Preface

This Science of Drama original: "Natyashastra" composed by the Sage Bharata is the "Veda of Drama," equal in authority to the four Vedas. Regarding this, there is a famous proclamation by the great-souled descendants of Bharata:

There is no knowledge, no craft, no learning, no art,
No yoga, and no action that is not seen in this drama.
original: "Na taj-jnanam na tac-shilpam..." - a famous verse from Natyashastra 1.116 emphasizing its all-encompassing nature.

Therefore, the statement of the learned shines forth with exceptional brilliance:

Drama is the single, chief gratification for people of diverse tastes, however varied they may be.

Following and relying upon this "Veda" of drama, countless ancient thinkers, playwrights, and masters of the logic of acting—such as Kalidasa and others endowed with natural genius—are seen in great numbers among the ranks of the famous. Come, let us listen. Because the subjects described here regarding the established and true fame of dramatic production are useful to all who desire a graceful and auspicious rise in the world, this is stated with conviction. There is not even a trace of doubt here. Drama, in the language of Bharata, is defined as:

The gods, led by Indra, said to the Grandfather Brahma, the Creator:
"We desire a plaything original: "kridaniyakam" which is both visible and audible."

That which is "visible" captures the heart; that which is "audible" provides wisdom; such is this plaything.

In this work, the author has clearly distinguished the characteristics of the prepared playhouse—divided into triangular, square, and rectangular types—the instantly attractive style of acting, the skilled actors proficient in every limb of the dance, and the "Rasikas" connoisseurs or aesthetic tasters whose hearts are attuned to their own desires (unlike the plea: "O Creator, do not write, do not write, do not write a request to present refined meaning to the tasteless!"). He has detailed the placement of styles, qualities, ornaments, modes, local usages, notes, rhythms, intonations, and various languages. He has also set forth the number and characteristics of acts to be performed in plays, and the application of every limb from the head down to the feet. Let not the moderns, unable to follow these defined characteristics, do as they please. Following authoritative characteristics is indeed one's own intellectual maturity.

In this changing world, a student can grasp the discipline to be taught particularly well according to their knowledge and without overstepping the available time. As the saying goes: "Special understanding comes from commentary." Thus, in this highly useful work, the Abhinavabharati The famous 10th-century commentary by Abhinavagupta of the great Abhinavagupta—though it may seem to cloud the understanding of emotions for some—is full of feeling like an innocent maiden. Though ancient and mature, it brings about a fresh passion upon every study. Like a proud woman, it reveals its own light even when hidden; though long-familiar, it appears as if never experienced before. Today, revealing its passion, style, and intention with newness, may it bestow unsurpassed excellence. Thus, I have joined this work with my own "Madhusudani" commentary—a "child's play" serving as a witty companion to the secrets of the Science of Drama.