa) Yarn इति । भंशखर एव शासो यकोति ख तधौल्ः। पदाहत्तियुत इत्यनेन हं गेयकसंश्नाया भन्बधेता दिता भवति" Kn. on SR. V. 87. (268-269) 1 Read trivastu tripramanam for caturthas tu tripramanam. (271-272) ` Read [yathaksara stu] for yathaksarasya. अभा. 274-282] THE NATYASASTRA 84 The Aparantaka 2/4. It will have four heavy syllables and four light syllables In the second [syllable] which is heavy there will be Samya, in the third, Tala 275, Inthe third and the fourth there will be Samys and Tala for the light syllables and Tala, Samya, two Talas and Sannipata are to be applied to these, and in the light syllables there will be Patas consisting of eight Kalas 276. ‘The Apardntaka is to be known as originating in the Tryasra 11219 [represented by] Tala, SamyS, Tala and Sannipata 277, After separating the long syllables one should apply [the 18188 of] two Kalas. These Talas of two Kalas and of four Kalas are [to be represented] by six 75801598 [as follows] 278. [60198 Tala, two 18188], Samyd, and Tala. Arrangement of the Pata will be as before in case of the fifth and the‘sixth [Kala! 279, The Tala of four Kalis includes Avapa and Viksepa. And it is furnished with the Padabh&gas of four or six Kalas 280. One 18 to apply here Vastus five six or seven in number', In the end of the second, fifth [Kalas] there should be two Samyas. 231. And in the end of the third, the second and the fifth and at the beginning the sixth there should be Tala and then the Sannip4ta will be at the end. 282-283. These are the Patas relating to the previous Vastus in case of [the Aparantaka of] four Kalas. This is the application [of 181४6] in the Aparantaka of four Kalas. This is to be known as the Aparantaka in Patas of literal Talas, ee TO! NE chr wel (274) ‘See SR. V. 91. This passage in its second hemistich seems to be corrupt. (280) " The passage seems to be corrupt. 95 THE TIME-MEASURE [xxx1. 283-292 283-285. In the beginning, the Upavahanas of the Kala will be doubled in grouping (7)'. In [the Aparintaka of] two Kalis the Upohana will consist of one or of two Kalis, and similarly in [the Aparantaka of] one Kala the Upohana will be of one Kalé. This (1.6. the Aparantaka of two Kalas) being doubled, is to be known as the Aparantaka of four Kalas. In this third [Apardntaka] of light syilables the Jast Kala will be doubled. 286. This is the Aparantaka in which the Vastu! aris- ing from the Tryasra Tala represented (lit. adorned) with six Kalas, is called the Sakha 287. Its Pratisakha' is similar to its Sakha. It is like its latter (pascoma) half and consists of different words’. Its Sirsaka (41/८5) is to be made with the Paiicapanih of one Kala, 288. In course of performing the four Vastus it should apply the Nivrtté in the Vrtti [Marga]. This is the special rule in the following [half] 289-290. Then there will be two Talikas of six Kala- pitas. And by means of the literal Paficapanih of ene Kala there will 06 an Upavartana of these two’. 290-291. Its (1.6. of the Aparantaka of four Kalas) Upohana will consist of half [the number of Kalas in] the Vastu and its Pratyupohana will be of two Kalas. [The Aparantaka of] two Kalas is to be performed in the Daksina [Marga] and that of four Kalas in the Vrtti [Marga]. And in case of the remaining ones’, there should be no Upohana here’. 292. ‘This is the time-measure prescribed by me for the Aparfintaka. me -~ ~ ~ „~ ~~~ -~~ ~= ५ -~ = ~~ कका कक (283-285) 1 The passage seems to be corrupt. (286) 1 Read Vastu sakha for vastusakha 2 wa@fa tage ati किं लन्धपदनिमितैति प्रतिशाखाया fatwa) Kn. on SR. V. 92. (287) } See note 2 above. 2 See SR. V. 97. (289-290) 1 cf SR. V. 98. Read तथेककलवुक्त [न] for तथैककल युक्त sie. (290-291) ¬ Read बदा we भवेदन्तालदन्ता०, = 2 See SR. V. 204-105. ८. 293-304] THE NATYASASTRA 86 The Ullopyaka [The Vastu of] the Ullopyaka will consist of two long syllables, two short syllables and a long syllable 293. Its Kalas will be as follows. 88119, Tala, Samy4 Tala and Sannipdta and these representing the five Patas indicated by the syllables of the literal Caturasra [Tala] 294. According to the aforesaid rules there will be the [Ullopyaka of] two and of four Kalas. After its three limbs have been sung there should be the Vaihayasika. 295-297. It will have one limb in the minimum and twelve limbs in the maximum. It will consist of twelve Kalas, or seven Pitas [which are as follows :] Samya of two Kalas, Tala of two Kalas, the Samya, Tala and Sannipita [each of one Kala one after another]. This 18 the 878 : the Pratisékha [will be like this, but it] will consist of different Padas (words).' 298-299. When it will come toa close then will take place the Ant&éharana.' The Samh§4rya is regularly to be made up of thé literal Paiicapanih. The Samhara of the endless (?) is to be carried On in its own T'dla. The Nivrtta of two kinds consists of three Amsas and 216 [againjof three kinds, 300-301. The three kinds [of Nivrtta] are Tryasra, Caturasra and mixed. The three limbs of it are Sthita, Pravrtta and Mahajanika. There should be Antaharana with the Paficapanih Tala and similarly Sthita with the Yugma Tala. Its rule of Pata will be as follows : 302-303. Sarhya of two Kalas, Tala of two Kalas, Sannipata of four Kalés. Then comes Pravrtta. It has Samyas of two Kalas, Tala of one Kal&, Caficatputah of Taladi class, and Sannipata. 304, Mah&janika should be performed with the Sthita Tala, and Nivrtta should truly be in the Nivrtta Tala.' (295-297) 4 See SR. V. 119, (298-299) ` The text here seems to be corrupt. (304) ५ The text here seems to be corrupt. 97 THE TIME-MEASURE [xxxr. 305-317 806. Of Sthita and Mahdjanika, there should be mostly Upavartana and before it Udghattakah and Parivartak a should be performed. 306. Yugma being of mixed Tala, should be applied in the Anta [Tala].' Vivadha with Ekaka is the entire rule in Anta [Tala]. 307. Thus I have described properly the Anta Tala which is Yugma as well as mixed. Now J shall describe the Tryasra Tala. 808. [It is as follows: Samy of two Kalas, Tala, Sannipata of three Kalas. Then comes Pravrtta. 809. Here Pravrtta should be properly made Parivar- tana with Pajicapanih of the literal (_yathaksara) class. 310. Its Mahdjanika should be in the Sthité Tala, and Nivrtta Tala should be observed in its Anta-nivartana. 311. Mixed Tala being [a combination of] Yugma and Ayugma (ojah) Talas, should be the Antahpravartana, Vivadha with Ekaka is the entire rule of Anta Tala. 312. Sthita should briefly be made up of two'limbs or one. That with Yugma [वष्र] should be of two limbs, and that with Tryasra of one limb. 313. Pravrtta also will be of two limbs or one. Maha- janika will be of one limb and Samharana of two limbs. 814. In the Ullopyaka this is the Anta beginning from Sthita ending with Pravrtta. The Prakari 315, The Vastu of the Prakari, consists of six Matras and nineteen Patas, and it (Vastu) should be of four Kalas in length’. 316-317. There should be no literal (yathaksara) Tala or Tala of two Kalas. After the initial three 2111988 there should be Samys and Tala', Then the Vastu should be serially eee, (306) ¬ Read yugmopy antah for yugme hyantah, (316-317) 1 See SR, ४, 137-138, शमा, 318-330] THE NATYASASTRA 88 made of Patas consisting of six Matris. And the Upohana will be in the first half of the Vastu. 318-321. Its second Matra will be Samy4 with Tala and Samy4 again will be at the end of the three Matras. In he fourth Matra there should be twelve Talas and in the fifth eighth' Talas. In the sixth there should be Samya of two Kalas, Tala of two Kalas, again Tala of two Kalas and Samya of two Kalas and Samyé, Tala, Tala, Samy4 and Tala Samya, Tala and Sannipata 321-322. When four and a half Vastus will constitute the Prakari, it will be the latter half of the Pada and its half should be placed before. Its Samharana should be made with the short Agarita.’ The Ovenaka 323-328. The | first Pada of the Ovenaka is to be made equal to that of the Sakh& of the Aparantaka, and its second Pada 18 to be made equal to that of its Pratigakha. And the same will be its Patakali and Masaghita afterwords. The rule of its Pata, will be six Patas of twelve Kalas, [They will be as follows :] Samya of two Kalas, Tala of two Kalas Tala of two Kalas, Samya of two Kalis, Tala of one Kala Sannipita of three Kalas, and its Masaghata generally will be a limb of Vivadha, At its end should be Sandhi and sometimes Upavartana, and its Ogha will be made up of Pajicapanih of one Kalaé, and the Sandhi should be made of literal Pancapanih, and Ekaka and Vivadha are its limbs. 329-330. Its rule like of that of Upavartana, is different. The rule which is applicable at the beginning of the final Caturasra, is to be wished [98] the Caturasraka according to the same limb of Vivadha.! RS Ae कक > ~ ~ ee (318-321) ` Read casta[kah] smrtah for castamah smrtah. 2 cf. SR. V. 141-142. (321-322) ' Read karyam samharanam for kayam samharanam. See SR. V. 139. (329-336) 1 The text here seems to be corrupt. 89 THE TIME-MEASURE [xxx1. 330-343 330-333. The Sampistaka will be of two kinds: Sandhivat and Vajratala.' They will consist respectively of seven limbs of twelve Kalis, and of twelve limbs of ten Kalas. One should use here Kiskrima, three Samyis, three Talas, anda Samya and a Tala, a Samyaa and Tala, then a Sannipita, This is the Sampistaka in the Ovenaka of seven limbs. 333-334. This, after adding to it two Samyas and a Tala, is desired in the [Sampistaka of] twelvo limbs. Nine or eleven Patas are called the Sampistaka, and the Upavartana 18 to be applied like Vajra.! 335-338. Combined with Vivadha and Vrtta, the Praveni is of two kinds. The application of the Praveni should be made the literal Pancapanih, and it should consist of two Kalas or mixed [Kalas] according to the limbs, and some- times Upavartana should be made at its end, and the same should be according to the prescribed use of the Paiicapanih. The second Tala falling from it, is called Apapita. Its Antaharana should be made in the Vajratala. : The Rovindaka 338-341. In the Rovindaka, there should be six Mitriis with the Padabhaga of four Kalas, Here the Pata is desired after the half of the five Matras. [This Pata will be as follows :] Tala, Samya, Tala, Samya, Tala, Samya. This is the rule of five Matras in due order. Fourteen are the Talas desired in the Matras of the fifth.’ Similarly the sixth will have four Kalas as in the Madraka. ° 342-343. In the beginning there should the Upohana con- sisting of eight Kalas. Then there should be the Pratyupohana of two Kalas. The Patas should end in a Sannipita and include Vivadha and Ekaka. In the end its collection of Varnas, will consist of eight 19188, This the tabular view [of the first Pada of the Rovindaka]. (330-333) 1 The text here seems to be corrupt. (333-334) ! The text here seems to be corrupt. (338-341) 1 The text here seems to be corrupt. 12 XXXI. 344-356] THE NATYASASTRA 90 344-345. The second Pada will also have similar Varnas in its Upohana. Its tabular view should give the 18188 in its body. This should be represented by Paiicapanih of two Kalas, and its total length will be twelve Kalas only, 346-349, In the body of the Rovindaka, there should be the Upohana of six Kalas, and in its beginning there should be Vivadha and Pravrtta. And it should begin with Avapa (a-kara)' and is to consist of four or of three Kalas according to one’s option, and joining of limbs is to come afterwards, Its Sirsaka should not be of any special kind, and it should be made up of literal Paiicpanih. In its beginning there should be Hkaka, and at the end 1189118. This is the Rovindaka. The Uttara comes aftewards. The Uttara 860. I shall speak of the Uttara having characteristics according to rules. It should have Mukhea and Pratimukha. 351, Asin the Ullopyaka, it should have in the begin- ning a Matra made up of four Kalas, and as in the Rovindaka it should use at the beginning a eroup! with Avapa (akara)2 352-354. It shoyld have six limbs in the minimum and twelve limbs in the maximum, and its Sakha should have six Patas consisting twelve Kalas hoy (1.6. tho Patas) will be as follows :] Talia of two'Kalis, Samy of one Kala, Tala of two Kalas, Samyai cf two Kalas, Tala of one Kala, Sannipata of three Kalas'. Vhe Pratigsikha will be just like the Sakha, and on ly if will have & different Pada. ° 355. Though it is performed withcut any speciality it should have some rule at the end. At its end, the Sirsaka should be observed with the [litoral] Paiicapanih. 356. The Pratigsakha should also be performed with the Pancapanih of two Kalas having Patas mentioned above. (346-349) The reading here is probably corrupt. (351) 1 Read ganam adyan in the text. > See note I on 346-349 above. ` (352-354) " The passage seems to be corrupt. 91 THE TIME-MEASURE [xxx1. 357-366 357. This is the Tala of the Daksina Marga in the Seven Types of song. The time which is suitable in the Daksina [Marga] will be used also in the Vartika [Marga]. 358-359. And the same [rule will hold good] in the Citra [Marga] when there is nothing special. This is the rule of time in dance’ due to Ardhayoga’, except in the two Mukhas of the Ullopyaka and of the Uttara. The Ardhoyoga’ at that time will consist of two Kalas 360. And similarly in the case of the Rovindaka and of the Ullopyaka as well as of the Madraka and of the Uttara, the second syllablo will consist of four or of two Kalas, 361-362, ‘Tho is the rule in the bodies [of songs] and in the remaining [caso] there should be Prakrti, and in the Prakrti too, four Kalis should bo used along with two Kalas.’ In case of the Vrtti (Virtika) Marga, the Ardhayoga in time, will consist of groups of four Kalas. The combination (Yoga) of four Kalas available in the Vrtti Mfrga, will also occur some- times in the Daksina Marga. 363. The rule of Tala in the Daksina [Marga] men- tioned in case of the Mukha and the Upavahana of the Madraka and Ullopyaka, will also be available in the Vriti (Vartika) Marga. 364. In the Citra [Marga] whether it is used by itself or along with anothor', both these (i.e, rules of Kala) have been prescribed. In tho Citra, the rule about the Sakhas may end in any of the three Margas.’ 365-366. 11686 are the [songs of] Seven Types [sung] in the three Margas, and they are of two kinds :’ Kulaka and LT NT ee ५ = = = (358-359) 1 Read nrtte for ortte in the text. 2 Read ardhayoga in the text. This term has not been explaincd before. ४ ibid. (361-362) 1 The text here seems to be corrupt. (364) 1 Read citre vyaste in the text. = २ Read trayamargikam. The trans, is tentative. (365-366) 3 See 8. R. V. 60, अशा. 366-374] THE NATYASASTRA 92 Chedyaka. [A song of] one sentence (lit. meaning) 18 Kulaka’ and that of] different sentences, 18 Chedyaka.’ 366-367. The songs of Seven Types are [again] of three kinds': Niryukta, Pada-niryukta and Aniryukta. । 367-368. The Niryukta' is that which has Sakha from outside the body of the song. The Padaniryukta’ is that which is partially free from such elements outside the song, and the Aniryukta* 18 quite free from such elements. 369. These are the two classes of songs of Seven Types. These Seven Types of songs uttered by Brahman, have come out of the Samaveda.' 370. Songs and instrumental music [performed in] the worship of gods, [bring] limitless merit, and at the conclusion of all such songs, Chandaka (Chedyaka ?) has been prescribed. 371-372. This 18 the rule of the Rk, Gathd and Panika having forms consisting of two four, three or nine Caturasra, Talas. According to this rule, one should prescribe Caturasra and Tryasra T'alas. 372-374. The group (gana) mentioned before', should have one Kala at its beginning, And this Kala should consist of four 1187128. The Madraka (madriki), the Panika and the Catuspad& songs connected with the praise [of a deity], should be made up of eight or of six limbs, in Talas of Caturasra or T'ryasra forms. Such songs with one, two, or three limbs are to 08 made-up of four Padas. OE Rh an 2 OT ES ate dh tee ४ $d. gives clearer definitions. According to him, the Kulaka is a song in which different limbs constitute a single sentence (SR. V. 61.) and when such limbs are different sentences, the song is called the Chedyaka (ibid). For the limbs see 223, 236, 231-234, 244-245 above. 3 See note 2 above. (366-367) 1 See SR. V. 61. (367-368) ! Sd. seems to define this differently. Of. SR. V. 62. 2 See note 2 above. » See note 2 above and also cf. SR. V. 63. (369) 3 See I. 17-18. (372-374) ! It is not clear where this has been mentioned. 93 THE TIME-MEASURE [xxxt. 375-385 375. Caturasra and Tryasra forms [of Tala] are pres- cribed separately or jointly in these limbs. This is [all about] the Tala of songs of the Seven Types prescribed by me. 376, Dhruvaés are to be known as Caturasra and Tryasra. The rule of their Talas [relate] briefly to six kinds. 877. [Of these] the Addité' and Utthita? are Caturasra in form consisting of four Sannipatas in the Caiicatputah. 378-379. At the end of the Supratistha', there should be Sannipata. Apakrsta should be in Tryasra [Tala] depend- ing on Capaputah. Itis combined with four Sannipatas at the end of the Pada. The akasagraha of all these will be the Caficatputah 380. The Vilambitaé [117१४] will be Tryasra, and it will be followed by these two, and it is to ba joined with the Cajicatputah beginning with Niskrama. 381. The two Padas known as the pair, at the end of the Padas (?) in the Sannipata, are to be recularly connected with the Cafcatputah of two Kalas. Sirsakas are to be applied with the Pancap4nih (i.e. Caturasra) Tala in two .different manners.’ 882. Along with four Sannipatas quite at the end of the Pada, one should apply two final Matras of the Tala. 883-384. The two Matras in their time, are to be made equal to Jhamkiras,' When there will be a Kala [in Dhrivas] without any excess, an expert in [dramatic] production should make it of equal Matras by reduction or prolongation. 384-385. Along with the increase of Varnas, there should be an increase of [the form of] Talas. A new Kala in the syllables of the Niryukta [songs], will be Jhamkara. This, due to a connection with Kala and Tala, is [called] 67518 Kuttana. (377) 1 Not defined anywhere. 2 Not defined anywhere. (378-379) 1 See below XXXII, 55. 2 The trans. is tentative. । (381) This passage seems to be corrupt, and the trans. is tentative. (383-384) "1 This term has not been mentioned before? अशा, 386-398] THE NATYASASTRA 94 386-387. A [proper] Kali and Tala are to be observed in all the Dhriivas. The principal' Tala should be regularly observed in the case of Natkutas. In its Kaldpata it will be in the Caficatputah Tala. This Tala will be Tyrasra in the Khanjaka Dhriva. 3¢8-389. This limb! will be Akridita. The limbs which are [applied] in the Dhruvas, are to be made up of eight or of six Kalas. This 18 all about the Tala prescribed by me. The Catuspada 390-391. I shall now speak of its rules (lit. charateris- tics), at the end’ of a [discussion] on the Catuspada (quatrain).” The Tala of the dance which begins with delicate [move- ments] and relates to the Erotic Sentiment, and which has been created by the goddess’ [Parvati], will now be described. 391-392. [The song known as] the Catuspada, should be performed by women, and it is of two kinds, viz. Tryasra and Caturasra, 392-393. The Catuspada according as it relates to the speech of one, of two or-of many, will be of three kinds, and will abound in the Erotic Sentiment. 393-394. It will again be of three kinds, viz. Sthita, Pravrtta and Sthita-pravrtta. ; 394-395. {Its Tala will be as follows:] Niskrima, Samya, Tala, Samy& being preceded by Niskrima and followed by Sannipata. 395-396. There will be twenty-eight varioties of Catus- pada. I shall speak of these varieties in due order, 396-398. ‘The Catuspada of the Sthita class will have a quick tempo, and that of the Pravrtta class a slow tempo (386-387) ! Read angatala for bhangatala. (388-389) 1 See not 1 to 386-387 above. (390-391) ! The passage seems to be corrupt. * This seems to be the term used by Kalidasa (devah, Sarmisthayah kytir layamadhya Catuspada, Malavi. II, 0.5). « 3 See AD. (text) 5. p. 1. 95 THE TIME-MEASURE [अप 398-409 and the Catuspadé of the Sthita-pravrtta class will have a medium tempo, and the Tala there, will be the Caficatputah as well as the Capaputah, and their Patas will bein double Kalas, 398-402. [The Catuspada has the following varieties :] Bahvaksara, Vipulé (Prthul4) Magadhi, Ardhamagadhi, Samiksarapada, Visamaksara, Adyantdpahrana', Anikini, Avasanapaharana, Antapaharana, Abhyantaripaharand, Ardha- natkutd, Ardhakhanja, Misra, Sirsaki, Ekavasand, Niyataksara and Ardhapravrtta. 402-403. Now listen about their characteristics. That song which has its words fully expressed, and consists mostly of short [syllables], is uttered quickly and is sung in a quick tempo, is called Bahvaksara. 403-404. The song which consists mostly of long and prolated syllables, and includes short sentences and words, and observes successively three different tempos, is called Prthulé in connection with the practice of delicate [dance]. 404-105. That song which observes three tempos and three Yatis, and includes three kinds of syllables [in equal measure], and requires a Tala of thirtyone [Kalas], is called Magadhi.' | 405-406. The song which consists of long and short syllables only, and observes quick and medium tempos and has half the number of Kalas required for the Magadhi, is called the Ardhamigadhi,’ 406-407. The song which has a regular number of short and long Matriis in its Padas, and,its Padas, Varnas, tompo and Tala are regular, it is called Samaksara pada. 407-408. The song which has an irregular number of syllables and Matras [111 its feet], and has its feet irregular in number, and which observes no regular tempo and Tala, is called Visamiksari (Yisaméksarapada. ) 408-409. That' song which requires the final Sannipata (398-402) 2 Read adyantyapaharana for tasyantyapaharana. (404-405) 1 Sce X XIX, 76-77 and also XXXII. 488-489. (405-406) 1 See XXIX, 78 and also XXXII. 48 1. (408-409) 1 Read yah syat for yat syat. अना, 409-419] THE NATYASASTRA ¢ and the final Anusvara is ealled Adyantapaharana made of Anusvara, 409-410. The song which has in its middle, beginning and end, syllables with Anusvara, and the remaining Padas are without any such restriction, is called Anikini, 410-411. The song with no fixed number of syllables in its Padas, is always called Avasaénapaharana, Such a song which has Anusv4ra, and is quick in tempo, 18 called Antépaharana. 411-412. The song which has its second 1९918 in Sanni- pata, and has syllables in its middle, is called Abhyantara- paharani with Anusvaras’. 412-413. The song which is divided into halves, is called Ardhanatkuta. And when followed by Tryasra Tala, it is called Ardhakhaiija’. 413-414. When ina song, the Khajija and the Natkuta have been mixed up, and it is sung in the Tryasra or the Caturasra Tala, it is called Misra (the mixed one). 414-415. The song of which the half is suddenly [com- menced and] finished, and is adorned with Sirsa, is called the Sirsaka. 415-416. The Catuspada song, of which one Pada ends’ with half of the Varnas, is called [भाद्र 8818. It should have only long and short syllables in the previous Pada. 416-417. The Ekapadavasana song which is furnished with a Sirsaka in each of its Pada, is called Niyataksara. 417-418. The,song in which the Sthita or the Pravrtta is half applied, is called Ardhapravrtta, and it is created by both of these two. 418-419. Its (i. 6. of the (21015168) Tala is as follows : Niskrama, Samya, Tala, Samy’, Avapa, and Sannipata, There are three kinds of Upohana in the delicate [kinds of dance]. (411-412) ` The text is evidently corrupt. (412-413) 1 Read hy ardhakhafjeva for °khafyena. (415-416) ` Read ekavasana for ekavasana. ष THE TIME-MEASURE [xxxI. 420.428 420. Its Pratyupohana consists of two Kalas in the minimum, and three Kalas in the maximum. Its final Kala being called a double one, will end in Sannipita. 421. This song will have Sannipatapaharana, in its middle and end, and it may be completed in two or in many sentences. 422. It may consist of one, two, three or four padas, and of not more than four. 423. For, making it full of numerous pidas, does not create beauty and kills' the nature of the Varnas and obstructs the expression of limbs. 424. Hence the Sthita is always to contain two padas, and it’ should be also performed in one pada, and the Pravrtta is to consist of four padas, 425. The ८8090898 there, will have one form and will consist of one pada, and its Kalas will be twentytwo in the maximum, and shall contain a Sannip&ta in its pfda.' 426. In its medium size it is known as having three padas. And on account of the Sannipita it should be sung ina medium tempo. The Lasyas 427. I shall now describe for you in due order, the characteristics and application of the Lasya, of which I spoke to you before.’ 428. It is said that the Lasya is so called because of its shining (lasana). It relates to mutual attraction of men and women, and like the Bhina' it is to be performed by one person, and its subject-matter also should be suitable. (423) ‘4The passage is corrupt. Emend safa weer etc, as matt ान्बदङ्गग्यक्ति' निरस्यति, (424) This passage also seems to € corrupt. Emend waa पदा शृता 28 एकैनेव पदा खिता. (425) *This passage is also-possibly corrupt. The trans, is tentative. (427) "8९८ XX. 132 ff. (428) 156८ XX. 107-109, 13 XXXI, 429-437] THE NATYASASTRA 98 499. That (i.e. its subject-matter) having one topic or many topics, has been mentioned in connexion with its [different] types (anga).' It has ten’ such types and I am going to define them. 430-432. The types of Lasya,' are Geyapada, Sthitapathya, Asina[pathya], Puspagandika, Pracchedaka, Trimidhaka, Saindhava[ka], Dvimitidhaka, Uttamottamaka, Vicitrapada, Uktapratyukta and Bhava (Bhavita). 432-433. The Asina' should be performed carefully by a woman while she is seated. And the Sthitapathya should however include the earthly Caris,? at the time of dance and of playing of instruments, and at the beginning and the closing of songs. 433-434. The rules which hold good at the time of (ordinary| dance and of the playing of instruments, should generally be followed in the Lasya. 434-435. Types of the Lasya, are briefly ten in number, I shall [now] speak of their application and characteristics. The Geyapada 435-437. After' the musical instruments have been placed in proper order and the screen has been drawn away’ and the flower Offerings have been made, to the seat assumed to have been taken [by Brahman,’] and the drums have been tuned, and the Trisdman,’ has been chanted, [the wise] should perform the Suska Asérita in accompaniment of three flutes. Then the Asirita should be performed in the 1819 prescribed for the Margasarita, (429) 'Ch. XX. 132 footnote. 2See the note on 476-478 below. (430-432) 18९८ XX. 132 f. n. (432-433) !The fuller form of the Asina is Asinapathya. ०86९८ XI. 13-28. (435-437) See V. 17. Emend enfatatefaara: 25 enfaa भाखविन्वारी,. 4See V. 11-12. ०9९८ V. 74. ‘This term has not been defined anywere. Does it mean ‘the three Saran chants’ in the Vedic manner? See XXXI. 369, 99 THE TIME-MEASURE (xxx. 438-450 438. Then there should be the Upohana in the Tryasra Tala of two Kalas, and afterwards the three Parivrttis ; and this should be the conclusion [of the Preliminaries]. The experts should [then] observe the conclusion with Parivrttis (Parivartas). | 439-440. During the Parivarta a male sentence should be uttered first. An aggregate of three sentences, is ‘male,’ whereas that of four sentences, is ‘female’, This should be done for attaining the Nirvahana at the conclusin. 441-444, This is what is known as the first type of Lasya called the Geyapada. The Sthitapathya I shall [now] speak of the Sthitapdéthya. One or two Vrttas (Parivartas) should be sung in the Paiicapanih Tala, and the two Khafjakas are to be sung in the Caiicatputah Tala of two Kalas. [This Tala should be] of the literal (yathaksara) class, and should include eight Sannipitas, and it should end in the Cancatputah of two Kalas in a quick [tempo]. The Asinapathya 445, After adopting the Tryasra Tala the Asina- pathya should properly be performed with a song composed in metres of long feet, expressing wholly manly feelings. 446. Thus the Asinapathya should be performed in the four feet [of its song] expressing the meaning sung in the Paficapanih Tala. 447-448, In the Asinapathya one should employ a Sirsaka consisting of eight Sannipétas and of 19198 etc. And this should be in the literal Paicapanih Tala. 448-449, In its second Parivarta when the eighth Sannipdta is over, one should then sing ४ sloka in the Caturasra (yugma) Tala. 449-460. The playing of drums performed in the Asinapathya should agree with (lit. be similar to) the movement of limbs made in if. अभ. 451-461] THE NATYASASTRA 100 450-451. One should then sing eighteen or twelve Padas, and the Nirvahana should afterwards be performed in the Uttarah Tala. This 18 the rule regarding the Asina- pathya. The Puspagandika 452-453. Now listen about the type of Lasya called the Puspagandiki which is adorned with various kinds of metres, and in which singing and playing of instruments are done alternately, and during [the singing of] every foot of songs, there should be appropriate Angaharas and the playing of instruments. 454-455. One should sing (lit. use) there a song in a male metre of the Samavrtta class. At the time of singing each foot, there should be a suitable dance and the playing of instruments in the Cancatputah Tala with four Sanni- patas. 455-456. Then the two [songs of] metres of the Khaijija- Natkuta class should be sung, and at the end of their Nirvahana there should be a Sirsaka in the Paficapanih Tala, and the dance in it should be performed in the Aviddha Cari and with expressive Angaharas. The Pracchedaka 457-459 An expert in the performance of Laésyaa should know that the Pracchedaka consists of three limbs and two Dhatus. When the theme of the Lasya relates to the joy [of a heroine] on seeing the face of the lover in moonlight, in a temple or in a mirror, the expert should know that it is the Pracchedaka in which, dance predomi- nates and which is rich in games, and is besides adorned with [different] expressions of Passion (hela). 459-461. Its games should be performed in the Caj- catputah Tala and with a song of regular (lit. equal) feet ` 17 the Matravrtta (moric) metre and with eight Sannipatas, or it should include a song in the Totaka metre of many syllables and meanings, and should be performed in the Pajica- panih Tala ef two Kalas or of one Kala, or the both mixed 101 THE TIME-MEASURE [xxx1. 462-471 with each other. [Tts] Sirsaka should be made up mostly of heavy syllables, and it should be performed in the Tryasra Tala of the literal kind including eight Sannipitas. 462-463. The Liasy4nga called the Pracchedaka should include games and be performed with songs combin- ed with Vivadha and Ekaka, and these should relate to the the Kaisiki Jati, The Trimudhaka 463-467. The Trimidha[ka] consisting of soft words devoid of harshness, sung in the Gandhari Jati, should be performed in the Caicatputah Tala of two Kalas, Thus performed in the proper Marga and with proper number of Kalas [in its Tala] and with [such] Vidaris, and Vivadha, it should have in it sixtyfour Sannipatas. But there should not be init any Angahira and Viskambha. The recitative here connected with the play, should be delivered in the attitude of a male person, and the Natkutaka and Khaija- kas are to be performed in this way. Thus has been described the Trimidhaka which has in it many Sentiments, The Saindhavaka 467-468. The Saindhavaka' should be known as a per- formance without very clear Angaharas and without many Recakas, and it should be in the dialect of Sindh (Sindhu)? Accompanied with instrumental music, it should bein an energetic metre. 