Natyashastra Chapter 1 PDF

## Bharata's Natyasastra: I, VI and VII Adhyaya ### KNOWLEDGE TRADITION TEXT - One might clarify the question by asking: are music and dance only *natyadharmi*, or *lokadharmi* and *natyadharmi*? - If they are *lokadharmi* and *natyadharmi*, they are essential to *abhinaya* and the expression of s...

## Bharata's Natyasastra: I, VI and VII Adhyaya ### KNOWLEDGE TRADITION TEXT - One might clarify the question by asking: are music and dance only *natyadharmi*, or *lokadharmi* and *natyadharmi*? - If they are *lokadharmi* and *natyadharmi*, they are essential to *abhinaya* and the expression of some *rasas* and *bhavas* and one can see how *rasa* is attributed both to music and to dance. - The *bhavas* are associated with all the parts of *abhinaya*, and not every element needs to be analysed into the varieties of *bhavas*. - But if they are only *natyadharmi* then it is not clear how *rasa* can be attributed to them, because music especially and some kind of dance cannot be associated with or analysed into the various *bhavas*. Here in a broad way I have attempted to give a coherent account of the thought of the Natyasastra. In the process, I have attempted to clarify apparent or real conflicts, contradictions and such other difficulties. For example, the discussion of whether the play is an *anukarana* or an *anukirtana*, whether the *bhavas* precede *rasas* or the *rasas* precede *bhavas*, whether the erotic element must necessarily be present in *natya*, whether Bharata's account has a place for *santa rasa* or is it necessary to have it as a ninth *rasa*; are music and dance a natural part of life events and situations and therefore natural and necessary elements of *natya* or are they added on embellishments and so on. All this will enable us to see the agreements and disagreements of the seminar papers to one another and to the text, given below. A criticism that could be raised is: is this account not my interpretation? And can there not be another interpretation? I would rather say that this is my understanding, and there could be another understanding, provided it gives a coherent account of the text. It is worthwhile in this connection to quote the view of Abhinavagupta about his work on Bharata's Natyasastra. According to Abhinavagupta, he has kept the following objectives in mind while writing the Abhinavabharati: 1. understanding the text 2. abandoning incorrect readings 3. clarifying the text 4. resolving the apparent contradictions arising in the text 5. elaborating the subject in its totality 6. giving relevant examples 7. relating the examples to the essential argument 8. summarizing the subjects discussed in detail (Nagendra; 1973: 5-7) I believe I too have tried to do this in arriving at an understanding of Bharata's Natyasastra. ### INTRODUCTION #### I: NATYOTPATTIADHYAYA The first *adhyaya* of the Natyasastra consists of the five questions raised by Atreya and other munis about *natya*, and Bharata's answers to these questions. The questions are: 1. How did Brahma come to create the *natya*, 2. by whom is it to be performed, 3. with how many elements, 4. with what scope and 5. to the achievement of what goals? The questions and the answers may or may not be historical, in fact they are not. What is important however, is that the answers give the characteristics which *natya* should have, if it is to be *natya*. Brahma created *natya*, so that the members of human society, in which both good and evil exist, will have knowledge of good and evil, knowledge of the goals of life. To enable *natya* to perform its function, it is necessary that those who have the capacity for evil as also its control through the self undertake it. These can only be humans. The gods know no evil and the asuras have no control over their passions and temptations and are therefore unfit for the *natya*. ### KNOWLEDGE TRADITION TEXT 1. What are the elements of *natya*? In the account of the preparation for the performance, we find mention of *rasa*, *bhava*, *abhinaya* (kriya), *vritti*, instrumental music, vocal music and the stage. 2. The scope of *natya* is all that happens in the three worlds. One would be wrong to think that it must present only what is good, or if it presents both good and evil, it must always show the superiority of the good over the evil. *Natya* must show the attractions and repulsions of both good and evil. Humans by nature will recognise what is good and what is evil, though even then they may choose the latter. 