Bharata Muni
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MAY THERE BE GOOD NĀṬYA ŚĀSTRA /THE SCIENCE OF THEATRE/
recorded by the enlightened Bharata.
So, chapter seven in the Nāṭyaśāstra of Bharata:
Let’s talk about bhāva.
What is bhāva for? How are bhāva created, and what do they create?
It is said that bhāva manifests the content of a poem, expressing it through voice, body, and state of consciousness. Bhāva is both the process and its result, since the difference between becoming (bhavita) and being (asita) is negligible, for both words share the root “to be” (bhū). In the world, this is spoken of thus – every prepared dish is created precisely by the combination of aroma and flavor.
The same is stated in the following ślokas:
1/ The content is dictated by vibhāva and realized through anubhāva. The bhāvas themselves, as is known, are conveyed through abhinaya of voice, body, and consciousness.
2/ It is said that the bhāva of the performer, represented through the play of face, body, and voice, as well as consciousness, enlivens the bhāva living in the poet’s soul.
3/ Why? - Because those bhāvas that are known by the performers of Nāṭya create rasas connected with many abhinayas.
Now, why do they say “vibhāva” (manifestation)?
For the sake of perception there is vibhāva. Phenomenon, cause, impulse, and ground are synonyms. From vibhāva must arise abhinaya of voice, body, and consciousness for their perception, since between the meanings of the words “manifested” (vibhāvata) and “perceived” (vijñāta), the difference is insignificant.
Here is the śloka:
4/ It is known that vibhāva is that due to which the entire multitude of meanings, expressed through voice and body, must manifest.
Now, why is it said thus – anubhāva?
Abhinaya of voice, body, and consciousness is achieved through emotional power – anubhāva.
Here is the śloka:
5/ Traditionally, anubhāva, manifested through the major and minor parts of the body, is what makes the content expressed through voice and body emotionally charged.
Now we will discuss the visible signs of these bhāva, connected with vibhāva and anubhāva. The description of the vibhāva-anubhāva themselves is not given because they are well known in the world, because they correspond to human nature, and due to their very wide applicability.
Here is a śloka:
6/ The sages have recognized vibhāva and anubhāva with their abhinaya, which exist in the nature of people and follow human life.
So, the 8 sthāyibhāva, 33 vyabhicārī and 8 sāttvika – thus are the bhāva divided. That is, there exist 49 bhāva, 49 states of being, 49 sources that exude the sweetness of poetry (kāvyarasa), which must be designated.
From their union with ordinary human qualities arises rasa. And here is a śloka:
7/ The bhāva corresponding to that object which coincides with the very essence of the poem is the bhāva that gives birth to rasa. The body is seized by it, just as dry wood is seized by fire.
Further it is asked: if rasa is created from the mutual combination of the 49 bhāvas, corresponding to the meaning of the poem, manifested through vibhāva-anubhāva in conjunction with ordinary human qualities, then why does rasa arise precisely from the sthāyibhāva?
It is said: here are people of one faith and similar in appearance – each has hands, feet, a belly, and a body. Nevertheless, some, due to their origin or character, knowledge, fate, skill, or simply prudence, attain a kingdom, while others, less wise, become their retinue. Likewise, the vyabhicāri (subordinate states) with their vibhāva-anubhāva rely on the sthāyi. The sthāyibhāva themselves, being the support, become dominant, as possessing the best qualities, and the vyabhicāri – servants. How is this to be understood? Although protected by many people, only the king attains glory, and not another, however great a man he may be. Likewise, the sthāyibhāva, surrounded by vyabhicāri, i.e., vibhāva and anubhāva, receives the name rasa.
Here is a śloka:
8/ Just as a king among people and a teacher among students, so here sthāyibhāva is exalted among all other bhāvas.
Earlier, a description was already given of what is called rasa. Now I shall give the general definitions of bhāva. But first I shall speak of sthāyibhāva. Sthāyibhāva, called enjoyment, has the nature of joy and arises from the following vibhāva: spring, flower garlands, ornaments, the beloved person, a palace with a fruit-bearing garden, and so on. Its abhinaya and anubhāva are as follows: a smile, a sweet voice, the arching of the eyebrows, a coquettish glance, and so on.
Here is a śloka:
9/ Pleasure arises upon attaining the desired object. The voice and bodily movements are then sweet and full of tenderness.
Now sthāyibhāva, called humour. It arises from the following vibhāva: behaviour imitating someone else, deception, pretence, idle talk, constant striving to push ahead, bypassing the main characters. The ways of its presentation have already been discussed earlier: these are mockery and the like.
Here is a śloka:
10/ It, verily, is born from imitation of the behavior of others, and the sages represent this state with a smile, laughter, and loud laughter.
