नाट्यशास्त्रम् (प्रथम भाग - अभिनवभारती एवं हिन्दी टीका सहित)

XXVI

addressing superiors, pp. 336-337; 9. Addressing employees, artisans and artists, p. 337; 10. Addressing persons, of respect, addressing persons of equal status p. 337; 11. The charioteer addressing the chariot-rider, Addressing an ascetic or a person with beatitude, pp. 337-338; 12. Addressing princes, Addressing inferior persons, p. 338; 13. Addressing persons by their occupation or birth, p. 339; 14. Addressing a son or a disciple p. 339; 15. Addressing Buddhist and Jain monks, Addressing persons of other sects, p. 339; 16. People addressing the king, pp. 339-340; 17-18. Sages addressing the king, The Jester addressing the king, The Jester addressing the queen, her maids, and the king addressing the Jester, p. 340; 19. Women addressing their husband, p. 341; 20. Addressing the elder and the younger brothers, p 341; 21. Modes of addressing women and female ascetics and goddesses, p. 341; 22. Addressing wives of senior persons, and elderly ladies, Addressing an accessible woman and an old lady, pp. 341-342; 23-24. Addressing king's wives, p. 342; 25. Addressing unmarried princesses and a sister, pp 342-343; 26. Addressing a Brahmin lady, a nun or a female ascetic, addressing one's wife, p. 343; 27. Women addressing their equals, addressing a hand-maid, p. 343; 28. Addressing a courtezan, p. 343; 29. Addressing the wife in love-making, p. 344; 30. Giving names to different characters in a play, p. 344; 31. Names of Brahmins and Kṣatriyas, p. 344; 32. Naming merchants and warriors, p. 344; 33. Naming king's wives and courtezans, p. 345; 34. Naming handmaids and menials, p. 345; 45. Naming superiors, p. 345; 37-37a. Naming other persons, p. 345; 37-38. Qualities of Recitation, p. 346; 38-40. Seven notes to suit different Sentiments, p. 346; 40-43. Uses of the three voice registers, p. 346; 43. Uses of the four accents, p. 347; 43-44. Two ways of intonation, p. 347; 45. The Six Alaṃkāras, p. 348; 45 57. Uses of the six Alaṃkāras, pp. 348-350; 58-59. Intonation in different Sentiments, Six limbs of enunciation, pp. 350-351; 59-60. Pause defined, pp. 351-352; 60-61. Uses of Pause, p. 352; 62-67. Hands in connexion with Alaṃkāras and Pause, p. 352; 68-78. Drawn-out syllables and their use, pp. 353-354.

C h a p t e r T w e n t y

TEN KINDS OF PLAY, Pages 355-379

1-9. Tenfold division of plays and their structure, p. 3 55; 10-12. The Nāṭaka, p. 356; 13-18. The Act, pp. 356-357; 19-26. Incidents not directly presentable in an Act, pp. 358-359; 27-35. The Introductory Scene, pp. 359-360; 36-38. The Supporting Scene, pp. 360-361; 39-40. Number of dramatis personae, p. 361; 41-42. Introducing chariots and palaces on the stage, pp. 361-362; 43-47. Introducing an army on the stage p. 362; 48-50. The Prakaraṇa, pp. 262-364; 59-63. The Nāṭikā, pp. 364-365; 64-66. The Samavakāra, pp. 365-366; 67. The first act of the