469-471. The recitative in 17 sbould not be short, and the instrumental music in it, should be rich in Vitasta and Alapti, and it should mostly include heavy syllables and be followed by many mild Angaharas. The Saindhavaka should be performed in the Caturasra (yugma) Tala with Akridita Bhagas (?). --- “~= ee. ~~ --- = न~~ >~ (467-468) 'See note 2 below. | 2May this not be considered as an evidence of the inhabitants of Sindh, who descended from the Indus people, having dramatic dances in a very remote antiquity ? xxxt. 471-479] THE NATYASASTRA 102 The Dvimudhaka 471-473. The Dvimiidha[ka] should have the Mukha and the Pratimukha in the Capaputah Tala which should contain twelve Sannipdtas. It should have a theme with more than one set of events and with many meanings, and it should relate to manly feelings and should consist of one limb or of a limb called Sirsaka. The Uttamottamaka 473-475. In the Uttamottamaka, one should first of all sing the Natkuta and then a Sloka with various meanings. And then the theme of the song should be in the Aparantaka Sakha, and the 5775818 in it should be in the literal Pajica- panih Tala, and the performance should be adorned with the expression of Passion (hea).' The Uktapratyukta 476-479. The Uktapratyukta is always described as abounding in references to anger and its pacification, and it is always characterised by beautiful dialogues and censuring actions. Its Tala should be in the half-measure of the Vastu of the Prakari, And afterwards if should perform the Sirsaka in the Paficapanih Tala. The Vastu (?) and Sampistaka of these should be in the Tryasra Tala. Thus the Uktapratyukta should end in pacification.' This is the Lasya of ten' types which I have finished describing, and these ten. types may occur in the same manner ina Prakarana. Aen, ~ ~~ = ~ = ~~~ (473-475) ("0८ description of the Vicitrapada धट tenth Lasyanga expected after this, is missing. (476-478) ‘The description of the Bhava (Bhavita) the twelfth Lasyanga, expected here, is missing. It should be remembered in this connexion that Visvanatha does not consider the Vicitrapada and the Bhava to be among the Lasyangas (See SD. ed. Jivananda. p. 393). (479) See Visvanatha’s view quoted above in the note to 476-478. 103 THE TIME-MEASURE [xxxr. 480-488 Importance of the Tala 480-483. A break in the Lasya is known 28 the Samcara, because of its inversion.’ These are the schemes of Talas of songs [in the Lasyas]. In observing these, one ought to make great efforts; for a dramatic performance (natya) is based on the T4la.? And the same rule holds good in case of playing all the musical iustruments in a dramatic performance, for the Tala relating to the timing, always gives it proper measure. For a song defficient [in a Varna] or having a superfluous Varna is held [within measure] by the Tala. Hence this should be carefully studied by the producers [of plays]. 483-484. The Seven Types of traditional songs such as the Rk, Gatha and Paniki etc., and the Prakirnaka, Catuspada and Vardhamana, are all recognised by their Tala. Hence one should, with every effort learn (lit ascertain) their Talas. 485-486. One cannot be a singer or player of instru- ments, unless one knows the Tala, Hence one- should observe the rules given above. The Three Layas 486-487, There are three kinds of Laya (tempo) such as quick (druta), medium (madhya), and slow (vilambiia).' This tempo is made manifest in different Margas’ of songs and playing of instruments, and it is an essential aspect (lit. the soul) of these two (i.e. singing, and playing of musical instruments). In these Margas there are, besides, three Yatis related to the tempo. 488. ‘That which is known as completion of metres, syllables and words, is called the Laya' or Mana (measure) depending on the variation of timing in Kalas [in its Tala]. (480-483) The reading here in probably corrupt. 2See SR. V. 2. (486-487) 1866 SR. V. 48. 2See SR, V. 11. (488) ‘See SR. V. 50 ff अशा, 489-495] THE NATYASASTRA 104 The Three Yatis 489-490. The Yati which is of three kinds such as, Even (sama), Current-like (srotogata) and Cow’s-tail (go-puccha)! is the regulating of the duration (lit. increase) of words, Varnas or of syllables in relation to songs and to playing of instruments. 490. The Yati, when it has the same tempo in the beginning, in the middle and in the end, for Varnas and words, is called १९71. It is used in the Citra Marga, and it predominates generally in the playing of instruments. 491-492, The Yati which in traversing the path of musical sounds, is sometimes staid and sometimes running, is called Current-like’, and it is used in the Vrtti Marga. 492-493. When syllables are thus indistinguishable as long and 81101" * श च + The Cow’s-tail Yati is > prolonged one and is generally used in songs (geya-bhuyistha). The Three Panis 493-194, The Panis relating to songs and playing of instruments, are of three’ kinds: Samapani, Avapani and Uparipani. The playing of instruments which is simultaneous with the start of Laya is called the Samapani. 495. That (i.e. playing of instruments) which precedes the start of lLaya, is called the Avapani. And the playing of instruments which follows the start of Laya, is called the Uparipani. (489-490) 186 SR. V. 51-53. (490) ‘See SR. V. 51. (491-492) See SR. I. 52. (492-493) ‘It seems that a portion of this definition has been lost. For Sarngadeva’s definition see SR. V. 52-53. (493-494) 1 Sarngadeva defines the three Grahas and in the same connexion defines Panis also. See SR. V. 54-55. (495) See the note on 493-494 above, 105 THE TIME-MEASURE [xxx1. 496-502 496. The totality of syllables penultimate to the Yati, will indicate the tempo, and from the tempo the measure of these will change. 497-498. A decrease of Kalis should be made in other Panis. In the slow tempo, there should be one Sannipata, in the medium tempo two Sannipitas, and in the quick tempo the number of Sannipatas should be four, 499, That which is indicated by this difference, is called the quick and the medium tempo, and the Avapani is dependent on a medium tempo. 500. When [the Talas of one Kala] become the Antarakalaé played in quick tempo, then it is called the Uparyuparipani.' 501-502. There is no provision for Kalas bigger than this.’ Yatis, Panis and Layas should be observed’ in due manner by experts after considering the application of songs. This is the rule of Ala for the Dhruvas, when the Tala is to be observed in their cases, I shall hereafter speak about the limbs of the Dhruvas. + Flere 6148 the Chapter ९22९1 of Bharata’s Nityasastra, which treats of the Time-Measure. ~ = ~ ~~ ---~ ~~~ ~ - ~~ "~ (500) ‘The passage is probably corrupt. (501-502) 'This perhaps refers to Sannipatas in 497-498 above. ?The word kartavyam should be emended as kartavya. 14 ‘CHAPTER THIRTYTWO THE DHRUVA SONGS 1. Listen [now] from me about those types [of songs] which have been called Dhruvés by Brihmanas such as Narada‘ and others, 2. Tho Rk’, Paniké? and Gatha'’, and the Seven [tradi- tional] Types [of songs]' which have seven different measures, are called Dhruvas. 3. 0 Brahmanas, I shall discuss thoso [songs] in different metres which being created from those types, attain the status of Dhruvas. 4-6. The five classes of Dhruvis have always the follow- ing limbs (anga): Mukha, Pratimukha, Vaihayasaka, Sthita, Pravrtta, Vajra, Sandhi, Samharana, Prastara, Upavarta, Masaghita, Caturasra, Upapita, Praveni, Sirsaka, Sampistaka, Antaéharana and Mahajanika. 7. Songs consisting of ono, two, three and four Vastus are respectively called ‘the Dhruva. VTarigitikid, Madraka and Catuspada, 8. Tho Dhruva is so called, because in it words, Varnas Alamkara, tempo, Jati and Panis are regularly (dhruvam) connected with one another. Dhruvas and their limbs 9, Depending on different conditions, the Dhruvis are known to be of five classes. I shall speak of the seven limbs which they consist of. 10, Limbs of, the Pravesiki Dhruva are Upaghita, Pravrtta, Vajra and Sirsaka., कनन RT SR -- ~“ (1) 1471 old authority on music. (2) The recitation of Rk stanzas. 2This term is otherwise unknown. 5The Saman chants. See MH (Ch. ॐ). 4See XXXL, 220ff, 107 THE DHRUVA SONGS [xxxu. 11-29 11. Limbs of the Addité’ Dhruva are Prastara, Masaghataé, Mahajanika, Praveni and Upapata. 12. Limbs of the Avakrsta Dhruyd, are Mukha and Pratimukha, and of the Sthité Dhruva, limbs are Vaihayasa and Antaharana. 13, Similarly, of the Khaija-Natkuta Dhruva the limbs are Samhara (Samharana) and Caturasra, and of the Antara Dhruva, the limbs are Sandhi and 7219819. 14. The limbs and the Kalis which are included in the songs, should be represented in the Dhruvis by means of [appropriate] types of metres. 15. Tho Tala in a Dhruvad being Tryasra and Catu- rasra should, as said before, consist respectively, of six or of eight Kalas. 16. The limbs of all songs, which have been mentioned [before] are Vrtta, Vivadha and Kkaka. 17-18. [The part of the song] which completes the Pada and the Varna, is called the Vidari.'’ J shall now speak of the rules regarding their? application to [different] characters [in a play], The Vrtta class of limbs will apply to the superior charactors, and the 'Vivadha to the middling ones, and the Kkaka to the inferior characters. 18-19. Taking into account the application (yoga) [of the Tala] which may be ‘T'ryasra or Caturasra, one should perform the Avasiniki Dhruva in its [proper] measure. 19-20. The Avasainiki Dhrnvi should have feet of metres which rest between Gayatri and Atasakkari, , 20-21. The Avasiniki Dhruva which falls between the Sakkari and Atikrti metres, consists of a foot and a half of these, 91-22. The foot of an Avasiniki Dhruva should be made up of short and long syllables, according to the rules of Yati, metre and its measurement in mitras, | ee च tte oa (11) This is perhaps a non-Aryan word. (17-18) !The definition of the Vidari is probably misplaced. 4'Their’ relates to limbs mentioned in 16 above. ° XXX. 22-32] THE NATYASASTRA 108 22-23, For the syperior and the middling characters the Avasaniki Dhruvi should be Caturasra, and for the inferior characters it will be Tryasra. When the Dhruva is full of meaning in all its parts (artha-pirna-padi) Vrtta should be applied in it. On the strength of the Vrtta the Dhruva should be Avasaniki. 24. Dhruvas originating in various metres are of five kinds. According to Sentiments which they contain they are superior, middling and inferior. 25. Dhruvas are of three classes: Kanisthikagraha, Sannipatagraha, and Apagraha. 26-27. he first Dhruva is Privesiki (entering), the second one Aksepiki (indicating), the third one Prasadiki (calming), the fourth one Antara (transitional) and the fifth one is Naiskramiki (departing). I shall describe their metres. 28. ‘The Vastu of the Gandharva which 1 have spokon of as consisting of notes, 1818 and words, will be [called] Pada' when it will reflect notes and Talas, 29, All that is made up of syllables, is called the Pada It is of two kinds according as it is [regularly] composed (nibaddha) or not so composed (a-nibaddha). 80. It 18 again of two kinds: conforming to no time- measure (a-tala) and conforming to a time-measure (sa-iala). For the purpose of the Dhruva, it is to conform to a time-measure and is to be [regularly] composed. 81. A Pada which conforms to no time-measure and which is not regylarly composed, is connected with the Karanas' 970 ` it embellishes the playing of all kinds of musical instruments. 32. That which is furnished with a fixed number of syllables and which has a metre including caesura and has a time-measure and tempo (/aya) for its syllables, is called a regularly composed Pada. os (28) " The meaning of pada as ‘song’ which is available in New Indo-Aryan, probably goes back to this. (31) ‘Karanas here relate musical instruments. 109 THE DHRUVA SONGS [xxxm. 33-44 33, That which has a free metre and caesura and has no fixed number of syllables and has no [prescribed] time- measure and tempo, is called an irregularly composed Pada. 34. The syllables not regularly composed will be out- 8106 the Jati songs, and one should describe their performance along with the Karanas of the musical instruments. 35. ‘The Padas which are irregularly composed and not furnished with any time-measure, are connected with the musical instruments and they are [meant] to embellish the latter. 36. But those (Padas) which are regularly composed in persuance of the [rule of] syllables in a metre, are called the Dhruvas. I shall next speak of their characteristics. 37. The three 'I'ryasra classes [of metre] to be applied in tho Sthitipakrsté [Dhruva] are the Atyukta, Madhya, Pratistha and Gayatri. 38. The Yugma class [of metres] to bo applied in the Prasadiki Dhruvis are the Usnik, Anustup, Brhati and Pankti, 39-40, The classes [of metre] known to be in use in the Dhruvas of speed, aro the Anustup, Brhati, Jagati, Druta, Capala, Udgata and Dhrti. 40-41. Now listen about the class [of metres] for the Privegiki Dhruvas in case of energetic [characters]. The class of metres applicable to such characters are Pankti, Tristup, Jagati, Atijagati and Sakkari. 42, For all these classes three kinds of syllabic metres havo been prescribed. They may be mostly 10 long syllables or in short syllables or may equally have long and short syllables. 43, The Apakrsté Dhruvas should be in metres mostly with long syllables, and the Druta (quick) Dhruvas should be in metres containing mostly short syllables, and the remaining Dhruvis should be in metres having short and long syllables [in almost equal numbers]. 44, Metres with odd number of syllables are to be applied in the Mukha, and these when made up of short syllables of even number, are to be applied in the Druta Dhruvas. हा, 45-51) THE NATYASASTRA ii 4§. Metres which have a small number of syllables and are considered small metres, are to be applied in the Drut& Apakrst& as well as the Aksepiki Dhruvas. 46. Metres beginning with long syllables are to be used in the Sthita [Dhruva], and those beginning with short syllables are to be made the Druta Dhruva, and metres with odd and even numbers [in alternate feet] are to be made the Aksepiki Dhruva. 47. A metre consisting of short, and even number of syllables or of odd and small number of syllables are to be applied in the Aksepiki Dhruvis 48. In case their Varnas are to bo increased they should include Samy& in their 1128. I am now describing all the classes of metre with examples of their patterns and according to their names, extent and use. Listen about these from me. The metres used in different Dhruvas 49, Hri.—The metre with all syllables long in parts of gatha feet, is called Hri.' Ex. Yo gangasrt.’ 90. Atyukta~--The metre which has all syllables long [in all its feet of two syllables,] is Atyukta. Ex. दुक devam । sarvam vande.' Zr. I adore the god Sarva. 61. Tati—When the syllable in the middle is short [in feet of three syllables, the metre is Tati] Ex. Samkarah silabhrt , batu mam lokakrt.' Zr. Let Samkara who carries the Trident and creates the world, protect me. (49) This def. is not elear ?This example is in Skt. and so are those in 50, 51, 52 and 53 (50) ‘See note on 49. (51) "67 111 THE DHRUVA SONGS [xxxn, 52-59 52. Dhyti—When the first syllable in its feet of three syllables is short [the metre 18 Dhrti?. Ex. Unmesah surendrah tavayur dadatu.' Tr. Let the lord of Uma who is the lord of gods, give you [long] life. 53. Rajani—When the two syllables are short and one long in the triad of its feet, the metre is Rajani. Hix. Adhikam virahe madano dahati.' Tr. Love afilicts (lit. burns) greatly when one [is] in separation [from one’s beloved]. 54. This (Rajani) is also known as Madhya. These [Dhruvaés] are all of tho Vrtta (syllabic) class. I shall now speak of the characteristics [of tho Dhruva of] the Pratistha and the Supratistha classes. 55. Pratisthi—The metre which has in its feet of four syllables the second long, is Pratisthi. Supratistha-—When tho two more (1.8. the 8rd and the 4th syllables) are short it (Pratisthi) becomes Supratistha, 56. Ex. (See toxt.)! Tr. Drying up the limbs the wind blows carrying the [scent of] flowers, 57. Hx. (See text.)' 58-59. Bhramari—The metre which has in its feet of four syllables the first two short and the noxt two long, is Bhramari. Ex. (See text.) Tr. Whon the forest region is in bloom, the [solitary] elephant feels distressed. (52) 1016. (53) 11074. (56) ‘Examples from here are in the Pkt, For avoiding prolixity they are not given here. (57) € passage is corrupt. अश्रा. 60-71} THE NATYASASTRA 112 60-61. Jayia—The metre which has in its feet of four syllables two pairs of short and long syllables (i.e. short followed by a long one) is Jaya. ix. (See text.) Tr. The forest region being struck with frost, the elephant is in (lit. has come to) tears, 62-63. Vijaya—When the third syllable is short in the above, 17 is Vijaya. Hix. (See text.) Tr. At the appearance of clouds the peacocks are danc- ing in their honour. 64-65. Vidyud-bhranta—The motre which has in its feet of five syllables all long, is Vidyud-bhranta, Fix. (See text.) Tr. Here appear the clouds which are roaring, pouring Wuter and covering the world. 66-67. Bhiitala-tanvi—The metre which has in its feet of five syllables the second and the third short, is Bhitala- tanvi, Kx. (See text.) Tr. On seeing the sky overcast with clouds, the wife of a person travolling abroad, is shedding tears. 68-69. Kamala-mukhi—The metre which has in its feet of five syllables the final one long, is Kamala-mukhi. Ex. (See text.) Tr. The rain-clouds carried away by wind, move above in the sky like serpents. 70-71. Guru—The metre which has in its feet of five syllables the first, the third and the last long, is Guru. Ex, (See text.) Tr. Having lost light due to the colour of clouds «(covering her], this moon is always pale, 119 THE DHRUVA SONGS [xxxu. 72-82 72-73. Sikha—The metre which has in its feet of five syllables the 8. 0070, the fourth and the last ones long, is Sikha. Ex. (See text.) 17. The roaring clouds are, as it were, laying seige to the sky from all sides. 74-75. Ghana-pankti—The metre which has in its feet of five syllables the first two short, is Ghana-pankti. Ex. (See text.) 17. The sky obscured by clouds together with light- ning, is shedding tears, as it were, by its torrents of water, 76. ‘These are the classes of Dhruvé known as the Supratistha. [ shall now speak of the Gayatri class. 77-78. Tanu-madhya—tThe metre which has in its feet of six syllables the first two and the last two long, is Gayatri, Tix. (See text.) 17. With his head struck by lightning this lord of mountains sleeping under a burning heat of fever, sinks down, as it were, into the earth. 79-80, Malini—The metre which has in its feet of six syllables the first, the fourth and the last syllables long, is Gayatri. Ex. (See text.) Tr. In this great mountain ravaged by wind and struck by lightning, the she-elephant is weeping [in distress].' 81-82. Makaraka-sirsi—The metre which has in its feet of six syllables two syllables in the end long, is Makaraka- Sirsa. Ex. (See text.) (74-75) 111. lighted up with. (79-80) It is probably because she misses her male companion, . 16 XXXII, 83-94] THE NATYASASTRA 114 Tr. In this winter which excites passion, the wind is blowing in the pleasure garden, 83-84. Vimalia—The metre which has in its feet of six syllables the fourth and the final ones long, is Vimala. Hx. (866 text.) Tr. The elephant in rut, enters into the lake which is full of lotuses, and where the bees settle them- selves. 85-£6. Vithi—The metre which has in its feet of six syllables the first three and the last one long, is Vithi. Ex. (See text.) Tr. In the pleasant autumn, the clouds are roaring, peacocks are dancing and the bees are humming. 87-88, Gira—The metre which has in its feet of six syllables the first three and the fifth short, is Gira, Ex. (See text.) Tr. The [male] elephant on hearing the roar of clouds, trumpets in the forest ; for it apprehends a rival.’ 89-90. Jala—The metre which has in its feet of six syllables the first four and the last one long, is Jala. Ex. (See text.) Tr. On seeing the tree struck with frost and shorn of all leaves, the female flamingo is weeping. 91-92. Ramya—The metre which has in its feet of six syllables the fourth syllable short and the remaining ones long, is Ramya. Ex. (See text.) Tr. The terrific black clouds which are roaring and covering the world, are creating an alarm. 93-94. Kant&é—The metre which has in its feet of six (87-88) Cf, Bhattikavya, II. 9, 115 THE DHRUVA SONGS [गा 95-105 syllables the first, the fourth, fifth and the sixth long, 18 Kanta. Ex. (See text.) Tr. O dear one, are you in a state of daring courage ? Do you wish to meet her who is angry, intoxi- cated [but] well-meaning ? 95-96. Pankti—The metre which has in its feet of six syllables the first three syllables and the sixth long, is Pankti. Ex. (See text.) Tr. This bride of swan is passionately waiting in this forest to meet her beloved. 97-98. Nalini—The metre which has in its feet of six syllables twice two short syllables followed by a long one, is Nalini. Ex. (See text.) Tr. Young trees slightly shaken by wind at the time of flowering, are as it were, smiling. 99-100. Nilatoya—The*metre which has in its feet of six syllables the second syllable ‘short and the remaining four long, 18 Nilatoya. Hx. (See text.) | Tr. This insufferable wind scattering the cluster of clouds, is blowing to make the trees dance. 101. These are the regular syllabic metres of the Gayatri class. I shall now speak of those of the Usnik class. 102-103. Drutagati-Capala—The metre which has in its feet of 7 syllables, the final one long, is Drutagati-Capala, Ex, (See text.) Ir. This your face with the beautiful eyes which are like the best jewels, develops passion in me. 104-105. Vimala—The metre which has in its feet of seven syllables the third, the fifth and the final one long, 18 91091, xxxit, 106-115] THE NATYASASTRA 116 Ex. (See text.) Ir. This breeze of the spring-time, blows pleasantly and excites passion, like a lover. 106-107, K&mini—The metre which has in its feet of seven syllables short syllables alternating with long ones, is Kamini., Ex. (See text.) 77. On seeing the spring arriving at a distance, the southern beeeze blows to shake the trees [in its honour]. 108-109. Bhramaram4lé- The metre which has in its feet of seven syllables the first two and the last two long, 18 Bhramaramala. Ex. (See text.) Zr. In this autumn season, the fragrant water is beautiful to look at with swans moving about in it and with its cloth of kasa flowers. 110-111. Bhogavati—The metre which has in its feet of seven syllables the first, the fourth and the last one long, is Bhogavati. Ex. (See text.) Ir. The cakravaki' with her lover, is passionately moving about in water. 112-118. Madhukarikai—The metre which has in its feet of seven syllakles the first two and the final one long, is Madhukarika. Ex. (See text.) Tr. This priyaka creeper with its beautiful ornaments, has flowered in a season which inspires passion. 114-115. Subhadra—The metre which has in its feet of seven syllables the second, the fourth, the penultimate and the last one long, is Subhadra. Hix. (See text.) (1 10-1 18) iit. bride of one who has cakra as his name-sake. 117 THE DHRUVA SONGS [xxxir, 116.195 77. The rutting elephant comes out without its female to the forest which has been blighted by frost and which has no mud-water in it. 116-117. Kusumavati—The metre which has in its feet of seven syllables the last two long and the rest short, is Kusumavati, Ex. (See text.) Tr. The olephant with its female companion, is moving about in the mountain groves which are soaked in water. 118-119. Muditia—The metre which has in its feet of seven syllables the second, the third and the last two long, is called Mudita. Ex. (See text ) Tr. A great canopy of clouds, fastened with the chain of cranes and roaring very terribly, has been fixed in the sky. 120-121. Prakasiti—The metro which has in its feet of seven syllables the fourth, the sixth and the final one long, 18 called Prakasita. Ex. (See text.) | Tr. A pleasant wind which carries the fragrance of flowers and is laden with particles of water, is blowing to excite love. 122-123. Dipta—A metre which in its feet of seven syllables has the first the fifth short and the rest long, is Dipta. Ex. (See text.) Tr. Inthe winter the wind carrying the fragrance of flowers, blows exciting love and creating terror in me,’ 124-125. Vilambitia—The metre which has in its feet (123-124) 3 These are the words of a separated lover. , अगण, 125-194] THE NATYASASTRA 118 of seven syllables the second, the fourth and the last two long, 18 Vilambita. Ex. (See text.) 17. The drying-up and [almost] waterless rivers from which birds have been scattered and the cakrkvakas are going away, do not shine. 126-127. Cajficalagati—The metre which has in its feet of seven syllables the first, the fifth and the last one long, is Cajicalagati. Ex. (See text.) Zr. The full moon free from the stain of clouds and coming out of white clouds, shines in the courtyard of the sky. 128. These are metres to be applied in the Prasadiki 1170988. I shall now speak of those in the Anustubh class, 129-180. Vimalajala—The metre which has in its feet of eight syllables the third and the last ones long, is Vimalajala. Ex. (See text.) Ir. A bird is roaming about in the wide expanse of clear water where white lotuses are smiling and the bees are humming. 131-132. Lalitagati—The metre which has in its feet of eight syllables the fifth and the last one long, is Lalitagati. Ex. (See text.) Ir. This bride of the swan, is roaming about in the park of the pleasure resort which is perfumed with the smell of flowers and therefore excites passion, 133-134. Mahi—The metre which has in its feet of eight syllables sixth and eighth long, is Mahi. Ex, (See text.) Ir. he female swan with her male companion is 119 THE DHRUVA SONGS [xxxu. 135-143 roaming about in the lotus-lake which is adorned with many flowers. 135-136. Madhukara—The metre which has in its feet of eight syllables first six short and the rest long, is Madhu- kara. Ex. (See text.) Tr. In the autumn, the wind which passes over many forests, and is sweet-smelling on account of the [full-blown] lotuses, is blowing to awaken the kumuda flowers. 137-138. Nalini—The metre which has in its feet of eight syllables the fifth and the final long ones, is Nalini. Ex. (See text.) Tr. The female stork which dwells in the lotus-lake is moving to her dearest one’s abode on the beach of the river. 139-140. १९0 - 116 metre which has in its, feet of eight syllables the first and the final one long, is Nadi. Ex. (See text.) Tr. The female bee is roaming about in the forest where the swans are in great number and which is yesounded by the noise of storks and where the bees are intoxicated [with sucking honey]. 141. These are the Pravesiki Dhruvas of the Anustubh class, and now listen about the Apakrsta ones which are to be applied in case of women of the best and the middling class. 149-143. Ruciranta--''he metre of which has in feet of nine syllables the first, the fourth, and the last two long, is Ruciranta. Ex. (See text.) Tr. On learning that the moon in the sky has lost her beauty on being eclipsed by Rahu, the stars are weeping, as it wére, in great erief, and are shedding tears in [the shape of] their rays. अश्व्या, 1440152] THE NATYASASTRA 120 144-145. Pramité—The metre which has in its feet of ten syllables, the third, the fifth and the last three long, is Pramita. Ex. (See text.) Tr, The 11171688 moon thrown in amongst the clouds and obscured in her bsauty due to rays of the morning sun, is not shining while she is moving in the expanse of the sky. 146-147. Gatavigoki—The metre which has in its feet of eleven syllables the sixth and the final long is Gatavigoka. Fix. (See text.) Tr. The moon which has her body covered with the canopy of the clouds and which has been robbed of beauty by the rays of the sun and which has become colourless due to the advent of the morn- ing, 18 no longer chasing the darkness with her {very bright] smile. 148-149, Visloké-jAti—The metre which in its feet of twelve syllables the first two, the fourth, the eighth and the tenth and the last one long is Vislok4-jati. Ex. (See text.) Tr. (The example is corrupt.) 150-151. Jalita—The metre which in its feet of twelve syllables, the first, fourth, the eighth, the tenth and the last one long, 18 Lalita. , Ex. (See text.) | Tr. The big elephant in rut with its restless head and with its feet in chains in its eagerness to follow other elephants, has become thin, and is looking to the beautiful forest which is being shaken by happy wind. 152. Vilambita—The metre which has in its feet of thirteen syllables, the third, the fifth, the ninth, the eleventh and the lagt one long, is Vilambita. 121 THE DHRUVA SONGS XxxiL 153-164 153, Tr. The moon rising in the evening amidst the forests which have turned black on account of the coming darkness, does not shine well, because she has thereby shortened her light and dimmed it. 164. These are the classes of metres in Dhrnvas of the Pravesiki Sthita class. I shall now describe those of the Aksepiki Apakrsta class. 155. Metres of the Supratistha class, aro to be applied in the Apakrstaé [Dhruvas.] 156. The arrangement of syllables and Yatis and the Pinisx x x', It is the Apakrstd. 157. The Apakrsta should have Sthayi Varnas, Sthita Laya, [proper number of] syllables in its different Kalas (?) and the Sama Pani and Sama Yati. 158. Syllables in the Kalis and Antara Kalas of the Apakrsti Dhruvas should be according to the rules of the Vrtta metres. 159. The Apakrsté Dhruva should always consist of a short Vastu and Pada, and, of the Privesiki Dhruva [the Vastu should be] shortened, because of its taking up Karaninga. 160. These are to be known as the metres of Vrtta class for the Apakrsta Dhruvis. I shall now speak of motres of the Druté Dhruvis. 161. In its beginning there should be the Totaka', and the rest should be in short syllables, or the rest may have short syllables in alternate positions.’ 162. This Dhruva will have metres of the Jagati and of the Atidhrti classes of different type. 163-164, Vikrinta—The metre which has in its feet of twelves syllables the first nine and the last long, 18 Vikranta, (156) There is a lacuna here. For Apakysta Dhruva see 12 before. (161) ‘It has not been defined before. This is possibly the name of a metre. | , भु, in places designated by even and odd numbess. .16 अश्या, 165-170] THE NATYASASTRA 129 Ex. (See text.) 77. This cloud looking like smoke, is roaring, and with its lighting is, as it were, piercing the earth, and like a terrible elephant, it is pouring quickly masses of water to cover the entire world. 165-166. Vidyun-méla—The metre which has in its feet of thirteen syllables the first eight and the final long, is Vidyun-mala. (The example is corrupt.) 167-168. Bhitala-tanvi Skhalita-gati—The metre which has in its feet of fourteen syllables tho first five, the eighth, the ninth and the last long, 18 Bhiitala-tanvi Skhalita-gati, Ex. i (See text.) Tr. The lovely crescent moon free from clouds and possessing bright rays, shines above with its attractive body, and it has been thrown up, as ht were, by Siva (lit. the carrier of Gang4) for sport, and thus in, the month of Jaistha under the asterism Mils, it rises and dwells in the sky with a larger (?) body. Ex. 11 (See text.) Tr. Among the stars the moon free from clouds, has bright rays, and looks silver-like, and spreading the beauty of light it moves sportfully in the sky. 169-170. Vibhramai—The metre which has in its feet of fourteen syllables the ninth, the twelfth, the thirteenth and the last long, is Vibhrama. Ex. (See text.) 17. 0 beautiful lady, the moon which is the friend of full-blown kumuda flowers, and is ever shining and is near the silver mountain, and is your heart’s delight, is rising up in the sky where the dense ° darkness being gone, bright stars have appeared, 123 THE DHRUVA SONGS (xxxm. 171-183 171-172. Bhitala-tanvi -The metre which has in its feet of fifteen syllables the first, the fourth the fifth, the sixth, the ninth, the tenth and the last long, 18 Bhitala-tanvi. ix. (See text.) 17, The strongly blowing wind, shaking the tree- tops with constant rustle, moving about at the foot of the mountain and raising up dusts red and brown, is running along like one very angry. 173, Sukum4ra—The metre which has in the feet of sixteen syllables the first, the fourth, the seventh the tenth and the last long, is Sukumara. 114. Hx, (The passage is fragmentary). 116, Skhalita-vibhrama—The motre which has in its feet of sixteen syllables the third, the fourth, the seventh, the eighth, the ninth, the twelfth, the thirteenth, and the last long, 18 Skhalita-vibhrama. 1147. Hx. (The passage is corrupt). 118. Rucira-mukhi—The metre which has in* its feet of seventeen syllables the fifth’ the eighth, the eleventh, the twelfth and the last long, is Rucira-mukhi. 179, Hx. (The passage is corrupt). 180-181. Druta-capala—The metre of which has in its feet of eighteen syllables the fifth, the eighth, the thirteenth and the last long, is Druta-capala. Ex. (See text.) 17, The water of the lake in which the lotuses have been turned down by wind, and to which the petals [of those lotuses] have given sweet smell, and in which the moving waves have broken the kumuda flowers, is sending forth a call, as it were, by the cries of birds which have been agitated. 