Natyashastra (English)
by Bharata-muni | 1951 | 240,273 words | ISBN-13: 9789385005831
The English translation of the Natyashastra, a Sanskrit work on drama, performing arts, theater, dance, music and various other topics. The word natyashastra also refers to a global category of literature encompassing this ancient Indian tradition of dramatic performance. The authorship of this work dates back to as far as at least the 1st millenn...
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Chapter XVII - Diction of a Play (濒补办峁峁嘺)
Excellent points of a dramatic composition (濒补办峁峁嘺)
1-5. The thirty-six excellent points (濒补办蝉补峁嘺)[1] of [a good] dramatic composition (办腻惫测补[2]) are as follows: Ornateness (产丑奴峁峁嘺), Compactness (补办峁谤补-蝉补峁僩丑腻迟补), Brilliance (艣辞产丑腻), Parallelism (耻诲腻丑补谤补峁嘺), Causation (hetu), Hesitation (蝉补峁兣沘测补) Favourable Precedent (诲峁涐梗峁乶迟补), Discovery (辫谤腻辫迟颈), Fancy (补产丑颈辫谤腻测补), Unfavourable Precedent (苍颈诲补谤艣补苍补), Additional Explanation (nirukta), Persuasion, (siddhi), Distinction (惫颈艣别峁峁嘺) Accusation of Virtue (驳耻峁嚹乼颈辫腻迟补), Excellence (驳耻峁嚹乼颈艣补测补), Inference from Similitude (tulya-tarka), Multiplex Predication (padoccaya), Apt Description (诲颈峁ａ弓补), Pointed Utterance (upa诲颈峁ａ弓补), Deliberation (惫颈肠腻谤补), Inversion (viparyaya), Slip of Tongue (产丑谤补峁兣沘), Mediation (anunaya), Series of Offers (尘腻濒腻), Clever Manner (诲腻办峁峁噛补), Censure (驳补谤丑补峁嘺), Presumption (补谤迟丑腻辫补迟迟颈), Celebrity (prasiddhi), Interrogation (辫峁沜肠丑腻), Identity (蝉腻谤奴辫测补), Indirect Expression of one鈥檚 Desire (manoratha), Wit (濒别艣补), Concealment (蝉补峁僰峁产丑补), Enumeration of Merits (驳耻峁嘺-办墨谤迟补苍补), Semi-uttered Expression (anukta-siddhi) and Compliment (priyavacana = priyokti).
Ornateness
6.[3]To provide a composition with many figures of speech (补濒补峁僰腻谤补), and 骋耻峁嘺蝉 placed like ornaments, is called Ornateness (产丑奴峁峁嘺, lit. ornament).
Compactness
7.1When a wonderful sense is expressed by means of a small number of syllables with double entendre, it is called the mark named Compactness (补办峁谤补-蝉补峁僩丑腻迟补, lit. assemblage of syllables).
Brilliance
8.[4] Where for the purpose of giving distinction to a case of double entendre (艣濒别峁), a less-known meaning is called forth along with the well-known meanings, it is called Brilliance (艣辞产丑腻, lit. beauty).
Parallelism
9. When by a sentence expressing a similar situation a suggestion is made by clever people to accomplish some objects, it is called Prarallelism (耻诲腻丑补谤补峁嘺, lit. example).[5]
Causation
10. When a brief and pleasing sentence by the force of its [tactful] use achieves the desired object, it is called Causation (hetu)[6].
Hesitation
11. When due to many considerations a sentence is brought to an end without fully communicating the essential theme [in view], it is called Hesitation (蝉补峁兣沘测补, lit. doubt).[7]
Favourable Precedent
12. That which supporting the case in hand[8] is an expression of its reason and is pleasing to all people, is a Precedent Favourable to the speaker (诲峁涐梗峁乶迟补, lit. example),
Discovery
13. When on seeing some indications, the existence of something is assumed, it becomes [an instance of] Discovery (辫谤腻辫迟颈, lit. attainment)[9] which is included among the marks of a [good] drama.
Fancy
14. When an idea interesting to people [but] hitherto non-existent, is conceived on the basis of similarity [of two objects], it is [an instance of] Fancy (补产丑颈辫谤腻测补, lit. belief)[10]
Unfavourable Precedent
15. When well-known instances are mentioned for rejecting the contrary view, it is [an instance of] Unfavourable Precedent (苍颈诲补谤艣补苍补, lit. example)[11]
Convincing Explanation
16. Words that ate spoken in support some unobjectionable statement made before, constitute Additional Explanation (nirukta, lit. etymology)[12]
Persuasion
17. When name of many relevant[13] persons are mentioned with a view to accomplish the object aimed at, it is [an instance of] Persuasion (siddhi, lit. success).
Distinction
18. When after mentioning many well-known great objects something is said to distinguish a thing from them, it is [an instance of] Distinction (惫颈艣别峁峁嘺)[14].
Accusation of Virtues
19. When virtues are mentioned with sweet words of harsh import, which carry a contrary implication, it is [an instance of] Accusation of Virtues (驳耻峁嚹乼墨辫腻迟补, lit. opposition of virtue)[15].
Excellence
20. When after enumerating the qualities available in common men, one mentions some special qualities, it is [an instance of] Excellence (补迟颈艣补测补)[16].
Inference from Similitude
21. When an object not believable, is inferred from a metaphor or a simile applied in a similar sense, it is [an instance of] Inference from Similitude (tulya-tarka, lit. reasoning from the comparables)[17].
Multiplex Predication
22. When a number of words are used along with a number of other words to form [different] groups for the same purpose, it becomes [an instance of] Multiplex Predication (padoccaya, lit. collection of words)[18].
Description
23. When any object or incident directly seen or not, is described in harmony with locality, time or from related to it, it becomes [an instance of] Apt Description (诲颈峁ａ弓补 lit. described)[19].
Pointed Utterance
24. When one says something with a happy end on the basis of 艢膩stras and thereby pleases the learned, it is a Pointed Utterance (upa诲颈峁ａ弓补, lit. utterance)[20]
Deliberation
25. That which establishes something not direcrty perceived and is in harmony with the meaning expressed earlier[21] and includes much elimination of errors (apoha), is called Deliberation (惫颈肠腻谤补).
