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________________ HEMACANDRA ON SATTVIKABHAVAS 201 These things belong to real life and not the world of drama. What the sensitive spectators expect of the actors and actresses is their supreme skill in acting and that they make the scenes appear real although they are fake. Their art lies in concealing art. Once an actor played the role of a villain so very well that one person from the audience rose in his seat, took out his 'Chappal and threw it at that actor. The actor however, smilingly took it as a tribute to his power of acting. The poor fellow who however threw in his anger the 'Chappal at the actor does not deserve to be called an ideal spectator. He failed to make the right distinction between reality and illusion. The poet, gifted with marvellous creative imagination--pratibha, and permeated with latent samskaras (impressions) of worldly love depicts the vibhavas, etc., through his play and the actor, trained and talented, presents the anubhavas in such a way as to bring the enjoyment of love to the level of an imaginative expression of love4. The terms 1. vibhava, 2. anubhava, 3. vyabhicaribhava correspond to karana, karya, sahakarikarana of our everyday life. The technical term sthayibhava (the permanent emotion running all through the play from the beginning to the end) corresponds to the related permanent emotion which is inborn with human beings. Bharata's categories of sthayibhavas, vyabhicaribhavas and sattvikabhavas, are not unalterably fixed. This is quite clear from a perusal of the texts. The technical term sattvikabhava however, is somewhat confounding and calls for a detailed exposition. A careful look at Bharata's treatment of karuna, vira and adbhuta would show that Bharata gives some of the sattvikabhavas as anubhavas and some others as vyabhicarins. This treatment implies that according to Bharata they partake of both characters--they are both vyabhicaribhavas and anubhavas. Abhinavagupta, Bharata's commentator, makes explicit what Bharata implies when he speaks of abhyantara (internal) and external (bahya) sattvikabhavas. The internal sattvikabhavas are sometimes not in excess (anudrikta); they are represented by using a fan etc., and if in excess they manifest themselves as perspiration etc., on one's person and hence are described by Bharata as of the nature of vyabhicarins. Further, Abhinavagupta draws our attention to the fact that Bharata mentions the sattvikabhavas as a separate class immediately after the vyabhicaribhavas and just before the 'catvaro'bhinayah' (the fourfold dramatic representation). Abhinayah mean anubhavas themselves. This fact leads to the reasonable conclusion that Bharata regards that the sattvikabhavas partake of Stud.-26 Jain Education International For Private & Personal Use Only www.jainelibrary.org
| SR No. | 001868 |
| Book Title | Studies in Jain Literature |
| Original Sutra Author | N/A |
| Author | V M Kulkarni |
| Publisher | Shardaben Chimanbhai Educational Research Centre |
| Publication Year | 2001 |
| Total Pages | 114 |
| Language | English |
| Classification | Book_English, Literature, & Story |
| File Size | 14 MB |