Sambodhi 1988 Vol 15

Author(s): Ramesh S Betai, Yajneshwar S Shastri
Publisher: L D Indology Ahmedabad

Page 11

creation of rasa. He set down the Key-formula-the famous sūtra - for developing or producing rasa :
farargara:afnarfieàmgefarqfa: 11
The technical terms vibhāva, anubhava vyabhicäri-bhāva, and rasa were deliberately invented to impress on the minds of spectators and readers. that they relate to the world of drama (and by extension to the poetic universe) and not to the real world or every-day life where we use the terms like karaṇa, käyra, sahakari karana and bhava. Bharata explains these terms: Vibhāvas are determinants. In the later classification they fall into two divisions alambana (fundamental) and uddipana (excitant) determinants. Alambana vibhāvas comprise the nayaka, the nayika, for, without them there can be no development or creation of rasa in the audiencepreksakas-spectators. Úddipuna vibhāvas are such conditions of place and time and circumstances as serve to foster rasa (sentiment), for example, the full moon, garden, the fragrant breeze, secluded place, etc. all things which foster the sentiment of sṛngara when the emotion of love (rati) has already arisen. The anubhavas (consequents) are the external manifestations of the feeling, by which the actors suggest to the audience the feelings, the minds and hearts of the characters or persons of the drama, such a kafaksas (sidelong glances); smita (smile), alingana (embrace) and the like. Bharata singles out eight anubhavas, sveda (perspiration), romāñca (horripilation). etc.; and designates them as sättvika-bhāvas (they are called sättvika as arising from a heart which is ready to appreciate the joys or sorrows of another (sattva). Bharata mentions (33) thirty-three vyabhicari-bhāvas transitory feelings like glani (weakness), laikā (apprehension), rama (fatigue or weariness), asuya (envy), cinta (worry), etc. They are called vyabhicaribhāvas because they, like the waves appear on the surface of the sea for a while and submerge the next moment. They are like the gems woven in a thread the sthayibhava and strengthen it. Bharata mentions eight such sthayibhavas (permanent emotions or feelings) rati (love), toka (sorrow), etc. When they are developed we get the eight corresponding rasas, frigara, karuṇa, etc. Later writers add the ninth rasa called fänta.
Now, the rasa-sutra has been differently interpreted by four different commentators-Lollata, Šankuka, Nayaka and Abhinava and their views are known as utpattivada, anumitivada, bhuktivada and abhivyaktivada. The commentaries of the first three commentators are lost and we know about their views from the summaries of their expositions recorded by Abhinavagupta in his commentary Abhinavabharati. It is not humanly