Inversion
26. When due to seeing [something], an alteration of Deliberation, is made on account of a doubt, it is called Inversion (viparyaya).[22]
Slip of Tongue
27. Manifold and sudden deviation of haughty and such other persons from the intended words to something else, is called Slip of Tongue (产丑谤补峁兣沘, lit. lapse)[23].
Mediation
28. [Words] which [are used to] please two persons with mutually opposed resolution and [are aimed at] accomplishing some object, constitute Mediation (anunaya, lit. imploring)[24].
Series of Offers
29. When for the purpose of accomplishing a desired object one (lit. learned men) suggests to a person his many needs [that may be met], it is [an instance of] Series of Offers (尘腻濒腻, lit. garland)[25].
Clever Manners
30. When one attends another person with a happy and pleased face, [sweet] speech and other [agreeable] movements, it [is an instance of] Clever Manners (诲腻办峁峁噛补).[26]
Censure
31. If any one mentions [someone鈥檚] faults and explain them as merits, or decries one鈥檚 merits and calls them faults, it becomes [an instance of] Censure (驳补谤丑补峁嘺)[27].
Presumption
32. When from a sweetly-worded mention of something, some other object is to be understood, it is [an instance of] Presumption (补谤迟丑腻辫补迟迟颈).[28]
Celebrity
33. That which is expressed with excellent words mentioning many well-known exploits, gives rise to Celebrity (prasiddhi)[29].
Interrogation
34. When with gesticulating[30] words one questions oneself or another and speaks something, it is [an instance of] Interrogation (辫峁沜肠丑腻).
Identity
35. When from seeing, hearing or feeling something [suddenly] one is excited by its likeness [with another, it is [an instance of] Identity (蝉腻谤奴辫测补)[31].
Indirect Expression of Desire
36. Expressing one鈥檚 secret desire of the heart[32] by a pretence of referring to somebody else鈥檚 condition, is called Indirect Expression of Desire (manoratha, lit. object of the mind).
Wit
37. Words which are spoken in a [clever] manner by expert disputants and which relate to accomplishment of similar objects1, constitute Wit (濒别艣补)[33].
Concealment
38. When being faultless one takes upon oneself various faults of another, or ascribes them to another blameless person, it is [an instance of] Concealment (蝉补峁僰峁产丑补, lit. upsetting)[34].
Enumeration of Merits
39. When merits of men who excel [others] in qualities in this world, are ascribed to one single person, it is [an instance of] Enumeration of Merits (驳耻峁嘺-办墨谤迟补苍补)[35].
Semi-uttered Expression
40. When from the mere commencement of subject the rest of it is comprehended without being actually expressed in words[36] it is [an instance of] Semi-uttered Expression (anukta-siddhi, lit. unuttered achievement).
Compliment
41. When words are uttered in a pleasant mood to honour an honourable person and to express joy [for his acts] it is [an instance of] Compliment (priyokti, lit. pleasing utterance)[37].
42. These thirty-six excellent points of a dramatic (lit. poetical) composition conducing to the object in view (i.e. writing plays) will beautify a play (lit. composition) and [hence they] should be properly used according to the Sentiment [introduced in it].
Four figures of speech
43. Four figures of speech available in drama are: Simile (耻辫补尘腻,) Metaphor (谤奴辫补办补), Condensed Expression (诲墨辫补办补, lit. lamp) and Yamaka.
Simile
44. When in a poetical composition anything is compared on the basis of some similarity, it is [an instance of] Simile (耻辫补尘腻). It relates to quality and form,
Number of objects compared
45-48. This comparison may be of one with one or many, or of many with one, or of many with many. (Examples of these are as follows): your face is like the moon (one compared with one), stars shine like the moon (many compared with one), having an eye like that of a hawk, a peacock and a vulture (one compared with many); and elephants are like clouds (many compared with many).
Five kinds of simile
49. A Simile is of five kinds, viz. [that of] praise (辫谤补艣补峁僺腻), censure (苍颈苍诲腻), conceit (办补濒辫颈迟腻), uniqueness (蝉补诲峁浥浤�). and partial likeness (ki峁僣it 蝉补诲峁浥浤�).
Example of Simile of praise
50. The king was pleased to see that large-eyed lady just as the sages are pleased to see the success incarnate after it has been achieved with austerity.
Example of Simile of censure
51. The woman clung to that rough-looking person devoid of all good qualities just as a creeper clings round a thorny tree which has been searched by the forest-fire.
Example of Simile of conceit
52. Elephants exuding ichor and moving slowly with gracefulness look like mobile mountains.
Example of Simile of uniqueness
53. What you have done today to satisfy someone else鈥檚 desire, is worthy of you and is comparable only to your [other] superhuman deeds.
Example of Simile of partial likeness
54. Here has come my lady friend whose face is like the full moon, eyes are like the petals of a blue lotus and the gait is like that of an elephant in rut.
55. These briefly are the varieties of similes. Those not described here are to be gathered from [different] poetical works and from the people (i.e. the folk-poems).
Metaphor
56. An image of slight likeness which is conceived due to indecision [from objects] characterised by similar limbs, is called Metaphor (谤奴辫补办补)[38]. Example:
57. Lake-women, with their lotus-faces, Kumuda-smiles, open and beautiful N墨lotpala-eyes and swans cackling around, seem to be calling one another.
Condensed Expression
58. Combining of words in different topics in a single sentence for their mutual illumination, is called Condensed Expression (诲墨辫补办补, lit. light)[39]. Example:
59. In that region (lit. there) fullness (lit. want of emptiness) was always effected[40] by swans in the lakes, by flowers in the trees, intoxicated, bees in the lotuses and by friendly groups [of men and women] in the gardens and the parks.
Yamaka
60. Repetition of words at the beginning of the feet and the other places, constitute Yamaka (lit. twin). Listen to their characteristics which I am going to tell [you][41].
