Continued From Part Fifteen
Lakshana Granthas Continued
Sarangadeva’s Sangita-ratnakara (first half of 13th century) is of particular importance; because, it was written just before influence of the Muslim conquest began to assert itself on Indian culture. The Music and dance discussed in Sangita-ratnakara is free from Persian influence. The Sangita-ratnakara, therefore, marks the stage at which the ‘integrated’ Music of India was , before it branched into North-South Music traditions.
And, please click here for the Sanskrit text of the Nartana-adhyaya]
The Sangita- ratnakara (the ocean of Sangita) describes the varied aspects of Sangita. The Sangita that the text refers to is indeed a composite term. The Sangita, according to Sarangadeva, is a comprehensive Art-form, composed of three elements (taurya-trika): the vocal (Gitam) and instrumental (Vadyam) music; followed by the third, the dance (Nrtyam)
– Gitam, Vadyam tatha Nrtyam trayam Samgitam uccyate.
The last one, the Nrtyam, is comprised of all the three Angas: the elements: song, instrumental music, and, Dance.
Here, the first element (Anga) of Sangita, the Gitam, the song format, is a fusion of Nada (sounds) and Akshara (a composition made of words). Its musical element is named Dhathu; while its lyrics or composition made of words is called Mathu. Locana Pandita, in his Raga-tarangini, explains the term Gitam, as:
Dhatu-matu-samayauktam Gitam iti uccyate budhaih; tatra nadatmako dhatur mathur akshara sambhavah
The Gitam, going by its traditional definition, strictly belongs to the Salaga Suda class of Prabandha, which is composed two Angas (elements) – Pada (words) and Taala (time-beats); and, having three components or Dhatus (Tri-dhatuka Prabandha) : Udgraha, Dhruva and Abhoga.
For more on that, please click here.
But, in common practice, anything that is sung goes by the name of Gita (Giyata iti Gitam).
The next term Vadyam, covers a wide variety of musical instruments, such as: the varied string instruments; different types of Drums; bell-metal cymbals; and a host of wind instruments including flutes, pipes, conch, trumpets etc.
Thus, the Sangita Shastra as envisaged by Sarangadeva was a composite Art consisting Gita (melodic-forms); Vadya (instruments); and, Nrtta (dance or limb movements).
By the time of Sangita-ratnakara (13th Century), three Angas (limbs) of Sangita were well developed. Of these, the Vocal music was regarded as the essential, fundamental music through which all other forms of music were to be understood and interpreted. Here again, Sarangadeva focuses on Desi Sangita, though he comments on aspects of Marga Sangita as well. On Dance (Nrtya), he offers clear picture of both Marga and Desi traditions, although in a concise manner.
In his work Sangita-ratnakara, Sarangadeva devotes seven chapters (Sapta-adhyayi) for discussing these three components (Anga-s) of Sangita; but, mainly about the first two. These seven Chapters covering varied aspects of Sangita are:
(1) Svara-gata-adhyaya ; (2) Raga-viveka-adhyaya (3) Prakinaka-adhyaya (4) Prabhandha-adhyaya (5) Tala-adhyaya; (6) Vadya-adhyaya; and, (7) Nartana-adhyaya
The first six Chapters discuss, what is now known as Music – vocal and instrumental – (Gitam and Vadyam); and, these Chapters, together, are reckoned among the longest works on Music, in Sanskrit, covering all its vital aspects. The First Chapter deals with Nada (the principle of sound); the Second with Raga (musical modes); the Third with Prakirna (miscellaneous topics relating to music); the Fourth with Prabandha (structured composition); the Fifth with Marga (classical) and Desi (regional) types of Taala (rhythm); and, the Sixth with Vadya (musical instruments).
