नाट्यशास्त्रम् (प्रथम भाग - अभिनवभारती एवं हिन्दी टीका सहित)

.VII. 124 ] THE EMOTIONAL AND OTHER STATES 147

121. ¹This Dominant Sentiment should be represented with an exuberence of the Temperament, but the Transitory States by mere gestures and postures (lit. form), for they are to support the Dominant Sentiment [and as such should not excel² it].

122. [An equally full representation of] a variety [of Sentiments] does not please [the spectators], and such a variety is rare in practical life (lit. amongst people). But a mixture of different Sentiments will however, bring pleasure [to the spectators] when such is carefully represented.

123. In [the production of] a play the Dominant, the Temperamental and the Transitory States which are supporters of the Sentiments and which are accomplished through many objects and ideas, should be assigned to male¹ characters².

124. The Sentiments and the States in plays are thus to be created. One who knows this well will attain the best Success [in the production of a play].

Here ends Chapter VII of Bharata’s Nāṭyaśāstra which treats of the Representation of the States.

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121 (B.184, G.120). ¹ A disregard of this principle is liable to cause undue prominence to a minor character in a play and thereby to frustrate the principal object of the playwright.
² After this B. reads some additional couplets (B.185-189a) which include a variants of 122 a (B.189a) and 122b (B.186b) and a repetition of 118a (B.186a) and 118b (B.187a).

122 (B.184 foot-note, 9, G.121).

123 (B.189b-190a, G.122). ¹ puṁsānukīrṇāḥ (puṣpāvakīrṇāḥ B.G.).
² An analysis of the plays of the best kind, known to us seems to explain this rule. For in almost all of them superior roles are assigned to men who can better be made the vehicle of different and complex psychological states.

124 (B.190bc, G.123).