नाट्यशास्त्रम् (प्रथम भाग - अभिनवभारती एवं हिन्दी टीका सहित)

386 THE NATYASASTRA [ XXI. 42

of some temptation, anger or distress, is called the Juncture of that name (i.e. Pause)¹.

The Conclusion

42. Bringing together the objects [of the Junctures] such as the Opening (mukha) etc. along with the Germ (bīja), when they have attained fruition, is called the Conclusion (nirvahaṇa)¹.

43. These are Junctures of the Nāṭaka to be known by the producers of a drama. They may occur in the Prakaraṇa and the other types of plays as well.

Junctures vary in different types of drama

44. The Ḍima¹ and the Samavakāra² are to have four Junctures, and the playwright should never make the Pause (vimarśa) in them.

45. The Vyāyoga¹ and the Īhāmṛga² are to have three Junctures. There should be no Development and Pause (avamarśa = vimarśa) in these two, and the Graceful (kaiśikī) Style also has no place in them.

46. The Prahasana¹, the Vīthi², the Aṅka³ and the Bhāṇa⁴ are to have only two Junctures which should be the Opening (mukha) and the Conclusion (nirvahaṇa), and their Style should be the Verbal one (bhāratī).

47. These are the Junctures to be adopted by the producers in the ten types of play, Listen now about different kinds of Junctures which also will as it were mark their limits.

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¹ DR. I. 53 calls this avamarśa. SD. 336; NL. 770ff, gives two more definitions of this Juncture. Read the second hemistich as क्रोधव्यसनजो वापि विमर्श स इति स्मृतः.

42 (C.43; K.XIX.41). ¹ Emend the first hemistich as follows :— समानयनम् अर्थानां मुखाद्यानां सबीजिनाम्. Cf. DR. I. 48-49; SD. 337; NL. 554 f.

43 (C.44; K.XIX. 42).

44 (C.45; K.XIX.44a, 43b). ¹ See NŚ. XX. 90ff. ² See ibid 78ff.

45 (C.46; K.XIX.43a, 44b). ¹ See NŚ. XX. 84ff. ² See ibid. 64ff.

46 (C.47-48; K.XIX. 45). ¹ See NŚ. XX. 102ff. ² See ibid 112ff. ³ See ibid 94ff. ⁴ See ibid 107ff.

47 (C.48; K.XIX. 46).