Sthaibhāva, called muka, arises from the following vibhāva: loss of wealth, death, captivity, misfortune, and the like. It should be represented with the following anubhāva: falling tears, complaints and lamentations, pallor of the face, a broken voice, drooping arms, falling to the ground, crying, long sighs, loss of common sense, madness, fainting, death, and the like.
Weeping is of three kinds: from joy, from grief, and from jealousy.
Here are the ślokas in the āryā meter:
11/ Cheeks flushed with delight, memories flooding back, tears streaming from the corners of the eyes, and a trembling body overtaken by chills—this is the cry of joy.
12/ Loud weeping, when tears stream in an unbroken flow, wringing of hands with rolling on the ground and lamentations — this is sobbing born of grief.
13/ Cheeks and lips tremble, the head shakes, a sidelong glance from under the brows with a sigh – such is feminine envy.
There is also a śloka:
14/ Sorrow is the cause of vice. It has a low feminine nature. The low weep, but those who possess middle and high virtues remain steadfast.
Sthaibhāva, called fury, arises from the following vibhāva: a stake in a game, a shout, a quarrel, a dispute, discord in the family, and so on. It should be represented with such anubhāva: nostrils flared, eyes bulging from their sockets, lips bitten, cheeks trembling, and so on.
15/ Anger arises towards an enemy, a teacher, a beloved, a servant, and anger can also be feigned.
Here are the ślokas in the āryā meter:
16/ The brows are drawn together, the mouth is twisted, and the lips are bitten, one hand rubs the other, the gaze sweeps over the head, chest, and arms of the opponent—such is fury at an enemy’s insult.
17/ A sidelong glance, the face slightly lowered, a hand wiping away light perspiration, inner tension concealed – this is how one should show anger at an insult to a teacher.
18/ Similar to the previous one with a slight change: tears fall from the outer corners of the eyes, the brows are furrowed, and the upper lip is puffed out. One who has attained intense passion should thus be angry with the beloved.
19/ Anger directed at a servant should be performed with varied piercing glances, bulging eyes, and threats against his entire family.
20/ Feigned fury arises from impatience while waiting and, chiefly, in connection with signs of fatigue.
Sthaibhāva, called power, possesses a supreme nature. It arises from the following vibhāva: fearlessness, energy, steadfastness, heroism, and the like. It should be performed with such anubhāva as nobility, self-sacrifice, resolve, learning, and the like.
Here is the śloka:
21/ Power by its nature is fundamentally and decisively open, and its consciousness is clear. It should be conceived as physical might, infallibility of action, and so on.
Sthāyibhāva, called fear, has a low feminine nature. It arises from the following vibhāva: an offense against a teacher or ruler, visions in an empty house, in a forest or in the mountains, condemnation, blinding by lightning on a stormy night, the hostile gaze of a demon or an owl, and so on.
It should be shown with such anubhāva: hands and feet tremble, the heart flutters, numbness, the tongue licks the parched mouth, perspiration, shivering shakes the body, seeking refuge, flight, crying out, and so on.
Here are the ślokas:
22/ Fear arises from the dread of punishment for a misdeed committed before a teacher or ruler, from seeing or hearing something terrible, or from delusion.
23/ To represent it, the following must be done: the body trembles with shivering, the mouth is dry from anxiety, the eyes are wide open.
24/ Fear arising from dread of demons is depicted by actors thus: drooping arms, weakening legs, and eyes bulging like a ram’s.
Here is a śloka in the āryā meter:
25/ Hands, feet, and heart tremble, the numb tongue licks the parched mouth, weakened and drooping limbs—this is how this state should be shown.
Sthaibhāva, called disgust, has a low feminine nature. It arises from the following vibhāva: unpleasant sounds, objects, and so on.
He should be represented with such anubhāva: the face is wrinkled, the nostrils are pinched, the ears are stopped up, the eyes are squeezed shut, the mouth spits, and so on.
Here is a śloka:
26/ With the nose closed for breathing, with a wrinkled face, with a worried look – thus should disgust be shown.
Sthāyibhāva, called astonishment, arises from the following vibhāvas: upon the sudden appearance of a magician or a multitude of people, upon seeing an extraordinary deed, upon receiving miraculous knowledge, upon seeing a painting or book executed with unusual skill, and so on. It should be represented with such anubhāvas: wide-open eyes, an unblinking gaze, eyebrows raised high, horripilation, cries of approval, and so on.
Here is the śloka:
27/ Astonishment arises in the case of magic, when a shiver of delight and admiration for a remarkable deed runs through the body.
Thus these sthāyibhāva must be understood.
Now we will speak about vyabhicāribhāva.
Here it is asked: why is it said thus: “vyabhicāri” (leading out)? “Vi” (intensifies the meaning) and “abhi” (gives the verb direction) are prefixes, “cara” is a root with the meaning of “gati” (movement). So vyabhicāri go before rasa. They go, leading the meaning of the poem. How do they lead it? It is said — just as the Sun brings forth the morning star. For it has neither hands nor shoulders, yet nonetheless it reveals this star to people. In the sense in which the Sun brings the star and the day, so too should the vyabhicāri be understood. The following 33 bhāva enter into the vyabhicāri. Their essence we shall clarify.
