Rasa Theory

( The wonderful World of Human Emotions in Indian Classical dance Part -1)

Indain Classical dance, or Shastriya Nritya is an umbrella term for varios performance arts
rooted in musical theatre styles, whose theory and practice can be traced to the Sankrit text
NATYA SHASTRA. The root of the sanskrit word Natya is nat which means “act,
represent”. The word Shastra means “ precept,rules,manual, compendium, book or treatise,
and is generally used as a suffix in the Indian literature context, for knowledge in a defined
area of practice. The purpose of any dance is to create Ras, which is an estate of the spirit
created by the dancer in front of the viewer’s according to the expression. India presents
many different styles of classical sance, each of which relates to different parts of the
country. Each form represents the ethos of a particular region or group of individuals. The
Sangeet Natak Academy recognizes eight different forms of Classical dance in India which
are Kuchipudi, Bharatnatyam, Kathak, Kathakali, Mohini attam, Manipuri, Odissi and
sattriyya.
Kuchipudi is one of the major classical dance forms of the South India. Kuchipudi is a dance –
drama performance art that originated in a village of krishna district Andhra Pradesh, India. This
ancient dance form finds place in the 10th centurycopper inscriptions and in 15th century texts like
“Manchupalli Kaifat” ( a court document of 1505 A.D). Traditionally it is regarded that the sanyasis
( Hindu monks) of Advaita Vedanta philosophical tradition, Tirtha Narayana Yati and his disciple
Siddhendra Yogi initiated, methodized and arranged the present day version of the dance form in
17th century. Andhra Pradesh is associated with Kuchipudi dance performance art form. It is famous
for its grace, elegance and charm. ( It was Abdul Tana Shah, thr grand nephew of Sultan
Mohammed Quli Qutub SHAh of the Qutb Shahi dynasty, who bestowed the name of “Kuchipudi”
upon this renowned dance form of Andhra Pradesh.)
Kuchipudi is named after the village in krishna district of Andhra pradesh named
Kuchipudi. Shortend form of the full name Kuchelapuram or Kuchilapri – where it
developed. The name of village is itself derived from Sanskrit Kusilava-Puram, which
means “the village of actors”. Kusilava is term found in ancient Sanskrit texts and refers to
“travelling bard, dancer”.

The purpose of dance or drama would be complete when the evoking sentiments one
brought appropriate to the theme by grace, skill of language and gestures. Natya shastra
includes all the sciences, arts and crafts and is an imitation of all the situations of three
worlds.
Natya represents the pain and pleasures of the World through the medium of four
Abhinayas.
Angika Abhinaya – Physical movements and gestures
Vachika Abhinaya – Voice and speech
Aharya Abhinaya – Make-up ans costumes
Sattvika Abhinaya – Emotional reaction
The chief aim of the presentation is to arouse a particular sentiment in the minds of
audience, call Rasa.
Rasa is essence or taste. Before we go into the topic we should know about Literary
traditions.
In the literary tradition we divide Kavya or a literary work into two kinds.
SRAVYA – That which can be heard.
DRUSYA – that which can be seen, which is enacted on the stage and seen by audience is
more effective to give the desired aesthetic pleasure. The plot, the characterization and
everything is subordinate in promoting Rasa.
In the literary traditions, even from the very early period, Kavya was classified in several
different ways. The usual means were (a) by language (b) by whether it was poetry or
prose or a mixture of both and (c) by the literary form.
And, to start with Kavya was said to be either oral – SRAVYA ( one that is listened to) or
DRUSYA or prekshya ( one that is seen, visual comphrehension). This was the primary
differentiation.
Drshya genereally stands for Drama (Nataka) and Dance-Drama (Geya- Nataka) the visual
comprehension of a theatrical performance; and the Sravya covers the entire range of
lyrical and epic poetry in general. And some times, in a narrow sense, the Shravya is itself
known as Kavya. That might be because; in the ancient times the Epics were narrated or
recited before a gathering of ardent listeners. And, individual poems or their stanzas, in
most cases, gained popularity among the common peoplewho enjoyed listening to them.
The boundaries between the oral and written poetry was never clear. Yet,the oral traditions
seened to have a strong influence over written versions. And, in fact even during the
medieval times the written texts were corrected with referance to its oral version.
[ However, as the classical poetry grew more complex and more elaborately structured, it
became rather difficult to rely only on the oral rendering. Reading or studying a text
gradually replaced listening as the commenest means of enjoying Kavya].
But, the distinction of shravya and prekshya – is not strictly observed. For instance : Dance
(nataka) is at once a kavya – Prose – that can be read (shrvya ) and that be witnessed
(Dhrusya) on the stage. In fact, some of the finest poetry of the ancient times can be found
in sanskrit Dramas. Thus, the Drama came to be regardedas the most enjoyable of all the
forms of Kavya. [ KAVYESHU NAATAKAM RAMYAM]. Kalidasa endorses both the
forms:
NATYAM BHINNARUCHIR JANASYA BAHUDA APEKSHYAM
SAMARADHANAM.
“ Drama, verily, is a feast that is greatly enjoyed by a variety of the people of different
tastes”.
Another is the Chitra – Kavya, where the words of the poetry are woven into figures and
diagram ( chiyarbandha), that can be seen and read is at once a shravya and prekshya.
As Drama is a composite art, Bharata’s treatment towards all related subjects such as
Archeitechture, Preliminaries, Postures, Movements of limbs, Songs, Dance, Speech,
Dress, Musical instrumenta etc gave important and greatness to Natya Shastra.
Bharata’s Natya Shastra is the oldest treatise on Rasa Theory. The idea of Rasa in Drama
or poetry is a unique creation of Indian Dramaturgy and rhetoric. The translation of this
word “Rasa” is also very different as it is an enjoyment or experience in the mind of the
sympathetic audience or leader.
It is an individual experience brought through the expression of Bhava. The Rasa is created
or promoted in the mind of a spectator by the Bhava being expressed. These two, the Rasa
and Bhava are inter dependent as Ras is not created without Bhava and Bhava has no
existence if Rasa is not promoted.
What is RASA?
What exactly is called RASA.
The answer given is “THAT WHICH IS RELISHED IS RASA”.
The illustration shows a parallelism between the “TASTE” as applied to food and
“RELISH” applied to poetry is drawn by Bharata.
As one feels the difference in the taste of food, the SAHRUDAYA enjoys the sentiments
like nava Rasas.
The relation between Rasas and Bhavas are discussed in the connection.

Definition of RASA is
“VIBHAVA ANUBHAVA VYABHICHARI SAMYOGAAT RASA NISHPATTIH”.
Rasa is created by a combination of Vibhava, Anubhava and Vybhichari bhavas.
Bhava is defined as that which helps us to understand the poet’s heart through the words,
bodily gestures and emotions.
Bhava : Chapter 7 in Natya Shastra is concerned with bhavas in all their varieties at the
outset it is started that there are 8 sthyayi bhavas, 33 vyabhichari bhavas and 8 sattvika
bhavas. With their combination the sentments RASAS are produced.
The total number of these are stated as 49 bhavas.
Bhavas are produced by Rasa or vice- versa?
Some opinion that by their mutual combination both are produced. But the view of Bharata
is confirmed as Rasa produced from the Bhavas through both are interdependent.
Bhavas are like Rivers and Sthyayi bhavas are like Ocean.
Students are like rivers and GURUs are like Ocean.
These are static or permanent moods which stay when Rasa is experienced. For example:
sea water / River water.
 BHAVA

Vibhava

Saattvika
Anubhava
bhava

Sthyayi Vyabhichari
bhava bhava

Vibhava : That which determines.

