नाट्यशास्त्रम् (प्रथम भाग - अभिनवभारती एवं हिन्दी टीका सहित)

IV. 3. ] DESCRIPTION OF THE CLASS DANCE 73

303. When in course of a song some of its parts are repeated, the parts uttered first should be delineated by gestures and the rest are to be translated into dance.

304-305. When in course of a song some of its parts are repeated it should be followed by the instrumental music which observes the rule of three Pāṇis and three kinds of tempo. On an occasion like this the instrumental music should follow the [proper] tempo.

305-308. The Tattva, the Anugata and the Ogha relate to the Karaṇa. Among these, the Tattva is to be applied in slow tempo, the Anugata in medium tempo and the Ogha in quick tempo. This is the rule regarding the instrumental music. [Different] parts of the song in case of a Chandaka are to be repeated. This is always the rule in [combining] the dance, Gestures and the song. In case of songs composed in one stanza (nibaddha) commencement (graha of the playing of drums) should take place at their end, but in the repetition of the parts [of a large song] such commencement should take place from the beginning.

The Gentle Dance

309. This should be the procedure in performing the Āsārita songs. Now consider [all] that relating to the adoration of gods as the Gentle Dance (sukumāra).

310. The Gentle Dance with the Erotic Sentiment [relates to] a dialogue between a man and a woman when they are in love.

Occasions suited to dance

311. Now listen, O Brahmins, about occasions in plays when dance should be introduced in course of songs.

312. Experts should apply dance when the principal words of a song [in a play] as well as its [ornamental adjunct known as]

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301 (B.304b-305a, G.300).	302 (B.305b-306a, G.301).
303 (B.306b-307a, G.302).	304-305 (B.307b-308a, G.303-304a).
305-308 (B.308b-311, G.304b-307).	309 (B 312, G.308).
310 (B.313, G.309),	311 (B.314, G.310),