नाट्यशास्त्रम् (प्रथम भाग - अभिनवभारती एवं हिन्दी टीका सहित)

352 THE NATYASASTRA [XIX. 61-

[to enter], O very wicked man, the enjoyed-by-all, I have nothing to do with you².

Use of Pause

Thus in a play (lit. poetical composition) occur words containing small number of syllables in cases of Sūcā³ and Aṅkura⁴ [which are connected with Pause].

Hence, care should be taken about Pause. Why ? Because [an observation of] Pause clears the meaning. There is a couplet [on this subject] :

61. In the [Verbal] Representation (abhinaya) the producers should always take care about Pause; for, on it depends the meaning [of words uttered].

Hands in connexion with Alaṃkāras and Pause

62. Keeping the eyes fixed in the direction in which the two hands move one should make the Verbal Representation by observing proper Pauses for indicating the [intended] meaning.

63-64. In the Heroic and the Furious [Sentiments] the hands are mostly occupied with the weapons, in the Odious they are bent due to contempt, in the Comic they are to point to [something], in the Pathetic they are to hang down and in the Marvellous they are to remain motionless due to surprise.

65. On similar other occasions ᵒtoo, the meaning should be made clear by means of Alaṃkāras and Pauses.

66-67. Pauses which are prescribed in a verse require Alaṃkāras. Pause should be observed after a word, when the meaning or the breath (prāṇa) requires it. And when words and syllables are combined into a [big] compound or [the utterance is] quick, or confusion about different meanings is liable to arise, Pause should be observed at the end of a foot or as required by the breath. In the remaining cases Pause should depend on the meaning.

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² These are the words of a vipralabdhā Heroine.
³ See NŚ. XXIV. 43.
⁴ See NŚ. XXIV. 44.
61 (C.60; B.XVII. 133).
62 (C 61; B.XVII. 134).
63-64 (C.62-63; B.XVII. 135-136).
65 (C.64; B.XVII.137)
66-67 (C.65-67; B.XVII. 138-140a).