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-bhāvas partake of the dual nature - they are vyabhicarins as well as anubhāvas.
Further on Abhinavagupta states that vibhāvas like seasons, garlands, etc., and anubhāvas, external manifestations of feelings like tears, etc., are exclusively of bodily or physical nature, and external and they can never be designated as bhāva - mental states, (cittavȚttiviseșa) and finally establishes : Tasmāt sthāyi-vyabhicāri sättvika eva bhāvāh/
(A.Bh. Vol. I, p. 433) (Therefore, the sthāyi, vyabhicāri and sāttvikas alone are called bhāva -mental states).
Now, about the word sättvika : Bharata after dealing with the sthāyibhāvas and vyabhicāribhāvas treats of the sāttvikas. He raises the objection : "Are the other mental states (sthāyi-bhāvas and vyabhicăribhāvas) represented without sattva whence only these eight (stambha, sveda, etc.) are called sätt vika"?, and himself replies: sattva is something which arises from the mind. It emerges from the concentrated mind. It is essential in drama. Situations of happiness and misery need to be properly presented on the stage with the help of sattva so that they appear completely realistic to the spectators. This itself is the sattva in an actor; feigning to be in an unhappy or in a happy state he has to shed tears or display horripilation. And that is why these states (stambha, sveda, etc.) are called sättvikabhāvas.''6
Abhinava gupta explains the term sattva as concentration of the mind' (cittaikāgryam). The authors of Natyadarpana who generally follow Abhinavagupta echo him when they say : "When the mind is attentive it is called sattva .... For if the mind be inattentive it is not possible for the actor to act out the sättvika-bhāvas like svarabheda (faltering voice), etc. "7.
In continuation of Abhinavagupta's discussion of the nature of sattva Hemacandra's discussion of the sättvika-bhāvas deserves to be taken up. In a footnote to my paper "Abhinav abhārati, Ch. VII Recovered ?" I. wrote “The discussion of this topic (sattva and sättvika-bhāvas) in the KĀS (pp. 144-147) is possibly based on the portion in the A.Bh. on the Bhāvädhyāya (now lost). This guess is hazarded on the strength of a few significant phrases common to the A.Bh. and the KĀŚ.8 The language, the style, the mode of presentation and the fact that Hemacandra freely adopts the whole section on rasa and passages after passages from
