CHAPTER - VII

RASA AND ABHINAYA

 CHAPTER - VII.

RASA MS ABBINAYA

The veiy core of the theory of Sanskrit dramatic ai’t '

consists in the concept of Rasa, according to wnich every
dramatic creation should aim at evoking m the ramcfcs of i.;s
audience a peculiar kind of aesthetic experience called Rasa
or sentiment. The lirst scientific treatment of the subject
is found in the Natyadastra though Bharata is certainly not
the first to enunciate the theory of Rasa^. During Bharata's
time, it was already Being discussed by adherents of diifirent
schools of rhetoric hut it was his exposition that almost all
the later theorists accepted as the most authoritative.
However, Bharata's aphoristic .statements needed a certain
amount of elucidation and, as time passed on, there emerged,
as could toe expected., a number 01 different interpretations
one supplanting or supplementing another, until we come to
Ahhinavagupta who, refuting all tne tnen existing theories,
was able to successfully establish the view of his school.

The Rasa is that aestnetic and impersonal joy tnat

tne spectator inspired and moved toy the clever acting of the
actor w«o is assisted toy external aids is expected to realize
in his mind. This realization of RaSh results irom a proper
communion between the performer and the spectator-listener
m

wnose ever alert mind tails not to grasp the import of wrat
the former tries to convey. Thus an -active'audience
participation is an essential factor to the enjoyment of the
Rasa. The Rasa is not a sudden revelation; it results from
a gradual process of sensory and mental perception toy which
a responsive spectator becomes transported from the plane
of worldly feelings and emotions to the higher realm of pure
aesthetic joy.

The word ‘rasa1 is derived iron the root 1 ras* (to

relish, taste) and means 'something that has to be relished
2
or enjoyed' . In drama this relishing is possible through
•

1 . Bharat avrddha and Vasuxi quoted toy Saradatanaya ^appear

to toe two predecessors, oi Bh&rata. Cf. Bh.Pr. pp. 36.37-
37. 1 and Yol.«I, CSi. vi, pp. ztfl ff., prosw &
ibid., vi. 35.
2. NS. Vol.I, p. 286 (prose); ND. p. 1415 cf. SD. pp. 73 f.
mental perception alone^. Since it is an impersonal and
transcendental joy, the enjoyment of Rasa is different fro*
such mental experiences as memory, inference or worldly
feelings and emotions^. There can therefore b:? only one Kasa
though it can arise from any one of the permanent emotions or
b asic mental moods that are inborn in every human toeing.
Bharat a has enumerated eight such permanent emotions or
Sthayibhavas as they are called, namely, Rati (love), Hasa
(mirth), ^oka (sorrow), Krodha (anger), Utsaha (valour), Bnaya
(fear), Jugupsa (disgust) and Vismaya (marvel)^. Correspond­

ing to these eight Sthayibhavas there are eight sentiments

named according to the emotions that give rise to them. They
are &rngara (love), Hasya (humour), Karuna (pathos), Raudra
(fury), Vira (heroism), Bh ay an aka (terror), Bibhatsa (horror)
and Adbhuta (wonder) respectively*
4. 2 3
Besides the above eight

permanent or enduring emotions there is a large number of

mental and physical states, feelings and subsidiary emotions
which are transitory or evanescent and collectively called
Vyabhicaribhavas. The theorists give the number of Vyabhioari-
bhavas as thirty-three. They are Nirveda (discouragement),,
Dainya (depression), Cinta (anxiety), Visada (despair),
Avahittha (dissimulation), Glani (weakness), Srama (weariness),
Alasya (indolence), Sahka' (apprehension), Avega (agitation),
Trasa (fright), Garva (arrogance), fray a or Asuya (envy),
Amarsa (indignation), Ugrata (acrimony^, Moha (distraction),.
Autsukya (impatience), Smrti (recollection) Dhrti (contentment),
Vrlda (shame), Capalata (inconstancy), Harsa (joy), Mati •
(assurance), Tarka (deliberation), Mada (intoxication), Eidra
(sleeping), Supta (dreaming), Vibodha (awakening), TJnmada
(insanity), Vyadhi (sickness), Apasmara (epilepsy), Jadata
c
(stupor) and Marana (death) . The Sthayibhavas are distinguiab­
ed from the Vyabhicaribhavas by their being more or less
permanently embedded in numan nature remaining in .a dorment
state from which they are aroused by external stimuli wnile
the latter come and disappear like uhe waves in the ocean5 6ana

cease to exist as soon as their exitants disappear. According

*1 . K$. vi. 33 (a verse quoted by*Bharata from an earlier source);
'na rasanavyapara asvadanam, api tu manasa eva', A.Bh. Voi.l,
p. 290.
2. * tenalaukikacamatkaratma rasasvadah smrtyanumanalaukika-
samvedanavilaksana eva', A.Bh. ibid., p. 284.
3. NST vi. 175 see kLso JfR. dv. 33^ K-?r. ** 50 •
4. E^. vi. 15» KP. iv. 20. •
5. M3, vi. 18-21; DR. iv. 8; HD. p. 157; KPr. "iv. 31-34.
6. DR. iv. 7; Bh.Pr. p. 23. 19-22; cf. ibid., p. 38. t5 f.
 - 168 -

