नाट्यशास्त्रम् (प्रथम भाग - अभिनवभारती एवं हिन्दी टीका सहित)

80 THE NATYASASTRA [V. 25-

The Śuṣkāvakṛṣṭā Dhruvā

25-26. When an Avakṛṣṭā Dhruvā is composed with meaningless sounds it is called Śuṣkāvakṛṣṭā¹, It indicates verses for the Jarjara².

The Raṅgadvāra

26-27. The Raṅgadvāra is so called, because from this part commences the performance which includes Words and Gestures.

The Cārī and the Mahācārī

27-28. The Cārī is so called because it consists of movements depicting the Erotic Sentiment and in the Mahācārī occur movements delineating the Furious Sentiment.

The Three Men's Talk

28-29. The conversation of the Director (sūtradhāra), an Assistant (pāripārśvaka) and the Jester¹ is called the Three Men's Talk (trigata).

The Laudation

29-30. The address which the Director (lit. the expert) makes suggesting the Denoument of the action (kārya) of the play in hand with [proper] reasoning and arguments is called the Laudation (prarocanā).

The origin of the Bahirgīta and its justification

30-31. I shall now describe in detail the Āśrāvaṇā which is included in the Bahirgīta and shall speak of its origin as well as its justification.

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25-26 (B.26, G.25). ¹ see below 113-115.
² The meaning is not clear. B.G. read between 25b and 26a two prose lines.
26-27 (B.27, G.26). 27-28 (B.28 G.27).
28-29 (B'29, G'28). ¹ The Jester's role is assumed by one of the Assistants. See below 70 where two Assistants enter along with the Director. For details of the Three Men's Talk see below 137-141.
29-30 (B.30, G.29). ¹ For details about the Laudation see below 141-142.