3. *Natya* presents the good life and the bad life, the proper and the improper pursuit of life's goals - *dharma*, *artha*, *kama* and *moksha*. If one is right in saying that here the answers give us the characteristics that *natya* must have to be *natya*, why is such a serious matter presented to us in the form of a myth? The questions and their answers, and their relation to the basic characteristics of *natya*, is too systematic for the account to be merely a myth, as popularly understood. It is something more than a myth. I want to relate this to what Bhartrhari in his Brahamakanda of the Vakyapadiya says about the unwritten and the written tradition and the relationship between them. Briefly, the unwritten tradition is directly attributed to Brahman, or perceived directly by the sages. But what is important about it is that it is apauruseya, independent of this or that person. It is said that even if the unwritten tradition is destroyed, the same truth will be discovered again. The unwritten tradition is direct knowledge or anubhava. For such apauruseya knowledge, Brahman is said to be the source but it is not of the nature of revealed, historically unique knowledge. Thus, though Brahman presents the origin of *natya* through a myth of creation, it is really the presentation of direct knowledge or anubhava in the form of myth. One must remember that sometimes even metaphysics is no more than a myth. For example, what is the basis of a language game or a form of life in Wittgenstein's thought? Surely, "that is what we humans are", is no better than a myth. Another consideration for saying that the myth is not a myth as commonly understood, is the usual practice in Sanskrit treatises to present their thought in three parts. Not necessarily in the following order and not so explicitly distinguished, these are: anubhava (experience or knowledge), vicara (intellectual articulation) and acara (practice), all integrally interrelated. For instance, the Vakyapadiya of Bhartrhari presents anubhava in the first kanda, and the vicara and the acara are presented in the second and the third kandas. In the Natyasastra too, the first adhyaya presents anubhava, the sixth and the seventh adhyayas vicara, and the rest of the text deals primarily with acara. But is it right to say that *natya* in order to be *natya* has to have these characteristics? Are not there so many *natyas*, which do not have these characteristics, such as pursuit of purusarthas etc? Do we have solid grounds for reading metaphysics into a myth? There is indeed a great temptation to read oneself into the test. However, the nature of Indian classical literature is such that the different texts mutually support one another, not only generally, but also in specific details and arguments. In many texts the four purusarthas taken together are the human goals and any attempt to follow some of them and not others means loss of all goals those that one follows and those that one does not. This underlines the understanding of human life and rasas in Natyasastra too. ### KNOWLEDGE TRADITION TEXT In the discussion of the origin of Natyasastra, some important points must be noted before we move on to the working translation of the text: 1. The need for *natya* arises because there is degeneration in people's conduct and the *natya* is a more satisfying and complete, audio-visual instrument for the understanding of good and evil in such times. 2. It is more than a metaphor to say that Natyasastra is Veda. It is the fifth Veda (so it is said also of the Mahabharata). This is not only because the different elements like script (pathya) and song (gana) are taken from the four Vedas, but also because the thought of the sastras and the practise of all the arts are in it. It serves the same purpose as the Vedas and gives the knowledge of good and evil even to women and the sudra, normally excluded from the study of the Veda. ### THE FIVE QUESTIONS: 1. Having bowed to Brahman and to Siva, I shall explain to you what Brahman said in the Natyasastra. 2. Once the great master of *natya*, who practiced many self-disciplinary vows, had finished his prayers, and was not engaged in his studies and was sitting with his sons around him. 3-6. The great sages who had attained self-discipline, led by Atreya, approached (the master) and asked him: this *natyaveda* which is equal to the Vedas, you the illustrious one have composed very well; how did it come into existence, for whom, with how many elements, with what scope and to achieve what? Oh Illustrious One, please tell us all this as it is. ### BHARATA'S NATYASASTRA: I, VI AND VII ADHYAYA 6. Hearing what the sages had said, Bharata responded by recounting how the Natyaveda came into existence. #### FIRST QUESTION: HOW DID NATYASASTRA (AND NATYA) COME TO BE CREATED BY BRAHMAN? 