to the etymological explanation offered by Bharat a of the

term, the Vyabhicaribhavas are so called because they, moving
in diverse directions, act as forerunners of the Rasa .
Endowed with verbal, physical and mental powers, says Bharata,
they lead the Rasa forward just as the sun carries forwards
the day and night2. Since they co-exist with a kindled
emotion, they are also called Samcaribhavas or Sahacaribhavas.
The relation between a Sthayibhava and its accompanying Bhavas
is likened to that existing between the king ana his subjects
■2

or between the preceptor and his disciples . Abhinava

compares the Sthayibhava and its ¥yabnicaribhavas to a string
of jewels. The Sthayibhava is, as it were, the thread
running through the beads stringing them together. Just es
the balls of ruby, emerald, sapphire-etc. tnat form tme
s tring shine by their own lustre shedding it at the same timer-
• •
on the thread which is visible in between them and also being
m
tinged with the lustre of the jewels on either side, so do
the Vyabhicaribhavas manifest themselves mixing up with the
preceding or following Bhavas and casting their shade on the
dominant Bftava^-, Thus the Sthayibhava is the unifying factor
of the Vyabhicaribhavas that accompany it while it is awake
and serve to strengthen or foster it . if we take a glance
at the list of Vyabhicaribhavas given by the theorists, it
will be seen that it is a miscellaneous collection of emotions,
feelings, states of mind, ‘attitudes an$ physical conditions.'
They are treated under a common heading because they serve
the common purpose of intensifying the Sthayibhavas. When
one Sthayibhava dominates the character, another Sthayibhava
may exist side by side with it in tne capacity of a Vyabhieari-
bhava, but a Vyabhicaribhava can never attain the state of a
6
Sthayibhava . It may however heoome transformed into another
7
of its own kind . Bharata recognized only tne above eight
dominant emotions, but later theorists admitted a ninth
sentiment called Santa (serenity) with Sama (tranquillity) as
Q
its permanent state . This new sentiment has however been
limited to poetry alone and is not considered by many as
• T~......................... ... .. ~ " *..... .. .. rrv"r r .. ' " 1

1 . 'vividhamabhimukhyena rasesu carantiti vyabhicarinah',

Nl3. vii, prose after verse 27? cf. Bh.Pr. p. 25 .19.
2. Ng. Iog. cit.
3. H$. vii, pnose after verse 7; vii. 8.
4. A.Bh. Vol.I, p. 283. . .
5. Bh.Pr. p. 26. 1-2. /
6. A.Bh. ibid., pp. 295’ 3455 SD. pp. 70 f. .
7. A.Bh. ibid., p. 345.
8>. N^. vi, prose after verse 82, appended by Abhinava?
DR. iv. 45b; HD. pp. 144 f., 156; SD. iii. 175.
 - 169 -

1
stage-worthy and has thus Seen denied a place in drama .

We nave already observed that certain Kinds of external

causes or stimuli are necessary for the arousal of these
emtions, feelings, states of mind etc. or Bhavas to give
them a common designation. For the emotion of love to toe
aroused in a young person, for instance, there should ©e such
factors as a beautiful damsel and congeneai surroundings.
These causes or Karanas when represented on the stage are
p
called Vibhavas or determinants . Later theorists divided,
the Vibhavas into two groups, Alambana Vibhavas or primary
•5
determinant© and Uddipana Vibhavas or exitant determinants .
The Alambana Vibhavas, the objects on which the emotions hang,
are the characters of the drama*4.25 36 For
7 Dusyanta's love
Sakuntala behaves as the Alambana Vibhava and vice versa. The _
exit ant determinants cover all the other external factors shat
_. h
stimulate the Bhavas aroused by the Alambana Vibhavas . Thus,
a beautiful garden, the season of spring, the moon-light, she
Malaya breeze, the fragrance of flowers, the cooing 01 the
cucicoo, endearing words addressed to one's beloved, ner
suggestive looks, her dress and ornaments, appropriate music
and such other things may Berve as Uddipana Vibhavas for tne
awakening and intensification of one's love. The Uddipana
Vibhavas may therefore toe said to cover all actions, words,
dress etc. of the Alambana Vibhavas as well as the factors of
A

time, place and the like , *

The emotions, feelings etc. thus aroused by the

Vibhavas must find outward expression if they are to be carried
across the boards. All physical effects that make manifest,
the inward feelings and emotions, physical conditions etc.
experienced by a character are called Anubhavas or consequents^.
A side glance, a pleasant smile, sweet woMs, a suggestive
posture and the like may be used by a girl as a means of
expressing her love for her lover. So they are all Anubhavas.
These physical and verbal expressions which are Known as

.1 • In.'his essay on the number of,Rasas Dr. Raghavan has tried

to determine the rightful place of the ^anta Rasa in the
fields 01 poetry and drama. See The Number of Rasas, the
Adyar Library, Adyar (1940). ,
2. SD. pp. 95 f.
3. DR. iv. 2b; SD. iii. 29b.
4. SD. iii. 29c. / • •
5. Ibid., 131b.
6. Ibid., 132a and prose.
7. SD. p. 15b; DR. iv. 3ai Bh.Pr. p. 38. 13 f.
 - 170 -

K ary as in everyday use, when imitated on the stage, go ay

. - l
t he &pecmc name oi Anuhhava .

