नाट्यशास्त्रम् (प्रथम भाग - अभिनवभारती एवं हिन्दी टीका सहित)
Natyashastra of Bharata Muni with Hindi Commentary (Vol 1)
भरत मुनि / आचार्य अभिनवगुप्त द्वारा
Chapter 34: Types of Character (प्रकृतिविभाग)
CHAPTER THIRTYFOUR
TYPES OF CHARACTERS
Three types of character in a drama
1. Whether male or female, characters (prakṛti) in general [in a play] are of three types : the superior, the middling and the inferior¹.
A superior male character
2-3. A man who has controlled his senses, is wise, skilled in various arts and crafts, honest, expert in enjoyment¹, brings consolation to the poor, is versed in different Śāstras, grave, liberal, patient and munificent, is to be known as a “superior” (uttama) character².
A middling male character
3-4. A man who is an expert in dealing with people, well-versed in books on arts and crafts as well as in Śāstras, has wisdom and sweetness [of manners] is to be known as a “middling, (madhyama) character¹.
An inferior male character
5-7. A man who is harsh in words, ill-mannered, low-spirited, of small intelligence, irascible, violent, can kill his friend, can kill anyone cruelly, is treacherous, haughty in words, ungrateful, indolent, expert in insulting the honoured persons, covetous for women, fond of quarrel, doer of evil deeds and stealer of others’ property, is to be known as an “inferior” (adhama) character. Similarly female characters too are of three kinds¹.
A superior female character
8-10. I shall now speak in due order of female characters. A woman who has a tender nature, is not fickle or cruel,
1 (C.1b-2a; K.XXIV.1). ¹ C. reads before this one additional couplet.
2-3 (C.2b-4a). ¹ Emend bhagalakṣā into bhogadakṣā.
² Cf. K. XXIV. 86b-88a).
3-4 (C.4b-5a). ¹ Cf. K.XXIV. 88b-89.
5-7 (C.56-7a). ¹ Cf. K.XXIV. 89b-92a.
8-10 (C.8b-11a). ¹ Read smitabhāṣiṇya.
| 528 | THE NATYASASTRA | [ XXXIV. 11- |
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speaks smilingly¹, is obedient to her superiors (guru)², bashful, good-mannered, has physical charm as well as high birth, and other natural qualities, and is grave and patient, is to be known as a "superior" (uttama) character³.
A middling female character
- A woman who does not possess these qualities to a great extent and always, and has some slight faults mixed with them, is to be known as a "middling" (madhyama) character.
An inferior female character
- Description of the inferior male characters will generally apply in case of female characters of that type.
A mixed character
-
A hermaphrodite is to be known as a character of the "mixed" (saṃkīrṇa) and inferior type. Maid-servants and the like are also characters of the mixed type.
-
The Jester, the Śakāra¹ and all others like them in a play, are characters of the mixed type².
So much about the characters which may be male, female and hermaphrodite.
The four types of the Heroe
15-16. I shall now describe their classes¹ according to their conduct. Among these [characters], Heroes (nāyaka) are known to be of four classes, and they belong to the superior and the middling² types and have various characteristics.
- The Hero is described as being of four kinds : the self-controlled and vehement (dhīroddhata), the self-controlled and light-hearted (dhīra-lalita), the self-controlled and exalted (dhīrodātta) and the self-controlled and calm (dhīra-praśānta).
² Read gurūṇāṃ vacane. ³ Cf. K.XXIV. 109-110a.
11 (11b-12a).
12 (12b-13a).
13 (13b-14a; K.XXIV.10b, 10a).
14 (14bc; K.XXIV.11). ¹ K,d. śakāras caiva ceṭaś ca.
² Read saṃkīrṇā prakṛtir for saṃkīrṇa nāṭake.
15-16 (C.15-16; K.XXIV.12ab. 2). ¹ vibhāgam, K. (vidhānaṃ, C).
² madhyottamāyāṃ, C. (tatrottamāyāṃ, K.)
• 17 (C.17; K.XXIV.3).
.XXXIV. 24 ] TYPES OF CHARACTERS 529
18-20. Gods are self-controlled and vehement (dhiroddhata), kings are self-controlled and light-hearted (dhīralalita)¹, the councillors are the self-controlled and exalted (dhīrodātta), and Brahmins and merchants are the self-controlled and calm (dhīrapraśānta) classes of Heroes. To these again belong the four classes of Jesters.
The four types of Heroines
20-21. These are always the Heroes in dramatic works (lit. poetical composition). I shall now speak of the Heroines who are of four classes : a goddess, a queen, a woman of high family and a courtezan .
