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नाट्यशास्त्रम् (प्रथम भाग - अभिनवभारती एवं हिन्दी टीका सहित)

नाट्यशास्त्रम् (प्रथम भाग - अभिनवभारती एवं हिन्दी टीका सहित)

Natyashastra of Bharata Muni with Hindi Commentary (Vol 1)

भरत मुनि / आचार्य अभिनवगुप्त द्वारा

DevanagariSanskritpublished654 पृष्ठ

पृष्ठ 462, कुल 654 में से

संदर्भ में पढ़ें
पृष्ठ 462

-XX. 136 ] TEN KINDS OF PLAY 377

The Lāsya

  1. [Similar] other limbs are attached to the Nāṭaka in connexion with the performance of the Lāsya, and they owe their origin to this (i. e. Nāṭaka), and are to be acted like the Bhāṇa by a single person.

  2. The Lāsya has a form similar that of the Bhāṇa and it is to be acted by one person¹. Its theme is to be inferred like that of the Prakaraṇa and should relate to [loving] intimacy [with any one].

The twelve types of the Lāsya

134-135. The [twelve] types of the Lāsya are : Geyapada Sthitapāṭhya, Āsina, Puṣpagaṇḍikā, Pracchedaka, Trimūḍha, Saindhava, Dvimūḍhaka, Uttamottamaka, Vicitrapada, Ukta-pratyukta and Bhāvita (Bhāva)¹.

Geyapada

  1. When [the Heroine] is seated¹ on her seat surrounded with stringed instruments and drums near her, and singers are singing [before her] without any accompaniment of these, it is called the Geyapada (simple song).

132 (C.136 K.XVIII. 169). ¹ Lāsyāṅga is an one act play which requires lāsya or a gentle form of dance for its representation; for this term may be interpreted as lāsyam aṅgam yasyāḥ saḥ (that which has lāsya as its principal element). The ten lāsyāṅgas seem to be only so many varieties of the Lāsya. These are not its 'elements' as some scholars are apt to consider.

² The word vīthyaṅga also may be similarly interpreted. Vīthi seems to be nothing but a particular kind of one act play (defined in 112 boave) and vīthyaṅga may therefore be translated as 'a play of the Vīthi type'.

133 (C.137 ; K. XVII. 182). ¹ See above 132 note ; lāsya used in this passage means merely lāsyāṅga.

134-135 (C.138-139 ; K. XVIII. 170-171). ¹ SD. (504) gives only ten and BhP. (p. 245-246) eleven lāsyāṅgas, but DR. (III. 52-53) gives their number as ten but does not define them.

136 (C.140 ; K. XVIII. 172). ¹ See SD. 505. The seating posture included in this and some of the other varieties of the lāsya need not appear to be puzzling. For the Gentle Dance in this connexion did not imply the movement of the entire body. See Gilbert Murray, Euripides and His Age, London, 1946, p. 150.

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