नाट्यशास्त्रम् — द्वितीयोऽध्याय:

अथ भारतीये नाट्यशास्त्रे द्वितीयोऽध्यायः

भरतस्य वचः श्रुत्वा पप्रच्छुर्मुनयस्ततः ।
भगवन्श्रोतुमिच्छामो यजनं रङ्गसंश्रयम् ॥

Summary AI Then, having heard Bharata's words, the sages asked, 'O revered one, we wish to hear about the worship pertaining to the stage.'

२.२

अथ वा या क्रियास्तत्र लक्षणं यच्च पूजनम् ।
भविष्यद्भिर्नरैः कार्यं कथं तन्नाट्यवेश्मनि ॥

Summary AI 'Or, what are the rituals there, and what is the characteristic worship? How is that to be performed in the playhouse by men of the future?'

२.३

इहादिर्नाट्ययोगस्य नाट्यमण्डप एव हि ।
तस्मात्तस्यैव तावत्त्वं लक्षणं वक्तुमर्हसि ॥

Summary AI 'Indeed, the beginning of the practice of drama is the playhouse itself. Therefore, you should first describe its characteristics.'

२.४

तेषां तु वचनं श्रुत्वा मुनीनां भरतोऽब्रवीत् ।
लक्षणं पूजनं चैव श्रूयतां नाट्यवेश्मनः ॥

Summary AI Having heard the words of those sages, Bharata then said: 'Let the characteristics and the worship of the playhouse be heard.'

२.५

दिव्यानां मानसी सृष्टिर्गृहेषूपवनेषु च ।
(यथा भावाभिनिर्वर्त्याः सर्वे भावास्तु मानुषाः) ।
नराणां यत्नतः कार्या लक्षणाभिहिता क्रिया ॥

Summary AI 'For divine beings, creation in houses and gardens is mental. For humans, however, the action (of building) must be performed with effort, as described by its characteristics.'

२.६

श्रूयतां तद्यथा यत्र कर्तव्यो नाट्यमण्डपः ।
तस्य वास्तु च पूजा च यथा योज्या प्रयत्नतः ॥

Summary AI 'Listen to how and where a playhouse should be built. And listen to how its architecture and worship should be arranged with effort.'

२.७

इह प्रेक्ष्यागृहं दृष्ट्वा धीमता विश्वकर्मणा ।
त्रिविधः सन्निवेशश्च शास्त्रतः परिकल्पितः ॥

Summary AI 'Here, having examined the playhouse, the wise Vishvakarman has designed a threefold layout according to the scriptures.'

२.८

विकृष्टश्चतुरश्रश्च त्र्यश्रश्चैव तु मण्डपः ।
तेषां त्रीणि प्रमाणानि ज्येष्ठं मध्यं तथाऽवरम् ॥

Summary AI 'The pavilion (playhouse) is of three types: rectangular, square, and triangular. Of these, there are three sizes: large, medium, and small.'

२.९

प्रमाणमेषां निर्दिष्टं हस्तदण्डसमाश्रयम् ।
शतं चाष्टौ चतुःषष्टिर्हस्ता द्वात्रिंशदेव च ॥

Summary AI 'Their measurement is specified based on hastas (cubits) and dandas (rods). These are one hundred and eight, sixty-four, and thirty-two hastas, respectively.'

२.१०

अष्टाधिकं शतं ज्येष्ठं चतुःषष्टिस्तु मध्यमम् ।
कनीयस्तु तथा वेश्म हस्ता द्वात्रिंशदिष्यते ॥

Summary AI 'The large playhouse is one hundred and eight hastas, the medium is sixty-four, and the small playhouse is considered to be thirty-two hastas.'

२.११a

देवानां तु भवेज्ज्येष्ठं नृपाणां मध्यमं भवेत् ।
शेषाणां प्रकृतीनां तु कनीयः संविधीयते ॥

Summary AI 'The large size should be for the gods, the medium for kings. For the remaining common people, the small size is prescribed.'

२.११b

प्रेक्षागृहाणां सर्वेषां प्रशस्तं मध्यमं स्मृतम् ।
तत्र पाठ्यं च गेयं च सुखश्राव्यतरं भवेत् ॥

Summary AI 'Of all playhouses, the medium size is considered the best. In it, both the spoken text and the songs become more pleasantly audible.'

