An analysis of the chapters in Nāṭyaśāstra

Nāṭyaśāstra deals with all the aspects of nāṭya. It is in the form of five questions asked by ṛṣis and the answers given by Bharatamuni. The sixth chapter gives a saṅgraha śloka, which enlists the important aspects of nāṭya. The explanations are spread over in thirty-six chapters of the work. Each chapter is somehow connected with the next chapter. However, the researcher feels that if the chapters are studied in this order, based on the important topics dealt with, it is easier to understand the content of Nāṭyaśāstra.

Origin of nāṭya, nṛtta and vṛtti, the place of performance and the descent of nāṭya to the earth, are to be understood first. Origin of nāṭya is dealt with in the first chapter; details regarding the building of nāṭyamaṇḍapa, auditorium, and its consecration are explained in the in second and third chapters respectively. The origin of nṛtta is explained in fourth and the origin of vṛtti in the twentieth chapter. Pūrvaraṅga aspects are dealt with in the fifth chapter. The details of the antaryavanikā (actions behind the curtain) and bahiryavanikā (actions after curtain is raised) are explained. The thirty-sixth / thirty-seventh chapter deals with the descent of drama to earth.

Varieties of drama and dramatic elements are dealt with in the Nāṭyaśāstra. This is a very important chapter for the dramatists. The Daśarūpaka is dealt with in the eighteenth chapter of Nāṭyaśāstra. The nineteenth chapter deals with the vastu or itivṛtta -the plot of the story, arthaprakṛti–the elements of the plot, avasthā–the stages for development of the plot, patākā sthāna, sandhi, sandyaṅga, sandyantara, and arthopakṣepaka. Dharmī (modes of presentation), pravṛtti (regional styles) and vṛtti (styles) are dealt with by Bharata in chapters thirteen and twenty. He has also dealt with bhūmikā (roles) in chapter thirty-five and prakṛti (characterisation) in chapters twenty-four and twenty-six. These aspects are to be followed by the writer and actor while presenting a play.

Āṅgika abhinaya forms the base for the visual art form. Tāṇḍava lakṣaṇam, the fourth chapter of Nāṭyaśāstra, deals with the karaṇas, aṅgahāras (combination of karaṇas), piṇḍībandhas and recakas. To understand these movements, one has to learn the actions of the aṅgas (major limbs) and the upāṅgas (minor limbs). The eighth chapter explains the uttamāṅga abhinaya; the ninth chapter explains hastabhinaya and śarīrābhinaya. The tenth chapter deals with the cāris, the action of the whole foot from the thigh to the toe. The sthānas or postures for men and useful tips about doing exercises are explained. Maṇḍalas, the combinations of cāris, which can be used in fighting sequences, are detailed in the eleventh chapter. The twelfth chapter, called gatipracāra, encompasses the whole range of gaits to be used by dancers and actors. The gait of the characters in various sentiments and situations are detailed elaborately.

Vācika abhinaya means verbal expression; it can be through dialogues and songs. These are elaborately dealt with by Bharata from the fourteenth to the seventeeth chapters of the Nāṭyaśāstra. He deals with bhāṣā, chandas, alaṅkāra and lakṣana in a very detailed manner, which is utilized by many authors in their works. As far as the actors are concerned, this will be useful for them to deliver their dialogue expressively. For the poets these chapters will be useful for penning their works with proper lakṣana. Music also comes under vācika abhinaya in a drama. Bharata deals with the tāla, dhruvās (songs), musical notes and musical instruments from the twenty-eighth to the thirty-fourth chapters. Music helps to bring out the appropriate rasa in a drama, says Bharata.

Āhārya abhinaya, which represents the costumes, hair-dress and makeup of the characters and the decorations on stage, beautifies the whole drama and they serve as vibhāvas in many situations. These are dealt with based on the people belonging to various regions in the twenty-first chapter.

Sāttvika abhinaya, which deals with the internal feelings and expressions, are found in various chapters of the Nāṭyaśāstra. Rasa -the sentiments are dealt within the sixth chapter, bhāva -the feelings in seventh chapter, and rasa bhāva dṛṣṭi, the eye movement that invokes the emotions, are dealt within the eighth chapter.

There are a few topics, which are related to all the abhinayas, especially sāttvika abhinaya. Sāmānya abhinaya, which deals with the vāk, aṅga and sattva elements, is dealt within the twenty-second chapter. Here the nature of the nāyaka (hero) and the nāyikā (heroine) are given by Bharata. The twenty-third chapter elaborates on the arts of courtesans who are well versed in fine arts, nature of women, youthful stages of women, types of men and the like.

Citra abhinaya deals with the actions pertaining to various seasons, animals, birds and various emotional representations of men and women and these are dealt within the twenty-fifth chapter.

Thus, āṅgika abhinaya and sāttvika abhinaya are interconnected and when body movements are embellished with sattva emotions then rasa is relished. Without sattva, the whole production is a failure. Success of a production is dealt with in the twenty-seventh chapter.

The whole work is a compendium of definitions. Bharata says,

“There is no knowledge, no fine art, no art, no craft, no yoga and no endeavor which is not seen represented in this art of nāṭya.

na tajjñānaṃ na tacchilpaṃ na sā vidyā na sā kalā |
nāsau yogo na tatkarma nāṭye'smin yanna dṛśyate ||^[1]

Abhinava explains jñana as the knowledge of the supreme spirit, śilpa as making hand works like garlands and pictures, vidya as judicature, kalā as music and dance, karma as fight and other activities.

Footnotes and references:

[1]:

Nāṭyaśāstra I. 116.