English
And the mind that is composed, and that, from that arising. And so, peaceful, calmed, and that self, and also, existing, becoming, and also, produced by existence, and also, the state of experiences, is the sentence. "Api" is a particle in the sense of favor. **Division of Sāttika States** 346. Stiffness, fainting, goosebumps, Likewise sweat and trembling; Change of color, indistinctness, These eight states are sāttika. 346. He shows them with "stiffness" etc. Here, stiffness is the immobility of body and mind. Fainting is the state of sleep, with only breath remaining, born of sleep. The rest are clearly defined. 346. Now he shows the sāttika with "stiffness" etc. Stiffness is the state of immobility of body and mind, and fainting is the state of sleep arising from sleep, with only breath remaining, and goosebumps are the rising of hairs born of joy etc., likewise sweat and trembling, and also burning arising from fear etc., and tears arising from joy etc., and trembling, and change of color is disfigurement, and indistinctness is distorted sound, these eight are called sāttika states. The rising of the tips of the hairs, and also, fainting and goosebumps, and also, trembling is shaking, and also, sweat and tears and trembling, and also, distorted color, it belongs to that, and its state, and also, distorted sound, it belongs to that, and its state, is the sentence. 347. When states like love, Are not of a stable nature; Then all those states, Become transient. 347. Not only those mentioned are transient, but also love etc., he says with "when" etc. "Become transient" means that they become transient according to appropriateness and connection. The rest is easily understood. 347. Now, he shows that just as detachment etc., so also love, laughter etc., are sometimes transient, with "when" etc. Love etc., love, laughter etc., the nine permanent states, when they are not of a stable nature, if they are not of a stable nature due to being interrupted by those various opposing states, then those states, love etc., all become transient. are called. According to their own, the appropriate conditions, the emotions are called forth. Rati and others, whose nature is laughter and so on, and whose characteristic is stability. 348. Vibhāva is the cause of arising and stimulation; that which is the indicator is called anubhāva. 348. Now, he shows vibhāva and anubhāva with "vibhāvo" and so on. Of those emotions, the cause of arising, and also of stimulation, is twofold, ālambana and uddīpana, and is called vibhāva. There, ālambana-vibhāva is a lover, and uddīpana-vibhāva is the moon. That which is the indicator, the bodily and verbal action, is called anubhāva. 348. Now, he shows vibhāva and anubhāva with "vibhāvo" and so on. Of those three, the arising and stimulation, and the illumination of what has arisen, the twofold cause, ālambana and uddīpana, is called vibhāva. Of those three, the indicator, the bodily and verbal action, that is the actor's activity, is called anubhāva. Vibhāva is that which especially causes to be, that which increases. Anubhāva is that which indicates, that which makes known. Here, vibhāva is twofold: the mutual ālambana-vibhāva of men and women in the matter of love, and the uddīpana-vibhāva, such as the moon and pleasant places. The twofold vibhāva of laughter and the others should be applied appropriately. Anubhāva is twofold: the verbal activity that reveals those emotions, and the bodily activity, the actor's expression, which depicts the nature of those emotions. 349. To discern the various causes and the specific mental states, vibhāva and anubhāva should be clearly described in the composition. 349. Only through the description of vibhāva and so on can the specific emotions be understood. Otherwise, if it is said, "Devadatta's eyes filled with tears," who could determine whether it was sorrow, joy, or illness? And without emotion, how can the various causes and the specific mental states be discerned through vibhāva and anubhāva? To show who is capable of describing a poem, acting in a drama, or understanding as a judge, he said, "neka," etc. "Nekahetuṃ" means having many causes, and "manovuttivisesañca bhāvaṃ vibhāvituṃ" means to reveal and make known the state, a particular mental activity. "Vibhāvānubhāvā" means having the characteristics described above, and "bandhane" means in a composition, in a phrase that reveals the nature, it should be clearly described, because even something unsaid is understood through the form of the vibhāva, etc. 349. When it is said, "Devadatta's eyes are full of tears," one does not know whether it is due to sorrow, joy, sickness, or something else without the cause of the tears being mentioned. Similarly, emotions such as love and laughter, which are states of mind, should be described by