Apart from these, the Sangita-ratnakara highlighted the ever changing nature of music; the expanding role of regional (Desi) influences on it, and the increasing complexity of musical material that needed to be systemetizised over a period. Yet; Sarangadeva was rooted in the prevalent musical practices of his time. His stress was consistently on the Lakshya, the music as practiced than on ancient theories (Lakshana), which though he respects them highly.
Thus, Sangita-ratnakara not only provides material for the study of the ancient music, but it also gives an insight into the then current practices. In his writing, Sarangadeva draws a clear distinction between the well established ancient (purva prasiddha) and the contemporary popular (adhuna prasiddha) Ragas.
He also gives descriptions of the structures and temperaments of musical instruments such as Veena and Vamsa (flute) according to the practices of his times.
Therefore, the Sangita-ratnakara is regarded as a standard work or an authoritative text, on which the later scholars and commentators drew upon copiously.
[There are two well known commentaries on Sangita-ratnakara: the Kalanidhi of Chatura Kallinatha (c.1430); and, the Sangita-sudhakara of Simhabhupala (c.1330). Most of the editions of the Sangita-ratnakara are published along with these two commentaries, with the description:
Sangitaratnakarah, Chatura Kallinathaya virachitaya Kalanidhdya tikaya; Simhabhula virachitaya Sangitasudhakara tikaya cha samethah
Of the two, the Kalanidhi of Kallinatha (c.1430) is considered almost as a supplement to Sangita-ratnakara; as it expands on the text by citing verses of other authorities, and also introducing some new elements.
For instance; Kallinatha, while commenting upon the descriptions of the Arm-movements, adds an entire section on the Vartana of which he describes thirty-one varieties (SR.7.270 to 286; Pages 105 to 110). Again, he adds another section on fifty types of Calanas or Calakas, another type of arm movement (pages 111 to 124). Further, Kallinatha quotes from the ancient authority Kohala, on the subject of Caris; and adds a new a new type Cari called Madhupa-cari (SR. pp.313-17)
The King, Simhabhupala, of the Recherla dynasty of Rajachala in Andhra, in his commentary Sangita-sudhakara (c.1330), written about a hundred years earlier to Kallinatha’s Kalanidhi, tried to clarify the topics dealt by Sarangadeva rather lucidly . It provides some valuable information culled from the older texts. He cites from a certain text named Prayogastabaka, said to be a commentary the Dattilam ascribed to Dattila (Ca. First century); but, its manuscript, so far, has not been found.]
The Seventh and the last Chapter (Nartana-adhyaya) of the Sangita-ratnakara is about the third component of the Sangita, which is Nartana, the Dance format which includes Nrtta, Natya, and Nrtya. Here, Sarangadeva follows King Someshvara (Manasollasa) who had divided Nartana into three categories: Nrtta, Natya and Nrtya. Though the Chapter on Dance is titled Nartana, it discusses mainly its Nrtta and Natya aspects.
On the subject of Dance, Sarangadeva has less information to offer than his contemporary Jaya Senapati (Nrtta-ratnavali, 13th century). But, what he offers is concise and systematic, presenting a clear picture of two Dance traditions – Marga and Desi – as were practiced dancing in the author’s time. And, the Seventh Chapter, the Nartana-adhyaya, with 1678 Verses, is the longest Chapter of the text.
And, so far as Dance is considered, Sangita-ratnakara marks the stage when Dance came to be viewed and treated as an independent Art-form; and, not as a mere ingredient adding beauty to a theatrical presentation. And, another significant feature was that the regional, the Desi style of Dance was given due importance, along with the classical Marga. Here, Sarangadeva was following the trend set by King Someshvara, in his Manasollasa.
Now, we are mainly interested in the last and the Seventh Chapter Nartana-adhyaya, dealing with Dance.
Sarangadeva / Sharangdeva (1175–1247) gives some information about himself in the beginning of the work. Sarangadeva introduces himself as belonging to a family which hailed from Kashmir. His grandfather Bhaskara, an Ayurveda physician, moved from Kashmir into the newly found Yadava capital at Devagiri (Maharashtra), in the Deccan region, at the invitation of King Bhillanna V (1173-1192).
