361. THE RASA SCHOOL 363

THE RASA SCHOOL 363

and the exciting elements are called fauras1 (the former being called आलम्बनवि० and the latter उद्दीपनवि०). Such external manifestations as movements of the eye and eye-brows, glances, smiling face convey the working of the emotion of love and hence are called अनुभावs. There are many fleeting or secondary mcods that are common to several dominant moods and serve the purpose of completely manifesting the permanent mood, such as निर्वेद (despondency), ग्लानि (ennui or fatigue), ₹TET. These may help to completely manifest the permanent moods of रति and शोक. These are called सक्चारि or व्यभिचारि भावs. They are 33 and भरत in vol. I pp. 356 ff.des- cribes them at length (विविधमाभिमुख्येन रसेषु चरन्तीति व्यभिचारियः). The dominant moods रति, हास, शोक, when fully roused by means of appropriate विभावs, अनुभावऽ, व्यभिचारिभावs attain to the condition of शृङ्गार, हास्य and करुण rasas. It is to be noted that the drumatist does not put down any labels that in a particular composition there is शृङ्गार or करुण. He simply refers to the appropriate विभावs (hero and heroine and exciting circumstan- ces), the ensuants (such as glances) and the accessory moods and leaves the spectator or reader to enjoy the aesthetic pleasure resulting from such description. It is therefore that 1 The नाट्यशास्त्र (VI. vol. I pp. 347-348) explains विभाव as विज्ञान and says that विभाव is nothiug but कारण or निमित्त or हेतु. The विभावs are so called because many matters (viz. स्थायिभावS and व्यभिचारिभावs that depend upon अभिनय of two kinds viz. वाचिक and आङ्गिक) are specially understood from them (वागाद- योऽभिनया येषा स्थायिव्यभिचारियां ते वागाधभिनयसहिता विभाव्यन्ते विशिष्टतया ज्ञायन्ते यैस्ते विभावाः। अ. भा.). For अनुभाव, vide दशरूप IV. 3 quoted above. The भावs are 49 viz. 8 स्थायिभावs, 33 व्यभिचारिभावs and cight सात्त्विकभावs. The last are स्तम्भ (immobility due to fear, anger &c.), स्वेद, रोमाक्ज, स्वरभङ्, वेपथु, वैवएर्य, अश्रु, प्रलय. प्रलय means 'सुखदुःखाभ्यां चेष्टाज्ञाननिराकृतिः' साहित्यदर्पण III. 139) i. c. loss of activity and consciousness due to happiness or sorrow. It may be noted that विभावs and अनुभावs (other than सात्त्विक Tas) are not included among the 49 bhavas and that even those that are called स्थायिभावs may become व्यभिचारिभावs under certain circumstances e. g. when शङ्ञार is the predominant रस, रति is स्थायिभाव and if हास is described as an incident in that composition it becomes सञ्चारिभाव, though हास is enumerated as one of the स्थायिभावs.