There is however another category of so-called

Bhavas wtiiun xn eiiect cannot fee distinguished frem the
Anubhavas, and tnere were at least a lew theorists who die
not tninx that such a segregation was at all necessary .
These are the sattvika Bhavas, a group of eight involuntary
physical effects, namely, paralysis, fainting, horripilation,
perspiration, change 01 colour, trembling, weeping.xana unauge
oi voiced ' Sat tv a*1 2is
3 4 *a 6certain
7 law (1 dharma') which governs
the expression oi the inner state of a person^-, and the mind
5
is its sole dispenser . The changes of a man's bodily or
mental condition arising from this Satfcva or inner nature
are called Sattvika Bhavas0. 6 However, their being grouped «»—• •
• .
under a separate heading has been justified on the score that
• 7
they have their origin in a tully concentrated mind. Then
there arises the question as to how the Anubhavas could be
represented with less perfect concentration of the mind, it
seems therefore that the distinction between the two kinds of
consequent depends not so much on their source of origin as
on whether they are voluntary or involuntary effects. The
Sattvika Bhavas seem to represent those physical eifects that
occur quite involuntarily and tnerefore beyond the control of
a person's will power while the Anubhavas comprise tnose
physical expressions which are well within tne uontrol of ais
will. Thus the latter are made manifest after deliberation,
or to say it differently, follow theiB&avas, whereas the
mental activity and physical manifestation in the ease of the
former are almost instantaneous. Nevertheless, this
distinction can exist on Karya level only, for the actor wno
imitates them on the stage has to treat them with equal
concentration, it must therefore be clear that, for all
practical purposes, the above eight involuntary physical :
effects when represented on the .stage cannot be distinguished
from the Anubhavas, and the name Sattvika Bhava for them is
•rather misleading. Apparently £ven Bharat a did not see any
reason to distinguish thou from the Anubhavas and whenever
mmmmmm^wmm^^aaviM.mMw■

1. SB. iii..132B, 153a.

2. SB. p. 69? NB. p. 165.
3. N& vi. 22, vii. 94-TO7;*J)R. iv. 5b, 6; Bh.Pr. p. 14. 7 f.;
SD. iii. 135b, 136a.* .
4. SB. p. 72f 5. 'sattvam nama manahprabhavam', NS. vii.
■arose after verse 93.
6. N^. loc. oit.j DR. iv. 4b, 5a; SB. iii. 134b. /
7. Cf. 'manasah samaahau sattvanispattirbhavati , »b. loc.ext.
 - 171 -

he gave examples of Anubhavas, he listed the Anubhavas snc.

the Sattvika Bhavas together without discrimination.

It is now clear that all physical actions, facial

expressions and words used in expressing Bhavas ore Anubhavas.
• •

A perusal* of the lists of Anubhavas given by theorists will

show that emphasis has been laid on facial expressions,
subtle physical movements and emotional utterences. Besides
the so-called Sattvika Bhavas, sidelong glances, the knitting
of the eyebrows, the dilating and contraction of tne eyes,
the restless eyes, the throbbing of the cheeks, sighing,
smiles, yawning, biting of nails, wailing and the like - atl
of which are facial and verbal expressions - are some ol tne
typical Anubhavas, and among the more markedly noticeable
physical movements, a comparatively small number such as «*■» •
the drooping of limbs, heaviness*©* stiffhess of limbs, rolling
or falling prostrate on the ground, massage of limbs has
been listed as Anubhavas.

Bharata* s definition of tne Rasa has been condensed

in his famous formula “The Rasa results from the union of
Vibhavas, Anubhavas and Vyabhicaribhavas”1.* 3Though it is
not stated here, it is, in Bharata1 s opinion, the Sthayi-
2
bhava that attains the state of Rasa • Even as candied
Sugar, condiments, juice of herbs etc. are mixed together ta
maxe sweet-meat, says Bhatata, so doejtSe Sthayibhava, having
come into contact with the various Bhavas^ attain the stats
of Rasa''. The Rasa dawns upon oneself as a result of one* s
appreciation of the Sthayibhava solely through mental
perception^. Bharata also believes that there are only four
primary sentiments, love, fury, heroism and horror, the othor
four, Jiumour, pathos, wonder and terror, originating from them
5
respectively . This idea has been carried further by
Dhananjaya who perceives four different kinds of relish in the
and .
four primary sentiments, ^calls them Vikasa (cheerfulness),
Vistara (exaltation), K§obha (agitation) and Viksepa (perturb­
ation of mind). The four secondary sentiments,too, are said
to produce the same kinds of relish respectively since they

