नाट्यशास्त्रम् (प्रथम भाग - अभिनवभारती एवं हिन्दी टीका सहित)

510 THE NATYASASTRA [ XXVI. 124-

their different conditions, may be (lit. should be) included in a play, by those well-versed in the Canons of Drama (nāṭyaveda).

124. Whatever Śāstras, laws, arts and activities are connected with the human usage (lokadharma) may be produced (lit. called) as a drama.

125. Rules regarding the feelings and activities of the world moveable as well as immoveable cannot be formulated (lit. ascertained) exhaustively by the Śāstra.

126. The people have different dispositions, and on their dispositions the drama rests. Hence playwrights and producers (prayoktṛ) should take the people as their authority [as regards the rules of the art].

127. Thus they (prayoktṛ) should pay attention to the feelings, gestures and the Temperament in representing the States of various characters [that may appear in the drama]¹.

128. The men who know in this order the art of Histrionic Representation and applies it on the stage, receives in this world the highest honour for putting into practice the theory of dramâ (nāṭyatattva) as well as [the art of] acting (abhinaya)¹.

129. These are to be known as the modes of representation dependent on Words, Costumes, Make-up and Gestures. An expert in dramatic production should adopt these for the Success [in his undertaking]¹.

Here ends Chapter XXVI of Bharata's Nāṭyaśāstra which treats of the Special Representation .

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124 (C.117; K.XXV.128). 125 (C.118; K.XXV.129).
126 (C.119; K.XXV.130).
127 (C.120). ¹ K. omits this.
128 (C.121; K.XXV.131). ¹ C. reads after this an additional couplet.
129 (C.122). ¹ K. omits this.