नाट्यशास्त्रम् (प्रथम भाग - अभिनवभारती एवं हिन्दी टीका सहित)

346 THE NATYASASTRA [XIX 37-

37-38. After knowing exhaustively everything about the rules of language¹ in a drama, one shonld practise Recitation which is to have six Alaṃkāras.

Qualities of Recitation

²I shall now describe the qualities of Recitation. In it there are seven notes (svara), three voice registers (sthāna), four Varṇas (lit. manner of uttering notes), two ways of intonation (kāku), six Alaṃkāras and six limbs (aṅga). I shall now explain their characteristics.

The seven notes (svara) are : Ṣaḍja, Ṛṣabha, Gāndhāra, Madhyama, Pañcama, Dhaivata and Niṣāda. These are to be made suitable to different Sentiments.

Seven notes to suit differment Sentiments

38-40. In the Comic and the Erotic Sentiments the notes should be made Madhyama and Pañcama. Similarly in the Heroic, the Furious and the Marvellous Sentiments they should be made Ṣaḍja, and Ṛṣabha. In the Pathetic Sentiment the notes should be Gāndhāra and Niṣāda, and in the Odious and the Terrible Sentiments they should be Dhaivata.

Uses of the three voice registers

There are three voice registers (sthāna) : the breast (uras) the throat (kaṇṭha) and the head (śiras).

40-41. In the human body as well as in the Vīṇā notes and their pitches proceed from the three registers : the breast, the throat and the head.

41-42. In calling one who is at a distance, notes proceeding from the head register should be used, but for calling one who is not at a great distance, notes from the throat register is to be used, while for a person who is by one's side, notes from the breast [will be proper].

---

37-38 (C. and prose 37a ; B.XVII. 102b, 103a). ¹ It will be apparent from the notes given above that the rules regarding forms of address have very often been overlooked in extant dramas.
² The text from here till the beginning of 38-40 is in prose.
38-40 (C.38-39; B.XVII. 103b, 104-105a).
40-41 (C.40. 41a; B.XVII. 105b-106).

• 41-42 (C.41b-42a; B.XVII.107).