CRAFT b

1. Navarasa
Theory
Lecture 07 at CRAFT by Anirban Banik

2. ● Bharatmuni’s Natyashastra is an encyclopaedia of Sanskrit literature is one of the
earliest works on dramaturgy.
● It has 36 sutra and 6 thousand shlokas.
● ‘Bhava’ & ‘Rasa’ : Where the hand goes, the gaze follows. Where the eyes turn, there
goes the mind. Where the mind goes, there comes Bhava. And where the Bhava comes,
there also will be Rasa.
● Rasa is derived from the root ‘rasa’ it means ‘juice’. It also denotes ‘interest.’
● The denotative meaning of Rasa is Pleasure (Ananda).
Introduction

3. Representative Disciplines & Texts
Darasana (Philosophy) Sutras- mimansa, vedanta, nayaya,
vesisika, samakhya, yoga, Buddhist
& Jain school of thought
Dharamshastra(Social &
individual life)
Manusmriti ; Parasar Samhita
Ayurveda(Medicine) Charaka Samhita & Susruta Samhita
Vyakarana (Grammar) Astadhyayi, Vakyapada
Niti (Polity) Arthashastra
Kavya-shastra (Poetry) Natyashastra, Rasagangadhara
Itihasa Purana (History) Mahabharata & Puranas

4. Classification of Literary Theories
● Principles of Figurativeness (Alamkara); Principles of Deviation (Vakrokti)
● Style of Compositional Value- Guna & Dosh i.e. excellence and faults, riti i.e., mode of
expression and aucitya i.e. propriety
● Verbal Symbolism i.e., Dhvani
● Aesthetic Experience i.e., Rasa
● Narrative i.e., mahakavya
● Discourse Analysis i.e., Arthashastra
● Comprehensive analysis i.e., Kavyamimansa

5. Major Schools, Thinkers & Texts
Rasa Bharata; Dhanika-
Dhananjaya
Natyashastra ( 2nd
century B.C.)
Dasarupaka (10th
century A.D.)
Alamkara Bhamaha, Dandin,
Udbhata, Rudrata
Kavyalankara (6th
Century A.D.)
Kavyadarasa ( 7th
Century A.D.)
Kavyalankarasarasamg
raha (
9th Century A.D.)
Kavyalankara (9th
Century A.D.)
Riti Vamana Kavyalankarasutra
(9th Century A.D.)

6. Major Schools, Thinkers & Texts
Dhavani Anandvardhan, Abhinavagupta,
Mahimabhatta
Dhavanuyaloka (9th
Century)
Abhinavbharati (11th
Century also Rasa)
Vyaktiviveka (11th
Century)
Vakrokti Kuntaka Vakroktijivita (11th
Century)
Guna- Dosh Dandain, Bhamaha Kavyadarasa ( 7th
Century)
Kavyalankara ( 9th
Century)
Aucitya Ksemendra Aucityavicharkarka
(11th Century)

7. How we get pleasure from literary works and drama, acting (Abhinaya)?
1. Angika Abhinaya: movement or acting through the body, it’s called Angik Abhinaya.
2. Vachik Abhinaya: we passed message through speaking words with stress etc
3. Aharya Abhinaya: we shows our identity of character through wearing cloth or
costumes.
4. Satvik Abhinaya: Through this we can understand and enjoy the drama. This enjoyment
creates Bhava in our mind. Natyashastra mentions three types of Bhava.
“VibhavanubhavavyabhichrisanyogatRasanishpatti”

8. ● Formulated by Bharata and later explicated and enriched by Anandavardhana and Abhinavagupta
constitutes the Central Tradition in Indian aesthetics.
● Poetry is a multidimensional phenomenon which cuts across many levels of human experience.
● A correct understanding of the theory of rasa enables us to keep all these dimensions and levels
simultaneously in view.
● It means ‘artistic’ and ‘aesthetic’ experiencing at one time.
● ‘Artistic’ experience is related to the poet & ‘aesthetic’ to the perceiver.
NATYASHASTRA
RASA Theory BHARATA MUNI

9. Three stages of Natya RASA

11. Vibhava(determinants or catalysts)
By which an emotion is activated
2 Types:
● Alambhana Vibhava: The person or the object in respect of whom the emotion is
experienced and whose appearance is directly responsible for the bringing forth of the
emotion.
● Uddipana Vibhava: It means the situation in the environment in which that person or
object is placed and which is helpful in intensifying the emotional experience.