After the death of Bhillanna, his son Jaitrapala or Jaitugi ascended the throne and ruled for a short period. He was succeeded in 1200 by Sevuna (Yadava) King Simhana/Singhana (1200-1247). He was a very powerful king and also a great patron of arts, literature, and science. It was during his reign that Sarangadeva was appointed in his father’s (Sodhala’s) post as the Royal Accountant (Sri-karana-agrani).
Along with his work at the King’s offices, Sarangadeva continued to practice the family profession of Ayurveda. He is also said to have written a Vedanta work entitled Adhyatma-viveka. That work is not available now.
During his spare hours, Sarangadeva was busy composing his monumental work on Indian music the Sangita Ratnakara, the Ocean of Sangita. It turned out to be one of the important and comprehensive Sanskrit texts on Music of India.
The Nartana-adhyaya opens with the famous verse, which is commonly associated with the Abhinaya Darpana of Nandikeshvara.
Angikam Bhuvanam Yasya, Vachikam Sarva Vangmayam, Aaharyam Chandra Taradi, Tam Namah Saattvikam Shivam
Whose bodily movements is the entire universe; whose speech is the language and literature of the entire Universe; whose ornaments are the moon and the stars; Him we worship, the serene Lord Shiva. ..!
There is, in fact, a protracted debate about the original authorship of the first forty verses of the Nartana-adhyaya.
Dr. K. Kunjunni Raja, in the introduction to the Fourth Part of the Sangita-ratnakara, edited and translated by him (published by Adyar Library, 1976), observes , it appears that nearly forty-two verses in the introductory portions of the Seventh Chapter of the Sangita-ratnakara , are almost the same as the introductory verses found in the Abhinaya-Darpana ascribed to Nandikeshvara.
The question is who borrowed from whom?
At the outset, it appears as though Sarangadeva borrowed these portions from the Abhinaya-Darpana. However, the commentators, King Simhabhupala (c.1330), author of the Sangitasudhakara; and Kallinatha (c.1430) author of the Kalanidhi assert that the introductory verses of the Nartana-adhyaya are genuinely Sarangadeva’s own verses. If that is so, then the date of the Abhinaya Darpana would be pushed further down.
But, the Abhinaya Darpana mentions that these verses are the teachings of the older authorities – Yetani purva-shastra-anusarena ukthani ve maya (AD.47)
It is also likely that Nandikeshvara and Sarangadeva, both borrowed from a common source.
Yet; the question is still open.
In the introductory section of the First Chapter, Sarangadeva lists a number of earlier authorities, the essence of whose views, he states, he is presenting in his work.
Sarangadeva’s Sangita-ratnakara is a great compilation, not an original work, which ably brings together various strands of the past music traditions found in earlier works like Nāţyashastra, Dattilam, Bŗhaddēśī, and Sarasvatī-hŗdayālańkāra-hāra.
It is greatly influenced by Abhinavagupta’s Abhinavabharati and Someshvara’s Manasollasa.
But for Sangita-ratnakara, it might have been more difficult to understand Natyasastra, Brhaddesi and other ancient texts.
Chapter Seven, which is the last Chapter, is in two parts. The first one deals with Nartana. The term Nartana is a common term representing the arts of Nŗtta, Nŗtya and Nāţya (SR. 7. 3).
In describing the Marga tradition of Dance, Sarangadeva follows Natyashastra. In fact, the whole of the Seventh Chapter draws most of its material from Natyashastra and its commentaries. Many of the passages narrated therein (say, verses 78 to 89) are straightaway taken from the Ninth Chapter of Natyashastra. Even the definitions offered in this Chapter are adopted from other sources.
As regards the Desi class of Dance he improves upon the explanations offered in Manasollasa of King Someshvara and Sangita Samayasara of Parsvadeva.
