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The Natyasastra English Translation with Critical Notes 4th Edition

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Book Information

Publisher:Munshiram Manoharlal Publishers
Published In:01-Jan-2007
ISBN-10:8121506808
ISBN-13:9788121506809
Binding Type:Hardback
Weight:755.00 gms
Pages:pp. xxv + 391, Tables, Index, Appendices, Notes, Acknowledgement

The book "The Natyasastra English Translation with Critical Notes 4th Edition" is written by Adya Rangacharya. This book was published in the year 0120. The ISBN number 8121506808|9788121506809 is assigned to the Hardback version of this title. This book has total of pp. xxv + 391 (Pages). The publisher of this title is Munshiram Manoharlal Publishers. We have about 1412 other great books from this publisher. The Natyasastra English Translation with Critical Notes 4th Edition is currently Available with us.

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About the Book

The Natyasastra probably one of the earliest and certainly one of the best treatises on Indian Dramaturgy. At the same time, the Book available now is not an early one but may be as late as the seventh or eighth century AD. The authorship is traditionally ascribed to Bharata, the Sage.

The eminence of Natyasastra is not that it was the first book on the subject but that it was the first comprehensive treatise on dance, Drama and music. Like the Mahabharata, Natyasastra too boasts that "what is found here may be found elsewhere. But what is not here cannot be found anywhere".

To confer upon it prestige as the sole authority, it was described as the fifth Veda : A Veda accessible to all the castes of society. The essential elements of stage-craft have been described by the Natyasastra thousands of years ago.

The question arises, naturally, whether such a treatise can serve any purpose of our time. This was the very question which The Author set about to explore in the present translation and his notes on each chapter amply demonstrate how latest problems of actors and directors have been anticipated and resolved in it.

Contents

Preface
About the Natyasastra

Chap. I : THE ORIGIN OF NATYA :
1. Origin of Natyasastra (1-20)
2. Bharata's Collaboration (21-41)
3. Kaisiki Vrtti (42-51)
4. The First Performance (52-63)
5. The First Disturbance (64-75)
6. The First Natyavesman (76-97)
7. Eulogy of Naty (98-129)

Chap. II : THE NATYAGRHA :
1. The Natyavesman (1-6)
2. The Three Types (7-11)
3. The Table of Measure Units (12-16)
4. The Middle One for the Mortal Characters (17-23)
5. Choice of Site and Foundation (24-28)
6. Different Parts of Stage (33-35)
7. Walls and Pillars 943-62)
8. The Mattavarani (-s) (63-67)
9. The Rangasirsa and the Rangapitha (68-85)
10. The Caturasra Stage (89-100)
11. The Tryasra Stage (101-5)

Chap. III : WORSHIP OF THE STAGE AND OF THE GODS :
1. Warming of the Natyagrha (1-3)
2. Gods to be Invoked (4-9)
3. Prayer to the Gods (10-13)
4. Lighting the Lamp (14-16)
5. Installation of the Deities (17-32)
6. The Worship of the Various Deities (33-71a)
7. Worship of the Full Jar and the Jarjara (71b-89)
8. Illumination of the Stage (90-93)
9. Good and Evil Results (94-102)

Chap. IV : TANDAVA NRTYA :
1. Brahma's play Performed (1-4)
2. Siva Invited to Witness the Show (5-16)
3. The Angaharas-s (18-29)
4. The Karana-s (30-62)
5. The Karana-s Described (63-170)
6. The Angahara-s (171-246)
7. The Recaka-s (247-56)
8. Pindi-Bandhas-s (256-65)
9. Dance and Music (266-307)
10. Sukumara (Graceful Dance) (308-29)

Chap. V : PURVARANGA :
1. The Purvaranga (1-4)
2. The Origin and Details of Purvaranga (5-12)
3. Outside the Curtain (13-16)
4. Explanation of Various Terms (17-30)