Anubhava: That which supports and follows the Vibhava.
Vyabhichari bhava: That which is temporary/ Transitory.
Sthyayi Bhava: That which is static and final emotion.
Saattvika Bhava: That which is Physio/ Physhological state.
Let us see the different kinds of phychological states (Bhavas):
(i) Sthayi bhava - Durable
(ii) Sanchari or vyabhichari bhava - Complementary and
(iii) Sattvika bhavas.
 Bhavas (Emotional fervour and State) viz Sthayi (Permanently dominant), Sancari (moving
or transitory) and Sattvika (originating from the mind, temperamental).
 Sthayi Bhavas (Permanently dominant) are Rati (Love), Hasa (merriment), Soka (sorrow),
Krodha (Fury), Utsaha (Enthusiasm), Bhaya (terror), Jugupsa (disgust) and Vismaya
(Astonishment).

Chapter VII of The Natya Shastra goes into great detail about the bhavas, which are broken
down into three categories. Bharata mentions eight “Durable,” “Permanent,” or “Constant”
emotional conditions called Sthayi bhavas:

These emotional states are inherent to humans. They are basic as they are inborn,
understandable without explanation. They also are characterized by intensity, as they
dominate and direct behavior. On the stage Sthayi bhavas are represented by certain
Anubhavas, explained in Natya Shastra as follows:
 Sthayi bhavas are manifested by corresponding Anubhavas:

 Rati (Pleasure) - Smiling face, sweet words, contraction of eye-brows, sidelong glances

and the like.
 Hasa (Joy) - Smile and the like, i.e., laugher, excessive laugher.
 Shoka (Sorrow) - Shedding tears, lamentation, bewailing, change of color, loss of voice,
looseness of limbs, falling on the ground, crying, deep breathing, paralysis, insanity, death
and the like.
 Krodha (Malice) - Extended nostrils, unturned eyes, bitten lips, throbbing cheeks and the
like. 
o against enemies - knitting of the eye-brows, fierce look, bitten lips, hands clasping each
other, touching one’s own shoulder and breast.
o when controlled by superiors - slightly downcast eyes, wiping off slight perspiration and
not expressing any violent movement.
o against beloved woman - very slight movement of the body, shedding tears, knitting
eyebrows, sidelong glances and throbbing lips.
o against one’s servants - threat, rebuke, dilating eyes and casting contemptuous looks of
various kinds.
o artificial - betraying signs of effort.
 Utsaha (Courage) - steadiness, munificence, boldness of undertaking and the like.
 Bhaya (Fear) - trembling of the hands and feet, palpitation of the heart, paralysis, dryness
of the mouth, licking lips, perspiration, tremor, apprehension of danger, seeking for safety,
running away, loud crying and the like.
 Jugupsa (Disgust) - contracting all the limbs, spitting, narrowing down of the mouth,
heartache and the like.
 Vismaya (Surprise) - wide opening the eyes, looking without winking of the eyes and
movement of the eye-brows, horripilation, moving the head to and fro, the cry of ‘well
done’ and the like.

STHAYI VIBHAVA ANUBHAVA

BHAVA
(1) Rati (1) The season; (1)Smiling face;
Pleasure decorating the body sweet talk; play
with garlands; of the eyes and
anointing it with the eyebrows;
colors and perfumes sidelong
putting on glances, etc.
ornaments; feasting;
being in beautiful
house, etc.
(2) Hasa (2) Mimicking (2) Laughter and
Mirth others’ actions; other expressive
nonsensical speech; responses as
forwardness;
foolishness, etc. already
mentioned.
(3) Shoka (3) Separation from (3)
Sorrow dear ones; loss of
wealth; execution; Weeping
imprisonment and profusely;
other sad
moaning;
experiences, etc.
crying;
loss of color;
breaking of
 voice;
weakness of
limbs; falling
down on the
ground;
lamentation;
screaming; deep
sighing etc.
(4) Krodha (4) Manhandling; (4) Dilation of
Wrath dragging; the nostrils and
quarrel; debate; the eyes; biting
antagonism, etc.
of lips; throbbing at
temples, etc.
(5) Utsaha (5) High spirits; (5) Poise;
strength; courage; sacrifice;
Vigor courage; learning, etc
bravery, etc.
(6) Bhaya (6) Offense against (6) Hands and
Fear the king or the feet trembling,
teacher; a view of palpitation of the
wild beasts, deserted heart immobility,
house, forests, drying of the
mountains, elephants, mouth and the
a stromy day, dark tongue,
night, hearing the cry perspiration
of owls and other shivering,
nocturnal beings, seeking, refuge,
getting berated, etc. running, getting
dragged, etc.
(7) Jugupsa (7) Hearing, seeing (7) The whole
Disgust or telling of things body drawing
unpleasant. in; face
pinched,
head
jumping;
spitting.
(8) Vismaya (8) Illusions, (8)Widening the eyes;
Wonder delusions staring without
caused by batting an eyelid; raised
magic and
supernatural eyebrows; hair-
powers; raising; head
excellence of man’s shaking;
art in painting, saying “well
sculpture, etc. done”, etc.

 The Natya Sastra does not stop with the mere mention of Rasa and Sthayi Bhavas. It has
more to reveal such as Vyabhichari bhavas, which has been systematic put forward by
Bharta Muni. Earlier it has been mentioned that the Sastra talks about the internal emotions
in terms of Sthayi Bhava but they are steady and inherent, so difficult to express without
any reason and also require proper transition to feel and communicate. To this very logical
thought, which can come to any actor’s mind, there is a rescue in the form of Vyabhichari
 or Sanchari Bhava. They act as transitory feelings and sentiments, which can have many
sources. These come to stay for a while, do their job and go. Thirty three such Vyabhichari
or Sanchari Bhavas are mentioned in the Natya Sastra.

 Vyabhicari [Sancari] Bhavas –

They are thirty three in number viz. Nirveda (Despondency), Glani
(Weakness), Sanka (Suspicious), Asuya (envy), Mada (Inebriation), Srama (exhaustion),
Alasya (lethargy), Dainya (Depression), Cinta (anxiety), Moha (delusion), Smrti
(recollection), Dhrti (fortitude), Vrida (Bashfulness), Capalata (in constancy), Harsa (joy),
Avega (excitement), Jadata (Stupefaction), Garva (Arrogance), Visada (Despair), Autsukya
(impatient curiosity), Nidra (sleep), Apasmara (Loss of memory), Svapna (Dreaming),
Prabodha (Wakening), Amarsa (indignation), Avahittha (Dissimulation), Ugrata (Cruelty),
Mati (self-assurance), Vyadhi (Sickness), Unmada (madness), Marana (death), Trasa
(fright) and Vitarka (deliberation)
However, of the Vyabhicari (Sancari) Bhavas, which are mentioned in the sastra, many do
not seem to be emotions e.g. Srama (exhaustion), or Smrti (recollection). Moreover, they
appear as a situation and a stage in life like, Marana (death). Further alnalysis of this will
be presented at the stage of clasifiation table of the Vyabhincari bhava with other scholars’
views.
For an actor, it is essential to be able to learn the differences in various emotions and
physical situations. This will increase his capacity to adapt the character and evaluate the
situation in a proper state of mind. These are the gears, which Bharata Muni expects from
an actor to be equipped with.

Involvement of Mind and Body – Feelings/ emotions and physical expression of the mind
and body.