1. ,vibhavMlubhavavyabhicarlsamyo$adrasanispattih,, NS. vi, '

prose after verse 31* cf. DR. iv. 1; SD.‘ iii. 1.
2 . Cf. 1... .nanabnavopag^ta ,api stjfrayino bhava rasatvamapnuvanti1 ,
NS'. loe.cit.; ' sthay^bnavams'gya. rasatvamupanesyamah*, NS. ri.
prose after verse 435 1 vibhahubhavavyabhicariparivrtah
sthayi bhavo rasanama labhate*, N^. vii, p. 349.
3. N»3. vi, prose after verse 31 • 4. Ibid., vi. 33* of. Bh.Pr.
p. 59. 5-8. 5. NS. vi, prose alter verse 38 et seqq.
 172 -

1
arise from the four primary sentiment;s .
■

Bharata1 s definition of the nature of the Rasa, vmicn

is extremely laconic, if too simple, was soon recognized >oy
all tne subsequent theorists as the most authoritative, _
seme of them set upon themselves the task of expounding h/.s
definition in their own ways. As we learn from Jagannatha,
there were as many as eight different views put forward
from time to time. Of them there were at least four which
seem to have won wide recognition among contemporary
scholars, ana we shall briefly state them here since they
represent tne different stages in the gradual evolution of the
concept of Rasa.

•First there is the theory advanced by Loilaca who ~~

maintains that the Rasa is produced from the Sthayibhava cr
basic mental mood, when the latter is aroused, excited ana
intensified. When not awakened, the Sthayi remains in mail1 o
subconscious as an impression (Vasana). It is the
determinants (Vibhavas) that produce the mental mood in tna
foam of Sthayi and thus the relationship between the Viahava
and the Sthayibhava is one of cause and effect. The
Anubh&vas mentioned in the Sutra are to be understood as r.ot
belonging to the Rasa but as those produced by the Sthayibnava,
and so, they also contribute towards the production of the
Rasa. If by Anubhavas Bharat a meant the effects of Rasa, -ie
possibly could not have said tfcat they were its cause. ‘4 3
for the transient feelings (Vyabhicaribhavas), they can exist
even when the Sthayibhava i-s not awakened inasmuch as the
latter remains in its doimant state in the fonn of a mental
impression. Thus a sort of co-existence is possible for
the basic mental mood and the transient feeling. Therefore,
i t is nothing but the Sthayi awakened <aad intensified by
Vibhavas, Anubhavas etc. that becomes the Rasa. When not
intensified, it remains only as a basic mental mood. Now
the Rasa exists both in the character and in the actor. It
• primarily belongs to the character, for he is the actual
enjoyer of the emotion, and by transference, to the actor
who identifies himself*with the character**.

This view which oystme. to be.known as the Theory of

_ —" • “
1 . DR. iv. 43-45 a. .
2. A.Bh. Vol.I, p. 272? K.Pr. p. 87; see also J. Prabhakara
Sastry: Lollata’s Theory of Rasa, JOI, Vol. xv. No. 2
(Deo., 1965),*pp. 157-161?.
 - 173 -

Production (Utpatti-vada) has heen^rejected on the ground

that it fails to recognise the fact^the Rasa is to he
realized by the audience and no* by The performers. There­
fore, ^ankuJsa came forward wish another theory based on wr.afc

is described as a 'process of inference'. According to this,

theory, the actor who is well-versed in the art of acting
and has well rehearsed ms part, imitates an emotional sts.te
attributed to the character. Although he feigns by means of
Anubhavas, Samcaribhavas etc., wnich are of course not his
own, that he is experiencing the emotion, it really does not
belong to him, for he is not the real enjoyer of it. The
audience identify the actor with the character he impersonates.
But this is identification in a very limited sense. It is not
a perfect identification, for the audience knows perfectly
well that the emotions expressed by the actor are not real,
nor can we say that it is absolutely false, for it is not
rendered so ’oy any contrary experience at a later stage. It
i s also not a case of doubt because of the absence of an
alternative. Nor is it a case or similarity because they
know that the actor is not exactly like the character. Thus
this identification is of a unique kind, similar to our
knowledge of a horse painted in a picture ('citraturaga-
nyaya'). Identifying in this manner the actor with the
character, the audience in their turn infer that the emotion
exists in him as Sthayibhava and, threugh the exercise of
their imagination, relish this non—existent Sthayibhava.
The aesthetic joy the audience thus experience by inference
is called Rasa. Since it is the imitated version of a
Sthayibhava, the Rasa is designated differently^.

