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Smrti, Mati, Vṛīḍā, Jāḍya, Viṣāda, Mada, Vyadhi, Nidra, Supta, Autsukya, Avahittha, Śañkā, Capala, Alasya, Harṣa, Garva, Augrya, Prabodha, Glani, Dainya, Śrama, Unmada, Moha, Cinta, Amarṣa, Trāsa, Apasmāra, Nirveda,99 Avega, Vitarka, Asūyā, Mrti, (Sthiti, Udaya, Praśama, Sandhi and Sabalatva). The list of the thirty three Vyabhicarins extends upto Mṛti (death). Thereafter it is mentioned that these Bhavas sometimes seem to be steady - not as steady as the Sthayibhavas, but comparatively steady - and so they are called Bhavasthiti etc. For instance, the Vyabhicaribhāva, Vitarka (conjecture) in the verse (117) Tisthet kopavaśāt etc., from the fourth act of the Vikramorvasiyam, remains steady throughout the verse, for, the verse contains a series of conjectures. Here, the main sentiment is Vipralambhaśṛngara, but the Vitarkabhāvasthiti - a series of conjectures adds a lot of charm to this poem and helps strengthen the main sentiment.
Bhāvasthiti, Bhāvodaya, Bhāvapraśama, Bhāvasandhi and Bhāvaśabalatā
Sometimes a feeling appears very prominently in a poem. This is called Bhavodaya which is explained in the verse (118) 'Yate gotraviparyaye' etc. In this verse, a women offended by the mention of another lady's name (Gotraviparyaya or Gotraskhalana) by her lover through inadvertence, being on the same bed with her husband, made a semblance of amorous gestures, but did not embrace him with her breasts. This verse illustrates Manodaya (appearance of anger). The next verse (119) ' ' etc.,' explains Bhavaprasama or the disappearance of a feeling in a prominent way. "When the lover was seen, her anger began to contract like her eyes; when he stood next to her, her anger bent down like her face; when he touched her, her anger came out like her horripilation; when he began to talk to her, her anger began to slip off like the knot of her garment; and when he fell at her feet, her anger entirely vanished as though it were ashamed (to stay on any longer)."
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