What is called despair arises from the following vibhāvas: onset of poverty, open insults, abuse, fury and beatings, separation from the beloved, and exposure of deceit. It has a low feminine nature and is represented with such anubhāvas: sobbing, heavy sighs, whimpering, muttering, and the like.
Here are the ślokas:
28/ What is called despair is born from poverty or separation from a beloved. The manner of its representation is sighs and incantation.
Here, from ancient times, the transmitted ślokas in the āryā meter:
29/ Separation from a loved one, poverty, illness or misfortune, as well as the sight of another’s success, gives rise to that state of despair.
30/ A desperate person is like an ascetic immersed in contemplation, his eyes filled with tears, endless sighs, a dejected face and gaze.
That which is called emptiness arises from the following vibhāvas: vomiting or a situation when something is expelled outward, beyond the body (for example, when something pent-up in the soul is voiced), ascetic restraints, curbing of the senses, pain, loss of something desired, and so on.
The ways of depicting him should be as follows: sunken eyes, cheeks and mouth, weakened legs, absence of desires, emaciated body, pallor, and so on.
Here are ślokas in the āryā meter:
31/ Emptiness arises from nausea and vomiting, from self-mortification or from old age, and manifests as thinness, trembling, and weakness.
32/ He should be shown with a quiet voice, extreme thinness, half-closed eyes, and increasingly weakening limbs.
What is called suspicion has the nature of fear, feminine and low. It arises from the following vibhāvas: theft, appropriation of what has been seized, an offense against a ruler, committing a bad deed, and so on.
It is depicted with such anubhāvas: one should constantly look around, the face is exhausted, the tongue licks parched lips, pallor and trembling, internal heat, the neck is lowered, and so on.
Here is the śloka:
33/ That suspicion which does not concern marital infidelity but arises from theft should, chiefly, be employed in depicting the rasa of Fear, while suspicion of a beloved’s betrayal—in depicting the rasa of Love.
Besides, here they strive to conceal their appearance. This should be done with great artistry, by varying one’s gaits.
Here are the ślokas:
34/ There are two kinds of suspicion – when a person suspects himself, and when he is suspected. In the first case, suspicion is recognized by the fact that the person’s main behavior is observation.
35/ In the second case, he trembles, glances around from under his brows, his face is dark or blazing, expressing severity and tension.
What is called envy arises from the following vibhāvas: various kinds of jealousy at the sight of another’s power, happiness, intelligence, beauty, learning, and so on. This is performed with such anubhāvas: all those around are declared bad, with defective qualities, and as a result—an envious glance from under the brows, with contempt or with mockery, drawn-together eyebrows, and so on.
Here are the ślokas:
36/ Upon seeing another’s greatness, their happiness, glory, intellect, and beauty, the vice of envy arises.
37/ With knitted brows on a furious face, where jealousy, anger, and the like alternate, with a feeling of hatred and a desire to destroy, envy should be depicted.
That which is called intoxication arises from drinking an inebriating beverage.
It has five states and three kinds.
Here are the ślokas:
38/ The three types of intoxication are those of a young, mature, and decrepit character. Here are five kinds of its manifestation:
39/ a drunk sometimes sings, sometimes cries, and sometimes laughs, sometimes scolds, and sometimes rests.
40/ The exalted person rests, the person endowed with middling virtues laughs and sings, the base one curses and weeps.
41/ A smiling face with a pleasant blush, excitement in the body, not always intelligible speech, movements like those of one lightly wounded – such is the intoxicated youth of an exalted character.
42/ An intoxicated mature man of middling virtues stumbles, blinks, falls, and curses incoherently but vehemently.
43/ Loses memory and the ability to move, vomits, hiccups and spits, on the burning face a heavy strain—such is the intoxication of the base nature.
44/ In the theatre, the character’s intoxication must intensify over the course of the performance, but if the one who comes on stage is already drunk, then his sobering up must necessarily be shown.
45/ Horror, suffering, or very strong fear is a suitable cause for this. One who has passed through these states must sober up.
46/ The peculiarity of these states is that intoxication passes from them very quickly, just as suffering diminishes from happy news.
That which is called fatigue arises from the following vibhāva: a long journey traveled, struggle, service, and so on. It is shown with such anubhāva:
caressing of limbs, sighs, yawning, a body as if intoxicated, weakened legs, closing eyes, drooping arms, and the like.
Here is the śloka:
47/ What is called fatigue arises from a long journey traveled and is depicted with labored breathing from exhaustion.
What is called laziness has a low feminine nature. It arises from the following vibhāvas: fatigue, illness, gluttony, and the like. It is shown with such anubhāvas: strong aversion to any work, the character mostly lies or sits, he is sluggish, sleepy, demands to be served, and the like.