^ahkuxa's view, too,, fails to hold the ground, for it

is only by actual experience and not by inference that the
spectator can realize the exquisite joy which is known as
Rasa. The theory advanced by Bhattanayaka is more mature .in
its conception and it certainly paved the way for the theory
of Vyahjana propounded by Abhinavagupta. Bhattanayaka, who
“ views the concept of Rasa from ^n entirely different angle,
asserts that the Rasa is something neither produced nor
apprehended through inference! n<Jr is it a case of manifest­
ation (Abhivyakti). Causes, effects, associate feelings and
— ” ......... ." / ". ... 4 " ' .. " '

1 . A. Bh. Vol.I, pp. 2?2 £.1 K.Pr. pp. 88 ff.J cf. Bh.Pr.
pp. 50 .13 - 52. 2.
 - 174 -

tiie lilce which present themselves on tne stage are not real,
and, thereiore, the question of production is ruled out. He
dismisses 3ahkuka's tneoiy of inference on the ground that
imitation is no criterion 01 good acting. If one apprehends
Rama’s sorrow an its true nature, one would become really
sad. This perception is not proper for two reasons. Firstly,
the characters such as Rama and Sit a do not really exist!
secondly, one's own beloved does not come up to one's memory
to evoke the emotion. If the heroine is a goddess, her
emotions oannot be comprehended in its true form by a human
being. Extra-ordinary feats like the crossing of the ocean
(by Rama and otners) are beyond the icen of human experience^.
Vi,6vanatha, however, disagrees with this view and believes
that cm account of the innction of generalisation which a
dramatic composition is endowed with even men can conceive
* O
such marvellous deeds as humanly possibl.e .

Nor can the Rasa be called a revelation of something

potential with a degree of vividness in proportion to the
objects that are responsible for its arousal. Herein there
arises the doubt as to whom the revelation dawns upon, the
character, the actor or the spectator^.

Bhattanayaka therefore attributes to a poem a three­

fold function, Abhidha, Bhavakatva and Bhojakatva. Abhidha
or denotation is the power by which the poem makes itself
understood in its expressed sense. A poem becomes possesssd
of this attribute when it is free from defects and endowed
with poetic qualities, embellishments and so forth. In the
case of drama, this power lies in the Vitohavas, Bftavas,
Anubhavas etc. presented in it by means of the four forms of
ZL
Abhinaya . The reader or the spectator regards them not as
something personal or individual but as something absolutely
universal. This becomes possible because of the power os
Bhavajsatva or faculty of generalization the composition is
endowed with and which causes tne sentiment to manifest
itself. It is at this point that the third function, that
"of Bhojakatva or enjoyment, comes into play, whicn enables the
spectator to relish the sentiment thus brought to the surface.
One important thing we must remember here is that the degree
1 . A.Bh. Vol. I, p. 276,* . *
2. SD..p. 80. •
3 . A.Bh. ibid. •
4. 3ee below.
 - 175 -

of appreciation of the Basa is dependent upon the calibre of

the spectator, on his preyious experiences and reminiscences
and on ms character which is, though a blend of the three
qualities of Rajas, Tamas and Sattva, dominated by the 8atr,va
thus keeping him m a irame of mind whicn is a mixture of
happiness’and mental repose,... The joy.he experiences by
appreciating the Rasa is likened to that one derives from the
contemplation of the absolute1. This exposition offered by
Bh at tan ayaka of the Bharata-sutra is known as the Theory of
En joyment (Bhukti-vada).

The view finally accepted by the later theorists as the

most authoritative is the one expounded by Abhinavagupta.
gankuka's Theory of Inference (Anumiti-vada) which had been
widely recognized in those days, crumbled before the ruthless^* •
attaekes unleashed toy Abhinava anS. his teacher, Abhinava
contends that proper imitation is only an ideal which nobody
can achieve. The actor may assume the likeness of a character
by his appearance and dress and simulate Ms actions, but he
can never imitate the exact feelings and emotions experienced
by the character. Rama's life for instance is inimitable, ho-
one has ever experienced the actual love that was burning
within Rama and the actor playing Rama will never imagine the
actress playing Sit a is his own ' Sita'. It is, therefore,
absurd to say that the actor imitates Rama. The aotor may
however show that he is in love or is angry when he is actually
not so. He can simulate an angry person by behaving like one
with his contortions of the face, knitting of his eyebrows etc.
But that is not real imitation; nor will the audience believe
it to be so. The actor does not really feel sad as Rama die:,
for BhSvas are beyond imitation. He can nowever gesticulate
Anubhavas not exactly the same as Rama* s but those of a
generic kind, but a generic thing cannot toe taken to resemble
something particular. Thus real imitation is impossible. To
say that when the audience imitates the Sthayibhava through
inference it becomes Rasa is therefore wrong. The actor can
n.ever hope to imitate Rama or his •emotions. The audience knows
fully well that the actor is just acting and that the stage is
but a stage. How then ckn they apprehend the Sthayi in its true
nature? The actor can only try to look like him, feign Ms
feelings and emotions. A$ ordinary* person will never be
---------------------------------------------------------------------------- ------------- S---------------------------------------------------------------------------------------------------

