नाट्यशास्त्रम् (प्रथम भाग - अभिनवभारती एवं हिन्दी टीका सहित)

-XIX. 60 ] MODES OF ADDRESS AND INTONATION 351

In the Comic and the Erotic Sentiments⁴ the enunciation⁵ should include Presentation, Separation Brilliancee and Calming.

In the Pathetic Sentiment it should include Brilliance and Calming.

In the Heroic the Furious and the Marvellous Sentiments it should abound in Separation, Calming, Brilliance and Continuity.

In the Odious and the Terrible Sentiments it should include Closure and Seperation.

All these are to be applied through notes of high (tāra), low (mandra) and medium (madhya) pitch proceeding [from the three voice registers]. In addressing one at distance the notes should be made of high pitch (tāra) from the head ; the person addressed being not at a great distance the notes should be made of medium pitch (madhya) from the throat, and to speak to one at one's side notes should be made of low pitch (mandra) from the breast. But one should not proceed to the high pitch (tāra) from the low (mandra) one, and from the low pitch to the high one. The three kinds of tempo (laya) of these notes are to be utilised in different Sentiments. In the Comic and Erotic Sentiments the tempo should be medium, in the Pathetic it should be slow and in the Heroic, the Furious, the Marvellous, the Odious and Terrible Sentiments quick.

Pause defined

⁶Now, Pause (virāma) in connexion with enunciation is due to the completion of sense and is to depend on the situation (lit. practical), and not on metre. Why ? Because it is found in practice that there occurs pause even after one, two three or four syllables, e.g.

60. kiṃ gaccha mā viśa sudurjana vāritô'si ।
    kāryaṃ tvayā nama ma sarva-janôpabhukta¹ ॥

What [is the matter] ? Be off. Don't enter. You are prohibited

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⁴ B. adds ākāṅkṣāyām after hāsya-śṛṅgārayor.
⁵ C. vākyam for pāṭhyam.
⁶ The text here is in prose.
60 (C. 59; B.XVII. 132). ¹ B. bhuktam C. bhuktaḥ.