21-22. These may, according to their characteristics, be of four types: self-controlled, (dhīrā), light-hearted (lalitā), exalted udāttā) and modest (nibhṛtā)¹.
22-23. Goddesses may possess all these qualities, and women of high family may be exalted and modest, while the courtezans and the crafts-women light-hearted and exalted¹.
Two classes of employment for characters
- The characters [in a play] are of two kinds : external (bāhya) and internal (ābhyantara)¹. I shall now describe their characteristics².
18-20 (C.18; K.XXIV.4). ¹ syur dhīrlalitā nṛpāḥ. K. (lalitas tu nṛpaḥ smṛtaḥ, C.).
20-21 (C.19; K.XXIV.5). ¹ C. reads after this, three and a half additional (corrupt) couplets (C.20-23a) which may be tentatively translated as follows: They (Jesters) are serially [of two types]: lowborn and cultured. They are to be attached to gods, kings, ministers, and Brahmins. And in his separation [from the beloved] a friendly maidservant clever in conversation, who feels distressed at his misfortune should be attached to the king. Among many (lit. in the multiplicity of) male characters in a play, the chief one is called the Hero. When in a play (lit. there) more [male characters] than one meet the misfortune and get back the prosperity, then one whose conditions appear remarkable should be taken as the Hero.
21-22 (C.23b-24a; K.XXIV.6-8a). ¹ C. omits 20b-21 and reads 20a as follows एते तु नायका ज्ञेया नानाप्रकृतिलक्षणाः. We with K.
22-23 (C.24b-25; K.XXIV.8b-9). ¹ K. reads 22b as follows दिव्याराजाङ्गना श्वेता गुणैर्युक्ता भवन्ति हि.
24 (C.26; K.XXIV.12b). ¹ Read prakāro dvividhaḥ smṛtaḥ
² K. omits 24b.
67_
532 THE NATYASASTRA [ XXXIV. 44-
of speaking according to the occasion, have young age, and beauty of form, are known to be actresses (nāṭakīyā)¹.
Dancers
44-48. Women who are expert in the representation of Passion (helā) and Feeling (bhāva), know [well] the representation of the Temperament (sattva), have sweetness [of manners], are skilled in playing musical instruments, have beautiful limbs, are conversant with the sixtyfour arts and crafts, are clever and always bold, free from indolence, inured to hard work, capable of practising various arts, and skilled in dancing and singing, and due to their young age superior to all other women standing near by, in the beauty of form and in the brilliance of appearance, are known as dancers (nartakī)¹.
Maids in constant attendance
48-49. Women who do not under any condition leave the king, are maids in constant attendance (anucārikā)¹.
Maids of special work
49-51. Those women who are clever, skillful, regular, and who know the art of making bed, serving wine and victuals, shampooing, preparing and applying perfumes, decorating one with ornaments and garlands, are to be known as maids of special work (paricārikā)¹.
Maids in constant move
51-53. Those women who [always] roam about in different parts [of the palace], gardens, temples, pleasure pavilions, and strike
¹ K'.s slightly different reading in trans. will be as follows : A woman who knows to begin [a song] and to stop it, and the proper tempo to be followed in it, can represent the Sentiments and the States, understand other people's intention and hints, is obedient to the teacher, clever, expert in acting, skilled in discussion, conversant with the playing of drums and other musical instruments, is called an actress.
44-48 (C.44-45; 47; K.33b, 33a, 34). ¹ K. reads between 47a and 47b an additional couplet.
48-49 (C.48a; K.XXIV.35). ᵀ C. omits 40a.
49-51 (C.48b-50a). ¹ K'.s reading which is slightly different will in trans. be as follows : A woman who is in charge of the king's umbrella, bed and seat, and looks after the cooked food, shampooing, toilet, wearing of ornaments and garlands is his maid of special work (paricārikā). Cf. AS. II. 27, 41.
51-53 (C.50b-52a; K.XXIV.40-41).
-XXXIV. 58 ] TYPES OF CHARACTERS 533
the [bell indicating] the Yāma¹ and are prohibited intercourse by the playwrights, are to be known as maids in constant move (sañcārikā).
Errand girls
53-54. Women who are employed by kings in secret commissions connected with his love-affairs and are often to be sent [in some such work] are to be known as errand girls (preṣaṇacārikā)¹.
Mahattarīs
54-55. Women who for the immunity of the entire harem [from evils] and for [the king's] prosperity takes pleasure in [singing] hymns [to gods] and in performing auspicious ceremony, are known as Mahattarīs (matrons).
Pratīhārīs
55-56. Women who lay before the king any business related to various affairs [of the state] such as treaty (sandhi), war (vigraha) and the like, are called Pratīhārīs (usher).