1. A.Bh. Vol.I, p. 277; K.Pr. p..90; cf. BMPrl p. 52. 5-12,

 - 176 -

successful in imitating R§ma wham he has never seen. There­

fore, no-one can "become successful in his attempt to imitate
emotions and mental states of a noble personage, for he
cannot do more than imitate the Anubhavas etc. not of that
very personage but of some noble person. Whether even shat
will be properly imitated is very much doubtful. If, on .he
other hand, the Vibhavas, Anubhavas etc. generate a worldly
feeling or emotion within the actor, then the theory of
imitation will be reduced to absurdity. In the case of the
character, the Vibhavas etc. are indeed real but that does
not mean that it must be the same with the actor too. At
the same time, if the Vibhavas, Anubhavas and Vyabhiearibhavas
which are not real are taken by the audience as unreal, how
can there be a realization of the emotion on its part? There
cap therefore be no Rasa in perception through inference of *
worldly feelings and emotions. The realization of tne
sentiment is a supernatural and scintillating experience and
is different from the experiencing of worldly things through
memory and inference1.2

There is no doubt that Abhinava drew much inspiration

from Bhattanayaka in establishing his new Rasa Theory of
Suggestion (Vyakti-vada) • The main point of difference
between Bhattanayaka and Abhinava is that the former fuily
recognized the property of Bhojakatva as something
indispensable to the realization of Rasa while the latter
totally dismissed it as sometning non-existent. Abhinava?
argues that the realization of the Rasa is a power resting
entirely with the spectator. He maintains that eauses,
effects and associate emotions when reproduced in a work c-r
art, be it drama or poetry, cease to oe called by those names
and receive the designations of Vibnava, Anubhava and Vyabni-
caribhava respectively because they attain a generic and
universal character while their prototypes may be individual
p
or personal. The reader or the spectator does not regard 'them
as belonging to himself or to the character or to the acto:.'„
• If the spectator, while apprehending emotions such as love,,
feels them as his own, says Vi^vanatha, he would teel shy and
nervous. If, on the o’ther nand, he understands than as

1. A.Bh. Vol.I, pp. 274 •.ff.••

J Bh.Pr.
*
pp. .50.11-52.2.
2. 1 alaukika evayam canvanopayogf vibhavadivyavaharah',
A.Bh. ibid,, p."285» 'up ay an am vibhavadinam laukika-
vailaksanyat', ibid.; of. K.Pr. iv. 27 f.» SD. pp. 77 ff.
"belonging strictly to the character, he will not enjoy itc
The factors such as the Vibhavas and Anubhavas help him to
overcome this difficulty in feeling them neither as his own
■t

nor as belonging to any particular person . This ability of

a work of jart to present itself on a general and universal'.
* _ p
plane is called by Abhinava Vyanjana more or less synonymous
with Bhavakatva coined by Bhattanayaka and Sadharana mentioned
in treatises on prosody. This is a function pertaining
exclusively to art, in the present context to the dramatic
art. It is due to this power of Vyanjana that causes, effects,
associates etc. which are generally called Karan as, Karyau
and Sahacarins become transformed into Vibhavas, Anubnavafs
Vyabhicaribhavas etc. in the realms of poetry and drama. And
it is by the Vyanjaua power tnat we are able to comprehend
them as belonging neither to ourselves nor to our enemy nor
to persons whom we are indifferent to but as pertaining to
no particular person. That is why when we witness a lota-
scene, for instance, we ao not become touched by the physical
emotions of love whicn would make us feel ashamed or
■5
apprehensive in front of others . ho Rasa-realization is
possible without the property of Vyanjana. The Rasa can
therefore exist only in the theatre (Watya) and not in the
world at large^. The suggestion of the sentiment, tnat 1.0,
thejemotion in its generic and universal form, takes place
on account of the Vyanjana power inherent in the work of art.
But the realization of the Rasa is yet to take place, for it
5
is a function which entirely belongs to the spectator . The
character or the actor has no share in it . The particulG.r
feeling Rama experiences when he perceives Slta is not the
sentiment. Nor is the actor the enjoyer of the Rasa, who
plays Rama after having” learnt and .well rehearsed his
part because, if he does so, he is not different from t'as
7
spectator .

