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for beautifying the presentation: as when, in an amorous situation (where the Kaisiki style of bearing is employed) the heroine enters sporting her hands in dance style with four types of hand movements (hastakara峁嘺s:- Avestita, Udvestita, Vy膩vartita & Parivartita) simply serving to enhance the charm of the presentation (ii) that which partially follows popular mundane behaviour (34) eg. miming an action through dance mudr膩s (eg: the use of Tripat膩ka, to show words spoken aside).- The above is Abhinavagupta's analysis. Now Bharata's own definition of these terms (NS XIV 69-85) may be taken into con- sideration. 68 1) L艒kadharmi is the abhinya that depends on a natural expression
of the emotions () on the natural behaviour of people -
men and women of various types (that follows the well
known activities of people (that is simple and unartificial
(啶多�佮う啷嵿ぇ啶� 啶む�嵿さ啶掂た啶曕�冟い啶�啷�) [艣uddha峁� tvavik峁泃am) ] and free from playful flourish of the limbs (啶呧�權�嵿�椸げ啷�啶侧ぞ啶掂た啶掂ぐ啷嵿�溹た啶むぎ啷�).
[补峁単补濒墨濒腻惫颈惫补谤箩颈迟补尘).
] 2) Natyadharmi is illustrated by the following
au = This according to AG, consists in the inventive use of
well-known themes, with a view to intensifying the dramatic effect.
啶呧い啶苦じ啶む�嵿さ啶距い啶苦き啶距さ啶曕ぎ啷� [补迟颈蝉补迟惫腻迟颈产丑腻惫补办补尘 ] = 啶膏�嵿さ啶�啶距さ啶� 啶氞た啶む�嵿い啶掂�冟ぐ啷嵿い啷嵿い啶苦�� 啶� 啶呧い啶苦�曕�冟い啷嵿く 啶�啶む�� 啶膏�嵿ぅ啶苦い啶� 啶曕さ啶苦�曕げ啷嵿お啶苦��- 啶氞た啶む�嵿い啶掂�冟い啷嵿い啷嵿く啶ㄠ�嵿い啶班く啷佮�曕�嵿い啶�
( [svabh膩va峁� cittav峁況tti峁� ca atik峁泃ya yat sthita峁� kavikalpita- cittav峁泃tyantarayukta峁�
(] Abhi. Bha.)
That is, portraying behaviour and mental states in a manner
that deviates from natural conditions and the invention by the poet, of