A History of Indian Literature v3.c35.s2.11

v3.c35.s2.11

The individual chapters of the Nāṭyaśāstra, however, are not concerned with the drama alone as a form of literature, but rather with theatrical performance as a whole. They describe construction of the stage and its inauguration with observance of religious ceremonies (II, III) and the different types of physical movements in dance and mimicry (IV, VIII-XIV, XXIV, XXV). For example, here is enjoined how the actor will express the setting-in of the various seasons: winter, summer etc., the feelings of pleasure, anger, jealousy, etc., explaining facts about the pūrvaraṅga—that is the religious prelude to the performance (V), the sentiments (rasa, VI), emotions (bhāvas, VII), prosody (chandaḥ XV) and the figures of speech (alaṁkāra, XVI), the different languages and dialects to be used in dramas and their allocation to different characters, the modulation of voice, etc. (XVII), the ten types of dramatic poetry (daśarūpa) and their distinctive characters (XVIII), the development of action in the drama (XIX), the different kinds of dramatic style of composition (XX), the costumes, the decoratives, colours of the dress and ornaments etc., distinguishing the different characters (gods, demi-gods, and the different castes, etc.) appearing on the stage (XXI), the many types of heroes, heroines and characters in the play (XXII-XXIV)¹, the allotment of roles to and the training of actors (XXVI, XXXV), the time, place and occasion for a performance etc., etc., (XXVII) and for music and songs (XXVIII-XXXIV).