Bharata Muni
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MAY THERE BE GOOD
NĀṬYA ŚĀSTRA
/THE SCIENCE OF THEATRE/
applied by the enlightened Bharata
So, the sixth chapter of Nāṭyaśāstra by Bharata:
1/ Having heard the description of the prologue, the greatest in spirit spoke again. All the sages asked Bharata: “Give us an answer regarding five things:
2/ Which rasa are studied in Nāṭya? What, truly, is their essence?
3/ What are the mentioned bhāva? How exactly are they realized? And also, what in reality are saṅgraha, kārikā and nirukta?»
4/ Having heard those words of the sages, the holy Bharata spoke in reply about the distinctions between bhāva and rasa.
5/ “First I will tell you in full, O rich in ascetic deeds, in sequence about saṅgraha, kārikā and nirukta.
6/ There is no possibility of ever reaching the end along the path of this Nāṭya. It is endless, because the quantity of knowledge and skills contained within it is too great.
7/ Indeed, it is impossible to reach the limit even in one of these knowledges, for it itself is already an ocean—what then of the path that unites all knowledges, the path leading to truth?
8/ Nevertheless, I will speak of what pertains to this Nāṭya. I shall begin with a description of bhāva and rasa in the form of saṅgraha, which contain the secret meaning in a condensed formula and include only conclusions.
9/ The wise should know - saṅgraha briefly presents that which requires detailed commentaries and explanations.
10/ Nāṭyasaṅgraha includes theses on rasa, bhāva and abhinaya, on the laws of classical and folk Nāṭya, on the different styles of Nāṭya and its modifications in various countries, on the success of Nāṭya, on musical tones and the orchestra, as well as on singing and the form of the stage.
11/ Kārikā is that which concisely describes some subordinate question.
12/ Nirukta, however, examines various proper names, relying on a dictionary of Vedic words and scholarly books, uncovering the meanings of word roots and their inflected parts.
13/ Nirukta represents a synthesis of many fields of knowledge, including the numerology of roots.
14/ O best of the twice-born, what I state first briefly will then be told with nirukta and kārikā.
15/ Love, Laughter, Sorrow, Anger, Heroism, Fear, Disgust and Wonder — these are the eight kinds of traditional rasa in Nāṭya.
16/ It is precisely these eight that were proclaimed by the Tamer of Rebels, the Great Spirit (Brahman). Now, I shall speak of bhāva – sthāyibhāva, sañcāribhāva and sattvabhāva.
17/ Delight, jest and anguish, fury, might, as well as dread, disgust and amazement — these are the well-known sthāyibhāva.
18/ Despair, emptiness, suspicion, also envy, intoxication and fatigue, laziness and dejection, preoccupation and fainting, recollection and contentment,
19/ shame, irascibility, joy and confusion, as well as stupidity, pride, disappointment, languor, drowsiness and obsession,
20/ sleep, awakening and irritation, as well as deception and punishment, prudence, illness, madness and dying,
21/ and also fear and conjecture should be known as sañcāri or vyabhicāribhāva. These states are named 33 in number.
22/ Stupor, perspiration, horripilation, change of voice, trembling, pallor, tears and unconsciousness — these are, according to tradition, the eight sattvabhāva.
23/ Aṅgika (body), Vācika (voice), Āhārya (costume) and Sāttvika (truth of existence) – these are the four well-known abhinaya, connected with Nāṭya.
24/ Lokadharmī (folk theatre) and Nāṭyadharmī (classical theatre) – these are the two traditions.
25/ Bhāratī, sāttvatī, kaiśikī and ārabhaṭī – these are the 4 vṛtti (styles) constituting the essence of Nāṭya.
Avanti, dakṣiṇātya, udhramagadhi and pañcālamadhyamā are the well-known pravṛtti (varieties).
Daivikī (the arrangement of the gods) and mānuṣī (human will) are the two factors of siddhi (success).
26/ 7 sounds, sung and played – ṣaḍja (born of six), niṣāda (sitting), ṛṣabha (bull), gāndhāra (prince), madhya (middle), pañcama (fifth), dhaivata (steadfast).
Tata (stringed), also avanaddha (percussion), ghana (idiophones) and Suṣira (wind) –
27/ 4 known types of instruments that make up the orchestra. Strings, as is known, reveal themselves through the sound of the string, while percussion instruments belong to the air space,
28/ percussion instruments keep the rhythm, while wind instruments, as is known, are made of bamboo. Praveśa (during the entrance of a character), ākṣepa (demonstration of rasa), Niṣkrama (during the exit), prasādikā (for attaining divine grace) and antara (for expressing an inner state) –
29/ such are the five known types of singing used for composing dhruva.
