-XX. 136 ] TEN KINDS OF PLAY 377

The Lāsya

132. [Similar] other limbs are attached to the Nāṭaka in connexion with the performance of the Lāsya, and they owe their origin to this (i. e. Nāṭaka), and are to be acted like the Bhāṇa by a single person.

133. The Lāsya has a form similar that of the Bhāṇa and it is to be acted by one person¹. Its theme is to be inferred like that of the Prakaraṇa and should relate to [loving] intimacy [with any one].

The twelve types of the Lāsya

134-135. The [twelve] types of the Lāsya are : Geyapada Sthitapāṭhya, Āsina, Puṣpagaṇḍikā, Pracchedaka, Trimūḍha, Saindhava, Dvimūḍhaka, Uttamottamaka, Vicitrapada, Ukta-pratyukta and Bhāvita (Bhāva)¹.

Geyapada

136. When [the Heroine] is seated¹ on her seat surrounded with stringed instruments and drums near her, and singers are singing [before her] without any accompaniment of these, it is called the Geyapada (simple song).

---

132 (C.136 K.XVIII. 169). ¹ Lāsyāṅga is an one act play which requires lāsya or a gentle form of dance for its representation; for this term may be interpreted as lāsyam aṅgam yasyāḥ saḥ (that which has lāsya as its principal element). The ten lāsyāṅgas seem to be only so many varieties of the Lāsya. These are not its 'elements' as some scholars are apt to consider.

² The word vīthyaṅga also may be similarly interpreted. Vīthi seems to be nothing but a particular kind of one act play (defined in 112 boave) and vīthyaṅga may therefore be translated as 'a play of the Vīthi type'.

133 (C.137 ; K. XVII. 182). ¹ See above 132 note ; lāsya used in this passage means merely lāsyāṅga.

134-135 (C.138-139 ; K. XVIII. 170-171). ¹ SD. (504) gives only ten and BhP. (p. 245-246) eleven lāsyāṅgas, but DR. (III. 52-53) gives their number as ten but does not define them.

136 (C.140 ; K. XVIII. 172). ¹ See SD. 505. The seating posture included in this and some of the other varieties of the lāsya need not appear to be puzzling. For the Gentle Dance in this connexion did not imply the movement of the entire body. See Gilbert Murray, Euripides and His Age, London, 1946, p. 150.

48

378 THE NATYASASTRA [ XX. 137-

137. If a woman sings in a standing¹ posture a song dealing with the praise of her beloved and delineates the same with the gestures of her different limbs, it is called the Geyapada.

Sthitapāṭhya

138. If a separated woman burning with the fire of love, recites anything in Prakrit while seated on her seat¹, it is [an instance of] the Sthita-pāṭhya.

Āsīna

139. When one sits¹ without making any toilet² and is overcome with anxiety and sorrow, and looks with oblique glances it is [an instance of] the Āsīna.

Puṣpagaṇḍikā

140. When a woman in the guise of a man recites something sweetly in Sanskrit for the pleasure of her female friends, it is [an instance of] the Puṣpagaṇḍikā¹

Pracchedaka

141. When a [separated] woman pained by the moon-light prepares to go to her beloved even if he has done her wrong, it is [an instance of] the Pracchedaka¹.

Trimūḍhaka

142. A play adorned with even metres and abounding in manly States and composed of words which are neither harsh nor large, is called the Trimūḍhaka.

Saindhavaka

143. When [one represents] a lover who has failed to keep his tryst and is using Prakrit [to express his grief] through well-performed Karaṇas, it is [an instance of] the Saindhavaka.

---

137 (C.141). ¹ See above 136 note 1.
138 (C.142 ; K. XVIII. 173 f.n.). ¹ See SD. 506 ; also note 1 above of 136. Cf. K. XVIII. 173. BhP. p. 245, l. 17-18.
139 (C.143 ; K. XVIII. 174). ¹ SD. 507 ; see above 136 note 1. The Gentle Dance (lāsya) in this connexion will consist of slowly moving glances only. Cf. BhP. p. 245, l.19-20. ² Read aprasādhita gātra.
140 (C.144). ¹ Cf. SD. 507 ; see above 136 note 1. Cf. K. XVIII. 175, BhP. p. 245, l. 21-22.
141 (C.145 ; K. XVII. 176). ¹ The def. given in SD. (507) is different. SD. reads the term as Triguṇḍhaka. Cf. BhP. p. 246 l. 1-2.
142 (C. 146 ; K. XVIII. 177). ¹ See BhP. p. 246, l. 3-4.
143 (C.147). ¹ Cf. SD. 508. Cf. K. XVIII. 178, BhP. p. 246. l 5-6.

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CHAPTER TWENTYONE

THE LIMBS OF THE JUNCTURES

The five Junctures of the Plot

1. The Plot (itivṛtta) has been called the body of the drama (lit. poem). It is known to be divided into five Junctures (sandhi).

