Natyashastra

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116

siva.sh/natyashastra/7/116

अपस्मारस्तथोन्मादो विषादो मद एव च । मृत्युर्व्याधिर्भयं चैव भावा बीभत्ससंश्रयाः ॥ ११६॥

sanskrit

Epilepsy, insanity, despair, intoxication, death, sickness and fear, are the States applicable to the Odious Sentiment.

english translation

apasmArastathonmAdo viSAdo mada eva ca | mRtyurvyAdhirbhayaM caiva bhAvA bIbhatsasaMzrayAH || 116||

hk transliteration

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117

siva.sh/natyashastra/7/117

स्तम्भः स्वेदश्च मोहश्च रोमाञ्चो विस्मयस्तथा । आवेगो जडता हर्षो मूर्छा चैवाद्भुताश्रयाः ॥ ११७॥

sanskrit

Paralysis, perspiration, loss of consciousness, horripilation, astonishment, agitation, stupor, joy and fainting are the States applicable to the Marvellous Sentiment.

english translation

stambhaH svedazca mohazca romAJco vismayastathA | Avego jaDatA harSo mUrchA caivAdbhutAzrayAH || 117||

hk transliteration

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118

siva.sh/natyashastra/7/118

ये त्वेते सात्त्विका भावा नानाभिनयसंश्रिताः । रसेष्वेतेषु सर्वे ते ज्ञेया नाट्यप्रयोक्तृभिः ॥ ११८॥

sanskrit

These Sāttvika States which depend on the various kinds of Histrionic Representation are included into all the Sentiments by experts in the production of plays.

english translation

ye tvete sAttvikA bhAvA nAnAbhinayasaMzritAH | raseSveteSu sarve te jJeyA nATyaprayoktRbhiH || 118||

hk transliteration

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119

siva.sh/natyashastra/7/119

न ह्येकरसजं काव्यं किञ्चिदस्ति प्रयोगतः । भावो वापि रसो वापि प्रवृत्तिर्वृत्तिरेव च ॥ ११९॥

sanskrit

No literary composition exists in practice that is composed of a single sentiment, emotional state, style, or usage.

english translation

na hyekarasajaM kAvyaM kiJcidasti prayogataH | bhAvo vApi raso vApi pravRttirvRttireva ca || 119||

hk transliteration

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120

siva.sh/natyashastra/7/120

[ बहूनां समवेतानां रूपं यस्य भवेद्बहु । स मन्तव्यो रसः स्थायी शेषाः सञ्चारिणो मताः ॥ दीपयन्तः प्रवर्तन्ते ये पुनः स्थायिनं रसम् । ते तु सञ्चारिणो ज्ञेयास्ते हि स्थायित्वमागताः ॥ विभावानुभावयुतो ह्यङ्गवस्तुसमाश्रयः । संचारिभिस्तु संयुक्तः स्थाय्येव तु रसो भवेत् ॥ स्थायी सत्त्वातिरेकेण प्रयोक्तव्यः प्रयोक्तृभिः । सञ्चार्याकारमात्रेण स्थायी यस्मादवस्थितः ॥ ये त्वेते सात्त्विका भावा नानाभिनययोजिताः । रसेष्वेतेषु सर्वेषु ते ज्ञेया नाट्यकोविदैः ॥ न ह्येकरसजं काव्यं नैकभावैकवृत्तिकम् । विमर्दे रागमायाति प्रयुक्तं हि प्रयत्नतः ॥ भावा वाऽपि रसा वाऽपि प्रवृत्तिर्वृत्तिरेव वा । बीभत्साद्भुतशान्तानां त्रैविध्यं नात्र कथ्यते ॥ षण्णां रसानां त्रैविध्यं नानाभावारसान्वितम् । सत्त्वप्रयोजितो ह्यर्थः प्रयोगोऽत्र विराजते ॥ विदित्वा हि विराजन्ते लोके चित्रं हि दुर्लभम् ॥] नानाभावार्थसम्पन्नाः स्थायिसत्त्वाभिचारिणः । पुष्पावकीर्णाः कर्तव्याः काव्येषु हि रसा बुधैः ॥ १२०॥

sanskrit

When many forms of a sentiment exist, it is considered permanent, while the others are considered transitory. Those that illuminate the permanent sentiment are known as transitory because they have attained permanence. When a permanent sentiment is endowed with vibhāvas and anubhāvas, supported by the elements of the plot and associated with the transitory ones, it becomes permanent. The permanent sentiment should be employed by the performers with an excess of sattva, as it is established through the form of the transitory ones. Those sattvika bhāvas that are employed in various ways should be known by those skilled in drama in all these sentiments. A literary work is not restricted to a single sentiment, bhāva, or plot. It attains passion only when it is employed with effort in a conflict. The bhāvas, the sentiments, or the vṛtti of the bībhatsa, adbhuta, and śānta rasas, their threefold nature is not described here. The threefold nature of the six sentiments, endowed with various bhāvas and meanings, and the employment of sattva, shines forth here. When understood, they shine in the world, as the wonderful is difficult to obtain. Endowed with various meanings of bhāvas, the permanent sattva, and the transitory ones, they should be scattered like flowers in literary works, for the sentiments shine forth.

english translation

[ bahUnAM samavetAnAM rUpaM yasya bhavedbahu | sa mantavyo rasaH sthAyI zeSAH saJcAriNo matAH || dIpayantaH pravartante ye punaH sthAyinaM rasam | te tu saJcAriNo jJeyAste hi sthAyitvamAgatAH || vibhAvAnubhAvayuto hyaGgavastusamAzrayaH | saMcAribhistu saMyuktaH sthAyyeva tu raso bhavet || sthAyI sattvAtirekeNa prayoktavyaH prayoktRbhiH | saJcAryAkAramAtreNa sthAyI yasmAdavasthitaH || ye tvete sAttvikA bhAvA nAnAbhinayayojitAH | raseSveteSu sarveSu te jJeyA nATyakovidaiH || na hyekarasajaM kAvyaM naikabhAvaikavRttikam | vimarde rAgamAyAti prayuktaM hi prayatnataH || bhAvA vA'pi rasA vA'pi pravRttirvRttireva vA | bIbhatsAdbhutazAntAnAM traividhyaM nAtra kathyate || SaNNAM rasAnAM traividhyaM nAnAbhAvArasAnvitam | sattvaprayojito hyarthaH prayogo'tra virAjate || viditvA hi virAjante loke citraM hi durlabham ||] nAnAbhAvArthasampannAH sthAyisattvAbhicAriNaH | puSpAvakIrNAH kartavyAH kAvyeSu hi rasA budhaiH || 120||

hk transliteration

Chapter 7

Verses 121-125