नाट्यशास्त्रम् (प्रथम भाग - अभिनवभारती एवं हिन्दी टीका सहित)

452 THE NATYASASTRA [XXIV. 78-

Lakṣaṇa defined

78. As a performance is lakṣyate or marked, it is called lakṣaṇa (characteristic mark). Hence it is of use in a drama.

Practice preferred to the Śāstra

76. Those who have not received training from (lit. lived with) any master (ācārya) or who have no access to the Śāstras, resort to the "irregular" [ways], which depend on merely the practices [of the stage]¹.

Representation of the sensual perception

80. A wise [actor] should represent sound, touch, form, taste and smell by the sense-organs concerned, and by Gestures delineating their objects¹.

Sound

81. By making a sidelong (sācī) glance, bending the head sideways and putting a hand near the ear, one should represent the sound (śabda).

Touch

82. By slightly narrowing down the eyes, raising the eyebrows in the like manner as well as by touching the shoulder and the cheek, the wise one should represent the touch (sparśa).

Form

83. By holding on the head the Patāka hand with its fingers slightly moving, and looking intently [at something] with eyes, the wise one is to represent the form (rūpa).

Taste and Smell

84. By slightly narrowing down the eyes and expanding the nostrils in the like manner as well as by intently gazing [at something] the wise one is to represent the taste (rasa) and the smell (gandha).

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78 (C.74; K.XXII.73b-74a).
79 (C.75; K.XXII.74b-75a). ¹ Read the couplet as अनाचार्योषिता ये च ये च शास्त्रबहिष्कृताः । बाह्यं ते तु प्रयोक्ष्यन्ते क्रियामात्रैः प्रयोजितम्. This shows that the ancient India's artists did not follow the Śāstras slavishly.
80 (C.76; K.XXII.75b-76a). ¹ See also NŚ. VIIIff.
81 (C.77; K.XXII.76b-77a). 82 (C.78; K.XXII.77b-78a).
83 (C.79; K.XXII.78b-79a). 84 (C.80; K.XXII.79b-80a).