See Winternitz, Vol. One is a disciple of Yājñavalkya (Mbh.) 111-112. (countable) A drama abounding in romantic sentiment and agonizing situations, with a musical accompaniment only i… Nāṭyākhyaṃ pañcamaṃ vedaṃ setihāsaṃ karomy aham (15) seems to be very significant. 108-109. pūjā—worshipping a deity with flowers, sweet scent, incense, music and offering of eatables. 120. Now Brahmā (lit. Making gifts to dancers, singers and actors at a performance, is a very old custom in India. Kauṭilya too gives the same position to the itihāsas. 1580s, "of or pertaining to acted drama," from Late Latin dramaticus, from Greek dramatikos "pertaining to plays," from drama (genitive dramatos; see drama). Then with eyes turning in anger he adorned with all bright jewels rose and took up that best banner staff. He has gone through all kinds of hardships and repeated sorrows and joys on the road to defend his family and protect his lover. 62-63. the lord of the gods), “Semi-historical Tales have been composed by me; you are to get them [dramatized and] acted by gods. This relates to the four classes such as Brāhmaṇa, Kṣatriya, Vaiśya and Śūdra. Bhārat-O-Madhya-asiā (Bengali) pp, 49-52. pragṛhya (=embracing) has been taken to mean ‘going to.’. 110. The eight aspects of words are noun (nāma). It was a very popular festival in ancient India. Hence it will have the name of Jarjara. “Get yourselves cleansed, be attentive and hear about the origin of the Nāṭyaveda devised by Brahmā. The four Styles probably related to four tribes such as Bharata, Sāttvata, Keśika and Arabhaṭa. 19-20. explains the word differently. I. pp. The Vedas are all well-known, and there are at least four Upavedas, one being attached to each of the Vedas. He who will offer this Pūjā according to the rules and the observed practice, will attain auspicious wealth and will [in the end] go to heavens.”, 129. A. K. Coomaraswamy has freely translated 106-109. 95. 119. Śiṅgabhūpāla mentions the first four. For on this point Ag. sub voce. Niyati and Yama (mṛtyu) were made two doorkeepers, and the great Indra himself stayed by the side of the stage. (I. p. 7) says that the NŚ. I. pp. Yoga has been defined in Patañjali’s work as cittavṛttinirodhaḥ, It however begins with the concentration of mind. Then Brahmā as well as the other gods were pleased with the performance and gave us all sorts of gifts as a token of joy that filled their mind. Let Indra protect the actor who assumes the role of the Hero, Sarasvatī the actress assuming the role of the Heroine, Oṃkāraḥ the Jester, and Śiva the rest of the characters. M. Dillon). B. and G. read some of these names differently. From the genitive of Late Latin drama and the plural of persona. States (bhāva), Sentiments, [good physical] form, [proper] movement [of limbs] and strength as well as beautiful ornaments. Related: Dramatical; dramatically. (See MG, New York, 1936, pp. See M. Ghosh (ed.) 46-47. sorrow), I have prepared this Nāṭyaveda which will determine the good luck or ill luck of you as well as of the gods, and which will take into account acts and ideas of you as well as of the gods. This is how the drama begins! 16. The N L. (pp. In it (nāṭya) there is no exclusive representation of you or of the gods: for the drama is a representation of the States (bhāvānukīrtana) of the three worlds.. It is for this reason that flowers are scattered there [at the beginning of the performance]. grāmyadharma—Ag. Come to think of it, the literal meaning of this word is very apt in describing the activity, yet the word has evolved over time to offer different meanings since its beginning. japa—repeating a mantra or muttering it many times. 124. The word Drama is of Greek Origin and means Action. and Mbh. Viṣṇu P. (ch. See Vidyalankar, JK, sub voce. Origin of Drama: Western drama originated in Greece around 500 B.C. Then the Vighnas (evil spirits) together with the Asuras resorted to magical power and paralysed the speech, movement as well as memory of the actors. Thanks. Thus addressed by the master I replied, “Give me instruments (lit. The rest of the gods, and the Gandharvas, the Yakṣas, the Rākṣasas and the Pannagas (Nāgas) who were present in that assembly and were of different birth and merit, gladly gave my sons speeches suited to their different roles [in the play]. One reference says "drama queen" has its origins in the gay community during the 1960s. 16-17). The origin of the drama is deep-rooted in the religious predispositions of mankind. The ancient Greek and Roman dramas were mostly concerned with religious ceremonials of people. Hence it appears that Oldenberg’s theory about the original connexion between epic and dramatic poetry, is worthy of serious consideration. 17. The history of drama goes back to Aristotle and his treatise ‘Poetics’ which gives a critical analysis of Sophocles’ Greek play, ‘Oedipus Rex’. 167-170 describes this daṇḍakāṣṭha connected with the Jester, It is to be noted that Kālidāsa does not use the conventional word for the Jestet’s staff. By drama’ in this connexion is to be understood any play in its theatrical and literary character. Stories taken out of the Vedic lore as well as Semi-historical Tales [so embellished that they are] capable of giving pleasure, in the world, is called drama. As the [existing] of Vedas are not to be listened to by those born as Śūdras, be pleased to create another Veda which will belong [equally] to all the Colour-groups (varṇa).”, 13. 27, 65) and the N L. (p. 47, ed. In the early Indian literature the itihāsa alone was considered as the fifth Veda. 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