नाट्यशास्त्रम् — पञ्चमोऽध्याय:

अथ पूर्वरङ्गविधानो नाम पञ्चमोऽध्यायः

भरतस्य वचः श्रुत्वा नाट्यसन्तानकारणम् ।
पुनरेवाब्रुवन्वाक्यमृषयो हृष्टमानसाः ॥

Summary AI Having heard the words of Bharata, which are the cause for the continuation of the tradition of drama, the sages, with delighted minds, spoke again.

५.२

यथा नाट्यस्य जन्मेदं जर्जरस्य च सम्भवः ।
विघ्नानां शमनं चैव दैवतानां च पूजनम् ॥

Summary AI The sages said: We have heard about how this drama originated, the emergence of the Jarjara (Indra's banner), the pacification of obstacles, and also the worship of the deities.

५.३

तदस्माभिः श्रुतं सर्वं गृहीत्वा चावधारितम् ।
निखिलेन यथातत्त्वमिच्छामो वेदितुं पुनः ॥

Summary AI All that has been heard by us, and having grasped it, it has been understood. Now, we wish to know it again completely and in its true essence.

५.४

पूर्वरङ्गं महातेजः सर्वलक्षणसंयुतम् ।
यथा बुद्ध्यामहे ब्रह्मंस्तथा व्याख्यातुमर्हसि ॥

Summary AI "O one of great splendor, O Brahman (addressing Bharata), you should explain the Pūrvaraṅga, endowed with all its characteristics, in such a way that we may understand it."

५.५

तेषां तु वचनं श्रुत्वा मुनीनां भरतो मुनिः ।
प्रत्युवाच पुनर्वाक्यं पूर्वरङ्गविधिं प्रति ॥

Summary AI Having heard the words of those sages, the sage Bharata in turn replied with a statement concerning the procedure of the Pūrvaraṅga (preliminary rites).

५.६

पूर्वरङ्गं महाभागा गदतो मे निबोधत ।
पादभागाः कलाश्चैव परिवर्तास्तथैव च ॥

Summary AI "O fortunate ones, listen to me as I speak about the Pūrvaraṅga. Understand its components: the divisions of metrical feet (pādabhāgas), the artistic units (kalās), and also the circular movements (parivartas)."

५.७

यस्माद्रङ्गे प्रयोगोऽयं पूर्वमेव प्रयुज्यते ।
तस्मादयं पूर्वरङ्गो विज्ञेयो द्विजसत्तमाः ॥

Summary AI "O best of the twice-born, because this performance (prayoga) is conducted on the stage (raṅga) first (pūrvam), it should therefore be known as 'Pūrvaraṅga' (that which comes before the main performance)."

५.८

अस्याङ्गानि तु कार्याणि यथावदनुपूर्वशः ।
तन्त्रीभाण्डसमायोअगैः पाठ्ययोगकृतैस्तथा ॥

Summary AI "Its components (aṅgas) are to be performed properly and in sequential order, accompanied by the ensemble of stringed and percussion instruments (tantrī-bhāṇḍa) and combined with recitative elements (pāṭhya)."

५.९

प्रत्याहारोऽवतरणं तथा ह्यारम्भ एव च ।
आश्रावणा वक्त्रपाणिस्तथा च परिघट्टना ॥

Summary AI The components are indeed: Pratyāhāra (gathering of instruments), Avataraṇa (entry of singers), Ārambha (the beginning), Āśrāvaṇā (tuning), Vaktrapāṇi (rhythmic hand gestures), and Parighaṭṭanā (adjusting the strings).

५.१०

सङ्घोटना ततः कार्या मार्गासारितमेव च ।
ज्येष्ठमध्यकनिष्ठानि तथैवासारतानि च ॥

Summary AI Then Saṅghoṭanā (playing together) should be performed, and also Mārgāsārita. Similarly, the three types of Āsāritas—Jyeṣṭha (major), Madhya (medium), and Kaniṣṭha (minor)—are to be performed.

५.११

एतानि तु बहिर्गीतान्यन्तर्यवनिकागतैः ।
प्रयोक्तृभिः प्रयोज्यानि तन्त्रीभाण्डकृतानि च ॥

Summary AI These "external songs" (bahirgītas), performed with stringed and percussion instruments, are to be executed by the performers who are situated behind the curtain.

५.१२

ततः सर्वैस्तु कुतपैः संयुक्तानीह कारयेत् ।
विघट्य वै यवनिकां नृत्तपाठ्यकृतानि तु ॥

Summary AI Then, after opening the curtain, one should cause to be performed here the items involving dance (nṛtta) and recitation (pāṭhya), accompanied by all the musical ensembles (kutapas).