 Sanchari Bhava :
“Vi” and “Abhi” are prepositions the root cause is in the sense of “Movement” Hence the
word Vyabhicarinah means that take movement of different objects towards Rasas. That
they take the things that are connected with words gestures and the temperament towards
Rasa. Canati thus means carry. How do they carry? (Just as the Sun carries this star to this
day). It is not carried by means shoulders and arms. But it is popular parlance. These
Vyabhicarins are to be known as leading just like the sun leading. In the synoptic digest,
thirsty three Vyabhicarins have been mentioned:
 NIRVEDA (Despondency): What is called Nirveda is produced trough vibhas such
as advent of improvised state being insulted abused by means of foul language angry
thrashing, separation from beloved persons and requisition of ultimate knowledge and
other similar. As far thesis is concerned with women and with persons of mean nature. It
should be portrayed on the stage by means of Anubhavas such as crying, sighs, deep
breaths fraudulences etc.
Nirveda - weeping, sighing, deep breathing, deliberation and the like.
 GLANI (Feebleess): Glani results from Vibhavas i.e., venisting, dynasty ailments
penances and observation, fasting, mental Anguish excessive drinking. Over exercise too
much travel hunger, thirst, loss of sleep etc. Its abhinayas are performed through table
utterance, eye without luster, pale cheed, slow walk, absence of enthusiasm, thinness of
physical from change of colours etc.
Glani - week voice, lusterless eyes, pale face, slow gate, want of energy, loss of color of
the body and the limbs, change of voice and others.
 SANKA (fearful suspicion): Sanka has reference to women person of low status.
Doubt is its basic feature it is practiced by vibhavas suchi as theft, robbing, seizing agiving
(diffaren) offence to the king, committees sinful deeds and the like it is being depicted on
the stage by means of constant looks on all sides keeping the face worried dryness of
mouth liking with tongue falls of face, tremors, arched lips, loss of vice etc....
Sanka - constantly looking about, hesitating movement, dryness of the mouth, licking the
lips, change of facial color, tremor, dry lips, change of voice and the like. Concealment of
appearance to be characterized by adoption of clever gestures according to some
authorities.

 ASUYA (Jealousy): Asuya is produced by vibhavas such as different kinds of

offences, hatred, other people’s wealth, blessedness, sportive display, learning others assets
and the like its presentation on the stage is by means of open predomination of faults in the
Assembly, decryinggood qualities, staring, meaningfully keeping face bowing down,
distortions of eye brows, disparagement, ridiculing and other Anubhavas.
Asuya - finding fault with others, decrying their virtues, casting glances in jealousy,
downcast face, knitting eyebrows, disregard and abuse in public.

 MADA (Inbriety): Mada originates for the use of intoxicating drinks it is of 3 types
of Bhavas attending upon. 1. Taruna (Matine excessive) 2. Madhya (Medium) 3. Avakrrta
(Law). Its causes are of 5 types. It shall be representedon the stage by the Anubhavas are
sleeping, laughing, singing, weeping and abuse of words.
Mada -
In case of superior persons – sleeping
Middling ones – laughing and singing,
Low ones – crying and using coarse words.
Stages of Mada – 
(i) light smiling face, pleasant feeling, slightly faltering words, delicately unsteady gait.
(ii) medium drunken and rolling eyes, arms drooping or restlessly thrown about, irregularly
unsteady gait.
(iii) excessive loss of memory, incapacity to walk due to vomiting, hiccup, tick protruding
tongue and spitting. When there is panic, grief and increase of terror due to some cause,
intoxication is to be stopped by effort.

 SRAMA (Exhaution, Fatigue): What is called srama is produced through the journey
along the road, indulging in physical exercise etc. are Vibhavas. It’s representation on the
stage is through the anubhavas such as massaging of the body, hearing of sights, twisting
of the mot, wrinkling of face ,wrinkling of Face, pressing of limbs, placing of steps slowly,
rolling of the eyes, and others.
Srama - gentle rubbing of the body, deep breathing, contraction of the mouth, belching,
massaging of the limbs, very slow gait, contraction of the eyes, making hissing sound.
 ALASYA (Utte, Lethrgy): Alasya is produced through the Vibhavas like natural
inclination sound, walking, safely, pregency (In the case of woman), as well as persons of
mean nature.This is represented on the stage through anubhavas such as distate towards all
types of activities lying down, sitting quiet, drowsiness going to sleepand the like.
Alasya - aversion to any kind of work, lying down, sitting, drowsiness, sleep, etc.

 DAINYA (Wretchedness): Dainya produced by the vibhavas such as pennilessness,

mental distress etc. It representation on stage by means of absence of fortitude, head ached,
paralysis of body, mentally stunned n state avoiding clean kinsing of the body etc.
Dainya - want of self-command, headache, dullness of the body, absent-mindness, giving
up of cleansing (of the body), etc.

 CHINTA (Anxiety): Chinta is produced by the vibhavas such as loss of wealth, theft
of dear objects, poverty etc...It ispresented on the stage b means of Anubhavas such as
deep breath, sighs, sighs distress, contemplation, down caste face, using enunciation of the
body on the like.
Cinta - deep breathing, sighing, agony, meditation, thinking with a down-cast face,
thinness of the body, etc.

 MOHA (Delusion): Moha is produced by Vibhavas such as accidental mishap,

adversity, sickness, fear, agitation, ridiculous of precious enmity etc, Its presentation on the
by means of anubhavas such as abasence of Momens, Whirling of limbs, Falling sown,
faltering etc.
Moha - want of movement, excessive movement of a particular limb, falling down,
reeling, dazed condition.

 SMRTI (Recollection): Smrti is performed by means of Vibhavas such as health in

utmost wretched state disturbance to the sleep at nights, frequent practice of thinking
things of similar appearance and some examples etc. It is of the nature remembering things
producing happiness or miserly the actors represent it on the stage by means of Amruthas
such as nodding of heads looking down sighing of eye brows excessing delight etc.
Smrity - nobbing of the head, looking down, raising up the eye-brows, etc.

 DHRTI (Forttitude): What is called dhrti is produced by vibhavas such as heroism,

perfect knowledge, acquisition of vedic knowledge, affluence, cleanliness, good habits,
devotees to preceptors, getting surplus of funds, different kinds sports etc. The players
shall represent it on the stage by enjoying of whatever is acquired and not regretting what
is not acquired or loss of has been destroyed.
Dhriti - enjoyment of objects attained, absence of regret for the unattained, impaired or
lost, etc.

 VRIDA (bashfulness, shame): Doing what should not have been done is the basic of
what is called Vrida. It originates from such vibhavas as disobedience to the elders. Others
not keeping words of promise, denying what is done, regret over what is committed and
other similar things. It should be represented on the stage by Anibhavas such as hiding the

face, bending head down, thinking and pondering drawing lines on the ground, touching
the ring, clothes etc. biting or pairing nails etc.
Vrida - covered face, thinking with down casting face, drawing lines on the ground,
touching cloths and the ring, biting the nails, etc.

 CHAPALATA (Inconstancy): Chapalata is produced by such Vibhavas as passion,

hatred, rivalry, excessive anger, jealousy, absence of restrain etc. It is representing on the
stage is to be had through anubhavas such as harshness of words, rebuke, thrashing, killing,
imprisoning, beating,reminding etc.
Capalata - harsh words, rebuke, beating, killing, taking prisoner, goading, etc.

 HARSHA(Delight): Harsha is caused by the Vibhavas such as getting the denied

things, union with beloved, desired and, trusted, mental satisfaction, divine favours, royal
appreciation, preceptor’s affections, obtaining good food, raiment and wealth as well as
ability to benefit by them that should be presented on the stage by the anubhavas such as
facial brightness, brilliance in the eyes, sweet speeches, embracing, horrification, tears of
joy, sweet, gentle stroke etc
Harsha - brightness of the face and eyes, using sweet words, embracing, horripilation,
tears, perspiration, and the like.

