14. HISTORY OF INDIAN ÆSTHETICS 17

HISTORY OF INDIAN ÆSTHETICS 17

are not the infallible signs of emotion. But the latter can take place only when the emotion, of which they are recognised to be the effects, is actually present in heart. They are the infallible signs of emotion. They are eight1 in number. They are included in the list of forty-nine Bhavas, admitted by Bharata. In regard to the presentation of Vibhava and simple Anubhavas, Bharata does not give any instructioa ; nor does he define them. He simply says that in representing them one has to be faithful to what is found in actual life and, therefore, they have2 to be learnt from the same source. Forty-nine bhavas, however, (including (i) eight Sattvika Bhavas, which are nothing more than Anubhavas, but are classed separately, because they are involuntary and, there- fore, are unmistakable reflexions of inner emotive state; (ii) thirty-three transient emotions and (iii) eight persisting / emotions) are dealt with exhaustively, because of their special utility in giving rise to æsthetic experience. Let us, there- fore, state clearly the meaning and function of Bhava.

BHĀVA.

The word "Bhava"8 in dramaturgy is used in the sense of mental state only, which, as we have shown in the prece- ding section, is of forty-nine types. And although the word "Bhava" is used at the ends of compounds, standing for situation and mimetic changes (Vibhava and Anubhava), yet they cannot be put under "Bhava", because Bharata has used this word in a technical sense and has definitely fixed the number of "Bhavas".

The mental states are called "Bhavas" for two reasons: (i) because they bring Rasa into being, make Rasa an

1. N. S. 95. 2. N. S. 80. 3. A. Bh., Vol. I. 343. 3