५.१३

गीतानां मद्रकादीनां योज्यमेकं तु गीतकम् ।
वर्धमानमथापीह ताण्डवं यत्र युज्यते ॥

Summary AI One song (gītaka) from among the songs like Madraka and others should be employed. Also, the Vardhamāna should be used here, in which the Tāṇḍava dance is incorporated.

५.१४

ततश्चोत्थापनं कार्यं परिवर्तनमेव च ।
नान्दी शुष्कावकृष्टा च रङ्गद्वारं तथैव च ॥

Summary AI Then, Utthāpana (the rising) should be performed, and also Parivartana (the turning). The Nāndī (benediction), Śuṣkāvakṛṣṭā (a type of Dhruvā song), and likewise Raṅgadvāra (entry to the stage) should also be performed.

५.१५

चारि चैव ततः कार्या महाचारी तथैव च ।
त्रिकं प्ररोचनां चापि पूर्वरङ्गे भवन्ति हि ॥

Summary AI Then the Cārī (a type of gait) should be performed, and likewise the Mahācārī. The Trika (a three-part performance) and also the Prarocanā (the introduction) indeed occur in the Pūrvaraṅga.

५.१६

एतान्यङ्गानि कार्याणि पूर्वरङ्गविधौ द्विजाः ।
एतेषां लक्षणमहं व्याख्यास्याम्यनुपूर्वशः ॥

Summary AI "O twice-born ones, these are the components to be performed in the Pūrvaraṅga procedure. I shall now explain the characteristics of these in sequential order."

५.१७

कुतपस्य तु विन्यासः प्रत्याहार इति स्मृतः ।
तथावतरणं प्रोक्तं गायिकानां निवेशनम् ॥

Summary AI The arrangement of the musical ensemble (kutapa) is known as Pratyāhāra. Similarly, the seating of the singers is called Avataraṇa.

५.१८

परिगीतक्रियारम्भ आरम्भ इति कीर्तितः ।
आतोद्यरञ्जनार्थं तु भवेदाश्रावणाविधिः ॥

Summary AI The commencement of the act of singing around (the stage) is called Ārambha. The procedure of Āśrāvaṇā, however, is for the purpose of tuning and pleasing with the musical instruments.

५.१९

वाद्यवृत्तिविभागार्थं वक्त्रपाणिर्विधीयते ।
तन्त्र्योजःकरणार्थं तु भवेच्च परिघट्टना ॥

Summary AI Vaktrapāṇi is prescribed for the purpose of dividing the instrumental modes (vṛttis). And Parighaṭṭanā is for the purpose of invigorating the stringed instruments.

५.२०

तथा पाणिविभागार्थं भवेत्संघोटनाविधिः ।
तन्त्रीभाण्डसमायोगान्मार्गासारितमिष्यते ॥

Summary AI Similarly, the procedure of Saṅghoṭanā is for the purpose of dividing the hand-strokes (on percussion instruments). Mārgāsārita is desired from the combination of stringed and percussion instruments.

५.२१

कलापातविभागार्थं भवेदासारितक्रिया ।
कीर्तनाद्देवतानां च ज्ञेयो गीतविधिस्तथा ॥

Summary AI The performance of Āsārita is for the purpose of dividing the units of time (kalā) and rhythm (pāta). Likewise, the procedure of singing (gītavidhi) is to be known from the praising of the deities.

५.२२

यस्मादुत्थापयन्त्यत्र प्रयोगं नान्दिपाठकाः ।
पूर्वमेव तु रङ्गेऽस्मिंस्तस्मादुत्थापनं स्मृतम् ॥

Summary AI Because the reciters of the Nāndī initiate (literally, 'cause to rise') the performance here on this stage first, it is therefore known as Utthāpana (the rising/initiation).

५.२३

यस्माच्च लोकपालानां परिवृत्य चतुर्दिशम् ।
वन्दनानि प्रकुर्वन्ति तस्माच्च परिवर्तनम् ॥

Summary AI And because they perform salutations to the guardians of the world (Lokapālas) after turning towards the four directions, this is therefore called Parivartana (the turning).

५.२४

आशीर्वचनसंयुक्ता नित्यं यस्मात्प्रयुज्यते ।
देवद्विजनृपादीनां तस्मान्नान्दीति संज्ञिता ॥

Summary AI Because it is always employed with words of blessing for gods, Brahmins, kings, and others, it is therefore named Nāndī (that which brings delight).

