Problems of the Natyasastra
Summary
Addressing a series of textual and interpretive issues in Bharata’s Natyasāstra, the foundational treatise on Sanskrit dramaturgy, this paper takes up a number of passages that have puzzled scholars and performers. The author begins by discussing the concept of dharmī (dramatic modes) and examines variant readings in the available manuscripts. Particular attention is paid to the description of the various rasas (aesthetic sentiments) and their corresponding bhāvas (emotions), highlighting discrepancies in commentarial traditions. An appendix reproduces several problematic verses and offers emendations based on internal evidence and comparison with related works such as the Daśarūpaka and the Nāṭya‑ratnākara. The article also explores the technical vocabulary of stagecraft, including terms for gestures, postures, costumes and stage properties, and clarifies their application in performance. By bringing philological rigour to bear on the text and by consulting contemporary practitioners, the author demonstrates that many supposed ‘corruptions’ may reflect regional practice rather than scribal error. The essay urges that future editions of the Natyasāstra should take into account the diversity of theatrical traditions and avoid imposing uniformity where the original text may have allowed variation.
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Conclusion
This examination of the Natyasāstra illustrates the challenges of editing and interpreting a living treatise that evolved alongside regional performance traditions. By confronting variant readings and practical considerations, the author shows that textual criticism must be accompanied by sensitivity to theatrical context. The article ultimately calls for a collaborative approach to Sanskrit dramaturgical studies that bridges philology and performance.