Sthayi Bhava Or Permanent Emotion in a Song

Home , Anubhava, Rasa (aesthetics), Shanta Rasa, Sthayibhava

PAPER 16

DANCE DESIGN- NRITYA OF BHARATANATYAM (CHOREOGRAPHY AND COMPOSITION) MODULE 3 UNDERSTANDING ABHINAYA (SANCHARI BHAVA)

Three important concepts defined in the Natyasastra are abhinaya, bhava or emotion, and rasa or aesthetic pleasure. Bharata Muni defines bhava in a simple but profound statement-'bhavayanti iti bhava/भावयꅍती इतत भाव'. He reiterates in the Rasadhyaya of Natyashastra that no meaningful idea is conveyed if the rasa is not evoked in the viewer. Bharata says that Natya is the imitation of life (lokanukruti/ऱोकानुकृ तत) wherein the various human emotions have to be dramatically glorified (bhavanukirtanam/भावानुकीतनत म) so that the spectator is able to experience the portrayed pleasure and pain (lokasya sukhaduhkha/ऱोकस्य सुखदԃु ख:) as Natyarasa. This Rasa experience will entertain and enlighten the spectator who thus becomes the rasika/रससक. The Rasa Sutra says that a harmonious blend of the vibhavas, anubhavas and vyabichari bhavas gives rise to Rasa or aesthetic experience. Vyabichari bhavas, also referred to as sanchari bhavas, are light, fleeting emotions that appear and disappear in quick succession and serve to strengthen the sthayi bhava or permanent emotion in a song. Bharata classifies the Rasa under eight categories (ashtarasa) and gives the corresponding Bhava which gives rise to the rasa. These are known as Sthayi Bhava or pervading stable

1 emotion. They are rati (love), hasa (mirth), shoka (grief), krodha (anger), utsaha (heroism), bhaya (fear), jugupsa (disgust), and vismaya (wonder). The corresponding eight Rasa are sringara (amorous), hasya (humorous), karuna (pathetic), raudra (furious), vira (valorous), bhayanaka (horrific), bibhatsa (repugnant), and adbhuta (wondrous). There are three types of Bhava, namely, Sthayi (eight types), Vyabhichari (thirty three), and Satvika (eight), totaling forty-nine. Satvika bhava is the physical manifestation of intense emotion. They are sthamba (petrification), sveda (perspiration), romancha (horripilation), svarabheda (voice change), vepathu (trembling), vaivarnya (facial colour change), asru (weeping), and pralaya (fainting).

The famous rasasutra/रससुत्र or basic “formula” to invoke rasa, as stated in the Natyasastra, is as follows: vibhava anubhava vyabhicari samyogat rasa nishpattih/ववभाव अनुभाव 핍यसभचारी संयोगात रस तनष्पत्तԃ. Vibhava is the cause (karana). Anubhava is the consequent physical reaction through action, word and facial expression that follows (anu), as the impact of the vibhava. The thirty-three vyabhichari bhava or sanchari bhavas are transitory, fleeting emotions based on psychological states of the mind. Several such emotions follow one after the other, one replacing the other, strengthening the sthayi bhava at each stage, till finally the sthayibhava is established and there is 'Rasanubhava'. For example, if the principal emotion or sthayi bhava is anger, Krodha. Let us say the cause of anger, vibhava, is betrayal by a friend. The anger will be more potent if the vibhava is strongly established. If the sthayi bhava is deeply felt, then it will result in the physical manifestation of anger such as burning eyes and heaving chest, which is the anubhava. But in anger, one

2 can make fun of and laugh sarcastically at the object of one’s anger. One can feel sorrow when thinking of the happy times spent together earlier. One can feel disgust for the other person’s behaviour or be amazed at the change in him now. Through all this, the fundamental thread of anger must be maintained. But the transient emotions— the vyabhicari bhavas of laughter, sorrow, disgust and amazement—enhance the present angry state. If performed with appropriate angika, vacika, aharya and above all, true satvika abhinaya, it will invoke the rasa of raudra or anger in the spectator whose mind is completely in accordance with the performer. 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: 1. Rati (Pleasure) – Smiling face, sweet words, contraction of eye–brows, sidelong glances and the like. 2. Hasa (Joy) – Smile and the like, i.e., laugher, excessive laugher. 3. 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.