The two kinds of Plot

2. The Plot is of two kinds : Principal (ādhikārika) and Subsidiary (prāsaṅgika).

Their definition

3. The [assemblage of] acts which are fabricated with a view to (lit, by reason of) the attainment of [some particular] result, is to be known as the Principal Plot. [Acts] other than these constitute the Subsidiary Plot.

4-5. The attainment of the result and its exaltation which the ingenuity of the playwright (lit. poet) plans by means of the associated characters (lit. Heroes) acting in a regular manner (lit. resorting to rules), constitute the Principal Plot on account of an attainment of the result. And any incident (lit. anything) mentioned for helping any other [incident] in it, is called the Subsidiary Plot.

The five stages of the Action

6. The exertion of the Hero (lit. one who strives) towards the result to be attained, is known to have five stages occurring in due order.

---

1 (C.1 ; K. XIX. 1). ¹ Also called vastu. Cf. DR. I. 11, SD. 294-295.
² See DR. I. 22-23, SD. 330 and NL. 458 read vibhāgaḥ samprakalpitaḥ for vibhāgaḥ etc. See NL. 216-217.

2 (C.2 ; K. XIX. 2). ¹ See DR. I. 11, SD. 295 and NL. 218 219.

3 (C.3 ; K. XIX. 3). ¹ Cf. DR. I. 12-13, SD. 296-297; NL. 223-224.
² See above note 1.

4-5 (C.4-5 ; K. XIX. 4-5). ¹ See above 3 note 1 and NL. 228-229.
² See above note 1.

6 (C.7). ¹ C. reads one additional couplet (C. 6) before this. Cf. NL. 55-56.

-XXI. 14 ] THE LIMBS OF THE JUNCTURES 381

7. These five stages of the Action are known to arise in the Nāṭaka and the Prakaraṇa. [Their] Fruition (phala-yoga) relates to duty (dharma), enjoyment of pleasure (kāma) and wealth (artha).¹

8. They are : Beginning (prārambha), Effort (prayatna), Possibility of Attainment (prāpti-sambhava), Certainty of Attainment (niyatā phala-prāpti) and Attainment of the Result (phala-prāpti).

Beginning

9. That part of the play (lit. composition) which merely records eagerness about the final attainment of the result with reference to the Germ (bīja), is called the Beginning (ārambha).

Effort

10. [Hero's] striving towards an attainment of the Result when the same is not in view, and showing further eagerness [about it], is called the Efforts (prayatna).

Possibility of Attainment

11. When the attainment of the object is slightly suggested by an idea, it is to be known as the Possibility of Attainment (prāpti-sambhava).

Certainty of Attainment

12. When one visualises in idea a sure attainment of the result, it is called Certainty of Attainment (niyatā phala-prāpti).

Attainment of the Result

13. When the intended result appears in full at the end of events [of a play] and corresponds to them, it is called Attainment of the Result (phala-yoga).

14. These are the five successive stages of every action begun by persons looking for results.

---

7 (C.8) ¹ K. omits this.
8 (C.10 ; K. XIX.7). ¹ Cf. DR. I. 19; SD. 324; NL. 57-58.
9 (C.11 ; K. XIX. 8). ¹ Cf. DR. 20; SD. 325; NL. 59-60.
10 (C.12 ; K. XIX. 9). ¹ Cf. DR. I. 20; SD. 326; NL. 66.
11 (C.13 ; K. XIX. 10). ¹ Cf. DR. I. 21; SD. 327; NL. 69-70.
12 (C.14 ; K. XIX. 11). ¹ Cf. DR I. 21; SD. 328; NL. 77.
13 (C.14 ; K. XIX. 12). ¹ Cf. DR. I. 22; SD. 329; NL. 89.
14 (C.15 ; K. XIX. 13).

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.XXI. 27 ] • THE LIMBS OF THE JUNCTURES 383

The Germ

22. That which scattered in a small measure, expands itself in various ways and ends in fruition, is called the Germ (bīja) of the Plot.

The Prominent Point

23. That which sustains the continuity (lit. non-separation) till the end of the play even when the chief object [of the play] is [for the time being] suspended, is called the Prominent Point (bindu).

The Episode

24. The event which is introduced in the interest of the Principal [Plot] and is treated like it, is called an Episode (patākā).

The Episodical Incident

25. When merely the result of such an event is presented for the purpose of another (i. e. the Principal Plot) and it has no Secondary Juncture (anubandha)$^1$ it is called the Episodical Incident (prakarī)$^2$.

The Dénouement

26. The efforts made for the purpose of the Principal Plot introduced [in play] by the experts, is called the Dénouement (kārya).

27. Among these [Elements] that which has others for its support (lit. purpose) and to which the rest are taken as subordinate, should be made prominent (lit. chief) and not the remaining ones.

