नाट्यशास्त्रम् (प्रथम भाग - अभिनवभारती एवं हिन्दी टीका सहित)

378 THE NATYASASTRA [ XX. 137-

137. If a woman sings in a standing¹ posture a song dealing with the praise of her beloved and delineates the same with the gestures of her different limbs, it is called the Geyapada.

Sthitapāṭhya

138. If a separated woman burning with the fire of love, recites anything in Prakrit while seated on her seat¹, it is [an instance of] the Sthita-pāṭhya.

Āsīna

139. When one sits¹ without making any toilet² and is overcome with anxiety and sorrow, and looks with oblique glances it is [an instance of] the Āsīna.

Puṣpagaṇḍikā

140. When a woman in the guise of a man recites something sweetly in Sanskrit for the pleasure of her female friends, it is [an instance of] the Puṣpagaṇḍikā¹

Pracchedaka

141. When a [separated] woman pained by the moon-light prepares to go to her beloved even if he has done her wrong, it is [an instance of] the Pracchedaka¹.

Trimūḍhaka

142. A play adorned with even metres and abounding in manly States and composed of words which are neither harsh nor large, is called the Trimūḍhaka.

Saindhavaka

143. When [one represents] a lover who has failed to keep his tryst and is using Prakrit [to express his grief] through well-performed Karaṇas, it is [an instance of] the Saindhavaka.

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137 (C.141). ¹ See above 136 note 1.
138 (C.142 ; K. XVIII. 173 f.n.). ¹ See SD. 506 ; also note 1 above of 136. Cf. K. XVIII. 173. BhP. p. 245, l. 17-18.
139 (C.143 ; K. XVIII. 174). ¹ SD. 507 ; see above 136 note 1. The Gentle Dance (lāsya) in this connexion will consist of slowly moving glances only. Cf. BhP. p. 245, l.19-20. ² Read aprasādhita gātra.
140 (C.144). ¹ Cf. SD. 507 ; see above 136 note 1. Cf. K. XVIII. 175, BhP. p. 245, l. 21-22.
141 (C.145 ; K. XVII. 176). ¹ The def. given in SD. (507) is different. SD. reads the term as Triguṇḍhaka. Cf. BhP. p. 246 l. 1-2.
142 (C. 146 ; K. XVIII. 177). ¹ See BhP. p. 246, l. 3-4.
143 (C.147). ¹ Cf. SD. 508. Cf. K. XVIII. 178, BhP. p. 246. l 5-6.