poets and shown by actors according to their own understanding, without the need to describe the vibhāvas and anubhāvas. All should enjoy them, and only the description of the sthāyī, etc., should be done. Now, instructing, he says, "neka," etc. "Nekahetuṃ" means having many causes, such as the origin of those emotions, the ālambanavibhāva, etc. "Manovuttivisesaṃ bhāvañca" means the state, a particular mental activity, and "cittassa pavattivisesasaṅkhātabhāvañca" means the state known as the particular activity of the mind. "Vibhāvituṃ" means to reveal and make known, and "vibhāvānubhāvā" means those indicated immediately before. "Bandhane" means in the expression of rasa and bhāva, making it clear, it should be described, and it should be described by the poet. "Na eko" and "so hetu asseti" and "manaso vuttīti" and "tāya visesoti" and "vibhāvo ca anubhāvo ca" are all phrases. 350. With vibhāvas and anubhāvas, Those emotions, each appropriately, Should be described as is fitting, Following the ways of the world. 350. Now, he says that those emotions should be described with vibhāvas, etc., without transgressing the nature of the world, "savibhāve," etc. "Saha vibhāvehi savibhāvā" means with vibhāvas, and "te ca te anubhāvā ca, tehi" means with those anubhāvas. "Yathārahaṃ" means appropriately according to their own connection, they should be described. 350. Now, instructing that those emotions should be described relying on vibhāvas and anubhāvas, without transgressing the nature of the world, he says, "savibhāvā," etc. "Lokarūpānugāminā" means following the ways of the world, and "te te bhāvā" means those emotions, the three sthāyībhāvas, etc. "Yathocityaṃ" means according to appropriateness, and "savibhāvānubhāvehi" means with vibhāvas and anubhāvas. They should be described appropriately, described in accordance with the various states related to the causes, etc., which are instrumental. And they exist with the causes, and they are the effects, and they do not exceed what is fitting, and they do not exceed propriety, and the form of the world is their own form, and their meaning is that they follow that nature. 351. Because of the special activity of the mind, they are mental, born of the essence; They are to be described by the effects of sweat, etc., emitted from the body. 351. He says how the essential qualities are to be described, beginning with "citta". Because of the special activity of the mind, they are mental, born of the essence, and are to be described by the effects of sweat, etc., emitted from the body; but the intention is not that sweat alone is the state. 351. Having thus shown the general order of describing states, he now shows in particular what the description of essential states is like, beginning with "citta". Because of the special activity of the mind, because of the particular activity of the mind, the essential states that arise in the mind are to be described by the effects of sweat, etc., emitted from the body, by the effects of sweat, etc., that come out from the body, which are instrumental; the intention is that by the specification "emitted from the body," only sweat, etc., that are specifically effects of states are effects of states, and that sweat, etc., that are merely mentioned are not called states, etc. And "the activity of the mind," and "that itself is the special quality of the essential qualities," and "their state," and "arising in the mind," and "sweat, etc., of which saliva, etc., are the beginning," and "emitted and coming out, and they are sweat, etc.," and "they themselves are the effects," are the sentences. Meaning of Rasa 352. The joy of the audience, of those who follow the meaning of the composition; Because it is savored, by those who know, this is said to be Rasa. 352. Now, because it was said that it is "for the taste of rasa," he indicates rasa, beginning with "sāmajjikāna". The meaning of the composition, those who remember that, by way of mental feeling, are those who follow the meaning of the composition; in the minds of those audiences, That joy, like the sweetness and other tastes of the world, is called sentiment (rasa) in compositions, such as the erotic (śṛṅgāra) sentiment, by those who know and understand sentiments. How so? He says, "it is savored," meaning it is enjoyed. Furthermore? Just as men, enjoying food mixed with various seasonings, savor the taste and attain great satisfaction, so too, those who are mindful and discerning enjoy the permanent states (sthāyībhāva) expressed through various acting techniques, speech, limbs, and the supportive texts; therefore, these are also called dramatic sentiments (nāṭyarasa). 352. Now, having said "for the enjoyment of sentiment by the virtuous," he reveals the sentiment, which has arrived in the order mentioned, with "sāma" and so on.