नाट्यशास्त्रम् (प्रथम भाग - अभिनवभारती एवं हिन्दी टीका सहित)

-XIX. 75 ] MODES AND ADDRESS AND INTONATION 353

¹Here one should know about Drawn-out Syllables (kṛṣyā-kṣara)² in connexion with the States and the Sentiments. e.g.

The Drawn-out Syllables and their use

68-69. The consonant ending in a long vowel like ā, e, ai, or au is known as a Drawn-out Syllable. In sadness, argumentation, questioning or indignation such a syllable should take (lit. be pronounced in) one Kalā time.

70. As for the rest of the syllables they may be pronounced with Pause required by their meaning, and such a Pause may be one, two, three, four, five or six Kalās' duration.

71. The Pause being of great duration (vilambita) the syllable pronounced will always¹ be [rendered] long. But its duration should not be more than six Kalās².

72. Or, taking account of the practice as required by some cause, or of the act on one should observe Pause in a verse to suit the State or the Sentiment [involved].

73 In verse, Pauses arising from the foot-division [only] are recognized ; but the position of these may be varied [on the stage] by the experts to suit the meaning [of a passage].

74. But [while observing Pause as directed above] one should not creat (lit. pronounce) ungrammatical words (apaśabda) or spoil the metre, and one should not pause too long except in places of caesura, and in [uttering words expressing] sorrow one should not make the intonation excited (dīpta)¹.

75. One should recite a dramatic composition (kāvya) which is free from literary defects (kāvya-doṣa), possesses best characteristics and has [literary] qualities, and in such a Recitation

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¹ The text here is in prose. We follow B.'s text.
² C. nikṛṣṭākṣara for kṛṣyākṣara.
68-69 (C. 68-69; B.XVII. 140-141). 70 (C.70; B.XVII. 142).
71 (C.71; B.XVII. 143). ¹ C. yadā for sadā.
² C. padānāṁ for kalānām.
72 (C. 71c-72a; B.XVII. 144) . 73 (72b-73a; B.XVII. 145).
74 (C.73b, 74a; B.XVII. 146). ¹ C. repeats 77a before this.
75 (C. 75; B.XVII. 147).
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