In the second part of this Chapter, the author describes the Bhavas (states or moods) and the related Nine Rasa-s, namely, Śrńgāra, Vīra, Hāsya, Raudra, Adbhuta, Karuņā, Bhayānaka, Bībhatsa and Shānta.
Sarangadeva commences his exposition on Dance with the statement that the Natya-Veda is, indeed, threefold: Natya, Nrtya and Nrtta (Natya, Nrtya tatha Nrtta tridha tadipi kititam- SR.7.3)
[Here Sarangadeva is following the classification as given in the Manasollasa; except that he does not use the term Nartana, as Someshvara did to represent the Dance , in general.]
Of these three, Sarangadeva explains the term Natya as that through which Rasa manifests (Natya sabdau Rase mukhyo Rasabhivyaki karanam – SR.17.18) . It connotes Abhinaya, through which the import of the Drama is expressed by the actors, in varied ways, providing uninterrupted joy to the spectators (SR.7.19).
He explains Nrtya as that which expresses Bhavas (various states and moods) through Angika-abhinaya; and, it is of the Marga class (SR.7.26)
And, Nrtta, he says, is only the movements of the body (gatra-vishepa matra), devoid of Abhinayas (sarva-abhinaya vargitam) – SR.7.28.
Then, Sarangadeva mentions three varieties of Nrtta: Visama (acrobatic, dancing around with ropes etc.,); Vikata (comical or ludicrous in ungainly dress and movements; and, Laghu (of Ancita and other easy Karanas) – SR.7.31.32
The Natyashastra had earlier described Tandava as the Nrtta performed by Shiva; and Sukumara (Lasya) as Parvati’s dance. And, Bharata had not qualified these dance types as either being aggressive or gentle. There was, of course, mention of Nrtya.
But, here, Sarangadeva differed from Bharata. He classified both the Nrtta and Nrtya into two kinds: Tandava and Lasya (SR.7.28). Further, he said that Tandava requires Uddhata (forceful, aggressive) and Lasya requires Lalita (delicate, gentle) movements (SR. 7. 29- 30).
Thus, according to Sarangadeva, the Nrtya covers rhythmic limb movements (Nrtta) as also eloquent gestures expressing emotions through Abhinaya. It is a harmonious combination of facial expressions, various glances, poses and meaningful movements of the hands, fingers and feet. Nrtyam, the dance, delightfully brings together and presents in a very highly expressive, attractive visual and auditory form, the import of the lyrics (sahitya), the nuances of its emotional content to the accompaniment of soulful music and rhythmic patterns (tala-laya). And, Nrtya can portray both the Tandava and the Lasya Dance movements.
As mentioned earlier; with exception of some elements, the treatment of the Angika-Abhinaya in the Sangita-ratnakara, to a large extent, follows the Natyashastra of Bharata. But, Sarangadeva made some changes in the arrangement of the limbs, within the three groups of limbs: Anga, Upanga and Pratyanga. Here, Sarangadeva followed the Manasollasa of Someshvara – (Verses 38 to 42). For instance;
Bharata, under the category Anga, the major body-parts, had listed six parts as: the head, the chest, the sides, the hips, the hands and the feet.
Here, Sarangadeva, following the general pattern as laid down by Bharata, adopts, under the Anga, the six body parts: the head; the two hands; the chest; the sides; the hips and two feet. In addition to these Six, he adds the shoulders also.
Here, Sarangadeva differed from both Bharata and Someshvara [who had included shoulders and belly in place of the hands (Hasthas) and the feet (Padas)].
Bharata, under the Pratyanga, had mentioned six parts as: the neck, the belly, the thighs, the shanks and the arms.
Sarangadeva included all these six parts under the Pratyanga; and, in addition he also counted the knees and wrists. Here, Sarangadeva followed the classification made by Someshvara.
