नाट्यशास्त्रम् (प्रथम भाग - अभिनवभारती एवं हिन्दी टीका सहित)

-XIX. 44 ] MODE OF ADDRESS AND INTONATION 347

42-43. At the time of Recitation, a sentence begun with notes from the breast should be raised to notes of the head register and at its close it should be brought down to notes of the throat.

Uses of the four accents

43. In Recitation the four accents will be : acute (udātta) grave (anudātta), circumflex (svarita) and quivering (kampita).

¹ Recitation in circumflex and acute accents is suitable to the Comic and the Erotic Sentiments, acute and quivering accent is suitable to the Heroic, the Furious and the Marvellous Sentiments, while grave, circumflex and quivering accents are appropriate to the Pathetic, the Odious and the Terrible Sentiments.

Two ways of intonation

There are two ways of intonation, e.g. one entailing expactation (sākāṅkṣa) and another entailing no expectation (nirākāṅkṣa). These relate to the sentence uttered.

44. A sentence which has not completely expressed its [intended] meaning, is said to be entailing an expectation (sākāṅkṣa) and a sentence which has completely expressed such a sense, is said to be entailing no expectation (nirākāṅkṣa).

¹Now, entailing an expectation relates to [the utterance of a sentence] of which the meaning has not been completely expressed and which has notes from the throat and the breast, and begins with a high pitch (tāra) and ends in a low pitch (mandra) and has not completed its Varṇa or Alaṃkāra.

And, entailing no expectation relates to [the utterance of a sentence] the meaning of which has not been completely expressed and which has notes from the head and begins with a low pitch (mandra) and ends with a high pitch (tāra) and has completed its Varṇa and Alaṃkāra.

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42-43 (C.42b-43a; B.XVII.408).
43 (C. 43b, 43c; B. XVII. 109-110). ¹ The text from here till the beginning of 44 is in prose.
44 (C. 44; B. XVII. 111). ¹ The text from here till the beginning of 45 is in prose.