Here are ślokas in the āryā meter:
48/ Laziness arises from fatigue, illness, or temperament, as well as from hunger or overeating.
What is called depression arises from misfortune that has befallen one, remorse, asceticism, and the like. It is shown with such anubhāva: instability, headache, sluggish movements, untidiness, and the like.
Here is a śloka in the āryā meter:
49/ Human dejection arises from misfortune and agitated reflections. It should be shown as a state in which a person ceases to attend to himself, to the cleanliness of his body, clothing, and dwelling.
What is called anxiety arises from the following vibhāvas: seeking means to regain lost power or stolen wealth, as well as poverty, etc. It is depicted with such anubhāvas: deep sighs, agonizing reflection, a downcast face, etc.
Here are ślokas in the āryā meter:
50/ Human concern arises from the desire to find a way to somehow regain lost power, wealth, or a spouse, as well as when overcome by heartfelt attraction.
51/ Anxiety should be shown with painful sighs, an emptied heart, inattention to the cleanliness of the body, clothing, and dwelling, and with emaciation.
What is called a swoon arises from the following vibhāvas: a cruel blow of fate, illness, intense fear, arising aversion or recollection of something similar, and so on. It is represented with such anubhāvas: the body is motionless, dizziness, falling, a flickering gaze, and so on.
Here is the śloka:
52/ Fainting occurs when someone sees a thief at the moment of a robbery or is frightened for some other reason, and he will have no remedy.
Here is a śloka in the āryā meter:
53/ Fainting occurs from misfortune, from a blow, from fear, from illness, from arising aversion, or from memories. It should be represented with the loss of all senses.
What is called recollection brings to mind states created by happy or unhappy moments of life. It arises from the following vibhāvas: for pleasure or due to disturbance of sleep, at the sight of something reminiscent of what is already known, for example in conversation, upon repeating something in the mind, and so on. It is represented with such anubhāvas: shaking of the head, a wandering gaze, highly raised eyebrows, and so on.
Here are ślokas in the āryā meter:
54/ The mind wanders, imagining now happiness, now unhappiness, or it is agitated by something forgotten or left undone before. The mind torments one who is devoted to memories.
55/ The arising with full intensity of feelings for the pleasure of repeating something seen or heard before—this is recollection. It is shown by swaying the head and raising the eyebrows.
That which is called contentment arises from the following vibhāva: courage, wisdom and learning, power, honesty in conduct and devotion to the teacher, ability to achieve one’s goal, cheerfulness, and so on. It is represented with such anubhāva: the use of things already existing, and the absence of regret over things unattained, destroyed, lost, forgotten, and so on.
Here are the ślokas in the āryā meter:
56/ The true state of contentment arises from wisdom, honesty, glory, learning, and devotion. Fear, despair, weakness, and the like should never be shown in this case.
57/ Enjoyment of an attained sound, sensation, taste, form, or aroma, and the absence of regret over the unattainability of enjoyment—this precisely is contentment.
What is called shame arises when something is done that should not be done, and it is born from the following vibhāvas: disregard for the teacher, disrespect toward him, and, finally, universal disapproval, pangs of conscience, and the like. It is represented with such anubhāvas: the character hides his face, his gaze is lowered, he ponders, draws on the ground with his foot, fidgets with his clothing, scratches his ring with his fingernail, and the like.
Here are ślokas in the āryā meter:
58/ If a person commits what ought not to be committed, being noticed by other honest people, he, shamed, is tormented by remorse. This is what must be known about it.
59/ His face is shyly hidden, he scrapes the ground with his foot, rubs nail against nail, fidgets with his clothing or ring – he is ashamed.
What is called irascibility arises from the following vibhāva: passion, jealousy, envy, anger, desire, disobedience, and the like. It should be represented with such anubhāva: speaking in a fit of temper, abuse, inflicting destructive blows, and the like.
Here is a śloka in the āryā meter:
60/ When a person begins to strike destructively, destroying everything without specific aims, the wise call this state irascibility.
That which is called joy arises from the following vibhāva: charm born of meeting a beloved, delight due to the favor of a deity, teacher, ruler, or master, satisfaction from the enjoyment of received clothing, wealth, and so on. It is represented with such anubhāva: a kind face and eyes, pleasant speech, embraces, tears of emotion, perspiration, and so on.
Here are ślokas in the āryā meter:
61/ Upon receiving something or achieving a goal, or upon meeting a beloved, when charm reaches the heart, joy is born in the human soul.
62/ This state of joy is represented as follows: a kind expression of the eyes and face, pleasant speech, embraces, shivering, perspiration, free and simple body movements, and so on.
