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"Concept of Rasa" as seen in Anandavardhana and......
Four pravṛttis are enumerated in the B.P. (pp. 12, ibid):
"dākṣiṇātyā tathā"vantyā pauratsya ca auḍra-māgadhi, pravṛttayas' catasrópi
vāg-arambhāḥ syur ekadā." tad-vyāpārātmikāḥ proktā vṛttayaś ca caturvidhāḥ"
Now it may be observed that Śā. talks of four pravṛttis in between and once again starts talking on vṛttis, which are "tad-vyāpārātmikā" - the expression accepted from the DR. II. 47a- meaning that there are four vṛttis (such as kaiśikī etc.) based on tad his (= of the hero) behaviour. The B.P. observes that in the four vṛttis such as bhāratī, and the like, the behaviour pattern of the hero is fixed with reference his speech (vācika), mental activity (sättvika), dance form (nṛtta), external make-up (āhārya) and bodily movement (angika).
B.P. observes (pp. 12, ibid) :
"tad-vyāpārā"tmikāḥ próktā vṛttayaś ca, caturvidhāḥ. vācikam, sättvikam, nṛttam āhāryam ca tathā"ngikam, yathākramam niyamitam
bhāraty ādyāsu vṛttisu."
Actually the mention of four pravṛttis seems to be mis-fit.
B.P. again quotes from DR. II. 62 (pp. 131, ibid) - informing us as to which vṛtti is fixed with which rasa. (B.P. pp. 12, ibid): ?
"sṛngāre kaiśiki vire
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sāttvaty ārabhatī punaḥ, rase raudre ca bibhatse
vṛttiḥ sarvatra bhāratī."
Kaiśiki goes with śṛngāra, sattvatī with vīra, and ārabhațī is fixed with raudra and bibhatsa while bhārati is used in the context of all the rasas. The Kāvyamīmāmsā has "tatra veṣa-vinyāsa-kramaḥ pravṛttiḥ, vilāsa-vinyāsa-kramaḥ vṛttiḥ, vacana-vinyāsa-kramaḥ rītiḥ. (Ch. III)
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