 AVEGA(Exitement): Avega caused by Vibhavas such as evil portents, gusts of

winds, arson, mad running of heads of elephants, hearing excessive good or bad, adversity
etc. The words of evil portents included full of lighting meters, comments stars solar or
lunar eclipses appearance of ketus etc. Avega should be represented on the sage by
looseness of limbs, sorrow, mental distraction, baler in the face surprise etc.
Avega -
(a) due to portends - looseness of all the limbs, distraction of the mind, loss of facial color,
sadness, surprise, etc.
(b) due to violent winds - veiling the face, rubbing the eyes, collecting the ends of the
clothes worn, hurried going, etc.
(c) due to heavy rains - lumping together the limbs, running, looking for some cover of
shelter, etc.
(d) due to fire - eyes troubled with smoke, contracting all the limbs or shaking them,
running with wide steps, flight, etc.
(e) due to elephants - hurried retreat, unsteady gait, fear, paralysis, tremor, looking back,
etc.
(f) due to having something - getting up, embracing, giving away cloths and ornaments,
tears, horripilation, etc.
(g) due to unfavorable news - falling down on the ground, rolling about on a rough surface,
running away, bewailing, weeping and the like.
(h) due to calamity - sudden retreat, taking up weapons and armor, mounting elephants and
horses and chariots, striking, etc.
 JADATA( Sluggishness): Jadata is the causation or reluctance to resume all types of
activities. It results from such Vibhavas as hearing, seeing what desirable as well as
undesirable sickness etc is? It has to be represented on the stage by platting or not at all
speaking or speaking indistinctly, staring steadfastly or utter helplessness etc.
Jadata - not uttering any word, speaking indistinctly, aversion to all work, remaining
absolutely silent, looking with steadfast gaze, dependence on others, etc.

 GARVA (Arrogance): Garva results from Vibhavas such as excessive affluence,

nobility of birth, handsomeness and beauty from the form, youth, academic distinction,
influence and the like. Its representation on the stage by means of the Anubhavas such as
contempt for others, tearing and causing vexation to everyone, avoiding replying to others
or conveying with others glancing at the shoulders, romancing about desire laughter, harsh
words disobedience to elders, delighting them etc.
Garva - disrespect for others, harassing, not giving reply, not greeting others, looking to
oneself, roaming, contemptuous laugher, harsh words, transgressing commands of the
superiors, insulting others, etc. (In case of persons of inferior type, (boastful) movement of
the eyes and the limbs is to be employed.)

 VISADA (depiction): Visada is produced by such vibhavas as fortune to complete

the task on hand, accidents calamities adverse fate etc, with regard to the person of
superior and middling types of persons. The representation of visada is by means of
Anubhavas such as searching for allies and collaborations consideration of means of
remedy, hindrance to enthusiasm, absent mindness, deep sign etc, with regard to person of
the mean order. It is to be represented by flight down caste look, dryness of mouth, licking
the sides of mouth drowsiness, sights contemplation etc.
Visada - looking for allies, thinking about means, loss of energy, absent-mindedness, deep
breathing and the like in the case of superior and the middling types; in case of the inferior
type – running away, looking down, drying of the mouth, licking the corner of the mouth,
sleep, deep breathing, meditation and the like.

 AUTSUKYA: Autsukya is produced through vibhavas such as recollection of the

separation from beloved persons seeking parks etc. Representation of this Autsukya is by
means of Anubhavas such as deep sighs, drooping of face, deep reflection, sleep, lethargy,
desire to be down etc.
Autsukya - sighs, thinking with downcast face, sleep, drowsiness, desire for lying down.

 NIDRA (Sleep): Nidra is produced by such vibhavas inebriety, exhaustion, debility,

lethargy, anxiety, excessive intake of food, natural soporific tendency and the like. The
player shall represent it by means of anubhavas such as gravity of face, rolling of physical
frame, movements of eyes, yawning, massaging the body, deep sighs, noisy respirations,
relaxed body, closing of eyes, fainting etc.
Nidra - heaviness of the face, rolling of the body, rolling of the eyes, yawning, massaging
of the body, deep breathing, relaxed body, closing the eyes, etc.

 APASMARA (Epilepsy, Loss of Memory): Apasmara is produced by means of the

vibhavas such as Malignant passions of an evil, dirty serpent, yaksha, rakasa, pisaca and
others frequenting empty chambers. Unclear forests etc being crossed disarrangement of
the bodily hormones etc. Its Abhinaya is to be performed by means of Anubhavas such as
difficult that bring, trembling, singing, running, falling, perspiration, boaming in the
mouth, hiccup, licking with the tongue etc.
Apasmara - throbbing, sighing, trembling, running, falling down, perspiration, foaming in
the mouth, motionlessness, licking (lips) with tongue and the like.

 SUPTA (Dreaming): Supta arises during sleep. The actor should represent this by
means of Anubhavas such as deep breathing, dullness of the body, closing of the eyes,
stupor of all senses, locus of sense and of after dreams etc.
Supta - deep breathing, dullness of the body, closing the eyes, stupefaction of all senses,
dreaming, talking while asleep, closing eyes softly.

 VIBODHA (Waking up): Vibodha is produced by such Vibhavas as break of sleep,

digestion of food, evil dreams, loud round etc. The player shall represent it through
Anubhavas such as yawning, the eyes leaning on the bed, seeing the limbs and face,
throwing down the hands, snapping of fingers etc.
Vibodha - yawning, rubbing the eyes, leaving the bed, etc.

 AMARSA (Anger): Amarsa occurs to a person rebuked or insulted by the person

superior to him by her in learning, affluence, prosperity and strength. Its Abhinaya is to be
performed by the means of Anubhavas such as shaking the head perspiration, down cart
face, reflecting mental apprehensions, meditation, looking for means of remedies etc.
Amarsa - shaking the head, perspiration, thinking with downcast face, determination,
looking for means and allies, etc.

 AVAHITTHA (Dissimulation): Avahitta is in the nature of concealment of

appearance. It is produced by means of the vibhavas such as shame, fear, defeat, deceit etc.
It shall be represented on the stage by means of Anubhavas such as explaining away,
looking elsewhere, pretending as though it has not been seen, breaking of talk etc.
Avahittha - speaking otherwise, looking down words, break in speech, pretended patience.

 UGRATA (Ferosity, Cruelty): Ugrata is produced by means of vibhavas such as

incarceration, the thief’s offence to the Kings, speaking offensive words etc. It shall be
represented on the stage by means of Anubhavas such as slaying, arresting, lying up,
biting, threatening, rebuking etc.
Ugrata - killing, imprisoning, beating, rebuking, etc.
  MATI (Self-assurance, Intellect): Mati is produced by vibhavas such as thinking
about the purpose of scriptural texts, considerations and connecting and inferences etc. It
shall be performed on the stage by means of Anubhavas such as imparting instructions to
pupils, ascertaining of sense, clarification of doubts etc.
Mati - instructing pupils, ascertainment of meanings, removal of doubts, etc.

 VYADHI (Ailment): Vyadhi originates from vata (wind), pitta (Bali) and kapha (plegm), the
three humours and their cumulative effect, fever etc. are special effects of ailment.
Vyadhi -
(a) fever with a feeling of cold - shivering of the entire body, bending the body, shaking
the jaws, desire for heat, horripilation, movement of the chin, narrowing down the nasal
passage, dryness of the mouth, lamentation, etc.
(b) fever with a feeling of heat - throwing out cloths, the hands and the feet, desire to roll
on the ground, use f unguents, desire for coolness, lamentation, dryness of mouth, crying.
(c) other types of sickness - narrowing down the mouth, dullness of the body, downcast
eyes, deep breathing, making peculiar sounds, crying, tremor, etc.

