नाट्यशास्त्रम् (प्रथम भाग - अभिनवभारती एवं हिन्दी टीका सहित)
Natyashastra of Bharata Muni with Hindi Commentary (Vol 1)
भरत मुनि / आचार्य अभिनवगुप्त द्वारा
[ VI 14- THE SENTIMENTS 101 ]
in a small number of Sūtras (short rules) but which promotes inference [about the understanding of the subject].
Digest, Memorial Verse and Etymology defined
9. When subjects taught in detail have been compressed and brought together in [a number of] Sūtras and their Bhāṣyas (commentary), these latter constitute according to the learned a Digest (saṃgraha).
10. The Digest [of the Nāṭyaveda treats] the Sentiments, the States, the Histrionic Representation (abhinaya), the Practice (dharmī), the Styles (vṛtti), the Success (siddhi), the notes (svara), the instrumental music (ātodya), songs and the stage.¹
11. When a rule (lit. meaning) is explained (lit. uttered) briefly in the manner of a Sūtra by means of a minimum (lit. small) number of words it is called the Memorial Verse (kārikā) which shows the meaning [of the rule clearly].¹
12. The Etymology (nirukta) is that which arises in connexion with various nouns, is helped by dictionaries and rules of grammatical interpretation, includes the meaning of the root involved as well as the reasons modifying it, and is helped by various findings [of Śāstras].
13. When the meaning [of a noun] is established from a consideration of its root [and pratyaya or affix], words expressing [such] meaning in brief are called the Etymology.
14. O the best of the Brahmins, [the subjects included into] the Digest (saṃgraha), which I mentioned earlier, will now be discussed in detail with the necessary Memorial Verses (kārikā) and Etymologies connected with them.
9 (B.G same).
10 (B.G. same). ¹ B. adds one more couplet after 10.
11 (B.12, G. same). ¹ One additional characteristic of the kārikā is that it should be generally composed in metres like āryā or śloka, e.g. the Sāṃkhyakārikā.
12 (B.13, G.12). 13 (B.14, G.13). 14 (B.15, G.14).
102 THE NATYASASTRA [VI. 15-
The eight Sentiments
15. The eight Sentiments (rasa)¹ recognised in drama are as follows : Erotic (śṛṅgāra), Comic (hāsya), Pathetic (karuṇa) Furious (raudra), Heroic (vīra), Terrible (bhayānaka) Odious (bibhatsa) and Marvellous (adbhuta).²
16. These eight are the Sentiments named by Brahman; I shall now speak of the Dominant, the Transitory and the Temperamental States.¹
The Dominant States
17. The Dominant States (sthāyibhāva)¹ are known to be the following : love, mirth, sorrow, anger, energy, terror, disgust and astonishment.
18-21. The thirtythree Transitory States (vyabhicāribhāva)¹ are known to be the following : discouragement, weakness, apprehension, envy, intoxication, weariness, indolence, depression, anxiety, distraction, recollection, contentment, shame, inconstancy, joy, agitation, stupor, arrogance, despair, impatience, sleep, epilepsy, dreaming, awakening, indignation, dissimulation, cruelty, assurance, sickness, insanity, death, fright and deliberation. These are defined by their names.
The eight Temperamental States
22. Paralysis, Perspiration, Horripilation, Change of Voice,
15 (B.16, G.15). ¹ rasa—A. K. Coomaraswamy is for translating the word as 'flavour' (MG. p. 17).
² The later writers on Skt. poetics add one more rasa (śānta) to this number.
16 (B.17, G.16). ¹ bhāva—A. B. Keith translates this word as 'feeling' or 'emotion'. See Skt. Drama, p. 312. A. K. Coomaraswamy and others translate it as 'mood' (loc. cit.). We are with Haas who translates it as 'State.' See DR. p. 108.
17 (B.18, G.17). ¹ sthāyibhāva—Keith translates the term as 'dominant emotion' (Skt. Drama) and Haas as 'Permanent State' (DR.) and others as 'permanent mood' (e.g. S. K. De, Skt Poetics, Vol. II. p. 26).
18-21 (B.19-22, G.18-21). ¹ These are also known as sañcāri-bhāva.
22 (B.23, G.22). ¹ sāttvika bhāva—The word sāttvika cannot be
.VI 24 ] THE SENTIMENTS 103
Trembling, Change of Colour, Weeping and Fainting are the eight Temperamental States¹.
The four kinds of Histrionic Representation
- The four kinds of Histrionic Representation are Gestures (āṅgika)¹, Words (vācika)², Dresses and Make-up (āhārya)³ and the Representation of the Temperament (sāttvika)⁴.
The Two Practices
- The Practice of Representation (dharmī)¹ in a dramatic performance is twofold : realistic (lokadharmī, lit. popular) and conventional (nāṭyadharmī, lit. theatrical).