Ten kinds of Yamaka
61-63.[42] Yamakas are of the ten kinds: 笔腻诲腻苍迟补-驰补尘补办补, K膩帽ci-Yamaka, Samudga-Yamaka, 痴颈办谤腻苍迟补-驰补尘补办补, 颁补办谤补惫腻濒补-驰补尘补办补, and 厂补苍诲补峁ａ弓补-驰补尘补办补, 笔腻诲腻诲颈-驰补尘补办补, 膧尘谤别岣峣迟补-驰补尘补办补, Catur-vyavasita-Yamaka and M膩l膩-Yamaka.
笔腻诲腻苍迟补-驰补尘补办补
64. When similar syllables occur at the end of all the four feet, they constitute 笔腻诲腻苍迟补-驰补尘补办补. Example:
65. dina-k峁y膩t sa峁僪峁泃a-ra艣mi-ma峁囜笉ala峁� div墨va lagna峁� tapan墨ya-ma峁囜笉ala峁� |
vibh膩ti t膩mra峁� divi s奴rya-ma峁囜笉ala峁� yath膩 taru峁噛膩岣� stana-bh膩ra-ma峁囜笉ala峁� ||
Tr. At the decline of the day, the reddish (lit. copper-coloured) orb of the sun shorn of its cluster of rays, shining like a golden disc in the heavens, looks like the big round breast of a young maiden.[43]
碍腻帽肠墨-驰补尘补办补
66. Two similar words occurring at the beginning and at the end of each foot constitute 碍腻帽肠墨-驰补尘补办补.
67. y膩m膩y膩m膩艣-candravat墨n膩峁� dravat墨n膩峁� vyakt膩vyakt膩 s膩ra-jan墨n膩峁� rajan墨n膩m |
phulle phulle sa-bhramare v膩鈥檅hramare v膩 r膩m膩鈥檙膩m膩 vismayate ca smayate ca ||
Tr. The length of hours (测腻尘补) of the moon-lit nights, passing swiftly in the company of women are scarcely perceived.
Flowers having blown whether with or without bees, the lady looks at them admiringly, and has a beautiful smile.
Samudga-Yamaka
68.[44] When the same Hemistich by its repetition completes the verse, it is [an instance of] Samudga-Yamaka. Example:
69. ketak墨-mukul-p膩峁囜笉ara-danta岣� 艣obhate pravara-k膩nana-hast墨 |
ketak墨-mukul-p膩峁囜笉ara-danta岣� 艣obhate pravara-k膩nana-hast墨 ||
Tr. The very big wild elephant with its tusks as pale-white as Ketak墨 buds looks beautiful; and the elephant-like large forest looks beautiful with Ketak墨 buds as its pale-white tusks.
痴颈办谤腻苍迟补-驰补尘补办补
70. When two alternate feet are similar, it is [an instance of] 痴颈办谤腻苍迟补-驰补尘补办补.
71. sa p奴rva峁� v膩ra峁噊 bh奴tv膩 dvi艣峁沘峁単a iva parvata岣� |
abhavad danta-vaikaly膩d-vi艣峁涐箙ga iva parvara岣� ||
Tr. Formerly being an elephant comparable to a two-peaked mountain, [now] its two tusks being broken it has become like a mountain without any peak.
颁补办谤补惫腻濒补-驰补尘补办补
72. When the word at the end of a foot is similar to the word at the beginning to the next foot, it is [an instance of] 颁补办谤补惫腻濒补-驰补尘补办补[45]. Example:
73. [艣arais] tath膩 艣atrubhir 膩hat膩 hat膩 hat膩艣 ca bh奴yas tv anupu峁僰hagai岣� khagai岣� |
khagai艣 ca sarvair yudhi sa帽cit膩艣 cit膩艣 cit芒dhir奴岣峢膩 nihat膩s talais talai岣� ||
Tr. Thus they were killed after being struck by arrows of the enemies as well as by birds of prey flying closely behind such missiles; the pyres of the battle-field were surrounded with such birds and the dead bodies placed on the funeral pyre were being repeatedly pounced upon by them with their [sharp] talons.
厂补苍诲补峁ａ弓补-驰补尘补办补
74. When the two words at the beginning of a foot are similar, it is [an instance of] 厂补苍诲补峁ａ弓补-驰补尘补办补[46]. Example:
75. pa艣ya pa艣ya me rama峁嘺sya gu峁嚹乶 yena yena va艣ag膩峁� karoti m膩m |
yena yena hi mamaiti dar艣ana峁� tena tena va艣ag膩峁� karoti m膩m ||
Tr. Look at the qualities of my lover, by which he makes me bow to him, and he charms me by those qualities with which he comes to my view.
笔腻诲腻诲颈-驰补尘补办补
76. When the same word occurs at the beginning of each foot, it is [an instance of] 笔腻诲腻诲颈-驰补尘补办补.
Example:
77. vi峁ａ箛u岣� s峁沯ati bh奴t膩ni vi峁ａ箛u岣� sa峁僪arate praj膩岣� |
vi峁ａ箛u岣� pras奴te trailokya峁� vi峁ａ箛ur lok膩dhi-daivata峁� ||
Tr. Vi峁ａ箛u creates all living beings; Vi峁ａ箛u destroyes all creatures; Vi峁ａ箛u creates (lit. gives birth to) the three worlds and Vi峁ａ箛u is the overlord of [all] the worlds.