---

22 (C.23 ; K. XIX. 21). $^1$ Cf. DR. I. 17; SD. 318; NL. 136-137.

23 (C.24 ; N.XIX. 22). $^1$ cf. DR. I. 17; SD. 319; NL. giving a second view about the meaning of the bindu says:—अन्यॆ तु, यदि नाटकार्यास्य प्रकृतिभूतमवमानोत्-साहाभ्यां प्रत्यङ्गं परिकीर्त्यते स बिन्दुः । यथा राघवाभ्युदये केकय्याः प्रत्यक्षसुतकीर्तनम् । वेण्यां च कीर्त्यते द्रौपदीकेशाकर्षणम् । उत्साहे च नागानन्दे जीमूतवाहनस्य सर्वाङ्गे कीर्तनमिति। स च कार्यस्य समाप्तिं यावत् प्रर्वतयितव्यः (159ff. 173ff.). There is a third view also ; see NL. 183ff.

24 (C.25 ; K. XIX. 23). $^1$ Cf. DR. I. 13; SD. 320; NL. gives also a second view about the meaning of the patākā as follows : अन्ये पतत्केत्युपनायकचरितमेव स्थूलार्थमुपवर्णयन्ति (195ff.)

25 (C.26 ; K. XIX. 24). $^1$ As opposed to this, the patākā possesses continuity. Anubandho nairantaryena pravartanam (NL. 204).
$^2$ Cf. DR. I. 13 ; SD. 321 NL. 199ff.

26 (C.27 ; K. XIX. 25). $^1$ Cf. DR. I. 16; SD. 323; NL. 209ff. Read yastu (vṛtta, K.) as vastu, C. NL. reads kāryam for vastu.

27 (C.28 ; K. XIX. 26). $^1$ Cf. NL. 234ff.

384 THE NATYASASTRA [ XXI. 28-

Secondary Juncture in the Episode

28. One or more Junctures should be applied in an Episode (patākā). As these serve the purpose of the Principal [Plot] they called Secondary Junctures (anubandha).

Limit of the Episode

29. The Episode should come to an end either at the Develoment (garbha) or at the Pause (vimarśa). Why ? Because its treatment is for the purpose of something else (i. e. the Principal Plot).

The Episode Indication

30. When some matter being taken in hand (lit. already thought about), another matter of similar nature (lit. characteristics) is suggested through an accidental idea (āgantuka-bhāva), it is called Episode Indication (patākā-sthāna).

The First Episode Indication

31. The sudden development of a novel meaning (arthasampatti) due to an indirect suggestion, is called the First Episode Indication

The Second Episode Indication

. 32. Words completely carrying double meaning and expressed in a poetic language, are called the Second Episode Indication.

The Third Episode Indication

33. That which suggests with courtesy the object [of a play] in a subtle manner and in the form of a dialogue, is called the Third Episode Indication.

---

28 (C.29 ; K. XIX. 27). $^1$ Some read anubandha as anusandhi ; cf. DR. III. 26-27.
29 (C.30 ; K. XIX. 28). $^1$ Emend tasmāt into kasmāt.
30 (C.31 ; K. XIX. 29). $^1$ DR.(I. 14) merely defines the term and ignores its varieties. But SD. (298-299) follows NŚ. and defines them. See NL. 1000-1001. Sāgaranandin says that these should not be applied to the last Juncture (nirvahaṇa).
31 (C.32 ; K. XIX. 30). $^1$ Emend guṇavatyupa° into guṇa-vṛttyupa°
$^2$ See SD. 300; NL. 1007.
32 (C.33 ; K. XIX. 31). $^1$ Emend vacasātiśaya° into vacaḥ sātiśaya°. See SD. 301 and NL. 1015.
33 (C.34 ; K. XIX. 32). $^1$ See SD. 302; NL. 1021-1022.

.XXI. 41 ] THE LIMBS OF HE JUNCTURES 385

The Fourth Episode Indication

34. Words with a double meaning expressed in a well-knit poetic language and having a reference to something [other than what appears at first sight] is called the Fourth Episode Indication.

35. The poetical composition meant to be acted should have the five Junctures (sandhi) and four Episode Indications (patākā-sthānaka)¹. I shall next speak of the Junctures.

The five Junctures

36. The five Junctures in a drama are the Opening (mukha), the Progression (pratimukha), the Development (garbha), the Pause (vimarśa) and the Conclusion (nirvahaṇa)¹.

37. The Principal [Plot] is known to be consisting of the five Junctures (sandhi). The remaining Junctures are to be supported by the Junctures of the Principal [Plot]¹.

The Opening

38. That part of a play, in which the creation of the Germ (bīja) as the source of many objects and Sentiments takes place, is called in consideration of its body the Opening (mukha, lit. face)¹

The Progression

39. Uncovering of the Germ placed at the Opening after it has sometimes been perceptible and sometimes been lost, is called the Progression (pratimukha).