182-183. Kanaka-lata—The metre which has in its feet of nineteen syllables the thirteenth, the fourteenth and the last long, is Kanaka-lata. xxxit, 184-192] THE NATYASASTRA 124 Ex. (See text.) Tr. O fair one, the beautiful moon of silver colour, surrounded by the bright planets, and free from the scattered clouds, dispelling darkness by its cluster of rays, 18 moving about like Balariéma (lit. the plough-bearer) in the autumn sky. 184-185. Mukha-capalia—The metre which has in its feet [of nineteen syllables] the fifth, the twelfth and the last syllables long, is Mukha-capala. Ex. (See text.) Tr. Took at the sky where inoves the young heavenly damsel (=lightning) who changes her face quickly and has made it beautiful by her passion. 186. These eight are the principal classes of metre for Dhruvis. From these have cone out the metres of even and of odd number of syllables (in the feet), and metre of these two kinds mixed up. 187. These are the classes of metre for Dhruvas of the Druta types, and they relate to the comparison of gods wnd kings. 188. Ksiptaki—The metre which has in its feet [of seventeen syllables] the third, the fifth, the eighth, the eleventh, the seventeenth long, is Ksiptaka.' 189. (This passage is corrupt.) 190. These classes of metres are Dvipada Tryasra. I shall speak hereafter about those which are Dvipada Caturasra. 191-192. Mala—The metre which has in its feet of sixteen syllables all long, is Mala. Ex. (See text.) Tr. The clouds covering the earth, roaring loudly, giving fourth lightning and pouring water, are up [in the sky]. (188) °!Its ex. is missing. 125 THE DHRUVA SONGS {xxxu. 193-207 193-194. Prabhavati—(The definition of the metre and its example are both corrupt.) 195-196, Citria—(The definition is corrupt). Ex. (See text.) Tr. Excited on hearing the roaring of clouds the elephant surrounded by its female companions, is rushing through the forest and is smashing the trees. 197-198. Malakit&i—( The definition of this metre ts corrupt). Ix. (See text.) Tr. The forest which has been maddened by the song of cuckoos, is dancing, as its were, on being shaken by the wind of the early winter. 199-200. (The definition of this metre and tts example are coriupt). 201. These are the Caturfisra classes of metre for the Vilambité Dhruvas I shall now speak of the classes of metre for the Druté Dhruvas. 202-203. Manojija-gamana ~ (The definition of this metre is corrupt). Kix, (See text.) | Tr. In the autumn, the femalo swan is bathing in the water of the sweet-smelling lotus-lake, and 18 sporting with her beloved before her. 904-205. Lalita-gati—The metre which has in its two feet of twenty-three syllables, five sa-s followed by one ja, and the last syllable long and the rest short, is called Lalita-gati. Ex. (See text.) Tr. (The example is corrupt). 206. Rati—The metre which has in its feet, the sixth, the tenth, the thirteenth, the sixteenth and the last . long, is Rati. 2017. (The example is corrupt). xxx. 208-218] THE NATYASASTRA 196 208-209. Bhujaga-mukhi-~ (The definition ts corrupt). Ex. (See text.) Tr. O friend, this sweet-smelling wind which has come along with clouds, and has been made restless by the god of love, creates passion, kills sleep and is [therefore] helpful to women. 210-211. Druta-padaga—( The definition is corrupt). Ex. (See text.) Tr. The humming of the bees declares, as it were, that the lotus-lake which has just now opened beautifully its lotus-face, is shining while it is surrounded by lovers of lotuses. 212. These are the Catursra classes of motres pres- cribed for Druté Dhruvas, I shall now speak of metres for the Uddhata Dhruvas. 213-214. Kanaka-lataksipta—The metre which in its feet of nine syllables, has the first two, and the last three long, is Kanaka-lataksipta. Hx. (See text.) Tr. O friend, I see in the sky a terribly big cloud which is roaring and is drenching the earth with a new shower of water. 215. Surucird-citra—The metre which has in its feet of eleven syllables the first two and the last three long, is Surucira-citra, 216. (The example 1s corrupt). 217-218, Sasi-rekha—The metre which has in its feet of nine syllables the fifth and the last long, is Sasi-rekha, Ex. (See text.) Ir. The cluster of clouds driven by strong wind, moves about like mountain-elephants, and roars elike the agitated sea. 127 THE DHRUVA SONGS [xxxu. 219-227 219-220, Salabha-vicaliti—The metre which has in its feet of nine syllables, the sixth and the final [two] long, is alabha-vicalita, Ex. (See text.) Tr. The night which has the rays of the moon as the necklace, the stars as the head-ornaments and the planets as the ornaments of other limbs, looks beautiful (lit, shines) like a youthful lady. 991-222. Manigana-nikara-krta—The metre which has in its feet of nine syllables, the first eight short, 18 Manigana- nikara-krta. Rix. (See text.) Tr. The night with stars as her flower [ornaments] and planets as the diaka' marks on her face, is going to the moon.’ 993-224. Simhakrinta-~—The metre which has in its fect of nine syllables, the first four and the last long, is Simhakranta, Ex. (See text.) Tr. This cloud with its wealth of waters, and glimmer of lightning, is moving on, shaking tho surface of the earth as well as the dome of the sky. 226. These are the metres of the Brhati class, suitable for the Pravesiki (entering) Dhruvas. T shall speak hereafter about the metres of the Pankti class. ° 996-227. Sura-dayita—The metre which has in its feet of ten syllables the first, the fourth, and last long, 18 Sura-dayita. Ex, (See text.) Tr. The young couple of swans which are as white as kunda flowers andthe moon, is moving about tn — (221-222) ‘Tilaka here means alaka-tilaka (decorating spots made -on the face). 2The night is here conceived as an abhisarikts अणा. 228-235] THE NATYASASTRA 128 the clear water of the lotus-lake, and the cranes are following them. 228-229. Kusuma-samudita—The metre which has in its feet of ten syllables the first three and the last long, is Kusuma-samudité or Kumudini. Ix. (See text.) Tr. O fair lady, now has come the joyous evening of the spring which is full of sweet-smelling flowers, and which causes emaciation of one who is separated from the lover. 230-231. Vrtta (?)—The metre which has in its feet of ten syllables the first, the fourth, the sixth, the seventh and the last long, is Vrtta. Ex. (See text.) Tr. Hore the elephant on hearing the peals of thunder arising in the sky, is burning in anger and is moving about [restlessly} in the forest. 232-233. Krtoddhata—The metre which has 11 its feet of ton syllables the first three, the sixth, the ninth and the last, 18 Krtoddhati. Kx. (See text.) Tr. The sky covered with rain-clouds, fringes of which are lighted up by the flash of lightning, is madden- ing the herd of elephants which being lashed by storm, are shivering [in cold]. 934-235. Puspa-samrddha—The metre which has in its feet of ten syllables, the first four, the fifth, the sixth and the last long, is Puspa-samrddha. Ex. (See text.) Tr. The elephant on seeing the masses of cloud which are [occasionally] brightened up with the flash of lightning, and against which the rows of cranes are flying, has become enraged and are running amidst the birch forest with great trumpeting. 129 THE DHRUVA SONGS (xxxu. 236-244 236-237. Vipula-bhujaia—The metre which has in its feet of ten syllables the fifth, the eighth and the ninth and the last long, is Vipula-bhuja, Ex. (See text.) Tr. The elephant which is restless due to the flow of ichor, has become perturbed on hearing the peal of thunder, and is rushing in anger to the forest, and is moving on with violently proud steps. 238. 11686 are in brief the metres of [the Pankti class]. I shall now speak of those of the 'I'ristubh class. 239-240. Capala—The metre which has in its feet of eleven syllables, the first two, and the last long, 18 Capala. Ex. (See text ) Tr. Here have appeared in the sky, terrible clouds which are like mountains, which make sounds like drums and which look like [large] birds of blue and black colour. 941-242. Rucira-mukhi!'—The metre which 198 in its feet of eleven syllables, the two middle ones (the filth and the sixth) and the last long, is Rucira-mukhi. Ex. (See text.) 17 The moon which is a friend of ‘the stars and is the lover of kumuda flowers, is shaking (?) the path of rays, and is ascending the eastern moun- tain, before appearing in the sky. 943-244. Drutapida-gati—The metre which has in its feet of eleven syllables, the fifth, the eighth and the last long, is Drutapida-gati, Ex. (See text.) Tr. Here appears in the sky the moon which 18 adorned with thousands of rays and which 18 going to traverse the path of heavens, after push- ing aside the screen of clouds.’ (241-242) There is a Ruciramukhi in 187, (243-244) Here the moon has been compared with a dancer. ` 17 धा, 245-254] THE NATYASASTRA 150 915-916. Ati-capali-The metre which has in its feet of eleven syllables, the two middle ones the fifth and the sixth) and the last long, is Ati-capla. ix. (See text ) Tr. Ilera in the early autumn when there open many flowers, the wind perfumed with their smell, is making the trees dance, and is roving about among the lotus flowers of the pleasure-zarden. 217-248 Vimala—The metre which has in its feet of eleven syllables, the third, the fifth, the sixth, the seventh and the last long, is Vimala. 1, (See text.) Tr. The olephant in rut, is moving about in the clear water of the lake which is full of lotus plants and which is strewn with flowers, and bees also are buzzing about the flowers in the lake where the [aquatic] birds are enjoying themselves. 949-250. Ruciri—The metre which has in its feet of eleven syllables, the fourth, the fifth, the penultimate and the last long, is Rucira. Ix. (See text.) Tr. The wind which is moving the canopy of clouds, 18 shaking the host of kumuda flowers, and is scatter- ing the masses of water, is blowing on quickly like one who is anpry. 251-252. Laghu-gati Ati-capala—The metre which has in its feet of thntsen syllables, the last one long, is Laghu-gati Aticapali. Ex. (See text.) Tr, This sun of unparallelled brightness which is tho crown of tho eastern mountain, and is adored by Brahmins and the Munis is moving about in the sky. 253.254, Mada-kalita—The metre which has in its feet 13) THE DHRUVA SONGS [xxxu, 255-250 —— syllables the fifth, and the last two long, is Mada- Hix. (See text.) 17. This is the moon which ig like the silver mountain and is as bright as a mass of crystal, and is ascend- ing the domo of the sky, has graced the new autumn. 255-256. These are tho ‘Tristubh metres. Now listen about those of the Jagati class,’ Kamala-locani- The metro which has in its feet of thirteen syllables, tho nivth and the last long, is Kamala- locana, Ex. (६66 text.) Tr. Here arises in the sky the sun the lamp of the world. He is clad with myriads of rays, and his warmth is adored by the Brahmins and the Munis. 257-258. Apara-vaktra—~The metre which has in its feet [of eleven syllables] the seventh, the ninth and the final long, is Apara-vaktra.’ Kix. (See text.) Tr. This great cloud moving about near the mountain side, 18 shaking the earth witha peal of thunder and is coming down quickly with cleverly made music. 259. ‘These are the metres tu bo used in the Entering Dhruvas of the quick (druéa) variety. I shall now speak about the Vardhamana metres’. (255-256) ‘It seems that some verses are missing from here. (257-258) 'It seems that this metre has been misplaced. (269) ‘These metres have respectively one, two and three syllables more in their second, third and fourth syllables than in regular metre of the same name.. अश्वा. 260-267] THE NATYASASTRA 132 260, Definition of all these beginning with Pratistha metre have been given before regularly with a description of their feet. 261. Pratistha, Ex. (See text.) Tr. On hearing the clap of thunder in the early autumn, the big elephant has become angry. 262. Supratistha Hix (See text.) Tr. The starless sky having been beaten by wind with whips of lightning, is weeping incessantly. 203. Gayatri. Ex. (See text.) Tr. This sky in which the luminaries have been covered, and the sun has been obscured, weeps as it were, after being perturbed by peals of thunder. 264. Usnik. ध Kix. (See toxt.) Tr. The swan surrounded by its female companions, is roaming about in the pleasure-garden where trees in flower are being shaken by fragrant wind, 265. ‘These are the Vardham4na metres of the ‘Tryasra kind, I shall now describe those of the Caturasra kind. Listen about them. 266. Anustubh. Ex. (See text.) Tr. Here arises in the sky after throwing aside the curtain of clouds, the moon which is the illu- minator of the night, the friend of the stars, and is adorned with myriads of rays. 267. Brhati. Ex. «(See text.) 133 THE DHRUVA SONGS [xxx 268-275 Tr. The bird-couple which is accustomed to roam about in the very fragrant forest, is flying about in the garden of Sumeru where the gods and the Siddhas sing their songs, 268. Pankti. Ex. (See text.) Tr. O fair one, the forest-wind which has been per- fumed by the ichor of elephants, is blowing on to shake the tree-tops, and to mako the garden-trees dance, 269. Tristubh. Ex. (See text.) Tr. Here rises in the sky the moon of clear rays, It adorns the kumuda flowers, throws aside the the curtain of clouds and climbs the eastern mountain, 270. Jagati. Ex. (See text.) : Tr. ‘Chis sun whose body is as brilliant as molten ९०10, and which is praised by Brabinins and Munis, is quickly ascending the dome of the sky and will be roaming there very soon. 271. These are the metres of the Caturasra-vivardhita class. I shall speak below of:metres on the basis of mora. 272-273. The final foot of Supratistha metres, is to consist of two ganas and a half, while their four feet will contain only six ganas. Similarly the Apakrsta [Dhruvis] should have the final foot consisting of two ganas and a half, and [the entire song] should consist of ten ganas. 274. In case of the Additaé [Dhruva] the final foot will consist of three ganas and a half, while the entire song will consist of fourteen ganas. 275. The Dvipadas of the Tryasra class should have its final foot consisting of six ganas and half while the entire the song should have eleven ganas. xxxu. 276-296] THE NATYASASTRA 194 276. The [final] foot of the Caturasra Dvipadas should consist of eight ganas and > half, while the entire song should consist of fifteen ganas. 277. In the first feet of the Caturasras the ganas containing one long and one short, should be not less than two, and more than nine. 278, In the Tryrasra such ganas should not be less than five and more than nine, and in the Caturasra such ganas should not be less than seven and more than ten. 279. Ganas if they consist of heavy syllablos, should bo in Caturasra not less than five, and more than nine if thoy are all short. Or they may be not less than seven if they are all long, and more than thirteen if they are all — short. 980. These are the accounts of the total number of syllables in case of all Dhruvas. I shall now speak of the different parts of the Dvipada and number of ganas they are to contain. 281. In the Tryasra Dhruvas, the first foot will consist of cleven and the final foot of twentyone ganas ywhich are made up of a long syllablo followed by a short one, 282. In the Caturasra Dhruvas the first foot will consist of sixteen and the last foot of twenty ganas made up of a long syllable followed by a short one. 283. Sirsakas have no rule of their feet, They are to consist of two long syllables in the beginning, the middle and the end, followed by a short syllable. 284. In the Tryasra Dhruvis the Sannipita should be of five ganas [in length], and in the Caturasra Dhruva the Sannipata should be of eight ganas. 285. The two padas are the Sannipata of the Dhruvas, They are Druta and Sirsaka, and besides these there are other two. 286. Ganas in the Tryasra are not less than five and more than nine, and in the Tryasra they are not Jess than eight and more than eighteen. 135 THE DHRUVA SONGS [xxx 287-298 287. Ganas if they consist of long syllable should be in the Caturasra Dhruva not less than five and more than nine, if they are all short. Or they may consist of not less than eight and more than thirteen. 288. ‘These are the ganas to be known by the expert in Dhruvas. I shall now speak of the distribution of ganas and matras in the Druté Dhruvas. 989. The Sannipata of the Druta Dhravas is to consist of six ganas and a half, and these aro to be mado up of twonty- two matras in long and short syllables, 290. In the Sirsakas these should be rules regarding their pidas, and they are to bo made up of difforent metres, 991. In them there should be ganas beginning with long syllables or with short syllables or having all short syllables, and they will vary from tho precious metre (?). 292. The Sirsaka will have pidas consisting of seven ganas and a half, and they will include their matris in 84:18 of even or odd number of syllables. 293. In the Sirsaka there should be not less than twentyone and more than twentysix syllables in each foot. ; 201. In the four feet there should be oven and odd number of syllables mixed up, and according to rule there should be collection of short syllables in the Sirsaka, 095. If there are three short ganas in the beginning, three such in the end, and two long ganas in the middle, then । tho Capala will be called Sirsaka. 206. In the first half there should always be four short and four mixed ganas, and the rest will be collection of short syllables. 297, Pauses (viréma) of the Dhruvas to be made by the Prasidiki, Antari and Aksepiki Dbruvas should have dura- tion of one, two, three, four, six or eight Kalas. 998. The Pause in the Tryasra Dhruva will bo of three Kalas, and in the Caturasra it will be of four Kalas, ‘his is the rule in the Pravesiki as well as the Naiskramiki Dhruvas. शशा, 299-307] THE NATYASASTRA 136 299. The Pause in the Antara Dhruva is of two Kalas duration, and the 1 81186 in the Antara is at the end of a pada. ; 300. In the Sthita and the Prasadiki Dhruvas the pause will be at the end of half of the pada, and the Kalas will be as described above increased by half a Kala, and they will consist of short and long syllables. 801. The Sthita Dhruva should have mostly long syllables, and the Drut&é Dhruva mostly short syllables and the Prasadiki and the Antara Dhruvis an admixture of short and long syllables [in equal measure]. 38C2. Thus should be made metres of the Dhruvis originating in the Vrttaclass. I shall next speak of defini- tion of the various Sirsakas. 304-305. Syeni—The metre which in its feet of twentyone syllables, the first, the third, the fifth, the seventh, the eighth and the last long, 18 Syeni. Ex. (See text.) Tr. O fair one, this pleasant wind moving on swiftly like a chariot, in shaking the sea, striking the king of mountain, creating 9 unique terror amongst the trees, and raising dust to soften the sharp rays of the sun, is moving on, exciting the passion in men. 306-807. Kraufici—The metre which has in its feet of twentytwo syllables, the first five, the eighth, the ninth, and the last long, 18 Krauijca recited by Brahmins and Munis. Ex. (See text.) Tr. O fair one, this clean-bodied moon has become the illuminator and the joy of the world after tossing the darkest screen of black clouds, and is moving about in the sky with stars and planets following it, and is covering the palaces with great white sheets, and is gladdening the worlds far and enear, 137 THE DHRUVA SONGS XXXU. 303-313 308-309. Puspa-samrddha ~ The metre which has in its feet of twentythree syllables, the first six, the ninth, the tenth and the last long, is Puspa-samrddha recited by the Brahmins and the Munis. Ex. (See text.) Tr, 0 fair one, the forest wind is moving on violently and with great noise among the trees at the foot of the mountain, and is driving away the clouds, raising 9 canopy of flowers, scattering lotus-petals and is giving rise to 2 murmuring sound in the water of lakes, 310-311. Sambhrinta—The metre which has in its feet of twentyfour syllables, the fifth, the sixth, the seventh, the tenth and the last long, is Sambhranta. Ex. (See text.) Tr. In the early autumn, there rises in the sky the moon who is the lover of Rohini', and the brother of planets. It illumines the world, and is as white as a mass of kumuda flowers, and has a lovely white lustre like that of crystal gems, and is followed by stars and other luminaries, and is scattering its thousands of rays and is waking up the kumuda flowers whose friend it is. 312-313. Mattakridé-Vidyun-m4la—The metre which has in its feet of twentythree syllables, the first eight, and the last long, 18 Mattakrid4-Vidyun-mala’ Ex. (See text.) Tr. This rain-cloud being like [a mass of] collyrium is making sounds like thunder, Murajas and shrill Patahas, and being lighted up by many a flash of lightning, followed by [other] clouds, and wearing a heap of lovely flowers of various colours as its tatanka, it is moving about like a mobile mountain. (310-311) ‘Rohini was the most beloved among Candra’s twenty- seven wives who were daughters of Daksa and they became stars, , 18 अश्वा, 313-320] THE NATYASASTRA 138 313-316. Skhalita—The metre which has in its feet of twentyfour syllables, the first, the fourth, the seventh, the tenth, the eleventh and the last long, is Skhalita. Ex. Tr. (See text.) The sea on which the wind has raised ripples and waves, which has its water as bright as crystal gems, has become very noisy due to the succession of waves, has its birds scared by swiftly blowing wind, has more waves due to perturbed fishes, has the sound of agitated clouds, suddenly appears now to be angry at the moment on being surrounded by high mountains, 317-318. Capala—The metre which has in its feet of twentyfive syllables, the fifth, the eight, the eleventh, the twelfth and the last long, 18 Capala., Ex. Tr. (See text.) O fair lady, the sun with the body as bright as highly heated gold, after removing the very dark screen of heavens, 18 rising to wake up the masses of lotus flowers and to give joy to the world with its myriads of rays, and the Yatis and Munis are singing its praise, and the Munis and thou- sands of other worshippers are augmenting its rays [by their sacrificial offerings]. 319-320, Vegavati—The metre which has in its feet of twentysix syllables the fifth, the twelfth, the thirteenth and the last long, is Vegavati. Ex. Tr. (See text.) Here appears the light of the world (the moon) with rays as white as masses of kumuda flowers, ascending the dome of the sky with all the stars and planets in its train. And its body is compar- able to a silver mountain, and it spreads a coverlet of its rays [all over the world] and looks as white ४8 the face of Balarama (lit, the carrier of plough), 159 THE DHRUVA SONGS (xxxt. 321-330 and is # friend of young women and causes in- toxication to all. 821. These eight are the metres for the Sirsakas. Now listen about that of the Natkutas. 322. Hight are the basic metres for the Natkutas, Listen now about their definitions and examples, 828. They are Rathoddhata, Budbuda(ka), Udgata, Vamsa-patraka', Pramitaksara, Ketumati, Hamsasya and Totaka. 324-325. Rathoddhata—The metre which has in its feet of eleven syllables, the first, the third, the seventh and the last long, is Rathoddhata. Ex. (See text.) Tr. The female bee having her [temporary] abode in the interior of the lotus, has her feet beautifully coloured with flower-pollen, and she is now flying over the lake with an affectionate humming in quest of [her mate]. 396-327. Budbuda—The metre which has in its feet of thirteen syllables, the third, the tenth, the eleventh and the last long, 18 Budbuda. Ex. (It 18 very corrupt). 328-330. Udgatéa—The metre which has in its feet of sixteen syllables, the third, the fifth, the ninth, the twelfth, the fourteenth and the last long, is Udgata. Ex. (See text.) Tr. At the approach of autumn, this lake the abode of full-blown lotuses and of cakling geese (kala- hamsa) becomes like the sea polluted by herds of big elephants, and itis now softly giving rise to constant sounds, in harmony with the humming of bees [flying over its flowers]. = (७2) "गऽ is the shortened form of VamSapatrapatita, See 33! below. अ 331-339] THE NATYASASTRA ip 331-832. Vamsa-patra-patita—The metre which has in its feet of seventeen syllables, the first, the fourth, the sixth, the tenth, and the last long, 18 Vamsa-patra-patita. Ex. (See text.) Tr. This cuckoo which has always a voice sweet to ears, is roaming about in the vernal forest where the Cita (mango), Tilaka, Kuruvaka and Asoka trees have flowered and attracted humming bees, is creating intoxication in young damsels. 333-335. Pramitaksara—The metre which has in its feet of twelve syllables, the third, the fifth, the ninth and the last long, is Pramitaksara. Hix. (See text.) Tr. The young swan roaming for a long time with his young consort and drinking asava (honey) from her mouth, is now in the autumn, swiming in the lotus-lake redolent with the 8171611 of flowers. O fair one, the bee after roaming for a long time in the lotus-lake, is now flying through the sweet smelling Ciita forest adorned by spring, and it has a desire for tasting the 25422 (honey) from of the mouth of its female companion. 336-337. Ketumati—The metre which has in its first foot fourteen maAtras, and in cach of the remaining feet 8138911 matras, 18 Ketumati. Ex. (See text.) Tr. When the young elephant after smashing the [forest]-bower went to the lake where lotuses have blown, the young bee with its female companions left the lotuses to roam about [elsewhere]. 338-339. Dhvajini—The metre which has in in its first (three) feet of ten syllables, the fifth, and the last long, and in the last foot of ten syllables, the fourth and the sixth syllables long, is Dhvajini. 141 THE DHRUVA SONGS [xxx 340-348 Ex. (See text.) Tr. The female bee tempted by flowers, is sporting among the lotuses, and after swiftly drinking honey she is becoming restless [for joy]. 340-341. Hamsaya—Tho metre which has in its feet of twelve syllables, the second, the fourth, the sixth, the tenth and the last long, is Hamsasya.' Ex. (See text.) Tr. The sweet-smelling wind blowing over the beauti- ful lake with its waves and full-blown lotuses, is tempting bees as well as birds. 342-344. Hamsasya—The metre which has in 118 feet of twelve syllables the third, the fourth, the sixth, the seventh, the tenth and the last long, is Hamsasya.' 1t belongs to the Natkuta class of Dhruvés. Kx. (See text.) Tr. A swarm of bees after constant flying in quest of honey of flowers, over the lotus-lake where swans and other birds have come, 1४ now moving among the lotus-leaves. 345-346. Totaka—The metre which has in its feet of twelve syllables the third, the sixth, the tho ninth, and the last long, is Totaka. Ex. (866 text.) Tr. At the close of night the tetrible owl which had a fearful hooting, has behind it [a group of] chasing crows, and it 18 [now] hastily searching after its own hollow [of the tree]. 347-348. ‘hese in brief are metres for the Natkuta (Dhruvas]. I shall now speak of the metres for the Khaitjaka [Dhruvas]. Prameda, Khaijaka and Matta-cestita are thie three metres for the Khaiijaka [Dhruvas]. (340-341) !This belongs to the longer recension. (342-344) 'This belongs to the shorter recension, xxx. 349-358] THE NATYASASTRA 149 349-350. Pramoda—The metre which has in its feet of twentytwo feet, the first, the fourth, the sixth, the tenth, the sixth and the last long, is Pramoda. Ex. (Very corrupt.) 361-352. Bhavini—The metre which has in its feet of nine syllables the first, the third, the fifth and the seventh = and the last long, 18 Bhavini. Ex. (See text.) Tr. The bee coming out from the flowers smeared with a beautiful clay, is swiftly running about shaking its wings [to cleanse them]. 353-354. Matta-cestita—The metre which has in its feet of eight syllables the first, the third, the fifth, and the seventh short, is Matta-cestita. Ex. (See text.) Ir. The cuckoo comes to the forest where other birds have [already] come to adorn it and where the trees are in flowers and the bees are singing. 355. These are the primary (lit. original) classes of the Natkuta, and from these come out others having even or odd [number of syHables in their feet or having feet of] un- equal [number of syllables].' 356. Dhruvas have sixtyfour primary classes some of which are made up of equal number of syllables [in their feet] and different ffom this [are made up of] unequal [number of syllables]. 357. Dhruvas of three kinds having even or odd number of syllables or having even and odd or unequal [number of syllables in their feet] may be of various metres. 368. Dhruvis having even [number of syllables in their] metrical feet are two hundred and eighty five in number, and those having partially even number are one hundred and (355) 'The meaning of this and the four succeeding couplets, is not quite clear. * । 143 THE DHRUVA SONGS [xxxi. 359.366 ten, and similar is the number of Dhruvas which are having uneven [number of syllables in their feet.] 359. Dhruvis of unequal length in feet or with unequal number of feet, are [also] generally made, and the names to these metres may be given according to one’s will ! Five Aspects of Dhruvas 360 These are the classes [of Dhruvis] arising out of various metres. I shall now speak of their [different] aspects due to five causes. 361. These five causes are: Class (7ati), Occasion (sthana), Variety (prakara), Measure (pramana) and Name (nama), ` 86४. The number of syllables in the metre of a Dhruva constitute its Class (7ati).' Such numbers being odd or even, will give rise to its Variety (prakara), 363-364, ‘The Tala of six or eight Kalas observed in Dhruvas will constitute their Measure (pramana),' and just as Names are applied to men according to their clan (gotra) family (ula) and customs (4acara), so they are applied to Dhruvas according to their depending on an Occasions (sthana). Five occasions for Dhruvas 364, Occasions in connexion with. Dhruvas are five, viz. entrance (pravesa), diversion (aksepa), departure (niskrama) calming (prasadana) and transition (antara).' 365. Themes of various Sentiment sung at the entrance of persons [into the stage] are called the Pravesiki Dhruva. 366. When in a [dramatic] performance at the end of Acts songs are sing at the exit of characters to indicate their going out, they are Naiskamiki Dhruvas. (359) '!This passage is corrupt. (362) ‘This relates to syllabic metres. (363-364) ‘See above Ch. XXX] on Tala, (364) 19६6 above 26-27, XXXII. 367-378] THE NATYASASTRA 144 367. When the experts, in disregard of the rules, have a Dhruva of medium or of slow tempo sung ina quick tempo, it is called the Antara Dhruva. 868. The song which after [sudden] distraction calms the audience (lit. auditorium) who are enjoying a different Sentiment, is called a Prasaidiki Dhruva because it calms (prasadayati) their feeling. 369-370. The Antara Dhruvas are those songs which are sung at the time of the [principal] characters being gloomy, absent-minded, angry, asleep, intoxicated, or their enjoying other’s company, being under heavy weight, or being in a swoon, or their fainting due to poisoning, or being in error, or their adjusting or fixing up clothes and ornaments, and in covering any of their faults [in acting]. 871. I shall now speak about the Occasions (sthanq) to- gether with the Sentiments and States where all the Dhruvas are to be sung carofully. 372. ‘The Occasions are of two kinds, viz., relating to others and relating to one’s own-self. Listen now from me about that [Occasion] which is connected with diversion (aksepa). | 373. When one is captured, obstructed, fallen, attacked with illness, or is dead orin a swoon, there the Apakrsté Dhruva in the Pathetic Sentiment should be sung. 374. Where one is in [a state of] impatience, dis- simulation, anxiety, lamentation, weariness, depression and dispair, a Dhruva in a slow tempo should be sung. 375. In these States and in pathetic reports the Dhruva should be sung in a quick tempo furnished with a rapid move- ment. 376. Where there is any sorrow from seeing before one’s own eyes any one killed or wounded, the Dhruvas there should be in a slow teinpo and in the Pathetic Sentiment. 377-378. In case of seeing any calamity, of intolerence, seeing anything supernatural, being in despair, in carelessness and in anger, and in showing one’s spirit, and in a direct report of anything in Furious, Heroic, Terrible and such other । 