What is called confusion arises from the following vibhāvas: various phenomena, a hurricane, rain, fire, a maddened elephant, sudden news—good or bad—the approach of an enemy, and so on. If confusion is caused by phenomena, i.e., events like an eclipse of the Sun or Moon arranged by Ketu, as well as a storm, lightning, a meteor, and so on, then it is represented as a loss of strength in the whole body, faint-heartedness, a pale face, astonishment, and so on. If confusion is caused by a hurricane, then the following anubhāvas are demonstrated: the eyes are covered from the strong gust of wind, a person holds onto his clothing and strives to walk as quickly as possible, and so on. If confusion is caused by rain, then the whole body shrinks and becomes soaked, a person seeks shelter, and so on.
If the confusion is caused by a fire, then smoke will get into the eyes, and the body will shrink, in an effort to move as far away as possible, and so on. If the confusion arises at the sight of a maddened elephant, then a person quickly retreats with unsteady steps or freezes in terror, trembling and looking around, and so on. If the confusion is caused by good news, it is expressed in leaps, embraces, in the distribution of garments and ornaments, in tears, shivering, and so on. In the case of bad tidings — falling to the ground, lamentations, walking in a circle with an uneven gait and mournful weeping, and so on. If the confusion is caused by the advance of an enemy, then the hero must immediately depart, take up weapons and armor, bring out an elephant or a horse, mount a chariot, prepare for battle, and so on.
63/ Thus, these 8 kinds of agitation, having the nature of anxiety, should be known. With firmness, exalted personalities and those endowed with middling virtues endure them, but the base retreat.
Here are ślokas in the āryā meter:
64/ When, upon hearing bad news or an enemy’s challenge, they become frightened and drop their weapons, this is a manifestation of confusion.
65/ Anubhāva, in the case of such bad news, relies on a state of despair. However, upon suddenly seeing the enemy, one must, on the contrary, take up arms.
That which is called stupidity arises from the following vibhāva: inability to do anything, inability to distinguish good from evil due to distorted perception, and so on. It is shown with such anubhāva: unable to understand, unable to speak, always content, with eyes bulging like a ram’s, always subordinate to someone, and so on.
Here is a śloka in the āryā meter:
66/ A person who, having fallen into delusion, does not distinguish the necessary from the unnecessary, the good from the bad, who is always content and dependent, is called a fool.
What is called pride arises from the following vibhāvas: power, noble birth, beauty, youth, knowledge, wealth, and similar achievements.
It should be shown with such anubhāva: demonstration of superiority, insults, inadmissibility of objections in conversation, arrogant glance, disgraceful mockery, inattention to the teacher, abuses, and so on.
Here is a śloka in the āryā meter:
67/ Pride arises from attained knowledge, from possession of beauty or power, from acquired wealth. This is a trait only of base characters. It manifests in bodily movements and the expression of the eyes.
What is called disappointment arises from the incompleteness of a previously begun undertaking or from a calamity brought about by the will of fate. It is represented with the following anubhāvas: seeking help and cunning means of removing obstacles to one’s desires, anxiety, sighs, and the like. Such are the actions of exalted characters and those endowed with middling virtues.
The insignificant characters, however, show such anubhāvas: they run in circles, look around, with parched mouths, lick the corners of their lips, sigh in sleep, are constantly focused on the event that occurred, and so on.
And here are the ślokas in the āryā meter:
68/ Disillusionment arises from encountering the insurmountable, from the loss of what was previously acquired, due to the faults of a master, and so on, as well as when the goal is not achieved by the will of fate.
69/ Exalted characters and those possessing middling virtues should devise a stratagem or something inconceivable to overcome disappointment, while the base may be shown with sighs in sleep and in constant reflection upon the event that occurred.
That which is called languor arises from the following vibhāvas: recollection in separation of a meeting in the garden, and so on. It is represented with such anubhāvas: long sighs, a drooping head, loss of mental equilibrium, a desire to lie listlessly, to sleep, and so on.
Here is a śloka in the āryā meter:
70/ Longing is born precisely from memories in separation from the beloved, and so on. It is shown with sleepless reveries, a languid and heavy body.
The condition called drowsiness arises from the following vibhāvas:
weakness, fatigue, exhaustion, lethargy, care, overeating, as well as due to temperament, etc. It is depicted with such anubhāvas: difficulty in speech, a heavy body, loss of interest in one’s surroundings, eyes rolling up from time to time, yawning, the body going limp, noisy sighs and exhalations, the body slackening, eyes closing, onset of oblivion, and so on.
Here are ślokas in the āryā meter:
71/ From sluggishness, powerlessness, exhaustion, fatigue, from the qualities of nature, or due to staying awake at night, drowsiness arises.
72/ The wise one shows drowsiness with the following anubhāvas: lips move with difficulty, the body grows heavy, loss of interest in surroundings, dullness, eyes close, yawning, the body slackens, and so on.