The four Styles
And the Verbal (bhāratī), the Grand (sāttvatī), the Graceful (kaiśikī) and the Energetic (ārabhaṭī) are the four Styles (vṛtti)².
properly translated into English. Keith does not make any such attempt (see Skt. Drama) Haas translates the sāttvika-bhāva as 'Involuntary States'. But this seems to be very misleading, for the NŚ. takes sattva to be connected with manas. (see VI. 94), and most of the later writers follow this work in this respect. So the author of the ND. (III. 153) writes सर्वाङ्गं मन सत्त्व तत्प्रयोजनं हेतुस्त्येति सात्त्विकः मनोऽनवधाने हि न शक्यन्त एव स्वरभेदादयो नाट्येन दर्शयितुम्. The NŚ. has also a definition of sattva which is as follows : देहात्मकं भवेत् सत्त्व (XXIV. 7). The author of the BhP. elaborately defines the term sattva and discusses the psychological process connected with its use ; see (pp. 13-14). Viśvanātha in his SD. (164) defines sattva as follows : सत्त्वं नाम सात्त्विकस्यात्म-प्रकाशको कश्चनान्तरो धर्मः.
23 (B.24, G.23). ¹ āṅgikā—means Gestures of special kind defined in the śāstra ; see NŚ. VIII-XII.
² vācika—means Words suitable for representation of the different States (bhāva) composed by the playwright. See NŚ. XV-XXII.
³ See NŚ. XXIII. ⁴ See NŚ. XXIV.
24 (B.25-26a, G.24-25a). ¹ dharmī—This word has not been very correctly used. But the meaning is clear ; for details about dharmī see NŚ. XIII 69-81.
² Haas translates vṛttis as Styles of Procedure (DR. p. 67). The four Styles are translated by him as Eloquent (bhāratī), Grandiose (sāttvatī) Gay (kaiśikī) and Horrific (ārabhaṭī). We follow Keith's translation (Skt. Drama, p. 326). For details about vṛttis see NŚ. XXII. 1ff.
104 THE NATYASASTRA [ VI. 26-
The four Local Usages
25-26. Āvanti, Dākṣiṇātyā, Oḍramāgadhī and Pañcāla-madhyamā are the four Local Usages (pravṛtti)¹ in a dramatic performance.
The Success
The Success² in the dramatic performance is of two kinds : divine (daivikī) and human (mānuṣī).
The Notes
27-29. And [musical] notes such as, Ṣaḍja, Ṛṣabha etc. are seven¹ in number, and they fall into two groups : human (śārīrā lit. from body) and instrumental (vaiṇavā lit. from the Vīṇā).¹
The four kinds of musical instruments
The musical instruments are of four kinds² : stringed (tata) covered (avanaddha), solid (ghana), and hollow (suṣira). Among these, the stringed (tata) means an instrument with strings, the covered (avanaddha) means a drum, the solid (ghana) a cymbal and the hollow (suṣira) a flute.
The five kinds of Dhruvās
29-30. Songs which relate to Dhruvās are of five kinds¹ :
25-26 (B.26b-27a, G 25b-26a). ¹ pravṛtti—Haas translates this word as 'Local Characteristics', (See DR , p 74). The five geographical names (Avanti, Dākṣiṇātya, Oḍra, Magadhī and Pañcāla) probably show that these were the parts of India where dramatic show was current at the time when tradition recorded in this NŚ, arose. Omission of the north-eastern part of India, including Bengal and Assam, probably shows that at that time these places were still in many respects outside the pale of Aryanized India. And the omission of the north-western India from this list may be explained on the assumption that it being on the way of the new immigrants who frequently poured into this country the formation of any established usage was difficult. For details about pravṛttis see NŚ. XIV. 36-56.
² siddhi (success)—For details about the Success see NŚ. XXVII. 1 ff.
27-29 (B.28a-30, G.27b-29). ¹ See NŚ. (C.) XXVIII. 19, 11.
² See NŚ. (C.) XXVIII. 1-2.
29-30 (B.31-33a, G.30-31a). ¹ See NŚ. (C.) XXXII. 334-352.
.VI. 31 ] THE SENTIMENTS 105
entering (praveśa), casual (ākṣepa), going out (niṣkrama), pleasing (prāsādika) and intermediate (āntara). And the playhouse is of the three types : oblong (vikṛṣṭa), square (caturasra) and triangular (tryasra)$^2$.
- So much about the Digest on drama giving its contents (lit. meaning by a small number of Sūtras (concise rules). I shall now speak about the contents of the Sūtra-work$^1$.
