नाट्यशास्त्रम् (प्रथम भाग - अभिनवभारती एवं हिन्दी टीका सहित)

.XXVI. 50 ] SPECIAL REPRESENTATION 499

42. Similarly in other cases also, from an observation of different incidents [in a play] one should find out the Determinants and the Consequents from actions [related to them].

43. Reply to a message given to the Messenger is [also] called a Consequent.

44. In these ways the States, the Determinants and the Consequents are to be represented by men as well as women.

General directions for the representation

45. In the representation of their own nature, men should assume the Vaiṣṇava posture (sthāna)¹ and woman the Āyata² or the Avahittha³ postures in relation to [appropriate] actions.

46. [But] there occurring special need for the same, other postures may [also] be introduced for the representation of different States in special (lit. different) types of plays.

Men's and women's efforts

47. Efforts of men should be characterised by patience as well as sportive limbs, and those of women by delicate Aṅgahāras.¹

Women's movements of limbs

48. Women's movement of hands, feet and other limbs should be graceful (lalita) while men's movement of these should be restrained (dhīra) as well as vehement (uddhata)¹.

Meanings of words

49. Representation of the meaning of words are to be made differently by men and women. I shall explain them in detail in connexion with the States and the Consequents.

Joy

50. One should indicate one's joy (harṣa) by embracing the [other's] body, by smiling eyes as well as by horripilation¹.

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42 (C.42; K.XXV.43). 43 (C.43; K.XXV.44).
44 (C.44; K.XXV.45). 45 (C.45; K.XXV.46). ¹ See NŚ. XI.51-52.
² See NŚ. XIII.157-170. ³ See NŚ. ibid. 46 (K.XXV.47).
47 (C.46; K.XXV.48). ¹ See NŚ. IV.170ff.
48 (C.47; K.XXV.49). ¹ K. adds after this one additional hemistich. 49 (C.48; K.XXV.50b-51a).
50 (C.49; K.XXV.51b-52a). ¹ tathollukasana, K. (tathālapakathaiḥ).