५.२५

अत्र शुष्काक्षरैरेव ह्यवकृष्टा ध्रुवा यतः ।
तस्माच्छुष्कावकृष्टेयं जर्जरश्लोकदर्शिता ॥

Summary AI Because the Dhruvā song here is indeed drawn out with dry, meaningless syllables (śuṣkākṣara), it is therefore called Śuṣkāvakṛṣṭā. It is also indicated by the verse for the Jarjara.

५.२६

यस्मादभिनयस्त्वत्र प्रथमं ह्यवतार्यते ।
रङ्गद्वारमतो ज्ञेयं वागङ्गाभिनयात्मकम् ॥

Summary AI Because acting (abhinaya) is indeed introduced here for the first time, this part, which consists of acting through speech and limbs (vāg-aṅga-abhinaya), should therefore be known as Raṅgadvāra (the gate of the stage).

५.२७

शृङ्गारस्य प्रचरणाच्चारी सम्परिकीर्तिता ।
रौद्रप्रचरणाच्चापि महाचारीति कीर्तिता ॥

Summary AI Due to its association with the erotic sentiment (Shringara), a particular style of movement is called 'Chari'. And due to its association with the furious sentiment (Raudra), it is also known as 'Mahachari'.

५.२८

विदूषकः सूत्रधारस्तथा वै पारिपार्श्वकः ।
यत्र कुर्वन्ति सञ्जल्पं तच्चापि त्रिगतं मतम् ॥

Summary AI Where the Vidushaka (jester), the Sutradhara (director), and the Pariparshvaka (assistant) engage in conversation, that is also considered 'Trigatam'.

५.२९

उपक्षेपेण काव्यस्य हेतुयुक्तिसमाश्रया ।
सिद्धेनामन्त्रणा या तु विज्ञेया स प्ररोचना ॥

Summary AI That which, at the introduction of the play, is an address by an accomplished person (Siddha) based on reason and argument, should be known as 'Prarochana' (inducement).

५.३०

अतः परं प्रवक्ष्यामि ह्याश्रावणविधिक्रियाम् ।
बहिर्गीतविधौ सम्यगुत्पत्तिं कारणं तथा ॥

Summary AI Hereafter, I will fully explain the procedure of 'Ashravana' within the method of 'Bahirgita' (external song), as well as its origin and its reason.

५.३१

चित्रदक्षिणवृतौ तु सप्तरूपे प्रवर्तिते ।
सोपोहने सनिर्गीते देवस्तुत्यभिनन्दिते ॥

Summary AI When the Saptarupa (seven forms of song) was performed in the Chitra and Dakshina modes, accompanied by the Upohana (prelude) and Nirgita (song without words), and praised with hymns to the gods... (This verse sets a condition for the next).

५.३२

नारदाद्यैस्तु गन्धर्वैः सभायां देवदानवाः ।
निर्गीतं श्राविताः सम्यग्लयतालसमन्वितम् ॥

Summary AI Then, in the assembly, the Devas and Danavas were made to properly hear the Nirgita, endowed with tempo (laya) and rhythm (tala), by the Gandharvas led by Narada.

५.३३

तच्छ्रुत्वा तु सुखं गानं देवस्तुत्यभिनन्दितम् ।
अभवन्क्षुभिताः सर्वे मात्सर्याद्दैत्यराक्षसाः ॥

Summary AI Upon hearing that pleasant song, which was praised with hymns to the gods, all the Daityas and Rakshasas became agitated out of jealousy.

५.३४

सम्प्रधार्य च तेऽन्योन्यमित्यवोचन्नवस्थिताः ।
निर्गीतं तु सवादित्रमिदं गृह्णीमहे वयम् ॥

Summary AI And being resolute, they conferred with one another and said this: "We shall take this Nirgita, along with its instrumental music, for ourselves."

५.३५

सप्तरूपेण सन्तुष्टा देवाः कर्मानुकीर्तनात् ।
वयं गृह्णीम निर्गीतं तुष्यामोऽत्रैव सर्वदा ॥

Summary AI The Daityas said: "The gods are pleased with the Saptarupa because it recounts their deeds. We will take the Nirgita, and we will always be pleased by this alone."

५.३६

ते तत्र तुष्टा दैत्यास्तु साधयन्ति पुनः पुनः ।
रुष्टाश्चापि ततो देवाः प्रत्यभाषन्त नारदम् ॥

Summary AI Those pleased Daityas repeatedly asserted their claim. Then, the angered gods also spoke in reply to Narada.