145 THE DHRUVA SONGS [xxxu. 379-389 Sentiments, and in agitation and in hurry, the Dhruva should be sung in a quick tempo. 379-380, In propitiating, requesting or recollecting any one or in an exggerated speech or in meeting [of lovers] for the first time, in joy, in begging or in seeing anything strange in connection with love-making the Dhruv4 should be of the Prisadiki class and in a medium tempo. 381. In physical distress and in anger and in aiming a missile [against any one] the Antari Dhruva should be made continuous. 382, No Dhruvé should be sung when there is any entry of weeping or singing persons, ond when there is any hurry in their coming or when they announce anything, or any calamity or surprise occurs [at the time]. 883. Dhruvas should be thus applied after taking into consideration the rule regarding themes, places, times and seasons [involved], the characters [in the play] and indicaticn of the States. ध 884. 11118 are cf six kinds, ए Sirsaka, Uddhata, Anubandha, Vilambita, Addité and Apakrsta. 385. A Dhruva which is at the position of Sirsa (head) is called the Sirsaka. A Dhruva is called Uddhata because it is sung in an uddhata (elevated) manner. 386. A Dhruvd which is begun in a playlike (?) manner and which adopts a tempo meant for it, is called Anu- bandha. 387. The Vilambité Dhruva is that which according to the dramatic convention, moves always slowly or not very quickly, 388. When a Dhruv4 arises in connexion with the Erotic Sentiment and has some extraordinary quality, it is pleasant and is called Addita. 389. A Dhruva which for the reason of its being sung (lit. drawn up) in other States (?) for reasons [other than that with which it began] is called the Apakrsta. 19 अशा, 390-400) THE NATYASASTRA 146 890. The Excited Privesiki Dhruva, when the move- ment has been arrested (?, or delayed, should be applied in case of male characters. 891. The Pasidiki Dhruva in case of females will be [of] the Additaé [class], and when it isina slow tempo it will be Apakrsti and that which is not [पि will be Vilambita, 392. As tempo, instrumental music, pause, words, letters and syllables accompany a song, these six are called its entering aspects 393. Sirsaka and Additi belong to kings and gods Addit&é is to be applied in case of women of divine, royal and Vaiysa origin. 394, At the entrance of middling characters the Dhruva should be of the Druta-Vilambita [class], and in case of inferior characters it should be of the Natkuté and Khaijaka [classes]. 395. The Khaiijaka and Natkuta will be for bringing joy to the occasion. Why is it so? Because these two belong to Comic and Erotic Sentiments. 396. In case of inferior characters and of any one dead, there should 8 Anubandha with [proper] tempo. In case of women of the.Ksatriya and Vaisya classes there should be Apakristé Dhruva in proper tempo. 397. The Pravesiki Dhruva should have Tala with four Sannipatas. Tho remaining ones are to have two Sannipatas, and the Sirsakas are to have six padas., 398. Addita with a slow tempo, is not to be sung in case of inferior characters. In their movements relating to all the States, one should sing the Natkuta Dhruva. 399. These (the inferior characters) have only three States, viz, Comic, Pathetic and Terrible. One should apply Dhruva to them with a view to this fact. 400. The wise should apply the Dhruva after taking into consideration the theme (vastu), performance (prayoga), characters (prakrit), in a play, Sentiments, States, seasons, age, locality, time and mental condition (agastha), 147 THE DHRUVA SONGS [xxx 401-408 401, The thetié (vastu) arises from a locality, and may relate to a city ora forest. The performance (prayoga) relates to divine and human beings. 402. The characters in a play (prakrti) are of three kinds, viz, superior, inferior and middling, Sentiments and States have already been described before. ‘I'he season (1/४) occurs due to the flux of time, 403. Infancy, youth and old age are the three ages. Locality relates to the Zonal and other divisions of various kinds.’ 404. The time is fixed by day and night, and by months and seasons. The [mental] condition relates to joy and sorrow. 405. These are always the features in different situa- tions, The wise should apply all these [in a play] after taking the Sentiments and tho States into consideration, 406. ‘Those things which cannot be expressed in speech should be presented in a song ; for through songs only, the strength and ripeness comes to the meaning of words (vakyartha). , Contents of Dhruvis 407. Dhruvds in case of men and women of superior inferior or middling class, should relate to [objects] compar- able to them in quality. 408. In case of gods and kings the comparable objects are.the moon’, fire, the sun’ and the, wind,’ and in case of Daityas and Raksasas they are clouds,’ mountains’ and seas.’ een न~~ १ 1 श | (403) ‘See XIV. 3. (408) 18९८ 145, 147, 153, 168, 170, 183, 242, 244, 254, 266, 269, 307, 311, 320 above. 2See 252, 256, 270, 318 above. 3See 56, 82, 121, 172, 209, 224, 246, 250, 268, 309 above. 4See 65, 67, 69, 71, 73, 75, 92, 100, 119, 164, 192 above. 5See 78, 80 above. 6See 207, 316 above. अशा, 409-416] THE NATYASASTRA 148 409. In case of Siddhas, Gandharvas and Yaksas, comparable objects are the planets, stars' and bulls, and for all these persons engaged in practice of austerities (tapas) comparable objects are the sun’, fire and wind.’ 410. For all Brahmins and and other persons engaged in austerities, the comparable object is fire, and for their wives the comparable object will be the same. 411. Lightning’, meteor, and the sun’s rays are objects comparable to the heavenly beings, and objects comparable to gods, apply to the case of kings also. 412. Elephants‘, lions and bulls are not comparable to heavenly beings, and elephants, serpents and lions are to be compared with kings. 413. Mischievous beings like the Yaksas, Raksasas and Bhiitas are comparable to the baffalo, ruru deer, lions and other carnivorous animals. 414, A rutting elephant’ and a swan’ are compared with superior characters in connection with various Senti- ments. 415. Cranes! (sarasa), peacocks’, kraujica, ruddy geese’, and Jakes with kumuda flowers, have quality [enough] to be compared with middling characters, 416. The cuckoo’, bee’, crow, osprey’, owl’ and crane, pegion and kadamba are comparable to inferior characters. een en (409) 'See 143 above. 2See 252, 256, 270, 318 above. 2866 note $ (on 408) above. (411) See 185 above. (412) 18९6 115, 117, 121, 151, 194, 231, 235, 237, 248, 261, above. (414) ‘See 115, 117 above. 2See 135, 134, 203, 227, 264, 334 above. (415) +See 138 above. 2See 63 above. २8९८ 90, 111 above. 4See 181 above. (416) ‘See 332 above. ०86६ 140, 324, 335, 337, 339, 341, 344, 350, 352 above. 3$ee 346 above. 3See note 1 (on 415) above. ~~~ er ee 149 THE DHRUVA SONGS [xxxu. 417-426 417. Now listen about the objects comparable to wives of superior, inferior and middling characters. 418. The night', earth, moonlight, lotus-lake’, female elephant, and the river have qualities enough to be compared with wives of kings. 419, A lake', osprey, creeper’, female crane’, pea-hen and female deer are always to be compared with wives of middling characters as well as with courtezans.' 420. A hen, 066", crow, cuckoo and owl of female species are to be mentioned in the Dhruvas connected with wives of inferior characters 421. Comparison about going, and any other movement (should be indicated by] the Pravesiki and Naiskramiki Dhruva. Dhruvas to suit time and occasion 422. The Pravesiki Dhruva is to be sung to indicate anything happening in the forenoon, And the Naiskramiki Dhruva may serve [in general] for anything occurring throughout day and night. 423. Gentle Dhruvads are to be sung to indicate the forenoon, and excited (41012) Dhruvis are to be sung to indicate the noon, whereas pathetic Dhruvis are to be sung in case of afternoon and evening. | 424. Any report about going 2४ to be expressed by the Pravesiki Dhruva, and that which relates to anything station- ary is to be have recourse to the Aksepiki Dhruva 425, The Aksepiki Dhruvas are all to be sung in a quick as well as in a slow tempo. ‘I'hus will be these Dhruvas when they arise in connexion with anger and intolerance, and are in the Pathetic, Marvellous and Terrible Sentiments. 496. All objects existing in the earth in connexion with a dead body or witha god, are to be mentioned in the [Dhrava] song with suitable comparison. [ अ प „~~~ --------~-~- ^> =” (418) ‘See 220, 222 above ` See 211 above. (419) ‘See 181, 330 above 2See 113 above. 3See 138 above. 4See 140, 324 200१९. sexu. 427-435) THE NATYASASTRA 150 Dhruvas to indicate movements 427. Comparable objects in case of stationary things should be stationary, and in case of their moving they should be compared with moving objects, and their States due to joy and sorrow should bs related to qualities in their objects of comparison. 428. In case of chariots, horses, elephants, deer, birds, palanquins and aerial cars, the experts should make Dhruvis with a view to their movement and progress. 429-430. In case of chariots, arrows, horses, elephants, heavenly cars, swings and birds as vehicles, the expert should compose the Dhruva with words and syllables which can be uttered quickly. In ०886 of bulls, elephants, lions and bears, the Dhruva should be made up of heavy syllables that can be uttered with force, 430-431. Incase of crows, monkeys, swans, and pea- cocks, the Dhruv4s should be made up of light syllables with swift movement, and of heavy syllables with their slowness, This being the case one should apply swift [Dhruvis] after knowing the States [in their connéxion], Metres for Dhruvas 432-433. Words of a song cannot be without a metre. Hence after considering [contents of] the Dhruva song, one should put it in a suitable metre.‘ Hence a Dhruva to express the movement of a vehicle, should be made up of [suitable] syllables, so that the different limbs of the song may agree with the instrumental music. 434. The metre which is prescribed for the foot of a Dhruva in connexion with the movement of a vehicle, should also be available in the instrumental music, and it should be also agreeing with the movement of all the limbs [of a song]. 485. The song should be taken up first, then the instru- mental music, and the dance will be taken up afterwards, A combination of song and instrumental music [with dance] is called a performance (prayoga). ~ (432-4335 ‘See 497 above. 151 THE DHRUVA SONGS [xxxt, 436-442 436. The State which is in one’s heart, should be depicted by means of histrionic representation in all its limbs and with 807९8 of the Nivrtyankura' [class], 437. The Prasadiki Dhruva arising from the quality of giving joy, should be applied when there isa man in the sky and speaking to the sky.’ 438-439. The DhruvA in this case connected with speaking, should [completely] suit the meaning of its name, when the Dhruva connected with pleasing or jealousy and anger, attains the Hrotic Sentiment, it should be suited to the meaning [of it name]. And when there are occasions of pleasing, Dhruvds con- nected with the [different] Sentiments, should be made Prasidiki to suit the meaning [of their names], The Language of Dhruvas 440, The language in the application of Dhruvas should be Siraseni.' Sometimes it may be Migadhi’ when (the Dhrnvas of] the Natkuta [class] are to be made by the Wise, : 441. Sanskrit songs’ ‘have been prescribed by the authorities in case of heavenly beings ; and in case of human beings half-Sanskrit’ [songs] should be used. 442, Listen about their treatment if-the gods who have been made objects of comparison, makes entrance in a play in course of its action. - (436) a See XXIV. 48 above, (437) 18९८ XXVI. 83-85 above. , | (440) "75 is the wellknown Sauraseni. Though 8. has been included in the list of seven major dialects mentioned earlier (XVIII. 47), we are not sure of its characteristics as envisaged by the author of the NS. The Prakrit described in XVIII. 8-23 may be Sauraseni. See note on XVIII. 47 above. 4Magadhi though mentioned in the NS (loc. cit) has not been described there. (441) '!This probably points to the very early development of the Skt. drama. For further discussion about this see the Introduction. | 2This term probably indicates a language like that of the metrica’ portions of the Mahavastu, THE NAT ASTRA xxx. 443-154] THE NA TYAS 452 443. That which is their Sattvika State and constitutes a narration of their deeds, should be expressed through a song according to the authoritative rules. Metres of Dhruvis 444, Songs in case of heavenly beings are desired to be in metres of [suitable] measure (size), This should relate to their praise or a narration of their exploits. In the feet of Dhruvaés one should describe that which relates to the qualities of comparison 446. [In this connexion] the metres [1116] Mala, Vaktra Putavrtta Visloka, Cilika, Udgata and A paravaktra should be used by the producers 446-447. I have described their structure (lit. rules of metre) 06016." In case of gods, these (1.6. Dhruvis) should include words expressing victory or blessing, and for them (i.e. gods), २०, Gatha and Panik,’ will be understood as their form (lit. measure). As these are pleasing to hear they should be put in tune (lit. applied in songs) 446. The Jatis including Gandhara, Sadja, Madhyama Paiicama and Dhaivata should be reckoned as the [suitable? form of these songs 449. Their form to suit the four occasions should be such as Prasadiki, Sthita, Naiskramiki and Pravesiki. 450. In the various acts of gods when there is no obstacle, Sanskrit should often be used in the Anustubh metre. 461. The 1116768 like Mala, Vaktra, and Aparavaktra are suited to Pravesiki Dhruva, and Puta and Culika are meant for Naiskramiki Dhruvas. 452. Udgata (metre) is applicable in the Prasidiki Dhruva and Anustubh in the Vilambité DhruvS. These occasions are to be expressed by one who is an expert in measures. 453-454. The song which is in the Anustubh metre, and is in a slow tempo, and relates to a fall due to curse, suffering from anxiety, and abounds in heavy syllables, notes (447) ‘See XXXII. 49ff above. (448) ‘6ee XXVIII. 103ff, above, 153 THE DHRUVA SONGS [xxx 455-464 of pathetic expression, and long-drawn-out Varnas, should have the Sthita Sthana. 455. For the excitement of human beings, and for their roaming [over different places], heavenly beings are to resort to songs in the Anustubh metre, 456. In relating the memory of those of heavenly beings who are born amongst mortals, one should resort to suitable songs expressing heavenly States. 457. And suitable songs relating to the sorrow of these very beings when these are meant to kill sorrow and anxiety, are to deal with a change due ' {0 afflicted conditions, Dhruvas to suit occasions 458. Listen now what are generally to be done for the rule of Dhruv4s occurring to their division of occasions. 459. When the instruments of music have been placed in order, and the three 8811918 have been uttered, one should apply the Asravana' included in the Bahirgita.? 460. After performing ‘the Bahirgita one should per- form the Piirvaranga' and the Pérvaranga having been undertaken one should perform the Rangadvara.’ 461. In connexion with the entrance of characters, one should sing the Dhruva indicating movement and also the Parivarta, 462. By taking steps upon the stage while singing or due to [some other] need, one shoyld make six Pari- vartas.’ 463-464. The Dhruva in this case should be made as in the case of gods, and the Patas there, should be twentyone in number. The Dhruva in its application in drama should be of the Tryasra or of the Caturasra type. In case of (459) ‘See V. 18. 2566 V. 50.917 (460) एण Pirvaranga and its different parts see V. 77 १8९८ V. 26-27 and 116-119. (462) 2866 V. 65ff, and the note on 471 below, 20 अणा, 465-474] THE NATY ASASTRA 154 the Tryasra the Pida-pita will consist of three Kalas, while in the Caturasra the Pada-pata will consist of four Kalas, 465-466. The Dhruva in case of superior characters will be Caturasra and in case of the middling characters Tryasra type, and in case of the inferior characters it will be of the Khajija and the Natkuta class. This will be the rule about tunes in connexion with the movement of feet. 467. In case of hurry, calamity and anger it will consist of one Kala or half of a Kala. And the movement of feet will consist of three, two, one or of four Kalas. 468. At that time there should be a harmony of dance with the instrumental music and not with song. There should be no pause in Dhruva of one or two Kalis in dance. So, there should be a harmony [of dance] with the instrument and not with the song 469, One should know the setting of feet in case of the State mentioned before, depending on the slow or the quick tempo, and should make harmony with the instrumental music. 470, ‘The entrance after tossing the curtain, on account excessive joy, sorrow and anger, should be made simultaneous with the divisions (?). The Rule of Graha 471. These are thorules about Parivarta' in a play. I shall now describe the Grahas? in connexion with the instruments. 472. The song should start its Parivarta’ without any [music of the] instrument, and in the fourth Parivarta' there should be the Graha of the instrument. 473. Sometimes there should be Sannipita Graha, sometimes Tarjani Graha and sometimes 418६9 Graha in the Dhruva songs.’ 4174. As the Graha in the Dhruva is regulated by Kala, Tala and tempo (aya), it should be observed in the move- ments and walks, by means of instruments. (471) }This term probably means ‘a single performance of a song’ when it is repeated. 2See XXXIII. 1807 below. (473) 186८ above note | to 471, 155 THE DHRUVA SONGS [xxxu, 475-494 475. In the Sirsake of the Uddhata classes of Dhruviis the Graha should be by the Pradegini, and in the Vilambita Addita Dhruva, it should be by the Sannipata and the third [finger]. 476-477. In Natkuta, Addité and Prasadiki Dhruvis the Graha will be in Sannipita and in Druta (quick) Dhruvis the Graha will be from above,' and in Naiskramiki and Anu- bandha Dhruvas the Graha will be with tho instruments. And for songs, there should not be made any repetition by the . xperts, 478, Natkuta Dhruvaés should have four Grahas such Sannipata, Samya, ‘ala and Akiga. 479, In the entrance [of any character] with hurry, excitement and joy, there should be the Graha with the song, and such a Graha is called Udghatya. 480. In case of falling of ornaments, clothes or of any disorder, any loss of memory, fatigue, and in the [genoral ] covering of faults, there should be the Udghatya Graha of the Antara [Dhruva]. Application of songs 481. Producers should in this manner apply in their proper places, the Dhruvas required for dance and drama. 482, Just as a well-built dwelling house’ does not become beautiful without any colour, so without any song the drama does not attain [the capacity of giving] joy. 483. The rule regarding songs have been mentioned in connection with [the formalities of] the Pirvaranga (Preli- minaries), and the worship of gods has also been mentioned there.’ 484. Hence notes in the two Gramas as well as the Overlapping [note],' should be applied to plays (lit. poetical compositions) which express the various States. (476-477) i.e. Akasa Graha. (482) ‘citram nivesanam. (483) 15९८ V. 60-63ff. (384) 'See XXVIII. 35 above. THE NATYASASTRA XXXII. 485-493] 156 485-456. In the Opening’ of the drama there shoulg he the songs of the Madhyama Grima, Sadja in the Progres- sion, the Overlapping in the Development, Paiicama(mi) in the Pause, and Kaisika(ki) in the conclusion. These songs depending on the Junctures and metres, should be of suit- able Sentiments and States, 487. Dhruvas depending on the context and made to express Sentiments suited to the situation, embellish the drama just as the stars illumine the sky. 488. The 72684117 18 the first Giti, then Ardhamagadhi [the second], Sambhavita the third and Prthula the remaining one (i. e. the fourth).' 489. Magadhi is known by the repetition of its padas [in different tempo] and itis in the Citra [Vrtti].' Similar is the Ardamagadhi, which has recourse to repetition twice. 490, Sambhavitaé depending mostly on heavy syllables is applied in the Vartika (Vrtti), and Prthula consisting of light syllables in the instrumental music, is to be applied in the Daksina Vrtti. 491. These four Gitis are everywhere to be applied in songs by singers. These consisting of appropriate syllables are applied in Dhruvas also. 492. ‘That which includes full notes, Varnas, is embel- lished by instruments, relates to the three voice-registers, has three Yatis and three M§&tras, gives joy, is harmonious (same) and delicate, contains Alamk4ras, is performed with ease, and has sweetness, is called a song [per excellence].’ 493. One should first of all bestow care on songs. For songs have been called the resting place (lit. bed) of the drama. The song and the playing of musical instruments being well-executed, the performance of the drama does not encounter any risk.’ (485-486) See XXI. 58ff. (488) ‘See XXIX. 777 above. (490) ‘Vytti~ gati-ortti, See XXIX. 1027 (493) 'This shows that songs were indispensable in producing plays. 4 157 THE DHRUVA SONGS [xxxn. 494-50! Qualities of singers and players of instruments 494. I have thus spoken properly of the characteristics of Dhruvas. I shall now speak of [requisite] qualities of singers and players of musical instruments. 496. Knowledge proceeds from q ualities, and mind gets repulsed due to faults. Hence one should carefully know in brief the qualities and faults. 496. The singer should be of young age, have a loving nature and a throat full of sweet voice. He should thoroughly know about tempo, Tala, division of Kalas, their measure and application.’ 497-498. A woman possessing a good physique, brilliance, courage and sweetness, also a voice which is soft, sweet and has a charming resonance, and is harmonious, and auspicious, and who can properly observe a pause, is never nervous, and is an expert in songs together with their Tala and tempo, and can regulate her Karanas according to musical instruments, and is young, is known as a female singer' [per excellence]. Characteristics of a Vina player + 499-500. The two Vina players should be properly conversant with the use of P4ni,'-tempo and Yati’ properly alotted [to different parts of a song], should have nimble hands in producing sweet sounds, and should have the qualities of [good] singers. They should be attentive in mind and be able to sing well in accompaniment of other instruments and clearly produced Karanas' and should be industrious, and should have a pleasing voice, much experience and should be experts in playing instruments in Vrttis like Citra 616, Characteristics ofa flute-player 601. The flute-player should be strong and careful, should properly know songs and their tempo, and be able to sing well in accompaniment of other instruments, and to produce a note which is voluminous as well as sweet and pleasing, and should possess a strong breath. (96) 1See SR, III. 13-22. (497) 18०८ SR. III. 23. (499-500) 186९ XXXI, 494-495, *See XX XI. 489-493. : 3ie. Karanas produced by the dancer. अण, 502-509} THE NATYASASTRA 158 502. The music of a flute should thus be steady, conti- nuous, expressive of Varna and Alamkara, and be sweet, pleas- ing and able to cover the faults [of a performance]. Difference between male and female song and recitation 503. Generally songs are naturally suited to women, and recitatives are similarly suited to men. For women’s voice is naturally sweet and that of men are [naturally] strong. 604. The good quality in women’s recitation and sweetness in men’s songs, should be considered their adventi- tions qualities (lit. ornament) [and no part of their nature].’ 505. If men lead [in songs] and the songs possess good characteristics, but have no sweetness, then these, do not impart any beauty [to the performance]. 506. Hence women’s songs are naturally successful and 80 are men’s recitatives.. When these are nol [indiscri- minately) attempted by one another, they become easy to perform. 60¶, ` Danavas, Asuras, Riksasas, Yaksas and Uragas (१९४8) , 88 males and females, have many actions and speeches. 608. [In such cases] women are to play men’s parts [very] carefully. For women are naturally able to make graceful movements [only].' 509. Men acquire Sausthava' by regular exercise and practice, and women’s movement of limbs are naturally pleasing. (504) This shows that good singing was once supposed to bea monopoly of women. So Maitreya in the Mrcch. (III) does not approve of Carudatta’s praise for Revila’s singing (mama dava duvehim jjeva hassam jaadi, 111170८ sakkaam pathantie, manussena a kaalim gaantena). Carudatta too continues his compliments to Revila by saying ‘had he been out of sight (ie. behind a screen), I might have taken him for a woman’ (antarhito yadt bhaved vaniteti manye). (506) ‘See note | above, (508) ‘The movements of Danavas and Asuras etc., are mostly energetic. (509) ‘For the meaning of Sausthava see XI.91. Generally it means ‘beauty and grace of the body in its movement’. 159 THE DHRUVA SONGS [xxx 510-519 510, With an eye to this fact, (lit. thus) men are to instruct women in songs, musical instruments and recitatives relating to different characters. 611. There may be [allowed] ४ loss of proper note in women’s songs and playing of musical instrument. But this will not be sweet to the ear in case of men. Qualities of a teacher 81४. The six qualities which a teacher should have, are memory, intelligence (medha), judgement (mati’, reasoning positive and negative (2020000), and ability to train pupils. Qualities of a disciple 513. The six qualities which a disciple should have, are intelligence, memory, willingness to serve (slagha), devo- tion [to work], spirit of emulation (samgharsa), and enthusiasm. Qualities of voice 514. The six qualities of voice are that it should be loud, compact, smooth, sweet, careful, and distinctly related to the three voice-regvisters,’ 515. hat which is heard from a distance, is called loud (Sravaka). The loud voice which is sweet but not diffused, is called compact (ghana). 516. The voice which being loud does not become harsh, issmooth (snigdha), If at the highest point of the voice- registers, there occurs no discordance, then the voice is called sweet (madhura), 517-518. The voice which does not lapse into excess or defficiency, is called careful (avadhanavan). The voice which striking the head, the throat [and the chest] become sweet with reference to three places, provides always sweetness to the three voice-registers, is considered distinctly related to voice-registers (tristhanasobhi). Faults of a singer 519. The five faults of a singer are that his voice (lit. he) may be Kapila, unsteady, Sandasta (bitten), Kaki (crow-like), and Tumbaki (8891). Re RS EE 4 SN OD Re (514) ‘See SR. ITI. 49-63. (519) ‘See SR. TIT, 24-37, अणा, 520-525] THE NATYASASTRA 160 520. When the voice is unnatural, and there is a gurgl- ing sound, it is called Kapila. The voice of one who has phlegm in the throat, is also called Kapila.’ 521. When there is an irregular excess or want of volume in voice, it is called unsteady. A lean voice is also given this name. 522-523. Voice produced by [unduly] using teeth, is called Sandasta (bitten) by good masters. The voice which in its enunciation does not properly touch its due voice-register, and which is harsh, is called Kaki (crow-like). The voice connected with the nose is called Tumbaki (nasal). 524. These are the essential facts about the qualities, and faults of voice, related by me. I shall next speak about the covered (avanaddha) instruments. 525. This is the Gandharva' which I have now described. This was formerly described by Narada. A man (lit., son of Manu) who will cause this to be per- formed, will receive the highest. honour in this world, Here ends the Chapter Thirtytwo of the Nityasistra, which treats of the Dhruvé Songs. (520) ‘It may be that the word is a wrong reading for *Kaphala. (525) }This is the Gandharva which the Ceta in Mrcch. (III)speaks about (ka ui vela ajja-Carudattassa gandhavvam Sunidum gadassa). CHAPTER THIRTYTHREE ON COVERED INSTRUMENTS 1-2. I have spoken briefly about the stringed instru- ments. I shall now speak of the class of covered musical instruments, their characteristics and functions as well as of playing drums named Mrdanga,’ Panava? and Dardura.' 8. Svti and Narada' have [respectively] spoken about the Gandharva, and the playing of musical instruments together with their quality of amplitude, and their charac- teristics and functions. Origin of drums 4. Now following Svati I shall speak briefly about the origin and development of musical instruments called Puskaras (drums). 5. During an intermission of studies in the rainy 8698010, Svati once went to a lake for fetching water.’ ’ 6. He having gone to the lake, Pakasisana (Indra) by [sending] great torrential rains commenced to make the world one [vast] ocean. 7. Then in this lake, torrents of water falling with the force of wind made clear sounds on the leaves of lotus. 8. Now the sage hearing suddenly this sound due to torrents of rain, considered it to be an wonder and observed it carefully. (2 1A kind of earthen drum still in use in Bengal among the singers of Vaisnava kirtana. 2 A drum or tabor made probably of wood. See the note 6 on XXVITI. 4-5. 8This is also called ‘Dardara’. Possibly this is the right form of the name. One side of its wooden frame is covered with hide ; it looks like a large gong. Sce also note 6 on XXVIII 4-5. (3) ‘See above XXXII. 525, It does not mention Svati. (5) }The story given here about the invention of drums may net be quite fanciful. . 21 अश्श्चा., 9-15] THE NATYASASTRA 162 9. After observing the high, medium and low sounds produced on the lotus-leaves as deep, sweet and pleasing, he went back to his hermitage. 10. And after coming to the hermitage, he devised the Mrdangas, and then the Puskaras' [like] Panavas and Darduras with [the help of} Vigsvakarman. 11. On seeing the Dundubhi' of gods, he made Muraja,’ Alingya,? Urdhvaka! and Ankika.’ 14. Then he who was a master of reasoning of the positive and the negative kind, covered these and Mrdanga, Dardura and Panava with hide, and bound them with strings. 13. He also made other drums such as Jhallari,’ Pataha? etc., and covered them with 11146. 14. 1418767 now abont the instruments which men are to play as minor and major limbs [of a performance] in an assembly of instrument-[players]. 15. Among the wooden [stringed instruments] Vipaiici' and Citra’ are major limbs’ and Kacchapi' and Ghosaka‘ etc., are minor limbs.” (10) 'Puskara seems to hea general name for drums made of wood. (11) 14 large kettle-drum made probably of earth. *'This seems to be a kind of Pakhoaj. SIt seems to be a drum held avainst the breast of the player who embraced it as it were. Hence came this name (@lingya=an_ instru- ment to he embraced). See 242ff. below. *See 242ff. below. 5Sec 242ff. below. (13) 'This seems to be very small drum without any complexity. Cf. SR. 1135-1137. ० [६ seems to be different from the one mentioned by SR. VI 802-808. See also 27 below. (15) ‘See the note 3 on XXVIII. 4-5, and the note 2 on XXIX, 220. 2 See the note 1 on XXIX. 120. ° For their functions see 25-26 below. ५ This seems to be an onesstringed (ekatantri) instrument made with a tortoise (kacchapa) shell. ९ This seems to be a kind of Tanpura used merely as a drone. 6 For their functions see 27 below. 163 ON COVERED INSTRUMENTS [xxxmm. 16-24 16. Among the drums, Mrdanga Dardura and Panava are the major limbs, while Jhallari and Pataha etc., are the minor limbs, 17, [Among the hollow instruments] the flute (2411144) has the charaeteristics of the major limbs [of a performance], and conch-shell and Dakkini [that of] the minor limbs Use of Drums 18. There is no instrument which cannot be used in the ten kinds of play (dasaripaka). Kach kind of instrument may be used in a play after considering the Sentiments and States there. 19-20. In 2 festival, a royal procession, and a Mangala ceremony, in an auspicious and happy occasion, at the time of marriage and of birth of sons etc., in a battle where many fighters assemble, and during such other acts, all the musical instruments should be played.' 21. Small number of instruments are to be played during ordinary (lit. natural) household affairs.. During expeditionary marches and performance of plays, all the instruments should be played.’ 