The Development

40. The sprouting of the Germ, its attainment or non-attainment and search for it, is called the Development (garbha)¹.

The Pause

41. One's pause (vimarśa, lit. deliberation) over the Germ (bīja) that has sprouted in the Development (garbha) on account

---

34 (C.35; K.XIX.33). ¹ See SD. 303; NL. 1033.
35 (C.36; K.XIX.34).
36 (C.37; K.XIX.35), ¹ See DR. I. 23-24; SD. 331-332; NL. 458.
37 (C.38; K.XIX.36). ¹ These relate to the Subsidiary Plot.
38 (C.39; K.XIX.37). ¹ See DR. I 24-25; SD.333; NL. 536f. quotes NŚ.
39 (C.40; K.XIX.38). ¹ Cf. DR. I. 30; SD. 334; NL. 684f.
40 (C.41; K.XIX.39). ¹ Cf. DR. I. 36; SD. 335; NL. 710f.
41 (C.42; K.XIX.40).
49

386 THE NATYASASTRA [ XXI. 42

of some temptation, anger or distress, is called the Juncture of that name (i.e. Pause)¹.

The Conclusion

42. Bringing together the objects [of the Junctures] such as the Opening (mukha) etc. along with the Germ (bīja), when they have attained fruition, is called the Conclusion (nirvahaṇa)¹.

43. These are Junctures of the Nāṭaka to be known by the producers of a drama. They may occur in the Prakaraṇa and the other types of plays as well.

Junctures vary in different types of drama

44. The Ḍima¹ and the Samavakāra² are to have four Junctures, and the playwright should never make the Pause (vimarśa) in them.

45. The Vyāyoga¹ and the Īhāmṛga² are to have three Junctures. There should be no Development and Pause (avamarśa = vimarśa) in these two, and the Graceful (kaiśikī) Style also has no place in them.

46. The Prahasana¹, the Vīthi², the Aṅka³ and the Bhāṇa⁴ are to have only two Junctures which should be the Opening (mukha) and the Conclusion (nirvahaṇa), and their Style should be the Verbal one (bhāratī).

47. These are the Junctures to be adopted by the producers in the ten types of play, Listen now about different kinds of Junctures which also will as it were mark their limits.

---

¹ DR. I. 53 calls this avamarśa. SD. 336; NL. 770ff, gives two more definitions of this Juncture. Read the second hemistich as क्रोधव्यसनजो वापि विमर्श स इति स्मृतः.

42 (C.43; K.XIX.41). ¹ Emend the first hemistich as follows :— समानयनम् अर्थानां मुखाद्यानां सबीजिनाम्. Cf. DR. I. 48-49; SD. 337; NL. 554 f.

43 (C.44; K.XIX. 42).

44 (C.45; K.XIX.44a, 43b). ¹ See NŚ. XX. 90ff. ² See ibid 78ff.

45 (C.46; K.XIX.43a, 44b). ¹ See NŚ. XX. 84ff. ² See ibid. 64ff.

46 (C.47-48; K.XIX. 45). ¹ See NŚ. XX. 102ff. ² See ibid 112ff. ³ See ibid 94ff. ⁴ See ibid 107ff.

47 (C.48; K.XIX. 46).

.XXI. 55 ] THE LIMBS OF THE JUNCTURES 387

Subjuncture

48-50. The twentyone Sub-junctures are as follows¹ : Conciliation (sāma), Dissention (bheda), Making Gifts (pradāna), Chastisement (daṇḍa), Killing (vadha), Presence of Mind (pratyutpannamatitva), Blunder in Addressing (gotra-skhalita), Rashness (sāhasa), Terror (bhaya), Intelligence (dhī), Deceit (māyā), Anger (krodha), Strength (ojas), Concealment (saṃvaraṇa), Error (bhrānti), Ascertainment (avadhāraṇa)², Messenger (dūta), Letter (lekha), Dream (svapna), Portrait (citra) and Intoxication (mada).

Alternative Junctures

51 The events of the Junctures in their respective parts (pradeśa)¹ will in due order support those Limbs [of the Junctures] by means of their own qualities.

The sixfold needs of the Limbs of the Junctures

52-53. Expressing¹ the desired object, non-omission of any essential item in the Plot, accession to feeling in production, concealment of the objects to be concealed, telling tales of surprise² and disclosing things to be disclosed are the sixfold needs of the Limbs described in the Śāstra³.

Uses of the Limbs of the Junctures

54. Just as a man without all his limbs are unable to fight a battle, so a play without the Limbs will be unfit for [successful] production¹.

55. A play (lit. a poem) though it may be poor as regards its theme (lit. meaning) will, when furnished with requisite Limbs, attain beauty because of the brilliance of its production.