That which is called possession arises from the following vibhāvas: upon visiting a dwelling left empty, bearing the mark of calamity and not consecrated for a long time, when ghosts seize a person and he becomes possessed by some deity, nāga, yakṣa, rākṣasa, piśāca, and so on. This state is represented with such anubhāvas: trembling, shivering, labored breathing, falling, drops of sweat, foam at the mouth, indistinct sounds are uttered, the tongue licks the mouth, and so on.
Here are ślokas in the āryā meter:
73/ Upon visiting a house that has remained empty, visions overtake one, and bhūtas and piśācas seize the person if, through forgetfulness, that house has not been consecrated for some time. In such a case, possession arises.
74/ Being in this state, he immediately trembles, falls to the ground, foam appears at his mouth, and his breathing becomes convulsive.
What is called sleep arises from drowsiness. It comes from the following vibhāva: the sense organs succumb to drowsiness, enter the world of dreams, a person lies stretched out on a bed or simply on the ground, and so on.
The state of sleep is demonstrated with such anubhāvas: breathing is calm, the body is relaxed, eyes are closed, all senses are under the sway of illusion, and so on.
Here are the ślokas:
75/ Sleep is the power of drowsiness, when the senses enter the world of illusion. It is demonstrated by closing the eyes, with calm breathing and mutterings along the course of the dream.
76/ Inhaling and exhaling, slowly closing the eyes and remaining motionless, they show sleep with dreams, when all objects of the senses become illusory.
What is called awakening arises from the interruption of sleep, which occurs due to the following vibhāvas: introduced changes, both within a person (in his consciousness) and outside. These are a nightmare, loud words, touches, and so on. It is represented with such anubhāvas: a person yawns, rubs his eyes vigorously, gets out of bed, and so on.
Here is a śloka in the āryā meter:
77/ Awakening occurs from introduced changes — sounds, touches, and so on. It is shown with yawning and drooping eyelids.
What is called indignation arises from mockery or contemptuous treatment by those who possess greater power, knowledge, wealth, or strength. It is represented with such anubhāvas: trembling, perspiration, a downcast face, seeking a solution, pondering a way to change the situation, and so on.
Here is the śloka:
78/ Irritation filled with resolve is born from contempt shown by men possessing greater power, knowledge, or strength, displayed in the midst of an assembly hall.
79/ In this case, the wise one lowers his face downward, reflecting and making a decision, shakes his head with beads of sweat appearing, and so on.
That which is called deception has the nature of concealing what has been done.
It arises from the following vibhāvas: shame and fear of defeat, loss of dignity, cunning, and so on. It is shown with such anubhāvas: one should say not what was heard, not what was seen, distorting the story with false seriousness.
Here is the śloka:
80/ Deception has the nature of fear and is accompanied by insolence, fraud, and the like. A person takes no one into account and lies.
That which is called punishment arises from the following vibhāva: theft or appropriation of something for oneself, an offense before the king, denunciation, and so on. It is shown with such anubhāva: execution, fetters, beatings, condemnation.
Here are the ślokas in the āryā meter:
81/ Punishment arises from theft and appropriation of anything, or from an offence against the king. It should be shown with the following anubhāvas: imprisonment, shackles, execution, beating.
That which is called discernment arises from the following vibhāva:
reflection on proving or disproving something for scholarly purposes, etc. It is shown with such anubhāvas: erroneous statements and the destruction of students’ uncertainty, for the sake of their instruction.
Here is the śloka:
82/ Human discernment arises as a result of mastering many sciences. It is represented by showing the process of instructing a disciple.
What is called morbidity arises from the combined action of wind, bile, and phlegm. Fever is its characteristic feature. However, there are two kinds of this fever: chills and heat. If it is a fever accompanied by chills, it is represented with the following anubhāvas:
trembling, the whole body shakes and contracts, teeth chatter, mouth is dry, chills, lamentations, etc. If the fever is accompanied by heat, then one should throw off the covering with hands and feet, strive to lie on the ground, touch something cold, lament, call someone, etc.
If, however, the cause of the affliction lies in something else, then this is shown with such anubhāvas: necessarily distorted facial features, numb limbs, labored breathing, delirium, trembling, and so on.
Here is the śloka:
83/ The wise one should show what is common in all illnesses — a body lying with limbs spread out and facial features distorted by pain.
That which is called madness arises from the following vibhāvas: separation from a beloved or loss of wealth, as well as from the action in the body of wind, bile, and phlegm, caused by anger and the like. It is shown with the following anubhāvas: causeless laughter or weeping, now cries, now babbling; a person now lies, now sits, now stands, now suddenly runs, now dances or sings, now recites something, now eats, and now defecates—and all this in dust or on grass; he has poor clothing and a withered garland, he rides on a pot and speaks to a plate full of food, he is inconstant, his behavior changes all the time, and so on.
