नाट्यशास्त्रम् (प्रथम भाग - अभिनवभारती एवं हिन्दी टीका सहित)

350 THE NATYASASTRA [ XIX. 56-

56. Grave (mandra) and slow (vilambita) intonations have been prescribed for words containing pleasant sense and bringing in happiness¹.

57. Exited (dīpta) and high (ucca) intonations have been prescribed for words which express sharpness and roughness. Thus the Recitation should be made to have to different intonations (lit. shelter) by the producers¹.

Intonation in different Sentiments

58-59. Slow intonation is desired in the Comic, the Erotic, and the Pathetic Sentiments. In the Heroic, the Furious and the Marvellous Sentiments the excited intonation is praised. Fast and low intonations have been prescribed in the Terrible and the Odious Sentiments. Thus the intonation should be made to follow the States (bhāva) and the Sentiments.

Six limbs of enunciation

¹Now there are six limbs [of enunciation] such as Separation (viccheda), Presentation (arpaṇa), Closure (visarga), Continuity (anubandha), Brilliance (dīpana) and Calming (praśamana).

Of these, Separation (viccheda) is due to pause (virāma). Presentation (arpaṇa) means reciting something by filling up the auditorium with graceful modulation of voice². Closure (visarga) means the finishing of a sentence. Continuity (anubandha) means the absence of separation between words³ [in a sense group] or not taking breath while uttering them. Brilliance (dīpana) means the gradually augmented notes which proceed from the three voice registers (sthāna), and Calming (praśamana) means lowering the notes of high pitch (tāra) without making them discordant.

Now about their uses in connexion with different Sentiments.

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56 (C.54; B.XVII.126). ¹ B. reads one additional couplet before this.
57 (C.55; B.XVII.127). ¹ C. reads three additional hemistiches after this.
58-59. (C.57b, 58; B.XVII. 128-131). ¹ The text from here till the beginning of 60 is in prose.
² B. līlāyamānamadhuravalguṇā for līlāvarṇa.
³ B. padāntareṣu vicchedaḥ for °ateṣvavicchedaḥ.