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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 331, कुल 654 में से

संदर्भ में पढ़ें
पृष्ठ 331

246 THE NATYASASTRA [ XIV. 65-

professions and activities of the people and has [simple acting and] no playful flourish of limbs and depends on men and women of different types, it is called realistic (lokadharmī)$^1$.

The conventional Practice

65-66. If a play contains speech, activity, beings and states of the extraordinary kind, and requires acting with playful flourish of limbs and possesses characteristics of dance, and requires conventional enunciation, and is dependent on emotionally carried persons (lit.) characters it is to be known as conventional (nāṭyadharmī)$^1$.

  1. If anything used by (lit. among) people, appears (lit. set foot)$^1$ in a play (lit here) as endowed with a corporal from and speech$^2$ the practice is [also] called conventional (nāṭyadharmī)$^3$.

  2. [The practice in a play according to which persons are supposed] not to hear words uttered in proximity, or to hear what has not been uttered at all, is [also] called conventional.

  3. If objects like a hill, conveyance, aerial car, shield, armour, weapon or banner-staff are made to appear on the stage (lit. are used) in [human] form, it is known as an [instance of] the conventional Practice.

  4. If after appearing in a role, one assumes a different role [in the same play], on account of his being an expert in both the cases or being the sole actor available for both the roles, it is known to be an instance of the conventional Practice.

  5. If after a person has been employed (lit. being) in the role of a woman for whom marital connexion with a particular character is forbidden by the Śāstras, is made to appear in the

65-67 (B.XIII.75, G.70). $^1$ padam; G. reads bhadram.
$^2$ mūrtimat sābhibhāṣam (B. mūrtimat sābhilāṣam).
$^3$ An instance of this is the personification of the Bhramaśāpa in Māyāpuṣpaka (Ag.).
68 (B.XIII.76, G.71). $^1$ For āsannoktam, G. reads atroktam caiva.
69 (B.XIII.77, G.72). $^1$ G. omits two couplets (70 and 71) after this.
70 (B.XIII.78)
71 (B.XIII.79).