Natyasasthra
(Bharatheeya Kavyasastra: Part II)
- V S Bhaskara
Panicker
C/o e-mail:
jayraj@darpana.com
May 14, 2006
(This is the second part of the
research paper that Mr. V S Bhaskara Panicker would like to share with
narthaki readers)
Natyasasthra is undisputedly the
earliest or rather the first compilation, codifying the principles of Natya/Kavya.
The tradition of Natya/Kavya is very ancient, starting right from the Vedas,
supposed to have been composed or compiled five thousand years back.
There should have been compilations enunciating these principles, and stipulating
guidelines for the benefit of poets and performers during this long period.
Bharatha would have compiled his Natyasasthra from such texts and when
his Natyasasthra was accepted and adopted as the basis, the earlier compilations
would have gone into oblivion.
There is a belief that Adi Bharatha
or Vridha Bharatha had composed "Natyavedasamhitha" consisting of twelve
thousand slokas and the present Natyasasthra was compiled by Bharata taking
about six thousand slokas.
Nothing is known about his place
of birth, activities or ancestry. Bharathas were a race traditionally engaged
in music, Natya, etc. and were accepted stage performers. Bharathamuni
(200 BC - 110 BC) would have belonged to this sect. Bharatha’s contribution
to aesthetics is the Rasasidhantha. The 2000 year old pursuit in the field
of literature and art in this country is centered around this Sidhantha.
Rasa is aesthetic pleasure which still remains undefined.
Natyasasthra
(Extracts pertaining to Kavya)
Origin of Natya
Vedas constitute the substratum
of all Indian thinking and learning. The principles of Natya too have the
rudiments in the four Vedas. Vedas originated from the mouth of Brahma
and as such Natya/Kavya (drisya –sravya) were also part of his creation.
The combination of these two is called Kreedaniyam.
Natya/Kavya has got four aspects
1) Patya (prose and poetry), 2) Githa (music), 3) Abhinaya (visual representation)
and 4) Rasa (aesthetic sentiment). Patya was taken from Rigveda,
Githa from Sama, Abhinaya from Yajus and Rasa from Atharva.
Application
The practical application of the
principles is called Vrithis (in Natya sense). The four Vrithis are Bharathi,
Sathwaki, Arabhadi and Kaisiki. Bharathi is connected with the usage
of words, Sathwaki the mind (bhavas) Arabhadi the gesticulations, Kaisiki
is the effort to make the other three Vrithis graceful and attractive for
the fruition of Rasa. Bharatha has said that the fourth one namely
Kaisiki was formulated by him and added to the other three. Its purpose
being Rasa, it is evident that Bharatha was the expounder of Rasasidhantha.
Natyaswaroopa
Natya is actually the imitation
of life-modes. In worldly life we pass through different states of emotional
experiences. We also engage ourselves in diverse activities. All these
are motivated by the impulses from within. These also vary from man to
man and people to people. These varied forms of experiences, both physical
and mental, are enacted or imitated on the stage. Thus Natya is the representation
of life and its activities.
Natya - What for?
Natya depicts the acts and activities
of the virtuous, the vicious, and the ordinary ones, and it offers advice
to each and all in the manner they require, and also provides mental strength
and enjoyment to them. It offers consolation to the overworked and grief-stricken.
It offers dharma, glory, long life and prosperity to the people in general.
Natya Thanu
The body of Natya is Kavya. Abhinaya
(gesticulations) colourful dresses, embellishments, Bhavabhinaya (expression
of emotions) are all intended to express Vakyartha (meanings of the words
in Kavya). Utmost care should therefore be bestowed in the use of words.
It is absolutely necessary that in Kavya, words and their blending should
be liberal, sweet and gracefully simple and clear. Nataka should
be composed after taking into consideration the inclination of the people
in general, the nature of the society (Lokaswabhava) and the capability
of the spectator to understand what is presented. Life is an admixture
of happiness and sorrow. While writing the drama, the poet
should take care to select commonly used graceful words, after fully comprehending
their explicit meanings.
Abhinaya is exposition of Kavyartha
Abhinaya is the process of expressing
the meanings otherwise than through words. (Abhi + neen) means a process
of face to face expression. Meaning (substance) may be an object or an
action (Vasthu or Kriya). Abhinaya has got four attributing factors:
1) Aharya (stage arrangements and
dresses)
2) Angika (gestures or gesticulations
3) Vachika (sounds produced or pronunciations)
and
4) Sathvika (expression of emotions,
say perspiration restlessness etc).