 Unmada - laughing and weeping without any reason, crying, irrelevant talk, lying down,
sitting and rising up, running, dancing, singing, reciting, smearing the body with ashes and
dust, taking grass and remains of flower-offering to deity, soiled clothes, rags, potsherd,
and earthen tray as decorations of the body, many other senseless acts, imitation of others
who are not present, etc.

 Marana -
(a) from sickness - looseness of the body, motionless of the limbs, closed eyes, hiccup,
deep breathing, not looking towards surroundings people, indistinct words, etc.
(b) due to accidental injury - 
(i) wounded by weapons - suddenly falling down on the ground, tremor, throbbing, etc.
(ii) snake bite or poison - gradual development of the following symptoms – thinness of
the body, tremor, burning sensations, hiccup, foaming mouth, breaking of the neck,
paralysis and death.

  Trasa - contraction of limbs, shaking, tremor of the body, paralysis, horripilation, speaking
with choked voice, etc.

  Virtaka - various discussions, non-settling1 of problems, concealment of the counsel,

movements of the head and eye-brows, etc.

SANCHARI VIBHAVA ANUBHAVA

BHAVA
(1) Nirveda)तनिेद( (1) Poverty; disease; insult, (1) In the case of women and
Distress humiliation; getting dragged; persons of low character
getting beaten in anger; crying, deep sighing, etc.
separation from loved ones;
philosophy, etc.

(2) Glani)ग्ऱानी( (2) Disease causing excessive (2)Weak voice; lack-lustre

Exhaustion nausea; asting because of eyes; hollow-cheeks and
penance or religious stomach,slow lifting of steps;
regulation; mental worry; shaking; lack of enthusiasm;
excessive indulgence in sex emaciatelimbs; lack of color;
and drinking; excessive breaking of voice, etc.
exercise; long travel; hunger;
thirst; rude awakening; from
sleep, etc.

(3) Shanka/ Guilt (3)Sinful acts like, theft, (3) Looking around
robbery or offence against everymoment; veiling the
the king. face; drying of the mouth;
wetting the tongue; loss of
color of the face; breaking of
the voice; shivers; acting as if
one is
being suffocated
(12)Dhruti)ध्र (12) Bravery; knowledge; learning; power; (12)Enjoying things in li
तु pure actions; devotion of the teacher; which one has an
ि(Poise fulfillment of heart’s desires; gain of money; notsorrowing over things
sport, etc. the past or which are lost
destryed.

(13)Vrida( (13) Rudeness to and disregard for the elderly; (13) Clouded face;
िदृ inability to fulfil one’s vow; repentance, etc. head hung down;
ा) thinking; drawing
Remorse lines on the ground;
fidgeting with the end
of the garment or
ring;
biting the nails, etc.

(14)Chapalata (14) Anger; envy; jealously; (14) Harsh speech;

) ऩऱिा( rivalry; antagonisms, etc. berating; striking;
killing; beating etc.
Quick emper

(15)Harsha)ह (15) Fulfillment of heart’s desires; reunion with (15)Graceful

र्(ष dear ones; satisfaction of mind; favor of gods and expression of the
Joy king, teacher or the master; enjoying good food, face and eyes;
clothes, wealth, etc. pleasant talk;
embracing; body
thrilled; lack of
sweat, etc.

(16)Avega) (16)Hearing about or the actual striking of (16) All

आिे ग( natural disasters of rain, wind, and fire; the limbs
stampeding elephants in
disarray;
Excitement and other unpleasant things. color of the
face, etc.

(17)Jadata) (17) Hearing or seeing pleasant and (17) Break in

जड़िा( unpleasant things; disease. narration;
Heaviness stopping in the
middle of the
speech;
silence;
Staring
fixedly;being
in the power
of others, etc.
(18)Garva)ग (18)Gaining wealth; family status, beauty, (18)Envy;disregard;not
ि(ष youth, strength, etc. giving replies; not
speaking;
Pride
contemptuous looks
thrown to people;
ridiculing; jesting;harsh
speech; rudeness to
teacher; insult; breaking
one’s
word, etc.
(19)Vishada (19) Inability to successfully execute some (19)Searching
ि(िशा work due to misfortune or accident. for help;
द) thinking
Dejection about a
remedy; loss
of vigor;
distraction;
sighing etc.
(in the case of
excellent
and
medium
persons). mind
Distracted,loss of
 Running round; staring; dry
mouth; sleep, etc. (in the
case of low persons).

(20)Autsukya (20) Separation from dear ones brought to (20)Deep sighing; head
)औत्सक्ु mind by looking at a garden, etc. hangingdown; thinking;
य( sleep; desire to lie down;
Longing getting lost in thoughts,
etc.

(21)Nidra) (21)Natural disposition; overeating; worry; (21)Face stretching; eyes

तनद्रा( So laziness; weariness; weakness. rolling; yawning;
mno- lence heaviness; deep breathing;
relaxing of the body; closing
of the eyes, etc.

(22)Apasmara (22) Getting possessed by supernatural beings, (22)Throbbing,

)अऩस्मार( ghosts and spirits or being reminded of sighing,trembling,
them; eating left-overs; finding oneself in a running,falling
Paroxysm
deserted house; disregard for the holy hour; down;perspiring;
falling down; disease etc. immobility;
foaming at the
mouth; wetting
the tongue, etc.

(23)Supta) (23) Enjoyment of sensuous pleasures; (23)Deepbreathin

सप्ु bewitching of the mind; lying down on the g; limbs relaxing;
ि( ground; stretching; dragging, etc. eyes
Sleep
 closed; all the senses
bewitched as if dreaming
etc.

(24)Vibodha (24) Breaking of sleep as a result of the (24)Yawning;

) need for food; end of dream;loud noise; rubbing of the
विबो touch, etc. bed, etc.
ध(Awakeni
nf
eyes; leav the
ing

(25)Amarsa (25) Being insulted or berated by a person (25) Shaking of the head;
)अमर्(ष of superior learning, wealth or sweating profusely,thinking
Vengeanc
strength.
e with head
hanging
down;meditation,
etc.
se
ar
ch
in
g
re
m
ed
y

(26)Avittha (26)Caused by shame, fear, etc. tdefeat, d(26) Mimicking

)आवित्थ( ihe looks and
sspeech of
Impudence h
oothers;
ninterrupting,
onarration, etc.
r
,
(27)Ugrata (27) Theft; robbery; offenses against (27)Execution;
the king; slandering good people. imprisonment;

Gruffness beating;
scolding,
etc.
(28)Mati (28) Discussing the pros and cons of various learned (28)Advising the
) sciences and meditating. disciples;
मति(
Learning Explaining the
significance;
Dispelling
doubts.etc.
(29)Vyadh (29) Result of an attack of the wind, the (29)The whole
i bile and the phlegm. body shaking,
)व्याचध(
Disease shivering,
contracting,
Desiring warmth;
gooseflesh; jaw
chattering; mouth
dry;moaning
(These refer to
the
Diseases of cold).
The body
wisting,
especially the legs
And the hands;
desiring to lie down
On bare ground;
Desiring cold
things; mouth
dry;
Loud crying, etc.
(These refer to
diseases of
heart).
Face pinched;
limbs
Immobile and
numb; deep
sighing; eyes
lack
luster;

shaking;
screaming,etc.
(These refer to
other diseases).
(30)Unmada (30) Separation from dear ones; loss of (30)Laughing,
)उन्माद( wealth; accident; an attack of wind, bile crying, screaming
and phlegm.
Madness For no reason;
Irrelevant speech;
sitting lying,
getting
up, running,
dancing, singing in
fits; smearing the
Body with earth
and ashes, covering
oneself with grass,
Soiled cloth,
rags,
Broken piece of
claypots – in these
And other
manners; imitate
The actions of
Mentally ill
persons.
(31)Marana (31) (a) Due to disease; disorder of (31) (a) The
)मरण( intestine, liver, colic or tumor, etc. limbs becoming

numb;
Death Body becoming
loose; eyes
(b) Due to accident; struck fluttering or
by weapon; losed;
bitten by a snake. hiccough; labored
breathing; hardly
Seeing those who
 Are around;
peaking with the
attendants in
very faint words,
etc.
(b) Struck by
weapon falling
down suddenly
to the ground,
twisting and
turning.Bitten by
snake-the eight
waves of stages
of snake
poisoning
such as weakness,
shivering, burning,
hiccoughing,
foaming, breaking
of the shoulders,
heaviness and
death.
(32)Trasa (32) Striking of the lightning; fall of a (32)The body
)त्रास( meteor; earthquake; roaring of the clouds or contracting;
Turbulenc e a huge supernatural being or a beast. shaking; shivering;
immobility; hair-
raising; fearful
voice; crying,
etc.

