नाट्यशास्त्रम् (प्रथम भाग - अभिनवभारती एवं हिन्दी टीका सहित)

.XIV. 63] THE ZONES & THE LOCAL USAGES 245

The two general types of plays

56. The production of a play in conformity with the rules of dramatic practice is of two types : delicate (sukumāra) and violent (āviddha).

The violent types

57-58. The play which requires violent (āviddha) gestures and movements (aṅgahāra) to represent, cutting, piercing and challenging, and contains the use of magic and occult powers as well as artificial objects and make-up, and has more men and less women [among its dramatis personae] and applies [in its production] mostly the Grand and the Violent Styles, is of the violent type.

59. According to the [expert] producers, [plays of] the Ḍima. the Samavakāra, the Vyāyoga and the Īhāmṛga [classes] are known to be of the violent type.

60. Production of plays of this type should be made by [an impersonation of] gods, Dānavas and Rakṣasas who are majestic and haughty, and have heroism, energy and strength.

The delicate type

61. The Nāṭaka, the Prakaraṇa, Vīthi and the Aṅka are plays of the delicate type, and they depend [for their production] [on an impersonation of] human beings only.

The two Practices

62. I shall now define (lit. relate the characteristes of) the two Practices (dharmī) which have been mentioned before.

The realistic Practice

63-64. If a play depends on natural behaviour [in its characters] and is simple and not articial, and has in its [plot]

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56 (B.XIII.59 ; G.59)
57 (B.XIII.60-61, G.60-61).
59 (B.XIII.62, G.62).
60 (B.XIII 63, G.63).
61 (B.XIII.64, G.64). $^1$ B. adds five additional couplets after this.
62 (B.XIII.70, G.65). $^1$ For a discussion on Dharmīs see V. Raghavan, Nāṭya Dharmī and Loka Dharmī (Idealism and Realism of Bharata's Stage), Journal of Oriental Researches. Madras, Vol. VII. pp. 359-375.
63-64 (B.XIII.71-72, G.66-67). $^1$ See note 1 to IX. 1-3.