CHAPTER TWENTYTW0

THE STYLES

The origin of the Styles

1. I shall now explain in detail (lit. from the beginning) the rise of the Styles (vṛtti) and [in relation to them] the origin and the formation of dramas¹.

2-3. When the lord Acyuta (Viṣṇu) after reducing the universe into a single [vast] ocean and compressing the creation [into a seed] by his supernatural power, was lying on the couch of snake, the two Asuras Madhu and Kaiṭabha maddened with the pride of their strength challenged the god at once for battle¹.

4-5. These two, after making gestures of challenge, (lit. rubbing their arms) fought the imperishable lord Viṣṇu (bhūtabhāvana, lit. the creator of beings) with their fists and legs (lit. knees), and while doing so they also assailed him (lit. one another) with harsh words and shook as it were the ocean with their reviling speech¹.

The origin of the Verbal Style

6-7. Hearing the various [abusive] words of these two who were threatening¹ [Viṣṇu], Druhiṇa (Brahman) was slightly perturbed in mind and said, "Is it the bhāratī vṛtti that start with these words [for the fighters] and goes on increasing stage by stage ? Kill the two [at once]."

8-10. Hearing these words of Pitāmaha (Brahman), Madhusūdana (Viṣṇu) said, "Yes, I have made this bhāratī vṛtti

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1 (C.1; K.XX.1). ¹ Sāgaranandin explains the vṛtti as follows : नेपथ्ये गीतवादित्तरसभावाभिनयवृत्त्यादीनां काऽपि विश्रषे वर्तनमिति वृत्तिः कथितः। अथवा विलास-विन्यासक्रमो वृत्तिरिति, NL. 1044ff.

2-3. (C.2-3; K.XX.2-3). ¹ The story of Nārāyaṇa's reducing the three worlds into 'a single ocean' occurs in the Rām. VII. 72.; Kūrma P. XIII. See JK. under Viṣṇu (8) and Nārāyaṇa (8).

4-5 (C.4-5; K.XX.4-5). ¹ Madhu and Kaiṭabha charged Nārāyaṇa with the theft of the Vedas. Rām. VII. 72. See JK. under Kaiṭabha.

6-7 (C.6-7; K.XX.6-7). ¹ Emend garjatoḥ into tarjatoḥ (tarjatām, K).

8-10 (C.8-10; K.XX.8-10).

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402 THE NATYASASTRA [ XXI. 11-

for the purpose of my work. It will be the bhāratī vṛtti of the speaker, in which words will preponderate. I shall kill these two Asuras today". So saying Hari (Viṣṇu) with his perfect gestures¹ and Aṅgahāras² severely fought these two Daityas who were experts in the method of battle.

11. At that time Hari's pacing with the Sthānakas¹ on the ground created a great bhāra (burden) on the earth (bhūmi); the bhāratī vṛtti (Verbal Style) was built on that (bhāra)².

The origin of the Grand Style

12. And at that [very] time, by the rebounding of the bow named Śārṅga which was intensely brilliant, steady and full of much sattva (strength) the sāttvatī vṛtti (Grand Style) was made¹.

The origin of the Graceful Style

13. When [in course of fighting] the god moved sportively with various Aṅgahāras and tied up his śikhā (keśa?) the kaiśikī vṛtti (Graceful Style) was made¹.

The origin of the Energetic Style

14. Then from the various personal combats which were full of energy and excitement, and which entailed various Cāris the Energetic (ārabhaṭī vṛtti) was made¹.

15. Whatever acts the god Brahman observed as arising out of the different Styles (vṛtti), were associated¹ by him (Druhiṇa = Brahman) with words suitable to their meaning.

16. When the two Asuras Madhu and Kaiṭabha were killed by Hari (Viṣṇu) Brahman spoke to him (Nārāyaṇa = Viṣṇu) who was the subduer of foes (arindama).