7. Please free yourselves from distraction and with an attentive mind listen to how Brahman created the natyaveda. 8-15. When the Krtayuga under Svayambhuva Manu was over, the Tretayuga began under the Vaivasvata Manu. Then uncivilized conduct became common. Conduct was under the influence of lust and greed, people had lost their judgement on account of anger and envy, people's happiness was mixed with unhappiness, the Jambudweepa, protected by Lokapalas: (the guardians of all the eight directions) was full of Gods, Danavas, Gandharvas, Yakshas, Rakshasas and the great Uragas (Nagas). At such a time, the Gods led by Indra approached Brahman and said: we want a diversion, which can both be seen and heard. As the Vedas cannot be listened to by the sudras, please create another Veda, a fifth Veda, which is accessible to all the varnas. Brahman (knower of the Truth) said 'so be it' and saw Indra off, sat in yogic meditation and recalled to mind the four Vedas and said: I shall make a fifth Veda called natya, with history and stories with history in them, which will teach what is duty, what brings wealth and fame, which will contain what is good for people's future, which will show the right direction regarding all kinds of actions and which will contain the thought of all the sastras and the practice of all the arts. 10. Having resolved to do so, the great one remembering all the Vedas made the natyaveda consisting of the elements of the four Vedas. ### KNOWLEDGE TRADITION TEXT 17. From the Rigveda he took recitation, from Sama song, from the Yajurveda modes of acting, and from the Atharvana, rsas (essences of life-patterns) 18. The great and glorious Brahman who knows everything created the Natyaveda, which is bounded by the Vedas principal and subsidiary. #### SECOND QUESTION: FOR WHOM IS THE NATYAVEDA CREATED? WHO ARE QUALIFIED TO PERFORM THE NATYA? Now is discussed the second question: who are qualified to perform the natya? 19. Having created the natyaveda Brahman told Indra: by me are also composed stories with history in them. Ask the gods to perform them. 20. This natyaveda should be given by you to those who are skillful, wise, brave and not easily tired. 21. Having heard the words that were spoken by Brahman, Indra with folded hands and bent head spoke to him. 22. 'Oh the Best and the Glorious One, the gods do not have the ability to accept, maintain, understand and perform natya, they are unfit in every way in relation to natya. (They are not like the sages described below). 23. Those sages who have fulfilled their vows (who have brought their senses under control) and who know the secret of the Vedas, are capable of receiving, maintaining, understanding and performing natya. #### BHARATA'S NATYASASTRA: I, VI AND VII ADHYAYA 24. Having heard the words of Indra, Brahman said to me, Oh Sinless One, you along with your hundred sons have to put natya to use. 25. Thus commanded and learning the natyaveda form Brahman, I taught my sons both the theory and practice of natya. 26-39 (These verses give the names of the hundred sons of Bharata. I have not given their names and gone into their individual significance or contribution here). 40. I allotted to my hundred sons their proper roles, each was given the role for which he was fit. (It is important to note that the plays are to be performed neither by the devas nor by the asuras (or by poets who might mislead) but by sages. They alone will be able to present plays so that natya will perform its proper function). #### THE THIRD QUESTION: WHAT ARE THE ELEMENTS OF NATYA? (What are the elements? With these is connected on the one hand, the goal of the performance and on the other, its technique. There are two important questions about the elements (1) What is the relationship between the elements and between the elements and the goals (2) Are they all integral to Matya, or are they integrated into natya? Are all the elements both lokadharmi and natyadharmi, or are some only natyadharmi? Oh Brahmanas, the performance was planned by me making use of the Bharati (verbal), the Satvati (grand) and the Aprabhati (energetic) styles. I then approached Brahman respectfully and asked him what I should do. He told me to introduce also the Kaisiki (graceful) style. Bo spoken to by Brahman, I responded, Oh the Best of Brahmanas, tell me whatever material is required for this performance. 