नाट्यशास्त्रम् (प्रथम भाग - अभिनवभारती एवं हिन्दी टीका सहित)
Natyashastra of Bharata Muni with Hindi Commentary (Vol 1)
भरत मुनि / आचार्य अभिनवगुप्त द्वारा
पृष्ठ 589, कुल 654 में से
संदर्भ में पढ़ें504 | THE NATYASASTRA | [ XXVI. 85-
mode of speaking will present [the substance of] a dialogue by means of replies related to various [imaginery] questions (lit. causes) which may arise out of the play².
Speaking Aside
85-86. When overwhelmed with excessive joy, intoxication, madness, fit of passion repugnance, fear, astonishment, anger and sorrow one speaks out words which are in one’s mind (lit. heart), it is called Speaking Aside (ātmagata).
Concealed Speaking
And Concealed Speaking (apavāritaka) is related to secrecy.
Private Personal Address
87-88. When out of necessity persons standing close by are [supposed] not to hear what is spoken to someone else, this constitutes Private Personal Address (janāntika)¹.
Thinking within oneself
It relates to something within one’s self (lit. heart) which is a matter of deliberation² and feeling³ and [which is] indeed a kind of Speaking Aside (ātmagata).
88-90. Words in a play, which are connected with secrecy should be spoken in one’s ears preceded by “so, so”.
Mentioning incidents that occurred already
90-91. When one is to speak from necessity of something
² K. reads rasabhāva°.
85-86 (C.82a; KXXV.89b-90). ¹ Read the first three hemistichs as follows:
अतिहर्षमदोन्मादरागद्वेषभयार्दितः । विस्मयक्रोधदुःखात्तिबमादैकोऽपि भावते । हृदयस्थं वचो यत्तु तदात्मगतमिष्यते.
87-88 (C. 82b-83; K.XXV. 91a-92). ¹ It is because both the janāntika and the apavāritaka are supposed to be inaudible to others on the stage Ag. (p.424) quotes a view on their distinction as follows:
त्र्यङ्गुलाङ्गुष्ठमयमेतेञ्जनान्तिकमेव यावतो हि जनस्य तद् वक्तव्यं तावतोऽन्तिके सामीप्ये तदुच्यते यत्त तस्मात् परम् उद्दिस्य नोच्यते अथ च परः शृणोत्ययमेवाशयो वचने तदपवारितकेन निगूढेण भावेनाशयेन संयुक्तम्.
And a late writer says:
इह यद्वृत्तमेकस्यैव गोप्यं बहूनामगोप्यं तज्जनान्तिकम् तद्विपरीतम्-अपवारितम्.
ND. p.31. But all this does not seem to fit in well with the examples of the apavāritaka available in extant dramas. Cf. Lévi. p.61.
² savitarkam, C. (savikalpam, K.).
³ bhāvastham C. (bhavavaśād, K.).
88-90 (C.84-85; KXXV.93-94). ¹ K reads 88b differently.
90-91 (C.86; K.XXV.95).