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¹ aṅgaiḥ here means āṅgikaiḥ and aṅgahāraiḥ.
² See NŚ. IV.19-27, 170ff.
11 (C.11; K. XX.11). ¹ See NŚ. XI. 49ff.
² This is a clear instance of folk-etymology and does not really explain the origin of this Style. It possibly comes from the Bharata tribe; see NŚ. I. 41 f.n.
12 (C.12; K.XX.12). ¹ See above 11 note 2.
13 (C.13; K.XX.13). ¹ See above 11 note 2.
14 (C.14; K.XX.14). ¹ See above 11 note 2.
15 (C.15; XX.K.15). ¹ Emend pratyapūjayat into pratyayojayat.
16 (C. 16; K.XX.16).

-XXI. 25 ] TEN STYLES 403

The origin of the Nyāya

17-18. O god, thou hast killed the Dānavas with various clear, expressive and graceful Aṅgahāras ; hence this method of personal combat [applicable] in throwing all kinds of missiles in this world, will be termed as Nyāya¹.

19. Even this fight made with the Aṅgahāras which arose from the Nyāyas and observed them (Nyāyas) [in practice] will be called the Nyāya¹.

20. Then the high-souled Druhiṇa (Brahman) gave over to the gods this Style full of various States and Sentiments, [for its use] in the production of plays.

21-22. The name Style (vṛtti) was made a repository of the various States and the Sentiments. And whatever was made and in whatever manner, the exploits of the god (Viṣṇu) were utilised by the sages in fashioning the similar Styles arising from the Words and the Gestures which have their origin in materials taken from the four Vedas¹, and which also have Words and Gestures as their chief characteristics.

23. These Styles which were desired, wellborn and full of various Cārīs, were again, taken by me at Druhiṇa's command, for the purpose of making plays (lit poem)¹.

24. The Verbal Style (bhāratī vṛtti) was from the Ṛgveda, the Grand (sāttvatī) from the Yajur-veda, the Graceful (kaiśikī) from the Sāma Veda and the remaining one (i.e. the Energetic or (ārabhaṭī) from the Atharva [Veda]¹.

25. The Style which is to be applied by the male characters and not by females and which gives prominent place to speeches

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17-18 (C.17-18; K.XX.17-18). ¹ See NŚ. XI. 74ff.
19 (C.19; K.XX.19). ¹ See NŚ. IV. 170ff.
20 (C.20; K.XX.20a, 21a).
21-22 (C.21-22; K.XX.21b-23a). ¹ Emend nāṭyaveda into caturveda.
23 (C.23; K. XX.20b, 23b). ¹ Emend 23a as follows. पुनरिष्टा सुजाता च नानाचारी-समाकुला.
24 (C.24; K.XX.24). ¹ This is a different story about the origin of the vṛttis. See before 2-14.
25 (C.25; K.XX.25).

404 THE NATYASASTRA [ XXI, 26-

made in Sanskrit, is used by the eponymous bharatas (actors) as bhāratī (Verbal)¹.

The four varieties of the Verbal Style

26. It has four varieties such as the Laudation (prarocanā), the Introduction (āmukha), the Vīthī and the Prahasana, and these have became its component parts (aṅga)¹.

The Laudation

27. The Laudation (prarocanā) in the Preliminaries is to attain success, prosperity, good luck, victory and removal of all sins.¹

The Introduction

28-29. That part of a play where an actress¹, the Jester or the Assistant has a talk with the Director on some relevent topic, and they use interesting words or adopt any type of the Vīthī or talk in any other way is called the Introduction (āmukha)¹. I shall speak in detail about its five varieties (lit. elements).

The five varieties of the Introduction

30. The Accidental Interpretation (udghātyaka), the Opening of the Story (kathodghāta), the Particular Presentation (prayogātiśaya) the Personal Business, (pravṛttaka) and the Transference (avalgita) are the five varieties of the Introduction (āmukhā)¹.

31. Of these the characteristics of the Accidental Interpretation (udghātyaka)¹ and the Transference (avalgita)² have been mentioned by me. I shall now speak in detail of the characteristics of the rest.