Here are ślokas in the āryā meter:
84/ Madness arises from the loss of a beloved or wealth, from a misfortune that has befallen one, from the excited elements of the organism — bile, phlegm, and wind — as well as from various kinds of stimulating desires.
85/ Madness is shown as unmotivated laughter and weeping. A person in extreme agitation performs certain actions — whether sitting, walking, running, or calling out to someone.
What is called dying arises from illness or is caused by violence. In the case where the cause of dying is illness, it arises from the following vibhāvas: internal colic, disorder of the three elements of the body, pain in the side, fever that has seized the whole body, and so on. And that dying which is caused by violence arises from a wound from a weapon, from a poisoned drink, from the actions of a predatory beast, an elephant, or a horse, from a fall from a cart or a chariot. I shall tell of the peculiarities of the presentation of each of these two kinds of dying.
Dying from illness is shown with the following anubhāva: limp limbs, a body lying motionless, closed eyes, emitting indistinct sounds to ease the condition, the gaze becoming vacant, the person speaks but the words cannot be made out.
Here are the ślokas:
86/ By tradition, dying should be shown through a state called illness, as well as a limp body, immobility, and the absence of the ability to perceive.
In the case of violence, however, there are several kinds of dying, each with its own characteristic features. Thus, from a weapon wound – a swift fall to the ground and the like as anubhāva; in the case of a snake bite or poisoning by drink, i.e. in cases of the action of poison – a fine tremor, burning sensation, inarticulate sounds are uttered, foam appears at the mouth, the limbs contort and grow cold. Such is dying from poison.
Here are the ślokas passed down from ancient times:
87/ The sequence should be as follows: first – a slight tremor, second – strong convulsions, third – fever, fourth – speech becomes unintelligible,
88/ fifthly, foam appears from the mouth; sixthly, the hands cramp; seventhly, the limbs grow cold; and eighthly, death.
Here are ślokas in the āryā meter:
89/ Death occurs from the actions of a predator, an elephant, or a horse yoked to a chariot, from a fall from a vehicle, or from an attack by a small animal, from a wound inflicted by a weapon, and the body becomes motionless.
90/ Thus, the state known as dying is either internal in nature or conditioned by external circumstances, and should be shown by the wise correctly, with appropriate bodily movements and expression of the voice.
What is called fear arises from the following vibhāvas: the sight of a hostile beast or spirit, a storm at sea, a meteor, lightning, and so on. It is represented with such anubhāvas: the whole body trembles with agitation, the person is unable to move from the spot, the hair on the body stands on end, speech becomes incoherent, and so on.
Here is the śloka:
91/ Fear arises from very terrifying sounds. It is depicted with such anubhāvas as a trembling body, half-mad eyes, and so on.
That which is called suspicion arises from the following vibhāva: doubt, testing, distrust, and so on. It is shown with such anubhāva: various kinds of hesitation, deliberation, discussion, secret consultations, and so on.
Here is the śloka:
92/ Arising from oscillation and the like, and having the nature of inexact knowledge, a supposition should be shown through movements of the head, eyebrows, and eyelashes.
Thus the 33 vyabhicāribhāva are accomplished. They are applied in a performance depending on the place, time, and circumstances of the action, and on the nature of the character represented—whether it possesses middling qualities, is base, or exalted, and whether it is male or female.
Here is the śloka:
93/ These 33 states are known as vyabhicāri. Now I shall describe in order the sāttvikabhāva (states connected with consciousness).
Here it is asked: does consciousness not participate in the representation of other bhāvas? Only in the depiction of sāttvika? Further it is said: what is here called “sattva” (consciousness) depends on the state of the mind. The condition for the arising of this state is a concentrated mind, a mind immersed in “samādhi” (calmed). The nature of sāttvikabhāva (tears, horripilation, paralysis, perspiration, and so on) cannot be reproduced while being in any other state of mind. The recreation of the nature of the universe in Nāṭya is possible only under the condition of such a level of consciousness. What example is there for this? It is said here: the states that carry out the purpose of Nāṭya, reproducing now happy, now unhappy events, must be shown from the point of view of flawless consciousness, i.e., in accordance with their true nature. However, how can one who is not unhappy weep while representing grief, and how can one who is unhappy rejoice while showing happiness? Only on the basis of sattva. Therefore this state is called “sāttvikam” (true). It is precisely consciousness that makes it possible to show tears or horripilation regardless of the joyful or sorrowful mood of the performer, therefore these states are called “sattva” (consciousness).
Here are they:
94/ Numbness, perspiration, chills, change of voice, trembling, pallor, tears, and unconsciousness — these are traditionally the 8 sāttvikabhāva.
95/ Perspiration arises from anger, from fear or joy, from shame or misfortune, from fatigue or illness, also from heat, in exhausting struggle, and from torment.
96/ The cause of numbness is joy, fear, illness, astonishment, disappointment, intoxication, and fury, while the cause that produces trembling is cold, fear, fury, any kind of touch, and old age.