५.३७

एते तुष्यन्ति निर्गीते दानवा सह राक्षसैः ।
प्रणश्यतु प्रयोगोऽयं कथं वा मन्यते भवान् ॥

Summary AI The gods said to Narada: "These Danavas, along with the Rakshasas, are pleased by the Nirgita. Let this performance be destroyed! Or what do you think?"

५.३८

देवानां वचनं श्रुत्वा नारदो वाक्यमब्रवीत् ।
धातुवाद्याश्रयकृतं निर्गीतं मा प्रणश्यतु ॥

Summary AI Hearing the words of the gods, Narada spoke this sentence: "Let not the Nirgita, which is created based on musical notes (dhatu) and instruments (vadya), be destroyed."

५.३९

किन्तूपोहनसंयुक्तं धातुवाद्यविभूषितम् ।
भविष्यतीदं निर्गीतं सप्तरूपविधानतः ॥

Summary AI Narada continued: "Instead, this Nirgita, following the rules of Saptarupa, will be combined with the Upohana (prelude) and adorned with musical notes and instruments."

५.४०

निर्गीतेनावबद्धाश्च दैत्यदानवराक्षसाः ।
न क्षोभं न विघातं च करिष्यन्तीह तोषिताः ॥

Summary AI "And being captivated and pleased by the Nirgita, the Daityas, Danavas, and Rakshasas will not cause any disturbance or obstruction here."

५.४१

एवं निर्गीतमेतत्तु दैत्यानां स्पर्धया द्विजाः ।
देवानां बहुमानेन बहिर्गीतमिति स्मृतम् ॥

Summary AI "O Brahmanas, thus this Nirgita, due to the rivalry of the Daityas and the high regard of the Devas, came to be known as 'Bahirgita' (external song)."

५.४२

धातुभिश्चित्रवीणायां गुरुलघ्वक्षरान्वितम् ।
वर्णालङ्कारसंयुक्तं प्रयोक्तव्यं बुधैरथ ॥

Summary AI Then, it should be performed by the wise on the Chitra Vina with musical phrases (dhatus), comprising long and short syllables, and combined with melodic patterns (varna) and embellishments (alankara).

५.४३

निर्गीतं गेयते यस्मादपदं वर्णयोजनात् ।
असूयया च देवानां बहिर्गीतमिदं स्मृतम् ॥

Summary AI Because it is sung without meaningful words (apadam) through the arrangement of syllables, it is called Nirgita. And due to the jealousy of the gods (towards the asuras), it is also known as Bahirgita.

५.४४

निर्गीतं यन्मया प्रोक्तं सप्तरूपसमन्वितम् ।
उत्थापनादिकं यच्च तस्य कारणमुच्यते ॥

Summary AI The reason for the Nirgita endowed with Saptarupa, which has been described by me, and for the procedures beginning with Utthapana, is now being told.

५.४५

आश्रावणायां युक्तायां दैत्यास्तुष्यन्ति नित्यशः ।
वक्त्रपाणौ कृते चैव नित्यं तुष्यन्ति दानवाः ॥

Summary AI When the Ashravana is performed, the Daityas are always pleased. And likewise, when the Vaktrapani is done, the Danavas are always pleased.

५.४६

परिघट्टनया तुष्टा युक्तायां राक्षसां गणाः ।
सङ्घोटनक्रियायां च तुष्यन्त्यपि च गुह्यकाः ॥

Summary AI The hosts of Rakshasas are pleased when the Parighattana is performed. And during the act of Sanghotana, the Guhyakas are also pleased.

५.४७

मार्गासारितमासाद्य तुष्टा यक्षा भवन्ति हि ।
गीतकेषु प्रयुक्तेषु देवास्तुष्यन्ति नित्यशः ॥

Summary AI Indeed, upon encountering the Margasarita, the Yakshas become pleased. And when the Gitakas are performed, the gods are always pleased.

५.४८

वर्धमाने प्रयुक्ते तु रुद्रस्तुष्यति सानुगः ।
तथा चोत्थापने युक्ते ब्रह्मा तुष्टो भवेदिह ॥

Summary AI When the Vardhamana is performed, Rudra with his attendants is pleased. And similarly, when the Utthapana is performed, Brahma becomes pleased here.

५.४९

तुष्यन्ति लोकपालाश्च प्रयुक्ते परिवर्तने ।
नान्दीप्रयोगेऽथ कृते प्रीतो भवति चन्द्रमाः ॥

Summary AI The Lokapalas (guardians of the world) are pleased when the Parivartana is performed. Then, when the Nandi (benedictory prelude) is performed, the Moon becomes pleased.

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