Opening of the Story

32. [That Introduction] in which a character enters [the stage] taking up a remark of the Director or its meaning, is called the Opening of the Story (kathodghāta)¹.

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¹ NL. 1054ff. DR. II. 5 ; SD. 274, AP. modifies this def. by adding strīyuktā prākṛtoktitā, Haas, on DR. III. 5 (p.81).
26 (C 26; K.XX 26). ¹ Cf. NL. 1008-69; DR. III. 5 ; SD. 285.
27 (C.27; K.XX.27). ¹ Cf. NL. 1070-71ff; DR. III. 6 ; SD. 286.
28-29 (C.28-29; K.XX.28-29). ¹ Cf. NL.1178-81, DR. III. 7 SD. 286.
30 (C.30; K.XX.30). ¹ Cf. NL. 11-88-89 DR. III. 8, SD. 287.
31 (C 31; K.XX.31). ¹ See NŚ. XX.117 Cf. NL. 1189 ;. DR. III. 14 SD. 288. ² See NŚ. XX. 118; NL. 1192, DR. III. 15; SD. 292.
32 (C.32; K.XX.32). ¹ Cf. NL. 1196; DR. III. 9; SD. 289.

-XXI. 39 ] TEN STYLES 405

Particular Presentation

33. When, over this production [of the Introduction] the Director imposes another production and then a character enters [the stage], it is called the Particular Presentation (prayogātiśaya).¹

Personal Business

34. [The Introduction] in which the Director speaks on some business in hand and taking cue from this (lit. with its help) a character enters the stage, it is called the Personal Business (pravṛttaka)¹.

35. Taking up one of these types and skilfully giving double meaning to it, the wise [playwright] should construct the Introduction by freely assembling different characters¹.

36. The wise are thus to know the Introduction with different bases¹. The characteristics of the Vīthī² and the Prahasana³ have been mentioned before.

37. These are the eight¹ different aspects (lit. meanings) of the Verbal Style I spoke of. I shall now explain the rules of the Grand Style (sāttvatī) with its characteristics.

The Grand Style

38. The Style which is endowed with the sāttvata quality, the Nyāyas, metres, and has exuberance of joy and an undercurrent of the State of sorrow¹, is called Grand (sāttvatī)².

39. The Grand Style is known to consist of representation by Words and Gestures, and of strength in speeches and acts showing the rise of spirit.

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33 (C.33; K.XX.33). ¹ See NL. 1201-1202; DB. III. 11; SD. 290.
34 (C.34; K.XX.32). ¹ Cf. NL. 1214-1215; SD. 291; DR. III. 10.
35 (C.35; K.XX.35). ¹ i.e. actress, Jester or the Assistant. See 28 above.
36 (C.36; K.XX.36). ¹ Emend vivbudhāśrayam into vividhāśrayam.
² See NŚ. XX. 111ff. ³ See NŚ. XX. 101ff.
37 (C.37; K.XX.37). ¹ Prarocanā, Vīthī, Prahasana and five varieties of Āmukha. See before 26-30.
38 (C.38; K XX.38). ¹ This shows that no pathetic subject-matter should find a place in this Style..
² See NL. 1234ff. SD. 416. DR. II. 53.
39 (C.39; K.XX.39).

406 THE NATYASASTRA [ XXI. 40-

40. It is to contain the Sentiments such as Heroic (vīra), the Marvellous (adbhuta) and the Furious (raudra) and to a small extent (alpa) the Pathetic (karuṇa) and the Erotic (śṛṅgāra), and characters in it should be mostly majestic and defying one another¹.

The four varieties of the Grand Style

41. It is known to have the four varieties such as challenge (utthāpaka), Change of Action (parivartaka), Harsh Discourse (saṁlāpaka) and Breach of Alliance (saṁghāta)¹.

Challenge

42. One’s rising up with a view to conflict after saying “I am getting up [for battle, now] show me your own prowess” is called the Challenge (utthāpaka)¹.

Change of Action

43. If after leaving the thing which caused the rising up, one takes to other things due to some need, it is called the Change of Action (parivartaka)¹.