The Sentiments explained
In that connexion I shall first of all explain the Sentiments (rasa). No meaning proceeds [from speech] without [any kind of] Sentiment. The Sentiment is produced (rasa-niṣpattiḥ) from a combination (saṁyoga)$^2$ of Determinants (vibhāva), Consequents (anubhāva) and Transitory States (vyabhicāri-bhāva). Is there any instance (dṛṣṭānta) [parallel to it]. [Yes], it is said that, as taste (rasa) results from a combination of various spices, vegetables and other articles$^3$, and as six tastes (rasa) are produced by articles such as, raw sugar or spices or vegetables, so the Dominant States (sthāyibhāva), when they come together with various other States (bhāva) attain the quality of the Sentiment (i.e. become Sentiment)$^4$. Now one enquires, 'What is the meaning of the word rasa"? It is said in reply to this [that rasa is so called] because it is capable of being tasted (āsvādyate). How is rasa tasted ? [In reply] it is said that just as well-disposed persons while eating food cooked with many kinds of spices enjoy (āsvādayanti) its tastes (rasa) and attain pleasure and satisfaction,
$^2$ B. adds one couplet after 30.
31 (B.33b-34a, G.31b, c). $^1$ The original of the next passage till the beginning of 33 is in prose.
$^2$ The NŚ. nowhere explains the terms niṣpatti and saṁyoga of this definition and does not include the sthāyibhāva in it (the def.). Hence the theory of rasa has come to be interpreted differently in later times by Lollaṭa, Śaṅkuka, (Bhaṭṭa) Nāyaka and Abhinavagupta. For a brief exposition of their views see Viṣṇupada Bhaṭṭācārya—Sāhityamīmāṁsā (Bengali), Calcutta, 1948. pp. 33 ff.
$^3$ G. adds here one sentence more (tathā......... .. niṣpattiḥ).
$^4$ tatrāha (G. ṛṣaya ūcuḥ).
14
106 THE NATYASASTRA [ VI. 32-
so the cultured people taste the Dominant States (sthāyi-bhāva) while they see them represented by an expression of the various States with Words, Gestures and the Temperament and derive pleasure and satisfaction. Thus is explained [the Memorial Verse ending with] tasmān nāṭyarasā iti⁵. For in this connexion there are two traditional couplets :
32-33. Just as connoisseur of cooked food (bhakta) while eating food which has been prepared from various spices and other articles, taste it, so the learned people taste in their mind the Dominant States (such as love, sorrow etc.) when they are represented by an expression of the States with Gestures. Hence these Dominant States in a drama are called the Sentiments.¹
The relation between the Sentiments and the States.
²Now one enquires, “Do the States (bhāva) come out of the Sentiments (rasa) or the Sentiments come out of the States ?” On this point, some are of opinion that they arise from their mutual contact. But this is not so. Why ?
“It is apparent that the Sentiments arise from the States and not the States from the Sentiments. For [on this point] there are [traditional] couplets such as :
34-35. The States are so called by experts in drama, for they cause to originate (bhāvayanti) the Sentiments in connexion with various modes of dramatic representation. Just as by many articles of various kinds auxiliary cooked food (vyañjana) is
⁵ See below 33-34.
32-33 (B.35-36, G.32-33). ¹ For a discussion on Bharata's theory of rasa see Skt. Poetics, Vol. II. pp. 25 ff.
² The original of this passage till the beginning of 34 is in prose, but its reading seems to be confused. In the light of the five kārikās that follow one may be justified in changing the order of some sentences and in emending it partially as follows : अत्राह केषाञ्चिन्मतं भावेभ्यो रसानामभिनिर्वृत्तिरिति, न तु रसेभ्यो भावानामभिनिर्वृत्तिरिति। तन्न कस्मात्। दृश्यते हि परस्परसंयोगादेषामभिनिर्वृत्तिरिति.
But if it is really an instance of textual corruption it may be said to have been sanctified by time, for Bhoja who refuted Bharata’s view on bhāvas giving rise to rasas relied on this text. Cf. V. Raghavan, Śr. Pr. p. 26.
34-35 (B.38-39, G.34-35).
-VI. 42 ] THE SENTIMENTS 107
brought forth, so the States along with different kinds of Histrionic Representation will cause the Sentiments to originate.
36. There can be no Sentiment prior to (lit. without) the States and no States without the Sentiments [following it], and during the Histrionic Representation they are produced from their mutual relation.
37. Just as a combination of spices and vegetables imparts good taste to the food cooked, so the States and the Sentiments cause one another to originate (bhāvayanti).
38. Just as a tree grows from a seed, and flowers and fruits [including the seed] from a tree, so the Sentiments are the source (lit. root) of all the States, and likewise the States exist [as the source of all the Sentiments]¹.
The eight Sentiments from the four original ones
Now we shall describe the origins, the colours, the [presiding] deities, and examples of these Sentiments. Sources of these [eight] Sentiments are the four [original] Sentiments e. g. Erotic, Furious, Heroic and Odious.²
39. The Comic [Sentiment] arises from the Erotic, the Pathetic from the Furious, the Marvellous from the Heroic, and the Terrible from the Odious.