However, not every person can appreciate the sentiment

alike. A spectator must, in the first place, possess keen
1 . SB. p. 80.
2. A.Bh. Vol.I, p. 217.
3. SD. pp. 79-95; K.Pk. pp. 91-94-
4. 'natye eva rasa na loke», A.Bh. ibid., p. S91.
5. SD, iii. 19b.
6. Cf, «nate na rasah' ,«A.Bh. ibhd., p. 291 *» DR. iv. 42b.
7. A.Bh. ibid., pp. 277 ff.#
 - 178 -

aesthetic susceptibilities^, an unruffled mind and a rich

and vivid imagination. He must have his feelings and
emotions experienced in the past, not only in this life but
in previous^as well, firmly embedded in his subconscious,
ready to be called into activity by Vibhavas, Anubhavas etc.
Those who'have had no past emotional experiences are therefore
incapable of relishing the Rasa. This impression of past
perceptions remaining in the subconscious mind is called
Vasana . According to Vi&vanatna, the Vasana is twofold,
Idanimtani (present) and Praktani (past). The Idanlmtani
Vasana is the present consciousness of past perceptions or
that which is alive while one in enjoying a play or a poem
whereas the Praktani Vasana consists of past perceptions
remaining unconsciously in the mind. If there is no such
thing as Idanimtani Vasana, he goes on, even theologians
( Srotriya Brahmins), decrepit old men and philosophers
(Mxmamsakaras) would be able to relish the Rasa. Were it not
for the Praktani Vasana, even the most passionate persons
•3
would not be able to enjoy it . Dharmaaatta, an authority
quoted by Vi^vanatha, remarks that the Rasa-relish is a
privilege exclusively of those spectators endowed with the
Vasana while those who are not, are not different from wood,
walls and stones that constitute the tneatre-building^.
Strictly speaking, man is however not without past emotional
impressions. Only it varies from individual to individual,.
Some may have rich experiences, some poorj some may have them
under restraint, others may have them let loose . Moreover,
the spectator must be trained and experienced m correctly-
interpreting the Vibhavas etc. and above all, must possess at
the time of appreciation a perfectly clear mind, free from all
other obsessions ana preoccupations. Thus The degree 01
appreciation of the Rasa strictly depends upon the individual.

The .spectator who is capable of appreciating the Rasa

is called a Sahrdaya. Abhinava defines Sahrdayas in the
A

following terms : 'They are Sahrdayas wnose minds, by the

• 1 . This quality is called Hrdaygsamvada or emotional
response. See A.Bh. Vol'.I, p. 284.
2. A.Bh. ibid., pp. 275 f., 282 f., 2851 SD. iii. «b.
5. SD. pp. 78 f. • 4. Ibid., p. 79.
5. A.Bh. ibid., pp. 282 f.; of. Bh.Pr. p.. 40. 13-1o.
6. 1 yesarn kavyanusllanabhyasavasad vi^adibhute manomukure
varnaniyamanatanmayibhavanayc^yata te hrdayasamvada-
bhajah sahrdayah', •Locafta on Dvanyaloka, N.S. Edijsion,
p. ill
 179 -

constant study of poetry, become as transparent as a mirrcr

and acquire the capacity to reflect .within themselves the
true image of what is expressed in a composition and whose
minds have become attuned as it were to that of the poet’
In other wqrds, adds Dr. A. SanKaran, when a person is
constantly engaged in the pursuit of poetry, his mind acquires
the capacity of easy, quick and complete understanding; and
his mind develops also a keen responsiveness to feelings from
without. By his imaginative sympathy, he loses his personality
for the time being by identifying himself with that of the
poet. Those whose minds have attained this complete agreement -
Hrdaya-samvada or complete attunement of mind with that of
2
the poet fi. are Sahrdayas .

When such a Sahrdaya or 1 feeling heart' as we may call]B_ #

■5!
hiir watches a dramatic performance, the factors connected
with the evoking of the sentiment Gauge the emotion lying
dorment in him to be awaxened. The emotion thus aroused m
him is not a wordly one as that he would experience when he
comes into contact with a woman in real life, but an
absolutely transcendental one which is purely impersonal,
similar to that resulting from a communion with the Supreme
Being4 . Thus even scenes that mane one saa, disgusted or
frightened, when represented on the stage can give only
pleasure^, ^aradatanaya however likens it to the JI varan an1 s
enjoying of the world through the thre^ functions of Riga,
Vidya and Kalab. Visvanatha compares it to the joyful
experience the lovers get from each other's bites at love-play^.
Just as a sweet beverage prepared with treacle, clack pepper,
camphor and other ingredients has no trace of taste of those
ingredients, says Abhinava, so is the Rasa different from the
Q
factors that evoke it . It can exist only as long as the
Vibhavas etc. last unlike the Anubhavas which can exist even
after its causes have disappeared. In this respect, the Rasa
q
differs from the Sthayibhava which is a permanent state .
This relishing of the Rasa is called Carvana10. The Rasa
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 - 180 -

made manifest (’vyanjita’) by the Vibhavas etc. is relisnod

( »carvita') by the spectators. The* cognition of the Vibnavas,
Anubhavas etc. and the Rasa-carvana do not take place exactly
at the same time, just as- the feeling of the touch of sandal
paste and -the consequent pleasing sensation do not occur
simultaneously^. The Rasa-carvana is to be distinguished
at once from the experience of emotions aroused and excited
by wordly means or cognition such as direct perception,
inference, learning, analogy etc. and from the impersonal joy
of the ascetic who is concentrating on twinge completely
detached from-' this mundane existence and who is utterly
2
indifferent to worldly pleasures .