Three kinds of stage are known - square, rectangular, and triangular.
30/ Thus, this nāṭyasaṅgraha, consisting of brief statements, has been demonstrated.
Now I will set forth the main principles in the form of sūtra.
First of all, we will speak about rasa from the very beginning.
For there is no meaning in Nāṭya without rasa. Rasa, in turn, arises through the realization of vibhāva, anubhāva and vyabhicāri.
And what example is there of this?
And here is what is said: just as from the combination of various spices, herbs, and other substances the taste of a dish is obtained, so too from the entering into various bhāva is born rasa. Or just as from the combination of molasses with other substances, spices, and herbs the six tastes arise, so too do sthāyibhāva, passing through different bhāva, attain the quality of rasa.
Now the question arises: why is this called “rasa (i.e., taste)”?
It is said, because of tasting. In what way is rasa tasted? Here it is said: for just as food enriched with many seasonings possesses flavor, and a discerning person, tasting it, delights, likewise,
Tasting sthāyibhāva, seasoned with various bhāva and abhinaya, and accompanied by inspired speech and bodily movements, the spectator capable of empathy attains the rapture of delight. Hence the name – nāṭyarasa (the delight of feeling born of Nāṭya).
There are two ślokas on this, handed down from generation to generation:
32/ Just as people who know their food enjoy the taste of food that has various ingredients and seasonings,
33/ Thus the wise delight their souls with those sthāyibhāva that arise through abhinaya of various vyabhicāri. Therefore, from ancient times this is called nāṭyarasa (the tasting of Nāṭya).
Now the question arises: do the bhāva arise from rasa, or rasa from the bhāva? Some hold that they are realized through their mutual conjunction. But why? For it is evident that the bhāva do not arise from rasa, but rather from the bhāva are born the rasa.
There are ślokas about this:
34/ By those who know Nāṭya it is affirmed: bhāva, manifested through abhinaya, create rasa.
35/ Just as the uniqueness of a seasoning is created by combining various components according to many instructions, so too do the bhavas manifested through abhinaya give rise to rasa.
36/ Without bhāva there is no rasa, and free of rasa there is no bhāva. The interaction of these two is the success of the performance.
37/ And just as the combination of spices and herbs imparts flavor to food, so too do bhāva and rasa mutually create each other.
38/ Just as from a seed a tree necessarily arises, and from the tree a flower and fruit, so too rasa is the foundation, and bhāva depends on it.
Now we shall discuss such phenomena connected with rasa as their origin, color, and deity. Four rasa are the cause of the origin of the others, and these are Love, Anger, Heroism, and Disgust.
Now,
39/ Precisely from Love comes Laughter, from Anger – rasa Suffering, the source of Wonder is Heroism, and Fear – from Disgust.
40/ Imitation of Love evokes Laughter, and the result of Anger is known as the rasa Sorrow.
As a result of a heroic deed, wonder arises, and the one who looks at the repulsive experiences fear.
Now the colors:
42/ The dark one is the color of Love, white appears as Laughter, gray is Suffering, and red manifests Wrath,
43/ Heroism is known as brilliant (light), and Fear as black, Disgust is blue in color, and Wonder is traditionally yellow.
Now the deities:
44/ Love is revered by Vishnu, the deity of Laughter is Pramatha, Anger is patronized by Rudra, the deity of Suffering is Yama,
45/ Mahākāla (Śiva in the form of the world’s destroyer) relates to Disgust, the god of Fear is Kāla (time), the great Indra is the god of Heroism, the deity of Wonder is Brahmā.
Thus, information has been given about the origin, colors, and deities of these rasa.
Now we will speak about the distinguishing features of anubhāva, vibhāva and vyabhicāri. We will also explain the sthāyibhāva of the various rasa.
So, the feeling called Love arises from the sthāyibhāva pleasure. The costume suitable for Love is luxurious, the best in the world, pure, sacred, radiant, and beautiful. It is said that one whose costume is luxurious is himself the embodiment of Love.
Just as the names of people are determined by the way of life of the clan-tribe in which they are born, so too are the names rasa, bhāva and everything connected with Nāṭya determined by their purpose and correspond to their behavior.
That is why for rasa Love the style of behavior dictates an expensive and very beautiful costume. Love is the cause of the bond between man and woman; its character is youth and nobility.
Love has two states – satisfied and deceived.