40-41. A mimicry of tho Erotic [Sentiment] is called the Comic, and the result of the Furious Sentiment is the Pathetic, and the result of the Heroic Sentiment is called the Marvellous, and that which is Odious to see results in the Terrible.
42-43. The Erotic Sentiment is light green (śyāma), the Comic Sentiment white, the Pathetic (Sentiment) ash-coloured
36 (B.40, G.36). 37 (B.41, G.37).
38 (B.42, G.38). ¹ B adds one prose sentence more after this passage.
² The original of this passage till the beginning of 39 is in prose.
³ Bhoja criticises this view of the author of the NŚ. in his Śr. Pr. See Ramaswamy Sastri Bh. P. Introduction p. 28; V. Raghavan, Śr. Pr. 27.
39 (B.44, G.39). 40-41 (B.45-46, G.40-41).
42-43 (B.47-48, G.42-43).
108 THE NATYASASTRA [ VI. 44-
(kapota), the Furious Sentiment red, the Heroic (Sentiment) light orange (gaura), the Terrible (Sentiment) black, the Odious (Sentiment) blue and the Marvellous (Sentiment) yellow.
The presiding deities of the Sentiments
44-45, Viṣṇu is the god of the Erotic, Pramathas of the Comic, Rudra of the Furious, Yama of the Pathetic, Śiva (Mahākāla), of the Odious, Yama (Kāla) of the Terrible, Indra of the Heroic, and Brahman of the Marvellous Sentiments.
¹Thus have been described the origins, the colours and the deities of these (Sentiments). Now we shall explain the Determinants (vibhāva), the Consequents (anubhāva), the Transitory States (vyabhicārin), their combination, and their definitions and examples.
We shall now enumerate the Dominant States in different Sentiments.
The Erotic Sentiment
Of these, the Erotic (śṛṅgāra) Sentiment proceeds from the Dominant State of love (rati) and it has as its basis (lit. soul) a bright attire; for whatever in this world is white, pure, bright and beautiful is appreciated in terms of the Dominant State of love (śṛṅgāra). For example, one who is elegantly dressed is called a lovely person (śṛṅgārin). Just as persons are named, after the custom of their father or mother or family in accordance with the traditional authority, so the Sentiments, the States and other objects connected with drama are given names in pursuance of the custom and the traditional authority. Hence the Erotic Sentiment has been so named on account of its usually being associated with a bright and elegant attire. It owes its origin to men and women and relates to the fullness of youth. It has two bases: union (sambhoga) and separation (vipralambha). Of these two, the Erotic Sentiment in union arises from Determinants like the pleasures of the season, the enjoyment of garlands, unguents, ornaments [the
- 44-45 (B. 49-50, G. 44-45). ¹ The original of this passage till the beginning of 46, is in prose.
-VI. 47 ] THE SENTIMENTS 109
company of) beloved persons, objects [of senses], splendid mansions, going to a garden, and enjoying [oneself] there, seeing the [beloved one], hearing [his or her words], playing and dallying [with him or her]. It should be represented on the stage by Consequents such as clever movement of eyes, eyebrows, glances, soft and delicate movement of limbs, and sweet words and similar other things. Transitory States in it do not include fear, indolence, cruelty and disgust. [The Erotic Sentiment] in separation should be represented on the stage by Consequents such as indifference, langour, fear, jealousy, fatigue, anxiety, yearning, drowsiness, sleep, dreaming awakening, illness, insanity, epilepsy, inactivity, [fainting], death and other conditions.
Now it has beeen asked, “If the Erotic Sentiment has its origin in love, why does it [sometimes] manifest itself through pathetic conditions ?” [In reply to this] it is said, “It has been mentioned before that the Erotic Sentiment has its basis in union as well as in separation. Authorities on ars amatoria (vaiśika-śāstra) have mentioned ten conditions [of the persons separated from their beloved ones, which are pathetic], We shall discuss them in the chapter on the Common Histrionic Representation.² The Pathetic Sentiment relates to a condition of despair owing to the affliction under a curse, separation from dear ones, loss of wealth, death or captivity, while the Erotic Sentiment based on separation relates to a condition of retaining optimism arising out of yearning and anxiety. Hence the Pathetic Sentiment, and the Erotic Sentiment in separation differ from each other. And this is the reason why the Erotic Sentiment includes conditions available in all other Sentiments.
46. And the Sentiment called Erotic is rich in pleasure, connected with desired objects, enjoyment of seasons, garlands and similar other things, and it relates to [the union of] man and woman.
There are besides two Āryās related to the preceding Sūtra :
47-48. The Erotic Sentiment arises in connexion with
² See NŚ. (C.) XXIV.
46 (B.52, G.46).
47-48 (B.54-55, G.47-48).
