नाट्यशास्त्रम् (प्रथम भाग - अभिनवभारती एवं हिन्दी टीका सहित)

-XXIV. 77 ] THE BASIC REPRESENTATION 451

70. The seven forms of this (i. e. Verbal Representation) will have many more varieties when they will be modified according to time, and persons who are affected (lit. of the self and others).

71. These are the ways of the Histrionic Representation, known to producers of a drama. Different kinds of representations are to be made through these¹.

The Basic Representation

72. The Basic Representation (sāmānyābhinaya) is that which is made simultaneously by the head, the face, the feet, the thighs, the shanks, the belly and the waist¹.

73. Experts in acting are to represent [a character] by graceful movements of hands and delicate efforts of limbs [in general], which are to delineate the Sentiments and the States.

Regular Histrionic Representation

74-75. The acting (lit. drama) which is [performed] by physical efforts which are not violent, hurried or complex and which rest on proper tempo (laya), time (tāla) and the measurement of Kalās, and in which words are distinctly uttered without harshness and hurry, is called “regular” (ābhyantara).

Irregular Histrionic Representation

76. When it is of the opposite kind and observes free movements and is not in harmony with songs and instrumental music accompanying it, it is called “irregular” (bāhya).

77. It is called “regular” (ābhyantara, lit. inner) when it conforms to the rule (lit. within the lakṣaṇa or rule) and ‘irregular’ (bāhya, lit. outside) when it is outside [the prescription] of the Śāstra.

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70 (C.66; K.XXII.65b-66a). 71 (C.67). ¹ K. omits this.
72 (C.68; K.XXII.67b-68a). ¹ Cf. 1 above.
73 (C.69; X.XXII.68b-69a).
74 (C.70; K.XXII.69b-70a).
75 (C.71; K.XXII.70b-71a). 76 (C.72; K.XXII.71b-72a).
77 (C.73; K.XXII.72b-73a).