नाट्यशास्त्रम् (प्रथम भाग - अभिनवभारती एवं हिन्दी टीका सहित)

-XXXV. 57 ] DISTRIBUTION OF ROLES 545

52. Thus one should assign roles of different characters in the production of a play. Now I shall speak how the drama is to be produced with the help of the Costumes and Make-up.

The typical impersonation of a king

53-55. How are the kingly qualities to be represented by a limited number (alpa) of dresses? In this connexion it has been said that when the dramatic conventions came into being among the people, the drama furnished with all these, was devised by me. And hence the actor (naṭa) covered with paint and decorated with ornaments will reveal the signs of kingship when he will assume a grave and dignified attitude¹. And thus a person will be [as it were] the refuge of the Seven Great Divisions (saptadvīpa) of the earth.

56-57. Covered with paints [in the role of a king and having mild movement of the limbs¹ the actor under instruction of the teacher should assume the Sauṣṭhava pose, and then he will look like a king, and [ordinarily] the king also looks like an actor². Just as the actor is to be like a king, so the king is to be like an actor³.

58-59. The States are to be represented (lit. accomplished) by the both by means of similar graceful movements and the similar Śauṣṭhava of limbs¹. Just as an actor under instruction of the teacher illuminates the stage, so the king too should always be naturally brilliant [in his dress and demeanour].

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52 (C.37; K.XXVI.26a).

53-55 (C. 38-40; K.XXIV. 76-78). ¹ gāmbhīryaudārya° K. gāmbhīryāhārya°, C.

56-57 (C. 41-42; K.XXIV. 79-80). ¹ The 56a should be emended as follows: वर्णकैश्छादितेनेह शान्तं त्वङ्गविचेष्टितम् (वर्णकैर्याति तेनेह कार्यं, C.). śānataḥ (śāntam) in place of kartavyam in the next hemistich in K.).

² This is a very clever statement. The king though he is nothing but an ordinary human being, often assumes consciously or unconsciously an extraodinary appearance. ³ See above note 2.

58-59 (K.XXIV.81-82a). ¹ samalīlāṅgasauṣṭhavāt (text, °vā for °vāt).

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