SUPPLEMENT :
1. Definition of Various Terms (14-30)
2. Asravana Bahirgita (31-45a)
3. Purpose of Purvaranga (45b-58)
4. Utthapani Dhruga (59-70)
5. The Second Parivarta (71-77a)
6. The Third Parivarta (77b-84a)
7. Wielding the Jarjara (84b-89a)
8. Salutation to Gods (89b-101a)
9. Caturthakara (101b-105a)
10. Jarjara Sloka (105b-30a)
11. Caturasra Purvaranga (130b-43)
12. The Tryasra Purvaranga (144-54)
13. Citra Purvaranga (155-65)
14. The Purvaranga of The Playwright (166-74a)
15. Rewards of the Purvaranga (174a-179)

Chap. VI : RASA :
1. The Sage's Questions (1-3)
2. Bharata's Reply (4-8)
3. Characteristics of Sangraha (9-13)
4. Sangraha of Rasa and Bhava (14-22)
5. Sangraha of Acting (23-30)
6. Rasa-Karika-Nirukti (31-33)
7. Relation between Rasa and Bhava (34-38)
8. Origin, Colour and Deities of Rasa-s (39-45)
9. The Bhava-s (46-76)
10. Srngara Rasa (46-48)
11. Hasya Rasa (49-61)
12. Karuna Rasa (62-63)
13. Raudra Rasa (64-66)
14. Vira Rasa (67-68)
15. Bhayanaka Rasa (69-72)
16. Bibhatsa Rasa (73-74)
17. Adbhuta Rasa (75-76)

Chap. VII : BHAVA-S :
1. Explanation of Bhava-s(1-3)
2. Vibhava and Anubhava (4-5)
3. Sthayi Bhava-s (6-8)
4. The Characteristic of Sthayi Bhava (9-27)
5. Vyabhicari Bhava-s (28-92)
6. Sattvika Bhava-s (93-106)

Chap. VII : ACTING OF THE SUBORDINATE PARTS OF THE BODY :
1. The Sages Question (1-4)
2. The Meaning of Abhinaya and its Forms (5-10)
3. Three Kinds of Angika Abhinaya (11-15)
4. Head (16-37)
5. Eyes (38-115)
6. Nose (116-31)
7. Cheeks (132-36)
8. Lips (137-42)
9. Chin (146-57)
10. Painting of the Face (149-65)
11. Abhinaya, the Neck (166-77)

Chap. IX. and X : ABHINAYA OF THE HANDS AND OF THE MAJOR LIMBS :
1. Hastabhinaya (1-3)
2. Mudra-s Shown by One Hand (4-126a)
3. Mudra with Both Hands (126-56)
4. Mudra-s with Proper Gestures (157-73)
5. The Chest (1-9)
6. The Sides (10-17)
7. Abhinaya of the Belly (17b-20a)
8. Abhinaya of Kati (hip) (20-26)
9. Abhinaya of Thighs (27-33a)
10. Abhinaya of Shanks (33-40a)
11. Abhinaya of Foot (40b-54)

Chap. XI : PERFORMANCE OF CARI-S :
1. Cari-s (1-7)
2. Two Kinds of Cari-s (8-13)
3. Earthly Cari-s (14-29a)
4. Aerial (Akasiki) Cari-s (29b-46)
5. Combining Movements of the Hands and Feet (47-50)
6. The Sthana-s (51-71
7. Nyaya-s (72-86a)
8. Some General Suggestion (86b-101)

Chap. XII : MANDALA-S
1. Mandala-s (1-5)
2. The Akasiki Mandala-s (6-41)
3. The Earthly Mandala-s (42-65)