• Abhinaya •

We have just seen how the various details the dramatist

wants to convey to the spectator are comprehended by the
latter who through the right kind of perception realizes m
his mind the sentiment intended. These details wmch include
practically everything that is represented in the drama are
called by the vague term ’arthas' (things or substance) ^ and
are made cognizable toy means of-Anubhavas. When we speak of
these Arthas in terms or Vibhavas and Bhavas, we are leoKi.ig
at the work or art purely from a dramaftic point of view. They
exist only in the words of the dramatist. Expressly put jn
verbal form or merely suggested toy -the playwright, tneoe Arthas
have to toe given visual ana aural foim© on the stage, for me
audience to grasp. It is a lunation wmcn is the responsibility
of neither the autaor nor the spectator but of the actor ar.d
the director. -. This technique oi the actor is called in
Sanskrit dramaturgy by the .-special term Abhinaya. It will oe
seen that we can hardly differentiate between Anuohava and
Abhinaya, the function of tooth toeing to make manliest the
Arthas. They are nevertheless distinguished from one another,
JS
and the distinction is rather one or attitude than oi kind1'.
• •
From the point ol view of the playwright and of the character
it is Anubhava and from that of the actor aid of the .specsamor
it is Abhinaya. The one, therefore, pertains .strictly to t.ie
sphere of drama, the othgu* to that* of theatre.

SD. p., 87. 2. A.Bh. ibid., p. 28b> K.Pr. pp. 91—95«

•

Cf. NS. vii, ato init.

• •

Cf. ’abhinaya anubhava eva. idam prthagvaeanam pradhanyat',

A.Bh. ibid., p. 2^0; see also ibid.', p. 305.
 - 181 -

The word 'abhinaya' is derived from the root 'nl' (to

carry or convey) with the prefix 1 abhi' (towards) and means
•that which carries forward or conveys (something)1 . It is
a term pertaining exclusively to the theatre and as such it
signifi.es the means by which the representation is conveyed
to the audience, or to .state it more clearly, the means by
which the various details described in the play are given
cognizable form ('vibhavayati') in the course of the
performance ('prayogatah') .

In the first place, the actors who represent the

Alambana Vibhavas (i.e., the characters m the drama) have to
assume the likeness of the characters they impersonate. They
must put on them appropriate costumes and make-up complete
with head-gear and ornaments. They must Then be placed in
th£ proper surroundings. The Sanskrit stage being simple m
the extreme, little attempt was made at localizing the
supposed scene of action. Often the characters themselves
vividly described the scene around them. However, as we shall
see in a subsequent chapter, a limited number of indispensable
articles were used on the stage and the actors used a consider­
able amount of hand properties. Wow all these extraneous
aids used by t,he actors and employed on me stage (by the
director) are called Ah ary a Abhinaya or extraneous represent-
••5
ation .

Another aspect of the actor1 s tecnnique is the action

which concerns itself with tne visual representation of the
Bftavas and Abuohavas pertaining to the characters. It is
twofold, namely, the Arigika Abhinaya and the Sattvixa
Abhinaya. The Sattvika Abhinaya is the representation oi the
eignt Sattvika Bhavas^ and one Arigika Abhinaya covers all
stances, body movements and facial expressions of the acto-ir*.
The vital role played by facial expressions in the represent­
ation of Anubhavas, the external indications of the Bhavas..
has been already dealt with. To do this successfully the
actor was required to nave complete mastery over the move­
ment© of his six minor limb© or’uparigas, namely, the eyes, the
brows, nose, lips, cheeks and chin6. The rest of the body is
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 182 -

also divided into six parts called Arigas or major limbs.

1
They are the head, hands, chest, Hanks, hips and ieet .
Since the acting on the Sanskrit stage was far from
realistic, the actor had to he proficient in the use of his
limbs and be an exponent of the class dance with its various
• " 2 *
steppings*, stances, and hand-gestures .

Speech or Ya'cika Abhinaya is the other important

element of drama. The dialogue of a Sanskrit play performs
a number of functions. Besides carrying forward the story,
it lays the .setting and describes feelings and emotions of
the characters. Sometimes it conveys to the audience those
details that are not physically presented on the stage. The
prose dialogue.,is interspersed with a large number of
lyrical verses. These peculiarities of tne dramatic dialogue,*. .
require the actor to be'well trained in phonetics, articulation
rx
sarid’-voiee modulation and rhythnr.

These .four branches of Abhinaya, Ahgika, Yacika,

Sattvika and Aharya, constitute the actor1 s technique on
which rests the theatrical representation of a drama^. In tne
next chapter we shall discuss some of tne important
cnaracter types found in Sanskrit drama and the subsequent
chapters will deal with the lour forms oi Abhinaya in their
proper places.
—— - —- ............ ........ ................................ —— --------------------- «-------------------------------------------------------------------------

1. NS. viii. 14.

2. See NJD. pp. .168 t,
3. See ibid., pp. 167 f,
4. NS. viii. 9 f.