15. Please give me that which enables the preparation for the Kaisiki style. I saw Kaisiki in the dance of Siva, consisting of bodily movements having rasa, bhava and beautiful adornments, producing srngara, (joy and happiness - the essence of a successful pattern of life). It is not possible to perform Kaisiki without women, only with the help of men. So the Lord, the possessor of great brilliance, created from His mind apsaras, who were skilled in adorning *natya*, and gave them to me for (helping in) the performance. 47-50. Names of apsaras as in the case of the names of Bharata's sons, here too I have not gone into their individual significance and contribution. 50-51. Then Brahman appointed Swati along with disciples to play musical instruments, and the gandharvas led by Narada were appointed to sing songs. Thus having rightly understood this *natya*, along with my sons and accompanied by Swati and Narada, I presented myself with folded hands before Brahman, the source of the Vedas and the Vedangas, ready for performance and said: we have learnt the art of *natya*, please tell us now what we should do. Hearing these words, Brahman responded: Right now is a great (suitable) occasion for the production of a play: now there is the Banner Festival of the great Indra, so you can use this knowledge of *natya* there. ### KNOWLEDGE TRADITION TEXT #### THE FOURTH QUESTION: WHAT IS THE SCOPE OF THE NATYA? The discussion of the scope of the *natya* raises many questions: 1. The most important question is raised by the asuras: is the *natya* to show the superiority of good over evil and of the gods over the asuras? Such a *natya* is unacceptable to them. This challenge is answered in two fold manner (i) Brahman sees to it that a playhouse (natyagraha) is created and it is protected in every way by the gods, gandharvas, men, the sun and the moon and so on. (ii) This protection by all is not effected because the asuran are right in their belief. (It is not true that *natya* shown the superiority of good over evil. It shows the thoughts and actions of the asuras and the gods, both the bad and the good in them. But this can be challenged, and can be taken as showing the superiority of the good. It is felt that if both good and evil are shown, people will inevitably choose the good). Whatever the truth in this apprehension, it should not be misrepresented by saying that *natya* presents the superiority of good over evil. Indeed, the asuras are explicitly told that this is not the case. However, the possibility of an attack by the asuras always exists, hence the necessity of protection. *Natya* is not a moral discourse. It remains full of risk because it presents the attractiveness and repulsiveness of both good and evil. It is a presentation, which enables one to understand and appreciate both good and evil in their proper context. This can always be so perverted that the context of bad is made more attractive than the context of good. (This was the fear of Plato). The other important question that emerges is what is the relation between the play and reality? The key concept here is *bhavanam anukirtanam*, which does not mean the imitation of the *bhavas*, but a perceptive appreciation of the *bhavas*. An account of it is given in some detail in the discussion of the relation between the *rasas* and *bhavas* (in the sixth adhyaya). Oh (Free translation) Then I went to the Banner Festival, where many of the jubilant gods were celebrating the Victory of the great Indra (in a battle) in which both the gods and the asuras were killed. First I performed the benediction containing words of blessing, (varied and with eight steps) composed according to the Vedas, then was planned a presentation of how the gods conquered the asuras. This represented conflict and confusion and cutting and piercing. The gods and Brahman were very satisfied by the play. They gave to my sons all kinds of useful gifts. First, the pleased inda gave his auspicious banner, the Brahman the Kutilaka, Varuna gave the auspicious golden pitcher (used at coronations) the Sun gave the umbrella, Siva gave success, Vayu gave a fan, Vishnu a throne, Kuber a crown, the Goddess Saraswati gifted that the actors be seen and heard. (It is important to note that the gift of these insignia marks not the identity but the separation of the actors from those whose actions were to be performed). The other members of the assembly, gods, gandharvas, rakshasas, pannagas, and others belonging to different groups and with different qualities, each gave some little gift of bhavas, rasas, beauty and strength. They were very pleased with my sons 64. In this way having begun the drama in which the daityas and the danavas were destroyed, all the daityas who had happened to come there became agitated. They instigated the vighnas (the evil spirits), who with Virupaksha at their head, said: we shall not put up with this performance. Come out (and see). Then the evil spirits with the help of the asuras resorted to tricks producing illusions and paralysed the speech, action and memory of the performers. 