Maidens
56-57. Girls who have no [experience of] love's union (ratisaṃyoga) and are quiet, devoid of rashness, modest and bashful are said to be maidens (kumārī).
Old dames
57-58. Women who know the manners of the departed kings and have been honoured by them¹ and who know of the character of all [members of the harem]² are said to be old dames (vṛddhā).
Āyuktikās
58-60. Women who are in charge of the stores, the weapons, the fruits, roots and grains, who examine the [cooked] food for [the king] and are in charge of (lit. thinkers of) the scent, ornaments
¹ yāma=a period of three hours.
53-54 (C.52bc; K.XXIV.42).
¹ Read the passage as follows: प्रेष्यैः कामसंयुक्ता गुह्यसमुत्थितैः । हृद्येष्वेव प्रेषणीया ज्ञेयाः प्रेषणचारिकाः. 54-55 (C.53; K.XXIV.43).
55-56 (K.XXIV.44). 56-57 (K.XXIV.45).
57-58 (C. 54; K.XXIV. 46). ¹ pūrvarājñāvai pūjitāḥ, C sārvarājasu pūjitāḥ, K.). ² sarvānucaritajñā°, C. (pūrvarājopacārajñā, K.).
58-60 (C.55-57a; K.XXIV.36-37).
534 THE NATYASASTRA [ XXXIV. 61-
and garlands and clothes [he is to use], and who have under them many persons and are clever, are said to be Āyuktikās or Yuktikās (overseer). These are in general the women of the [royal] harem.
Qualities of women to be employed by the king
61-64. The qualities of those women who are to be employed [by the king] should be as follows : they should not be rash, restless, covetous and very cruel in mind ; they are to be quiet, forgiving, satisfied ; they must have conquered anger and controlled senses, they should have no passion ; they are to be respectable, free from all female diseases, attached¹ and devoted² [to the king] and free from womanly pride³.
Others inmates of the harem
64-69. The hermaphrodites who constitute the third class of characters, should be employed in a royal household for moving about in the harem. But Snātakas¹, Kañcukins as well as Varṣadharas, Aupasthāyika-Nirmuṇḍas are to be placed in different parts (kakṣā) of the harem. Persons who are eunuchs or have given up sexual pleasures should always be made the inmates of the harem in a Nāṭaka. The Snātaka should be made to observe Aryan manners. In errands relating to the polity the Kañcukin should be employed, and in errands relating to love-affairs (kāmacāra) the Varṣadharas are to be engaged. The Aupasthāyika-Nirmuṇḍas are to be engaged in sending out women and in any place for the protection of maidens and girls².
- And maids in constant attendance should be employed by kings in sending gifts¹ to women [they love] ; women well-versed in all kinds of dance and in the use of different limbs [in dance and acting] should be placed in the [royal] theatre².
61-64 ((C.57b-60; K.XXIV 47-48). ¹ Here occurs an expression nānāpārśvasamutthitāḥ which cannot be explained.
² K. omits 64a and reads the rest with a slight variation.
³ vanitā-madavarjitā, K. (sarva-doṣa-vivarjitāḥ, C.).
64-69 (C 61-63a; K.XXIV.50-54). ¹ snātakāḥ K. (kārakāḥ, C.).
² C. omits 66-68 and K. 69b.
70 (C.64a; K.XXIV.55). ¹ Read dānakāryeṣu for māna° (texts).
² K. reads between 70a and 70b the following यन्तःपराधिकारी हि राज्ञामार्थासुवर्त्तणम्.
-XXXIV. 76 ] TYPES OF CHARACTERS 585
The Varṣadharas
71. Those women who have poor vitality and the eunuchs who have the nature of women and are voiceless from birth are known as Varṣadharas (sub-men)¹.
The Nirmuṇḍas
72. Those eunuchs who look like males and have nothing feminine in their nature and have no knowledge of sexual acts are called Nirmuṇḍas¹.
The Kañcukins
73-74. Those who have learning, truthfulness, are free from the sexual passion, and have deep knowledge and wisdom, are known as the Kañcukins. [When they are] Brahmins by birth, clever, old and free from sexual passion, kings are always to employ them to look after the needs of the queens¹.
75. These are the eighteen classes of inmates of the [king's] harem. I shall now speak of persons who move about in public.
External persons
76-77. They are : the king (rājan), the leader of the army (senāpati), the chaplain (purodhas), the ministers (mantrin)¹, councillors (saciva), judges (prāḍvivāka) and the wardens of princes (kumārādhikṛta)² and many other members of the king's court
71 (C.64b-65; K.XXIV.56). ¹ The reading is corrupt.
