Department of english, jahangirnagar university
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| Vyabhichari bhavas:
Vyabhichari bhavas is a transient state of emotion. Bharata Muni describes it as Sanchari. Thirtythree emotional states are enumerated by their name in Vyabhichari Bhavas. They are: (1)Nirveda : It is expressed in such an emotional way. From the very soft core of the heart, it is a way of showing insult, abuse, humiliation, poverty, disease, beating, separation from dear ones, detection often to truth etc. (2)Glani(An emotional state of grief dulled),(3)Shanka(doubt and fearness), (4)Asuya,(5) Mada(itIt is of three kinds, lively, middling and low and its cause is five fold), (6)Shrama(hardnesses) (7)Alasya, (8)Daivya, (9)Chinta, (10) Moha, (11)Smriti, (12) Dhrti, (13) Vridha(bashfulness), (14)Vyakulta(nervousness), (15) Harsha(joy), (16)Aavega (agitation or excitement), (17)Jadataa (slothfulness), (18)Garva (pride), (19) Visada (sorrow), (20)Autsukya (uneasiness), (21)Nidra (sleep), (22)Apasmara (forgetfulness), (23) Supta (asleep), (24)Vibodha (awakening), (25)Amarsa (intolerance), (26)Avahittam(dissimulation), (27)Ugrata (fierceness), (28)Mati (understanding, judgement), (29)Vyaadhaii (the three humours; vaata-gas, pitta-bile, kafa-phlegm), (30)Unmaada (insanity), (31)Maranam (death caused by violence or illness), (32)Traasa (dread) and lastly the (33)Vitarka (argumentation). Here comes the Saattvika Bhavas. Sattva means emotions or genuineness. It is a quality of mind. Our emotional feelings like tears, pallor, thrill, can be achieved by a composed mind. All of these pain and pleasure can be expressed only when someone can relate this emotionally. According to this, there are eight Saattvika bhavas. (1)Stamba -(stupefaction) (2)Sveda -(sweating) (3)Romaancha-(feeling thrilled) (4)Svarabedha -(break in the voice) (5)Vepathu-(trembling) (6)Vaivanya-(pallor) (7)Asru-(tears) (8)Pralaya-(swoon death) However, these all are connected concepts that are so difficult and confusing to understand yet, necessary for art and performances. Vibhavas is a direction to perception. It is the main cause that why should anyone expresse something in a way, it is a cause of words, gestures and facial expression. More specifically, it is the inner part of the next step Anubhavas. According to Bharata Muni, vibhaba has the meaning of distinct, specific knowledge. Our physical gesture and acting are connected with the representation of stable and transitory mental states are specifically determined by this; it is therefore called Vibhava. Vibhava has the same meaning as determined. Anubhavas: Anubhavas is a particular acting rendered through words, physical gesture and is made to be felt as an after effect of impact of the emotional stimulant. So, it is something that connects our feelings to our act through words and physical gestures. It also connects all the three categories of bhavas. Rasa: Rasa is the ultimate result of vibhaba, anubhava and Vyabhichari bhava. The basic Rasas are four; erotic, heroic, terror and disgust. Hence, these are derived from four more modes. Therefore, Rasa has eight forms and an extension to the 9th one. Basically, there are eight Rasas which are called Ashta Rasa and the Ninth one is the Shanta Rasa which is basically the combination of all eight. (1)Shringara : Shringara is based on love and it results in the case of men- women a healthy youth. Sambhoga and viprabalamba are the two kinds of shringara. Loving looks, lifting eyebrows, side glances, dejection, fatigue, jealousy, sleepiness, dreaminess etc. are the expressions of shringara. The color of shringara is green. (2)Hasya : Expressed by expansion of lips, nose, cheeks, wide staring hasya has two types: When one laughs oneself When one makes others laugh. Hasya means laughter. There are six types of laugh: Smita(gentle laugh) Hasitha(laughter) Vihashitha(loud style) Upaliasifha(satirical laughter) Apahasita(silly laugh) Athi hasitha(loud laughter) The color of hasya is white. (3)Roudra: The stimulus for Raudra is anger, boldness, abuse, insult and lies etc. It means, the things that possess power is roudra. Therefore, the color of Roudra is red which is a bold color. (4)Karuna: Karuna or pathos is considered as the sthayi bhava of grief which is stimulated by curse, pain, calamity, separation from near and dear ones etc. Karuna is basically similar to the anubhavas and Vyabhichari bhavas. Its color is grey. (5)Veeram: Veeram is an energetic, determined and a powerful mind set of rasa which is neither taken by surprise, nor by confusion. Above this, it's more like confidence with courage, boldness and bravery. Golden yellow or light yellow is the color of veera. (6)Adbhuta: Adbhuta is stimulated by the sight of a divine person by achieving the desired, by going to interesting places, temples, etc. and It's color is yellow. (7) Vibhatsa: Seeing or hearing something undesirable and ugly, or not so normal, kind of evil is vibhatsa. Vibhatsa is specified by blue color. (8)Bhayanaka: Fear is the actual significance of bhayanaka. It could be by something dangerous, or by fear from some weird sound, or darkness, or some abnormal situation - anything. Seeing or listening to horrific stories is also scary. It consists of trembling legs and hands, eyes fluttering to and fro, face losing color, becoming pale, even death and so on. Black is the color of bhayanaka. (9)Shantam: So basically it is the combination of all eight rasas. Shanta is serenity and peace. Shanta represents complete harmony between the mind, body and universe. It is complete steadiness with the key to eternity. The other eight rasas were originally proposed by Bharata but the ninth is his contribution. It gives us the feeling of inner peace. Rasa is a theory of art that developed in Sanskrit literature around the turn of the Common Era. It centers on taste which is not in the sense of sophistication or composure or discernment. Bharata says that Rasa is called 'Rasa' because it is capable of being relished. The theory of Rasa establishes a relationship between the performer and the spectator. Since the success of a performance is measured by whether or not the audience has the rasa, the spectator becomes a vital participant in the play. Thus, emotions of the character are spread through the actor to spectators, who share them collectively, as a group, by relishing the Rasa. Thus emotions are embodied and translated from one person to many. Download 13.42 Kb. Share with your friends:
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