67. Having seen the destruction of the sutradhar, Indra asked himself how the disruption of the performance had come about and sat in meditation. 68. He saw the sutradhar along with others without consciousness and without movement, surrounded on all sides by the evil spirits. 69-70 Indra quickly stood up, took the great banner, which was shining with gems and with his eyes wide open (in anger), beat to death the asuras and the vighnas whe were around the stage, with the jarjar. 71. With the asuras and the evil spirits destroyed, all the gods, filled with joy, said Oh Bharata, you have got this divine weapon with which the danavas have had their limbs beaten to pulp. 73.Since this has crushed the evil spirits and the asuras, hence-forth it will be named jarjar. 74. The others intent upon violence, if they will come near to do violence, seeing this jarjar alone will destroy them. 76. Then Indra told the gods: let that be so. This jarjar will be the source of protection for all. 76. When in Indra's festival, the play was started once again, the remaining vighnas created further trouble to the actors. Seeing the unmannerly behaviour of the daityas, along with all my sons, I approached Brahman. The vighnas are determined to destroy this performance, Oh Brahman, command that the proper method of protection is undertaken. Brahman then spoke to Vishvakarma (the divine architect): You, of great intelligence, with your best effort make a worthy good playhouse. 10. In a short time, the Vishvakarma made a very good playhouse with all the desirable characteristics. Having constructed the playhouse, he went to the court of Brahman, and with folded hands said: The playhouse is fully ready, please come and see it. Then with Indra, all the gods and others, Brahman came immediately to see the playhouse. Having seen the playhouse, Brahman spoke to all the gods, in some ways it is your duty too to protect this playhouse. 8102 (Here I have followed ManMohan Ghosh's text (1950)) On seeing it, Brahman said to the rest of the gods: You ought to co-operate in the protection of the playhouse in its several parts (and of the objects relating to ### KNOWLEDGE TRADITION TEXT dramatic performance). Chandra (the moon-god) to protect the main building; the Lokapalas (guardians of the worlds) its directions, the Maruts its four corners, Varuna the space (within the building), Mitra the retiring room (nepathya), Agni its plinth, clouds the musical instruments, deities of four varnas the pillars, the Adityas and the Rudras the space between the pillars, the Bhutas (spirits) the rows (of seats = dharani), the Apsaras its rooms, the Yaksinis the entire house, the ocean-god the ground, Yama the door, the two Nagar kings (Ananta and Vasuki) the two blades of the door (dvarapatra), the Rod of Yama the door-frame, Siva's pike the top of the door. 88-93. Niyati and Yama (Mrityu) were made the two doorkeepers, and Indra himself stayed by the side of the stage. In the matavarani was placed Lightning which was capable of killing Daityas, and the protection for its pillars was entrusted to the very strong Bhutas, Yaksas, Pisacas and Guhyakas. In the jarjara was posted Thunder (vajras) the destroyer of Daityas, and in its sections (parva) were stationed the best and powerful gods. In the topmost section was placed Brahman, in the second Siva, in the third Vishnu, in the fourth Kartikeya and in the fifth great Nagas such as Sesa, Vasuki and Taksaka. 93-94. Thus for the destruction of the vighnas, gods were placed in different parts of the jarjara, and Brahman himself occupied the middle of the stage. It is for thin reason that flowers are scattered there (at the begin-ning of the performance). 95. Denizens of the nether regions such as, the Yaksas, the Guhyakas and the Pannagas were employed to protect the bottom of the stage. 96. Let Indra protect the actor who assumes the role of the hero, Sarasvati the actress assuming the role of the heroine, Omkarah the jester and Siva the rest of the characters (dramatis personae). 