The actor should understand the
diversity and gravity of the meanings (artha) and convey these honestly
to the audience.
Alankaras
Alankara is Kaisiki Vrithi. For
Bharatha, Alankara means beauty. Beauty becomes explicit when the four
aspects of Abhinaya are blended together. When expressed in Natya, it is
Natyalankara and when in Kavya, it is Kavyalankara. When the essential
meaning (artha) pervades the mind of the poet or Nata and submerges it,
Rasabhava is generated and it is conveyed to the Sahridaya for his consumption
and enjoyment. Bharatha had made mention of 36 Lakshanas. These Lakshanas
are transformed into Alankaras.
Kavya Doshas
The natural flow of Artha should
not in any way be impeded by improper or inappropriate usage. Such usages
are called Kavya Doshas. Bharatha had cautioned against such Doshas.
1. Goodhartha ( expressing with non-suitable
Paryaya)
2. Arthanthara (improper description)
3. Arthaheena (giving unconnected
meanings)
4. Bhinnartha (use of obscene or
colloquial words)
5. Ekartha (use of words with different
meanings)
6. Abhipluthartha (meaning is made
too concise)
7. Nyayapetha (without any authority)
8. Vishama (non-observance of rhymes)
9. Visandhi (violation of Sandhi
rules)
10. Sabdachyutha (use of improper
words)
Kavya Gunas
1. Slesha: That which is based on
a Vrithi. Naturally clear and well composed.
2. Prasada: The combination of Sabda
and Artha is natural and comprehensible without explanation.
3. Samatha: Alankaras and their
application to the context are appropriate and graceful.
4. Samadhi: Elucidation by proper
use of simile.
5. Mathurya: Though repeatedly used,
not to become stale.
6. Ojas: Rich in Sabdartha with
meanings noble, nevertheless the construction bad
7. Soukumarya: True blending of
Sabda and Artha and easy combination of words.
8. Arthavyakthi: Meaning is easily
understood.
9. Udatha: (Udatham) Profound and
properly used words which convey rich and diverse meanings.
10. Kanthi: Produce pleasure to
the ear and mind.
Rasa based usages
1. Veera, Raudra, Adbhutha; Lakhu
(mild sounding letters) Alankaras; Upama and Roopaka
2. Beebhatsa: Guru (hard letters)
3. Karuna: -do-
4. Sringara: Vritha - Nari; Alankara;
Roopaka
5. Veera: Use of compound Vyanjanas
(characters)
Rasa and Bhava
Bharatha’s Rasasidhantha is the
most valuable contribution to aesthetics. Rasa is the intrinsic pleasure
or making up of the mind-set which transforms itself in to pure state of
pleasure (Ananda). Ananda is the ultimate aim of spiritual pursuits which
the Yogis attain through Sadhana. Rasa is the inner most experience closely
akin to it. Ananda is complete and continuous transformation
and flows like Thailadhara unintermittently. Rasa is short lived
and exists till the infrastructure offered by Vibhavas etc exists.
Sthayee Bhavas
Rasas are eight in number, each
with a corresponding Sthayee Bhava. The Bhavas, technically speaking the
Sthayee Bhavas are the consummation of Natya/Kavya process and these create
the conditions required for the ultimate unfolding of the aesthetic experience
(Rasa). The question whether these Sthayee Bhavas are offered to the mind
in subtle form by the extraneous Vibhavas etc. or the kindling up of the
inner inherent faculty of the mind that it possesses by the latter, have
been examined by the later Acharyas. The Sthayee Bhavas and Rasas as detailed
by Bharata are as follows:
| Sthayee Bhava |
|
Rasa |
| Rati |
|
Sringara |
| Hasa |
|
Hasya |
| Soka |
|
Karuna |
| Krodha |
|
Raudra |
| Utsaha |
|
Veera |
| Bhaya |
|
Bhayanaka |
| Jugupsa |
|
Beebhatsa |
| Vismaya |
|
Adbhutha |
Vyabhichari Bhava
The mindset created by the Natya/Kavya
is multifold. Though Sthayee Bhava is the ultimate stage, there are a number
of subsidiary Bhavas which the mind assumes and discards. These subsidiary
Bhavas are Vyabhichari Bhavas (Sanchari). Bharatha has explained in detail
the process of gesticulation and other modes to represent them effectively
on stage. These are 33 in number. A few examples of Vyabhichari Bhavas
are Nirveda (disappointment, sorrow, disinterestedness), Glani (depression),
Shanka (doubt), Asuya (jealousy), Vishada (sorrow).