Satisfied Love is born from the following vibhāva: spring, flowers, ointments and ornaments, walks in the grove together with the desired person, and the sight and hearing of everything that awakens desire and gives pleasure, as well as playful games and the like. It should be represented through the following anubhāva: skillful glances with raised eyebrows, coquettish sidelong looks at one’s partner, pleasantness in gestures and speech, and the like. And vyabhicāri such as fear, languor, terror, and disgust are excluded.
Deceived Love, however, should be represented by such anubhāva as despair, exhaustion, suspicion, indignation, weariness, absorption in passionate longing, sleep and waking from sleep, the illness of madness and intoxication, languor, cooling, death, and the like.
Here it is asked — if enjoyment is sthāyibhāva of Love, then why are its bhāvas present in what is connected with Suffering?
Further it is said: it has already been stated earlier that Love is of two kinds, satisfied and deceived (although the creator of the “Science of Erotics” (vaiśika śāstra) has named 10 of its conditions). We, however, will tell of that which unites the abhinaya of these two rasa.
So, bhāva Sorrow is a state of hopelessness arising from a curse, illness, death of a loved one, loss of wealth, ruin, or captivity. Whereas deceived love is a state of dependence arising from concentration on passionate desire.
Thus do Suffering and deceived Love differ from one another. In like manner, this feeling of Love is connected with all bhāva.
And also,
46/ Here is a devotee against the backdrop of blooming spring, full of happiness, or a certain husband united with a young beauty — thus is Love represented.
47/ Rasa Love is aroused by garlands of spring flowers, the enjoyment of poetry and music together with the beloved, as well as by amusements and strolls in groves.
48/ This should be presented as follows — sweet glances and speeches full of joy from delightful smiles, words that bring satisfaction, pleasantness and ease of movements.
Now rasa Comic. Its nature is constituted by the sthāyibhāva mirth. Its Vibhāva are as follows: an unsuitable costume and ornaments, borrowed from another’s shoulder, frivolous boldness, pretense, falsehood and idle talk, misunderstanding of what is happening or distortion of its meaning when conveyed in words, errors in pronunciation, and the like. It should be represented by the following anubhāva:
mouth covered by the palm, nose and cheeks trembling, eyes squeezed shut, body hunched, face sweaty and red, hands clutching the sides. And its vyabhicāri – these are feigned languor, weakness, drowsiness, sleep, awakening, discontent.
Rasa Laughter is also of two types: absorbed in oneself and directed at another. When the actor laughs himself, it is absorbed in oneself; when he makes another laugh, i.e., amuses, it is directed at another.
Now two ślokas, handed down from ancient times in the āryā meter:
49/ With improperly worn ornaments, walking incorrectly, saying the wrong thing, dressed inappropriately, awkward and laughing at oneself — thus is traditionally presented the rasa of Laughter.
50/ When someone makes another person laugh with absurd mannerisms, grimaces, and a strange costume—this too is known as the rasa of Laughter.
51/ This feeling is most often shown by female and low characters. It has six degrees, which I will now describe.
52/ Smile (smita), gentle Laughter (hasita), loud Laughter (vihasita),
laughter (upahasita), loud laughter (apahasita), Laughter to exhaustion (atihasita). In sequence, these two degrees each correspond respectively to the elevated, middle, and lower nature.
So,
53/ A smile and cheerful Laughter are of the highest nature, of the middle nature are loud laughter and guffawing, while of the lowest nature are cackling and Laughter to the point of exhaustion, as is known.
Now the ślokas,
54/ A smile is Laughter of the highest nature, when the face is calm, the teeth are unnoticeable, the face radiates strength, a slight hint in the gaze, and the cheeks are slightly stretched.
55/ Cheerful Laughter is represented with wide-open eyes and mouth, when the teeth are visible, and the cheeks are also stretched.
56/ Loud Laughter should indeed be loud, but pleasant; the cheeks rise so that the eyes become narrow, and the face gradually reddens.
57/ If the nostrils are flared, the eyes look askance, and the head and shoulders are bent, then this is laughter.
58/ When Laughter occurs in an inappropriate place, and even before tears in the eyes and shaking shoulders and head, then it is already guffawing.
59/ A Laughter to the point of exhaustion is tears rolling from the eyes, indistinct sounds bursting forth, and hands clutching the sides.
60/ In those places where the performance is to be humorous, one should apply these degrees of Laughter, of both the highest and the middle and low nature.
61/ Thus, it is known that there are two types of Laughter – arising within oneself and evoked in another, three of its natures, and six stages.