110 THE NATYASASTRA [ VI. 49-
favourable seasons, garlands, ornaments, enjoyment of the company of beloved ones, music and poetry, and going to the garden and roaming there. It should be represented on the stage by means of serenity of the eyes and the face, sweet and smiling words, satisfaction and delight, and graceful movements of the limbs.
The Comic Sentiment
$^1$Now the Comic (hāsya) Sentiment has as its basis the Dominant emotion of laughter. This is created by Determinants such as showing unseemly dress or ornament, impudence, greediness. quarrel, defective limb, use of irrelevant words, mentioning of different faults, and similar other things. This (the Comic Sentiment) is to be represented on the stage by Consequents like the throbbing of the lips, the nose and the cheek, opening the eyes wide or contracting them, perspiration, colour of the face, and taking hold of the sides. Transitory States in it are indolence, dissimulation, drowsiness, sleep, dreaming, insomnia, envy and the like. This (Sentiment), is of two kinds : self-centered and centered in others. When a person himself laughs it relates to the self-centred (Comic Sentiment), but when he makes others laugh it (the Comic Sentiment therein) is centred in others.
There are two traditional Āryās here :
49. As this makes one laugh by an exhibition of oddly placed ornaments, uncouth behaviour, words and dress and strange movement of limbs, it is called the Comic Sentiment.
50. As this makes persons laugh by means of uncouth behaviour, words, movement of the limbs and strange dress, it is known as the Comic Sentiment.
51. This Sentiment is mostly to be seen in women and persons of the inferior type, and it has six varieties of which I shall speak presently.
52. They are: Slight Smile (smita), Smile (hasita), Gentle Laughter (vihasita), Laughter of Redicule (upahasita), Vulgar
$^1$ The original of this passage till the beginning of 49 is in prose.
49 (B.58, G.49). 50 (B.59, G.50).
51 (B.60, G.51). 52 (B.61, G.52).
-VI, 60] THE SENTIMENTS 111
Laughter (apahasita) and Excessive Laughter (atihasita). Two by two they belong respectively to the superior, the middling and the inferior types [of persons].
- To persons of the superior type belong the Slight Smile (smita) and the Smile (hasita), to those of the middling type the Gentle Laughter (vihasita) and the Laughter of Ridicule (upahasita) to those of the inferior type the Vulgar Laughter (apahasita) and the Violent Laughter (atihasita).
There are Ślokas on this subjects :
-
The Slight Smile (smita) of the people of the superior type should be characterised by slightly blown cheeks und elegent glances, and in it the teeth should not be visible.
-
Their Smile (hasita) should be distinguished by blooming eyes, face and cheeks, and in it the teeth should be slightly visible.
Of persons of the middle type
-
The Gentle Laughter (vihasita) should have slight sound, and sweetness, and should be suitable to the occasion and in it the eyes and the cheeks should be contracted and the face joyful.
-
During the Laughter of Ridicule (upahasita) the nose should be expanded, the eyes should be squinting, and the shoulder and the head should be bent.
Of persons of the inferior type
-
The laughter on occasions not suitable to it, the laughter with tears in one's eyes, or with the shoulder and the head violently shaking, is called the Vulgar Laughter (apahasita).
-
The Excessive Laughter (atihasita) is that in which the eyes are expanded and tearful sound is loud and excessive, and the sides are covered by hands.
-
Comic situations which may arise in the course of a
| 53 (B.62, G.53). | 54 (B.65, G.54). | 55 (B 66, G.55). |
| 56 (B.68, G.56). | 57 (B.69, G.57). | 58 (B.71, G.58). |
| 59 (B.72, G.59). | 60 (B.73, G.60). |
112 THE NATYASASTRA [V. 25-
play, for persons of the superior, middling or inferior type are thus to be given expression to.
61. This Comic Sentiment is of two kinds : self-centred and centred in others; and it relates to the three types of persons : superior, middling and inferior, and has thus [on the whole] six varieties.
The Pathetic Sentiment
$^1$Now the Pathetic (karuṇa) Sentiment arises from the Dominant State of sorrow. It grows from Determinants such as affliction under a curse, separation from dear ones, loss of wealth, death, captivity, flight [from one's own place], [dangerous] accidents or any other misfortune. This is to be represented on the stage by means of Consequents such as, shedding tears, lamentation, dryness of the mouth, change of colour, drooping limbs, being out of breath, loss of memory and the like. Transitory States connected with it are indifference, langour, anxiety, yearning, excitement, delusion, fainting, sadness, dejection, illness, inactivity. insanity, epilepsy, fear, indolence, death, paralysis, tremor, change of colour, weeping, loss of voice and the like.
On this point there are two Āryās :
62. The Pathetic Sentiment arises from seeing the death of a beloved person, or from hearing something very unpleasant and these are its Determinants.