---

48-50 (C.49-51; K.XIX.191b, 103b). ¹ NL. 925ff. seems to give this passage more correctly with slight variation. The Sub-junctures (sandhināṃ sandhi) are to be distinguished from the Secondary Junctures (anubandha=anusandhi. DR. III.26 mentioned in 28 before.
² Read bhavah for vadhaḥ.
51 (C.52; K.XIX.47). ¹ Pradeśa seems to signify Sub-juncture (sandhīnām sandhi) discussed in 50 above. See NL. 923.
52-53 (C.53-54; K.XIX.48-49). ¹ Read vacanam for racanā.
² Emend āścaryavad abhikhyātam into āścaryavad abhikhyānam.
³ Cf. DR. I. 55; SD.407ff.
54 (C.55; K.XIX.49a, 50a). ¹ Cf. SD. 407ff.
55 (C.56; K.XIX.50a, 51a).

338 THE NATYASASTRA [ XXI. 56-

56. And a play having lofty theme, but devoid of [requisite] Limbs, will never capture the mind of the good [critics] because of its [possible] poor production.

57. Hence in applying the Junctures [in a drama] the playwright should give them their Limbs properly. Now listen about about them [in detail].

The sixtyfour Limbs of the Junctures

58-59. The Limbs of the Opening (mukha) are ; Suggestion (upakṣepa), Enlargement (parikara), Establishment (parinyāsa), Allurement (vilobhana), Decision (yukti), Accession (prāpti), Settling (samādhāna), Conflict of Feeling (vidhāna), Surprise (paribhāvanā), Disclosure (udbheda), Activity (karaṇa), and Incitement (bheda). Now listen about the Limbs in the Progression¹.

60-61. The Limbs of the Progression (pratimukha) are : Amorousness (vilāsa), Pursuit (parisarpa), Refusal (vidhūta), Pessimism (tāpana), Joke (narma), Flash of Joke (narmadyuti), Moving Forward (pragamana), Pacification (paryupāsana), Sweet Words (puṣpa), Thunderbolt (vajra)¹.

62-64. The Limbs of the Development (garbha) are: Misstatement (abhūtāharaṇa), Indication (mārga), Supposition (rūpa), Exaggeration (udāharaṇa), Progress (krama), Propitiation (saṃgraha), Deduction (māna), Supplication (prārthanā), Revelation (ākṣipta), Quarrel (toṭaka), Outwitting (adhibala), Dismay (udvega) and Consternation (vidrava)¹.

64-66. The Limbs of the Pause (vimarśa = avamarśa) are : Censure (apavāda), Angry Words (sampheṭa), Insolence (abhidrava) Placation (śākti), Assertion (vyavasāya), Reverence (prasaṅga), Rebuke (dyuti), Lassitude (kheda), Opposition (niṣedhana),

---

56 (C.57; K.XIX,51b, 52a). 57 (C.58;K.XIX.52b, 53a).
58-59 (C.59-60; K.XIX.53b, 25 a). ¹ See DR. I. 25-26; SD. 338; NL. 552ff.
60-61 (C.61-62; K.XIX.55b. 57). ¹ DR. I. 31-32 reads śamana for tāpana; SD. 351. NL. 645ff.
62-64 (C.63-65; K.XIX.58-59). ¹ DR. I. 37-38, omits prārthanā and vidrava, adds saṃbhrama, and gives ākṣipta as ākṣepa ; SD. 365. See NL. 724ff. 64-66 (C.65-67; K.XIX.60-61).

.XX. 71 ] THE LIMBS OF THE UNCTURES 389

Altercation (virodhana), Sumning up (ādāna), Concealment (chādana), and Foresight (prarocanā)$^1$.

66-69. The Limbs of the Conclusion are : Junction (sandhi), Awakening (vibodha), Assembling (grathana), Ascertainment (nirṇaya), Conversation (paribhāṣaṇa), Confirmation (dhṛti), Gratification (prasāda), Joy (ānanda), Deliverance (samaya), Surprise (apagūhana), Clever Speech (bhāṣaṇa), Retrospect (pūrva-vākya), Termination of the Play (kāvya-saṃhāra) and Benediction (praśasti). These are the sixtyfour Limbs of the Junctures [in a play]$^1$.

Limbs of the Opening

69. I shall now give their definitions in due order$^1$.

Suggestion

Suggestion (upakṣepa) is the origin of the object of the play.$^2$

Enlargement

70. Enlargement (parikara) is the amplification of the object originated$^1$.

Establishment

Describing it (i. e. the object) thoroughly is called Establishment (parinyāsa)$^2$.

Allurement

71. The mentioning of good qualities is known as Allurement (vilobhana)$^1$.

---

$^1$ Emend vidrava into abhidrava. DR. I. 44-45. omits abhidrava, kheda, niṣedhana and sādana and adds vidrava, drava chalana and vicalana; SD. 378ff. follows NŚ. except that abhidrava appears there as drava; chādana should be emended into sādana; see NL. 798ff.

