नाट्यशास्त्रम् (प्रथम भाग - अभिनवभारती एवं हिन्दी टीका सहित)

68 THE NĀTYAŚĀSTRA [ IV. 265-

instrumental music; and hence this dance is known as Tāṇḍava (i.e. of Taṇḍu's creation).

The sages speak

265. Use of Gestures etc. (abhinaya) having been devised by the experts, for drawing out the sense [of songs and speeches in a play] what led to the making of dance (nṛtta), and what is its nature ?

266. Why is dance made in connexion with the Āsārita songs ? It does neither relate to its meaning nor reflect its spirit.

267. [In answer to these questions] it is said that the dance is occasioned by no specific need; it has come into use simply because it creates beauty.

268. As dance is naturally loved by almost all people, it is eulogised as being auspicious.

269. It is eulogised also as being the source of amusement on occassions of marriage, child-birth, reception of a son-in-law, general festivity and attainment of prosperity.

270. Hence the host of Bhūtas have ever praised¹ the Pratikṣepas² which are used in songs and in regulating the division of dances.

271. Śiva (lit. god) too was pleased to say to Taṇḍu, "Perform this dance in connexion with the singing of songs.

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265 (B 268b-269a, G.264). ¹ B. reads tasmān nṛttam for kasman nṛttam in 265b.

266 (B.269b-270a, G.265). 267 (B.270b-271a, G.266).

268 (B.271b-272a, G.267). 269 (B.272b-273a, G.268).

270 (B.273b-274a, G.269). ¹ For prakīrtitāḥ, B.G. read pravartitaḥ.

² pratikṣepa—Ag. (I. p.182) defines this term as follows :—प्रचुरस्तुतियुक्तो गीतविशेषः प्रतिक्षेप इत्याह । इदं भरतमुनिना न क्वचिल्लक्षितम् । अन्ये तु गीतानी प्रयोक्तव्यच्छन्दकादय एव वृत्तवैचित्र्यात्तथा तथापि प्रतिलिप्यमानाःङ्गाः प्रतिशेपाः.

271 (B.274b-275a, G.270): ¹ For taṇḍuḥ santoṣapūrvakam. This variant has been recorded by Ag. (I.181) and it seems to be the correct reading. B.G. read taṇḍustāṇḍavapūrvakam.