97. He (Brahman) said that the gods who were employed to protect it (i.e. the play) would be its guardian deities. 99. In the meanwhile all the gods requested Brahman to pacify the vighnas by speaking to them and persuading them. 100. (Brahman gives instructions on how to pacify the vighnas:) First one must begin with persuasion, second we must win them by paying money, after that we must try to sow dissension, and after that one must resort to punishment (conflict). 101. Hearing the words of the gods, Brahman said to the vighnas: why are you so intent on destroying the performance? 102. Questioned thus by Brahman, Virupaksha together with the asuras and the vighnas spoke these conciliatory words: 103. This natya, which your illustrious self has created at the desire of the gods, it has been done by you in favour of the gods and against us. 101, This ought not to have been done by you who are the source of the world, and equally the gods and the daityas have been created by you. 105. Having heard the words of the vighnas, Brahman said: enough of this anger, and give up your sorrow, I have created the natyaveda, good and evil in respect of thought and action of both the gods and the asuras. 10. Here there is no exclusive response - yours or of the gods, natya is the perceptive appreciation of all the three worlds. #### FIFTH QUESTION: WHAT DOES THE NATYA DO? In Verse 108, we have a description of what is there in the three worlds: and in the first line itself are mentioned the four purusarthas, this makes the Natyasastra a part of the total classical thought of India. 108. Sometimes natya depicts duty, sometimes pleasure, sometimes wealth and power, sometimes moksha (1) sometimes the context is laughable (hasyam), sometimes heroic (yuddham), sometimes happy (kama), sometimes terrifying (vadha). 109-112. (112 sums up 109-111). For various states and various situations, natya that is created by me is a picture of what happens in the world. 113-115. (To put it briefly) Natya is instructive to all kinds of people - to the best and the worst and the average. It gives self-possession, pleasure etc., it comforts those afflicted with unhappiness, ennui, sorrow. (natya is all comprehensive): 116. That is not knowledge, art, learning, skill, meditation or action, which is not found in natya. (This verse can play an important role in considering whether the various arts etc. are integral to natya or have an independent existence later integrated into it). 117. Therefore, you should not be angry with the gods, this natya is the presentation of all there is in the seven continents. 118-119. All this is done through the various modes of presentation. (This is how natya achieves what it does). 120-127. (The adhyaya ends with the puja of the stage). ### INTRODUCTION #### VI: RASADHYAYA (OF RASA) In the first adhyaya Bharata answers five questions, raised by the sages, about the nature and function of natya. This is done in the form of a myth, but is really the substance of metaphysics: the answers give the necessary conditions for the existence of natya: (1) that human beings are no longer free from greed and lust and therefore there is a need to know the difference between the good life and the bad life; (ii) that natya can be undertaken meaningfully by those who know this and who are free from greed and lust and can control themselves; (ii) it has a number of elements such as rasa, bhava, abhinaya tc. (iv) that its scope includes happenings in the three Worlds; (v) it is performed through the four modes of presentation etc.; and it presents the pursuit of the four goals; pursued both properly and improperly and therefore presents both good and evil. The questions are answered, in principle, in the first adhyaya, but they are considered in detail in the rest of the Thirty-six adhyayas, not by taking up the questions one by one, but by considering the elements of natya. It is this that takes account of the other questions also. Even the elements are not taken up in the order they are mentioned. Ranga, which is mentioned last, is taken up in the second to the fifth adhyaya. In the sixth adhyaya we have the discussion of rasa, which is the basic concept of natya. It is said: rasa is itself natya. (1956: 102,125). ### METHOD OF EXPLANATION In the first fourteen verses, Bharata explains his approach to the discussion on rasa and other elements. Having listened to the method of performing the prologue (in the fifth adhyaya), the great sages once again turned to the mahapurusha, performing the same again (in the sixth adhyaya).