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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 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 saṁskäras (impressions) of worldly love depicts the vibhāvas, etc., through his play and the actor, trained and talented, presents the anubhävas in such a way as to bring the enjoyment of love to the level.. of an imaginative experience of love.4 The terms 1. vibhāva, 2. anubhāva, 3. vyabhicăribhāva correspond to kārana-kārya, sahakāri-kāraṇa of our everyday life. The technical term sthāyibhāva (the permanent emotion running all through the play from the beginning to the end) corresponds to the permanent emotions which are inborn with human beings. Bharata's categories of sthāyibhāvas, vyabhicāri-bhāvas and sättvikabhāvas, are not unalterably fixed. This is quite clear from a perusal of the text5. The technical term sāttvika-bhāva, 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 sättvika-bhāvas as anubhāvas and some others as vyabhicărins. This treatment implies that according to Bharata they partake of both characters - they are both vyabhicāri-bhāvas and anubhāyas.
Abhinavagupta, Bharata's commentator, makes explicit what Bharata implies when he speaks of abhyantara (internal) and external (bahya) sättvikabhāvas. The internal sättvikabhāvas 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 vyabhicărins.
Further, Abhinavagupta draws our attention to the fact that Bharata mentions the sättvikabhāvas as a separate class immediately after the vyabhicāri-bhāvas and just before the 'catvāro 'bhinayah' (the fourfold dramatic representation). Abhinayas mean anubhāvas themselves. This fact leads to the reasonable conclusion that Bharata regards that the sättvika
| SR No. | 520765 |
| Book Title | Sambodhi 1988 Vol 15 |
| Original Sutra Author | N/A |
| Author | Ramesh S Betai, Yajneshwar S Shastri |
| Publisher | L D Indology Ahmedabad |
| Publication Year | 1988 |
| Total Pages | 222 |
| Language | English, Sanskrit, Prakrit, Gujarati |
| Classification | Magazine, India_Sambodhi, & India |
| File Size | 5 MB |