Nāṭya Darpaṇa of Ramachandra and Gunachandra – an overview

Written by: Āchārya Dr. Pappu Venugopala Rao


There are some very important treatises in the field of dance and drama that require research, relook and recognition. Though all students discuss about the Nāṭya śastra of Bharata, unfortunately very little is taught or discussed about some of the other important texts such as Daśarūpaka of Dhananjaya, Bhāvaprakāśa of Sarada Tanaya, Sāhityadarpaṇa of Vidyanatha and Nāṭya Darpaṇa of Ramachandra and Gunachandra. The last among these is the least spoken of or taught treatise. This is one of those rare treatises for which authors themselves write an extensive commentary.
In this brief essay we endeavour to throw some light on the authors and the text.
Ramachandra and Gunachandra were two Jain monks, disciples of the great Hemachandra who adorned the Āchāryapada during the reign of Siddharaja (1092-1142) who ruled the western parts of India.
There is some authentic information about Ramachandra and almost nothing about Gunachandra, except that he was a co-student along with Rmachandra under the tutelage of Hemachandra. It is very clear from history that Ramachandra lived during the 1100-1173 AD.
The Text Nāṭya Darpaṇa is a very interesting treatise on drama and dramaturgy. While the Daśarūpaka of Dhananjaya divides the dramas into 10 varieties following the Nāṭya śastra tradition, Nāṭya Darpaṇa gives 12, adding nāṭika and prakaraṇī as the eleventh and the twelfth.
There are four chapters in Nāṭya Darpaṇa, each one is called Viveka.
The first chapter "nāṭaka nirṇaya vivēka" deals with complete description of nāṭaka.

The second chapter entitled prakaraṇādi ēkādaśa rūpaka nirṇaya vivēka deals with the rest of the 11 varieties of dramas. 

The third chapter is the most important chapter for the students of drama and dance. It is called, vr̥tti rasa bhāva abhinaya vicāra deals with the four vrittis, the nine rasas including s śānta, 33 saṁcārī bhāvas, 8 sāttvika, bhāvas and the four abhinayas. 

The fourth is the last chapter entitled, sarva rūpaka sādhāraṇa lakṣaṇa nirṇaya deals with the common details and particulars of all the 12 varieties of dramas. 

The authors themselves say at the end of the text ‘if the good wish to have a proper idea of what is drama, then let them read the book, Nāṭya Darpaṇa.

Let us briefly see the contents of the chapter 3 which deals with Vriiti, Rasa, Bhava and the four Abhinayas. 

Vrittis are described as the styles of dance which are not independent. They are dependant on rasa, bhāva and abhinaya. They are described in the ND as नाट्य मातरः, mothers of drama/dance. 

Bharata divides the 4 vrittis among the 8 rasa and allots bībhatsa and karuṇā to Bhārati vritti, which is basically more vocal in nature. ND criticises Bharata. Even Daśarūpaka agrees with this opinion and declares that Bhārati vritti is found everywhere in all dramas/ dance. ND makes a detailed study of all the four vrittis in about 6 pages with an explicit commentary. 

ND has a very different approach from all other theoreticians on the concept of Rasa. While Bharata deals with 8 Rasas, ND adds Śānta and deals with 9 rasa. 

But the most important deviation of the ND is the division of rasas into two categories as:

सुख दुःखात्मको रसः – Rasas produce both pain and pleasure. While all other treatises unanimously agree that even sorrow or pain in a drama/ dance creates only pleasure, ND differs with all of them and categorises rasas into two, 

those which give pleasure are  five:

śr̥ṅgāra hāsya vīra adbhuta  and śānta and 

Those that produce pain are four: 

karuṇa raudra bībhatsa and bhayānaka

The second important contribution of ND is about sāttvika bhāvas which are listed as 8 in the Nāṭya śastra. ND calls them as sāttvika anubhāvas and not sāttvika bhāvas. They add here that are thousands of Anubhāvas such a tranquillity, sigh of relief and so on..

ND also differs with most treatises on who experiences the Rasa. ND says though it is generally accepted that the actor does not experience the rasa, it is possible that the actor sometimes experiences rasa. ND gives the example of a musician or a courtesan who may also enjoy their respective performances. There are many other treatises which agree with this concept and accept that the actor may also experience Rasa. 

While dealing with Abhinaya, ND does not deal with it extensively and mostly follows the Nāṭya śastra. While describing sāttvikābhinaya, ND says it should be represented in keeping with the nature of the character, Uttama, madhyama or Adhama. 

Later in the last chapter of the ND we find classification of Nāyakas, Nāyikas, the aṣṭa nāyikā and their assistants. 

ND is thus an interesting book useful for students of Dance and Drama. Students interested in further studies find a fund of knowledge in this treatise apart from what is generally found in the most popular works. 

Lastly it is interesting to see how this great writer Ramachandra was treated by the cruel king Ajayapala (1172-1175), who is said to have had a difference of opinion with him and caused his death by ordering him stand on a burning copper plate ! 

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References:

The Nāṭya Darpaṇa of Ramachandra and Gunachandra , A Critical Study, 

Dr. KH Trivedi, Published by LD Institute of Indology, Baroda, 1966.

Natyadarpana of Ramachandra and Gunachandra with their own commentary, Oriental Institute of Baroda, 1959.

Dr. Pappu Venugopala Rao
Musicologist, Dance Critic, Scholar, Author of many books on music and dance, philosophy and religion.
Dr. Pappu Venugopala Rao, DLit.  is presently Chair Academic Council, University of Silicon Andhra, CA, USA