नाट्यशास्त्रम् (प्रथम भाग - अभिनवभारती एवं हिन्दी टीका सहित)

-XXIV. 225] THE BASIC REPRESENTATION 469

hair hanging loose, is called a Heroine with a sojourning husband (proṣitabhartṛkā)¹.

Heroine moving to her lover

219. A woman who due to love or infatuation is attracted to her lover and gives up modesty for going out to meet him, is called a Heroine secretly moving to her lover (abhisārikā)¹.

Representation of the different Heroines

220. Heroines in a Nāṭaka should be of these conditions. I shall speak of the manner in which the producers are to represent them¹.

Enraged, deceived and quarreling Heroines

221-223. Enraged (khaṇḍitā), Deceived (vipralabdhā), and Quarreling (kalahāntaritā) Heroines should be represented by anxiety, sighs, lassitude, burning of the heart, conversation with female friends, looking to one's own condition, weakness, depression, tears, appearance of anger, giving up of ornaments and toilet, sorrow and weeping¹.

The Heroine with a sojourning husband

223b. The Heroine with a sojourning husband (proṣitabhartṛkā) should also be represented with these states¹.

The Heroine having the husband in subjection

224. A Heroine having the husband in her subjection should be represented with gaudy and brilliant dresses, face beaming with pleasure and having an excess of physical charm¹.

Different classes of Heroine moving to her lover

225. Whether she may be a courtezen, a lady of high family or a maid-servant, the producers should make the Heroine move to her lover in the special manner described below¹.

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219 (C.XXXI.118; K.XXII.206). ¹ Cf. NL.2572ff; DR. II. 27. see BhP. p. 100.
220 (C.XXXI.119; K.XXII.207). ¹ Yathā yojyaṁ prayoktṛbhiḥ, C. for kāmatantraṁ anekadhā. K.
221-223 (C.XXXI.120-122a; K.XXII.208-210a). ¹ Cf. DR. II. 28; cf. BhP. p. 98-100.
223b (C.XXXI.122b; K.XXII.210b). ¹ Cf. BhP. p. 100.
224 (C.XXXI.123; K.XXII.211). ¹ Cf. DR. II. 28. Cf. BhP. p. 99.
225 (C.XXXI.124; K.XXII.212). ¹ Cf. DR. II. 28. Cf. BhP. p. 100.