२.११c

प्रेक्षागृहाणां सर्वेषां त्रिप्रकारो विधिः स्मृतः ।
विकृष्टश्चतुरस्रश्च त्र्यस्रश्चैव प्रयोक्तृभिः ॥

Summary AI 'For all playhouses, a threefold method is recalled by the practitioners: rectangular, square, and triangular.'

२.११d

कनीयस्तु स्मृतं त्र्यस्रं चतुरस्रं तु मध्यमम् ।
ज्येष्ठं विकृष्टं विज्ञेयं नाट्यवेदप्रयोक्तृभिः ॥

Summary AI 'The triangular is considered the small size, the square is the medium. The rectangular should be known as the large size by the practitioners of the Natyaveda.'

२.१२

प्रमाणं यच्च निर्दिष्टं लक्षणं विश्वकर्मणा ।
प्रेक्षागृहाणां सर्वेषां तच्चैव हि निबोधत ॥

Summary AI 'Now, understand that very measurement and characteristic which has been specified by Vishvakarman for all playhouses.'

२.१३

अणू रजश्च वालश्च लिक्षा यूका यवस्तथा ।
अङ्गुलं च तथा हस्तो दण्डश्चैव प्रकीर्तितः ॥

Summary AI The units of measurement are declared as: anu (atom), rajas (dust particle), vāla (hair-tip), likṣā (nit), yūkā (louse), yava (barleycorn), aṅgula (finger-width), hasta (cubit), and daṇḍa (rod).

२.१४

अणवोऽष्टौ रजः प्रोक्तं तान्यष्टौ वाल उच्यते ।
वालास्त्वष्टौ भवेल्लिक्षा यूका लिक्षाष्टकं भवेत् ॥

Summary AI 'Eight atoms are called a rajas. Eight of those (rajas) are said to be a vāla. Eight vālas should be a likṣā, and a group of eight likṣās should be a yūkā.'

२.१५

यूकास्त्वष्टौ यवो ज्ञेयो यवास्त्वष्टौ तथाङ्गुलम् ।
अङ्गुलानि तथा हस्तश्चतुर्विंशतिरुच्यते ॥

Summary AI 'Eight yūkās should be known as a yava, and eight yavas as an aṅgula. Twenty-four aṅgulas are then called a hasta.'

२.१६

चतुर्हस्तो भवेद्दण्डो निर्दिष्टस्तु प्रमाणतः ।
अनेनैव प्रमाणेन वक्ष्याम्येषां विनिर्णयम् ॥

Summary AI 'A daṇḍa should be four hastas; this is specified as the standard. With this very measurement, I will now state the determination of these (playhouse dimensions).'

२.१७

चतुःषष्टिकरान्कुर्याद्दीर्घत्वेन तु मण्डपम् ।
द्वात्रिंशतं च विस्तारन्मर्त्यानां यो भवेदिह ॥

Summary AI For mortals, the playhouse (mandapa) should be made sixty-four hands in length and thirty-two hands in breadth.

२.१८

अत ऊर्ध्वं न कर्तव्यः कर्तृभिर्नाट्यमण्डपः ।
यस्मादव्यक्तभावं हि तत्र नाट्यं व्रजेदिति ॥

Summary AI A playhouse should not be built larger than this by the builders, because in such a case, the dramatic performance would become indistinct in its emotional expression.

२.१९

मण्डपे विप्रकृष्टे तु पाठ्यमुच्चारितस्वरम् ।
अनिस्सरणधर्मत्वाद्विस्वरत्वं भृशं व्रजेत् ॥

Summary AI In a very large playhouse, the recited text with its pronounced accents, due to its quality of not carrying far, would become greatly discordant.

२.२०

यश्चाप्यास्यगतो भावो नानादृष्टिसमन्वितः ।
स वेश्मनः प्रकृष्टत्वाद्व्रजेदव्यक्ततां पराम् ॥

Summary AI Moreover, the facial expressions, accompanied by various glances, would become extremely indistinct due to the excessive size of the hall.

२.२१a

प्रेक्षागृहाणां सर्वेषां तस्मान्मध्यममिष्यते ।
यावत्पाठ्यं च गेयं च तत्र श्रव्यतरं भवेत् ॥

Summary AI Therefore, among all types of playhouses, the medium size is preferred, so that both the recitative and the song may be more clearly audible there.

