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नाट्यशास्त्रम् (प्रथम भाग - अभिनवभारती एवं हिन्दी टीका सहित)

नाट्यशास्त्रम् (प्रथम भाग - अभिनवभारती एवं हिन्दी टीका सहित)

Natyashastra of Bharata Muni with Hindi Commentary (Vol 1)

भरत मुनि / आचार्य अभिनवगुप्त द्वारा

DevanagariSanskritpublished654 पृष्ठ

पृष्ठ 182, कुल 654 में से

संदर्भ में पढ़ें
पृष्ठ 182

.V. 167 ] THE PRELIMINARIES OF A PLAY 97

  1. This is the manner in which the pure Preliminaries should be changed into mixed ones. But in the Preliminaries, be they of any type, there should not be too much dance and song.

  2. If [in a performance] songs, music and dance continue for too long [a time] they tire out the artists as well as the spectators.

  3. Tired [persons] can neither attain or help to attain a clear impression of the Sentiments and the States, and because of this the rest of the performance (i.e. of the play itself) cannot excite pleasure.¹

  4. After performing the Preliminaries, be they Caturasra or Tryasra of the pure or mixed type, the Director along with his Assistants should make their exit from the stage¹.

Introduction of the play

  1. After the Preliminaries have been duly performed¹ in the manner described, the Introducer (sthāpaka)² should enter [the stage] and he should resemble the Director (sūtradhāra) in every respect (lit. in quality and form).

163 (B.164b-165a, G 160). 164 (B 165b-166a, G.161).

165 (B.166b-167a, G.162). ¹ B. reads one additional couplet after this.

166 (B 168b-169a, G.163). ¹ B. reads three additional couplets (B. 169b-172a) after this.

167 (B 172b-173a, G.164). ¹ The reading prajujya in this passage seems to be defective; for the nominative to this prajujya cannot be sthāpaka (Introducer). Dhanañjaya (c. 10th century) clearly says that the sūtradhāra (the Director) having gone out after the Preliminaries (pūrvaraṅga), another actor enters to introduce the drama (III. 2). The same is the opinion of Sāradātanaya (c. 1175-1250). See the BhP. p.228, lines 56. Viśvanātha also expressed a similar opinion. See the SD. VI. 26. Hence this passage should be construed somewhat like the well-known proverb rathe ca vāmanaṁ dṛṣṭvā punarjanma na vidyate. It seems that Bhāsa cut down the Preliminaries and made an end of the practice of getting the play introduced by the sthāpaka. This assumption will explain why Bāṇa wrote sūtradhārakṛtārambhaiḥ etc. (Harṣacarita, Introduction, 15).

² Ag. says sūtradhāra eva sthāpakaḥ, cf. note 1 above.

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