(33)Vitarka (33) Doubt; confusion; discussion (33)Questions

)वििकष ( variously asked;
explanations;
perplexity.
 Satvika Bhavas the Natya Sastra has many folds that open up slowly. Explanation of the
actor’s preparedness and capacity to understand the guhya (veiled or secret) of the text are
addressed. The eight basic emotions that will be converted into Rasa. Though Bharata
Muni informs us about the number of rasa, he also mentions the source of these eight
Rasa’s, which are permanent or inherent, (dramatic) emotions. Thus, the journey from
sentiment to emotion begins. Here is a simple indication for an actor that after
preparedness, the next step is that the actor must be involved with his mind and heart. The
eight Bhavas can only be felt with a sensitive heart and an involved mind. With the
oneness with the characters’ emotions, an actor can physically represent them.
The sastra also mentions about the temperamental emotions and put them at the highest
level as far as the actors’ feelings and capability of delivering is concerned. They are
termed as Satvika Bhavas in the Natya Sastra.

 Sattvika Bhavas (Temperamental States of Emotional Fervour)

The Sattvika Bhavas are eight in number. They originate from the physical
form.
They are:

 Stambha –Paralysis, shocking, - being inactive, smileless, being like inert object, limbs
drooping.
 Sveda -- Sweating taking up the fan, wiping off sweat, looking for breeze.
 Romanca -- horripilation (reflex erection of hairs of the skin in response to cold or
emotional stress or skin irritation) - repeated thrills, hair standing on end, touching the
body.
 Svarasada --feebleness in the voice, change of voice, broken and choked voice.
 Vepathu – Trembling (shaking or quivering, typically as a result of anxiety, excitement, or
frailty) quivering, throbbing and shivering, wiping the eyes of tears, shedding tear
incessantly.
 Vaivarnya -- change of color, - alteration of the color of the face with effort by putting
pressure on the artery.
 Asru -- Shedding tears, weeping, wiping the eyes full of tears, shedding tears incessantly.
 Pralaya -- Loss of Sense, fainting, motionlessness, breathing gently (unnoticed), falling on
the ground.

SATVIKA VIBHAVA ANUBHAVA

BHAVA

(1) Sveda (1) Anger; fear; joy; shame; sorrow; (1) Taking up a fan;
)स्िेद( weariness; disease; agitation; accident; wiping away the
exercise; worry; etc. perspiration;
Perspiration
desiring breeze.
 (2) Stambha (2)Joy; fear; disease; wonder; (2)Standing
)स्िंभ( dejection; disfavor. motionless; with
not so much as a
Immobility
tremor heavy and
empty with
limbs
benumbed.

(3) Vepathu (3)Cold; fear; joy; disfavor; touch; old age (3)Shaking;
)िेऩथ(ु shivering;
Trembling throbbing

(4) Ashru (4) Joy; vengeance; smoke, eyebalm, (4)Wiping the

)अश्र(ु yawning; fear; sorrow; staring fixedly; cold; eyes.
Tears disease.

(5)Vaivarnya (5) Cold; anger; fear; weariness; disease. (5)By putting

)िि pressure on the
र्णय(ष vein;draining the
color from the
Loss of color face and other
bodily
movements
needing great
effort.

(6)Romanca (6)Touch; fear; cold; joy; anger; (6) Making the hair on the
)रोमां (Hair- raising disease. body stand up; momentary
appearance of
goose-flesh
and
thrill by touch,
etc.

(7) (7) Fear; joy; anger; old age; dryness; (7)By different
Svarabhed disease; intoxication. tones, such as
a chocked,
) tremulous,
स्िरभे द( throbbing, etc.
Breaking
of voice
(8)Pralaya (8) Weariness; fainting fit; intoxication; (8) By falling down to the
)प्रऱय( sleep; accident; bewitchment. ground.
Chaos
 The eight Sthayi Bhava-s evoke corresponding Rasa-s

1. Rati evokes Sringara ( the erotic – romance, love)

2. Hasa evokes Hasya ( the comic – laugh, humor)
3. Shoka evokes Karuna ( the Pathatic – compassion, sadness)
4. Krodha evokes Roudra ( the furious – indignation, anger)
5. Utsaha evokes Veera ( the heroic – valor)
6. Bhaya evokes Bhayanaka ( the terrible – fear, horror)
7. Jugupsa evokes Bibhasa ( the odious – disgust, aversion, repugnance)
8. Vismaya evokes Adbhuta (the marvolous – wonder, astonishment).

1) The Erotic – Sringara –(1) in union---the Vibhavas-s are arises from determinants like
pleasures of season, the enjoyment of garlands, unguents, ornaments, going to a garden,
splendid mansions, etc. The Anubhava-s to be represented on the stage by consequents
such as clever movement of eyes, eyebrows, glances, soft and delicate movements of
limbs, sweet words, etc., Complimentary psychological states in it doesn’t include fear,
indolence, cruelty and disgust. The erotic sentiment (2) in separation should be
represented by consequents such as weakness, apprehension, envy, weariness, yearning,
sleep, dreaming, indifference, languor, fear, anger, jealousy, anxiety,insanity and other
conditions.

The comic sentiment:

The comic sentiment has its basis as the durable psychological state called laughter (Hasa).
This is created by determinants such as showing unseemly dress of ornament, impudence,
greediness and other similar things. This comic sentiment is represented on stage by
consequents like throbbing of lips, the nose or cheek, opening the eyes wide or contracting
them, perspiration colour of the face. Complimentary psychological states in it are
indolence, dissimulation, drowsiness and the like. This sentiment is of two kinds : self-
centred and centred in others. When a person laughs by himself , it is related to self-centred
comic sentiment, but when he makes others laugh, it is centred to others. There are six
varieties of comic sentiment, they include: slight smile (smitha), smile (hasitha), gentle
laughter (vihasita), laughter of ridicule (upahasita), vulgar laughter (apahasita), and
excessive laughter (atihasita). Two by two they belong to superior, middling and inferior
types of persons.
superior type
smitha: Slight smile: slightly blown cheeks, and elegant faces, and in it teeth are not
visible
Hasitha: Smile: distinguished by blooming eyes, face and cheeks, and teeth are slightly
visible.
Middling type
Vihasita: Gentle smile: should have slight sound, and sweetness, and should be suitable to the
occasion and its eyes and cheeks are contracted.
 the nose should be expanded and eyes should be squinting, the shoulder should be bent.
Inferior type
Apahasita :Vulgar laugh: laughter on occasion not suitable to it, laughter in one’s eyes or with
shoulder and head violently shaking.
Atihasita :Excessive laughter: excessive loud laugh in which eyes are expanded and tears
are resulted from eyes, and sides are covered by hands.

