One additional characteristic of the kārikā may be that it should be generally composed in metres like āryā or anuṣṭup, e.g. It is more than 2,500 years old. Now it has been asked, “If the Erotic Sentiment Has its origin in love, why does it [sometimes] manifest itself through pathetic conditions?” [In reply to this] it is said, “It has been mentioned before that the Erotic Sentiment has its basis in union as well as in separation. (see VII 93), and most of the later writers follow this work in this respect. This (the Comic Sentiment) is to be represented on the stage by Consequents like the throbbing of the lips, the nose and the cheek, opening the eyes wide or contracting them, perspiration, colour of the face, and taking hold of the sides. 2 (1961) are included in the web version whereas vol. bhāva—A.B. This encyclopedic work on art by Bharata muni is divided into 36 chapters and contains more than 6,000 verses. The reading of this passage seems to be confused. Drama) and Haas as ‘Permanent State’ (DR.) and others as ‘permanent mood’ (e.g. Aitareya; Kaushitaki; Sama vedic. Of these, the Sentiment from a sight of stool and worms is nauseating, and the sight of blood and similar objects is exciting. Haas translates vṛttis as Styles of Procedure (DR. p. 67). Such is the Furious Sentiment viewed [by experts]; it is full of conflict of arms, and in it words, movement and deeds are terrible and fearful. According to Indian practice, boiled rice is the principle food (anna), and the various preparations from vegetables, meat and fish are only auxiliary eatables (vyañjana). Now the Pathetic (karuṇa) Sentiment arises from the Durable Psychological State of sorrow. Keith does not make any such attempt (see Skt. These were considered omens of impending calamity. 13-14). become Sentiment). Complimentary Psychological States in it do not include fear, indolence, cruelty and disgust. 15. vocabularies), and the rules of grammatical interpretation, includes the significance of the root involved as well as the reasons modifying it, and is helped by various findings [of Śāstras], and this meaning [of a noun] is established [mainly] from a consideration of its root [and pratyaya or affix]. It should be represented on the stage by means of composure of the eyes and the face, sweet and smiling words, satisfaction and delight, and graceful movements of limbs. The text consists of 36 chapters with a cumulative total of 6000 poetic verses describing performance arts. The Comic [Sentiment] arises from the Erotic, the Pathetic from the Furious, the Marvellous from the Heroic, and the Terrible from the Odious. 63. They are naturally furious, for they have many arms, many mouths, standing and unkempt hairs of brown colour, and prodigious physical frame of black complexion. Complementary Psychological States in it are epileptic fit, delusion, agitation, fainting, sickness, death and the like. Here ends Chapter VI of Bharata’s Nāṭyaśāstra, which treats of Sentiments. 69-81. Hence the Pathetic Sentiment, and the Erotic Sentiment in separation differ from each other. It is said in reply [that, rasa is so called] because it is capable of being tasted (āsvādyate). Whatever they attempt, be it their speech, movement of limbs or any other effort, is by nature furious. The Sanskrit text Natya shastra presents the rasa theory in Chapter 6, a text attributed to Bharata Muni. 1 stops at chapter 27 and contains only a preliminary version of chapters 34, 35 and 36. First Chapter. The five geographical names (Avanti, Dākṣinātyā, Oḍra, Magadha and Pañcāla) indicate that these were the parts of India where dramatic show gained special popularity. 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