63. This is to be represented on the stage by Consequents like weeping loudly, fainting, lamenting and bewailing, exerting the body or striking it.
The Furious Sentiment.
$^1$Now the Furious (raudra) Sentiment has as its basis the Dominant State of anger. It owes its origin to Rākṣasas, Dānavas and haughty men, and is caused by fights. This is created by
61 (B.74, G.61). $^1$ The original of this passage till the beginning of 62 is in prose. 62 (B.76, G.62).
63 (B.77, G.63). $^1$ The original of this passage till the beginning of 64 is in prose.
-VI. 66 ] THE SENTIMENS 113
Determinants such as anger, rape, abuse, insult, untrue allegation, exorcizing, threatening, revengefulness, jealousy and the like. Its actions are beating, breaking, crushing, cutting, piercing, taking up arms, hurling of missiles, fighting, drawing of blood, and similar other deeds. This is to be represented on the stage by means of Consequents such as red eyes, knitting of eyebrows, defiance, biting of the lips, movement of the cheeks, pressing one hand with. the other, and the like. Transitory States in it are presence of mind, determination, energy, indignation, restlessness, fury, perspiration, trembling, horripilation, choking voice and the like.
Now one enquires, “Is it to be assumed from the [above] statement about Rākṣasas that they only give rise to the Furious Sentiment, and that this Sentiment does not relate to others ?” [Reply]. “No, in case of others too this Sentiment may arise. [But in case of Rākṣasas] it is to be understood as their special function. They are naturally furious, ²for they have many arms, many mouths, standing and unkempt hairs of brown colour, and prodigious physical frame of black complexion. Whatever they attempt, be it their speech, movement of limbs or any other effort, is by nature furious. Even in their love-making they are violent³. It is to be easily inferred that persons who imitate them give rise to the Furious Sentiment from their fights and battles.
On these points there are two Āryās :
-
The Furious Sentiment is created by striking, cutting, mutilation and piercing in fights, and tumult of the battle and the like.
-
It should be represented on the stage by special acts such as the release of many missiles, cutting off the head, the trunk and the arms.
-
Such is the Furious Sentiment viewed [by experts] ; it is full of conflict of arms, and in it words, movements and deeds are terrible and fearful.
² G. considers this passage till the end of this sentence as an āryā (G.64).
³ Cf. Bhaṭṭikāvya, VIII. 98.
64 (B.79, G.65). 65 (B.80, G.66). 66 (B.81, G.67).
15
114 THE NATYASASTRA [ VI. 67-
The Heroic Sentiment
¹Now the Heroic (vīra) Sentiment, relates to the superior type of persons and has energy as its basis. This is created by Determinants such as presence of mind, perseverance, diplomacy, discipline, military strength, agressiveness, reputation of might, influence and the like. It is to be represented on the stage by Consequents such as firmness, patience, heroism, charity, diplomacy and the like. Transitory States in it are contentment, judgement, pride, agitation, energy (vega), ferocity, indignation, remembrance, horripilation and the like.
There are two Āryās [on these points] :
67. The Heroic Sentiment arises from energy, perseverance, optimism, absence of surprise, and presence of mind and [such other] special conditions [of the spirit].
68. This Heroic Sentiment is to be properly represented on the stage by firmness, patience, heroism, pride, energy, agressiveness, influence and censuring words.
The Terrible Sentiment
¹Now the Terrible (bhayānaka) Sentiment has as its basis the Dominant State of fear. This is created by Determinants like hideous noise, sight of ghosts, panic and anxiety due to [untimely cry of] jackals and owls, staying in an empty house or forest, sight of death or capitivity of dear ones, or news of it, or discussion about it. It is to be represented on the stage by Consequents such as trembling of the hands and the feet, horripilation, change of colour and loss of voice. Its Transitory States are paralysis, perspiration, choking voice, horripilation, trembling, loss of voice, change of colour, fear, stupefaction, dejection, agitation, restlessness, inactivity, fear, epilepsy and death and the like.
On these points there are two traditional Āryās :
69. The Terrible Sentiment is created by hideous noise,
¹ The original of this passage till the beginning of 67 is in prose.
67 (B.83, G.68).
• 68 (B.84, G.69). ¹ The original of this passage till the beginning of 69 is in prose.
69 (B.86, G.70).
-VI. 74] THE SENTIMENTS 115
sight of ghosts, battle, entering an empty house or forest, offending one's superiors or the king.
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Terror is characterised by looseness of the limbs, the mouth and the eyes, paralysis of the thighs, looking around with uneasiness, dryness of the drooping mouth, palpitation of the heart and horripilation.
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This is [the character of] natural fear; the artificially shown fear also should be represented by these conditions. But in case of the feigned fear all efforts for its representation should be milder.
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This Terrible Sentiment should be always represented by tremor of the hands and the feet, paralysis, shaking of the body, palpitation of the heart, dryness of the lips, the mouth, the palate and the throat.