膧尘谤别岣峣迟补-驰补尘补办补
78. When the last words of a foot are reduplicated, it becomes [an instance of] 膧尘谤别岣峣迟补-驰补尘补办补. Example:
79. vij峁沵bhita峁� ni岣ヅ泇asita峁� muhur-muhu岣� yath膩bhidh膩na峁� smara峁嘺m pade pade |
yath膩 ca te dhy膩nam ida峁� puna岣� punar dhruva峁� gat膩 t膩峁� rajan墨 vin膩 vin膩 ||
Tr. You yawned and had deep repeated sighs, as you remembered her name frequently and as [you were] in constant meditation [of her] your [sad] night passed absolutely without her.[47]
Catur-vayavasita-Yamaka
80. When all the feet consist of similar syllables, it is [an instance of] Catur-vyavasita-Yamaka. Examples:
81. v膩ra峁嚹乶膩m ayam eva kalo v膩ra峁嚹乶膩m ayam eva k膩la岣� |
v膩ra岣ツ乶膩m ayam eva k膩lo v膩 ra峁嚹乶膩m ayam eva k膩la岣� ||
Tr. This is the time of the V膩rana [flower]; this is the season when the elephants (惫腻谤补峁嘺) are free from disease. This is the time [for] the enemies to come; or this is the time for [going to] battle. [48]
M膩l膩 Yamaka
82. When one consonant with different vowels occurs in various words, it is [an instance of] M膩l膩 Yamaka. Example:
83. hali bal墨 hal墨 m膩l墨 艣奴l墨 khel墨 lal墨 jal墨 |
balo balocca-lol膩k峁 mu峁l墨 tv-膩bhirak峁tu ||
Tr. Let the strong Balar膩ma, the garlanded Balar膩ma (hali) who holds a spike, is sportive, faltering [in gait] and is full of wine and Balar膩ma who is high in strength and who has his eyes rolling and who holds a club, protect you.
84. asau hi r膩m膩 rati-vigraha-priy膩 raha岣�-pragalbh膩 rama峁嘺峁� raho-gatam |
ratena r膩trau a[g]mayet parena v膩 na ced ude峁aty aru峁嘺h puro ripu岣� ||
Tr. This beautiful woman who is fond of love鈥檚 fight and is unashamed in bed[49] will go on secretly pleasing her dear one in bed at night with her best embrace if the sun will not rise in the east as her enemy.
85. sa pu峁ar膩k峁岣� k峁tajok峁t膩k峁岣� k峁rat k峁tebhya岣� k峁taja峁� dur墨k峁m |
k峁tair gav膩k峁ir iva sa峁僾峁泃膩峁単a岣� s膩k峁Ｄ乼 sahasr膩k峁 iv膩vabh膩ti ||
Tr. The lotus-eyed one having his eyes bathed in blood, letting fall from his wounds awful blood and having his body covered with wounds like cow鈥檚 eyes appeared as the thousand-eyed god (Indra) in person.
86. A play (lit. poetical work) should be composed by [introducing] these [excellent] points after considering their objects and functions. I shall speak hereafter about faults (诲辞峁) in such works.
Ten faults
87. Faults in a play (lit. poetical work) may be of ten kinds, such as Circumlocution (驳奴岣峢腻谤迟丑补), Superfluous Expression (补谤迟丑腻苍迟补谤补), Want of Significance (补谤迟丑补丑墨苍补), Defective Significance (产丑颈苍苍腻谤迟丑补), Tautology (别办腻谤迟丑补), Want of Synthesis (补产丑颈辫濒耻迟腻谤迟丑补), Logical Defect (苍测腻测腻诲补辫别迟补), Metrical Defect (惫颈峁尘补), Hiatus (visandhi) and Slang (艣补产诲补肠测耻迟补)[50].
Circumlocution and Superfluous Expression
88. Mentioning [anything] by means of a [manufactured] synonym, is to cause Circumlocution (驳奴岣峢腻谤迟丑补, lit. hidden meaning)[51].
When anything not necessary is mentioned it is [a case of] Superfluous Expression (补谤迟丑腻苍迟补谤补)[52].
Want of Significance
89. An expression which is irrelevant[53] or which remains incomplete[54] is [an instance of] Want of Significance (补谤迟丑补丑墨苍补)3
Defective Significance
Defective Significance (产丑颈苍苍腻谤迟丑补, lit. broken meaning) includes an expression which is not refined[55] or is worthy of a rustic.[56]
90. When the intended sense is changed into another sense it is also called Defective Significance.
Tautology and Want of Synthesis
91. Tautology (别办腻谤迟丑补), means [indiscriminating] use of [many] words for a single purpose[57].
[When a sentence is] completed within [each] foot [of a verse] it [is an instance of] Want of Synthesis (补产丑颈辫濒耻迟腻谤迟丑补)[58].
Logical Defect
92. Anything devoid of reasoning is an example of Logical Defect (苍测腻测腻诲-补辫别迟补)[59].
Metrical Defect
Lapse in the metrical structure is called Metrical Defect (惫颈峁尘补, lit. unevenness).
Hiatus
93. When words [which should combine in Sandhi] are kept separate, it is [an instance of] Hiatus (visandhi).
Slang
When a vulgar word is added, it is an instance of slang (艣补产丑补-肠测耻迟补, lit. lapse in a word)[60].
骋耻峁嘺蝉
94. These are the faults of a poetical work properly described by me. 骋耻峁嘺蝉 (merit) are their negation and are characterised by sweetness and depth of meaning[61].
Ten 骋耻峁嘺蝉
95.[62] The ten 骋耻峁嘺蝉 are: Synthesis (艣濒别峁, lit. union), Perspicuity (辫谤补蝉腻诲补), Smoothness (蝉补尘补迟腻), Concentration (蝉补尘腻诲丑颈), Sweetness (尘腻诲丑耻谤测补), Grandeur (ojas) Agreeableness (蝉补耻办耻尘腻谤测补, lit. delicacy), Directness of Expression (artha-vyakti, lit. expression of meaning), Exaltedness (耻诲腻谤补, lit. deep) and Loveliness (办腻苍迟颈).
Synthesis
96. Union of words connected through meaning intended is called Synthesis (艣濒别峁)[63].
Perspicuity
97. Where the unexpressed word or sense is comprehended through a use of easily understood words and sense, it is [an instance of] Perspicuity (辫谤补蝉腻诲补)[64].
Smoothness
98. When 补濒补峁僰腻谤补s and 驳耻峁嘺s match and illuminate one another it is called [an instance of] Smoothness (蝉补尘补迟腻)[65].
Concentration
99. Careful condensation of meanings suggested by and derived from similes and other figures of speech is called Concentration (蝉补尘腻诲丑颈)[66].
Sweetness
100. When a sentence heard or uttered many times does not tire or disgust [anyone], it [is an instance of] Sweetness (尘腻诲丑耻谤测补)[67].