And, under Upangas, Bharata had included nine elements , such as : the eyes; the eyebrows; the eyelids; pupils; the nose; the lips; the cheeks; the chin and the mouth; in addition to facial colors.
[Sarangadeva enumerates thirty-six varieties of glances, as did Bharata. And, he remarks: these may be taken only as illustrations; but, in fact, its possibilities are innumerable, depending upon the actions of the brows, pupils and the eyelids.]
Sarangadeva, in addition to the nine Upangas in the head, as mentioned by Bharata, brought in the elements of the breath, the teeth and the tongue. However, Bharata had not considered these three as Upangas.
Apart from the twelve Upangas located in the head, Sarangadeva counted the heels; the ankles; the fingers of the hand; the toes; and the soles of the feet. Here he was clearly deviating both from Bharata and Someshvara. Because, Someshvara had included only the tongue and teeth as Upangas, in addition to those mentioned by Bharata; but, he had not included those parts with other limbs as Upangas. Obviously, Sarangadeva adopted these details from some other source.
As regards, the colours of the Face (Mukha-raga), Sarangadeva adopts the four colours as mentioned in the Natyashastra: Svabhavika (natural); Prasanna (clear); Raktha (red); and, Shyama (dark) – Verses 527-528
As regards the position of the hands (Kara-Pracara), Bharata had classified these into three kinds: Uttana (facing upward); Adhomukha (facing downward); and , Parsvagata (turned to the sides).
Sarangadeva , however, adds twelve more positions of the hands as sub-classification of the three mentioned by Bharata:
- Agratastala (palm facing forward);
- Svasamm-mukhatala (palms turned to oneself);
- Urdhva-mukha (pointing upward);
- Adho-vadana (pointing downward);
- Paran-mukha (pointing outward);
- Sammukha (pointing toward oneself);
- Parsvato-mukha (pointing to the sides) ;
- Urdhvaga (moving up);
- Adhogata (moving down);
- Parsva-gata (moving to the side) ;
- Agraga (moving forward); and,
- Sammukha-gata (moving toward oneself).
Sarangadeva mentions (in Verses 42 to 48, Pages 16-17) that henceforth, in the Chapters to follow, he would be describing:
Sarangadeva mentions (in Verses 42 to 48, Pages 16-17) that henceforth, in the Chapters to follow, he would be describing:
: – The positions of the hands (Kara-Pracara); the movements of the hands (Kara-Karana); the actions of the hands (Kara-Karma); the places for the hands (Hastha-kshetra);
:- The descriptions of the two-fold Karanas , the Marga and the Desi Nrtta karanas, those accompanied by jumps (Utpluti); the Angaharas along with their Recakas ; the Caris , with their Marga and Desi variants; the Sthanakas; the Vrttis; the Nyayas , with their Pravicaras , the Mandalas of all kinds;
: – The descriptions of the Lasyangas; the Rcakas;
: – The procedures for practice (Srama) of Dance ; the definition of a person fit for Dancing (Patra); the qualifications of a Nartaki, the qualifications of the Dance-teacher; the merits and de-merits of the Dance troupe;
: – The descriptions of the Acharya, the Nata, the Nartaka, Vaitalika, Carana, and Kolhatika;
: – Particulars of the rules relating to Gundali; the correct description of Peranin and his style;
: – The descriptions of the assembled spectators, the leader of the assembly, and the location of the assembly; and,
: – The descriptions of the Nava Rasa-s and Bhava-s;
Sarangadeva , generally, follows the descriptions provided in the Natyashastra and the Manasollasa , while enumerating the different positions and movements of the various elements and components of the body; the Caris, Sthanas, Karanas and the Angaharas of both the Marga and the Desi types; the Lasyangas; qualities of the Dancers; qualities of the Dance teacher; the Desi Nrtta and its various forms ; and , discussions on the Rasas , Bhavas etc.
Sarangadeva’s description of Caris, Sthanas, Karanas and Angaharas of the Marga type are as per the Natyashastra.