Now about the rasa Sorrow: its sthāyibhāva is Grief; its vibhāva is a curse, torment, separation from a beloved or their death, loss of wealth, death, captivity, forced flight, or some other harm or misfortune; its anubhāva is falling tears, plaintive entreaty, pallor of the face, weakened body, sighs, distraction, and other such; its vyabhicāri is despair, exhaustion, absorption in passionate longing, agitation, dizziness, fainting, fatigue, fear, sorrow, dejection, illness, numbness, madness, nocturnal recollections, languor, weakness, dying, insensibility, trembling, pallor of the face, change of voice, and other such.
Here are two ślokas in the āryā meter:
62/ Rasa Suffering arises from such characteristic states as the sight of a deceased beloved or the hearing of unpleasant words.
63/ Abhinaya rasa Suffering is as follows: loud lamentations and weeping, a semi-fainting state, as well as ritual beating of the body.
Further, rasa Wrath. Its essence is constituted by the sthāyibhāva fury, which is inherent in the nature of arrogant people, as well as of rākṣasas and dānavas, and is the cause of battles. Wrath is excited by such vibhāva as wildness, insults, humiliation of a hero, murderous speech, fury, enmity, envy, and so forth. Its actions are as follows: striking, breaking, causing pain, cutting, destroying, seizing weapons, overthrowing, drawing near, and fighting.
He must be represented with such anubhāva as red eyes, arched eyebrows, gnashing of teeth, compressed lips, trembling cheeks, and arms extended forward for a strike.
His bhavas are as follows: recklessness, ardour, agitation, indignation, impetuosity, pre-eminence, pride, trembling, hair standing on end, incoherent speech, and so on.
Now the question arises — it is said that this rasa Wrath is primarily connected with rākṣasas and dānavas. Does it have any relation to others?
It is said: yes, it does. However, this section explains that their nature corresponds precisely to Wrath. How so? They have enormous arms and large heads with reddish hair, hostile and irritated, with red eyes that rotate as if bulging from their sockets, terrible and frightful in appearance. And if someone displays such a nature, moves thus, and behaves thus, then he will belong to the rasa Wrath. The rasa Love is chiefly resorted to by the refined, while Wrath, consisting of struggle and clashes, pleases people like those described above, and they also imitate it.
Now the ślokas, handed down from ancient times:
64/ Rasa Anger is preferable in cases of battle, struggle, killing, causing harm, destruction and devastation, as well as fights and disturbances.
65/ It must be performed with the following distinctive features: many battles and shootings, and various kinds of mutilation and captures.
66/ Thus, the rasa Wrath is shown through furious bodily movements, a great quantity of weapons and battles, and possesses the nature of a cruel sacrifice.
Further, rasa Heroism. Its nature is the highest, its essence is aspiration. Its vibhāva: self-control, determination, courtesy, strength, might, creative gift and grandeur, as well as splendor and so on.
His anubhāva is firmness, wisdom, courage, self-sacrifice, learning, and the like. His bhāva is firmness of intention, pride, impetuosity, strength of indignation, remembrance, horripilation, and others.
Here in the ārya meter there are ślokas for contemplating this feeling -
67/ Rasa Heroism is born from strength of resolve, self-mastery, and immunity to being blinded by the wondrous.
68/ Correctly presenting rasa Heroism is as follows – perseverance, wisdom, courage, strength, pride, zeal, might and grandeur, as well as disputes and abuse.
Now about the rasa Fear. Sthāyibhāva fear constitutes its nature. The sight of a wildly roaring creature, or of Śiva, or of an owl, fright and anxiety when visiting an uninhabited house or while in a forest, the sight of the killing or captivity of a relative, even a heard account of this – by these and similar vibhāva is Fear aroused. It should be performed with the following anubhāva – trembling in hands and feet, a darting glance, the hairs on the body standing on end, pallor in the face, change of voice, and so on.
His bhāva are the following – paralysis, drops of sweat, incoherent speech, shivering, trembling, change of voice, pallor, fear, fainting, dejection, agitation, now disordered movement, now stillness, fright, possession, death, and others.
Here are the ślokas in the āryā meter:
69/ Fear arises at the sight of a wildly roaring creature, while wandering in a dense forest or in an empty house, and also because of a transgression against a teacher or a ruler.
70/ Fear is accompanied by the appearance in the hero of changes in the eyes, face, and entire body, noticeable trembling in the numbed thighs, pallor, dryness in the mouth, and increased heartbeat.
71/ A similar nature manifests itself in sattvabhāva. Although in this case the bhāva are the same, they must be expressed more weakly.
