नाट्यशास्त्रम् (प्रथम भाग - अभिनवभारती एवं हिन्दी टीका सहित)

-XXVII. 19] SUCCESS IN DRAMATIC PRODUCTION 513

13-14. If the play is a brilliant one with [a plot containing] cutting and piercing [of limbs], fight, portentous calamity, terrific happening or minor personal combat, it should be received by the clever spectators with tears and rising up [from the seat, and with shaking the shoulder and head].

15. This is the manner in which the human Success¹ gets expressed. Now listen about the divine Success which I am going to describe.

The divine Success

16. The Success [in dramatic production] which includes an excessive [display] of the Temperament, and expresses the States [clearly]¹ is to be taken by the spectators as divine (daivī).

17. When there is no noise, no disturbance, no unusual occurrence [during the production of a play] and the auditorium is full [of spectators], the Success is called divine¹.

Three kinds of Blemishes

18. These are the varieties of the Success to be known by the spectators as human and divine. I shall speak hereafter of the Blemishes (ghāta) coming from gods (deva).

19. Blemishes [in the production of a play] are of three kinds; [that coming] from gods¹, from the actors themselves

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13-14 (C. K. same).

15 (C. K. same). ¹ This "human" Success seems to relate to the common "human" beings or average spectators, and they should be compared with men occupying the gallery of a modern theatre. They are generally moved by outward and not deep aspects of a dramatic performance. See below 16 note.

16 (C. K. same). ¹ These are the deeper aspects of a dramatic performance.

17 (C. K. same). ¹ The "divine" Success seems to relate to cultured spectators who generally take interest in deeper and more subtle aspects of a dramatic performance and as such are above ordinary human beings and may be called "divine".

18 (C. K. same).

19 (C. K. same). ¹ "Gods" here means the source of various accidents. See 20 below.

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