Grandeur
101. If a [composition otherwise] censured and deficient in quality reflects an exalted sense through its words and is rich in sound and sense it becomes [an instance of] Grandeur (ojas)[68].
Agreeableness
102. When a composition consists of words easy to pronounce, euphonically combined, and giving agreeable impression [even when treating some unpleasant topic], it is [an instance of] Agreeableness (蝉补耻办耻尘腻谤测补)[69].
Directness of Expression
103. When the meaning of a composition can be grasped by the penetrating mind just after its recital (lit. use) it is [an instance of] Directness of Expression (artha-vyakti)[70].
Exaltedness
104. When the composition includes witty and graceful words having many special senses which are marvellous, it is [an instance of] Exaltedness (耻诲腻迟迟补)[71].
Loveliness
105. When a composition gives delight to the ears as well as to the mind on account of its well-put-together words, it is [an instance of] Loveliness (办腻苍迟颈)[72].
础濒补峁僰腻谤补蝉, and, 骋耻峁嘺蝉 according to Sentiments
106. These are the figures of speech, faults and 骋耻峁嘺蝉 [available in a poetical composition]; I shall now describe their application in connexion with different Sentiments.
Sounds and Figures of Speech according to Sentiments
107. The poetical composition in connexion with the Heroic, the Furious and the Marvellous Sentiments should consist mostly of light syllables and should include similes and metaphors.
108-109. In the Odious and the Pathetic Sentiments it [the composition] should likewise consist mostly of heavy syllables.
Metres according to Sentiments:
In the Heroic and the Furious Sentiments
Sometimes when any act of boldness is described (lit. occurs) in connexion with the Heroic and the Furious Sentiments, it (the composition) should be in the 膧ry膩 metre and should have Metaphor and Condensed Expression in it.
In the Erotic Sentiment
In the Erotic Sentiment the composition should be in gentle metres.
In the Heroic Sentiment
110-111. In the Heroic Sentiment when the recitative includes a dialogue, it should be in metres of the Jagat墨, Atijagat墨 and 艢a峁僰峁泃i types. In the description of battles and tumults, the Utk峁泃i has been prescribed by the experts.
In the Pathetic Sentiment
The 艢akkar墨 and the Atidh峁泃i would be the proper metres in the Pathetic Sentiment.
In the Heroic and the Furious Sentiments
112. The metres prescribed for the Heroic Sentiment may be applied in the Furious Sentime帽t as well; and as for metres in the rest of the cases (i.e. those not mentioned) they should be made suitable to the mening intended.
Vowel-length in different Sentiments arid States
113. In connexion with the drama the poets should use short, long and prolated (pluta) vowels for representing different Sentiments and States.
114. In the intonation [in Recitation] a vowel consisting of one M膩tr膩 is short, of two M膩tr膩s is long and of three M膩tr膩s is prolated (pluta).
Uses of the frolated vowel
115. In remembering anything, in [expressing] indignation, in lamenting or in the reading of [the Vedas] by Brahmins, the prolated (pluta) vowels occur.
116. [Syllables concerned in these connexions] will be 鈥樐佲�� in remembering, 鈥樑�� in indignation, 鈥榟膩鈥� in lamentation and 鈥榦m鈥� in the reading of [the Vedas] by Brahmins.
117. Besides these, other syllables in a play (lit. poetical composition) should also be made short, Jong or prolated according to the Sentiment and the State [they express].
118. The even and the uneven metres which have been described before should be used in composition with agreeable and soft sounds according to the meaning [intended].
119. The playwright should make efforts to use in his dramatic composition sweet and agreeable words which can be recited by women. For, furnished with these (i.e. such words) a play will appear very much beautiful just as lotus-lake [will appear] adorned with swans.
120. The delicate dramatic art with harsh words, such as 肠别办谤墨岣峣迟补[73], does not appear beautiful, just as a hetaera does not fit in with the company of Brahmins who carry the Ruru-skin,[74] are annointed with ghee, are clad in the skin of black antelopes[75] and have a rosary, (a 碍补尘补峁囜笉补濒耻) and a staff in hand.
121. A play abounding in agreeable sounds and senses, containing no obscure and difficult words, intelligible to country-people including clever speeches fit to be interpreted with (lit. fit for) dances, developing Sentiments by many [characters]8 and having suitable Segments (sandhi) and their [proper] union, becomes in this world fit for presentation to spectators.
Here ends chapter XVII of Bharata鈥檚 N膩峁瓂a艣膩stra which treats of the Excellent Points of a good play in connexion with the Verbal Representation.
Footnotes and references:
[1]:
About the significance of the term 濒补办峁峁嘺, the commentators of the N艢, are not at all unanimous. Ag. mentions no less than ten different views on the subject. Evidently some of these are far-fetched and off the mark. It seems that 濒补办峁峁嘺 in this connexion is comparable to the same word occurring in the compound word mah膩puru峁-濒补办峁峁嘺 (characteristic marks of a superman). According to one view this 濒补办峁峁嘺 differs from the 补濒补峁僰腻谤补 (ornament) and the 驳耻峁嘺 (qualities) of a person as figures of speech (补濒补峁僰腻谤补) and excellences (驳耻峁嘺) of a composition differ from its characteristic marks (濒补办峁峁嘺). The composition in this connexion is evidently a dramatic one though some of the commentators think otherwise. For a discussion on the position of 濒补办峁峁嘺s in the history of the Ala峁僰膩ra literature see S. K. De, Skt. Poetics, II. pp. 4-5; see also Ramakrishna Kavi, (B.II.pp. 348-349) and V. Raghavan鈥檚 paper on 尝补办峁峁嘺蝉 in the Journal of Oriental Research, Vol. VI. pp. 70, 71, 81, 82. Mss. of the N艢. fall into two distinct recensions as regards the text treating the thirty-six 濒补办峁峁嘺s. According R. Kavi (loc. cit.) one recension followed by older commentators, and late writers like Vi艣van膩tha, and 艢i峁単abh奴p膩la, uses 艣lokas for defining 濒补办峁峁嘺s. We have adopted this. The second recension (our 42ka-42峁) which seems to be later, has been followed by commentators like K墨rtidhara, Abhinavagupta and late writers like Dhana帽jaya and others. This greatly varies from the first with which it has not more than seventeen names (of 濒补办峁峁嘺s) in common, and among these, definitions of seven only are similar in both the recensions. (XVII, 6-8, 11, 17, 34, 37.),
[2]:
碍腻惫测补 in this connexion means the d峁浥泍a-办腻惫测补 or dramatic composition.
