नाट्यशास्त्रम् (प्रथम भाग - अभिनवभारती एवं हिन्दी टीका सहित)

448 THE NATYASASTRA [ XXIV. 48.

delineating joy, anger, grief and the like, is also to be known as Nāṭyāyita¹.

Nivṛttyaṅkura

48. When one represents words of another person by Sūcī it is called Nivṛtyaṅkura¹.

Twelve forms of the Verbal Representation

49-51. These are the [histrionic] ways connected with proper States and Sentiments that are available for the subject-matter of plays. The representation of these, is to take the following twelve forms : Accosting (ālāpa), Prattling (pralāpa), Lament (vilāpa), Repeated Speaking (anulāpa), Dialogue (saṃlāpa), Change of Words (apalāpa), Message (saṃdeśa), Agreement (atideśa), Command (nirdeśa), Pretext (vyapadeśa), Instruction (upadeśa) and Statement (apadeśa)¹.

Accosting

52. Accosting (ālāpa) is a sentence used in addressing [any one]¹.

Prattling

Irrelevant (lit. meaningless) words are called Prattling (pralāpa)².

Lament

53. Words originating in a pathetic condition are called Lament (vilāpa)¹.

Repeated Speaking

Speaking again and again on anything is called Repeated Speaking (anulāpa)².

Dialogue

54. Dialogue (saṃlāpa) is made up of utterance and counter-utterance¹.

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48 (C.48; K.XXII.48). ¹ This kind of representation is used by the dancer who interprets other's speeches.
49-51 (C.49-51; K.XXII.49-51). ¹ BhP. p. 10, l. 20-23.
52 (C.52; K.XXII.52). ¹ Cf. BhP. p. 10, l. 24.
² Cf. ibid p. 11, l. 1.
53 (C.53; K.XXII.53). ¹ Cf. BhP. p. 11, l. 2.
² See ibid p. 11. l. 3).
54 (C.54; K.XXII.54). ¹ See BhP. p. 11, l. 4.