२.२१b

प्रेक्षागृहाणां सर्वेषां त्रिप्रकारो विधिः स्मृतः ।
विकृष्टश्चतुरस्रश्च त्र्यस्रश्चैव प्रयोक्तृभिः ॥

Summary AI For all playhouses, a three-fold classification is mentioned by the practitioners: rectangular (vikṛṣṭa), square (caturasra), and triangular (tryasra).

२.२१c

कनीयस्तु स्मृतं त्र्यस्रं चतुरस्रं तु मध्यमम् ।
ज्येष्ठं विकृष्टं विज्ञेयं नाट्यवेदप्रयोक्तृभिः ॥

Summary AI The triangular is considered the smallest, the square is medium, and the rectangular should be known as the largest by the practitioners of the Natyaveda.

२.२२

देवानां मानसी सृष्टिर्गृहेषूपवनेषु च ।
यत्नभावाभिनिष्पन्नाः सर्वे भावा हि मानुषा ॥

Summary AI The creations of the gods, in their houses and gardens, are mental constructs. In contrast, all human creations are produced through effort and material existence.

२.२३

तस्माद्देवकृतैर्भावैर्न विस्पर्धेत मानुषः ।
मानुषस्य तु गेहस्य सम्प्रवक्ष्यामि लक्षणम् ॥

Summary AI Therefore, a human should not compete with the creations of the gods. Now, I shall describe the characteristics of a human playhouse.

२.२४

भूमेर्विभागं पूर्वं तु परीक्षेत प्रयोजक ।
ततो वास्तु प्रमाणेन प्रारभेत शुभेच्छया ॥

Summary AI First, the director (or patron) should examine the plot of land. Then, with auspicious intentions, he should begin the construction according to the prescribed measurements.

२.२५

समा स्थिरा तु कठिना कृष्णा गौरी च या भवेत् ।
भूमिस्तत्रैव कर्तव्यः कर्तृभिर्नाट्यमण्डपः ॥

Summary AI The playhouse should be built by the constructors on land that is level, firm, hard, and either black or fair in color.

२.२६

प्रथमं शोधनं कृत्वा लाङ्गलेन समुत्कृषेत् ।
अस्थिकीलकपालानि तृणगुल्मांश्च शोधयेत् ॥

Summary AI First, after performing a purification ritual, one should plough the land. One should then clear it of bones, pegs, skulls, grass, and bushes.

२.२७

शोधयित्वा वसुमतीं प्रमाणं निर्दिशेत्ततः
(त्रीण्युत्तराणि सौम्यं च विशाखापि च रेवती ।
हस्तितिष्यानुराधाश्च प्रशस्ता नाट्यकर्मणि)
पुष्यनक्षत्रयोगेन शुक्लं सूत्रं प्रसारयेत् ॥

Summary AI After clearing the ground, one should then lay out the measurements. When the moon is in conjunction with the Pushya constellation, one should stretch out a white cord.

२.२८

कार्पासं बाल्बजं वापि मौञ्जं वाल्कलमेव च ।
सूत्रं बुधैस्तु कर्तव्यं यस्य च्छेदो न विद्यते ॥

Summary AI The wise should make the cord from cotton, Balbaja grass, Muñja grass, or bark, and it should be one that does not break.

२.२९

अर्धच्छिन्ने भवेत्सूत्रे स्वामिनो मरणं ध्रुवम् ।
त्रिभागच्छिन्नया रज्वा राष्ट्रकोपो विधीयते ॥

Summary AI If the cord breaks in the middle, the death of the owner is certain. If the rope breaks at one-third of its length, a national calamity is ordained.

२.३०

छिन्नायां तु चतुर्भागे प्रयोक्तुर्नाश उच्यते ।
हस्तात्प्रभ्रष्टया वापि कश्चित्वपचयो भवेत् ॥

Summary AI If it breaks at one-fourth of its length, the destruction of the director is foretold. And if it slips from the hand, some loss will occur.

२.३१

तस्मान्नित्यं प्रयत्नेन रज्जुग्रहणमिष्यते ।
कार्यं चैव प्रयत्नेन मानं नाट्यगृहस्य तु ॥

Summary AI Therefore, holding the rope should always be done with care. And the measurement of the playhouse must also be carried out with care.

२.३२

मुहूर्तेनानुकूलेन तिथ्या सुकरणेन च ।
ब्राह्मणांस्तर्पयित्वा तु पुण्याहं वाचयेत्ततः ॥

Summary AI At a favorable astrological moment (muhūrta), lunar day (tithi), and conjunction (karaṇa), one should satisfy the Brahmins and then have them proclaim an auspicious day.