Chap. XIII : THE STAGE WALK OF CHARACTERS :
1. Rules for Entry of Characters (1-8a)
2. Tempo of the Stage Walk (8b-12)
3. Description of the Stage Walk (13-23)
4. Bharata's Reply to a Question (24-28a)
5. Different Walks for Different Conditions (28-39)
6. Gaits in Various Rasa-s (40-75)
7. Srngara Rasa (40-47)
8. The Raudra and Bibhatsa Rasa-s (48-55)
9. Vira Rasa (56-58)
10. Hasya and Karuna Rasa (59-69)
11. Bhayanaka Rasa (70-75)
12. The Gaits of Different Characters, and in Different Situations (76-119)
13. Gaits of Women (120-47)
14. Gaits Suited to Characters (148-55)
15. Sitting Postures, Seats Sleeping Postures (56-228)

Chap. XVI : REGIONAL STYLES AND NATURE OF PLAYS
1. Different Areas of the Stage (1-8)
2. Entry and Exit of Characters (9-25)
3. The Locale of Gods and Danava-s (26-35)
4. Pravrtti (Styles Production) (36-54)
5. Types of Productions and Plays (55-60)
6. Lokadharmi and Natyadharmi Plays (61-77)

Chap. XV : VERBAL REPRESENTATION AND PROSODY :
1. The Importance of Words in Drama (1-3)
2. Constituents of Vocal Abhinaya (4-7)
3. Consonants and Vowels (8-20)
4. Words (21-39) Rhythmic Metres (39-51)

Chap. XVI : METRICAL PATTERNS
1. The Metres (1-114)

Chap. XVII : POETIC CONCEPTS : PROJECTION IN ACTING
XVIII & XIX : RIDES ON THE USE OF LANGUAGES :
1. Four Kinds of Languages (25-44)
2. The Dialects (45-61)
3. Modes of Address (1-20)
4. Modes of Address Regarding Women (21-29)
5. Names of Characters (30-38)
6. Distinctive Features of Pathya (39-40)
7. The six Anga-s (61-68)
8. Drawn-Out Syllables (69-78)

Chap. XX : TEN KINDS OF PLAYS :
1. Ten Kinds of Plays (1-9)
2. Nataka (10-47)
3. Prakarana (48-62)
4. Samavakara (63-77)
5. Ihamrga (78-83)
6. Dima (84-88)
7. Vyayoga (89-93)
8. Anka (94-96; 101)
9. Prahasana (102-8)
10. Bhana (109-11)
11. Vithi (112-30; 150)

Chap. XXI : THE PLOT :
1. Iti-Vrtta(1-6)
2. The Five Avastha-s (7-15)
3. Necessity of Sandhi-s (16-19)
4. The Five Arthaprakrti-s (20-25)
5. The Five Sandhi-s (26-43a)
6. Sandhi-s in Different Types of Plays (43b-46)
7. Sandhyantara-s (47-50))
8. Anga-s (5l-68)
9. Definitions of the Anga-s (69-104)
10. The five Structural Devices(105-12)
11. Concluding Remarks (113-16)
SUPPLEMENT

Chap. XXII : VRTTI-S :
1. The Origin of Vrtti-s (1-19)
2. The Four Vrtti-s (20-24)
3. (20-21 Inter-Polations)
4. Bharati Vrtti (25-37)
5. Sattvati Vrtti (38-47)
6. Kaisiki Vrtti (48-54)
7. Arabhati Vrtti (55-62)
8. Application of Vrtti-s to Rasa-s (63-65)

Chap. XXIII : AHARYA ABHINAYA :
1. Aharya Abhinaya (1-3)
2. Four Kinds of Nepathya (4-8)
3. Alankara-s (9-14)
4. Ornaments for Men (15-20)
5. Ornaments for Women (21-41)
6. Rules Regarding use of Ornaments (42-48)
7. Ornaments for Celestial and Other Females (49-61)
8. Costumes and Ornaments for Women of Different Regions and in Different Conditions (62-71)
9. Make-up (72-89)
10. Make-up for Different Characters (90-108)
11. Beards and Moustaches (109-16)
12. Costumes for Different Occasions (117-33)
13. Head-gear (135-52a)
14. Summing-up (152b-56)
15. Sanjiva (157-59a)
16. Weapons (159b--69)
17. Jarjara and Dandakastha (170-82a)
18. Making of Head-Gear (183b-192)
19. Accessories and Properties (193-214)
20. Suggestions (220-23)