The Odious Sentiment
¹Now the Odious (bībhatsa) Sentiment has as its basis the Dominant State of disgust. It is created by Determinants like hearing of unpleasant, offensive, impure and harmful things or seeing them or discussing them. It is to be represented on the stage by Consequents such as stopping the movement of all the limbs, narrowing down of the mouth, vomitting, spitting, shaking the limbs [in disgust] and the like. Transitory States in it are epilepsy, delusion, agitation, fainting, sickness, death and the like.
On these points there are two traditional Aryās :
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The Odious Sentiment arises in many ways from disgusting sight, tastes, smell, touch and sound which cause uneasiness.
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This is to be represented on the stage by narrowing down the mouth and the eyes, covering the nose, bending down the head and walking imperceptibly.
70 (B.87, G.71). 71 (B.88, G.72).
72 (B.89, G.73). ¹ The original of this passage till the beginning of 73, is in prose.
73 (B.92, G.74). 74 (B.93, G.75).
116 THE NATYASASTRA [ IV.
The Marvellous Sentiment
¹The Marvellous (adbhuta) Sentiment has as its basis the Dominant State of astonishment. It is created by Determinants such as sight of heavenly beings or events, attainment of desired objects, entrance into a superior mansion, temple, audience hall (sabhā), a seven-storied palace and [seeing] illusory and magical acts. It is to be represented on the stage by Consequents such as wide opening of eyes, looking with fixed gaze, horripilation, tears [of joy] perspiration, joy, uttering words of approbation, making gifts, crying incessantly hā, hā, hā, waving the end of dhoti or sārī, and movement of fingers and the like Transitory States in it are weeping, paralysis, perspiration, choking voice, horripilation, agitation, hurry, inactivity, death and the like.
On this point there are two traditional Āryās ;
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The Marvellous Sentiment is that which arises form words, character, deed and personal beauty.
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This is to be represented on the stage by a gesture of feeling [sweet] smell, joyful shaking of limbs, and uttering of hā, hā, hā, sounds, speaking words of approbation, tremor, choking voice, perspiration and the like.
The three kinds of the Erotic, the Comic and the Terrible Sentiments
- The Erotic Sentiment is of three kinds, viz, of words, dress, and action. And the Comic and the Terrible Sentiments are likewise of three kinds, viz, of limbs, dress and words.
The three kinds of the Pathetic Sentiment
- The Pathetic Sentiment is of three kinds, viz. that rising from obstruction to lawful deeds, from loss of wealth and from bereavement.
The three kinds of the Heroic Sentiment
- The Heroic Sentiment is likewise of three kinds, viz.
¹ The original of this passage till the beginning of 75, is in prose.
| *75 (B.95, G.76). | 76 (B.96, G.77). | 77 (B.97, G.78). |
| 78 (B.98, G.79). | 79 (B.99, G.80). |
.VI. 83 ] THE SENTIMENTS 117
that arising from making gifts, from doing one's duty (dharma) and from fighting [one's enemy].
The three kinds of the Terrible Sentiment
80. The Terrible Sentiment is also of three kinds, viz, feigned fear, fear from a wrong action, and fear from an apprehension of danger.
The three kinds of the Odious Sentiment
81. The Odious Sentiment is of three kinds, viz. nauseating, simple, and exciting. Of these the Sentiment from a sight of stool and worms is nauseating, and the sight of blood and similar objects is exciting.
The three kinds of the Marvellous Sentiment
82. The Marvellous Sentiment is of two kinds, viz. celestial and joyous. Or these the celestial is due to seeing heavenly sights, and the joyous due to joyful happenings¹.
83. These are the eight Sentiments and their definitions, I shall hereafter speak of the characteristics of the States.
Here ends Chapter VI of Bharata's Nāṭyaśāstra which treats of the Sentiments.
80 (B.100, G.81). 81 (B.101, G.82).
82 (B.102, G.83). ¹ B. adds here a spurious passage on śānta rasa.
Chapter 7: The Emotional States / Bhāvas (भाव व्यञ्जक)
CHAPTER SEVEN
THE EMOTIONAL AND OTHER STATES
Bhāvas (States) explained
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Now I shall;speak of the bhāvas (States). An enquiry in this connexion is, “Why are the bhāvas (States) so called ? Is it because they bhāvayanti (pervade) and are hence called bhāvas (States)?” It is said in reply that bhāvas (States) are so called because through Words, Gestures and the Representation of the Temperament, they bhāvayanti (infuse) the meaning of the play [into the spectators]. $^{1}$ Bhāva is ‘cause’ or ‘instrument’, for words such as, bhāvita, vāsita and kṛta are synonymous. An expression like, ‘O, all these things are bhāvita (pervaded) by one another’s smell or moistened by one another’s juice,’ is established even amongst the common people. Hence the root bhāvaya means ‘to pervade’. Ont his point there are the following Ślokas :
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When the meanings presented by Determinants and Consequents are made to pervade (gamayte) [the heart of the spectators] they are called bhāvas (States).