[3]:
A close study of Ag鈥檚. commentary on passages dealing with 濒补办峁峁嘺s is liable to give one an impression that the exact meaning of some of the terms at least relating to this subject, has been to some extent lost, and various explanations have been partly based on guess. But in the absence of anything better we are to depend on them though very cautiously. Definitions of various 濒补办峁峁嘺s are mostly not at all clear without examples which have been very liberally given by Ag. To avoid prolixity we refrain from quoting them here. Interested persons may see them in the Baroda ed. of the N艢. (Vol. II. pp. 294ff.). As any old commentary to these (N艢.) passages dealing with 濒补办峁峁嘺s, has not come down to us, we used in this connexion the one prepared by M. Ramakrishna Kavi. See B. II. pp. 348ff. (Referred to as Kavi).
[4]:
Ag. reads this with a slight difference, cf. SD. 437.
[5]:
Cf. SD. 438. Ag鈥檚 text in trans. is as follows: When from the occurrence (lit, sight) of a single word good many unmentioned ones can be inferred (lit. accomplished) it is called Sample (耻诲腻丑补谤补峁嘺), B. XVI. 11.
[6]:
Cf. SD. 439. Ag. reads this definition as follows: 鈥渧ah峁沶膩峁� bh膩峁m膩n膩n膩峁� tvekasy膩rthavinir峁嘺yam | siddhopam膩navacana峁� heturityabhisa峁僯帽itam鈥� (B.XVI. 14). Its meaning is not clear, Ag鈥檚 explanation does not seem to be convincing.
[7]:
Cf. SD. 440.
[8]:
Cf. SD. 341. Ag鈥檚 text (B. XVI. 25) in trans. is as follows: That a learned person discovers similarity [of anything] with something perceived by him earlier, is called Illustration (诲峁涐梗峁乶迟补). Cf. the figure of speech of this name in SD. 697.
[9]:
Cf. SD. 446, Ag. similar (B.XVI.32).
[10]:
SD, 445, Ag, reads this as a variant of yukti (B. XVI. 36) which in translation is as follows: The meaning which is made up only of many mutually compatible objects combining with one another, is called Combination (yukti). Cf. SD. 501.
[11]:
See SD, 444. Ag. reads this as a variant 腻艣墨岣� (B. XVI. 28). The meaning of this def. is not clear. Ag. offers no explanation of this, but gives an example which it is very difficult to fit in with the definition. Cf. SD. 471.
[12]:
Cf. SD. 453. Ag.鈥檚 text (B. XVI. 12) in trans. is as follows: Explanation (nirukta) is two kinds: factual and non-factual, [Of these] the factual [explanation] is that which is well-known (lit, accomplished before), and the non-factual is that which has not been so (lit, not accomplished).
[13]:
Cf. SD. 454. Ag. (B. XVI. 17) reads this with a slight variation.
[14]:
Cf. SD. 452, Ag. (B. XVI. 31) reads this as a variant of 办峁尘腻 which in translation is as follows: When one being hurt by harsh and provoking words utterred by a wicked person in the presence of good people, remains without anger, it is [an instance of] Forgiveness (办峁尘腻),
[15]:
Cf. SD. 450. Ag. reads this as a variant of 驳耻峁嚹乶耻惫腻诲补 (B. XVI. 13a) which is translation is as follows: Eulogy (驳耻峁嚹乶耻惫腻诲补) relates to inferior subjects compared with superior ones.
[16]:
Cf. SD. 451 Ag.鈥檚 reading (B. XV. 13b) in translation is as follows: When anything compares favourably with the best thing [to which it can be compared] it is [an instance of] Excellence (补迟颈艣补测补).
[17]:
Cf. SD. 442. Ag. reads this is as a variant of the definition of 腻办谤补苍诲补 (B.XVI. 19) which in translation is as follows: To say something very pointedly through suggesting one鈥檚 own idea by means of likening it to others鈥� actions, is called Exhortation (腻办谤补苍诲补). Cf. SD. 472.
[18]:
Cf. SD. 443 Ag.鈥檚 reading (B. XVI. 18) in trans. is as follows: When anything is described as possessing different aspects by means of many words of similar import, it is [an instance of] Multiplex Predication (padoccaya) which puts together many objects.
[19]:
BC. 诲峁涐梗峁璦 for 诲颈峁ａ弓补, Cf. SD. 448. Ag. reads this as a variant of 蝉腻谤奴辫测补 (B. XVI, 15) which is different from XVI. 35
[20]:
Cf. SD. 449; Ag. reads this is as a variant of Argumentation (upa-patti). The def. (B. XVI. 35), in translation is as follows: When faults discovered are explained away as being otherwise, it is called Argumentation (upapatti) in connexion with drama. Cf. SD. 482.
[21]:
Cf. SD. 447. Ag.鈥檚 reading of the definition in translation is as follows: Deliberation (惫颈肠腻谤补) is the critical examination of many things (B. XVI. 33). Ag. reads this as a variant of 辫补艣肠腻迟迟腻辫补, The def. in trans. is follows: Mental agony after doing something improper or failing to do what was proper is called Remorse (辫补艣肠腻迟迟腻辫补).
[22]:
Cf. SD. 456. Ag. reads this as a variant of the def. of 尘颈迟丑测芒诲丑测补 - 惫补蝉腻测补 (B. XVI, 16) which in translation is as follows: When in place of a non-existent object one takes for certain something similar to it, it [become an instance of] Wrong Perception (尘颈迟丑测芒诲丑测补惫补蝉腻测补).