[Sarangadeva explains Cari as the combination of the beautiful movements of the feet, shanks, thigh and the hips, performed in coordination. The term Cari, he says, is derived from root Car ( to move); and, by adding the suffix i (n) and ni , at the end.]
But, the Desi styles of Bhumi (36 types) and Akashi Caris (19 types); six Sthanas for men, seven Sthanas for women and twenty-three Desi Sthanas; nine sitting and six reclining Sthanas (altogether fifty-one Sthanas); the four types of Vrittis; the Bhumi and Akashi Mandalas; the Desi Lasyangas; and the 36 Utpluti-karanas from regional traditions, which demand strenuous physical exertion and perfect control of the limbs, are the same as those in the Manasollasa of Someshvara.
Some of the thirty-six Utpluti-karanas in the Sangita-ratnakara are also the same as in the Manasollasa, which lists eighteen karanas of the Desi variety (Manas. 16. 4. 1384-99).
As regards Bhramaris, in the Natyashastra, the Bhramari was the name of a Cari; and, it was not a particularly complicated revolving movement.
In the later times, many types of Bhramaris were developed; all of them being variations of the whirling movements. Gradually, as these diversified into more elaborate movements, they came to be recognized as constituting a distinct class. The earliest text to do so was Parsvadeva’s Sangita-samayasara (7.193) a treatise on Desi music and dance prevalent in 13th century; and, it describes eleven Desi karanas; along with five Bhramaris.
The Abhinaya-Darpana (289- 98) also regards the Bhramaris as a distinct group.
Here, Sarangadeva was following Parsvadeva, who had described Utpluti-karanas needed for the Desi Nrtta along with eleven Desi Karanas with different Desi Sthanas; and, five Bhramaris.
These Bhramaris are included among Utpluti-karanas by Sarangadeva, also. And, it indicates that by his time, the Bhramaris were so developed and so important as to be regarded as a form of Karanas.
After the description of the Sthanas which include sitting and lying postures that are appropriate to drama, the author discusses the four types of vrttis (caturdha Vrtti) , the modes of depiction and styles of presentation : Kaisiki; Sattvati; Arabhati; and, Bharati. Bharata regarded the Vrttis or the Styles as one among the most important constituent elements of the play. In fact, he considered the Vrttis as the mother of all poetic works – sarveṣāmeva kāvyānāṃ-mātṛkā vṛttayaḥ smṛtāḥ (NS.18.4).
This is followed by a description of Mandala (combination of Caris); and then of ten Lasyangas of the Desi variety.
Jaya Senapati (Nrtta-ratnavali), who was a contemporary of Sarangadeva, gives a list of forty-six Lasyangas; and, Parsvadeva, who preceded both, had listed twenty Desi Angas.
But it is Sarangadeva’s list of ten Lasyangas that was cited by the later authors.
Next, Sarangadeva describes the Gaundali and the Perani, the two dances commonly performed in the Desi tradition. Here, Sarangadeva follows Sangita-Samayasara of Parsvadeva.
Parsvadeva, had mentioned Perana, Pekkhana, Gundali and Dandarasa, as forms of the Desi-Nrtya. He had also discussed the Sthanas and Caris needed for these Desi types of dances; and, in particular, the five elements or components (Angas) of Perana Dance: Nrtta, Kaivara, Ghargara, Vagada and Gita.
Parsvadeva had described Nrtta as consisting Lasya and Tandava aspects , which are based rhythm and tempo; Kaivara as praising the king through praising his ancestors; Gharghara as rhythmic stamping of feet , with bells tied to the ankles; Vagada as miming of ludicrous characters; and, Gita as a song sung according to the rules of a pure or mixed raga, complete with Alapa.
In that context, he had given the details of the instrumental music, drumming in particular, needed for four kinds of Desi dances, namely, Perana, Pekkhana, Gundali and Dandarasa. Parsvadeva had also indicated the requirements of a good dancer, her physical appearance; and, the way she should be dressed etc.