66-68 (C.67-69; K.XIX.62-63). $^1$ Emend dyuti. See SD. 391 reads kṛti as dhṛti. DR. I. 49-50 gives dhṛti as kṛti, pūrvavākya as pūrvabhāva, upasaṃhāra as kāvyasaṃhāra. NL. 850ff. omits sandhi and vibodha, gives dhṛti as dyuti, and instead of the first two gives artha and anuyoga.
$^2$ Cf. DR. I. 40; SD. 374; NL. 755.

69 (C.71; K.XIX.64b-95a). $^1$ C. reads before this another couplet which in trans. is as follows : For the development of the Germ, all these (i.e. 64 limbs) should make up the Junctures properly and have clear meanings. This does not occur in K.
$^2$ See NL. 556; SD. 338 Cf. DR. I. 27.

70 (C.72; K.XIX.65b-66a). $^1$ See NL. 569; SD. 340 DR. I. 27.
$^2$ See NL. 575; SD. 341; DR. I. 27.

71 (C.73; K.XIX.69b-67a). $^1$ See DR. I. 27; SD. 342; NL. 586.

390 THE NATYASASTRA [ XXI. 72-

Decision

Settling the issues is called Decision (yukti)².

Accession

72. Accession (prāpti) is summing up the purpose of the Opening (mukha)¹.

Settling

Settling (samādhāna) is summing up the purpose of the Germ (bīja)².

Conflict of Feelings

73. Joys and sorrows occurring in a situation, is called conflict of Feelings (vidhāna)¹.

Surprise

Surprise (paribhāvana) is an excitement giving rise to curiosity².

Disclosure

74. The sprouting of the purpose of the Germ (bīja), is called Disclosure (udbheda)¹.

Activity

Taking up the matter in question is called Activity (karaṇa)²

Incitement

75. That which is meant for disrupting an union is called Incitement (bheda)¹.

These are the limbs of the Opening (mukha).

Limbs of the Progression

I shall now speak of those of the Progression (pratimukha).

---

² See SD. 343; DR. I. 28; Haas translates it differently. SD. 343 and NL. 593 seem to misunderstand this definition.
72 (C.74; K.XIX.67b-68a). ¹ Emend sukhārtha° to mukhārtha°. See NL. 598-599. DR. I. 28; and SD. 344 follows what seems to be a wrong reading of the NŚ. ² See NL. 605 f. Cf. DR, l. 28; SD. 345.
73 (C.75; K.XIX.68b-69a). ¹ See DR. I. 28; SD. 346; NL. 609-610. ² See NL. 617; Cf. DR. I. 29; SD. 347.
74 (C.76; K.XIX.69b-70). ¹ See SD. 348; NL. 620. Cf. DR. I. 29. ² See SD. 349; NL. 623. Cf. BR. I. 29.
75 (C.77; K.XIX.70b). ¹ See NL, 626; SD. 350. Cf. DR. I. 29.

•XXI. 80 ] THE LIMBS OF THE JUNCTURES 391

Amorousness

76. Amorousness (vilāsa) is the desire for the pleasure of love (rati)¹.

Pursuit

Pursuit (parisarpa)² is the pursuing of an object once seen and then lost.

Refusal

77. Refusal (vidhūta)¹ is not complying with the request made [by any one].

Pessimism

Thinking about (lit. seeing) some danger [in future] is called Pessimism (tāpana)².

Joke

78. The laughter which is meant for sports is called Joke (narma)¹.

Flash of Joke

The laughter which is meant for concealing one's fault is called Flash of Joke (narma-dyuti)².

Moving Forward

79. Speaking words which bring in other words after them is called Moving Forward (pragamana)¹.

Hindrance

Appearance of some calamity is called Hindrance (nirodha)².

Pacification

80. Conciliating an angry person is called Pacification (paryupāsana)¹.

---

76 (C.78; K.XIX.71). ¹ See SD. 352; NL. 650ff. Cf. DR. I. 32.
² See SD. 353; DR. I. 32-33. Cf. NL. 657.
77 (C.79; K.XIX.72). ¹ Cf. NL 663; DR. I. 33; SD. 354 has vidhṛta for vidhūta.
² See NL. 669 Cf. SD. 355 defines it as upāyadarśana. DR. defines śama instead of tāpana (I.33).
78 (C.80: K.XIX.73). ¹ Cf. DR. I. 33; DR. 356; NL. 1310ff.
² Cf. DR. I. 33; SD. 357; NL. 672.
79 (C.80; K.XIX.74). ¹ Read uttarottaraṁ vākyaṁ tu bhavet prāgamanam. Cf. NL. 676; DR. I. 34; SD. 358.
² See NL. 683; DR. I.34; SD. 359 reads virodha for nirodha.
80 (C.82; K.XIX.75). ¹ See NL. 687. Cf. DR. I. 34; SD. 360.