[23]:
Cf. d峁沺t膩d墨n膩峁� bhaved bhra峁兣沷 v膩cy膩d anyatar膩d vaca岣�, SD. 455. Ag. reads this as a variant of the def. of priyavacana which in trans, is as follows: That which is apparently liable to provoke anger, but brings joy in the end and includes a blessing, is called Witty Compliment (priyavacana鈥攑riyokti), B. XVI, 29.
[24]:
Cf. SD. 458 Ag. reads this as a variant of the def. of Subservience 补苍耻惫峁泃迟颈 which in trans. is as follows: To follow with a purpose another person as a matter of courtesy, love or favour, is called Subservience (补苍耻惫峁泃迟颈), B.XV1. 34. Ag. reads this differently. Cf. SD. 494.
[25]:
Cf. SD. 439, Ag, (B. XVI. 26) reads this as a variant of the def. of 产丑腻蝉补苍补, which in trans. is as follows: When a statement with many agreements is made in many sentences for different purposes, it is called Shining (产丑腻蝉补苍补).
[26]:
Cf. SD. 457. Ag. reads this as a variant of the def. of Clever Request (测腻肠帽腻) which in translation is as follows: Words which are apparently liable to provoke anger, but bring joy in the end and turn favourable, are called Clever Request (测腻肠帽腻) See B. XVI. 22 Cf. SD. 496.
[27]:
Cf. SD. 461, Ag. reads this as a variant of the def. of Deceit (办补辫补峁璦-蝉补峁僩丑腻迟补) B. XVI. 30) which in translation is as follows: Application of some stratagem for the deception or defeat of others, is called Deceit (办补辫补峁璦). When two or three (stratagems) are applied together it becomes a Multiplex Deceit (办补辫补峁璦-蝉补峁僩丑腻迟补). Cf. SD, 473.
[28]:
Cf. SD. 460. Ag. reads this as a variant of the def. of Embellishment (办腻谤测补, B.XVI. 37) which in translation is as follows; When defects of an object are explained as merits or merits are derived from the defects it is [an instance of] Embellishment (办腻谤测补 lit. action).
[29]:
Cf. SD. 463. Ag. reads this as a variant of the def. of Submission (补苍耻苍墨迟颈, B.XVI, 38) which in translation is as follows: Sweet words which are uttered, to please one after forgiving one鈥檚 singular offence due to anger, is called submission (补苍耻苍墨迟颈). See also under B.XVI. 21.
[30]:
Cf. abhyarthan膩parair v膩kyair, SD. 462. Ag. (B. XVI. 24) reads this identically.
[31]:
Cf. SD. 464. Ag. reads this as a variant of the def. of Wounded Self-respect (补产丑颈尘腻苍补, B.XVI. 8) which in translation is as follows: When one is not pacified even when one is consoled by means of many words and acts, it is [an instance of] Wounded Self-respect (补产丑颈尘腻苍补). Cf, SD. 493.
[32]:
Cf. SD. 468. Ag. reads this in a substantially identical manner (B.XVI. 20).
[33]:
Cf. SD. 467, Ag, reads this as a variant of the def. of Obstruction (辫谤补迟颈峁诲丑补 B.XVI.23) which in translation is as follows: When one sets out to do something contrary to another鈥檚 desire and is opposed by clever persons (lit. those who know the business) it is called Obstruction (辫谤补迟颈峁诲丑补).
[34]:
Cf. SD. 465, sa峁僰峁po yat tu sa峁僰峁p膩d 膩tmanyarthe prayujyate. Ag. reads this as a variant of the def. of paridevana (辫补谤颈惫腻诲补na of Bhoja, 辫补谤颈惫腻诲补 of 艢膩rad膩tanaya, parivedana of Sarve艣vara) See B.XVI.39 foot note (*). The meaning of its def. is not clear.
[35]:
Cf. SD. 466. Ag. reads this def. in translation as follows: When a proclamation of various qualities of a person takes place, but his faults are not given out, it is [called an instance of] Enumeration of Merits (驳耻峁嘺-办墨谤迟补苍补). See B.XVI. 9.
[36]:
Cf. SD. 469. Ag. reads this as a variant of the def. paridevana etc, (see 38 note above).
[37]:
Cf. SD. 470. Ag. reads this differently. See above 27 note 1.
[38]:
(C.58; B.XVI. 56).1 (B.XVL57) and (C.57) give a second def. which does not appear in all mss.
[39]:
B. gives an additional def. (XVI. 54).
[40]:
The plain meaning is that the lakes were full of swans, the trees full of flowers, lotuses full of bees, and the parks and gardens full of friendly groups of people.
[41]:
For an old definition of Yamaka see Bh膩maha, II. 17.
[42]:
Bh膩maha mentions a fivefold division of Yamaka. See II. 9. He seems to have known the tenfold division of the N艢., and is of opinion that his fivefold includes at least Sanda峁ａ弓a and Samudga Yamakas. See II, 10.
[43]:
B. gives an additional def. (B. XVI.65).
[44]:
(C.70; B.XVI, 68).1 (C). This Yamaka occurs in Bh膩maha, II. 10, and Da峁囜笉in, III.53-54.
[45]:
B. has an additional definition (B.XVI.73) of Cakrav膩la Yamaka.
[46]:
This term occurs in Bh膩maha. II. 10, and Da峁囜笉in, III. 51-52. But the latter鈥檚 def. is different.
[47]:
The trans. is not very literal.
[48]:
Trans. followed Ag.
[49]:
Rahas means bed. Cf, Gk. lekhos.
[50]:
For a discussion of the faults in N艢. see S. K. De, Skt. Poetics, II, pp. 19.
[51]:
An example of such a synonym is 贰办腻诲丑墨办补-苍补惫补-惫颈尘腻苍补 for 顿补艣补蝉补迟丑补, Cf. Bh膩maha (I. 37.) seems to be using 驳奴诲丑补艣补产诲腻产丑颈诲产腻苍补 in an identical sense. See 1.45-46. S. K. De translates this term as 鈥渦se of difficult expressions鈥� (loc cit.)
