नाट्यशास्त्रम् (प्रथम भाग - अभिनवभारती एवं हिन्दी टीका सहित)

CHAPTER TWENTYFOUR.

THE BASIC REPRESENTATION

Importance of Temperament

1. The Basic Representation (sāmānyābhinaya)$^1$ is known to depend on the Words, Gestures and Temperament (sattva). [Among these] one should take special care about Temperament,$^2$ for the dramatic production has this as its basis.

2. The Histrionic Representation with an exuberant Temperament (sattvātirikta) is superior, the one with the level Temperament (samasattva) is middling, and that with no [exercise of] Temperament is inferior.

The definition of Temperament

3. Temperament (sattva)$^1$ is something invisible, but it gives support (lit. shelter) to the States and the Sentiments by means of horripilation, tears and similar other signs displayed in proper places and in harmony with the Sentiments [to be produced].

Feminine graces in the drama

4-5. The dramatic experts know the young women's Graces (alaṃkāra, lit. ornament) to be the support of Sentiments in a drama$^1$, and these consist of changes in respect of their faces and other limbs. Of these, firstly the change of limbs (aṅgaja)$^2$ is of

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1 (C 1; K.XXII.1). $^1$ Ag. seems to have no very convincing explanation as to why sāmānyābhinaya was so called. He discusses it from different points of view (pp. 436-430). From the contexts of this Chapter as well as the def. given here and in 72 below, it appears that the expression means a totality of the four kinds of abhinaya (NŚ. VI. 23) and as such it should be distinguished from the citrābhinaya (NŚ.XXVI.) which applies only to the pictorial representation of particular objects and ideas. $^2$ See NŚ.VI. 22 note.

2 (C.2; K.XXII.2).

3 (C.3; K.XXII.3). $^1$ See NŚ. VI.22 note.

4-5 (C. 4-5; K.XXII.4-5). $^1$ K. reads 4a as अलंकाराश्च सत्वस्था ज्ञेया भाव-समाश्रया ; Cf. DR. II. 30a; BhP. p.6. 1.20 ; ND. p. 203. $^2$ See DR. II. 30b ; ND. p. 203.