“Vibhavanubhava-vyabhicari samyogad-rasa-nispattih”
(The Rasa is accomplished as a result of the conjunction of Vibhāva, Anubhāva, and Vyābhicāribhāva, which appeals to the Sthāyibhāva which leads to the Rasa experience.)(Sethuraman-191)
- Vibhāva:
Vibhāva is the objective condition producing an emotion. They are stimuli, causes, or determinants of emotions. They are called vibhāva because they make emotions known to us in special way.The theoreticians who came after Bharata have divided Vibhāva into two types:
Ālambana Vibhāva –
means a person or persons with reference to whom the emotion is manifested.
For example, the father will feel tensed if his son is living careless life having no concern with future. Here the son is ālambanavibhāva because the tension and as a result anger arise in the father because of his son.
Uddipana Vibhāva –
means the circumstances that have excited the emotion.
In the situation, we have seen above, if there is any tension in father’s office then he would easily get angry to his son. Here the circumstances in his father’s office will be Uddipana Vibhāva.
- Anubhāva: (Consequences)
Anubhāva means bodily expressions by which the emotions are expressed. Anubhāva are those effects, which are found on the characters consequent upon their emotional agitations. They are called anubhāva becausewhat is represented is made to be felt, experienced by us (reader or spectacle)
In the situation discussed above, father will get angry and he might slap his son or break something in anger. That slapping or breaking of something is Anubhāva.
- Vyābhicāribhāva:
Apart from dominant emotions, there are innumerable transient moods and mental states, which accompany them in any experience. They are known as vyabhicāri Bhava. Vyābhicāri means a series of diverse emotions that feed the dominant emotion. They do not have their independent status but permanent emotions cannot be projected in any poetry without them.
In the situation discussed above, looking at the anger of his father, son may feel different emotions like anxiety or fright, which lead him to the dominant emotion that is fear.
- Sthāyibhāva:
Sthāyibhāva is the basis for rasa experience. If anyone of it is missing in a person then he or she will not be able to experience the rasa corresponding to that particular Sthāyibhāva. That is why Bharata labels Sthāyibhāva as the king of all the other bhāva. Sthāyibhāva are the inborn gifts of men. They area called sthāyi because they always remain embedded in human organism. They exist in the form of an impression and are called into play simply by exciting causes and circumstances. Bharata anticipated that these eight permanent emotions are already there in each and every human being.
Example of rasa realization:
In the play Hayavadana by Girish Karnad, when Padmini narrates the scene of Kapila climbing the tree to fetch flowers for her,
“…what an ethereal shape! Such a broad back-like an ocean with muscles rippling across it-and then that small, feminine waist…”
Here, the attractive outlook of Kapila is the Vibhāva (Alambanavibhāva as Kapila is a human being), the garden and that tree on which Kapila climbs is also vibhāva (Uddipana as tree is non-human thing), Anubhāva is the opened eyes of Padmini constantly looking at Kapila’s body, which appeals to the dominant state of love which results into the realization of Sringāra rasa or the erotic sentiment.