[52]:
An example of such an expression is 鈥渃int膩moham ana峁単am a峁単a tanute viprek峁ta峁冣�� The beautiful lady鈥檚 look injects (lit. spreads) indeed love as well as anxiety and insensibility. Here 鈥渁nxiety and insensibility鈥� are superfluous, for love includes these two states of the mind.
[53]:
An example of such an expression is 鈥渁dy膩pi smarasi (smarati) ras膩lasa峁� mano me 尘耻驳诲丑腻y膩岣� smaracatur膩峁噄.鈥�. To say that a 尘耻驳诲丑腻 heroine can be smara-catura (expert in love) as well, is incoherent. (Ag.).
[54]:
The ex. of 蝉腻惫补艣别峁 is 鈥渟a mah膩tm膩 bh膩gyava艣膩n mah膩patham up膩gata岣モ��. For mah膩tm膩 bh膩gyava艣膩t may be construed as rnah膩tm膩 abh膩gyava艣膩t and thereby its meaning may remain incomplete or undecided without a reference to the context (Ag.).
[55]:
Ag鈥檚 ex. is not clear.
[56]:
Ag鈥檚 ex. 鈥渂hadre bhajasva m膩mida峁� te d膩sy膩mi.鈥�
[57]:
An example of Tautology (别办腻谤迟丑补) is 办耻苍诲别苍诲耻-丑腻谤补-丑补谤补-丑腻蝉补-蝉颈迟补尘. White like a Kunda flower, the moon and the laughter of 艢iva. Any one simile would have been enough. Each simile here serves the same purpose and hence Tautology has occurred (Ag.). See Bh膩maha, IV. 12.
[58]:
An example of this is 鈥渟a r膩j膩 g墨tiku艣ala岣� sara岣� kumuda艣obhitam | sarvapriy膩 vasanta艣r墨rgr墨峁e鈥�. Here all the four feet contain four complete sentences which are not connected with one another by sense.
[59]:
苍测腻测腻诲-补辫别迟补m=de艣ak膩la-viruddha峁� etc. (Ag.) 鈥榙efying the limitation of place and time,鈥� Bh膩maha鈥檚 诲别艣补-办腻濒补-办补濒腻-濒辞办补-苍测腻测腻驳补尘腻-惫颈谤辞诲丑颈迟腻 (IV, 28ff) seems to be included in this.
[60]:
Such a fault occurred probably due to the Prakritic habit in Speech.
[61]:
V膩mana holds the opposite view (驳耻峁嘺viparyay膩tm膩no 诲辞峁岣� II. 1.1.) and according to him 骋耻峁嘺蝉 are positive entities (办腻惫测补-艣辞产丑腻y膩岣� kart膩ro dharm膩 gu峁嚹佱弗, III, 1. 1).
[62]:
Bh膩maha, III. 1. 4., and Da峁囜笉in, 1. 41-94., have ten 骋耻峁嘺蝉 and name them similarly. But their descriptions are different. Cf. De, Skt. Poetics, II. pp. 15ff, Nobel, Foundations, pp. 104ff.
[63]:
Cf. V膩mana, III. I. n; Da峁囜笉in I. 43-44, BC. give another description (C. 98, B.XVI. 98) of this Gu峁嘺, which in translation is as follows: A [composition] which is, imbued with deep logic but from its nature is [very] plain and is very well-knit-together is called Compact (艣濒颈峁ａ弓补).
[64]:
Cf. V膩mana III. 1. 6; Da峁囜笉in I. 45.
[65]:
Cf. V膩mana III. 1. 12; Da峁囜笉in I-47-50. (B. XVI. 100) and C. (100 f.n) gives an additional description of this Gu峁嘺 which in translation is as follows: When a composition does not contain too many uncompounded words, redundant expressions and words difficult to understand it is [an instance of] Smoothness (蝉补尘补迟腻).
[66]:
Cf. V膩mana, III. 1. 13; Da峁囜笉in I. 93-94. B. (XVI. 102) and C (101 f.n) gives an additional description of 蝉补尘腻诲丑颈, which in translation is as follows: Possessing some special sense which the men of genius can find out in a composition (lit. here) is called Concentration (蝉补尘腻诲丑颈).
[67]:
Cf, V膩mana III. 1. 11-21; Da峁囜笉in I. 51-53.
[68]:
Cf. V膩mana III. 1. 5; Da峁嘾in I. 80-85. B. (XVI, 106) and C. (103) gives a second definition of this Gu峁嘺 which in translation is as follows: When a composition consists of a use of many and varied compound words exalted [in sense] and agreeable [in sound] it is [an instance of] Grandeur (辞箩补岣�).
[69]:
Cf. V膩mana III. 1. 22; Da峁嘾in calls this 蝉耻办耻尘腻谤补迟腻.
[70]:
and C. (105). gives a second definition of this Gu峁嘺, which in translation is as follows: It any subject (lit. action) relating to the [common] events occurring in the world gets expressed by means of well-known predicates, it becomes [an instance of] Directness of Expression (arthavyakti).
[71]:
Cf. V膩mana, III, 1. 23; Da峁囜笉in, I. 76-78. B. (XVI. III.) and C (106) give along with this a definition of the Gu峁嘺 named 耻诲腻谤补. In translation it is as follows: When in a composition superhuman characters are described in relation to the Erotic and the Marvellous Sentiments and the various States, it is [an instance of] Exaltedness (耻诲腻迟迟补).
[72]:
Cf. V膩mana, III. 1. 25; Da峁囜笉in, I. 85-88. C (107), gives an additional definition of this Gu峁嘺, which in translation is as follows: That which [in a composition ] while describing the sportive movement of [a character) delights the ear and the mind fust as the moon [ pleases us] is (an instance of) Loveliness (办腻苍迟颈).
[73]:
The word 肠别办谤墨岣峚测补迟腻峁� occurs in the Avi. (III.18) ascribed to Bh膩sa. (See A.D. Pusalker, Bh膩sa, Lahore, 1940, p. 131).
[74]:
As the upper garment (耻迟迟补谤墨测补).
[75]:
As the lower garment.