392	THE NATYASASTRA	[ XXI. 81-

Sweet Words

Mentioning some favourable peculiarity is called Sweet Words (puṣpa, lit. flower)².

Thunderbolt

81. Harsh words uttered on one's face is called Thunderbolt (vajra)¹.

Reference

Reference (upanyāsa) is a remark based on reason.

Meeting of Castes

82. Coming together of the four castes is called Meeting of Castes (varṇa-saṃhāra)¹.

These are the Limbs of the Progression (pratimukha).

Limbs of the Development

Now listen about those in the Development (garbha).

Mis-statement

83. [A speech] founded on deceit is called Mis-statement (kapaṭāśraya)¹.

Indication

Speaking out [one's] real intention (lit. reality) is called Indication (mārga)².

Supposition

84. A hypothesis with which novel meanings are combined, is called Supposition (rūpa)¹.

Exaggeration

A speech with an overstatement is called Exaggeration (udāharaṇa)².

---

• ² Cf. DR. I. 34; SD. 361; NL. 691.
• 81 (C.83; K.XIX.76). ¹ Emend pratyakṣa-rūpaṃ into pratyakṣa-rukṣam. Cf. NL. 697; I. 35 SD. 362.
• ² See NL. 700; cf. DR. I. 35; SD. 363ff. defines it differently and refers to the view of the NŚ as kecit tu etc.
• 82 (C.84; KN.XIX.77). ¹ NL. 704ff. defines it as varṇitasyārthasya tiraskāro (concealing the matter expressed), and refers to the view of the NŚ. as caturṇāṃ varṇānāṃ sammelanam api ke'pi varṇayanti. See SD. 364; DR. I. 35.
• 83 (C.85; K.XIX.78). ¹ Cf. DR. I. 38; SD. 365; NL. 727.
• ² Cf. SD. 366; NL. 730; DR. I. 38.
• 84 (C.86; K.XIX.79). ¹ Cf. DR. I. 39; SD. 367; NL. 735.
• ² Cf. NL. 738; DR. I. 39; SD. 368.

-XXI. 89 ] THE LIMBS OF THE JUNCTURES 393

Progress

85. Foreseeing of what is coming afterwards, is called Progress (krama)$^1$.

Propitiation

Use of sweet words and gift, is called Propitiation (saṃgraha)$^2$.

Deduction

86. Perceiving something by the name of a thing similar to it in form, is called Deduction (anumāna)$^1$.

Supplication

Request for love's enjoyment (rati), rejoicing, festivity and the like, is called Supplication (prārthanā)$^2$.

Revelation

87. The unfolding [of the Germ] in the Development (garbha), is called Revelation (ākṣipta)$^1$.

Quarrel

An angry speech is called Quarrel (toṭaka)$^2$.

Outwitting

88. Cheating of a deceitful person is called Outwitting (adhibala)$^1$.

Dismay

Fear arising from the king, an enemy or a robber is called Dismay (udvega)$^2$.

Panicky Commotion

89. Flurry caused by fear from the king or fire is called Panicky Commotion (vidrava)$^1$.

These are the Limbs in the Development (garbha).

Limbs of the Pause

Now listen about those in the Pause (avamarśa = vimarśa).

---

85 (C.87; K.XIX.80). $^1$ Emend bhāvaktvo into bhāvitatvo. Cf. SD. 369; NL. 740; DR. I. 39.
$^2$ Cf. SD. 370; NL. 744; DR. I. 40.
86 (C.88; K.XIX.81). $^1$ Cf. NL. 746; DR. I. 40; SD. 371.
$^2$ Cf. SD. 372; DR. I. 40. NL. 749.
87 (C.89; K.XIX.82). $^1$ Cf. DR. I. 42 has ākṣepa; SD. 373 has ṣipti = ākṣipti; NL. 751 has utkṣipta.
88 (C.90; K.XIX. 83). $^1$ Cf. SD. 375; DR. I. 40; NL. 752.
$^2$ Cf. SD. 376; NL. 761; DR. I. 42.
89 (C.91; K.XIX. 84a). $^1$ Cf. DR. I. 42; SD. 377, NL. 766.
50

394 THE NATYASASTRA [ XXI, 90-

Censure

90. Proclaiming anyone's fault is called Censure (apavāda).¹

Angry Words

Words spoken in anger are called Angry Words (sampheṭa)².

Insolence

91. Trangression of the superiors is called Insolence (abhi-drava)¹.

Placation

Allaying of disagreement [with anyone] is called Placation (śakti)².

Assertion

92. A promise made on account of some reason is called Assertion (vyavasāya)¹.

Reverence

Mentioning one's superiors is called Reverence (prasaṅga)².

Rebuke

93. Words spoken in contempt are called Rebuke (dyuti)¹.

Lassitude

Fatigue arising from a mental effort is called Lassitude (kheda).

Opposition

94. Obstruction to one's desired object is called Opposition (niṣedha)¹.

Altercation

Speaking and counter-speaking in excitement is called Altercation (virodhana)².