97/ From joy or annoyance, because of smoke, yawning or fear, from sorrow and insomnia, due to intense staring at something, from cold and from illness tears appear.
98/ Paleness of the face arises from cold, anger, fear, as well as from fatigue, illness, exhaustion, and asceticism, while shivering—from touch, fear, cold, excitement, from anger or illness.
99/ Fear, excitement, anger, pain, illness, and intoxication cause a change in voice, while intoxication, sleep, a blow, fainting, and the like — insensibility, freeing one from cares.
100/ Thus the sages recognize these 8 sāttvikabhāva.
Now I will tell you through which actions their anubhāva should be shown:
101/ The wise one should represent stupefaction as follows: absence of movements and oscillations, immobility; the mind becomes empty, as if frozen, the capacity for discernment is lost, and the body freezes.
102/ A person seeks a breath of wind, he takes a fan, he wipes away drops of sweat – this is how the state called perspiration is shown.
103/ Showing shivering should be done as if the body is constantly pricked by thorns, with breath interrupted and arms embracing the shoulders.
104/ Change of voice should be shown as stammering or loss of sound, and trembling — as tremor, agitation, and shaking.
105/ If the pulse is properly pressed, the color leaves the face; the same effect occurs from exertion of strength. Thus should pallor be represented.
106/ The sage shows tears caused by smoke or arising from rubbing of the eyes in this way: the eyes fill with moisture, the eyelids tremble, tears flow from the eyes, constantly falling, and he continually wipes them on his trembling face. And insensibility should be represented by lying on the ground motionless, without trembling, and outwardly breathless.
107/ These 49 established bhāvas have been properly recounted by me. Now you should hear where, in which rasas, the wisest apply them.
108/ Emptiness, suspicion, envy, also fatigue and irascibility, sleep, drowsiness, and deceit are shown in the performance of the rasa Love together with sattvabhāva, trembling;
109/ a bhāva — laziness, punishment, and sthāyibhāva — disgust should not be shown. Love is manifested by all bhāvas whose names conceal love.
110/ But the same emptiness, suspicion, envy, fatigue, irritability, sleep, drowsiness, and deceit do not correspond to the rasa of Laughter.
111/ Despair and conjecture, dejection and emptiness, foolishness, dying and sickliness, as well as the sattvabhāva tears inherent in the rasa of Suffering.
112/ Pride, envy, confusion, intoxication, irascibility, joy, punishment, as well as sthāyibhāva power and fury express the rasa Anger.
113/ Self-mastery and sthāi power, confusion and irritability, prudence, punishment, joy and madness,
114/ sattva is shivering, vyabhicāri is awakening, sthāyi is fury, and also envy and contentment, pride and conjecture constitute the rasa of Heroism.
115/ Satva perspiration and trembling, shivering, change of voice and pallor, as well as bhāva fear and dying, are present in the depiction of the rasa Terror.
116/ Obsession, madness, unsteady movements of intoxication, dying, sickness, and the sthāi of fear — these are states characteristic of the rasa of Disgust.
117/ The rasa of Wonder is characterized by: the sattvabhāva of paralysis, perspiration, and chills, as well as the bhāva of fainting, confusion, stupidity, joy, excitement, and the sthāyi of astonishment.
118/ Those bhāva that pertain to sattva must certainly be shown by the performers of Nāṭya through diverse abhinaya.
119/ Not by rasa alone is a poem alive, but also by rasa, and bhāva, and vṛtti, and pravṛtti.
120/ The nature of the poem lies in the combination of all of them. Rasa is what is to be known, sthāyibhāva is the foundation, and sañcāri are those already known.
The cognized sañcāris reach the sthāyī, and the sthāyī by their existence ignite rasa.
121/ Rasa arises from the combination of sthāyi and sañcāri. Rasa possesses vibhāva and anubhāva, which are manifested through the body and material objects.
122/ Actors must perform sthāyibhāva with maximum naturalness, through the performance of the corresponding groups of sañcārī.
123/ Not by rasa alone is drama born, not by bhāva alone is it accomplished. But both bhāva and rasa, and vṛtti and pravṛtti. Disgust, Wonder, and Peace are not called triple here, while the other six are called triple (having three kinds), with their corresponding diverse bhāvas.
The meaning of what is performed on stage is illuminated by the application of sattvabhāva.
The true radiance, however, is difficult to attain.
124/ Drama should be presented with various kinds of content and bhāva, i.e. sthāyi, sattva and vyabhicāri. Drama should correspond to refined behavior and give rise to rasa.
125/ Thus, the actor who has thus mastered rasa and bhāva, knowing them, attains the highest mastery, so says the tradition.
Thus ends the seventh chapter in the Nāṭyaśāstra of Bharata, called “the description of bhāva.”
Continuation – in the following publications https://t.me/natyashastra 🙏