‘Pantomime (nṛtya), which is based on the [emotional] States, is quite another thing.’
Notes. Pantomime and dancing are probably mentioned here chiefly on account of the similarity of name. The words nāṭya, nṛtya, and nṛtta are all derived from the root nṛt or its Prākrit form naṭ and our author seems to have felt the need of differentiating them. But in Pratāpar.—where we find the terms nṛtya and nṛtta curiously interchanged—the insertion of definitions of these terms is justified as follows: nṛttanṛtyayor nāṭakādyaṅgatvād iha svarūpanirūpaṇaṃ kṛtam (3. 2, p. 101).
‖ Pratāpar. 3. 2 a, p. 101. Cf. Lévi, p. 30.
13 (P. 9 a2; H. 9 a2).
- anyad bhāvāśrayaṃ nṛtyaṃ.nṛttaṃ tālalayāśrayam.
‘Dancing (nṛtta), being based on rhythm and time, [is also different].’
Notes. ‖ Pratāpar. 3. 2 a, p. 101. Cf. Lévi, p. 30.
14 (P. 9 b; H. 9 b).
- ādyam padārthābhinayo mārgo deśī tathā param.
‘The former, a representation of an object, [is called] “high style” (mārgo); the latter, “popular style” (deśī).’
Notes. Cf. Lévi, pt. 2, p. 5.
15 (P. 10; H. 10).
- madhuroddhatabhedena tad dvayaṃ dvividham punaḥ
lāsyatāṇḍavarūpeṇa nāṭakādyupakārakam.
‘Each of these two is again twofold, through the division into gentle and vehement; and they are auxiliary to the Nāṭaka and the other [varieties of drama] because of the exhibition of the gentle dance (lāsya) and the wild dance (tāṇḍava).’
Notes. Hindu theoreticians recognize ten forms of the lāsya, which are enumerated at DR. 3. 54.—This section is quoted at Pratāpar. 3. 2, p. 101.—Cf. Lévi, p. 119.