---

90 (C.92; K.XIX.84b-85a). ¹ See NL. 801; Cf. DR. I. 45; SD. 378.
² See NL. 807, Cf. DR. I. 45; SD. 379.
91 (C.93; K.XIX.86b-86a). ¹ Emend vidrava into abhidrava. See NL.813. SD.381 and DC. I. 45, has drava in place of abhidrava.
² Emend virodhopagamo into virodhopaśamo; cf. NL. 819; DR. I D. 383.
92 (C.94; K.XIX.87a-86b). ¹ Emend pratiñājdoṣa into pratijñāhetu ... 824; SD. 380 DR. I. 47.
² DR. I. 46; SD. 384. NL. 826 defines differenely.
93 (C.95; K.XIX.90b.). ¹ Cf. NL. 829; DR. I. 46, SD.382; SD. 385.
² SD. 385.
94 ... 838, and SD. 386 has pratiṣedha in place of this.
² Cf. ... 840; SD. 387.

-XXI. 99 ] THE LIMBS OF THE JUNCTURES 395

Summing up

95. Bringing together (lit. attaining) [all aspects] of the Germ (bīja) and the action is called Summing up (ādāna)¹.

Humiliation

Putting in insulting words for some purpose is called Humiliation (sādana)².

Foresight

96. That which represents the Conclusion (saṃhāra) [in advance] is called Foresight (prarocanā)¹.

These are the limbs in Pause (avamṛśa = vimarśa).

The Limbs in Conclusion

Now listen about those in the Conclusion (saṃhāra = nirvahaṇa).

Junction

97. The coming up of the Opening (mukha) and the Germ is called Junction (sandhi)¹.

Awakening

Looking duly for the Dénouement (kārya) is called Awakening (vibodha)².

Assembling

98. Intimation of [the various aspects] of the Dénouement is called Assembling (grathana)¹.

Ascertainment

Declaration of facts personally known is called Ascertainment (nirṇaya)¹.

Accusation

99. That which is said to blame some one, is called Accusation (paribhāṣaṇa)¹.

---

95 (C.97; K.XIX. 99). ¹ See NL. 844, DR. I. 48; SD. 389.
² Emend chādana into sādana. See NL. 848. DR. I. 46 has wrongly chālana for sādana SD. 390 also has chādana wrongly.
96 (C.98; K.XIX.88a, 91a). ¹ See SD. 388; NL. 850. DR. I. 47.
97 (C.99; K.XIX. 91b-92a). ¹ Emend sukhabījo into mukhabījo ; cf. DR. I. 51; SD. 392.
² Cf. DR. I. 51; SD. 393.
98 (C.100; K.XXI.92b-93a). ¹ Cf. DR. I. 51, SD. 394; NL. 864.
² Cf. S. 395; DR. I. 51 ; NL. 870.
99 (C.101; K.XIX.93b-94a). ¹ Cf. NL. 873; SD. 396, DR. I. 52 defines the Limb differently.

396 THE NATYASASTRA [ XXI. 100-

Confirmation

Turning to use (lit. conquering) the object gained is called (dhṛti)².

Gratification

100. Treating one with waiting upon or the like, is called Gratification (prasāda)¹.

Joy

Attaining objects [of one's desire] is called Joy (ānanda)².

Deliverence

101. Passing away of all misery, is called Deliverance (samaya)¹.

Surprise

Appearence of something wonderful is called Surprise (upagūhana)².

Clever Speech

102. Words mentioning conciliation, gift and the like are called Clever Speech (bhāṣaṇa)¹.

Retrospect

Retrospect (pūrva-vākya)² is to be understood as a reference to something spoken before.

Termination

103. Giving and receiving of a boon is called Termination (kārya-saṃhāra)¹.

Benediction

[A prayer seeking perfect] peace to the king and the country is called Benediction (praśasti)².

104. With a view to introducing Sentiments (rasa) and

---

² Emend dyuti into dhṛti Cf. DR I. 53; SD, 397.
100 (C.102; K.XIX.94b-95a). ¹ Cf. NL. 879; SD. 398; DR; I. 52.
² Cf. NL. 881; SD. 399; DR. I. 52.
101 (C.103; K.XIX.95b-96a). ¹ Cf. DR. I. 52; SD. 400; NL 883.
² Cf. NL. 889; SD. 401 ; DR. I. 53.
102 (C.104; K.XIX.96b-97a). ¹ Cf. SD. 402; DR. I. 53. NL. 891.
² Cf. NL. 891; SD. 403.
103 (C.105; K.XIX.97a-98a). ¹ See SD. 404; cf. NL. 893, DR. I. 54.
² Read nṛpa-deśa. Cf. SD. 405, NL. 895, DR. I. 54.
104 (C.106; K.XIX.98b-99a). ¹ Cf. SD. 406; NL. 906.