22. For the harmonious blending of the different limbs [of a performance] and for covering the faults, the instruments are played. General Description of Drums 23, I shall now speak of the covered instruments which give rise to regular notes, has many Karanas and Jatis. 24. All the instruments covered with hide such as the three Puskaras,' are called covered instruments. (19-20) ‘See SR. VI. 10-21, (21) See the note above. (24) ‘The three Puskaras of the NS. are Mrdanga, Panava and Dardura (Dardara); see 1-2, 10 and 16 above. But according to SR. VI. 1024-1025 they are Mrdanga, Mardala and Muraja. But Mardala is unknown to NS. ; XXXII. 25-35] THE NATYASASTRA 164 25-26. And these have one hundred’ varieties. But I shall now speak of the characteristics of the three Puskaras. For these have no harshness of sound like the remaining instruments. The latter produce no [distinct] notes, for them no [regulated] strokes [are necessary], no distinct syllables are available from them, and they require no Marjana. 27, By [the playing of] Bheri, Pataha, and Bhambha as well as Dundubhi and Dindimas, one desires the depth of sound from their slackness and extensive surface. 28. These are generally to be played with a view to time and occasion [ina play]. But listen about the rules of the three Puskaras. 29, Metres depend on Vasu (?) and are of two kinds, viz. those which relate to notes only, and those which relate to words carrying meaning. 30. Metres relating to words carrying meaning, express many States and Sentiments, and those relating to notes only, depend on various instruments, 31. Seven are the notes in the Vina of the [human] body, and from those have come out the notes of musical instruments. 32. Notes coming out first from the human body go to the wooden Vina and then they go to the Puskara and the solid instruments. 33. Strokes' on them by various movements, are to be known as giving shelter to words. These are always to be applied to the playing of Vina [and] at the time of battles ete.’ 84. In the Vin&i of the human body there should be Vaskarana' (mnemonic patterns) such as jhintu jagati kat (?) together with many Karanas. 35. The notes produced by the singer should be produced by the musical instruments, and these should contain light and heavy syllables showing appropriate Yati and Pani. क (25-26) 1SR. names no less than twentythree varieties. See Ch. VI. (33) ‘'Bahviranair. The reading here is probably corrupt. (34) !This word is probably to be derived from vacaskarana and is similar in meaning to bol used by modern drummers of Northern India. 165 ON COVERED INSTRUMENTS _[xxxut. 36-40 Aspects of Puskaras 36. Ishall speak about the rules of playing Puskaras with reference to Mrdanga, Panava and Dardura. 37-39. Puskara instruments have following aspects : sixteen syllabic sounds (aksara\, four M4rgas, Vilepana, six Karanas, three Yatis, three Layas, three Gatis, three Pracdiras, three Yogas, three Panis, five P4ni-prahata, three Prahdras, three Marjands, eighteen 4६118 and twenty Prakaras. Music of Puskaras should possess all these aspects. 40. Now I shall speak of the sixteen syllabic sounds, K, kh, €, gh, ¢ th,d,[n], t, th, d, dh, [m]',r, 1, and ¢ are the sixteen syllabic sounds. These are the always to be used in the Vaskarana' of the Puskara music. Four Margas'—The four Margas are Alipta, Addita, Gomukha and Vitasta. Vilepana? (plastering) —Plastering of [Savya], Vama and Urdhvaka. Six Karanas'—Ripa, Krta-pratikrta, Pratibheda, Ripa- ५९६9, Ogha and Pratisuska. ° Three Yatis'—Samé, Srotogata, Gopuccha. Three Layas’—quick, medium and slow. Three Gatis’ (Prakrti)—Tattva, Ghana (= Anugata) and Ogha. Three Praciras’—Sama Pr., Visama Pr. and Sama Visama Pracara. Three Samyogas'—Guru Sam., Laghu Sam. and Guru- laghu Samyoga. Three Panis*-—Sama, Avara and Upari Panis. Five Paniprahatas”—Sama-pani, Ardha-pani, Ardhardha pini, Parsva-pani and Pradesini Prahatas. 7 (37-39) 1See 44 ff below. (40) The text gives dh for ¶ and y for m.See SR. VI. 819. 3 See 111.116 and 258-259 below. 2 See 92-93 below. 4 See 94ff below. 5 Ibid. 6 See 118-120 below. 7 See 47ff. below. 8 See 117 below. 9 See 93 below. 10 See 83 below. शय, 41-42] THE NATYASASTRA jes Three Praharas'—controlled, semi-controlled and free, Three Marjanas’—[Mayiri, Ardha-maydri and Karma- ravi]. Kighteen Jatis"—Suddha, Ekariipa, Desinurtipa, Desad- apetartiipa, Paryfiya, Viskambha, Parsni-samasta, Duskara- karand, Urdhvagosthika, Uccitika, Evamvady&i, Mrdanga- panava, Avakirné Ardhavakirna, Samplava and Vidhitta. Twenty Prakaras'' are Citra, Sama, Vibhakta, Chinna, Chinna-viddha, Viddha, Anuviddha, Svaripanugata, Anusrta, Vicyuta, Durga, Avakirna, Ardhavakirna, Ekariipa, Pariksipta, Sacikrta, Samalekha, Citralekha, Sarvasamavaya and Drdha". 41. The sixteen syllabic sounds which have been imen- tioned before applies to Puskaras, such as Panava, Dardura and Mrdanga as well. Productions of Consonant and Vowel sounds in Drums 42. ^, ¢ 1) ¢, th, d, dh are to be produced on the right face and g, fA, and th on the left face of the drums and th on the Urdhvaka and &, r, n, dh, vand lon the Alingya. Now I shall speak about combining vowels with them. A, G, 2, 1, U, it, € at, 0, au, am and ah are the vowels to be added to the consonants. - To k—a, 1, u, €, ० and am can be added to produce ka, ki, ku, ku, ko, and kam. To kh—1, u and o can be added to produce khi, khu and kho.. To g—a, ८ and o can be added to produce gu, ge and go. To gh—a, e and o can be added to produce gha, ghe and gho. To ¢—a, 2, 0 and am can be added to produce éa, fi, to and tam. To th—a, ¢ ० and am can be added to produce tha, thi, tho and tham. To d—a and 0 can be added to produce da and do. Oe a ee E.R | wees eee । 11 See 42 below. 12 See 102ff. below. ` 13 See 130ff. below. 14 See 198ff. below. 16 Later writers like Sarmgadeva include most of the technical terms into the-hastapafas. See SR. VI 819 167 _ ON COVERED INSTRUMENTS [xxxin, 42 [To n—a, 1 and ८ can be added to pro क produce na, ni an 1८.] ota a, 4 1 and ८ can be added to produce respec- tively 14, ta, t2, te and tha, tha, thi and the. To d—a, u, € and 0 can be added to produce de, du, de and do, 10 dha - a, 7, 0 and am can be added to produce dha, dha, dho and dham. 10 r- a, a, 7 and e can be added to produce ra, ra, ri and re. To l—a, a, 1 and ८ can be added to produce Ja, 14, li and Le. Hf and mare applied without any vowel. Among these k, gh, ¢, thand dh has ras their appendage (anubandha) e.g. ghrum, dhra, tre, kram, thra, [dram], dhram. K and / also act as appendages, © g. [klam, kle’. Sounds producable by two hands are made by combining all these. Dham however is produced in Antkika, Mrdanga and two Puskaras by the simultaneous strokes of two hands. Ku is produced by running tho finger (against the sur- face of the drum-face), and dha by controlling it. When it is half-arrested there is tha. ,When the back of the hand strikes it, there is & ; from curving the fingers comos ksa (kh). By the simultaneous striking of Urdhvaka and Vamaka’ by the two hands, there occurs ham, and by striking Alingya with the forefinger kle [is heard]. Some of the sounds are produced from one face [of a drum], some from two faces [of a drum], and some from three faces [of two drums], e.g. r from all faces (1.6. from any single face), 4 dh, from Alingya and Daksina’, g from Vamal-ka] and Urdhvaka for the sake of facilities. Dh is sometimes is to be made from Alingya. There should be no disregard of this rule. So much about the combination of vowels and consonants. Five Hand-strokes Five kinds of hand-stroke (paniprahata) : level-handed (Samapani), half-handed (Ardhapani), quarter-face (Ardhar- dhapani), hand-side (Parsva-pant) and fore-finger (Pradesini). a (42) (42) This is possibly our वाय, 2'This is possibly qur sif¢ Xxx. 43-44] THE NATYASASTRA 168 Now these hand-strokes, according to their application are controlled, semi-controlled or free. Among these m is a stroke with the level-hand and 18 controlled ; g, d and dh are half-controlled and is a stoke with half of the hand. 4, kh, ¢ and d are strokes with the side of a hand and are controlled. ~; th and h are strokes by half of the hand and are semi-controlled. M, th, r, { and ¢ are two-handed strokes and are free. Klam is a stroke of the forefinger and is free. Dram dhram and klam are two-handed strokes with the side of a hand and are free. Klem is a stroke of the half of the hand and is controlled. # is a stroke of the side of a hand and is controlled. Thus one is to make strokes according to their requirement. 43. Sixteen are the sounds coming out of [covered] musical instruments. The wise are to make VAskarana from their combinations. The Four Margas I shall now explain what has been called the four Margas, ‘ 44, The four Margas relating to the strokes of the (covered) musical instruments are Addita, Alipta, Vitasta and Gomukha. The Addita Marga relates to a combination of strokes of Alingya and Mrdanga. The Alipta Marga relates to a combination of the strokes of Vamaka and Urdhvaka. The Vitasta Marga relates to a combination of strokes of Urdhvaka, and the right face of Ankika. And the Gomukha Marga relates to the strokes of all Puskaras mixed up mostly with those of Aliigya. Examples of the Addita M4rga strokes are ghatiam, kat- thita ghatiam ghenta ghattam gatthimam gatthi ghantam gatthi. Now the Alipta Marga—dadhro ma madro mam sta du rpere ghram ghem gn dn (gu) ranandum ghem, prem (ghra) dram ghem dro | mam are the strokes of the Alipta Marga. (ON, (44) The reconstruction this bol and the following ones is tentative These have suffered most in the transmission of the text, 169 ON COVERED INSTRUMENTS (Xxx. 45-47 Aow the Vitasta Marga—takitan takitan sentam kinnanam ghisamketa idu hudy ketam are [the strokes] in Vitasta Marga. [Now the Gomukha Marga] —guddha Kladdham mathikata ghamghena chidukhu khuno gaga tatthi matam are [the stroke] in the Gomukha Marga. H is produced by pressing the fingers, and it is a free [stroke] and the fingers will have to be crossed and half- controlled for this on the Urdhvaka and Anf[kiJka Because 07 the two, the level hand is seen to be used, fT is produced by pressing [the fingers], and it is a freo stroke and [in the Gomukha Mirga] the following [strokes] are also to be made: dhittha tittha dittha kita khadep khaden gudhum du lenta jhatti titthana dhittin hy vadhe. Similarly strokes in the Vitasta Marea should be devoid of those for J, m and + In the Urdhva (?) Marga of the Gomukha, the strokes will be Khatamatthi matta ghanta ghura- khettam khata mam (vudu) na kati kitli kiti mam khu khu nu ddhe dhe dho dho. Now the playing of Gomukha—iha da ghenta na khandu lamghu khe ghata matta cam nu dha [khu Khu] nam 114 ghatam ghiti mam kakku tim nu ghem kiti mam ghe gne ko mo ma. 45. Strokes produced in the Alipta (Marga) can be used in all Margas. Graha of Mrdangas consists of groups of Aksaras (aksara-samghata). 46. I shall give their examples in the four Margas in due order. In the Addita [Marga] they are ghra ghrng ghata shen mattht matthi, madatthi thin mana ghen kran kathi katan. In the Vitasta they are ghaga gemdra taki ta ghy ghrn ghro Kitt ghentan gan dhi kiti kettha tha kuta kita kiri dam. In the Alipta they are do man gudur ghen ghe ghantan ghe gha ta du ma. In the Gomukha they are ghe ghetatthi katan gutta ghen Bheta ghamtan dhi madhi tthiyam ke sa te yhe ga gheno no nam. 47. For its Marga three are the Pracaras of the Puskaras, such as Sama, Visama and Sama-visam’, 22 XXXII. 48-57] THE NATYASASTRA 170 48. Sama should be the Pracara of the Vamaka and the Urdhvaka and of the Vamaka and Savya(ka] in the Addita Marga, and in the Alipta Marga too. 49. In striking the Vamaka, Urdhvaka and Madhyaka, the left hand should be used. And in striking the Savya and Urdhvaka, should be used the right hand in the Visama Pracara. 50. Similarly the two hands should be used in a cross- wise stroke in the Vitasta Marga, and the same is [to be done] in the Visama Pracara. 51. In the rest of the Margas, the Pracira of hands will be according to one’s convenience (svacchanda). In the combination of the Addita and Gomukha Margas, the Prac&ra of the hands should be Sama-visama. 52. In connexion with the Erotic and the Comic Sentiments, the instruments should be played in the Addita Marga. In the Heroic, the Marvellous and the Furious Sentiments, they should be played in the Vitasta Marga. 53., The playing of the instruments in the Pathetic Sentiment should be in the Alipta Marga, and in the Odious and the Terrible Sentiments this should be in the Gomukha Marga. 54, Instruments should be played in connexion with a dance to suit the Sentiments and the States and the Sattva [of characters] and their gestures, mode of walking and the location [of the scene]. Playing of Dardura and Panava 55. This rule of strokes according to the traditional way, should be followed by the wise. I shall speak hereafter of the playing of Dardura and Panava, 56. This playing of drums is of three kinds : Ativadita, ` Anuvadya and Samavadita. Among these, the Ativadita is the playing of Puskara before [a performance]. 57. When the playing of Mrdangas follow a per- formance, it is Anuvadya, 171 ON COVERED INSTRUMENTS [xxxim, 58-66 When the Mrdangas are played simultaneously with a performance, it 18 Samavadita. 58, The syllabic sounds such as ¢ kh, g, pn [dh] rv an pr, h, nad brhulan dhra hu lam are to be used in playing a Panava. And kiri ghintam tho tho no dho ir hulam kiri ghintam no no na ntam co ktri kirt kanda mata mata tthi te te te donnam is the music of Panava. 59, The experts should produce in striking loosely and tightly Panava, the different Karanas by means of the tip of the little and the ring fingers. 60. The syllabic sounds for colouring Karanas should be produced by the little and the ring fingers. In producing the remaining sounds, there should be strokes by other fingers, 61. The playing with the Kona and the ring finger, should begin with the middle finger. The playing with the Kona and the ring finger should be a simple (Suddha) stroke, ° 62, From playing in irregular Karana, comes /rikulaham which is the begining of the irregular playing. Jt continues as ribhata 88 Karana and Anubandha, and to it 18 added a double tra, 63. In the Anubandha of the mixed Karana, dre is produced by striking with the raised hand. ‘This is to be specially done by the best player of drums. 64. Notes which are charming due to their being in the various Karanas, are to be produced by the tip of the little finger. By that very finger should be produeed the strokes a ni ni ¢. Playing of Panava 65, This should be done by the tip of the little finger in a loosely trimmed drum. By tightly trimmed Panava should be produced dhattvo dvana a 66. In the tightly and loosely trimmed Pans vas strokes ka tha na tant na are produced. Similaply irregular क्ण, 67-76] THE NATYASASTRA 179 Karanas are not produced in the Panava which is tightly or loosely trimmed. 67. In the tightly trimmed Panava there can _ be strokes like khakhanana ™= * #* In the loosely trimmed Panava there should always the strokes like (८ tha. 68. In the trimmed Panava ¢, kh and ta strokes should be produced. (‘The strokes] should be combined with irregular Karanas, 69. It 18 possible to create a resonance of ¢ ina tightly trimmed Panava. In the same way dn including n is also possible. 70. This stroke is to be made on the face of the drum held obliquely. The stroke will sound as kahulam krakhulam * * krakhulam. 71. This in brief is the regular playing of Panava described by me. Playing of Dardura I shall now similarly speak of the syllabic strokes of the Dardura. ; 72. The free strokes in Dardura should include rakti trikalas klecadro gauno hathipa, and thananna. 73. One should make there [strokes to produce] enanaksara gradha * * * by one’s right hand, and to produce go matiha by touching Dardura by the tip of the left hand. i 74. Strokes giving muktolla * * should be produced by two * * controlled hands, and the sounds being pressed after seizing {the drum] by freely holding it. 75. Thitthen tra should be produced by pressing [the hand] in the usual manner. Sounds produced freely will be special ones, while those produced by arresting the stroke will be [half] free and half checked. 76. The sound will be wrongly produced if they are too swiftly done or done in quick succession. These in brief , 016 to be known of the strokes on Dardura. गैः नैः 3 ON COVERED INSTRUMENTS [xxx 77-89 Ti, These are the pure strokes not mixed up with strokes of drums of other types. I shall now speak of the combined playing of Dardura, Panava and Mrdanga. Playing together the three Puskaras 78. In the mixed playing of instruments some Karanas are distinctly expressed while some Karanas are produced simultaneously or some serially. 79-80. In such mixed playing, individual strokes like ng and r and dhenka kattham troikho kehulam takita in the Mrdangas, dang syen dren kahutam matam in Panava and tham- matatthi dam kahutam matatthi den nen in Dardura are to be made. 81. The [Karanas] other than these are to be always mixed in production, those mentioned previously are also to ba mixed up according to necessity. 82. Now in the Panava simultaneously produced Karanas are kahatém nnannam khu khu knne khe dromo donam the tho rihidr. | 83. The best player should gradually produce such Karanas as ta ta ta te ghonanana kirint, * * kina. 84. In the Anubandha of Panava, the Karanas should be nnu khu khu na, and players of Mrdanga and Dardura should play the Krtapratikrta. 85. Those [Karanas] which are to be produced (lit. made) in Muraja at the time of walking and other move- ments [0 different characters in a play], should also be followed in all its syllables in the playing of Panava. 86. Experts should not have any playing of [drums] in the Citra Marga at in the time of walking and other movements. When the setting of feet is not perceptible, [the playing] at that time should be Sama-visama. 87, The Uparipani [hand] should be freely used in playing Panava and Mrdanga. Playing of Mrdanga (?) should be made by similar strokes. 88-89. Generally Panava should be taken up for play~ ing before all other instruments. अशा, 90-92] THE NATYASASTRA 174 I shall now speak of the strokes of Dardura, which are dasa senia tetietsade vede revitanritamath. After making these two free, and then stopping, one should make strokes like nannare. 90. And then one should make strokes bhredhi kithi by the right hand and gudathim klam by the left hand. And then the tips of the hand making ¢atvavrstha, the two hands should be checked after striking tam. 91. And [the stroke] takam should indicate the rest of the Karananubandha. Karanas of three Puskaras These are the strokes in Dardura, I shall next speak of the (six) Karanas. 92. The six Karanas are Ripa, Krta-pratikrta, Prati- bheda, Ripasesa, Pratiguska and Ogha. Ripa —when Karanas are produced by two hands. Ex. gham khu khu na khu gham kramam tthimam tthettaram ghatam ghatthi mettht ghenta kata guddharana kitt gham ghe kaghatam ghe kakham. Krtapratikrta—when one Karana originates from the three Puskaras. Ex. tham ghu khu na khutham kramamtht vaggem raghatam ghatatiht gham tsam idu ghe kuhulannam do dno na. Pratibheda—when after the two Karanas of Mrdangas have been made simultaneously, the [playing] takes to Upari Karana. Ex. dho dho 116 kho tala na na ith tadht ghandam. Riipasesa—the want of distinction of Karanas. Ex. khu khu no nna mataghem ghendamatr ghota mathi alyam ghom. PratigSuska—the harmony amongst the players of Mrdanga, Panava and Dardura. Ex. ghatamata ithi duna ther jakitt keghin ghon gghendagnona kho kho kha kutr kitr vakatthi nanatidt. Ogha or Catuska-—the playing of all the instruments in slow tempo to produce sonant syllables. Ex. tham kitt mam rhi hi kiti ghin ghandanam ghonda ghona ghonr ghata ghata ghata _— ghen gham ghz virint nr ge ham tho tathan ghe. 175 ON COVERED INSTRUMENTS __[xxxnr. 93-102 93. Combination of Karanas are of six kinds, The wise should use Karanas according to this rule. Three Yatis The three Yatis are Sama, Srotogaté and Gopnechi. The Yati is the three ways of combining tempo and Pani. It is of three varieties, such as Raddha, Viddha and ayyagata. The three teinpos are quick, medium and slow. The three Panis are Sama Pani, Ardha Pani and Upari Pini, the three ways of combining the Karanas. 91. When in a performance the Yati is Sama, the tempo is quick and there is Upari Pani, then it is the Raddha playing (lit. rule). 95. Similarly when the playing of instruments 18 given prominence and there is Upari Pani, Sama Yati and the medium tempo, then it is called the Raddha playing (vadya). 96. When the Yati 18 Srotogata, the tempo is medium and there is Sama Pani, the playing is called Viddha, 97, The playing of music is called Viddha when in case characters of superior or middling type, its prccedure is Vartika or Daksina. 98. When there is Ardha Pani stroke, slow tempo, and the Gopuccha Yati, it is called Sayyagata playing. 99. When the singing is given prominence and procedure is Daksina the playing of atyukta (?) instruments is called Sayyagata. 100, Their standard arises from the slow tempo ete. In other Panis, Kalas are to be reduced. 101, The Yati, Pani and the tempo in connection with the playing of instruments, should be observed according to one’s liking, afrer considering the [special] performance of plays. + The Three Marjanas 102. The three Marjands are M&ytri, Ardba-maytiri and KarmSravi ‘hese three Marjanis are known to 16.26 to notes of Puskaras. xxx. 103-113] THE NATYASASTRA 176 108. Notes in the क्तात Marjana' are Gandhara in the Vimaka, and Sadja in the Daksina Puskara and Madhyama in the Urdhavaka. 104. Notes in the Ardha-mayiri are Sadja in the . Vamaka Puskara, Rsabha in the Daksina, and Dhaivati in the Urdhavaka. 105. - Notes in the Karm&ravi are Rsabha in the Vamaka Puskara, Sadja in the Daksina Puskara and Pancama in the Urdhavaka. 106. On having M4rjana in Aliigya one should provide for Nisada which is assonant to the notes [mentioned above] and which is a note of Jatis. 107. The Mayiri Marjana will be in the Madhyama Grima, the Ardha-(Mayiiri) in the Sadja Grama, and the Karmaravi in the Gandhara Grama, and these will include Over-lapping notes, 108. Notes which include regular Srutis, are fixed. These relate to the Marjanas, and the remaining ones are considered transitory (samcar7) 109. By the Vamaka and the Urdhvaka, accessory notes should be produced :by their plastering which will give them slackness or tenseness. Similar treatment should be given to the Alingya and the Ankika. 110. Players [of drums] should by their slackness and tenseness a8 well as piercing (?) of hides, produce notes of these kinds, Earth for tre Marjana of Vamaka and Urdhvaka 111. This Marjané of the Vamaka and the Urdhvaka should be done by means of earth. Now listen about the characteristics of the earth [suitable for this purpose]. 112-113. The earth which contains no gravel, sand, grass and husks of grains, and which does not stick and not which is white, alkaline, pungent, yellow, black, sour or bitter, is suitable for plastering, and with it one should make Marjana. el age IAL, eee (103) Kalidasa gives a description of this in Malavi I. 24. 177 ON COVERED INSTRUMENTS [xxxun 114-119 114. The blackish earth from a river-bank, which is fine after giving out water, should be used for Marjani. 115-116. When the earth which spreads very much, is white or black or heavy or unstable or is full of husks, and the blackish earth not producing desirable notes, are only available, then one should use wheat flour or barley flour for this purpose. Sometimes a mixture of wheat flour and barley flour’ is also used. 117. One defect of this (1, 6, the mixture) is that it will create a monotonous sound. Thus the blackish earth applied for the Marjana, will produce proper notes. Three Samyogas O the best of Brahmins, I shall now speak of the three Samyogas. The three Samyogas are Guru-saiicaya, Laghu-saiicaya and Guru-laghu-sajicaya. The Guru-saiicaya—in heavy syllables, slow tempo and Ogha-pravrtti, 6, g. gheto ketam candram khetam dvam dvam khetam dhvam doam doam draghetam battam khettam. The Laghu-saiicaya —light syllables and quick tempo 6. £. ghata mata mata ghata matthi ghatu ghatu ghatu The Guru-laghu-sancaya—light syllables [with heavy ones], quick tempo, e. g. ghala vimathi mathitham kitam gha gamgha mothtkam taddham kata thim karasthi maghave. Three Gatas The three Gatas'—'T'attva, Anugata? and Ogha. 118. In the Tattva playing [of drums] there should be strokes similar to [recognised] syllables, distinctly expressing words and syllables, conforming to the metre [of songs), and well-divided in Karanas. 119. The Anugata playing {of drums], should begin with the Sama Pani or the Avara Pani, and it should hav. Ce ae, ०० ( 115-116) 1Wheat flour is still used for the Marjana of drums like Pakhoaj. (117) 'Gata was also known as Prakrti. See C. 107. 2It was also called Ghana. See 40 above. 98 Xxx. 120-129] THE NATYASASTRA 178 Karanas produced by distinct strokes, and it should follow the song. 120. The Anugata playing [of drums] should begin with Upari Pani and it should not rest on one Karana [only]; it should have quick tempo; its Karanas should be Aviddha and it should be used extensively. Kight Conformities 121. All playing of drums should have eight Confor- mities (samya). e.g. in syllables, limbs, Tala, tempo, Yati, Graha, Nydsopanyasa and Pani. 122. The playing which follows the metre consisting of short and long syllables shows Conformity in syllables. 123. The playing which follows the song equally in the three limbs in its beginning (graha), end (moksa), and in its Kalas and Antara Kalas, shows Conformity in limbs. 124. The playing which by its measure of Kalas and time, equals the body of the song, shows Conformity in (दि. 125. The playing which follows the song equally in its performance in slow, medium and quick tempos, shows Conformity of Laya (tempo). | 126. When the playing follows Sama, Srotogatéa and Gopucché Yati of songs, it is an instance of Conformity in Yati. | | 127. The Graha of similar Srutis by stringed, and covered instruments and flutes along with the songs, is an instance of Conformity in Graha. 128. Playing of flutes and 7788 in such a way that the notes in their Nyésa and Apanyasa may agree to that of the song, is an instance of Conformity in Nyasa and Apanyasa. 129. When the Samapini, Avapini and Uparipani playing of instruments follow the song, it is an instance of Conformity in P4ni. Eighteen Jatis I shall now] explain what has been called the Jatis. They are Suddha, Ekaripa, Desanuriips, Desad-apetarti pa, 179 ON COVERED INSTRUMENTS [xxx 130-141 Paryaya, Viskambha, Paryasta, Samrambha, Parsni-samasta Duskara-karana, Urdlhva-gosthika, Ucecitiki Hivanrvadya Mridanga-panava, Avakirna, Ardhavakirna, Samplava and, Vidhtta. I shall describe their characteristics and examples, 130. The playing [of drums] which consists of Karanas of one or of two syllables, and which is fit to be used in all movements (lit. work), is called Suddha 131. The Jati consisting of kho kho kham kham kham kham is called Suddha ; it is the Jati [for the action] of the middling and superior women, 132. When one plays separately Gomukha 17 the Addita, Alipta or Vitasta Marga, it is called Ekaripa. 133. ‘The playing which produces syllables of the Addita Marga such as dron ghon don ghon gheghen is also Ekariipa ; it is to be used in case of songs of male singers. 134. This Jati (i.e. Kkaripa) should be used in caso of all characters while the Dhruva is sung ina slow or quick tempo, and it may also be used after one has judged [properly] the place, time and conditjon [of characters] in case of Dhruvas sting in a medium tempo. . 135. When all other instruments follow one Karana in pursuance of the playing of Mrdanga, it is called Kkaripa. 136. The Desganuripa Jati played in the Addita Marga, is used in the Hrotic Sentiment involving the onjoyment of love (आका). It should be performed in a slow tempo. 137. Mi mathi thamabhii tthi kima will be the syllables in Degdnuripi Jati, It is to be used in the best Erotic Sentiment of women. 138. Desid-apetaripa JAtiis played in Vamaka and Urdhvaka in a quick tempo of Avakrstaé Dhruvas. It is to be used in the Pathetic Sentiment. Ex. Ghedran ghedran ghe gheru are the syllables in the Desid-apetariip’ J&ti in playing [drums]. 140-141. When the same. set of Karanas played previously are followed in all three tempos, it 18 the Parviya Jati. Ex. ghodan ghidin gudugnoi played in the Vamaka and , अशा, 142-151] THE NATYASASTRA 180 Urdhvaka by the left hand should be applied in the Heroic, Marvellous and Furious Sentiments, 142-143. Two heavy syllables, two light syllables, one light syllable, three heavy syllables, and a light syllable such as sin man ghata ghendra gu du ghen ghen ghama tthi metchap constitute Viskambhi Jati. It is to be applied in the Krotic Sentiment of superior women. 144. Playing of drums n all Margas with Karanas of one syllable, and with the Sama Pracara of hands, is called the Paryasta Jati. 145. Paryasté is to used in the case of the quick movement of chariots, 1114045, Vidyadharas, Bhujangas (serpents) etc.in the sky, or in torrential rains. 145. Paryasté य 811 which should be used n the move- ment of slow tempo in the Erotic Sentiment of superior characters ; it should also be used in the case of inferior characters. 146. Ghen tan ghohnam should constitute the Samrambha Jati to be applied in case of inferior women. 147. The Jati which has Karanas of Ardhapini, and and medium tempo in the beginning, and quick tempo in the end, is called Samrambha. 148. Kx. Magatham kuyu thakim. Parsni-samasta Jati should be played on the face of Urdhvankika and Daksina by quick strokes in the Vitasta Marga, and it is to be applied in movements of 70016 and Comic Sentiments, , 149. Parsni-samasté Jati should be played with Karanas tatthim katam mamcchi and dhandran gudhen gu dhitan, with the pressure of the Parsni. This is to be applied to the movement of superior male character of calm type, and of the Danavas. 150. By striking of all the Mrdangas with the movement of Svastika hands, one should play the Duskara- karana Jati in all their tempos. 181. Duskara-karana Jati should include syllables like duna duno dyna kimka dhima ghon ghoten madatthidugakiti ghon. VN GVUVERED INSTRUMENTS [xxx 152-165 152. Duskara-karana Jati should be applied in case of movements of Daitya kings, chiefs, Nagas (bhujaga), Raksasas, Pisacas, Gandharvas, and Guhyakas, ete, 163. Light strokes on the face of Urdhvaka, Ankika and Daksina in the Vitasta Marga or striking of Daksinaka and Vamaka atter beginning with Ankika and Urdhvaka [will constitute Urdhva-gosthika.] 154. Playing almost violently udhidhrn dhrn in the Vitasta Marga will constitute Urdhva-gosthika Jati. It is meant for the movement of heavenly characters. 155. The playing which includes al] the Margas connected in an imperceptible chain, is called Uccitika Jati, 156. This Jati includes syllables like kentakennangaditam and is to be applied in the natural movement of kings, 101. The Kvam-vidya Jati should be played with syllables of the Gomukhi, and it should have all the strokes of Mrdanga; and it should be applied in the pantomime of jugglary by persons with or without disguise, and it should include the syllables like ghentantado tadhita ghen ghen ghatatth ghata inghe. 159, This should be applied in case of the movement of dwarfs, confused persons and lame men and those who have pain in their body and wound in their feet, 160. (The playing of drums] in which there 18 striking of the earth in different sections (parva) [of Karanas] is the Jati which suits all stages (majica). 161-162. It includes syllables such as ghrom ghrom tem tem and this Jati is to be applied to women’s movements. Avakirna Jati is the playing of Mrdanga with three fold Karanas, And when the same is added to the playing of Dardura and Panava, it is called Ardhavakirna, Jiti. 163. This Ardhavakirna Jati should consist of kentam hentam kentam played in the Gomukha Marga. 164-165. Dardura, Panava and Mrdanga should be played by halves (?) the manner of the Ardhavakirni Jati and with light syllables included in the suitable Margu, and शशया, 166-175] THE NATYASASTRA 182 it should consist of syllables like than goda ghendaa sendram. This called the Samplava 4891. 166. The Samplava J&ti produced by using all the fingers and by all the strokes of Mrdanga, is to be applied to movement of terrified persons and to any movement of them in the sky. 167. The Vidhita Jat produced with various charm- ing (divya) Karanas and strokes of Mrdangas, is to be applied in case of natural movement of superior persons. 