Sthayee Bhavas are Sthitha (permanent)
and Vyabhichari Bhavas are called so because they are transitory (Sanchari
– moving nature).
Satvika Bhava
The next category of Bhava is Satvika
Bhava. These are actually the state of mind at a particular stage and exhibited
through visible signs or indications externally. These are eight in number.
1. Sthambha (immobility), 2. Swetha (perspiration), 3. Romancha (raising
of hairs), 4. Swarabhanga (choking of voice), 5. Kampana (shivering), 6.
Vivarnatha (decolorization), 7. Asrupravah (shedding of tears), and 8.
Moorcha (senselessness).
Rasa evolved by the combination of
Vibhava, Anubhava and Vyabhichari Bhava, just as the side dishes prepared
by the combination of condiments are relishing. It is Rasa because it is
enjoyed.
Natya Rasa
The basis of Natya being Kavya,
it is the poet who conceives the Rasa in the first instance. In Abhinaya,
Vibhava, Anubhava and Vyabhichari Bhava are applied to project the Rasa
conceived by the poet. The Bhavas are instrumental like the condiments
and the combination of these give effect to Rasa.
Sringara Rasa
Rati is the Sthayee Bhava of Sringara.
The basis is gender differentiation. The main theme of Natya/Kavya is human
life, which mostly centers around the relationship between man and woman
and this is the primary emotional force. Naturally Sringara is dominant
in its description in Natya/Kavya.
Sringara has got two aspects – Sambhoga
and Vipralambha (union and separation).
Hasya
The Sthayee Bhava for Hasya is Hasa.
Hasya is produced when confronted with the meaninglessness of what is perceived.
It is Atmastha when seen on oneself and Parastha when perceived in others.
Karuna
This Rasa is produced by Sthayee
Bhava, Soka. The Vibhavas for this Rasa are so many in life, bereavement,
death etc. The Anubhavas to be followed are weeping, state of fatigue etc.
The Vyabhichari Bhava are pensive mood, fear, disinterestedness etc. The
Sthayee Bhava is Soka.
Raudra
The Sthayee Bhava is Krodha. The
Vibhavas are abusing, unpleasant utterances, harsh words etc. The Vyabhichari
Bhava are enthusiasm, choking of words etc.
Veera
The Sthayee Bhava is Uthsaha. Determination,
sense of justice, self control etc. are the Vibhavas. The Vyabhichari Bhavas
are courage, pride, rising of hair etc.
Bhayanaka
Bhaya is the Sthayee Bhava. The
Vibhava are devils, jackals, murder etc. Perspiration, shivering of limbs,
change of voice etc. are the Sanchari Bhavas.
Beebhatsa
Jugupsa (aversion) is the Sthayee
Bhava. The Vibhava are seeing abhorrent objects, withdrawal of body organs
etc. Tension, vomiting, stiffness, etc. are the Anubhavas.
Adbhutha
Vismaya (surprise) is the Sthayee
Bhava. Trickling of tears, perspiration, rising of hairs etc. are the Vyabhicharis.
Santha Rasa
It has been stated earlier that
the rasas are eight. But towards the end of his detailed narration,
Bharatha has added Santha Rasa as the ninth one. It has been commented
upon by later critics that Santha cannot be imitated on the stage as its
essence is spirituality.
According to Bharatha, Sama is the
Sthayee Bhava of Santha Rasa. Philosophical knowledge, abstinence,
purity of heart etc. are the Vibhavas. Observance of Yama, Niyama etc,
are the Anubhavas. Mental detachment, pensive attitude, firmness, neatness,
are its Vyabhichari aspects.
Sthayee Bhavas are the emotional
contents. According to Bharatha, the subtle essence of all emotions is
Santha. Emotions are projected from Prakrithi to merge finally in it. All
the other eight Rasas exist on the strength of the supporting materials.
When the latter ceases to exist, the Rasa subsides. Then what remains is
Santha. This is the philosophical consummation of the treatise.
V S Bhaskara Panicker has been
an ardent writer since childhood, writing mainly in Malayalam language.
Some of his literary expulsions have seen light and many are still left
unpublished. He is 77 years old and still continuing his passion.
In June/July 2004, when he visited his son in Gujarat, he typed out his
research paper on Bharatheeya Kavyasastra.
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