The Natyashastra Questions and Answers

Q: Match the following :List - IList - IIa. Nātaki. Mrichhakatikab. Prakaraṇaii. Bhagvadajjukiyamc. Uparupakaiii. Abhijñan Shakuntald. Prahasanaiv. HallisakaCodes : a b c d

The correct code is iii, i, iv, ii.The Natak type is represented by Abhijnana Shakuntalam (iii), the Prakarana by the Mrichchhakatika (i), the Uparupaka by the Hallisaka (iv) and the Prahasana by the Bhagavadajjukiyam (ii).Codes that give the Prakarana to the farce or the Natak to the Mrichchhakatika mismatch the types, so only (A) is right. Remember that the Natak and the Prakarana are the two chief types of the ten rupakas, while the Uparupakas are the minor types such as the Hallisaka.

Q: Assertion (A) : Vibhava is the cause (Karana). Two vibhavas are mentioned in Rasasutra of Bharata.Reason (R) : The main stimulating cause being termed as alambanavibhava and the environmental factors are Uddipana Vibhava.Codes :

Both statements are true, so the answer is the second code.Vibhava is the cause of an emotion, and in the rasa sutra of Bharata two kinds are named: the alambana (the chief or main cause) and the uddipana (the surrounding conditions that kindle the emotion).The Reason spells out the two kinds, so it supports the Assertion. The alambana vibhava is the person or object toward which the emotion is directed, and the uddipana vibhava is the setting that heightens it.

Q: Identify the correct sequence :

The correct sequence is Rati, Harsa, Shoka, Krodh.The key follows the order of the sthayi bhavas, love (rati), mirth (hasa), sorrow (shoka) and anger (krodha), as Bharata lists them with their rasas.The other orders begin with sorrow or mirth, which breaks that sequence. In the table of the Natyashastra the sthayi bhavas are given in a fixed series with the rasas that come from them, and the series is the basis of the answer.

81.

Match items in List - I with in List - II :

List - I	List - II
a. Natya	i. Abhinaya
b. Avanti	ii. Dharmi
c. Angik	iii. Aharya
d. Chestim	iv. Vritti

Codes : a b c d

A.iv i iii ii
B.ii iv i iii
C.iii ii i iv
D.iv iii ii i

Exam Year(s)

UGC NET - 2014,

Answer: B

The key matches Natya with dharmi (ii), Avanti with vritti (iv), Angika with abhinaya (i) and Cheshta with aharya (iii), the code ii, iv, i, iii. Natya has two modes of presentation, the natyadharmi and lokadharmi, avanti is one of the pravrittis, which is allied with the vritti group, angika is the abhinaya of the body, and the other pairings follow the key. The other codes match the angika abhinaya with a vritti or dharmi.

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82.

Assertion (A) : Bharat talked about four Vritti and four Pravritti.

Reason (R) : Indian Dance and Drama are two dharmis.
Codes :

A.(A) is true, (R) is true.
B.(A) is false, (R) is true.
C.(A) is true, (R) is false.
D.(A) is false, (R) is false.

Exam Year(s)

UGC NET - 2014,

Answer: C

The assertion is true and the reason is false. Bharata speaks of four vrittis (bharati, sattvati, kaishiki and arabhati) and four pravrittis (avanti, dakshinatya, panchali and odramagadhi). The two dharmis of Indian dance and drama are natyadharmi and lokadharmi, so the reason is not stated correctly: they are not two dharmis but modes of presentation within the one art. So only the assertion is accepted.

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83.

Identify the correct sequence of following Nayikas :

A.Abhisarika, Vipralabdha, Proshitabhartruka, Khandita
B.Vipralabdha, Proshitabhartruka, Abhisarika, Khandita
C.Proshitabhartruka, Vipralabdha, Khandita, Abhisarika,
D.Khandita, Vipralabdha, Proshitabhartruka, Abhisarika

Exam Year(s)

UGC NET - 2014,

Answer: D

The correct sequence is Khandita, Vipralabdha, Proshitabhartruka and Abhisarika. In the list of the eight nayikas, the order is Vasakasajja, Virahotkanthita, Svadhinabhartruka, Kalahantarita, Khandita, Vipralabdha, Proshitabhartruka and Abhisarika, so among the four given, Khandita comes first and Abhisarika last. The other options begin with Abhisarika or Proshitabhartruka, which are late in the list.

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84.

Assertion (A) : The Vruttis of Natyashastra were specific dance styles.

Reason (R) : The Vruttis give character to movements.
Codes :

A.Both (A) and (R) are true.
B.Both (A) and (R) are false.
C.(A) is false, (R) is true.
D.(A) is true, (R) is false.

Exam Year(s)

UGC NET - 2014,

Answer: B

Both the Assertion and the Reason are false, so the answer is the second code.

The Vrittis of the Natyashastra (Bharati, Sattvati, Arabhati and Kaishiki) are modes of dramatic presentation, linked to speech, spirit and action in the whole performance, and they are not particular dance styles, so (A) is false.

The key also treats (R) as false, since the Vrittis characterise the manner of the whole production, not just the movements. The codes that call either statement true therefore fail. The four vrittis are usually summed up as the verbal, the grand, the forceful and the graceful modes, which shows that they describe styles of presentation as a whole.