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As in these the inner idea of the playwright (kavi) is made to pervade [the mind of the spectators] by means of Words, Gestures, colour of the face and the Representation of the Temperament they are called bhāvas (States).
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As they cause the Sentiments relating to varioūs kinds of Histrionic Representation to pervade [the mind of the spectators], they are called bhāvas (States) by those who produce a drama.
Vibhāvas (Determinants) explained
“Now, why is the word vibhāva used ?” [Answer] : “The word vibhāva is used for the sake of clear knowledge. It is
0 (B.G. same).
1 (B.1-2, G.1). $^{1}$ We read bhāva iti kāraṇa(m) sādhanam yathā etc.
2 (B.3, G.2). \qquad\qquad 3 (B.4-5, G.3).
-VII. 6] THE EMOTIONAL AND OTHER STATES 119
synonymous with kāraṇa, nimitta and hetu. As Words, Gestures and the Representation of the Temperament are vibhāvayte (determined) by this, it is called vibhāva (Determinant). Vibhāvita (also) means the same thing as vijñāta (clearly known).
On this point there is a Śloka :
- As many things are vibhāvyate (determined) by this through Words, Gestures and the Representation of the Temperament it is named vibhāva (Diterminant).
Anubhāvas (Consequents) explained
"Now, why is the word anubhāva used ?" (Answer) "Because the Histrionic Representation by means of Words, Gestures and the Temperament are anubhāvyate (made to be felt) by this, it is called anubhāva (Consequent).
On this point there is a Śloka :
- As in it the spectators are anubhāvyate [made to feel] things by means of Words and Gestures it is called anubhāva and it relates to words as well as to [gestures and movements of] major and minor limbs.
Now we have explained that the States (bhāva) are related to Determinants (vibhāva) and Consequents (anubhāva). Thus are the States (bhāva) created. Hence we shall discuss the definitions and examples of the States together with their Determinants and Consequents. Of these, the Determinants and the Consequents are well-known among people. They being connected with the human nature, their definitions are not discussed. This is for avoiding prolixity.
On this point there is the Śloka :
- Determinants and Consequents are known by the wise to be things which are created by human nature and are in accordance with the ways of the world.
The three kinds of States : Dominant, Transitory and Temperamental
Now the Dominant States (sthāyi-bhāva) are eight in number. The Transitory States (vyabhicāriṇaḥ) are thirtythree and
4 (B.6, G.4).
5 (B.7-8, G.5). ¹ We read with B.
6 (B.9, G.6).
120 THE NATYASASTRA [VII. 7-
the Temperamental States are eight in number. These are the three varieties of the States. Hence we are to understand that there are fortynine States capable of drawing out the Sentiment from the play. The Sentiments arise from them when they are imbued with the quality of universality (sāmānya, lit. commonness).
On this point there is a Śloka :
- The State proceeding from the thing which is congenial to the heart is the source of the Sentiment and it pervades the body just as fire spreads over the dry wood.
Difference between the Dominant and the other States
It is said in this connexion : "If the fortynine States being represented by Determinants (vibhāva) and Consequents (anubhāva) coming into contact with one another become Sentiments when they are imbued with the quality of universality, how is it that Dominant States only are changed into Sentiments (and not Determinants and Consequents) ?" [In reply to this] it is said : "Just as among persons having same characteristics and similar hands, feet and belly, some, due to their birth, [superior] manners, learning and skill in arts and crafts, attain kingship, while others endowed with an inferior intellect become their attendants, in an identical manner, the ¹Dominant States become masters because on them Determinants (vibhāva), and Consequents (anubhāva) and Transitory States (vyabhicārin) depend. Similarly some of the other States (e.g. Determinants and Consequents) have the qualities of [king's] local officers, and [hence] Transitory States (vyabhicārin) become attendants to these (Determinants and Consequents) because of their [superior] quality. Now it may be asked, "Is there any parallel instance ?" [Answer.] "Just as only a king surrounded by numerous attendants receives this epithet [of king] and not any other man, be he ever so great, so the Dominant States (sthāyi-bhāva) only foliowed by Determinants, Consequents and Transitory States receive the name of Sentiment. [On this point] there is a traditional Śloka :
7 (B.10-11, G.7). ¹ विभावानुभाव-व्यभिचारिणः स्थायिभावानुपायिता भवन्त्याश्रयत्वात् स्वामीभूताः स्थायिनो भावाः, तदन् स्थानीयपुरुषगुणीभूता अन्ये भावास्तान् गुणवत्तयाश्रयन्ते परिजनभूता व्यभिचारिणो भावाः.