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in life, though we do also make allowances for certain things, even though they violate representational norms. Thus, not all activity that take place on the stage is a case of Natyadharmi. This point has been unerlined, but it needs to be reemphasised. Now the criteria discussed above may be applied to four types of abhinayas. (i) S膩tvika: S膩tvikabhinaya can never be a case of Natyadharmi, because, tears, trembling, petrifaction, even if they are successfully simulated by the skilled actor (AG would agree that there is simulation, only sympathetic identification (3) would become natural expressions (:) of the character and not artificial or mere illusion-creating devices. 76 (ii) V盲cika: A large part of stage dialogue would fall under L枚kadharmi.
But poetic speeches, asides, lengthy monologes, poetic or singing
duets, lengthy lyrical elaborations of sentiments (eg: ageun
in M). Musical enunciation of lines and so forth may be
included under Natyadharmi of the V膩cika type. However, when
these very things are presented in the form of anuvada (repetition)
or anukara峁嘺 (imitation) they would be perfectly natural. Thus, a
play situation, within the play (3) all that is N膩峁瓂adharmi
would be L艒kadharmi relative to the 'frame of drama'. Similarly,
when a character in a drama is shown walking in dance steps there
is the use of Natyadharmi. Dancing and singing are not of course