39. 36 HISTORY OF SANSKRIT PEOTICS

36 HISTORY OF SANSKRIT PEOTICS

āharyabhinaya which is based on nepathya (costumes, ornaments and devices of representing)1; nepathya is of four kinds, viz. Jra, अलक्वार, अङ्रचना सञ्जीव (G. O. S. ed. reads सज्जीव in 21. 5 and सजीव in 21.1 61); the definitions of these; pusta means figures made with cloth or hides for representing hills, carts, and the like; alankāra includes garlands, ornaments (from head to foot) and clothes to be worn by male and female characters of various countries and cities, tilaka, collyrium in eyes, colouring the teeth and lip; angaracana includes painting the body in order to represent the complexions of kings, well-to-do people, of kirātas, āndhras, śakas, yavanas, śūdras &c .; training the moustache and beard; sañjiva means devices to represent four- footed animals, bipeds, birds, snakes; the upakaraņas of nāta and artificial weapons; 24 (or 22 of G. O. S.) Sāmānyābhinaya (that acting that has not yet been described but must be descri- bed); outward manifestations of Hra; alankaras of young women which are angaja are three viz. भाव, हाव, हेला; ten are स्वभावज, लीला, विलास &c. and 7 are अयत्नज viz. शोभा, कान्ति, दीप्ति, माधुर्य, धर्य, प्रागल्भ्य and औदार्य; definitions of these; the manifestations of सत्त्व in males viz. JinT &c .; bodily abhinaya in relation to rasa and bhāva; twelve kinds of abhinaya as to the recitation part of a drama, such as आलाप, प्रलाप, विलाप &c .; all these are वाक्याभिनय; represen- tation of hearing, touch, seeing, tasting &c. and of desirable or undesirable matters how done; description of women of various types; ten कामावस्थाS viz. अभिलाष, चिन्तन, अनुस्मृति, गुणकीर्तन, उद्वेग, विलाप, उन्माद, व्याधि, जडता, मरण and the description of their representation; sending of दूती; eight kinds of नायिका viz, वासकसज्जा, स्वाधीनपतिका, अमिसारिका &c. how represented on the stage, since the Spectators include fathers and sons, daughters-in-law and mothers-in-law2, सुधाकर (pp.69-71) gives fanciful derivations of the names भारती &c .; from chap. 15 to 22 the नाट्यशाख deals with वाचिकाभिनय. I. आहार्याभिनयो नाम श्ेयो नेपथ्यजो विधिः । तत्र कार्यः प्रयत्नस्तु नाट्यस्य शुभमिच्छता ॥ नाट्य. 23. 2. or 21.3 in G.O.S. ed. and अ.भा. explains 'समस्ताभिनयप्रयोगचित्रस्य भित्तिस्थानीयमाहार्यम्. Vide Dr. G. S. Ghurye's brochure on 'Bharatanatya and its costume' published by Popular Book Depot, Bombay 1958. 2 न कार्य शयनं रङ्गे नाट्यधर्म विजानता । ... चुम्बनालिशनं चैव तथा गुह्यां च यद्द्रवेत्। दन्तं नखक्षतं छ्ेदं नीवीस्रंसनमेव च। स्तनाधरविमर्द च रक्मध्ये न कारयेत्। भोजनं सलिलक्रीडां तथा लब्जाकरं तु यत् । ... पितृपुत्रस्नुषाश्वश्नदश्यं यस्मात्तु नाटकम्। तस्मादेतानि सर्वाशि वर्जनीयानि यत्नतः ॥ नाव्य. 24. 285-289 ( 22.296-298 G.O.S. ).