Sambodhi 1993 Vol 18

Author(s): J B Shah, N M Kansara
Publisher: L D Indology Ahmedabad

Page 47

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SAMBODHI abhinaya is of four types — angika (pertaining to the limbs of the body), vācika (pertaining to the speech), sātrvika (through sattva or concentration of mind) and āhārya (pertaining to external objects). These four types of abhinaya are interrelated to the dharmi, vrtti, and pravrtti and are also interrelated to each-other. If the performance is pre-dominated by nāryadharmi methods, sättvika abhinaya will be conspiouously adopted, but if it is being done in lokadharmi style, the emphasis will be shifted to āhārya type of abhinaya. Thus, the abhinaya is regulated by dharmi and it leads to the expression and realisation of the bhāvas. The bhāva comprises the complete environment created by the performer and his acumen on the stage. The bhāva , coming from the root bhū (sattāyām) indicates the amalgum of moods, emotions or sentiments which generate from the combination and practice of the four abhinayas proceeding in accordance with the dharmi, the vrtti and the pravrtti. The bhāva generated in this way culminated in Rasa. Bharata has, therefore, accepted the double etymological meaning of Bhāva - i.e., that which come into existance is bhāva, and that which leads to relish or aesthetic rapture is also bhāva.. The expression of bhāvas on the stage leads to the experience of Rasa, which is the summum bonum of the natya-performance. Abhinava points out that the concept of Rasa has been borrowed from the Upanisadic philosophy, where Rasa or Ananda is the very quintessence of human life and signifies the Ultimate for which each one of us lives and strives28. All the components of the natyasamgraha in the chain lead to Rasa and in this way Nātya proceeds from the outer world to the inner one. But nothing goes on in the nätya without Rasa, as Bharata says : 7 fc Thiga afferet: wadai
Rasa, therefore, regulates all the components of the nātyasamgraha and in 2012 Hae fufurargaxtarct 11 (iii) at cruit: 7 to the outer world.
Rasa is called Vibhāvādisamūhālambanātmaka and Vibhāvādijīvitāvadhi, i.e. always depending on the combination of various bhāvas and fading away with disappearance. Because of the multiplicity of bhāvas within the texture of Rasa experience, Vamana and Sankuka define Rasa as a state replete with opposite or diverse forces - samplava or sambhedaa9.
There is nothing beyond and without Rasa in Nătya and Rasa is realised at various levels in its creative process. It functions within the author and the dramatist as a creative force its overpowering effect leading him to create a thing of beauty which is joy forever'. Bhattatauta had presented an analysis of the creative process of the poet and he said : 4106 quit 7 ada ala-ta 4244 (Q. by Abhinavagupta).
The actor, as discussed above has to concentrate within his psyche or sattva in order to be able to project the cause, the stimulants and the ensuants of different emotions on the stage. This concentration leads him to samădhi replete with the joy of creation. Finally, this Rasa is realised by the connoisseure or the ideal spectator (sahrdaya preksaka). The impact of Rasa, therefore, is conspicuous on all the three fronts of the