Chap. XXIV : SAMANYA ABHINAYA :
1. Samanya Abhinaya (1-8 & 10-11)
2. The natural and Involuntary Graces of Women (12-21 & 24-29)
3. Acting Emotions of A Man (30-39)
4. Acting through the Body (40-48)
5. Forms of Verbal Representation (49-58)
6. The seven Characteristics of Verbal Representation (59-72)
7. Abhyanmm and Bihya (73-79)
8. Representation of Sensory Reactions and Feelings (80-93)
9. Desire, The Source of all Feelings (94-98)
10. The Different Natures of Women (99-147)
11. Erotic Behaviour (148-58)
12. Signs of love in Women (158-68)
13. The Ten Stages of Love in Women (169-91)
14. Rules for Men (193-200)
15. (193-96 Interpolations)
16. Secret Lovers (Kings) (201-9)
17. Eight Kinds of Heroines (210-20)
18. Acting of These Heroines (221-3 1)
19. Union of Lovers (232-38)
20. Certain Prohibitions (238-41)
21. Awaiting and Welcoming A Lover (242-58a)
22. Speaking to the Lover (258b-62a)
23. Jealousy and Fear (262b-70)
24. Treating of a Guilty Lover (271-88)
25. Singing for Srngara (288b-90)
26. Certain Prohibitions When Showing the Erotic on the Stage (291-96)
27. Addressing a Loved Person (297-3O7)
28. Addressing an Unloved Person (308-19)
29. Regarding Celestial Women (320-28)

Chap. XXV : MEN AND WOMEN - OUTWARD CHARACTERISATION :
1. Vaisika (1-8)
2. Characteristics of a Female Messenger (9-18a)
3. Different Natures of Women (18b-27)
4. Winning Back a Woman (28-35)
5. The three Kinds of Women (36-42)
6. Women's Youthful Enjoyment (43-53)
7. Amorous Dealings of Men (54-63)
8. Ways of Dealing with Women (64-73)
9. Courtesans (74-79)

Chap. XXVI : ACTING-MISCELLANEOUS :
1. Citrabhinaya (1)
2. Gestures for Natural Phenomena (2-8)
3. Indicating Anything Pleasant or Unpleasant (9-11)
4. Gestures for Garlands Audible and Visible Objects, etc. (12-18)
5. Gestures for Numbers (19-22)
6. Gestures for Banners, Memory, the Past, etc. (23-26)
7. Gestures for Seasons (27-42)
8. Natural Postures of Men and Women (43-48)
9. Expressing Anubhava-s of Men and Women (49-63)
10. Certain Stage Conventions (82b-100)

Chap. XXVII : SUCCESS OF THE PRODUCTION :
1. Two Kinds of Siddhi (Success) (1-3)
2. Human Success (4-15a)
3. Divine Success (15b-18a)
4. Faults or Mishaps in a Production (18b-37)
5. Three Kinds of Success (38-49)
6. About Spectators (50-62)
7. Competitions (63-82a)
8. Time of Performance (91-98)
9. Conclusion (99-104)

Chap. XXVIII : XXVIII. INSTRUMENTAL MUSIC :
1. Types of Instruments (1-7)
2. Gandharva Music (8-20)
3. The Svara-s (21-23 and Prose)
4. Grama (24-26 and Prose)
5. Murchana-s (27-33 and Prose)
6. The tunas (33 and Prose)
7. The Sadharana Svara (33 & 36 and Prose)
8. Jati-s (37- 65)
9. Amsa-s (66-73)
10. The Ten Characteristics of Jati-s (74-100)
11. The Nyasa and Apanyasa (101-51)