4. Krodha (Malice) – Extended nostrils, unturned eyes, bitten lips, throbbing cheeks and the like. 1. against enemies – knitting of the eye–brows, fierce look, bitten lips, hands clasping each other, touching one’s own shoulder and breast. 2. when controlled by superiors – slightly downcast eyes, wiping off slight perspiration and not expressing any violent movement. 3. against beloved woman – very slight movement of the body, shedding tears, knitting eyebrows, sidelong glances and throbbing lips. 4. against one’s servants – threat, rebuke, dilating eyes and casting contemptuous looks of various kinds. 5. 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) –opening the eyes wide, 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.

Eight Rasas (Navarasa) The eight Sthai bhavas evoke eight corresponding Rasas: 1. Rati evokes Sringara (the Erotic – romance, love) 2. Hasa evokes Hasya (the comic – laugh, humor) 3. Shoka evokes Karuna (the pathetic – 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 marvelous – wonder, astonishment, amazement)

1. The Erotic – Sringara – (1) in union -The Anubhavas to be represented are clever movements of eyes and eye–brows, soft and delicate movements of limbs, sweet words, etc.; whereas those to be represented (2) in separation – are despondency, weakness, apprehension, envy, weariness, anxiety, yearning, sleep, dreaming, awakening, illness, insanity, epilepsy, inactivity (temporary) death and other conditions. 2. The Comic – Hasya – It is to be represented by throbbing of the lips, and the cheeks, opening of the eyes wide or contracting them, perspiration, color of the face and taking hold of the sides. Hasya is self-centered when a man laughs himself and it is centered in others when he makes others laugh. This two-fold division of Hasya relates to its infectious nature. In the verses of the Anubhavas of the six types of Hasya are given. 1. smita (gentle smile): slightly blown cheeks, elegant glances, teeth not visible; 2. hasita (smile): blooming eyes, face and cheeks, teeth slightly visible; 3. vihasita (gentle laugher) – laugher suitable to the occasion; slight sound and sweetness, face joyful, eyes and cheeks contracted;

4. upahasita (laugher of ridicule): the nose expanded, squinting eyes, shoulder and head bent; 5. apahasita (vulgar laugher) – laugher on unsuitable occasion: tears in eyes, shoulders and the head violently shaking; 6. atihasita (excessive laugher) – eyes expanded and tearful, loud and excessive sound, sides covered by hands. Smita and hasita should be employed in the case of superior characters, vihasita and upahasita in the case of middling ones and apahasita and atihasita in the case of the inferior types. The Pathetic – Karuna – This is to be represented by shedding tears, lamentation, dryness of the mouth, change of color, drooping limbs, being out of breath, loss of memory and the like. The Furious – Roudra is to be represented by red eyes, knitting of eye & eyebrows, defiance, biting of lips, throbbing of the cheeks, pressing one hand over the other and the like. The Heroic – Veera – This is to be gesticulated by firmness, heroism, charity, diplomacy and the like. The Terrible – Bhaya is to be represented by trembling of the hands, the feet and the eyes, horripilation, change of color and the loss of voice. The Odious – Bibhatsa is to be gesticulated by contraction of all the limbs, narrowing down of the mouth and eyes, vomiting, spitting and (shaking the limbs in) disgust and the like. The Marvelous – Adbhuta – This is to be represented by wide opening eyes, looking with fixed gaze, horripilation, tears. Joy, perspiration, uttering words of approbation,

making gifts, crying (incessantly) "ha, ha, ha" waving the end of dhoti or sari and movement of fingers and the like. 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 Shantha rasa, the one of tranquillity and peace. Abhinava explained that Shantha rasa underlies all the other mundane 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 shanta rasa. The Shanta Rasa is the ultimate rasa.