12. Anubhava (consequences)
The outward manifestations brought forth as a result of the Vibhavas are known
as the Anubhavas.
2 Types:
● Vachika: Expressed by words (vach-“speech”)
● Angika: Expressed by bodily, expression.
Example: Anubhava communicate to the audience, the emotions being felt by the
characters on stage.

13. Anubhava
There also “involuntary emotions” known as Sattvika Bhava:
● Stambha: paralysis
● Sveta : sweating
● Romanch : hair standing on end
● Svarabheda: changes in one’s tone of voice
● Vepathu: trembling
● Vaivarnya: change in the colour of one’s face. Asru: becoming tearful
● Pralaya: fainting.

14. 33 Vyabhichari Bhava (complementary states)
● Sthayibhava (permanent mood) is a major emotion which is developed by a number of minor feelings referred to as Vyabhicharibhava.
Nirveda
disinterest
Chinta
anxiety
Capalata
impulsiveness
Nindra
sleep
Ugrata
ferociousness
Vitarka
argumentative
ness
Glani
tiredness
Moho
delusion
Harasa
sudden
delight
Apusmara
epilepsy
Mati
analysis
Alasya
lethargy
Sanaka
apprehension
Smrti
recollection
Avega
excitement
Supta
dreaming
Vyadhi
sickness
Dainya
pity
Asuya
insecurity
Dhriti
steadfastness
Jadata
stupor
Vibodha
awakening
Unmada
temporary
insanity
Mada
intoxication
Vrida
shame
Grava
arrogance
Amarsa
restrained
anger
Marana
death
Srama
exhaustion
Autsuka
longing
Visada
depression
Avahittha
deception
Trasa
panic

15. Examples
● The erotic Rasa arises from the Alambhana Vibhava-presence of the lover and
beloved
● The Uddipana Vibhava: the atmosphere of place where the two meet, the call
of night birds; a gentle breeze, the moon, etc.
● It gives rise to the Anubhavas: how the lovers express themselves to each
other to holding hands and etc.
● It produces involuntary bodily responses (the Sattvika Bhavas) and may give
rise to complementary or transitory emotional states- the Vyabicharibhavas.

16. Stages
● Every human being is born with a set of inherited instinctual propensities. His thoughts, actions, and
experiences constantly generate impressions which sink back into the subconscious mind ready to
be revived on the conscious level.
● These impressions, which are called samskaras in Indian philosophy and psychology, governed
around emotions.
● The emotions are related to typical and universal situations and generate definable patterns of
action known as sthayi bhava, permanent emotions, because they always remain embedded in
human organism and character.
● Indian aestheticians have grouped the instinctual propensities and impressions around nine basic
emotions: delight, sorrow, anger, etc. Apart from these clearly organized basic emotions there are
innumerable transient feelings and moods which accompany the former in any experience. They do
not attain the intensity of the basic emotions nor do they last long.

17. Stages
● They are concomitant feelings, vyabhicharins, which rise with well- defined emotions
and subside with them. Anxiety, exultation, bashfulness, languor, etc., are examples.
● Thirty-three such accessory feelings are recognized though the list does not exhaust
the variety of human feelings.
● In life some stimuli are necessary to cause emotional response in us. It could be
material, existing in the environment, or ideal, existing in the mind.
● These human and environmental stimuli when depicted in poetry are called vibhavas.
They are the characters and situations which determine and define the
feeling-complex to be evoked in the reader.

18. Stages
● For Eliot they are the "objective correlatives." The ancient mariner, his shipmates, the
albatross, the sea, the moon, the slimy things in the sea, etc.-they are the vibhavas.
● The special mode in which the poetic characters exist and are apprehended is
indicated by the term alaukika, non-ordinary.
● In life our reactions to persons and objects can be described in terms of attraction,
repulsion, or indifference. Men and things directly and indirectly impinge on our life and
on its practical interests. Therefore our responses are governed by positive or negative
interests. The poem exists only for our perception; it exists dissociated from our
everyday existence; hence our response to the poem is called alaukika.

19. Notions of Poetry
● For Plato poetry fed and watered passions.
● For Indian theorists rasas like karuna, the pathetic, evokes sorrow in the mind of the
reader.
● The feelings evoked in poetic experience are alaukika, non-ordinary, and therefore
there is no question of sorrow.
● Drama always gives delight to the spectator, never sorrow.
● Bharatamuni devised music and dance to remove such personal feelings as may arise
in the minds of untrained and uncultivated spectators. As poetic feelings are evoked
within a frame of detachment from our immediate egoistic interests, the question of
why the depiction of suffering causes delight is irrelevant.
● In aesthetic experience there is a sense of vishranti, rest or composure.