Chap. XXIX : STRINGED INSTRUMENTS :
1. Application of Jati to Rasa (1-16)
2. Varna and Alankara (17-22)
3. Alankara-s (23-43)
4. The Characteristics of Alankara-s (44-70)
5. Songs and Their Characteristics (71-76a)
6. Dhatu-s (76a-102)
7. Vrtti-s (102-3)
8. Three Kinds of Vina Playing (103-12)
9. The Karana-s of Vipanci (113-21)
10. The Bahirgita-s (122-56)

Chap. XXX : HOLLOW INSTRUMENTS :
1. Svara and Sruti (1-4)
2. Sruti-s and the Placing of Fingers (5-9)
3. Svara-Sadharana and Kakali (10-13)

Chap. XXXI : RULES OF TALA :
1. Tala (1-7)
2. Two Types of Tala (8-13)
3. Capaputa (14-16)
4. Tala of Six Syllables (17-25)
5. The Caturasra and Tryasra (26-34)
6. The Hand and Finger Movements (Pata) (35-42)
7. Udghatta Tala (43-48)
8. Method of Showing Tala (49-61)
9. The Asarita-s (62-73)
10. Vardhamana (Origin) (74-81)
11. The Characteristics of Virdhamana (82-87)
12. Layantara and the Three Asarita-s (88-94)
13. The Limbs of the Asarita (95-97)
14. Vardhamana and Layantara (98-102)
15. The short Asarita (103-8)
16. Mukha (Upohana) (109-12)
17. Gana-s (113-18)
18. Asarita Concluded (119-35)
19. Vardhamana, its Limbs and Their Tala-s (136-45)
20. The Tala-s of the Limbs (146-67)
21. The General Rules of Medium and Long Asarita-s (168-97)
22. Songs and Vastu (198-202)
23. Vidari and Vastu (203-4)
24. Uses of the Limbs (205-6)
25. Vrtta (207-8)
26. Uses of the Vidari-s (209-19)
27. Seven kinds of Songs (220-45)
28. The Tala of Vastu-s in Songs (246-356)
29. The Aparantaka (274-92)
30. Ullopyaka (293-314)
31. Prakari (315-22)
32. Ovenaka (323-38)
33. Rovindaka (339-49)
34. Uttara (350-56)
35. More details of the Songs (357-89)
36. The lasya-s (427-29)
37. The Varieties of Lasya (430-79)
38. Geyapada (435-44)
39. Sthitapathya (445)
40. Asinapathya (446-51)
41. Puspagandika (452-56)
42. Pracchedaka (457-63)
43. Trimudhaka (463-67)
44. Saindhavaka (467-71)
45. Dvimudhaka (471-73)
46. Uttamottamaka (473-75)
47. Uktapratyukta (476-79)
48. The Importance of Tala (480-83)
49. Laya-s (484-88)
50. Yati-s (489-93)
51. The Three Pani-s (493-502)

Chap. XXXII : THE DHRUVA SONGS :
1. The Dhruva Songs (2-3)
2. The Limbs of the Dhruva Songs (4-8)
3. The Seven Limbs of the Dhruva (9-18)
4. The Avasaniki Dhruva (18-23)
5. Types of Dhruva-s (24-30)
6. The Nibaddha and Anibaddha Pada-s (31-36)
7. The Vrtta-s of Dhruva-s (37-48)
8. Description of the Vrtta-s (49-270)
9. Distribution of the Gana-s and Matra-s (271-80)
10. The Gana-s of the Divisions (281-88)
11. The Gana-Matra-s of the Druta Dhruva-s (288-302)
12. The Sirsaka-s (303-20)
13. The Vrtta-s of the Narkuta(ka) Class (321-48)
14. The Vrtta-s for the Khanjaka (348-54)
15. The Minor Dhruva-s (355-59)
16. The Five Aspects of Dhruva-s (360-64)
17. The Five Occasions (365-70)
18. The Occasions and Rasa-s of the Dhruva-s (371-83)
19. Six Types of Dhruva-s and Their Use (384-406)
20. The Subject of Dhruva-s (407-21)
21. Dhruva-s Suggesting Time and Movement (422-31)
22. The Vrtta-s for Dhruva-s (432-39)
23. The language of dhruva-s (440-57)
24. The Procedure of Dhruva Songs (458-70)
25. The Rules About the Graha-s (471-80)
26. About Songs (481-94)
27. The Qualities of Singers and Instrument Players (495-98)
28. The Vind Player (499-500)
29. The Flute Player (501-2)
30. Performance of Men and Women(503-11)
31. Varied Characteristics (512-24)