168. It should consist of syllables like darige gudughin tittht klama tottht kanam kukram. 169. These are the Jatis to be known by the wise for application in the walk and other movements. 1111086 which are not mentioned here, should be taken from the people and with a view to their meaning. Playing of drums in three Gatas 170. Wise men should play [drum] according to their rules specially in walks and other movements [of characters] in the ten’kinds of play (dasariipa). 171. Tattva, Anugata and Ogha playing [of drums] is desired in the [songs of] seven kinds and the Asarita metre. 172. One who desires unision [of the two] should play drums with heavy and small number of syllables at the time of songs [indicating] walks and other movements, 173. Tattva and sometimes Ogha too, should be applied in case of king, for these are natural to their charming conditions. _ 174. Tattva should be applied to the first song, Anugata to the second and Ogha should be the playing of drum at the tims of walking and other movements, Playing of drums in Dhruvas 175. In case of remaining Dhruvas, one should have various [manner playing drums] according to one’s liking. In case of the Sthitavakrst4 Dhruva the playing should be of the Anngata kind. 183 ON COVERED INSTRUMENTS (xxx. 176-186 176. In ase of the Pravesiki Dhruva [the playing] should be Anugata. In the Naiskramiki and Antari Dhruva the playing should have all the three tempos (/aya). 177. The Prasadiki Dhruva should have quick tempo, and Dhruvas [in general] will be of five types. This will be the playing [of drums] in the Prakaranas. 118. Experts should observe through playing of drums the Matras and divisions in the pada of Dbruvas at the time of walking and other movements. 179. The producers should thus apply the playing [of drums] at the time of walking and other movements. How to begin the playing of drums I shall now speak of the manner of beginning the play- ing of drums. 180. According to some this should begin with Samy and ‘l'ala, and according to others with the middle finger ; some say that it should begin with the empty space (26444) and others with the fore-finger. 18)-181. The Samya will always be the Graha in the Daksina drum, and in the Yama and the Urdhvaka [drum] the Graha will be Tala, and in the Alingya it [the Graha] will always by the fore-finger. 182-183. In the exit (iskrama) the Graha may also be from Akasa. ‘The Asarita songs will always have the 59708 Graha and the two Talas growing from the limbs of Dhruvis, and * * * * will have the fore-finger as its Graha, And the Graha of the Sirsaka will, be by the fore-finger. 184. he Graha of the Natkuta and the Addita as well as of Prasddiki will be Sannipata, and it will consist of [divisions of] one Kal. {85. The Akasa Graha consists of four divisions of two Kalas. Its songs will be composed of limbs suiting it in due order. 186. These are the Grahas relating to the drums (lit. instruments), to be known by the wise. 1 shall next speak of the playing of these in dances of energetic and of delicate types. ` अभा. 187-195] THE NATYASASTRA 184 187. One Parivarta (performance) of the song should be without any accompaniment of instruments. At the end of this the Graha should be the Sannipata in playing instrument. 188. Or, for the embellishment of dances there should be change of limbs [of the performance], And the change of the tempo of the song should be made. 189. When a limb [of the performance] requires the use of gestures, there should be no playing of music (i.e. drum). But when there is dance consisting of Angahdras then there should be music [to accompany it]. 190. When due to the manner of its performance a limb is repeated again and again, then first it should be accompanied by gestures, and finally it should be connected with dance. 191. The playing of drums (lit. instruments) should be similar in metre to that of the songs. The movement of limbs should be made in conformity to the measures of songs and of instrumental music. 192, The playing [of drums] in the Mukha and Upava- hana (=Upohana) should consist of heavy syllables along with light ones, and this should be loud (prakrsta) in [the production of such] syllables (varna). 193. The playing of drums along with songs in a slow tempo should be by mild strokes, with that in a medium tempo with strokes sufficient to produce the syllables (lit. equal to syllables) and in all these the Uparipini should be observed. | 194. In the Class Dance (tandava), the playing [of drums] by those who know [properly] about the tempo, should be harmonious (sama), pleasing (rakta), divided [into Kalas}, distinct (sphuta), produced by simple (lit. pure) strokes and accompanying the [various] limbs of the performance (lit. dance). 195. [7 performances including dance, the ‘Tattva followed by Anugata should be played in drums, while in performances without any dance, the Tattva should be followed _ by Ogha. . 185 ON COVERED INSTRUMENTS _ [xxxm. 196-204 196. [The drum] should be played [on these occasions] in slow, medium or quick tempo as in the case of a song, and the same should bathe method [of playing drums] in the performance of Padas and dance with Angahdras. 197. Rules regarding Padas and syllables which apply in case of songs aud playing of instruments, should be observed in dance with Angaharas in connection with dramatic performances, Twenty Prakaras and their application 198. These are the eighteen Jatis relating to drums. I shall now speak of Prakaras connected with them. Now the Prakaras are Citra, Sama, Vibhakta, Chinna, Chinnaviddha, [Viddha], Anuviddha, Svariipanugata, Anusrta, [Anusrta- vicyuta], Durga, Avakirna, Ardhavakirna, Ekaripa, Pariksipte, Sacikrta, Sama-lekha, Citra-lokha, Sarva-samavaya and Drdha, 199. The playing which is performed with various Karanas' such as Nirvartita etc., by many kinds of hands, and which has the three tempos and the three Panis, is called Citra. । | 200. Dardara, Panava and .Mrdanga aro played with various Karanas, and this playing combined with Tala, limbs and flutes is called Sama. | 201. When the playing is not very broad in position, and it observes equally syllables, Pani and tempo in its divided Karanas, it is Vibhakta. 209. The playing [of drums] in a quick tempo suddenly stopping when all other instruments are separately played, is called Chinna 203. The playing in which the Mrdangas are taken up with Avapini and the Panava with Upari Pani, is called Chinna-viddha. 204. When Panavas are played with the Karanas used for Mrdangas, and such Karanas are the various Sici-vedhas’, the playing is called Viddha. (199) 18९6 92 nbove. (204) ‘This term does not appear elsewhere. 24 XXXII, 205-217] THE NATYASASTRA 186 205. The playing which is iniermixed with Viddha and is seen in connection with all the instruments, is called Anuviddha, because of the mutual Anuvedha', 206. When the playing has a simple nature and is done by Sama P4ni, and follows its own [fixed] pattern, it is called Svariipa. 207. When the Panava follows the Muraja, and the Dardara follows the Panava, the playing is called Svariipanugata. 208. When after following these instruments, they attain the same tempo and are heard simultaneously with these, it is called Anusrta. 209. When the playing of a drum following another instrument in its own Jati, passes into another J&ti, it is called Anusrta-vicyuta. 210, The playing which being irregular in its move- ment, develops all the Ma4rgas’ and is done with undivided syllables, is called Durga. 211. When Mrdangas are played together with Panavas in many and various Karanas, the playing is called Avakirna, : 212. When-a Panava ora Dardara is played in quick tempo and with Avapani, the playing is called Ardhava- kirna. 213. When the playing of all the instruments follow one Karana, it is called Ekaripa. 214, When the playing in a low sound of Mrdanga with undivided syllables, 1s covered with that of Panava, it is called Pariksipta. 215. When various Karanas are played in one instru- ment to follow a dance with Angah4ras, it is called Sacikrta. 216. When a Panava and a Muraja after being played first, take up (lit. looks up) the Murajas, the playing is called Samullekha. 217. When different instruments with Mrdanga and (205) This passage is not quite clear, (210) ९8८८ above 44ff, 184 ON COVERED INSTRUMENTS [xxxm. 218-291 Panava etc, are played together j tou „+ ; 10 play gether in various ways, then it 18 218, The playing which follows all the Margas, adopts all the Panis and Layas, is various, and is well-divided [in their syllables], is called Sarva-samavaya. 219. The playing which is in a medium tempo, har- monious, and has clearly produced syllables and is fit to accompany movements, is called Drdha. 220. These different Prakayas of the playing of drums, should be taken up to follow movements and songs, after considering the Sentiments and the States involved. 221. Prakaras and Jatis apply to all Margas. But in movements they are to be in their pure forms, Seating of the Musicians I shall now speak about their application. [The members of] the Orchestra (kutapa) should be seated on the stage with their face to the east. The Orchestra should be placed between the two doors of the tiring room mentioned before. The player of a Muraja (Mrdanga) should face the stage ; to his right should sit the player of a Panava, and to his left the player of a Dardara. Here the Orchestra relates first to the players of covered instruments. Among them a male singer will face the north, to his left will be the Vina- player and to his right the two flute-players. Anda female singer will face the male singer. So much about tho seating the Orchestra. The Tri-Sama Now, the players of the Mrdanga, Panava and Dardara, male and female singers, players of flute and Vina being seated, and strings of stringed instruments being tightened, controlled and sounded with relation to proper Grama, Raga and Miirchana, and the Mrdanga being struck in quick succes- sion by pressed (nipidita), arrested (nigrhita) half-arreste: (ardha-nigrhita), and free (mukta) strokes, the players placing their hands on the best Dardaras, should first of all observe the ceremony of the Tri-S4ma for the purpose of welcom- ing the gods and bidding them farewell. श्ण, 222-296] THE NATYASASTRA 188 By means of the first SAman arising from the mouth of Brahman who creates, stabilizes and destroys all the living and non-living 0016008", he (ie. the singer) pleases very much the moon on the left, the serpents on the right, and the creatures of water who are between these two. By the second Saiman he pleases the Munis (sages) and by the wide and great third 88181) the gods [in general]. 222. As one thus pleases in due order the gods [by the three 8118118 |, so the wise are to know them as the Trisama. , 223. As one thus takes shelter with Brahman, Kesava and Siva, so it is called the T'ri-sima by the sages. 224. As [the syllable] Om is pronounced in the beginning of the four Vedas, so the T'ri-sima is sung [in the beginning] of all the songs. 225. This T'ri-sima is to observe three Prakdras, three tempos, the Addité Marga, and a division of six or three Kalas [in its accompaniment by drums]. 226. Its syllables should be of three kinds including heavy and light ones, and its au(=aand ४), and m should be uttered thrice with the triads. At the end of this (i.e. Triséma), after following the procedure of the Preliminaries, one should perform the Bahir-gitas in three tempos with the drumming which will follow the song in its metre and syllables. At the application of the Asarita song, one should perform the drumming of the Tattva and Anugata Prakrti. When after the Trisima the Pratyahara etc, have reached their end, then the drumming is to begin. There one should first of all play all the drums in the following order: the Vamake and Urdhvaka should be struck first, then the Alingyaka with the Gopuccha Yati, and playing of the Vipaiici should be performed afterwards. [If you ask] why, [the answer is] that the drums played first will give rise to Success. (221) ‘Description of Brahman possessing himself all the separate functions of the Hindu Trinity, is probably to be met with in no other , work, . 189 ON COVERED INSTRUMEN''S [xxxim, 227 The Performance of the Dhruva is first indicated by drums. Then proceeds in the auditorium full of women and common people, the music which is capable of creating their interest. Different Tastes of Listeners 227. Masters [of the musical art] like a harmonius closure (sama’, the scholars distinct [enunciation of] words (pada) of the song, the women a sweetness [of voice in singers] and the rest [of the audience] a full-throated singing (lit. crying aloud). Variety of Drumming to suit Occasions At the conclusion of this [playing of drums], the experts in the Mrdanga should produce in their instruments, mostly by the touch of their fingers, a music which will consist of a collection of light Varnas, and which will relate to the Tancava, at the time of female dancer’s appearance [onthe stage]. ‘She song relating to the appearance of the famale dancer being finished, the Sannipatas should be taken up. [In connection with them] a music related ito the Karanas conforming to the Angaharas ofthe Lasya dance, should 8 combined with the Karana Dhitu. Hence there is the saying samam raktam. | Next, at the start of the performance music should be played in relation to the Karana of the Alipta Marga. 1४ should be performed by striking the Vamaka and the Urdhvaka, and will be as follows ; dheg mati dhan matha dhen dhiti (it sam kram kram khoka ne devyam kentam kut ghen. The change after these two [kinds of playing] will be to that of pure Jati in the four Margas consisting of kho hho nam kho kho nam kho kho khona’ After their stoppage there should be kho kho do kho kha ke nam gha gha gha tagham in setting the veuter foot’. Just as there should be playing of kondukhon at the time of entering of the Caturthakara.’ This should be played mostly by running fingers [on the drums]. ET SO SOS (227) ‘See V. 99-100. 2See V. 101-104. xxx] THE NATYASASTRA 190 In the Utthapana of the Vastu and in the Apakrsta Cari there, the playing should begin with gheghentam ghen no ghakhanadonam gho ghagheghaghe. In the Suskapakrsté Dhruva of the Nandi, the playing should be in the Pratiguska Karana and should have Tho gho tho khe kha ghogheghen nadabhyan khoddho kutam kha khe khena kasu guka ghen nokhi khen tan khen nam kitt kiti ghaghen ghe katuka ghudu kamla volakho kho kho kho vaghnu tetam malim nammam kiti vatthi. One should take to Sannipata of the Addita Marga, when the Cari accompanying the recitation of the Jarjara- sloka’, is performed during the ceremonies of the Rangadvira*, And in the Mahacari' [connected with this] there should be playing of drums in the Vitasta Marga, and the Graha therein should be by the forefinger. Similarly during the Preli- minaries an extraordinary playing of drums suited to Tandava (Class dance) has been recommended, and it should have Sannipata Graha and should be played by the left hand [with the following syllables]: Aho kho nam do do dokah mokah dahena natha tho no gho gha tamata thigham gho gho katha kata jham kho khokhita kata katam ghata kamatthi gho gho milht nam kiti kinam khakavalam. Next an example of playing of the Alipta Marga should be given. The playing in the Vitasta Marga should have its Graha with the forefinger: It is as follows: nana kho ka nano madhunam kho {:ho mathi iakitam tavitam kinti kitam kiti kinto kho kho matita matthi tramati ttkitti kentam drentam nata kentam taghitandram krntam dram drantam kinnam kinnam kentam mudram ghren ghren klen ghram ghram dragram ghadre dram ghendram ghendram ghane klen From the time of tossing the curtain, there should be the playing of drums, during the Caturasra Preliminaries, for the success of the performance. In the Tryasra Preli- 2See V. 118-119. 3See V. 116-118, 4See $, [27ff, 191 ON COVERED INSTRUMENTS _ [xxxm. 228-231 minaries there should be the same playing without any interval of time.” I shall also give directions about the playing of drums suitable at the time of walking and other movements of the four Heroes® Dhirodatta, Dhiroddhata, Dhiralalita and Dhiraprasinta, in different plays like Nataka. During the movements of gods, the playing should include bram, dhram dhram dhradram. During that of kings it should have ghemtam, and in case of middling men the playing should include dhram klam dhatu ghen ghet tittht duna, kiti dram nam nam dhradram. Now I shall speak about the playing of drums in the Sthita [Dhruva]. 228. At that time, steps [of dance] should conform to rhythm consisting of three Kalas, two Kalas or of one Kala. And the song should conform to drums, Now I shall speak of the playing of drums in different conditions [of characters in a play]. In their quick walking, the playing should include vam vam ghe ghe tam, and it should be performed by the unequal strokes by fingers. These have been written properly while discussing the . movement of fingers. Again I shall describe the rules regarding the playing of drums. | 229. In walking and other movements the experts should provide for playing of drums with Talas’ of three or four Kalas, after considering the tempo and manner of walking [of characters concerned]. 3 280. In the playing of drums there should be no pause of one Kalai or of two Kalas between the Dhruvas. Hence the movements should be in unision with the playing of drums and not with the songs. 231. In quick walking, the Pata [of Tala] should be as described in case of walking and other movements. Strokes like dhran dhran ghen ghen should mostly be made in this playing. See above V. 148 ०8०८ XXXIV 18-20, (229) See above XXXI, on TAlas. अभश्ा, 232] THE NATYASASTRA 192 232. In case of movements of boats, chariots and aerial cars, birds, moving heavenly bodies, the playing of drums should be by running the fingers [on the face of drums] or by striking in the Catuska by the two hands alternatively. In case of sorrow, suffering illness, curse, death of dear ones, loss of wealth, killing, imprisonment, vow, austerity and fasting etc, the playing drums in Utth4pana should ba according to the Alipta Marga mentioned before. In caso of walking of Daityas, Danavas, Yaksas, Raksasas and Grahas the playing of drums should include Karanas such as drn dhrn khada together with gha tn tn tanta tetodram. In case of dancing movements the playing of drums should include ghetam katakam In case of walking of Yatis, Munis, Pasupatas and Sakyas the playing of drums should include do kho dvitoikhi duguvoo klanado dhanti kitiki. : And in the walking of old Srotriyas, Kaficukins and cor- pulent persons, the playing should include dhram dhrom dhram dron dhin dronam kho kho na. In case of movements of elephants, horses, asses, camels chariots and aerial cars, the playing should include vamkitt In case of superior, middling and inferior men, the playing of drums should be performed after a consideration of Sentiments and States in this world. So much about the playing of drums in case of males. I shall now.describe that in case of females. ‘T'he playing in case of superior females who are goddesses, will include mostly vamgali kipi dhmeta prathi ghe. And in case of queens it should include mostly katht katht mathi do do khu khu. In case of Brahmin women it should have cam huitti, kitthi ghata mata thi ghe. In case of middling women who are courtezans, female artisans and actresses, the playing should include gha khu khu ghikita mattht kina tonam gho. For inferior women the playing should include marathi kule kedu khukhi khi mostly. So much in bréef about the playing in case of females. 193 ON COVERED INSTRUMENTS (प्ता, 233-235 In their special conditions, playing in similar conditions of males, should be performed. And from these the general Vibhavas like fear, suffering, sorrow, anger etc. arise. Here also, there should be playing of drums in proper M4rgas which relate to Sentiments and States. 233, Moreover a person who plays drums after observing proper Jati, Marga and Prakdra in suitable Karanas and syllables, is the best player, . Now the interval-playings are Anuvaddha, Vipraharika Siddhi-grahana and Paricchinna. Ex. of the Anuvaddha playing is kho khe ne khe ghe. Praharita (= Vipraharita) at the conclusion or playing 18 dhram dram kho kho. Siddhi [grahana] also. 934, Siddhi [grahana] should be played at the acquisi- tion of wealth, forgetfulness, fatigue and at the tightening of clothes and ornaments. This is Siddhi should take to proper Margas, and include Citra Karanas and consist of five or six Kalas. It should also be played— 935, At the stopping of recitatives, at the pause coming wn the wake of doing anything, at the falling of clothes or ornaments or in controlling the crown or the headgear, The playing after the beginning of the Dhruva, should be clear and should relate to all the drums and should include dhum dhum dhum lka in the Vitasta Marga, In case of superior females theve should be a playing in the Addité Marga, which is to include na nam kho khe nannam In case of inferior females there should be playing suited to Khanja Natkuta Dhruva, and should include sam ke te kit vinnim. In other conditions these should be reduced by a half. Now about the playing of drums in the Prasidiki and Privesiki, Aksepiki and Avakrsta [Dhruvas]. The playing in the Prasadiki [Dhruva] should be with Sama Pani and is to ba divided into Karanas. While this ‘is in a quick tempo the playing should be with the Upari Pant in the, Citra Karana. 28 अशा, 236-239] THE NATYASASTRA 194 And in the Sthita (slow) tempo * ५ * च In the Avakrsta Dhruva in the Addita Marga there should be Ardha-sannip&ta. 236. Thus there should be playing of drums in walking and other movements at the time of Prasadiki and Antara Dhruvas. 237. As a change, one song without any playing of drums should be sung, and at the end of the Sannipata, the drums should bs taken up for playing. In the quick and slow tempos there should be strokes ta sa sa. In the Addita Dhruva na de de de de de kho kho kha and in the Khanja and Natkuta Dhruvis na 1410104 ou ou na na kho na nna de de de de kho kho kho kha. Now the Udghatya [playing]. 238. The playing which is performed at the time of excess of hurry or joy or surprise, excitement or sorrow or at the time of receiving a gift, is called Udghatya. Now I shall speak of the closure (lit. release) [of playing]. It is of two kinds : Samhanana and Samsarana. Now closure at the Uddhata' and the quiek Anubandha’ should include ghettam kikiti datta kettikim godo ghaghe do gha te gho ghe yado. Now the closure of the Khaija-Natkuta; it should include dham dram dham dram takitam takitam gududhe. The closure of the same in the slow tempo should include .dhe dham dhe'a matadhe ghe chimatam kantachi matachi harmaka didhits The closure of the Addité Dhruva is kinta kintam. The closure of the same in the slow tempo should include ghatatam In the Avakrsta it should be vavota. 239. These are the beginning and the closure of Dhruvas of Niskrama (exit), Pravega (entrance), Aksepiki and Antara classes. The player of drums should strive in this way with a knowledge of the Tala, time and the notes, On this there are the following couplets : (238) ‘This has not been explained before, 2 vid, 195 ON COVERED INSTRUMENTS (अण, 240-251 Faults of a Drummer 240. The wise say that a player of drums, who does not know about the Tala, [proper] occasion and the Sastra about it, is merely ‘a striker of hides’ (carma-ghataka). 241. The producer should apply the playing of drums according to these rules. Next I shall speak about the characteristics of drums. Characteristics of Drums 242. Three are the shapes of Mrdangas. In shape they are like myrobalan, barley and cow’s tail, _ 248. The Anki or Ankika is like a myrobalan. and the Urdhvaka is like a barley, and the Alingya resemble’s a cow’s tail. 244. The Mrdanga and the Ankike should be three Talas' and a half long, and their face should be twelve fingers [in diametre]. 245, And the Urdhvaka should be four Talas long and its face should be fourteen fingors [in diametre]. 246. The Aliigya should be made three ‘falas long and its face eight fingers [in diametre]. 247. The Panava should be mado sixteen fingers long and its middle should be thin, and faces should be eight and five fingers [in diametre]. | 248, Its lips (ie. rims) should be made half of a finger lin thickness], and its middle should be hollow and four fingers [in diametre]. 949-260. The Dardara should be like a bell sixteen fingers [in diametre]. Its face should be that of Ghata and should be twelve fingers [in diametre], and have a fat lip on all sides. Characteristics of the best Hides 980-251. Next I shall speak of the best characteristics of hides. These should not be old, torn, pecked by crows, covered with the least fat, soiled by smoke or fire, (244) For the measurement of Tala see the note on fII, 21, अधा. 252-263] THE NATYASASTRA 196 252-253. Cow’s hide which is free from these six blemishes, and the face of which is like blossoms in colour, or is white like snow or Kunda flowers, and glossy and free from flesh and is fresh, is good. 253-254. After procuring such hides with hairs on them, an intelligent person should soak them in water for a night and then take them out. On the making of Drums 254-255. Then one should bind and fix to drums the small round cuttings (candraka) of this, after rubbing these well with cleansed cowdungs. 255-256. In these round cuttings [fixed to drums] one should make Puspavarta of three layers (érivarii), and a Parikara named Kaksa, and a Svastika in its neck (६7४८). One should make three hundred aksaras by drums. 257. (This couplet is corrupt and untranslatable). Applying Rohana to Drums 958-259. This rule is applicable to all the Ankikas, But one should not apply to Mrdangas, a Rohana consisting of sesamum paste mixed with cow’s ghee and oil. Ceremony of Installing Drums 959-260. After binding the Ankika, Alingya and Urdhvaka [with strings] in this manner, these should be placed on the ground after worshipping the gods 260-263. Under the asterism of Citra or Hasta during an auspicious day of the Suklapaksa a well-born master of [dramatic arts] who is free from passions, is an expert in playing solid instruments, and who knows the theory of songs, has a sweet temper, has his sense-organs under control, has fasted and cut his hairs short, and has worn white clothes, and has taken strong vow, should make three Mandalas' with cowdung free from bad smell, and assign these three to Brahman, Sankara (Siva) and Visnu (255-256) The terms used here are not clear. (260-263 1 Mandala= circular space, 197 ON COVERED INSTRUMENTS [xxxm1. 263.275 263-264. First of all he should place the Alifigya in the Mandala of Brahman, and the Urdhvaka should be placed in the | second Mandala named after Rudra. And the ह ^ (Ankika) should be put across the Mandala of 265. | To the Alifigya he should make an offering consisting of honey mixed with Payasa accompanied [ए various kinds of flower. 266-267. To the Ankika an Offering of Apipa and Locik& should be given, And next should be made all the offerings, to the Urdhvaka in a Svastika together with Locika, Apiipa, Pinda and Kendarika (?). 267-268. This offering should be decorated wilh Dhustura, Karavira and other flowers, and the offering should also be carefully made of blood together with red cloch. 268-269. To the Aakika which is on the Vaisnava Mandala surrounded by all the Bija{mantra], one should place an offering together with garlands, clothes and unguents of yellow colour, and Payasa and. Caru of various kinds. 269-270. After making the Brahmins utter Svasti on paying them Daksin& previously, and after worshipping the Gandharvas [one should play drums]. | 270-271. Then the Panava should be bound on all sides with well-prepared strings. And then the Puskarikis should be covered with hide. In this way Mrdangas, Panavas and Dardura are to be made. , 972-274, I shall [now] speak of the gods of these [instruments]. Vajreksana, Sankukarna and Mahagramani are said to be gods of Murajas (drums). Mrdaigas are so called because of being made of mri (earth), and they are called Bhandas because they dhramayati (move about) Murajas are so called because they are placed in an upright position (ardhvakarana), and they are called Atodya because of relatin: to todana (striking). 274-275. Rules of Bhindas have been given. Now the rules of Panava are being described. ‘Daru’ ig so cailed भण, 275-287} THE NATYASASTRA 198 because of ddarayati (one splits it up). And from the same Dardara originates. 275-276. After seeing that the Mrdangas, Panavas and Dardaras have been made, the great sage [Svati] brought about a similarity of their notes with those of clouds, 276-279, The high sounding cloud named Vidyujjihva gave note to Vama[ka], the great cloud named Airadvana to Urdhvaka, the rain-cloud named Tadit to Alingya, the Puskara cloud to the Daksina, and Kokila to the Vama[ka] and (the cloud named) Nandi to the drum named Alingya and the cloud name Siddhi to Ankika and Pingala to Alingya. 279-280. Those who want Success [of performances] should make to these clouds, offerings which are dear to spirits (bhuta). After worshipping these gods one should produce a dramatic spectacle (preksa) in the stage. The Mrdanga should be placed in a heap of dried cowdung. 281-282. One’ should then perform the regular Santi rites with the Atodyas and Panavas brought out by the dancer. 282-283. In the performance of the ten kinds of play (4८40140८) four Panavas should be used, and a similar number of Atodyas are also to be played in different situations [in those plays]. 283-284. The Mrdanga, Panava and Dardara are to be played in the Nataka, Prakarana, Vithi, Bhana and Dima. These are the. characteristics of Mrdangas that should be known by wise [producers]. Characteristics of Upahastas 285-286. I shall now speak of characteristics of Upahastas. These are five viz. Kartari, Samahasta, Hasta- pani, Vartana and Dandahasta. 286-287. The movement of the forefinger and the thumb of the two hands by letting them fall one after another is called Kartari. (28 1-282) 1The preceding verse is corrupt. 199 ON COVERED INSTRUMENTS (ण्या, 287-296 987-288. The serial falling in the same Tala of the two halves of the two palms [on the face of the drum] is called Samahasta. 288-289. The clear falling of the back [of the palm] and the fingers of the Jeft hand, and the falling once of the right [palm], is called Panitraya., 289-290. The four [strokes] when the right hand falls first and the left hand afterwards, are called # 11919, because they occur by turns. 290-291. When one taking with strikes by the right hand after beginning the stroke with the left hand, the serial strokes are called Dandahasta, 991-292. The four qualities of all these hands are eleganco, switftness, variety and firmness. These are what I had to say about the characteristics of hands. Characteristics of Good Drummers 963-294. I shall next speak of the characteristics of a [good] player of drums. He who is an expert in songs, playing of instruments, Kala, tempo, ‘and who knows how to begin a song, to bring it to a finish, and has a mimble hand [in playing] and knows about the various Panis, and [general] rules of the Success, and is an expert in singing Dhruvas, and who practises Kalas, and has a pleasing hand [in playing instruments], power of concentration, and who can produce pleasing Marjana and is strong [in body], and regular in his physical and intellectual habits, and 18 an accomplished [artist], is called the best player [of drums]. Qualities of a good player of the Mrdanga 996-296. One who knows how to give proper plastering to drums and has undergone laborious training in the four Margis, has earned success of all kinds, has no defect of limbs, has practised all the Karanas well, and knows songs in the Sama (?) and knows many kinds of Grahas and knows how to perform good music, is called a good player of the Mrdanca, because of his various qualities [mentioned above]. xxx, 297-301] THE NATYASASTRA 200 Qualities of a good player of the Panava 297. He who is unerring, expert in the use of hands and in observing time and in covering faults of performance, and well-practised in playing Karanas, is an expert player of Panava due to the qualities [mentioned]. 