36. NĀȚYASĀSTRA 33

NĀȚYASĀSTRA 33

great exertion in a dramatic part; 12 number of mandalas and their definitions; 13 the proper gaits of characters according to the rasa and the place when they enter the stage to the accompaniment of the lute and other instruments and after the Dhruvagana has started; the time taken in traversing the stage in the case of characters supposed to be gods or kings, of men of middle rank and of women and men of lower rank; gaits in representing Raudra, Bibhatsa, Vira and other rasas and movements of the body when representing wounds, cold or persons who are ascetics or are intoxicated or mad &c .; 14 the distribution of space in the nātyamandapa as regards musical instruments, as regards representation of houses, gardens, forests, land and water &c; each Act (anka) should depict action taking place in a moment or in a muhūrta, a watch, one day at the most; then, a new Act may be begun by skipping over eventss occurring in a month or a year; the four kinds of pravrttis which depend upon the combinations of the country, the dress, the languages, the manners; the pravrttis are Āvantī, Dākșiņātyā, Pāñcālī, Odra-māgadhī; the countries that are included under the four groups together with the vrttis associated with each pravrtti; two kinds of nātyaprayoga viz. sukumāra (graceful and delicate) and aviddha; the plays called, डिम, समवकार, व्यायोग and ईहामृग are known as आविद्ध and the rest of the ten rupakas as JEFHIT; lokadharmī and nātyadharmī defined and1 illustrated; 15 Vācikābhinaya based on svaras (vowels) and consonants; speech is the body of nātya and angika acting, dresses and theatrical devices suggest the sense of what is being said; disquisition on svaras, consonants, nouns, verbs, upasargas, adverbs, compounds &c .; recitation (in a drama) is either in Sanskrit or in Prākrt or both; metres (chandas) containing from one to 26 syllables; several varieties of each metre; their numbers are vast; the

I Vide Dr. Raghavan's very lucid -. and detailed article on Lokadharmī and Nalyadharmi in Journal of Oriental Research, Madras, vol. VII. pp. 359-375 and vol. VIII. pp. 57-74. a defines: स्वावभावोपगतं शुद्धं त्वविकृतं तथा। लोकवार्ताक्रियोपेतमझलीलाविवर्जितम्॥ स्वभावाभिनयोपेतं नानासतीपुरुवाश्रयम्। यदीदृशं भवेननाट्यं लोकधर्मी तु सा स्मृता॥ ... योयं स्वभावो लोकस्य सुखदुःखक्रियात्मकः। सोक्रामिनयसंयुक्तो नाट्यधर्मी तु सा स्मृता॥ नाट्य. 14.70-71 and 78. कल्विनाथ illustrates (सं. र. p. 629) 'वाक्याभिनये केवलवाक्योश्वारणं लोकधर्मी रागयुक्तवाक्योच्चारएं नाट्यप्मी'.