Transitory states – Vibhichari or Sanchari bhavas Sthayi bhavas are accompanied by thirty–three Vyabhicari- bhavas, called "Complementary" or "Inconstant" modes. The shastras of dance enumerate these vyabhichari bhavas. However, as these are guidelines, a dancer need not feel limited by this number. Certain vyabhicharis are however considered improper or inappropriate in certain rasas. 1. Nirveda – weeping, sighing, deep breathing, deliberation and the like. 2. Glani – week voice, lustreless eyes, pale face, slow gate, want of energy, loss of color of the body and the limbs, change of voice and others. 3. Sanka – constantly looking about, hesitating movement, dryness of the mouth, licking the lips, change of facial colour, tremor, dry lips, change of voice and the like. 4. Asuya - finding fault with others, decrying their virtues, casting glances in jealousy, downcast face, knitting eyebrows, disregard and abuse in public.

5. 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, and 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, protruding tongue and spitting. When there is panic, grief and increase of terror due to some cause, intoxication is to be stopped by effort. 6. 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. 7. Alasya – aversion to any kind of work, lying down, sitting, drowsiness, sleep, etc. 8. Dainya – headache, dullness of the body, absent– mindedness, giving up of cleansing (of the body), etc. Cinta – deep breathing, sighing, agony, meditation, thinking with a down-cast face, thinness of the body, etc. Moha – want of movement, excessive movement of a particular limb, falling down, reeling, and dazed condition. Smrity – nobbing of the head, looking down, raising up the eye– brows, etc. Dhriti – enjoyment of objects attained, absence of regret for the unattained, impaired or lost, etc.

Vrida – covered face, thinking with down casting face, drawing lines on the ground, touching cloths and the ring, biting the nails, etc. Capalata – harsh words, rebuke, beating, killing, taking prisoner, goading, etc. Harsa – brightness of the face and eyes, using sweet words, embracing, horripilation, tears, perspiration, and the like. Avega – (a) Due to portends – looseness of all the limbs, distraction of the mind, loss of facial colour, 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 unfavourable 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 – not uttering any word, speaking indistinctly, aversion to all work, remaining absolutely silent, looking with steadfast gaze, dependence on others, 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 – 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 – sighs, thinking with downcast face, sleep, drowsiness, desire for lying down. 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 – throbbing, sighing, trembling, running, falling down, perspiration, foaming in the mouth, motionlessness, licking (lips) with tongue and the like. Supta – deep breathing, dullness of the body, closing the eyes, stupefaction of all senses, dreaming, talking while asleep and closing eyes softly. Vibodha – yawning, rubbing the eyes, leaving the bed, etc. Amarsa – shaking the head, perspiration, thinking with downcast face, determination, looking for means and allies, etc. Avahittha – speaking otherwise, looking down words, break in speech, pretended patience.

Ugrata – killing, imprisoning, beating, rebuking, etc. Mati – instructing pupils, ascertainment of meanings, removal of doubts, etc. 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.

Thus, sanchari or vyabhichari bhavas strengthen the rasa. Though transient or fleeting, they do not detract from the rasa, but enrich it. They are associated with the metaphor of waves rising and falling in the ocean. The nature of the ocean remains homogenous, while the waves have their own individual identity.

Temperamental states – Sattvika bhavas Temperamental states are expressed on the stage using Sattvika abhinaya. In fact, all the gesticulation of mental states may be designated as the Sattvika abhinaya. But the prominence given to the gesticulation of the temperamental states is due to the peculiar mental effort which is necessary for their presentation. Bharata has thus given first the gesticulation of temperament for, without it the real purpose of the performance would be lost. 1. Sveda – taking up the fan, wiping off sweat, looking for breeze. 2. Stambha – being inactive, smile less, being like inert object, limbs drooping. 3. Kampa – quivering, throbbing and shivering, wiping the eyes of tears, shedding tear incessantly. 4. Asru – wiping the eyes full of tears, shedding tears incessantly.

5. Vaivarnya – alteration of the colour of the face with effort by putting pressure on the artery. 6. Romanca – repeated thrills, hair standing on end, touching the body. 7. Svarabheda – broken and choked voice. 8. Pralaya – motionlessness, breathing gently (unnoticed), falling on the ground.

Finally, the Natyasastra states that the goal of any art form is to invoke rasa. Rasa, which literally means taste, can be loosely translated as aesthetic appreciation or enjoyment of an art. However, that is a superficial definition that does not do justice to the spiritual and philosophical implications of this term. When at a given moment no other reality exists but that of the art, when the spectator and the artist have become one in spirit, then one experiences the rasa completely.