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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 422, कुल 654 में से

संदर्भ में पढ़ें
पृष्ठ 422

-XIX. 11 ] MODES OF ADDRESS AND INTONATION 337

Privileged inferiors addressing superiors

A superior person may however be addressed (or referred to)$^2$ by name by inferior persons when the latter are privileged to do so$^3$.

Addressing employees, artisans and artists

  1. Men and women in one's employment$^1$, and artisans and artists$^2$ are to be addressed as such (i. e. according to their status)$^3$.

Addressing persons of respect

  1. A respected person is to be addressed as 'honoured sir' (bhāva), and a person of slightly less so as "comrade (mārṣaka or mārṣa).$^1$

Addressing persons of equal status

A person of equal status should be addressed as 'brother' (vayasya)$^2$ and a low person as 'hey man' (ham-ho)$^3$

The charioteer addressing the chariot-rider

  1. The chariot-rider should always be addressed by the charioteer as "long-lived one" (āyuṣman)$^1$.

$^2$ B. saparivāram, so also Ag.
$^3$ Ex. Haṁsaka referring to Yaugandharāyaṇa before the latter. (Pratijñā. I. 13.14). See above note 1.
9 (C.9; B.XVII.73). $^1$ Yaugandharāyaṇa addressing Śālaka by name (Pratijñā. I. 2. 4) and the hero Cārudatta addressing the maid-servant Radanikā (Cāru. I. 21.15).
$^2$ Ag. explains kāruka and śilpi as follows : कारुकाः सूपकारादयः शिल्पिनश्चित्रकारादयः, artisans are those that build stūpas and the like objects, artists are painters and the like.
$^3$ Ex. The king addressing Haradatta one of the teachers of dramatic art (Mālavi. II. 12.4).
10 (C.10; B.XVII.74). $^1$ Ex. pāripārśvika addressing sūtradhāra as bhāva, and sūtra° addressing pāripārśvika as mārṣa (Abhi. 1. 1.6,8). Śākāra once addressing viṭa as bhāva and next time as māliśa (māriṣa) in Cāru. I.17.3; 26.3). The word mārṣaka does not seem to occur any extant drama while māriṣa occurs very often. See Uttara. (I. 4.7) and Mālavi (I. 1. 3).
$^2$ Ex. Siddhārthaka and Samiddhārthaka addressing each other (Mudrā. VI. 2. 14, 16).
$^3$ Ex. Cāṇakya's spy addressing his disciple as ham-ho bamhaṇa, (Mudrā. I. 18.4).
11 (C.11; B.XVII.75). $^1$ Ex. Duṣyanta's priest addressing the two

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