The music of the drama is not described at length in the later theorists; what is clear is that each sentiment has its special appropriate music, and each action its special accompaniment. Thus the Dvipadikās accompanied the performance of the rôles of persons distressed, unwell, and unhappy; the Dhruvās were chosen so as to intimate at once to the audience the quality of the new arrival on the stage.[1]
8. The Preliminaries and the Prologue
The Nāṭyaçāstra[2] prescribes an elaborate series of preliminaries (pūrvaran̄ga) which must be performed before the actual drama begins; they are intended to secure divine favour for the performance, each act having a definite share in the result, and doubtless they present us with a reminiscence of the early theatre in the mingling of music, dance, and song. First there is the beat of drum (pratyāhāra) announcing the beginning of the performance, and the carpet is spread out for the orchestra; the singers and the musicians then enter and take their places (avataraṇa): then the chorus try their voices (ārambha); the musicians try their instruments (āçrāvaṇā); they tune up their wind and string instruments, and manipulate their hands to make them ready for the work; then an instrumental concert follows, succeeded by the appearance and practice steps of the dancers.[3] A song follows, to please the gods; then the Tāṇḍava is performed, increasing in violence as it proceeds; then a song accompanies the raising by the Sūtradhāra of the banner (jarjara) of Indra; he scatters flowers and purifies himself with water from a pitcher borne by an attendant, while another carries the banner; there follows a perambulation of the stage, the praise of the world guardians, and homage to the banner. Then comes the Nāndī or benediction; it is followed by the recitation by the Sūtradhāra of a verse in honour of the god whose festival it is,
- ↑ Lévi, TI. ii. 18 f. For N. xxviii see J. Grosset, Contribution a l'étude de la musique hindoue, Paris, 1888. The hints as to musical accompaniment in Vikramorvaçī iv. and the Gītagovinda are unfortunately largely unintelligible. Cf. also Çivarāma on Nāgānanda, i. 15.
- ↑ v. 1 ff.; Konow, ID., pp. 23 ff.
- ↑ These nine acts gratify the Apsarases, Gandharvas, Daityas, Dānavas, Rakṣases, Guhyakas, and Yakṣas. They are performed behind the curtain according to Konow, but cf. Lévi, TI. i. 376.
