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Natyashastra views naming characters as a dhvani (sound). It carries suggestion, mood, and caste/profession markers. A name that uplifts a scene. It can also disturb the harmony of the narrative when chosen poorly.
Most modern productions often ignore this. Yet when you apply these rules, you immediately see how characters stand clearer on stage. Audiences connect faster. Even gesture and gait begin to align with the name.
Core principle of naming
The text states that playwrights should choose names that are significant, fresh, and created thoughtfully. The name must:
- Fit the character’s identity.
- Offer subtle meaning.
- Avoid widely-known or cliché labels.
- Support the dramatic world.
Example
A sage named “Kratu” works better than a generic “Rishi.” It hints at reflection and invites depth.
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Names for Brahmins and Kshatriyas
Follow endings prescribed by lineage and duty
Brahmins and Kshatriyas get names ending in śarman or varman. These endings show birth, training, and social role.
Examples
- Brahmin: Devasharman, Somasharman
- Kshatriya: Rudravarman, Jayavarman
These endings instantly anchor the audience to the character’s position in the varna structure. In dance-dramas, this helps when portraying hierarchy through stance and eye-line.
Names for merchants and warriors
For merchants
Their names end in datta. The suffix suggests giving, trading, and prosperous dealings.
Examples
- Vishnudatta
- Haridatta
For warriors
Choose names that carry a sense of strength or courage. The Natyashastra does not impose a suffix. It encourages meaning that radiates bravery.
Examples
- Atibalin
- Dhīradarshi
- Pratapendra
Use names that create an image of force or readiness. This supports the vigraha of the warrior in gesture, stance, and dialogue.
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Names for queens, royal wives, and courtesans
Wives of kings
Their names must be linked to victory. The victory element foreshadows their auspicious association with the king.
Examples
- Vijayasena
- Jayalekha
- Abhijita
Courtesans
Courtesans get names ending in dattā, mitrā, or senā. These endings are graceful and rhythmic. They suit the charm, wit, and social agility of such characters.
Examples
- Kamaladattā
- Vilāmitrā
- Manjusenā
These names also support lasya-heavy portrayals in dance.
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Names for handmaids and attendants
Handmaids
Their names should be taken from flowers. Flowers suggest delicacy, fragrance, and service.
Examples
- Mallika
- Champaka
- Madhavi
This rule works beautifully in performance. A name like “Mallika” instantly carries a visual cue. It enriches staging and costume ideas.
Menials
Menials are given names with auspicious meanings. These names uplift their role and prevent mockery in the dramatic environment.
Examples
- Subhaga
- Mangala
- Saumya
These names add warmth to minor characters who often lighten the emotional texture of a scene.
Names for superior characters
Deep significance is essential
A superior person, whether a sage, guide, or elevated hero, must bear a name filled with meaning. The name should hint at their moral strength or spiritual depth.
Examples
- Prabhajyoti
- Satyodaya
- Vivekanidhi
When performing, such names influence the stillness, gravitas, and voice modulation chosen.
Names for all remaining characters
Match birth and profession
Characters who do not fall into the earlier categories get names meant to match their background, occupation, or community. The text encourages harmony between nature, behaviour, and name.
Examples
A potter can be named “Kumbhakaraka.”
A gardener can be “Pushtivana.”
And a cook can be “Paktanemi.”
These names add texture to scenes that involve lokadharmi elements.
So, How to build a complete naming list for your play
Here is a simple process that stays truthful to the Natyashastra:
- Map each character’s varna, role, and purpose.
- Check if they fall into the strict categories. Brahmin, Kshatriya, merchant, warrior, queen, courtesan, handmaid, superior person, menial, or common worker.
- Match suffixes or meanings as prescribed.
- Make sure the name reflects the rasa and bhava expected.
- Keep the name simple enough for the audience to remember.
- Have a consistent linguistic style across the play.
Example trio for a new production
- A brave Kshatriya prince: Arjunavarman
- Witty courtesan: Kamaladattā
- A calm superior sage: Satyodaya
Soon, you sense the storyline before the plot even unfolds.
Frequently Asked Questions
It outlines specific rules for naming based on caste, profession, and character type to support narrative clarity and cultural context.
These endings mark lineage and duty. They help audiences recognise status the moment the name is heard.
Merchants receive names ending in datta. Courtesans receive names ending in dattā, mitrā, or senā.
Flower names bring softness, grace, and visual association, which suit their role and movement vocabulary.
Yes. The structure can be intact while the actual names can be adapted to suit the language or performance style.
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Final thoughts
Names often guide acting choices. They sharpen narrative flow. The Natyashastra’s rules on naming may appear small, yet they greatly influence how a character breathes on stage. I love how these guidelines support clarity without restricting imagination. Once you start using them, your plays gain a classical backbone while staying open to creative freedom.
Apply these rules in your next script. You will notice the shift. The stage will feel brighter. Characters will step forward with confidence. And audiences will sense the harmony that Bharata intended.
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At Natya-Shastra.in, our mission is to serve as a gateway to the illustrious world of the Natyashastra. We offer insights, resources, and a platform to delve deeper into the nuances of Indian performing arts.
Also, we aim to bring forth the richness of this ancient text. We try to shed light on the profound wisdom it holds and its everlasting influence on various artistic traditions.
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NatyaShastra Glossary: Head over to the Natyashastra Glossary page to know the meaning behind Sanskrit terms used in the articles.
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