The pathetic sentiment:

pathetic sentiments are arises from durable psychological state called sorrow. It is grown
from determinants such as affection under a curse, separation from dear ones, loss of
wealth, death, captivity, flight accidents or any other misfortune. This is to be represented
on the stage by means of consequents such as, shedding tears, lamentation, dryness of
mouth, change of colour, drooping limbs, being out of breath, loss of memory and like.
Complimentary psychological states connected with it are indifference, languor, anxiety,
excitement delusion, paralysis, tremor, change of colour, etc. this is to be represented on
stage by using consequents like weeping loudly, fainting, lamenting and bewailing.
The furious sentiment:
The furious (raudra) sentiment represented by the durable psychological state of anger. It
lowers its origin to rakshasas, danavas and haughty men and is caused by fights. This is
created by determinants such as anger, rape, abuse, insult, untrue allegation, exorcizing,
gthreatening, etc. these can be represented on stage by consequents, such as red eyes,
knitting of eyebrows, defiance, biting of lips, movement of cheeks etc. complimentary
psychological state in it are presence of mind, determination, energy, trembling etc. as
mentioned earlier this sentiment not only arise in rakshasas but also in others this sentiment
arises but this is the special function of them because they are furious by their nature. Even
in their love-making they are violent.
The heroic sentiment:
The heroic (veera) sentiment, relates to the superior type of persons and has its energy as
its basis. This is created by determinants, such as presence of mind, perseverance,
diplomacy, discipline, military strength, aggressiveness, reputation of might, etc. this can
be represented on stage by consequents such as firmness, patience, heroism, charity,
diplomacy, etc. complementary psychological states in it are contenement, judgement,
pride, agiatation, energy, etc.
The terrible sentiment:
Now the terrible sentiment has its basis from durable psychological state of fear. This is
created by determinants like hideous noise, sight of ghosts, panic and anxiety due to
various fear conditions. Staying in an empty house or forest, sight of death or capitivity of
dear ones, or news of it, or discussion about it. It is to be represented on the stage by
consequents such as trembling of hands and the feet, horripilation, change of colour and
loss of voice. Its complimentary psychological states are paralysis, perspiration, choking
voice, fear, epilepsy and death. Terror is characterized by looseness of limbs, the mouth
and the eyes, paralysis of thighs, looking around with uneasiness, dryned of drooping
mouth, this is rthe natural fear; the artificial fear also represnetd by these conditions. The
terrible sentiment should be always represented by tremor of feet, paralysis, shaking of
body, palpilaton of heart, dryness of lips, the mouth, the palate and the throat.
The odious sentiment:
The odious sentiment has its base from durable psychological stateof disgust. It is created
by determinants like hearing of unpleasant, offensive, impure and harmful things or seeing
them or discussing them. It is to be represented on stage by consequents such as stopping
movement of all limbs, narrowing down of mouth, vomiting, spitting, shaking of limbs in
disgust etc. complimentary psychological state in it are epileptic fit, delusion, agitation,
sickness, covering the nose, walking impercibility.
The marvellous sentiment:
The marvellous(adbhuta) sentiment has its base from durable psychological state of
astonishment. It is created by determinants, such as sight of heavenly beihngs or events,
attainment of desired objects, entry into a super mansion, temple, audience hall, or sven-
stored building etc.it is to be represented on stage by using consequents such as wide
opening of eyes, looking with fixed gaze, horripilation, tears of joy, perspiration etc.
complementary psychological states in it are weeping, paralysis, perspiration, choking
voice, hurry, agitation, death etc.

Abhinavagupta interpreted Rasa as a “ stream of consciousness”. He then went on to

expand the scope and content of the rasa spectrum by adding the ninth Rasa : the SHANTA
RASA, the one of tranquility and peace. Abhinava explained that Shantha Rasa underlies
all the other mundance rasas as their common denominator. All the other rasas emanate
from the Shantha Rasa and resolve in to it. Shantha rasa is a state where the mind is at rest,
in a state of tranquility. The other rasas are more transitory in character than is Shantha
rasa. The Shantha Rasa is the ultimate Rasa thesummum bonum.
So Rasa is created by a combination of Vibhava, Anubhava and vybhichari Bhavas. Will
see examples:
An old lady in a pitiable condition is a VIBHAVA.
Her surrondings are poor lighting, loneliness are ANUBHAVA.
Her immobility, deceased are VYBHICHARI BHAVA.
Her sorrow is STHAYI BHAVA OR LATENT SENTIMENT.
Then KARUNA RASA IS CREATED.

It is the desire for union or separation with the opposite gender. Hero/Heroine , pleasant
face, sweet words, glances are VIBHAVA.
Moonlight ambience (malayanilayam) good atmosphere are ANUBHAVA.
Passion, courage,inability to sleep or eat, jealousy, doubt, depression are all
VYBHICHARI BHAVAS.
Rati (love) is the STHAYI BHAVA OR STATIC EMOTION.
Then SRUNGARA RASA IS CREATED.

NATYA SHASTRA SLOKA:

na tat jñānam na tat śilpam
na sā vidyā na sā kalā
nāsau yogō na tat karma
nāṭyēsmin yanna dṛśyate
 “ There is NO Knowledge, NO Sculpture, NO Learning, NO Art, NO Yoga and NO
Action which is not in the realms of this divine art, DANCE” – says Bharata in his Natya
Shastra.
“Let your life lightly dance on the edges of
Time like dew on the tip of a leaf.”
“Everything in the universe has rhythm. Everything dances.”
“There are short-cuts to happiness, and dancing is one of them.”
“While I dance I cannot judge, I cannot Hate, I cannot separate myself from life. I can only
be joyful and whole. That is why I dance.”

Thank you

SANCHARI VIBHAVA ANUBHAVA

BHAVA

(1) Nirveda Poverty; In the case of

disease; insult, women and
(तनिे द)Distress
humiliation; persons of low
getting dragged; character crying,
getting beaten in deep sighing, etc.
anger;
separation from
loved ones;
philosophy, etc.

2. Glani Disease causing Weak voice; lack-

excessive lustreeyes;
(ग्ऱानी)
nausea; fasting hollow-cheeks
Exhaustion
because of and stomach;
penance or slow lifting
religious of steps; shaking;
regulation; lack of
mental worry; enthusiasm;
excessive emaciated limbs;
indulgence in lack of
sex and color;
drinking; breaking of voice,
excessive etc.,
exercise; long
 travel; hunger;
thirst; rude
awakening;
from sleep, etc.

(3) Shanka - Sinful acts like, Looking around

Guilt theft, robbery or every moment;
murder. veiling the face;
drying of the
mouth; wetting
the tongue; loss
of color of the
face; breaking of
the voice; shivers;
acting as if one is
being suffocated.

(4) Asuya Various Declaring faults

offenses caused and attacking
(असयू )
by envying virtues of others
Covetous- ness
other’s wealth, in large
good fortune, assemblies of
intelligence, people; rivalry;
learning, grace, by making eyes
etc.. dancing of the
eyebrows,
looking down and
by other signals;
mocking the
adversary, etc.

(5) Mada Caused by (a) Excellent

drinking natured
(मद) Intoxication
alcoholic people
beverages sleep their
speech
becomes
slightly
affected,
their body
becomes
pleasant,
they smile,
their
 complexion
becomes
sweet and
bright.
(b) People of
medium
nature
laugh and
sing, their
eyes roll
around,
hand
movements
become
slow and
loose, their
gait is
stumbling.
(c) Low
natured
people lose
their
memory,
collapse,
hiccough,
retch, the
tongue
becomes
heavy and
draws in.

(6) Srama Walking a long Pressing,

distance; massaging the
(श्रम) Weariness
exercise, etc. limbs; sighing;
exhaustion yawning; slowly
lifting the step;
face pinched;
eyes down,etc.