२.३३

शान्तितोयं ततो दत्त्वा ततः सूत्रं प्रसारयेत् ।
चतुष्षष्टिकरान्कृत्वा द्विधा कुर्यात्पुनश्च तान् ॥

Summary AI Then, after sprinkling consecrated water, one should stretch the cord. Having marked out sixty-four hands, one should then divide that area into two parts.

२.३४

पृष्ठतो यो भवेद्भागो द्विधाभूतस्य तस्य तु ।
सममर्धविभागेन रङ्गशीर्षं प्रकल्पयेत् ॥

Summary AI Of the area that has been divided in two, the part that is at the back should be further divided into two equal halves, and one should design the stage-head (raṅgaśīrṣa) there.

२.३५

पश्चिमे च विभागेऽथ नेपथ्यगृहमादिशेत् ।
विभज्य भागान्विधिवद्ययथावदनुपूर्वशः ॥

Summary AI Then, in the western section, one should designate the tiring-room (nepathyagṛha), after dividing the sections properly, correctly, and in sequential order.

२.३६

शुभे नक्षत्रयोगे च मण्डपस्य निवेशनम् ।
शङ्खदुन्दुभिनिर्घोषैर्मृदङ्गपणवादिभिः ॥

Summary AI The foundation of the pavilion should be laid during an auspicious conjunction of stars, accompanied by the sounds of conches, drums, mridangas, panavas, and other instruments.

२.३७

सर्वातोद्यैः प्रणुदितैः स्थापनं कार्यमेव तु ।
उत्सार्याणि त्वनिष्टानि पाषण्ड्याश्रमिणस्तथा ॥

Summary AI The foundation ceremony must be performed with all musical instruments playing. Inauspicious things, as well as heretics and those in unorthodox stages of life, should be driven away.

२.३८

काषायवसनाश्चैव विकलाश्चैअव ये नराः ।
निशायां च बलिः कार्या नानाभोजनसंयुतः ॥

Summary AI Men wearing ochre robes and those who are physically disabled should also be removed. At night, an offering (bali) consisting of various kinds of food should be made.

२.३९

गन्धपुष्पफलोपेता दिशो दश समाश्रितः ।
पूर्वेण शुक्लान्नयुतो नीलान्नो दक्षिणेन च ॥

Summary AI This offering, endowed with perfumes, flowers, and fruits, should be placed in the ten directions. In the east, it should be accompanied by white rice, and in the south, by blue-colored food.

२.४०

पश्चिमेन बलिः पीतो रक्तश्चैवोत्तरेण तु ।
यादृशं दिशि यस्यां तु दैवतं परिकल्पितम् ॥

Summary AI The offering should correspond to the deity assigned to a particular direction. In the west, the offering is yellow, and in the north, it is red.

२.४१

तादृशस्तत्र दातव्यो बलिर्मन्त्रपुरस्कृतः ।
स्थापने ब्राह्मणेभ्यश्च दातव्यं घृतपायसम् ॥

Summary AI An offering of the appropriate kind, preceded by mantras, should be given there. And at the time of installation, rice pudding with ghee should be given to the Brahmins.

२.४२

मधुपर्कस्तथा राज्ञे कर्तृभ्यश्च गुडौदनम् ।
नक्षत्रेण तु कर्तव्यं मूलेन स्थापनं बुधैः ॥

Summary AI Likewise, Madhuparka should be given to the king, and rice with jaggery to the patrons. The wise should perform the installation under the Mula constellation.

२.४३

मुहूर्तेनानुकूलेन तिथ्या सुकरणेन च ।
एवं तु स्थापनं कृत्वा भित्तिकर्म प्रयोजयेत् ॥

Summary AI The installation should be done at a favorable muhurta, tithi, and karana. Having thus performed the installation, one should proceed with the work on the walls.

२.४४

भित्तिकर्मणि निर्वृत्ते स्तम्भानां स्थापनं ततः ।
तिथिनक्षत्रयोगेन शुभेन करणेन च ॥

Summary AI When the work on the walls is completed, then the installation of the pillars should be done at an auspicious conjunction of tithi, nakshatra, and karana.

Other texts to read

चन्द्रालोकः जयदेवः

शृङ्गारप्रकाशः

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