नाट्यशास्त्रम् (प्रथम भाग - अभिनवभारती एवं हिन्दी टीका सहित)

-XXIV. 47 ] THE BASIC REPRESENTATION 447

41. This is sixfold : Words (vākya), Sūcā, Aṅkura, Śākhā, Nāṭyāyita and Nivṛttyaṅkura¹.

Words

42. Recitatives in Sanskrit and Prakrit composed in verse or prose when they possess meanings giving various Sentiments, constitute the Histrionic Representation by Words¹.

Sūcā

43. When the meaning of a sentence or the sentence [itself] is indicated first by Temperament and Gestures, and then the Verbal Representation is made, it is called Sūcā¹.

Aṅkura

44. When one skilfully represents by Gestures in the manner of the Sūcā the words which one has in one's heart, it is called the Representation of Aṅkura¹.

Śākhā

45. The representation that is made in due order by the head, the face, shanks, thighs, hands and feet in the manner of the Śākhā(?), is known as the Śākhā Representation¹.

Nāṭyāyita

46. The intimation of Histrionic Representation which is made at the beginning of a drama by [different] practices, for enlivening the time, and which lasts till the coming together of the [dramatis personae on the stage] is called Nāṭyāyita¹.

47. The Histrionic Representation of Dhruvās relating to the States and the Sentiments which are made by means of

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41 (C.41; K.XXII.41). ¹ Cf. Kālidāsa's pañcāṅgābhinaya, Mālavi. I.6.2.
42 (C.42; K.XXII.42). ¹ This seems to be the same as the vācikābhinaya.
43 (C.43; K.XXII.43). ¹ This kind of representation is mainly to accompany songs and dance.
44 (C.44; K.XXII.44). ¹ This kind of representation is meant to be combined with dance.
45 (C.45; K.XXII.45). ¹ This kind of representation is to accompany recitatives (pāṭhya).
46 (C.46; K.XXII.46). ¹ This is the use of gestures in connection with songs and dance before the beginning of the dramatic performance,
47 (C.47; K.XXII.47).