Chap. XXXIII : THE AVANADDHA INSTRUMENTS :
1. The Avanaddha Instruments (1-3)
2. The invention of Avanaddha Instruments (4-17)
3. Use of These Instruments (18-22)
4. Details of the Instruments (23-30)
5. The svara-s (31-35)
6. Rules of Puskara Instruments (36-39)
7. Details of These (40)
8. The Syllable Sounds in the Puskara-s (41-42)
9. The Five Kinds of Paniprahata-s (43)
10. The Four Marga-s (44-54)
11. The Playing of the Dardura and the Panava (55-77)
12. The Combined Playing of the Three Puskara Instruments (78-91)
13. The Karana-s of the Three Puskara-s (92-93)
14. The Three Yati-s (94-101)
15. The Three Marjana-s (102-10)
16. Marjana of the Vamaka and the Vrdhvaka with Earth (111-17)
17. The Three Samyoga-s (117)
18. The Three Gata-s (118-20)
19. The Eight Samya-s (121-29)
20. The Eighteen Jati-s (130-69)
21. Playing of the Gata-s in the Dhruva-s (170-79)
22. The Order of Playing (180-86)
23. Playing of Puskara-s in Dance (187-97)
24. The Twenty Prakara-s (198-221)
25. The Seating of the Singers and the Instrument Players (222-26)
26. The Performance of the Purvaranga (227 and Prose)
27. Playing for Walking and Other Movements (228-32))
28. Playing for Female Characters (81, 232-33 and Prose)
29. Playing of Interludes (Antaravadya) (233-35)
30. Playing for the Prasadiki and other Dhruva-s (235-37)
31. Udghatya (238)
32. The Concluding (Prose and Slokas (239-41)
33. Special Characteristics of the Instruments (242-50)
34. The Qualities of Hide (251-54)
35. The Preparing of the Instruments (254-58)
36. The Installing of the Instruments (259-84)
37. Various Details (285-301)

Chap. XXXIV : TYPES OF CHARACTERS :
1. Types of Characters (1-3)
2. Superior Female Characters (10-1 4)
3. Two Kinds of Characters : External and Internal (29-30)
4. Female Characters in the Harem (31-34)
5. Female Attendants in the Harem (54-66)
6. Qualities of Servants Employed in Harems (66-81)
7. External Characters (82-98)

Chap. XXXV : DISTRIBUTION OF ROLES :
1. Distribution of Roles (1-4)
2. Gods, Raksasa-s and Kings (5-11)
3. Amatya-s and Army Chief (12-13)
4. Kancukin (14)
5. Distribution of Minor Roles (15-24)
6. Manner of Entry and Impersonation (24-27)
7. Three Ways of Impersonation (28-32)
8. Suitablility of Women for Roles (33-46)
9. Two types of Productions (47)
10. Impersonation of A King (57-59)
11. Qualities of a Director (65-75)
12. Qualities of Vita, Sakara, Jester, etc. (76-83)
13. Other Members of a Theatre Group (88-108)

Chap. XXXVI : DESCENT OF DRAMA OF EARTH :
1. The Questions of the Sages (1-15)
2. Bharata's Reply (16-29)
3. Regarding Purification (30-31)
4. How Drama Came to Earth (32-35)
5. The Sages Curse (36-42)
6. Nahusa's Role in This (52-70)
7. The Conclusion (Mangala) (71-82)