Estimated reading time: 7 minutes
Ten faults in a poetical play. Poetry is the backbone of our Indian history. Every syllable, pause, and gesture carries weight. But what happens when a play loses its rhythm? When the words no longer serve the story?
Bharata, in the Natyashastra, lists ten major faults that can break the spine of a play.
Let us explore each of these ten faults in a poetical play one by one. You will find definitions, examples, and direct tips on how to avoid them in performance and writing.
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1. Circumlocution (gūḍhārtha)
What it means
This is when the playwright uses a synonym or roundabout phrasing instead of saying something directly. The sense gets hidden in layers of unnecessary words.
Example
Instead of saying “lotus,” the line says, “the sun-born, water-dwelling, petal-studded beauty.” It sounds poetic but delays the meaning.
How to avoid it in practice
- In performance: clarity is everything. If you must use a synonym, make sure it heightens rasa. This avoids confusion.
- As a dancer – when reciting sahitya, pair direct gestures with layered words to bring balance. Let the audience grasp meaning without straining.
2. Superfluous Expression (arthāntara)
What it means
Adding unnecessary details that do not serve the plot or character.
Example
While describing a hero’s entrance, adding irrelevant praise like his childhood hobbies or eating habits.
How to avoid it in practice
- Keep the focus tight. Every line should serve character, emotion, or action.
- As an actor, trim your improvisations. Stay aligned with the dramatic purpose.
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3. Want of Significance (arthahīna)
What it means
An expression that is incomplete or irrelevant to the scene.
Example
A line like “He entered…” without telling us who, how, or why. It breaks the flow and leaves the audience hanging.
How to avoid it in practice
- In writing, always finish an idea.
- In dance, never leave a mudra or abhinaya half-done. A gesture that is unfinished is as weak as an incomplete sentence.
4. Defective Significance (bhinnārtha)
What it means
When words are crude, rustic, or distort the intended meaning.
Example
Calling a noble king “fat” or “clumsy” when the intent was majesty. The choice of word lowers dignity.
How to avoid it in practice
- Match diction with character and rasa.
- As a dancer, your abhinaya should never trivialize a serious bhava. Keep refinement consistent with the role.
5. Tautology (ekārtha)
What it means
Using too many words to say the same thing.
Example
“He is brave, courageous, fearless, valiant.” It piles synonyms without adding depth.
How to avoid it in practice
- As a playwright, choose one sharp word over four dull ones.
- As a performer, avoid repeating the same gesture for the same idea. Instead use variety. It sharpens the impact.
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6. Want of Synthesis (abhiplutārtha)
What it means
When each quarter of a verse completes its own idea instead of contributing to a single flow. The unity breaks.
Example
A verse where the first quarter praises the king, the second describes the sky, the third speaks of the river, and the fourth mentions a feast. They don’t link.
How to avoid it in practice
- Make sure all lines move toward a unified dramatic end.
- In dance, your hastas and expressions should link, not look like four unrelated snapshots.
7. Logical Defect (nyāyādapeta)
What it means
When a statement lacks reasoning or contradicts logic.
Example
“The sun rose in the west to welcome the king.” Unless it is a deliberate poetic exaggeration, it breaks sense.
How to avoid it in practice
- As a playwright, ground even metaphors in plausible reasoning.
- As a dancer, if your sahitya has exaggeration, highlight through abhinaya that it is intentional and symbolic.
8. Metrical Defect (viṣama)
What it means
A flaw in rhythm or metre. This disturbs recitation and performance.
Example
An extra syllable that makes the line stumble when chanted.
How to avoid it in practice
- Writers must scan verses carefully.
- Dancers and singers should rehearse metre. If the line feels jagged, smooth it through tempo or adjust phrasing in natya.
9. Hiatus (visandhi)
What it means
When words that should join in sandhi are left separate. It sounds broken.
Example
Saying “rāja + iha” as two words instead of “rājaiha.”
How to avoid it in practice
- In recitation, train in proper Sanskrit or regional sandhi rules.
- In dance, your pauses should match sense units, not cut through them.
10. Slang (śabdacyuta)
What it means
Use of vulgar or coarse language.
Example
A rustic insult thrown into a refined courtly scene.
How to avoid it in practice
- Always respect rasa. Sringara and Hasya allow playful words, but never descend into vulgarity.
- As a dancer, check sahitya for unsuitable terms before performance. Replace or stylize if needed.
Do these ten faults in a poetical play matter in every play?
Yes. Every play, regardless of theme or style, is vulnerable to these faults. Bharata framed them as guiding markers. Think of them as checkpoints for quality.
Even a light-hearted farce can collapse if superfluous details weigh it down. A devotional drama can lose dignity with a single slang word. A heroic play can feel weak if its verses break metre or logic. The fault does not change with the genre. Its effect always shows in the audience’s experience.
In Sanskrit theatre, rasa is the ultimate aim. Each fault disrupts rasa in its own way. Circumlocution creates distance. Tautology bores. Logical defect confuses. Slang cheapens. Hiatus disturbs rhythm. These directly shape how the audience feels.
For dancers, the stage is no different. A poorly constructed verse makes abhinaya harder to convey. A rustic word in a delicate śṛṅgāra padam jars the mood. Even in improvisation, remembering these ten will refine the choices you make.
So yes, these ten faults in a poetical play matter in every play. The form may be ancient, but the faults remain timeless. An attentive artist avoids them, and in doing so, keeps drama alive, resonant, and unforgettable.
Frequently Asked Questions
They are circumlocution, superfluous expression, want of significance, defective significance, tautology, want of synthesis, logical defect, metrical defect, hiatus, and slang.
Because each fault directly affects rasa. A flaw in expression, metre, or diction can weaken performance and confuse the audience.
No. They are universal principles of dramaturgy. Any play, regardless of language, can suffer from these issues.
By focusing on clarity. Use direct expressions, complete gestures, and avoid unnecessary repetition in dialogue or abhinaya.
An incomplete or illogical verse makes abhinaya unclear. Recognizing faults helps dancers refine gestures and make sure the audience experiences rasa fully.
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Final Thoughts
The Natyashastra is a living guide for artists today. The ten faults remind us to keep language sharp, meaningful, and aligned with rasa. For poets, they refine writing. For actors, they sharpen dialogue. For dancers, they protect abhinaya from becoming confused or crude.
Drama thrives on precision. And when we honor Bharata’s cautions, every gesture, every syllable, and every silence can sing.
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At Natya-Shastra.in, our mission is to serve as a gateway to the illustrious world of the NāṭyaŚāstra. 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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Knowledge Source & References: Inspired by ancient Natyashastra scriptures, open to interpretation.
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