नाट्यशास्त्रम् (प्रथम भाग - अभिनवभारती एवं हिन्दी टीका सहित)

-XXI. 39 ] TEN STYLES 405

Particular Presentation

33. When, over this production [of the Introduction] the Director imposes another production and then a character enters [the stage], it is called the Particular Presentation (prayogātiśaya).¹

Personal Business

34. [The Introduction] in which the Director speaks on some business in hand and taking cue from this (lit. with its help) a character enters the stage, it is called the Personal Business (pravṛttaka)¹.

35. Taking up one of these types and skilfully giving double meaning to it, the wise [playwright] should construct the Introduction by freely assembling different characters¹.

36. The wise are thus to know the Introduction with different bases¹. The characteristics of the Vīthī² and the Prahasana³ have been mentioned before.

37. These are the eight¹ different aspects (lit. meanings) of the Verbal Style I spoke of. I shall now explain the rules of the Grand Style (sāttvatī) with its characteristics.

The Grand Style

38. The Style which is endowed with the sāttvata quality, the Nyāyas, metres, and has exuberance of joy and an undercurrent of the State of sorrow¹, is called Grand (sāttvatī)².

39. The Grand Style is known to consist of representation by Words and Gestures, and of strength in speeches and acts showing the rise of spirit.

---

33 (C.33; K.XX.33). ¹ See NL. 1201-1202; DB. III. 11; SD. 290.
34 (C.34; K.XX.32). ¹ Cf. NL. 1214-1215; SD. 291; DR. III. 10.
35 (C.35; K.XX.35). ¹ i.e. actress, Jester or the Assistant. See 28 above.
36 (C.36; K.XX.36). ¹ Emend vivbudhāśrayam into vividhāśrayam.
² See NŚ. XX. 111ff. ³ See NŚ. XX. 101ff.
37 (C.37; K.XX.37). ¹ Prarocanā, Vīthī, Prahasana and five varieties of Āmukha. See before 26-30.
38 (C.38; K XX.38). ¹ This shows that no pathetic subject-matter should find a place in this Style..
² See NL. 1234ff. SD. 416. DR. II. 53.
39 (C.39; K.XX.39).