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85.

Match the following :

List - I	List - II
a. Nātak	i. Mrichhakatika
b. Prakaraṇa	ii. Bhagvadajjukiyam
c. Uparupaka	iii. Abhijñan Shakuntal
d. Prahasana	iv. Hallisaka

Codes : a b c d

A.iii i iv ii
B.ii iii i iv
C.i iv iii ii
D.iv ii i iii

Exam Year(s)

UGC NET - 2014,

Answer: A

The correct code is iii, i, iv, ii.

The Natak type is represented by Abhijnana Shakuntalam (iii), the Prakarana by the Mrichchhakatika (i), the Uparupaka by the Hallisaka (iv) and the Prahasana by the Bhagavadajjukiyam (ii).

Codes that give the Prakarana to the farce or the Natak to the Mrichchhakatika mismatch the types, so only (A) is right. Remember that the Natak and the Prakarana are the two chief types of the ten rupakas, while the Uparupakas are the minor types such as the Hallisaka.

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86.

Assertion (A) : In the Sanskrit Nātyagruh, Mattavarṇi is not simply a decorative piece, it has a functional value.

Reason (R) : It is an additional acting area located on the either side of Rangshirsh.
Codes :

A.Both (A) and (R) are true.
B.(A) is true, (R) is false.
C.Both (A) and (R) are false.
D.(A) is false, (R) is true.

Exam Year(s)

UGC NET - 2014,

Answer: B

The Assertion is true and the Reason is false, so the answer is the second code.

In the Sanskrit playhouse the mattavarani, the pair of side verandahs, is not just decoration; it serves a purpose in the staging, so (A) holds.

The key counts (R) as false, because it puts the mattavarani as an acting area on either side of the rangashirsha, which is not the position in Bharata's plan. The codes that call (R) true are therefore wrong. The playhouse of the Natyashastra has a stage proper (rangapitha), a rear part (rangashirsha) and the side verandahs, and the key's difference lies in how these are described.

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87.

Assertion (A) : Vibhava is the cause (Karana). Two vibhavas are mentioned in Rasasutra of Bharata.

Reason (R) : The main stimulating cause being termed as alambanavibhava and the environmental factors are Uddipana Vibhava.
Codes :

A.(A) is false, (R) is false.
B.(A) is true, (R) is true.
C.(A) is false, (R) is true.
D.(A) is true, (R) is false.

Exam Year(s)

UGC NET - 2014,

Answer: B

Both statements are true, so the answer is the second code.

Vibhava is the cause of an emotion, and in the rasa sutra of Bharata two kinds are named: the alambana (the chief or main cause) and the uddipana (the surrounding conditions that kindle the emotion).

The Reason spells out the two kinds, so it supports the Assertion. The alambana vibhava is the person or object toward which the emotion is directed, and the uddipana vibhava is the setting that heightens it.

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88.

Identify the correct sequence :

A.Shoka, Harsa, Rati, Krodh
B.Rati, Harsa, Shoka, Krodh
C.Harsa, Krodh, Rati, Shoka
D.Rati, Harsa, Krodh, Shoka

Exam Year(s)

UGC NET - 2014,

Answer: B

The correct sequence is Rati, Harsa, Shoka, Krodh.

The key follows the order of the sthayi bhavas, love (rati), mirth (hasa), sorrow (shoka) and anger (krodha), as Bharata lists them with their rasas.

The other orders begin with sorrow or mirth, which breaks that sequence. In the table of the Natyashastra the sthayi bhavas are given in a fixed series with the rasas that come from them, and the series is the basis of the answer.

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89.

In Natyashastra mainly three types of stages are described out of which the best stage advised by Bharata is

A.Vikrstra madhyam
B.Caturastra madhyam
C.Tryastra madhyam
D.None of the above

Exam Year(s)

UGC NET - 2014,

Answer: A

The best stage advised by Bharata, in the key's reading, is the Vikrishta madhyam.

Bharata describes three kinds of playhouse by shape, rectangular (vikrishta), square (chaturasra) and triangular (tryasra), and three by size. He recommends the medium-sized rectangular house as the best for ordinary audiences, so the rectangular medium type is the one preferred.

The square and triangular types are described as suitable for other purposes, and 'none of the above' is wrong. In the rule of Bharata the dimensions of the playhouse are given in hastas, and the medium house is of sixty-four hands by thirty-two.

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90.

Assertion (A) : The knowledge of Natyashastra is essential for a contemporary performance practitioner in India.

Reason (R) : The principle of Natyashastra is strictly followed in contemporary performance practice in India.
Codes :

A.Both (A) and (R) are true.
B.Both (A) and (R) are false.
C.(A) is true, (R) is false.
D.(A) is false, (R) is true.

Exam Year(s)

UGC NET - 2014,

Answer: C

The Assertion is true and the Reason is false, so the answer is the third code.

The Natyashastra is the foundation of Indian theory of performance, so its knowledge is essential for a practitioner, which makes (A) true.

But its principles are not strictly followed in present-day practice, where practitioners use many other methods, so (R) is false. A theory can be essential to learning without being followed to the letter, which is the reason why (A) and (R) differ in truth.

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