(7) Alasya Sorrow; disease; Lack of desire to

inborn nature; do any work;
(आऱस्य)
labor; sitting down;
pregnancy lying down;
 sleeping; getting
lost in thoughts,
etc.

(8) Dainya (8) Misfortune; Hea bowed

mental worry, down, absent-
(दै न्य) Misery
etc. mindedness,
limbs bloated as
if through
disease, giving up
of bathing and
cleaning of the
body.

(9) Chinta Loss of wealth; Sighing; deep

poverty; breathing; mental
(च िा) Anxiety
deprival of agitation
money or dear meditating;
ones. bowing down the
head, thinking,
emaciation, etc.

(10)Moha Striking of Loss of sensation;

misfortune; head wandering;
(मोह) Loss of
disease; fit of falling down to
consciousness
fear; the ground;
remembering reeling; inability
enmity of old. to focus the eyes.

(11)Smriti Loss of good Shaking of the

health; head; observing
(स्मतृ ि)
sleeplessness at things closely;
Remembrance
night; seeing raising the
somebody of eyebrows, etc.
similar
appearance;
study; thinking,
etc.

(12)Dhruti Bravery; Enjoying things

knowledge; in life which one
(ध्रतु ि)
learning; power; has and not
Poise pure actions;
sorrowing over
devotion of the
things of the past
 teacher; or which are lost
fulfillment of or
heart’s desires;
destroyed.
gain of money;
sport, etc.

(13)Vrida Rudeness to and Clouded face;

disregard for the head hung down;
(िदृ ा)
elderly; inability thinking; drawing
Remorse to fulfil one’s lines on the
vow; ground; fidgeting
repentance, etc. with the end of
the garment or
ring;
biting the nails,
etc.

(14)Chapalata Anger; envy; Harsh speech;

jealously; berating; striking;
( ऩऱिा)
rivalry; killing; beating
Quick temper antagonisms, etc.
etc.

(15)Harsha Fulfillment of Graceful

heart’s desires; expression of the
(हर्ष)
reunion with face and eyes;
Joy dear ones; pleasant talk;
satisfaction of embracing; body
mind; favor of thrilled; lack of
gods and king,
sweat, etc.
teacher or the
master;
enjoying good
food, clothes,
wealth, etc.

(16)Avega Hearing about All the limbs in

or the disarray; mind
(आिे ग)
actual
Excitement distracted; loss
striking of
of color of
natural disasters
the face, etc.
of rain, wind,
and fire;
 stampeding
elephants and
other unpleaant
things.

(17)Jadata Hearing or Break in

seeing pleasant narration;
(जड़िा)
and unpleasant stopping in the
Heaviness things; disease. middle of the
speech; silence;
staring
fixedly;
being in the
power of others,
etc.

(18)Garva Gaining wealth; Envy; disregard;

family status, not giving replies;
)गि(ष
beauty, youth, not speaking;
Pride strength, etc. contemptuous
looks thrown to
people;
ridiculing;
jesting; harsh
speech; rudeness
to teacher; insult;
breaking one’s
word, etc.

(19)Vishada Inability to Searching for

successfully help; thinking
ि(ि शाद)
execute some about a remedy;
Rejection work due to loss of vigor;
misfortune or distraction;
accident. sighing etc. (in
the case of
excellent and
medium persons).
Running around;
staring; dry
mouth; sleep, etc.
(in the case of
low
 persons).

(20)Autsukya Separation from Deep sighing;

dear ones head hanging
(औत्सक् ु य)
brought to mind down; thinking;
Longing by looking at a sleep; desire to lie
garden, etc. down; getting
lost in thoughts,
etc.

(21)Nidra Natural Face stretching;

disposition; eyes rolling;
(तनद्रा)
overeating; yawning;
Somnolence worry; laziness; heaviness; deep
weariness; breathing;
weakness. relaxing of the
body; closing of
the eyes, etc.

(22)Apasmara Getting Throbbing,

possessed by sighing,
(अऩस्मार)
supernatural trembling,
Paroxysm beings, ghosts running,
and spirits or falling down;
being reminded perspiring;
of them; eating immobility;
left-overs; foaming at
finding oneself the mouth;
in a deserted wetting the
house; disregard tongue, etc.
for the holy
hour; falling
down; disease
etc.

(23)Supta Enjoyment of Deep breathing;

sensuous limbs
(सप्ु ि)
pleasures;
relaxing; eyes
Sleep bewitching of
closed; all the
the mind; lying
senses bewitched
down on the
as if dreaming
ground;
etc.
stretching;
dragging, etc.
(24)Vibodha Breaking of Yawning;
sleep as a result rubbing of the
(विबोध)
of the need for eyes, leaving the
Awakening food; end of bed, etc.
dream; loud
noise; touch,
etc.

(25)Amarsa Being insulted Shaking of the

or berated by a head; sweating
(अमर्ष)
person of profusely,
vengeance superior thinking with
learning, wealth head hanging
or strength. down, meditation,
searching for
remedy or help,
etc.

(26)Avittha Caused by Mimicking the

defeat, looks and speech
(आवित्थ)
dishonor, of others,
shame, fear.etc. interrupting
narration,
effrontery, etc.

(27)Ugrata Theft; robbery; Execution,

offenses against imprisonment,
(उग्रिा)Gruffness
the king; beating, scolding,
slandering good etc.
people

(28)Mati Discussing the Advising the

pros and cons of disciples, explain
(मति) Learning
various learned the significance,
sciences and dispelling doubts
meditating. etc.

(29)Vyadhi Result of an The whole body

attack of the shaking,
(व्याचध)
wind, the bile shivering,
and the phlegm contracting,
desiring warmth,
gooseflesh, jaw
chattering, mouth
 dry,
moaning( these
refer to the
diseases of cold).
The body
twisting,
especially the
legs and the
hands, desiring to
lie down on the
bare ground,
desiring cold
things, mouth
dry, loud crying,
etc. (these refer to
diseases of heart).
Face pinched,
limbs immobile
and numb, deep
sighing, eyes lack
luster, shaking,
screaming, etc.
(these refer to
other diseases).

(30)Unmada (30) Separation Laughing, crying,

from dear ones; screaming
(उन्माद) Madness
loss of wealth; for no reason,
accident; an irrelevant speech,
attack of wind, sitting, lying,
bile and phlegm getting up,
running, dancing,
singing in fits,
smearing the
body with earth
and ashes,
covering oneself
with grass, soiled
cloth, rags,
broken pieces of
clay pot- in these
and other
manners, imitate
the actions of
 mentally ill
persons.

(31)Marana (a) Due to (a) The limbs

disease; becoming numb
(मरण)Death
disorder body becoming
of loose, eyes
intestine, fluttering or
liver, closed, hiccups,
colic or labored breathing,
tumor, hardly seeing
etc. those who are
around, speaking
(b) Due to
with the
accident;
attendants in very
struck by
faint words, etc.
weapon,
bitten by (b) Struck by
a snake weapon falling
down suddenly to
the ground,
twisting and
turning. Bitten by
snake – the eight
waves of stages
of snake
poisoning such as
weakness,
shivering,
burning,
hiccoughing,
foaming,
breaking of
shoulders,
heaviness and
death.
(32)Trasa (32) Striking of The body
the lightning; contracting;
(त्रास)Turbulenc
fall of a meteor; shaking;
e
earthquake; shivering,
roaring of the immobility, hair-
clouds or a huge raising; fearful
supernatural voice; crying, etc.
being or a beast.

(33) Vitarka Doubt; Questions

confusion; variously asked;
(वििकष )
discussion explanations;
Perplexity secret charms and
incantations, etc.