72 (K.XXIV.57). ¹ K. omits this.
73-74 (C.65b-66a; K.XXIV.58). ¹ Though the later writers have opined that the Kañcukin should be a Brahmin, the author of the NŚ. did not recognize any such rule. Bhāsa too seems to follow him. In Dūtavā (I. 5, 9) the Kañcukīya falls at the feet of Duryodhana. So we may infer that the Kañc. was not a Brahmin who could not degrade himself by falling at the feet of a Kṣatriya. For later def. of the Kañc. see NŚ. XIII.112-113 notes. ² C. omits 73 and K., 74.
75 (C.66b-67a; K.XXIV.59).
76-77 (C 67b-69a; K.XXIV.60-61). ¹ AS. (I 8 and 9) distinguishes between amātya and mantrin. Kāmandakīya Nītisāra (VIII. 1) also does the same; according this later authority amātya seems to be identical with saciva; see IV. 25, 30, 31. According to Śukranīti saciva, mantrin and amātya are three diff. functionaries. See II. 94, 95, 103.
² Read kumārādhikṛtās tathā for kumārākṛtās tathā. K.
536 THE NATYASASTRA [ XXXIV. 78-
(sabhāstāra)³. I shall speak of their characteristics, please listen about them.
The king
78-82. A king should be [physically] strong, intelligent, truthful, master of the senses, clever, eloquent, high-minded, honest, far-sighted, greatly energetic, grateful, sweet-tongued, skillful; and he should take a vow of proctecting his subjects and must know how to divide duties [amongst his officers]; and he should be always ready to act, alert, advanced in age and be an adept in the Smṛti and the Arthaśāstra literature, expert in detecting enemy’s weakness and the must understand one’s mind from his appearance, he should be magnanimous, well-protected, capable of taking logical view of anything, and a patron of various arts and crafts, and an expert in the Nīti literature.
The leader of the army
82-83. One who is truthful and possesses a good character, is always active (lit. has given up idleness), sweet-tongued, knows the rules regarding the weakness of the enemy, and the proper time for marching against him, has a knowledge of the Arthaśāstra and everything about wealth, is devoted [to the king], honoured in the society and has a knowledge of the time and place, should be made the leader of the army (senāpati)¹.
Councillors
84-85. Those who are intelligent, full of policy, heroic, sweet in speech, well-versed in the Arthaśāstra, attached to the subjects [of the king] and are followers of laws (dharma) should be appointed Councillors (amātya) by the king¹.
³ Read sabhāstārāḥ, K. for mānyā jñeyā, C.
78-82 (C.69b-73a). ¹ K. XXIV.62-66 seems to read the passage with some significant variation. On this see the Introduction.
82-83 (C.XXIV.67-68). ¹ The def. of the chaplain (purodhas) and the minister (mantrin) expected here seems to be lost. See above 76-77 note.
84-85 (C.73b-74). ¹ (K.XXIV.69-70a) reads the passage differently and in trans, it will be as follows: The councillors (amātya) and the ministers (mantrin) are to be characterised by the [following] qualities: they should besides being follow-countrymen [of the king] and devoted [to him], high-born, intelligent, honest, virtuous and well-versed in the Vedas (śruti) as well as in polity.
-XXXIV. 85 ] TYPES OF CHARACTERS 537
Judges
85-87. Those who know [well] about commerce and money, are intelligent, conversant with many departments of knowledge, impartial, followers of laws, able to discriminate between good and bad deeds, forbearing, self-controlled, overcome anger, and have the same respect for all people, are to be appointed as judges (prāḍvivāka) by kings¹.
Courtiers
87-90. The members of the court (sabhāstāra) should be appointed after consulting the views of Bṛhaspati¹ who thinks that the following are the qualities required for this office : they should be always ready for work, alert, free from indolence, undaunted by hard work, affectionate, forbearing, modest, impartial, skillful, trained in polity and good manners, deeply conversant with the art of agrumentation and all other branches of knowledge, and not affected by sexual passion and the like.
Next I shall tell you about the rules regarding the distribution roles in a drama.
Here ends Chapter XXXIV of Bharata's Nāṭyaśāstra,
which treats of the Types of Different Characters.
85-87 (C.75-76; K XXIV.70b-72a). ¹ The def. of the warden of the princes (kumārādhikṛta) expected here seems to be lost. See above 76-77.
87-90 (C.77-79; K.XXIV.72b-73, 74b, 75a). ¹ Read 89a, as विप्रैश्चापि कर्मज्ञैः सभास्तारादि कल्पनम (cāpadhuryam- K. for cāpi karmajñaiḥ, K. °rādikaithanam; K. for °ravikalpanam, C.).