Harsh Discourse

44. Various kinds of words containing abuse or insult whether these arise from a challenge or not, are called Harsh Discourse (saṁlāpaka)¹.

Breach of Alliance

45. The stopping of an alliance for the sake of a friend,¹ money or due to an accident or [one’s] own fault, is called Breach of Alliance (saṁghāta)².

46. These are the eight meanings¹ of the Grand Style that I spoke of. I shall hereafter describe the characteristics of the Graceful Style (kaiśikī vṛtti)¹.

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40 (C.40; K.XX.40). ¹ See NL. 1271-1273).
41 (C.41; K.XX.41). ¹ Cf. DR. II. 53 SD. 416, NL. 1274ff.
42 (C.42; K.XX.42). ¹ Cf. NL. 1276, 4278. The text on this point seems to be corrupt, also cf. DR. II. 54; SD. 416.
43 (C.43; K.XX.43). ¹ Cf. DR. II. 55; SD. 419; NL. 1279-1282.
44 (C.44; K.XX.44): ¹ Cf. DR. II. 54; SD. 418, NL. 1288.
45 (C.45; K.XX.45). ¹ Read mitrārtha-kārya.
² Cf. NL. 1298-1299; DR. II. 55; SD. 417.
46 (C.46; K.XX.46). ¹ Utthāpaka, parivarttaka, the two kinds of samlāpaka and the four kinds of samghāta. See before 41, 44, 45.

-XXI. 52 ] TEN STYLES 407

The Graceful Style

47. That Style is called Graceful (kaiśikī) which is specially interesting on account of charming costumes worn by [dramatis personae] mostly women, and in which many kinds of dancing and singing are included and the themes acted are practices of love and are connected with (lit. arising from) its enjoyment¹.

The four varieties of the Graceful Style

48. The Graceful Style is said to have the four varieties such as Pleasantry (narman), Beginning of Pleasure (narma-sphūrja) Unfoldment of Pleasure narma-sphoṭa) and Covert Pleasure (narma-garbha)¹.

The three kinds of Pleasantry

49. The Pleasantry (narma) which abounds in remarks made in jest, is of three kinds : that based on love, that with pure laughter and that having Sentiments other than the Heroic¹.

50. The Pleasantry (narman) is known as concerned with acts of jealousy and anger, words of rebuke, self-reproach and deception of others.

Beginning of Pleasantry

51. The Beginning of Pleasantry (narma-sphurja) is to be known as the first meeting [of lovers] in which words and dresses exciting love [are in evidence] but which ends in fear¹.

Unfoldment of Pleasantry

52. The Unfoldment of Pleasantry (narma-sphoṭa) is the cause of the Sentiment contributed by small fraction of different States (bhāva) and not by any State as a whole¹.

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47 (C.47; K.XX.47). ¹ Cf. SD. 411; DR. II. 47; NL. 1304ff.

48 (C.48; K.XX.48). ¹ Cf. DR. II. 48; SD. 411; NL. 1308ff.¹

49 (C.49; K.XX.49). ¹ Cf. DR. II. 48-50; SD. 412; NL. 1310 defines narma as follows : परापवादैः परुषैरश्लीलैश विवर्जितम्। शुद्धमन्तर्गताकूतं नर्म स्याच्छुद्धगर्भकम्; but the def. of the NŚ. as well has been referred to.

50 (C.50; K.XX.50).

51 (C.51; K.XX.51). ¹ Cf. NL. 1342-1343; DR. II. 51; SD. 413.

52 (C.52; K.XX.52). ¹ Cf. DR. II. 51; SD. 414; NL. 1336 f.

408 THE NATYASASTRA [ XXI. 53

Covert Pleasure

53. When the Hero acts incognito out of any necessity through his qualities such as intelligence, [good] appearance and affection, it is called Covert Pleasure (narma-garbha)¹.