Sarangadeva, following Parsvadeva, also talks of the qualities and appearance of the Peranin a male dancer; and, says that the Peranin should : have his body covered with white coloured ash ; have his head shaved, leaving a small tuft of hair (Shikha); wear number of shining anklet-bells (Ghargharika); have a good voice ; be clever; be an expert in Tala and Laya; and, should be an attractive dancer (Verses 1301-3, Pages 384-85)
He also explains the sequential process of a performance, including the musical accompaniment, in the pure mode or Shuddha-paddhati, and the Gaundali of the Desi tradition (Verses 1316-25, Page 389). Here, Sarangadeva follows Manasollasa, entirely
The Gaundali and the Perani seemed to have been the most common Dance-items in Desi tradition; because, they are mentioned in all the texts from the Sangita-samayasara in the twelfth/thirteenth century down to the Siva-tattva-ratnakara of Basavabhupala of Keladi (1684 A.D.-1710 A.D.)
And, Perani was popular, particularly in the Andhra region. And, Jaya Senapati had discussed it in fair detail. Its popularity is attributed to its fast movements; and, to the use of ankle bells.
Pekkhana or Preksana, a Desi Dance with Lasya and Gaundali are described with accompanying vocal and instrumental music. The Gaundali dance certainly survived till the eighteenth century; but, later, it seemed to have faded away.
After describing these two dance pieces, Sarangadeva enumerates the qualifications of the Acharya (the teacher); the Nata (the actor); the Nartaka (the dancer); the Vaitalika (a common entertainer); the Charana (an expert in understanding Gharghara, a distinctive feature of the Desi dances of the Dravida region); and, the Kolatika (a performer who specializes in Bhramari, rope-walking and dancing with a dagger). Next, he describes the audience and the sitting arrangements.
Then, after describing the Lasyangas, Sarangadeva explains the importance of aesthetic beauty; and, lays down the rules of exercise, and describes the qualities and faults of a performer (including a description of her make-up and costume), and those of the teacher and the group of supporting performers. Then he describes the sequential process of a performance, including the musical accompaniment, in the pure mode or Shuddha Paddhati.
The Chapter offers guidelines for dance practice; dancer’s merits, credentials and shortcomings; and, the description of the music/performance hall. In doing so he combines the material from the Natyashastra with that from later works; and , presents a coherent view not found in previous works.
In the second part of this Chapter, the author describes Rasas , the Nine Rasas (Nava-rasa), thirty-three Sthayi-bhavas, eight Sattvika-bhavas , thirty-three Vyabichari Bhavas; and the definition of Sattva. Sarangadeva largely follows the explanations offered by Abhinavagupta on the theories of Rasa.
Sarangadeva mentions that all the eight kinds of states or Sattvika-bhavas (temperamental states) can appear in any of the Rasas. And, in a Drama one Rasa must be made prominent; and, other Rasas should be supplementary.
The Seventh and the Final Chapter concludes with the Verse wherein Sarangadeva avers that he did not compile this work out of pride of his learning or knowledge; but, as a means to reach out and to seek a place in the hearts and minds of the learned.
Na vidya-darpato grantha pravrttirmam kim tvidam / Vidvan manasa –vasaya gantu patheyam asthitam // SR.7.1678 , Page 476 //
In the Next Part, we shall move on to another text.
The Next Part
References and Sources
- Movement and Mimesis: The Idea of Dance in the Sanskritic Tradition by Dr Mandakranta Bose
- Sangita ratnakara https://ia601602.us.archive.org/27/items/Mus-SourceTexts/TxtSkt-
- Sangita ratnaj -kars : https://ia601602.us.archive.org/27/items/Mus-SourceTexts/TxtSkt- https://ia601602.us.archive.org/27/items/Mus-SourceTexts/TxtSkt-
- All images are from Internet