40. NĀȚYA SĀSTRA 37

NĀȚYA SĀSTRA 37

how loving women are to address men in love or anger and jealousy; 25 (or 23 of G. O. S.) Vaisika is one who excels in kalās and is clever in wooing women and veśyās; 33 natural and cultivated qualities of such a man; his friend and go-between (ct); signs of women who are enamoured of a man or who hate him; four stages of the youth of women; five classes of men who love; five upayas to win over women viz. साम, प्रदान, भेद, दएड, उपेक्षा; 26 (or 25 of G. O. S.) Citrābhinaya i. e. āngika abhinaya not described so far (and which is therefore a supplementary part of सामान्याभिनय); how to represent the sky, night, evening, darkness, heat &c .; how to represent joy, anger, pain and sorrow; meaning of आकाशवचन, आत्मगत, अपवारितक, जनान्तिक; how old men and children are to recite their speeches; how to represent that a man is dying; other gestures should be learnt from the people;1 27 siddhi (successfull dramatic performance); siddhi is मानुषी and दैवी; the audience should indicate that the performance is a success by gifts of clothes &c., by smiles, loud laughter (when the Vidūsaka plays mischievous tricks), by saying 'sadhu' or 'aho' (in wonder- ful or love scenes), 'kastani' (in a pathetic scene); दैविकी सिद्धि consists in there being no noise nor disturbance, no ill omen and the audience hall being full; accidents and portents are such as fire, whirlwind, elephant, snake &c. cr clapping of hands and throwing of cowdung or mud by persons who hate the actors, forgetting one's speech, the fall of a crown or of ornaments; qualifications of dramatic judges or critics; 28 musical instru- ments of four kinds, viz. तत (stringed likc lutes), अवनद्ध (on which a hide is spread as in the case of a drum), घन (tala), सुषिर (hollow like a flute); the seven स्वरs (घड्ज, ऋबभ &c.) : four kinds of them viz वादी, संवादी, अनुवादी, and विवादी and their description, ग्राम, मूर्दनाs, 22 श्रुति, जातिs; 29 What जातिs and स्वरs are to be employed in which rasas; four varnas, आरोही, अवरोही, स्थायी and सश्वारी and 33 alankāras dependent on them and their definitions; gītis; 30 flutes; 3 ताल and लय; 32 discourse on ध्रुवाs (sung when a character enters the stage or leaves it, or sung at the end of an Act or sung in the course of the play or when a character falls

I नोक्ता ये च मया तत्र लोकग्राह्यास्तु ते बुधैः॥ लोको वेदास्तथाध्यात्मं प्रमायं त्रिविधं स्मृतम्। ... तस्मान्नाव्यप्रयोगे तु प्रमाणं लोक उच्यते। ... कतानुकरणं लोके नाट्य मित्य भिधीयते। लोकस्य चरितं यत्तु नानावस्थान्तरात्मकम्। तदक्गाभिनयोपेतं नाट्यमित्यभिसंशितम्॥नाट्य. 26.111-115.