72/ Fear is always depicted with a parched throat, palate, and lips, with trembling in the heart, a numbed body, and shivering in the hands and feet.
Further, the rasa Disgust, whose essence, its sthāyibhāva, is aversion. It is excited by the following vibhāva — mention, sight, or hearing of something ugly, displeasing, unclean, and unpleasant. It should be performed with such anubhāva as vomiting when depicting a corpse, a decomposing body, or a wounded face. And its bhāva are these: the desire to forget, irritation, confusion, fainting, illness, death.
Here are the original lines in the āryā meter:
73/ Rasa Disgust arises from irritation and unwillingness to perceive something that has a bad smell or taste, is unpleasant to the touch or to the ear.
74/ The correct depiction of Disgust is as follows – eyes narrowed, mouth twisted, nose pinched, and a grimace on the face, gait unsteady.
Now the rasa Wonder, whose nature is constituted by the sthāyibhāva astonishment. It is excited by the following vibhāva — the sight of a marvelous person, desirable or charming, upon reaching a grove where a tribe of gods and the like rests, upon entering a palace, upon seeing a celestial chariot, magic, or an assembly of many kings, etc. It should be shown by means of such anubhāva as widened eyes, a gaze like a ram’s, horripilation, tears, perspiration, agitation, sincerity in words and generosity in gifts, the cry “O!”, a widely opened mouth, trembling of the fingers, whirling from side to side, etc. Its bhāva — stupefaction, tears, drops of sweat, indistinctness of speech, raising of the hairs on the body, excitement, confusion, loss of the capacity to reason, complete absorption in the object, etc.
Here there are pre-existing ślokas in the ārya meter:
75/ Everything created as outstanding—whether remarkable speech, extraordinary skill, or an astonishing quality of some action—all these are forms of vibhāva, known for the rasa Wonder.
76/ It should be shown with such a cry, as if touching a crocodile or an owl; the words should be involuntary, and the speech confused and agitated, with the appearance of drops of sweat, etc.
77/ One should know that the nature of Love manifests through three components: voice, costume, and performance. Laughter and Anger, according to tradition, also have three modes of manifestation—bodily movements, costume, and text.
78/ Suffering, according to tradition, is of three kinds – that arising from violation of the moral law, that proceeding from loss of glory, and that born of grief.
79/ Rasa Heroism, as Brahmā reports, also has three kinds – the feat of generosity, moral heroism, and heroism shown in battle.
80/ And precisely three kinds of rasa Fear are known – from perfect deception, due to carelessness, and also from cowardice.
81/ There are two kinds of Disgust — one arising from shock and one from violation of purity. Violation of purity is caused by filth and insects, while shock is born from the sight of blood and similar things.
82/ The marvelous and that born of joy — two kinds are named for the rasa of Wonder. The marvelous is that born upon seeing something wondrous, while that born of joy tradition calls delight.
Now the rasa called Peace, whose nature consists of such a sthāyibhāva as self-control. It is the foundation of final liberation. It is excited by such vibhāva as true knowledge, asceticism, purity of heart, and so on. It should be performed with the help of the following anubhāva — self-restraint and fasting, immersion in one’s own self, contemplation of the deity, moderation, devotion, love for all beings, cognition of the creative power of God, and so on. Its vyabhicāri — indifference to all memories and searches for satisfaction, tirelessness, honesty, numbness, raising of the hairs, and so on.
Here are ślokas in the āryā meter:
_/ Rasa Peace arises from immersion in oneself for the sake of final liberation; it is connected with true knowledge of goals and causes and shows the path to bliss.
_/ Rasa, known as Peace, is achieved under the following conditions: restraint of the sense organs and organs of action, the spirit rests in itself, the desire for the good and happiness of all living beings.
_/ This feeling of deep Peace is equally suited to all who have neither suffering, nor happiness, nor hatred, nor envy.
_/ The state that is to be attained from the feeling of Peace is designated as union with one’s own self. All states, beginning with pleasure, are changing states, while Peace is the presumed prime cause of the world of objects. And all these changing states, being born from the cause, dissolve back into it. Every “self” possessed of impulse attains changing states, emerging from Peace.
_/ And again, upon the destruction of impulses, Peace absorbs everything.
Thus, the experts in nāṭya have shown the nine rasa and given their description.
83/ Thus, having understood the described knowledge of the eight rasa, I shall define the concept of bhāva.
Thus ends the sixth chapter in the Nāṭyaśāstra of Bharata, called “the distinction of rasa”.
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Continuation – in the following publications https://t.me/natyashastra 🙏