नाट्यशास्त्रम् (प्रथम भाग - अभिनवभारती एवं हिन्दी टीका सहित)

348 THE NATYASASTRA [ XIX. 45.

The six Alaṃkāras

45. The six Alaṃkāras of the [note in] Recitation are that it may be high (ucca), excited (dīpta), grave (mandra), low (nīca), fast (druta), and slow (vilambita). Now listen about their characteristics.

Uses of the six Alaṃkāras

$^1$The high (ucca) note proceeds from the head register and is of high pitch (tāra); it is to be used in speaking to anyone at a distance, in rejoinder, confusion, in calling anyone from a distance, in terrifying anyone, in affliction and the like.

The excited (dīpta) note proceeds from the head register and is of extra high pitch (tāratara); it is to be used in reproach, quarrel, discussion, indignation, abusive speech, defiance, anger, valour, pride, sharp and harsh words, rebuke, lamentation$^2$ and the like.

The grave (mandra) note proceed from the breast register and is to be used in despondency, weekness, anxiety, impatience, low-spiritedness, sickness, deep wound from weapons, fainting, intoxication, communicating secret words$^4$ and the like.

The low (nīca) note proceeds from the breast register but has a very low pitch (mandra-tara) sound; it is to be used in natural speaking, sickness$^5$, weariness due to austerities and walking a distance, panic, falling down, fainting and the like.

The fast (druta) note proceeds from the throat register and is swift; it is to be used in women's soothing children (lallana) refusal of lover's overture (manmana)$^6$, fear, cold, fever, panic$^7$, agitation, secret emergent (ātyayika), act, pain and the like.

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45 (C.45; B.XVII. 112-114). $^1$ the text from here till the beginnig of 46 is in prose.
$^2$ C. om. °krandita, °nirbhartsana.
$^3$ B. inserts krīḍā after vyādhi.
$^4$ C. om. guhyārthanthavacana.
$^5$ After vyadhi read tapa-pathesrānta-trasta.
$^6$ C. skhalita-vellana-madana for lallana-manmana. On the meaning of lalla (lallana) and manmana there is no unanimity. We follow Ag's upādhyāya, who says लल्लमन्मना नायिकागतौ बालविनोदन-सान्त्वनादौ, मुखत्येव प्रायपर[भियोगानङ्गीकर]णादौ च (Ag)
$^7$ After trās (trastā, C.) read yastvātyayika (gūḍha) kāryavedanādiṣu.