54. These are the eight different meanings of the Graceful Style that I was to speak about. I shall hereafter describe the Energetic Style (ārabhaṭī) which is concerned with haughty Sentiment.¹

The Energetic Style

55. The Style which includes mostly the qualities of a bold person (ārabhaṭa) such as speaking many words¹, deception, bragging and falsehood, is to be known as Energetic (ārabhaṭī)².

56. The Style in which there is a representation of falling down¹, jumping, crossing over, deeds of magic and conjuration, and various kinds of fighting, is called Energetic (ārabhaṭī)².

The four varieties of the Energetic Style

57. It has varieties such as Compression (saṁkṣiptaka), Commotion (avapāta), Raising Various Feelings (vastūtthāpana) and Conflict (sampheṭa)¹.

Compression

58. Compression (saṁkṣiptaka) is furnished with workmanship (śilpa) in the true sense of the words and it includes the

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53 (C 53; K.XX.53). ¹ According to Sāgaranandin Ārabhaṭī is an aṅga of the Gauḍī vṛtti : NL. 1385. Cf. DR. II. 52; SD. 415; NL. 1338 f. C. adds an additional def. (C.54) of this, but it is wanting in K.
54 (C.55; K.XX.54) ¹ The three kinds of narma, the three kinds of marma-garbha and narma-sphūrja and narma-sphoṭa.
55 (C.56; K.XX.55). ¹ 'Many words' probably mean altercation or verbal duel. ² Cf. NL. 1348 ff. DR. II. 56-57; SD. 420.
56 (C.57; K.XX.56). The reading prastā° in prastāva° seems to be corrupt. Emend this to vastva°.
² See above 56 note 2. C. adds one more def. (C.58) of ārabhaṭī but this is wanting in K. In trans. it will be as follows : That which includes excitement due to an application of the sixfold policy (ṣaḍguṇa), running away due to deception of the enemy, and that which relates to [material] gain or loss, is called the Energetic Style.
57 (C.59; K.XX.57). ¹ Cf. NL. 1356 f. DR. II. 56-57. SD. 420.
58 (C.60; K.XX.58). ¹ Cf. DR. II. 57-58, SD. 422, NL. 1358 f. gives another def. saṁkṣipataka.

.XXII. 65 ] THE STYLES 409

presentation of model works (pusta) drawings, and dresses, and relates to some condensed matter.

Commotion

59. Commotion (avapāta) is known to relate to the occurrence of fear and jubilation, panic, flurry, many kinds of speaking, quick entrance and exist¹.

Raising the Theme

60. That deed which is represented as being connceted with panic or no panic, and includes a combination of all the Sentiments is called the Raising the Theme (vastūtthāpana)¹.

Conflict

61. Conflict (sampheṭa) is known to include excitement, many fights, personal combats, deception, split and [mutual] striking of weapons¹.

62. These are the Styles to be reckoned by the wise in connexion with the drama. Now listen about their application in different Sentiments, which I am going to tell you.

Styles according to Sentiments

63-64. The Style in the Erotic and Comic Sentiments should be Graceful and in the Heroic, the Furious and the Marvellous Sentiments it should be Grand. And in the Terrible, the Odious and the Furious Sentiments one should use the Energetic Style, while the Verbal Style is applicable in the Pathetic and the Marvellous Sentiments¹.

65. I have spoken properly about the Histrionic Representation dependent on Words, Gestures, Temperament and the Styles. Now I shall treat of the Costumes and the Make-up used in the production of plays.

Here ends Chapter XXII of Bharata's Nāṭyaśāstra which treats of the Styles.

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59 (C.61; K.XX.59). ¹ Cf. DR. I. 59. SD. 423; NL. 1368f.
60 (C.62; K.XX.60). ¹ Cf. DR. II. 59, SD. 420; NL. 1372f,
61 (C.63; K.XX.61). ¹ Cf. DR. II. 50; SD. 421; NL. 1380f.
62 (C.64; K.XX.62).
63-64 (C.65-66; K.XX.63-64). ¹ Cf. NL. 1059-1562. DR. II. 62; SD. 410. C. repeats after this two couplets from the Ch. VII. (118-119).
65 (C.69; K.XX.65).

52