298. The player of the Dardara, who is firm, clever [in his art], swift, nimble, knows all the rules of playing and knows to play other instruments as well, is praised [by all]. General Rules of Drumming 299. After observing the performance of all kinds of plays, the playing of drums has been described after consider- ing the taste of all men. ‘That which has not been mentioncd should be devised by good [producers] after considering the Marga and the J&ti [of songs]. Qualities of the Mrdanga 800. The playings of Mrdangas in which strokes are distinct, clear, well-divided, loud though controlled, and adheres .to the palm, and includes the three Marjanfs, and is full of combination of pleasing notes, is mentioned for its quality. Indispensability of Drums in a Performance 301. One should first of all bestow care on the playing [of drums]. For this playing has been called the basis (lit. bed) of the dramatic performance. This playing and the songs being well-performed the production of plays do not run any risk. Here ends the Chapter XX XIII of Bharata’s Natyasdstra, which treats of Covered Instruments. CHAPTER THIRTYFOUR TYPES OF CHARACTER 1. I shall next speak of the salient features of characters, and of all the four kinds of Heroes jn their essential aspect, Three Types of Character in a Play 2-3. Characters male and female [in a play], are in general of three types : superior, middling and inferior, A Superior Male Character 3-4, [A man] who has controlled his senses, is wiso, 8111160" in various arts and crafts (Silpa), honest, expert in enjoyment,’ brings consolation to the poor, is versed in different Sastras, grave, liberal, patient and munificent, is to be known as a ‘superior’ (uttama) [11216] character. A Middling Male Character 4-5. [A man] who 18 an expert in the manners of people, proficient’ in arts and crafts as well as in Sistras, (3-4) See note 1 on 4-5 below. | ?The text here is corrupt, The reading bhogadaksa is suggested on the assumption that a superior male character controlling his senses should not invariably be an ascetic, and he should be disposed to enjoy life legitimately. *As female characters have been treated of below, this and the two following passages relate to male characters. (4-5) ‘If should be noticed that a superior male character should be skilled in various arts and crafts, while a middling male character should be proficient in these, ‘Ihe purpose of this distinc- tion seems to be significant. A superior character should have knowledge of arts and crafts as an accomplishment, while the middl- ing character should be capable of making a professional use of these for earning a livelihood. Sammvahaka ((Mrcch. II) who is. a middling character, seems to support this view. About his practis- ing massage, he says: Madam,I learnt itasanart. It has now become my profession (ajjae kaleti sikkhida, ajivia danim samoutta). 26 XXxIv. 6-16] THE NATYASASTRA 202 has wisdom, sweetness [of manners], is to be known asa ‘middling’ (madhyama) [1816] character. Inferior Male Characters 6-9. [Men] who are harsh in words, ill-mannered, low- spirited, criminally disposed,’ irascible and violent, can kill friends, can kill anyone by torturing,’ are prone to engage him- self in useless things, speak very little, are mean, haughty in words, ungrateful, indolent, expert in insulting honoured persons, covetous of women, fond of quarrel, treacherous, doers of evil deeds, stealers of others’ properties, are to be known as ‘inferior’ (adhama) [male] characters. These are the three classes of male character according to their nature. A Superior Female Character 10-12. I shall now speak in due order of female characters. A woman who has a tender nature, is not fickle, speaks smilingly, is free from cruelty, attentive to words of her superiors, bashful, good-mannered, has natural beauty, nobility and such other qualities, and is grave and patient, is to be Known as a ‘superior’ [female] character. A Middling Female Character 12-13. A woman who does not possess these qualities toa great extent and always, and has some faults mixed with them, is to be known as a ‘middling’ [female] character. An Inferior Female Character 13-14. An ‘inferior’ female character is to be known in brief from an inferior male character. A Character of Mixed Nature 14-16. Maid servants and the like are characters of mixed nature. A hermaphrodite is also a mixed character, but of the inferior kind. O the best of Brahmins, the Sakara' and the Vita’ and others [like them] in a drama, are also to be known as characters of mixed nature. (6-9) 1 Salyabuddhika. 2 Citraghataka. (14-16) "See XXXV,78 28८6 XXXV, 77, 203 TYPES OF CHARACTER [xxxiv. 17-27 So much about the characters which may be male, female or hermaphrodite. Four Classes of Hero 17-18. I shall now describe their classes according to their conduct. Among these, Heroes (nayaka) are known to be of four classes, and they belong to the superior and the middling types and have various characteristics, 18-19. The Hero is described as being of four kinds : the self-controlled and vehement (dhiroddhata), the self-controlled and light-hearted (dhiralalita), the self-controlled and exalted (dhirodatta) and self-controlled and calm (dhiraprasanta). 19-21. Gods are self-controlled and vehement, kings are self-controlled and light-hearted, ministers 816 self- controlled and exalted, and Brahmins and merchants are self-controlled and calm Heroes. The Four Classes of Jesters 91-22. To these again belong the four classes of Jesters. They are Sannydsins, Brahmins, other twice-born castes and disciples, in cases respactively of gods, kings, ministers (amatya) and Brahmins,’ These should be friends during [the Heroo’s] separation [from the beloved one], and experts in conversation. The Hero । 23. In case of many male characters in a play, one who being in misfortune or distress, ultimately attains cleva- tion, is called the Hero. ; 24, And when there are more than one of such description, one whose misfortune and elevation are promi- nent, should be called the Hero. Four Classes of Heroine 95-27. ‘These [four] are always Heroos in dramatic works (lit. poetical compositions). I shall now speak of Heroines who [also] are of four classes : a goddess, @ queen, a (21-22) ! The text here has been einended with the help of the XXXIV. 27-37] THE NATYASASTRA \204 woman of high family, and a courtezan. These according to their characteristics, are of various kinds, such as self- controlled (dhira), light-hearted (lalita), exalted (udatta) and modest (nibhrta). 27-28. Goddesses and king’s women possess all these qualities. Women of high family, are exalted and modest, while a courtezan and a crafts-woman may be exalted and light-hearted. Two Classes of Employment for Characters 99-30. The characters [in a play] have two kinds of of employment: external (bahya) and internal (abhayantara). I shall now speak of their characteristics. [The character] which has dealings with the king, is an internal employee, and one who has dealings with the [people] outside, is an external employee. Female Inmates of the Harem 31-34. I shall now describe the classes and functions of woment who have dealings with the king. They are the chief queen (mahddevi), other queens (devi), other highborn wives (svamini), ordinary wives (sthayini),’? concubines (bhogini), craftswomen (silpakarini), actresses (na/akiya),* dancers (nartaki), maids in constant attendance (anucarika), maids of special work (paricarika), maids in constant movement (safcarika), maids for running errands (presana-carika), Mahattaris (matrons), Pratihiris (ushers) and maidens (kumari) and Sthaviras (old dames) and Ayuktikas (female overseers). «The Chief Queen 35-37. The chief queen is one who has been conse- crated on her head, is of high birth and character, possessed (31-34) {1115 gives us a very good glimpse of the royal harem in ancient India. 2This passage shows that a king in ancient India, had a large number of wives. According to a Ceylon tradition, the king Bindusadra had sixteen wives. In Svapna. (VI. 9) Udayana refers to his mother-in-law Mahdsena’s chief queen as sodafantahpurajyestha (being at the head of the sixteen wives). °. Pali natakittht. 205 TYPES OF CHARACTER [xxxiv. 38-45 of accomplishments, advanced in age, indifferent [to her rivals]', free from anger and malice, and who [fully] under- stands the king’s character, shares equally his joys and sorrows, is always engaged in propitiatory rites for the good of the [royal] husband, and is calm, affectionate, patient, and benevolent to the inmates of the harem Other Queens 38-39. Those [wives of the king] who have all these qualities except that they are denied proper consecration, and who are proud and of royal descent, are eager for enjoy- ing affection, are pure and always brilliantly dressed, jealous of their rivals,! and maddened on account of their young age and [many other] qualities, are called queens (devi). Other Highborn Wives 40-41. Daughters of generals, or ministers or of other ‘employees when they (1.6. their daughters) are elovated by the king through bestowal of affection and honour, and become his favourite due to good manners and physical charm, and attain importance through their own merits, are known as highborn wives (svamini). Ordinary Wives 49-43, Ordinary wives of a king are those who have physical charm and young age, is violent [in sexual acts], full of amorous gestures and movements, expert in the enjoyment of love, jealous of rivals, [always] alert and ready [to act], free from indolence and cruelty, and capable of showing honours to person according to their status. Concubines 44-45. Concubines of the king are women who are honest (daksa) and clear [in their dealings], exalted, always brilliant with their scents and garlands, and who follow the wishes of the king and are always devoid of jealousy, ee ONES 1 aaa A (38-39) 17311888 seems to disregard this rule. For Padmavati has no jealousy against Vasavadatta (see Svapna.). 99 शा, 46-54) THE NATYASASTRA 206 are well-behaved, demand no honour, are gentle [in manners] and not very vain, and are sober, humble, and forbearing. Craftswomen 46-47. Those women who are conversant with various arts and skilled in different crafts, know different branches of the art of perfume-making, are skilled in different modes of painting, know all about the comfort of beds, seats and vehicles, and are sweet, clever, honest (daksa), agreeable (citra), clear [in their dealings], gentle, and humble, are to be known as crafts-women (Silpa-karika). Actresses 48-51. Women who have physical beauty, good qualities, generosity, feminine charm, patience, and good manners, and who possess soft, sweet and charming voice, and varying notes in her throat, and who are experts in the representation of Passion (hela), and Feeling (bhava), know well of representation of the Temperament (sativa), have sweetness of manners, are skilled in playing musical instru- ments, have a knowledge of notes, Tala and Yati, and are associated with the master [of the] dramatic art, clever, skilled in acting, capable of using reasoning positive and negative (whapoha), and have youthful age with beauty, are known as actresses (natakiya).' Dancers 51-54. Women who have [beautiful] limbs, are convers- ant with the sixtyfour arts and crafts (kala), are clever, courteous in .behavour, free from female diseases, always bold, free from indolence, inured to hard work, capable of practising various arts and orafts, skilled in dancing and (48-51) ‘Perhaps for the personal safety of the king, male actors were not admitted in the theatre attached to the royal harem. The Brhatkatha-Sloka-samgraha (II. 32, ed. Lacéte) testifies to the antiquity of this practice. In the palaces of the king of Cambodia and of some Sultans of Indonesia too, women only are engaged to produce: plays. See Santidev Ghosh, Java-O-Balir Nytya-git (Bengali) Calcutta, 1952 p. 11. 907 TYPES OF CHARACTER [xxxiv. 54-61 songs, who excel by their beauty, youthfulness, brilliance and other qualities all other women standing by, aro known as femala dancers (nartaki). Maids in Constant Attendance 54-55. Women who do not under any condition leave the king, are maids in constant attendance (anucartka). Maids of Special Work 65-57. Those women who are employed for looking after the umbrella, bed, and seat as well as for fanning and massaging him, and applying scent to his body and [assisting him] in his toilet, and his wearing of ornaments, and yar- lands, are known as maids of special work (paricartka). Maids in Constant Move 57-59. ‘hose women who [always] roam about in different parts [of the palace], gardens, temples, pleasure pavillions, and strike the bell indicating the YAmas,' and those who having these characteristics are precluded by the play- wrights from [sexual] enjoyment,’ are called maids in cons- tant move (samcartka). Errand Girls 59-60. Women who are employed by the king in secret missions connected with his love-affairs, and are often to be sent [in some such work], are to be known as errand- girls (presana-cartka), Mahattaris 60-61. Women who, for the protection of the entire harem and for [the king's] prosperity, take pleasure in singing hymns [to gods], and in performing auspicious ceremonies, are known as Mahattaris (matrons). ee st ~~ ~ en (55-57) 4In Vikram. (V. 3. 1.) a Yavani brings the king his bow. She was indeed a paricarika. But her Yavana origin is not mentioned in the NS. (57-59) ४211184 = 0116 eighth part of the day, three hours. 2 hat is, they should not be personally implicated in 1९९ affairs, अश्र, 61-70] THE NATYASASTRA 208 Pratiharis 61-62. Women who lay before the king any business related to various affairs [of the state] such as treaty, war and the like, are called Pratiharis (usher). Maidens 62-63. Girls who have no experience of love’s enjoy- ment (rati-sambhoga), and are quiet, devoid of rashness, modest, and bashful, are said to be maidens (kumari).' Old Dames 63-64. Women who know the manners of departed kings, and have been honoured by them, and who know the character of ali [the members of the harem] are said to be old dames (urddha). Ayuktikas 64-66. Women who are in charge of stores, weapons,' and fruits, roots and grains, who examine the food [cooked for the king], and are in charge of [lit. thinkers of] scents, ornaments and garlands and clothes [he is to use], and who are employed for various [other] purposes, are called Ayuktikas (female overseer).? These in brief are the different classes women of the [royal] harem. Other Women Employees in the Harem 67. I shall now speak of the characteristics of the remaining characters who are employed in some duty or special work [in the harem ]. 68-70. Those who are not rash, restless, covetous and cruel in mind, and, are quiet, forgiving, satisfied, and have controlled anger and have conquered the senses, have no passion, are modest and free from female diseases, attached and devoted [to the king] and have come from different parts of the state, and have no womanly infatuation, should be employed in the palace of a king. (62-63) 'Ex. Vasulaksmi (Vasulacchi) in the Malavi. (64-65) ‘See above note 1 on 55-57. Kalidasa seems to ignore this functionary of the harem. ० Yuta (=Yukta) in Asoka’s Girnar Rock III. Ayuktika may _ be his female counterpart in the royal harem. 209 TYPES OF CHARACTER [xxxiv. 70-79 Other Inmates of the Harem 70-73. The hermaphrodite who is a character of the third class, should be employed in a royal household for moving about in the harem. And 87808128," Kajicukiyas,’ Varsadharas,*’ Aupasthdyika-nirmundas,’ are tobe placed in different parts of the harem. Persons who are eunuchs or are devoid of sexual function, should always 06 made the inmates of the harem in a Nataka. The Snataka 73-74. A Snataka' with polished manners, should be made the warden of the gate (dvastha).? Old Brahmins who are clever and free from soxual of passion, should always be employed by the king for various needs of queens. The Kancukiyas etc. 75-78. 11111088 who have learning, truthfulness, are free from sexual passion, and have deep knowledge and wisdom, aro known as Kancukiyas.' The king should employ them in business connected with polity. ,And the Varsadharas should bo employed in errands relating to love-affairs. And the Aupasthiyika-nirmundas are to be employed in escorting women, and in guarding maidens and girls. In bestowing honour to women the king should employ the maids in constant attendance. The Natakiya 78-79. Women in the royal harem who attend all the movements of the king, should be employed, when they are (70-73) 18९९ below note | on 73-74. 2See below note 1 on 75-78. 3See below note 1 on 78-80. 4See below note 1 on 80-81. (73-74) 1From later dramas the Snitaka disappears altogether. Was Pusyamitra described by S. Lévi as ‘a mayor of the palace,’ a Snataka ? 2According to thie AS of Kautilya, dauvtrika was important officer of high rank and not a simple door-keeper of the 01010814 inenial type. See AS. I. 2.8 (75-78) See note 1 on XIII. 1 12-113, Bhasa has ‘Kaficukiy: : 27 XXxxIv. 78-83] THE NATYASASTRA 210 proficient in performing all classes of dance, in the [royal] theatre under the authority of the harem,’ The Varsadharas 79-SO. Persons of poor vitality, who are clever and are hermaphrodites and have feminine nature, but have not been defective from birth, are called Varsadharas.' The Nirmundas 80-81. Persons who are hermaphrodites, but have no of womanly nature and have no sexual’ knowledge, are called Nirmundas.* These are the eighteen kinds of inmates of the [royal] harem described by me. External Persons 82-83. I shall next speak of persons who move about in public. They are: the king, the leader of the army (senapaii), the chaplain (purodhas), ministers (mantrin),' secretaries (saciva).’ judges (pradvivaka), wardens of princes (kumaradhikrta)’ and many other members of the king’s court (sabhastara). I shall (78-79) See above 48-5] and the note ‘on the word ndatakiyz. It is not clear why the n&@takiya has been described over again and differently. (79-80) }The word varsadhara often wrongly read as varsavara literally.means ‘one whose seminal discharge has been arrested.’ (80-81) 'Nirmunda or aupasthayika-nirmunda probably meant one who had the head (munda) of his membrum virile (upastha) cut off. The definition given here seems to have been due to a concoction when the real significance was lost sight of. (82-83) 1 Amatya also has been used before to indicate a minister. But AS. (1. 8 9.) distinguishes between amatya and mantrin. Kamandakiya Nitisfira (VIII. 1) also does the same. According to the latter amatya seems to be identical with saciva (see IV. 25, 30, 31). According to Sukraniti saciva, amatya and manirin are three different functionaries (See II. 94, 95 and 103), ‘he Rudradaman inscription seems to distinguish between mantrin and saciva. *Saciva as well as amatya originally meant secretary. ne “Kumaradhikyta probably is identical with the Kumaradhyaksa of 011 TYPES OF CHARACTER [xxxiv. 84-9] speak of their classes and characteristics. Please listen about them. The King 84-88. The king should be intelligent, truthful, master of his senses, clever, and of good character, and he should possess a good memory, and be powerful, high-minded and pure, and he should be far-sighted, greatly energetic, grateful, skilled in using sweet words ; he should take a vow of protect- ing people and be an expert in the mothods of [different] work, alert, without carelessness, and he should associate with old people, and be well-versed in the Arthasastra and the practice of various policies, 9 promoter of various arts and crafts, and an expert in the science of polity, and should havo a liking for this, [Besides these] he should know his actual position, prosperity and its decline, and the weak points of his enemies, and (principles of] Dharma, and be free from evil habits. The Leader of the Army 89-90. One who possesses a good character and truthfulness, and is always active (lit. has given up idleness), sweet-tongued, knows the rules regarding weak- ness of the enemy, and proper time for marching against him, has a knowledge of the Arthasastra and of everything about wealth, is devoted [to the king], honoured in 1118 own clan, and has a knowledge about time and place, should be made a leader of the army, for these qualities of him, The Chaplains and Ministers 91. Those who are high-born, intelligent, well-versed in Sruti and polity, fellow-countrymen [of the king], devoted [to him], free from guile (lit. pure) and followers of Dharma, should be chaplains and ministers, for these qualities ol them.’ eee (91) 18, reads the passage differently. In translation jt is as follows: “Those who are high-born, intelligent, well-versed in various Sastras, affectionate [to the king], incorruptible by enem.cs, not haughty, the compatriot fof the king], frees from ६०९५, , XXXIV. 92-98) THE NATYASASTRA 212 Secretaries 92-93. Those who are intelligent, versed in polity, powerful, sweet-tongued, conversant with the Arthas&stra, and attached to the subjects and are followers of Dharma, should 08 always appointed by kings as secretaires (amatya).' Judges 93-95. Those who know well about litigation, and the true nature of pecuniary transactions, are intelligent, and well-versed in many departments of knowledge, impartial, followers of Dharma, wise, able to discriminate between good and bad deeds, and are forbearing and self-controlled, and can control anger, are not haughty and have similar respect for all, should be placed in seats of justice as judges (prad- vivaka).' Wardens of Princes 95-97. Those who are alert, careful, always active (lit. free from indolence), inured to hard work, affectionate, forbearing, disciplined, impartial, skillful, well-versed in polity and in discipline, and who are masters of reasoning positive and negative, have knowledge of all the Sastras and are not vitiated by passion and such other things, and who are heredi- tary servants of the king, and are attached to him, should be made wardens of princes,' because of their possessing these various qualities. Courtiers 98. Members of the court (sabhastara)' should be appointed by practical people according to the views of [त disciplined, trust-worthy, and virtuous are to be made chaplains and ministers.” The taking together of the chaplain and _ the minister probably shows that at one time the same person discharged the functions of the two. (92-93) ‘See note 1 on 81-83 before. (93-95) ‘The radical meaning of the term pradvivaka is one who decides a cause after questioning the parties. (95-97) See in this connexion AS. (98) ‘Vyasa (smyti) mentions sabhastara who should hold discourse abqut morals (dharmavakya) for the edification of those who 213 TYPES OF CHARACTER [xxxiv. 99 Brhaspati’ after taking note of the [various] qualities of these (i.e, ministers etc.). 99. These are the characteristics of various characters, [in a play], that I was to say. I shall next speak of the characteristics of [persons suited to] various roles. Here ends Chapter XXXIV of Bharata’s Natyasastra, which treats of the Types of Different Characters. mee ~ --~----~ - --- = "~~~ a are present [in the court]. In Mbh 4. 1. 2 however the sabhastara appears only as a courtier (sabhya Nilakautha) who is particularly interested in gambling. Jolly, Hindu Law and Customs, pp. 287-288. Visnudharmasfitra first speaks of the qualification of sabhisadas who were probably the king’s helpers in the administration of justice. N.C. Sengupta, Evolution of Ancient Indian Law, p. 46. 2That the author of the NS. like the authors of the AS. refers to Brhaspati, probably shows that they were not very widely separated in time. Vatsyfyana, Mbh. (Vanaparvan) and Bhasa also refer to Brhaspatt. : 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 their gait, speech and movement of limbs as well as their strength and nature, the experts are to employ actors to represent different roles [in a play]. 3. Hence the selection of actors should be preceded by an enqury into their merits. The Director (lit. the master) will not feel difficulty in the choice [if such procedure is followed]. 4. After ascertaining thoir natural aptitudes, he is to distribute roles to different actors. The. Role of gods 5-6. Persons who have all the limbs intact, well- formed and thick-set, who are full-grown (vayo’nvita), not fat or lean or tall or large, who have vivacity, pleasant voice and good appearance, should be employed to take up the role of gods. The Role of Raksasas etc. 7-8. Persons who are fat, and have a large body and a voice like the peal of thunder (lit. cloud), furious looking eyes and naturally knit eyebrows, should be employed to take up the role of R&aksasas, Danavas and Daityas ; for the per- formance of male actors [should be] in conformity with their limbs and movements. The Role of Kings 9-11. Actors of the best kind who have beautiful eyes, eyebrows, forehead, nose, lips, cheeks, face, neck, and every 215 DISTRIBUTION OF ROLES [xxxv. 12-18 other limbs beautiful, and who are tall, possessed of pleasant Appearance, dignified gait, and are neither fat nor lean, and are well-behaved, wise and steady by nature, should be employed to represent the role of kings and princes (Kumara), The Role of Army-leaders and Secretaries 12-13. Persons who have well-formed limbs, distinct speech, are neither tall nor fat, are heroic, have reasoning positive and negative, are brave, and eloquent and have presence of mind, should be employed to take up the rolo of army-leaders (senapati) and secretaries (amatya). The Role of the Kaficukiyas and the Srotriyas 14. Persons who have brown 068, long nose, and who are short or tall, should be employed in the role of Kaficukiyas and Srotriyas.' The Role of Minor Characters 15. In other cases too, similar dramatic convention has bean prescribed ; roles should be assigned after consider- ing the actors’ age and physical condition. 16-17. [For example], persons' who are slow-moving, very dwarfish, hunch-backed, uncouth, odd-faced and fat, Who have expressionless (lit. motionless) eyes, onc eye blind, small chin and low nose, ugly raiments, evil nature, deformed body and who have marks of a slave, should be employed in the role of slaves. The Role of Fatigued Persons 18. A person who is naturally thin, should be employed in a play to represent a tired person, (14) ?The racial type indicated by this description probably shows that the K. and S. were of the Aryan descent. (16-17) 4From the general description given in this passage and the marks mentioned in particular, it appears that slaves were of non-Aryan descent. And Kautilya scems to support this view by saying that @ryasya na dasa-bhavah (an Aryan should not be enslaved). From this description it also appears that the slaves were at one time branded with marks, Xxxv. 19-26] THE NATYASASTRA 216 The Role of a Person in Health A fat person should be employed to represent a person without any disease. 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 States [to be represented]. 20. Such persons’ natural movements whether good, bad or middling, should be regulated by contact with the Director (lit. the master), and then they will properly represent [all] the States. 21. In other cases too, similar dramatic convention has been prescribed, and roles should be assigned to persons after considering their native places (desa) and costume (2८४). The Role of a Character with Extra and Special Limbs 22-24. In case of characters which have many arms, many heads, and uncouth faces and faces of animals,including beasts of prey, asses, camels, horses and the like, the Director (lit. the master) should according to his direction have the masks (lit. them) made with clay, wood, lac and leather.’ The Entry of a Character 24, One should not enter the stage in his own natural appearance. His own body should be covered with paints and decorations. The Result of Impersonation 25. In the production of a play, a person in his natural form of the body, should be employed [to assume a role] according to his age and costume. The Method of Proper Impersonation 26-27. Just as a man who renounces his own nature together with his body and assumes another’s nature by en, (22-24) Details regarding this are given in XXIII, 217 DISTRIBUTION OF ROLES [Xxxv. 28-34 entering into his body' so the wise actor thinking within him- self that ‘I am he’ should represent the States of another person by speech, gait, gesture and other movements. Three Kinds of Impersonation 28. Human characters as they are represented on the stage fall into three classes : natural (anuriipa), unnatural (27200) and imitative (riipanusarini), The Natural Impersonation 29. When women impersonate female charactors and men male characters, and their ages are similar to that of the characters represented, the impersonation is called ‘natural’ (anuripa), The Unnatural Impersonation 30. When a boy takes up the role of an old man or an old man takes up that ofa boy and betrays his own nature in acting, the representation is called ‘unnatural’ (viriipa) The Imitative Impersonation 31-32. When a man assumes a woman’s character,' the impersonation is called imitative (ripanusarini) by the best actors. A woman also may assume if she likes, 9 man’s role in actual practice. But an old and & young man should not try [to imitate] each other’s manners.’ . Special Suitability of Men and Women 33-34, Bold men who have heroism and strength, should be employed for recitatives, and women [should always ba employed] for songs. Women’s nature is suited mostly to songs and that of men to recitatives.' For women’s voice is naturally sweet and that of men is forceful. (26-27) This is said on the assumption that a Yogin possess- ing miraculous powers could, according to his will, leave his own body and enter that of another when the latter was just dead. Saikarac4rya is said to have practised this kind of miracle. (31-32) ‘In the Shakesperian stage young men took up the rolc of women. Ag. (p. 502) explains balifa as viriipa (ugly). ’This is due to an utter impossibility of successfully taking up ofeach other’s role by old and young men. (33-34) 1866 XXXII, 504 and the note, and also XXXII. 5(6. 28 XXKV. 35-42] THE NATYASASTRA 218 35-36. Though men know the rules of singing in their traditional characteristics, their songs being devoid of sweet- ness, do not create beauty. Whenever there is [any] merit in women’s recitation and sweetness of voice in men, these are to be considered »8 being due to freaks (lit. inversion) of nature, and as such these should be [considered] ornaments.' Women in Men’s Roles 37. In temples,’ palaces? and houses of army-leaders and other prominent persons, dramatic performances (prayoga) are mostly held by women in men’s role, Women’s Special Merit 38. A delicate person’s role is always to be taken up by women. Hence, in case of women as well as gods and men of delicate nature [women are to assume the roles]. 39. [It is for this reason that] drama came to be established in heaven’ through Rambh&, Urvasi? and the like [nymphs]. And similar has been the case in king’s harems in this world. ; Training Women in Different Roles 40. Directors (lit. masters) should instruct women according to the SAstras, but they should not themselves give coaching to women in learning their [feminine] roles. 41-42, But masculine (lit. depending on men) roles should be carefully directed by them. As natural amorousness is observed in women, their naturally graceful limbs are easily accessible to Sausthavea ; and sportful nature’ will ba their additional qualities (lit. ornaments) [when they assume a male role]. (35-36) ‘See XXXII. 504. (37) 17242575 or ‘maid-servants to gods’ seem to have been not only dancers, but also actresses assuming male roles also. *For the reason of women assuming male roles see above notes on 33-34, (39) 11. Vikram III. (Viskambhaka). 2See below XXXVI. 60, (41-42) .'The sportful nature belongs naturally to males, 219 DISTRIBUTION OF ROLES [xxxv, 43-48 Result of Proper Assignment of Roles 43. When actors and characters in a play have similar conditions and behaviour, and have natural limbs and organs (karana), they will embellish a dramatic performance. 44, Want of fatigue in dance and music, is always a quality of women, and a dramatic production partly attains its sweetness and partly its strength due to this, 45. A woman who is an adept in the practice of love, and is an expert in [representing] love-affairs, eppears through her graceful acting on the stage, like a creeper full of various charms, on account of its [many] flowers.’ 46. Hence [a Director] should always bestow undivided attention to women’s exercise (yogyd ) [in dance and music], for without this, the States, Sentiments, the Sausthava cannot be produced by them in tho least.’ Types of Dramatic Production 47. The production of a drama which includes many States and Sentiments, is of two kinds: delicate (sukumara) and energetic (aviddha). | The Delicate Type of Production 48. Nataka', Prakarana, Bhana, Vithi and Anka’ are to be known of the delicate type. Tor they depend on human beings. (45) It seems that boys also had tb represent women’s character in the ancient Hindu theatre (sce the Prastivana to Malati). And this shows the benefit of engaging actresses. Employment of boys in women’s role was considerably a handicap in depicting female characters in the Shakesperian stage. On this sec “Shakes- peare’s Dramatic Art” in Companion to Shakespeare Studies, Cambridge, 1946, p. 54. (46) 1111115 probably stresses on the importance of repeated rehearsal. (48) ‘Fora definition of this and the following types of play see XX. 10.110. 48ff, 107-108ff, 112-1134, 947 aIt is called Utsrstikanka also. See XX- 93. XXXIV. 49-59] THE NATYASASTRA 220 49. This delicate type of production is pleasing to kings. Hence plays of this class including the Erotic Sentiment, should be produced by women.' 50. The play in which there occur violent fighting, great speed [of movement], and much excitement, should not be enacted by females, but by males. 51-52. If a play includes ordinary (lit. not exalted) incidents and no hurried or violent movement of limbs, and requires an observance of proper tempo, 1819, Kali and regulated utterance of syllables, and clearly divided words and has plenty of desired Sentiments, it should be produced by women. ' Ths Energetic Type of Production 53-54. The play which requires energetic (aviddha) type of Angaharas to represent cutting, piercing, and fighting, and includes [a representation of] the use of magic and thau- maturgy as well as artificial objects and costumes, and has among its dramatis personae many males and a small number of females who are of quiet nature, and mostly the Grand and the Energetic Styles applied in its production, is of the energetic type. 55-56. Dima, Samavakara, Vydyoga and Ihimrga are known to be plays of the energetic of type by producers. Production Of plays of this kind, should be made by [an impersonation of] gods, Danavas and Raksasas., 56. Thus one should assign different roles in the production of a play.. Next I shall speak how a play attains excellence due to costumes and make-up. The Typical Impersonation of a King 57-59. How are the qualities of a king to be represented by an actor who has a few wearing apparels ? In this connec- tion it has been said that when dramatic conventions have (49) 1411 instance of such a play occurs in Priyadarsika. Act III. (51-52) 'This probably shows that the Nataka etc. mentioned in 48 above, being plays of ballet-type were better suited to be pro- duced by women. 221 DISTRIBUTION OF ROLES [xxxv. 60-65 come into vogue I have made plays furnished with all these (i, 6, conventions). In them (i. 8. plays) the actor (mata) covered with paint, and decorated with ornaments, reveal the signs of kingship when he assumes a grave and dignified attitude, and then he alone becomes, as if were, a refuge of the seven great divisions (saptadvipa) of the world. 60-61. He should move his limbs only after he has 066 covered with paints. And trimmed according to the discre- tion of the Director and having tho Sausthava of limbs, the actor becomes like a king, and [thus trimmed] tho king also will be [very much] like an actor.' 61-63. Just as an actor is, so is the king and just as a king is, 80 is the actor.’ The two will represent their States by similar deportinents and Sausthava of limbs. Just as by properly carrying out tho instruction of the Director, the actor illumines the stage, similarly the king also will always be naturally brilliant. His followers will be like that of divine personages.’ In a play they are to be introduced with proper costume, language and age. 64, The producer should let the actor have the natural appearance of a character [by giving him suitable costume] and by associating him with suitable ago through [proper] make-up. 65. Thus one should make a selection of persons for representing kingly manners. I shall, next speak of the qualities of a Director (sittradhara). = ~ न = ~ ~ ^ (60-61) (75 is a very clever statement. The king though he is nothing but an ordinary human being, often assumes Conscl- ously or unconciously an extraordinary appearance. The story goes that Napoleon sought the guidance of a contemporary actor of repute before taking up the jmperial crown. (61-63) See the note above. This was because the king was a incarnation of God or gocs. Xxxv. 66-74] THE NATYASASTRA 222 Characteristics of a Director In this connection I shall speak of the qualities of a Director. First of all, he should possess knowledge of characteristics [of everything concerning the theatre], desirable refinement of speech, knowledge of the rules of Tala and theory of notes and instruments [in general]. 66-71. One who is an expert in playing the four kinds of musical instrument, has various practical experience, is conversant with the practices of various religious sects, and with polity and the science of wealth (arthasastra) and the manners of courtezans and ars amatoria, and knows the various conventional Gaits and movements, thoroughly understands all the Sentiments and the States, and is an expert in producing plays, acquainted with all arts and crafts, with words and the rules of prosody, and proficient in all the Sastras, the science of stars and planets, and the working of the human body, knows the oxtent of the earth, its continents, devisions, and mountains and people inhabiting them, and the customs these have, and the names of descen- dants of royal lines, and who listens about acts prescribed in Sastras, can understand the same, and puts them into practice after understanding them, and gives instructions in the same, should be made a teacher and Director. Natural Qualities of a Director 72-74. Now listen tome speaking about the natural qualities [which he should possess]. He should be possessed of memory and intelligence, and should be patient, liberal firm in his words, poetical, free from any ‘disease, sweet fin (65) This and the two following passages (66-71, 72-74) show that the Hindus had very advanced ideas about of the responsibi- lities of a Director. Like his modern counterpart the regisseur (or (‘producer” as he is called in England) he was required to be an expert not only as regards acting but in all those arts which together constitute a performance. The Komisarjevsky, The Theatre, London, 1935, p. 15. Thus so many varied qualities were required to ensure his fitness. 993 TYPES OF CHARACTER [xxxv. 74-78 his manners], forbearing = -aet-t from anger, aes oo ह त ae ; , and free from greed for praise. Cheracteristics of an Assistant of the Director 74-16. A person of the middling type who has slightly less number of qualities than that the Director is to pessess should be known as an Assistant (pariparsvika) of the Director. Characteristics of an Actor 75-76, An actor (nata) should be lively (lit. bright) possessed of a good physique, acquainted with | accessories and their uses, possessod of intelligence, conversant with the rulos [of the theoretical practice], and expert in his own work. Characteristics of a Parasite 76-77. Possessing all tho qualities which the Director {8 to have with regard to tho theatrical production, the Parasite (vita) should be an expert in dealing with courtezans, sweet [in his words], impartial, poetic, proficient in the meaning of the Sistras and in the knowledge of courtesans, capable seeing the positive and- the negative side of any argument, and eloquent and clever. Characteristics of the Sakiira 4 78, The Sakara' is one who wears gaudy (lit. brilliant) 72-74) 'The “greed for praise” probably means a hankering after uncritical praise which may come from the multitude. ‘This surely stands in the way of a first-rate artisti¢ production. (78) Western scholars are sometime inclined to connect this character with the Sakas (Keith, Skt. Drama, p- 69). But Sakara as described in DR (ii 42 ) and Sp. (81) is nothing but the lowborn brother of a royal concubine. Naturally he bragged about his relation- ship with the king and was laughed at by people. Hence the term {21012 gradually acquired 3 pejorative sense, and in NIA it has become Jala (a term of abuse). So people had to refer to him him euphemistically as sa-kara which means the fellow named ‘with an initial ई. If the author of the NS. has not given such a definition, 1४ was probably due to actual Sakdras being still availabie at his time he prudently remained silent about their anomaluus social position. xxxv. 79-83] THE NATYASASTRA 224 clothes and ornaments and grows angry without adequate reason and gets pacified likewise, and who is an inferior character and speaks Magadhi’ and has manifold changes [in his conduct]. Characteristics of the Jester 7). The Jester (vidisaka) should be dwarfish, should possess big teeth, and be hunch~-backed, double-tongued’ bald-headed and tawny-eyed. Characteristics of a Servant ६0. A servant (ceta) be should be fond of quarrel,' garrulous, uncouth in form and give service under bondage, and be expert in distinguishing between persons who are to be honourd and who are not, Characteristics of a Courtezan 81-83. A woman who is always engaged in attending the teacher (2८220) in connection with application of [vari-us] arts and crafts, and is endowed with amorous move- ments, Emotion (hava) and Feeling (bhava), ‘Temperament (sattva), discipline, sweetness [of manners], and is conversant with the sixtyfour arts and crafts ((kala), 1s expert in dealing with the king, and free from female diseases, and has sweet and endearing words, is clear in her speech, clever and undaunted by fatigue‘ is called a courtezan (ganika). a es eens ~ = 2It has been mentioned before that Sakfras should speak the Sakari dialect (XVIII 52). But by Sakari we are to understand a dialect of Magadhi. See Purusottaima’s PrakrtanuSdsana. ed. Nilti-Dolci. XIII, 1; also Prikrtakalpataru, ed. Ghosh, II. iii, 2ff. (79) (€ reading dvijan-man for dvijihva is evidently wrong See XXXIV. 21ff. (80) ‘he ceta was evidently a slave. The term dbandhasevaka (giving service under bondage) seems to indicate this. (81-83) 1111९ courtezan was evidently somewhat like a Greek hetaera. 225 DISTRIBUTION OF ROLES [xxxv, 84-90 Characteristics of a typical Heroine 84-86. A woman with the following qualities should be given the role of a Heroine: she should be endowed with a good physical form, good qualities, character and young ave and should possess gold necklace and garlands and should be shining, affectionate, sweet, and should possess charming words with a lovely voice and should be steady (lit, unperturbed) in the exercise (yogya), and conversant with Laya and Tala and Sentiments, and should have all kinds of ornaments and be dressed with garlands and scents.’ Wonien disqualified to take up a role 86-87, But a woman should not be made a Heroine in any theatrical show when she siniles on wrong occasions, 18 rough [in appearance], has an uneven gait and movement, persistent anger, miserable look, and is always haughty and fickle. These are the characters that the producers of plays should know about, Cd Members of a typical theatrical party 88-90. I shall next speak of different members of a theatrical party (bharata). ''hey are: Bharata’ [proper] (actor), who resort to Bharata (i.e. his art), the Jester (vdisaka), the musicians (tauripa), the actor-dancers (nata), the Director (siitradhara), playwright (natyakara) the crown-maker (mukuta- karaka), the maker of ornaments (abharanakrt) and garlands, the [कक व रमि (84-86) 41116 last hemistich of the text probably shows textual confusion. (88-90) ‘'The term “Rharata” seems to have originally meant those who sang ballads connected with the heroic exploits of the Bharata race. The term ‘Bharthari? meaning singers on the exploits of Bhartrhari a prince who renounced the world and attained spiritual eminence, is analogous to Bharata. The Bharata ballads were the nucleus of the Mbh. According to the hypoth-sis 29 XXXV. 91-95] THE NATYASASTRA 226 dyer (rajaka), the painter (citrakara), other and craftsmen (Karu and Silpin), and Kusilavas and others who are to be known by their names. Characteristics of Bharata 91, Ashoalone conducts as the leader [the performance of] a play by acting in many roles and playing 11019 instruments and by providing many accossories, he is called Bharata.' Characteristics of a Jester 92-93. One who looks to people’s pleasure, can imitate manners of all people, resorts to various [means] and mixes with women, is ready-witted in disclosures made through Pleasantry,' or in Covert Pleasure? and is clever, and cin give censure through his words, is to be known asa Jester (vidisaka).* Characteristics of a Master-musician 94. , @16 who is skilled in playing ‘Tira,’ has a liking for 211 the instrumonts and is an expert in playing them all, and possesses [all kinds of] musical instruments, is called Tauripa? (master-musician), Meaning of the word ‘Nata’ 25. Meaning of the root nat is ‘to act’ (lit. acts) and hence, as he acts (nafayati) again and again the stories of of Winternitz,-such ballads gave rise to drama. See in this con- nexion the author’s Contributions to the History of Hindu Drama, Calcutta, 1957, pp. 15ff. (91) ‘See note 1 to 88-90 above. (92-93) ‘See XXII, 50. 2See XXII, 53. 8For another definition of a Jester see 79 above. (94) Its etymology is obscure. See note 2 below. 2 116 word though connected with tira is not directly available from it. The basis of tauripa is possibly tauripa one who engages himself with [कद meaning probably musical instruments in general, 597 DISTRIBUTION OF ROLES [xxxv. 96-101 men with Sentiments, States and Temperament, he is called (lit. he becomes) a Nata (actor). The Benediction 96-97. As one pleases by it the audience (lit. people) with sweet words of blessing, it is called Nandi (Benediction), That which is spoken in the performance of a play to please people in various ways, with Sanskrit and Prakrit recitatives, is to be known as Nandi. Definition of a Director 98. One who knows from the 10611178 of tho learned (sista) the principles (stra) of applying songs, instrumental music and recitatives in their unity, is called 9 Sitradhara (Director).' Definition of a Playwright 99. Because he puts in [different] Sentiments, States and Temperaments, as taught in tho Sistra, in (different characters, a person is called a playwright (16 yakara).' Definition of an Actor 100. One who can apply the music of four kinds of instrument, and produce a play according to tho meaning of the Sastra as well as his own reasoning, is called an actor. (nata).’ Definition of an Actress 101. A woman who knows all about the playing of drums, Laya (tempo) and 818 and is conversant with Senti- ments, and is beautiful in all her limbs, should be made an actress! (natakiya). a - (98) 107 another definition of the Siitradhara see 66-74 above. (99) !His duty was to compose a play on any given theme. He is comparable to ‘poets’ employed by Ilizabethan theatrical companies. For more about the playwright see the introduction. (100) This probably shows the original connection of drama with music of all kinds. | (101) !This word has been used by Bhasa. See Pratima I. +8, xxxiv. 102-106] THE NATYASASTRA 228 The Crown-maker 102. He who makes masks and various special dresses together with headgears (Sirsaka = pratisirsaka) suited to various characters, is called a crown-maker (mukutakara).' The Maker of Ornaments 103. One who makes ornaments according to various rules, is called a maker of ornaments' (abharanakrt) and each [maker of ornaments] is to be named according to the material he uses. The Maker of Garlands 104. He who makes five kinds’ of garland, is called 9 maker of garlands (malyakrt). The Vesakira He who looks after dressing is called # 6581818. The Painter, the Dyer and the Craftsman 105. One who knows painting is a painter (ctlrakara), and from his [knowledge of] dying (ramjana) [clothes] a person is called a dyer (rajaka).’ And one who fashions different objects out of lac, stone, metal and wood, is called 9 craftsman (karu). The KusSilava 106. He who can apply the principles of instrumental music and is himself an expert in playing instruments, is called a Kusilava because of his being kusala (clever) and avadata (refined) and free from agitation (avyathita).* (102) For rules about crowns see XXIII. 129ff- (103) !For varieties of ornament used see XXIII. 11 ff. (104) ‘For the five kinds of garlands see XXIII. 10 2101 the rules for different costumes see XXIII. 110ff. (105) 101 uses of clothes of different colour see XXIII. 53-56, 60, and for colours see XXIII, 69ff. 4See XXIII. 43, (106) ‘The real etymology is obscure. This is only a folk- etymology of the word. There are however reasons to believe that it originally meant ballad-singers. The names of Rama’s twin sons probably had its origin in kusilava, 229 DISTRIBUTION OF ROLES [xxxv. 107-109 Other members of the party 107. The man who takes to an art or a craft (silpa), a profession, or a practice, and has himself acquired proficiency in it, is oalled by its name,’ 108. So much about the hereditary groups (jai) known in connection with the rules of theatre as Natas who relate to various accessories [needed] for the production of various types of play. 109. I have spoken about the assignment of roles and about the makers of a drama according to their function, and have pronounced the Canons of Drama. Please mention, O sages, what more is to be said now. Here ends the Chapter XX XV of the Natyasastra, which treats of the Distribution of Roles. ~~~ = MRR ee ~~~ ~ — = (107) ‘Besides the craftsmen mentioned above, the theatrical troupes probably had with them artisans who made things with bamboo, grass and hide ete. CHAPTER THIRTYSIX DESCENT OF DRAMA ON THE EARTH Sages question. 1-6. Being pleased with this, the sages such as Atreya,' Vasistha, Pulastya, Pulaha, Kratu, Angiras, Gautama, Agastya, Manu, the wise Ayus, Vigvamitra, Sthilagiras, Samvarta, Pratimardana, Usanas, Brhaspati, Vatsa, Cyavana, K&syapa, Dhruva, Durvasas, Jamadagni, Markandeya, GAlava, Bhara- dv4ja, Raibhya, the venerable Valmiki, Sthiliksa, Sankulaksa, Kanva, Medhatithi, Kuga, Narada, Parvata, Susarman, the two Kkadhanvins, Nisthytti, Bhavana, Dhaumya, Satananda, Krtavrana, Jamadagnya Rama, Jamadagni and Vamana again spoke out of curiosity to the omniscient Bharata these words: 7. “The ancient Natyaveda which you have spoken, has been properly comprehended by us listening to it atten- tively. । 8. [But] you, venerable sir, should also remove (lit. explain) any doubt we may have in this regard. For who else can speak definitely about the Natyaveda ? 9-10. We shall enquire from you [more] about drama for our enlightenment and not out of any distrust, rivalry or jealousy. We did not speak earlier (lit. then) [about this], for there should not be any interruption. So, speak to us exhaustively about the mystery of drama. 11. You have [already] said that exploits of men’ constitute drama, hence you should speak definitely about what has been kept hidden from people. 12-14. O the best Brahmin (lit. the bull of the twice- born), tell us about the character of the god who appears in (1-6) '!The shorter recension of the NS. omits these naines,. See 0.4 (11) 966 I. 111-112, 231 DESCENT OF DRAMA ON THE EARTH _[xxxvi. 24-32 the Preliminaries (pirvaranga). Why is the sound [of musical instruments] applied there ? What purpose does it serve when applied ? What god is pleased with this, and what does he do on being pleased 7 Why does the Director being himself clean, perform ablution again on the stage?’ How, (0) sir, the drama has come (lit. dropped) down to the earth from heaven 2 Why have your descendants come to be known as Sidras ?” 15. The sage Bharata on hearing these words of the wise men, spoke again to them for explaining the matter which was confidential. Bharata said: 16. ‘I shall explain to you, O Brahinins, what you persons with excellont vow, enquire regarding the rules of the Preliminaries, Juisten properly about it. 17. The Preliminaries have been doscribed in continua- tion of whatever I havo said [earlicr] about the destruction obstacles,’ 18-22. Just as the body, 18 covered [with an armour] for warding off missiles, so sins of all kinds are avoided with Homa. After I have thus warded off the sins and destroyed the obstacles by worshipping gods with Japa, Homa, words of adoration and blessing, and songs about their [benevolent] deeds and attitudes, and with the playing of all instruments, and sound of songs, they (i.e. gods) being pleased with the singing of their praise, said, “We are exceedingly delighted with the performance of yours; as if nandati [pleases] the people, after pleasing the gods and the Asuras, this perfor- mance will be called Nandi (Benediction). 23, When auspicious words uttered with proper into- nation in accompaniment of songs and playing of instruments resound a region, all evils will disappear, and prosperity will ensue there. (12-14) 18९८ ए. 80-83. (17) 1866 V, 70ff. XXXVI. 15-23] THE NATYASASTRA 932 24. In 80 much space as is filled with sound of musical instruments there will be there no Raksasas or leaders of Vighnas (vighna-vinayaka). 25-26. On hearing the sound of Nandi, and recitatives, songs and playing of instruments during marriages of all kinds,’ and sacrifices performed for the prosperity of kings, ferocious spirits will make themselves scarce. And this (i.e. the sound of the Nandi) will be equal to the exposition Vedic Mantras, 27. I have heard from the god of gods (Indra) and afterwards from Samkara (Siva) that music vocal as well as instrumental, is in fact a thousand times superior to bath [in holy waters} and to Japa. 28. In places in which there occur instrumental music and dramatic performance, or song and instrumental music, there will surely be there never any kind of inauspi- cious happening. 29. Thus I have devised the Preliminaries as a cere- mony of adoration for worshipping deities, with landatory verses and Mantras. Ablution of the Director on the Stage 30. As the head becomes fatigued by bowing on the stage, the rule permits the Director to bathe it with water.' 31. After the ablution the Director should worship the Jarjara with Mantras. All this has been said in connec- tion of the Preliminaries." This is the reason for the ablution. 32. I shall now tell you in detail how drama came (lit. dropped down) to the earth from Heaven, for I am unable to withhold anything from you. (25-27) 1412८ ca vivahe ca, Avaha is the marriage which takes place in bridegroom's place and vivaha takes place in the bride's, place. (30) ‘See the note on 12-14. (31) See V. 118-119, 238 = DESCENT OF DRAMA ON THE EARTH [xxxvt. 33-49 Bharata’s Sons offended the Sages. 33-34, All these sons of mine being intoxicated with [the knowledge of] the Natyaveda, practised in course of time an art tiring the entire people with Prahasanas connected with laughter. 34-35. And they on purpose, produced in an assembly [of spectators] a play which caricatured the sages and which was unaccoptable and full of wicked acts, and which encouraged rural manners and was cruel and inauspi- cious. The Sages curse Bharata’s Sons. 36-37. On hearing this, the sages were extremely angry and excited, and spoke to them (i.e. sons of Bharata) burning them, as it wore, with their words, ‘O Brahmins, it 18 not proper that wo should be thus caricatured. What is this insult [for], and what is your intention ? 38, As due to pride in your knowledge [of drama] you have taken to arrogance (avinaya), your evil knowledge will get destroyed. ४ 39. In the community of -sages and Brahmins or in meeting them, you will appear as being no followers of the Vedas and will attain the character of Siidras. 40, You will become mere Siidras and attain their functions, and those to be born in your line, will be impure. 41, And your posterity will be dancers who will wor- ship others along with their wives and children (i.e. they will all be 67198). 49. Gods on hearing of the origin of curse on my 8079 became anxious and approached the sages. Gods intercede in favour of Bharata’s Sons 43, Then the gods with Sakra (Indra) as their leader said, ‘Afflicted [thus] with misery the drama will perish, (41) ‘In modern states, Directors of theatres would be dragged to law-courts for a similar offence. , 30 XXXVI. 44-53] THE NATYASASTRA 234 44, The sages said in reply that drama would not perish, but the remaining portion of their cursé would take effect in its entirety. Bharata’s Sons approach their Father. 45-46. On hearing the words of the sages of terrible spirit, my sons became sad, and with a desire to kill them- selves they approached me and said, ‘We have been totally ruined by you, and for the fault of drama we have been made to take to Siidra’s conduct.’ Bharata pacifies them. 47-48, For their consolation I said, ‘Do not be sorry for it; the rule that words of sages will never prove untrue has indeed been made by fate (krtanta) ; so you should not turn to the destruction [of your own selves], after being thus consoled. 49. Remember (lit. know) that this dramatic art has been described by Brahman [himself]. So teach it to your disciples and others through its practice, 50. ˆ Do not destroy this drama which has been devised with great difficulty, and which depends on great things, brings merit and has its origin in the Vedas, their Angas and Upangas.’ 51, After holding the performance of a drama according to [rules] which I have heard from Apsarasas, you are to undergo & purificatory ceremony (prayascitta). Nahusa.invites divine Artistes to the Earth. 52. In course of time, a king named Nahusa attained the kingdom of heaven through his polity, intelligence and prowess. He then governed the kingdom and obtained a divine prosperity (vyusti). 53. And on seeing the musical performance (gandharva) and drama [of the gods], he became anxious [for these]. (50) 111 spite of this passage, it is difficult to believe that drama of India was of Vedic origin. On this see the translator’s Contributions to the History of Hindu Drama, Calcutta, 1957, pp. 3-4, 235 DESCENT OF DRAMA ON THE EARTH [Xxxvr, 54-63 | 64, And he thought within himself as to how the dra- matic performance of gods might be held in his own house [ । the earth] and to the gods he spoke for [causing such] a ee mance, with joined palins. ‘Let the drama [produced] by the Apsarasas be performed in our house [on the earth].’ Gods reject the request. 56. But in reply to this, the gods with Brhaspati as their leader said to him ‘The meeting of divine damsels and human beings has not been prescribed [anywhere]. 57. [But] as you are the lord of heaven, you should be given an advice which is friendly as well as suitable. Let the master [of the dramatic art] go there [at your place] and please you.’ Nahiusa approaches Bharata, 68. Then the king with joined palms said to me, ‘Revered sir, I should like to see this dramatic performance established on the earth. 59, I have been promised earlier [by gods] your service 88 9 trainer. O best of Brahmins, I have now got it directly [by approaching you]. Urvasi and the carthly drama 60. In the house of my grand father (Pururavas), this drama together with his work has been described by Urvasi to the members of the harem. 61. But when the members of the harem were distressed on the death of the king who became insane! due to her disappearance, this [dramatic art] was lost. 62. I wish this again to be openly produced on the earth during sacrifices to be done on different days of the moon, so that a happy and auspicious situation may arise. 63. Hence, plays (lit. composition) relating to many characters produced in my house through graceful movement ‘of women, will add to your fame.’ meee 9 ee ee = (61) !The fourth act of Kalidasa’s Vikram. deals with this theme in a masterly fashion. xxxvi. 64-72) THE NATYASASTRA 286 Bharata grants this request and sends his sons to the earth. 64-67. “Let this be so’ said, I in reply to the king Nahusa, and called my sons, and spoke to them as well as to gods the conciliatory words [as follows:] ‘This king Nahusa begs us with joined palms that you may go down for your own good to the earth to produce drama there. Drama being 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 produce drama there, [for] I shall not be able to disregard the words of this earthly king.” Kohala is the Successor of Bharata. 68-69. For us all and for the magnanimous Nahusa, the Self-born One (Brahman) has said that success in drama would depend on his authoritative instruction (aptopadsa). The rest will be related by Kohala in his supplementary treatise (uétara-tanira)' which also will treat [of more rules on] the application [of dramatic art], the Memorial verses (karika) and the etymologies (nzrukta). . 70. For the purpose of diversion, this Sastra has been established by me in heaven with the help of Apsarasas and the sage Sv4ti and Narada.’ Bharata’s sons come down to the earth, 7i. Then, O Brahmins, they went down to the earth in the house of Nahusa, and devised in dus order the produc- tion of various plays with the help of women. 72. Afterwards they my sons, begot progeny in women of the earth and devised for them more dramas (lit. creation) on various themes. (64-67) !The implication of this mythical account is beautiful. It seeks to impress on us the idea that dramatic performance fiourished in heaven, and it is a gift of gods. (68-66) In ancient Indian medical works we meet with uttara-sthanas which are evidently later additions. See Samihitas ascribed to KaSyapa and Susruta. Kohala’s work has reached us in a very damaged ms. not yet published. 237 DESCENT OF DRAMA ON THE EARTH {xxxvi. 73-81 78. On begetting sons and devising plays in due order they were permitted to return again to heaven. 74. Thus through a curse the dramatic performance has been brought down to the earth, and the successive genera- tions of dramatic artistes (bharata) have come into being. Kohala and his associates 75-76. Kohala’ and others together with Vatsya’ Sandilya,* and Dhirtila’ (Dattila) stayed in this earth for some time as mortals, and put into practice this Sastra which augments the intellect of men, deals with the deeds of the three worlds and is a specimen of all other 5268798, Value of the Natyasastra 77-79, He who always hears the reading of that [Sastra] which is auspicious, sportful, originating from Brahman’s mouth, very holy, pure, good, destructive of sins, and who puts into practice and witnesses carefully the performance [of a drama], will attain the same blessed goal which masters of Vedic knowledge’ and performers of sacrifices or givers of gifts will attain [in the end]. Value of the Dramatic Show 80. Of all duties of the king, this has been proclaimed as possessing the best result (mahaphala).' Of all kinds of charities, allowing people to enjoy ४ dramatic show without payment, has been praised most. 81. Gods are never so pleased on being worshipped with scents and garlands as they are delighted with the performance of dramas. (75-76) See the introduction. 21644 31074 ‘ibid (77-79) ‘This passage probably shows that the theatrical art was originally connected with the pre-Vedic religion. The author of the NS. tried here to give it a status similar to that of the Vedic practices. ` (80) ‘Some modern states also find it profitable to spend money on dramatic arts. xxxvi. 82-83] THE NATYASASTRA 988 82. The man who properly attends the performance of music (gandharva) and dramas will [after his death] attain the happy and meritorious path in the company of Brahminic sages, The popular practice supplements dramatic rules. 83. Thus many practices sanctioned by Sastras have been described in connection with the performance of dramas. Whatever remains unmentioned should be included into practice by experts from an observation (lit. imitative) of people (i.e. their usage). THe Fina BENEDICTION What more should I say? Let the earth be full of grains, and be free from diseases for all time. Let there be peace for cows and Brahmins, and let the king protect thus the entire 68111. Here ends the Chapter XXXVI of the Natyasastra, which treats of the Descent of Drama on the Tiarth a -9> ० ~~~ ~~~ (83) 'This shows that the author of the Sastra did not like to see drama eternally tied to his prescriptions. *T his is the typical pattern of Bharata-vakyas met with in available plays. The term ‘Bharata-vakya’ however does not occur in the Natyasastra.