20. Notions of Poetry
● The apparent evocation of sorrow and other feelings is only a coloration (anuranjana), or
resonance of the non- ordinary feelings embodied in the poem.
● The Indian theorists do not believe in the notions of romantic or classical poetry.
● Poetry is objective because poet objectifies feelings in terms of images, characters, action,
etc.
● The poet's own experiences can be the subject matter of his poetry.
● The personal experience of the poet becomes the transpersonal experience potentially
accessible to all mankind.
● This twin process of objectification and universalization is comprehended by the term
sddhdranikarana, trans personalization.
● This doctrine implies the elevation of the consciousness of the poet and the reader from the
plane of their private everyday world.

21. Notions of Poetry
● The concept of sddhdranikarana does not imply that we deindividualize and de- particularize the
characters and their feelings.
● Rasa is manifested by poetic language that is abhivyakti;
● Connotation of abhivyakti is individuality.
● The antithetical concepts involved in the doctrine are not general and particular but personal and
transpersonal.
● In poetry it is not enough to name feelings; it is necessary to give them a local habitation. The ancient
mariner's sense of guilt and his expiation through love and repentance are no doubt instances of guilt
and expiation but they have a peculiar ring which marks them off from other such instances.
● Aesthetic response is transpersonal does not mean that it is a cold and unemotional response.
● Though the feelings are evoked in the framework of transpersonalization yet they retain all their human
qualities.

22. ● रस का शािब्दक अथर्तृ है – आनन्द।
● कला में दशर्तृन तथा श्रवण में जो अलौ कक आनन्द प्राप्त होता है, वही रस कहलाता है।
● रस क
े िजस भाव से यह अनुभू त होती है क वह स्थायी भाव होता है। जब रस बन जाता है, तो भाव नहीं रहता, क
े वल
रस रहता है। उसकी भावता अपना रूपांतर कर लेती है।
● रस नौ हैं और भरत मु न ने ‘नाट्यशास्त्र’ में शृंगार, रौद्र, वीर तथा वीभत्स, इन चार रसों को ही प्रधान माना है, अत: इन्हीं
से अन्य रसों की उत्प त्ति बताई गई है:
★ वीर
★ श्रृंगार
★ करुण
★ हास्य
इनमे जब शांत रस मल जाता है तो इनकी संख्या 9 हो जाती है। वद्वानों ने वात्सल्य और भि त रस को भी प रभा षत कया
है पर इनका रसों में गनती करना आज भी ववा दत है। रस क
े अनुसार मनुष्य का बाहरी भाव बदलता रहता है।
★ भयानक
★ रौद्र
★ वीभत्स
★ अद्भुत

23. रस क
े चार अंग हैं:
1. स्थायी भाव: सहृदय क
े अंत:करण में जो मनो वकार वासना या संस्कार रूप में सदा वद्यमान रहते हैं तथा िजन्हें कोई
भी वरोधी या अ वरोधी दबा नहीं सकता, उन्हें स्थायी भाव कहते हैं। ये मानव मन में बीज रूप में, चरकाल तक
अचंचल होकर नवास करते हैं। ये संस्कार या भावना क
े द्योतक हैं। ये सभी मनुष्यों में उसी प्रकार छपे रहते हैं जैसे
मट्टी में गंध अ वि छन्न रूप में समाई रहती है। ये इतने समथर्तृ होते हैं क अन्य भावों को अपने में वलीन कर लेते
हैं। इनकी संख्या 11 है – र त, हास, शोक, उत्साह, क्रोध, भय, जुगुप्सा, वस्मय, नवर्वेद, वात्सलताऔर ईश्वर वषयक
प्रेम।
2. वभाव: वभाव का अथर्तृ है कारण। ये स्थायी भावों का वभावन/उद्बोधन करते हैं, उन्हें आस्वाद योग्य बनाते हैं। ये
रस की उत्प त्ति में आधारभूत माने जाते हैं। वभाव क
े दो भेद हैं:
○ आलंबन वभाव: िजन पात्रों क
े द्वारा रस नष्प त्ति सम्भव होती है वें आलंबन वभाव कहलाते हैं। जैसे:- नायक
और ना यका।आलंबन क
े दो भेद होते हैं: आश्रय और वषय – िजसमें कसी क
े प्र त भाव जागृत होते है वह
आश्रय कहलाते है और िजसक
े प्र त भाव जागृत होते है वह वषय, जैसे:- रौद्र रस में परशुराम का लक्ष्मण पर
क्रो धत होना। यहाँ परशुराम आश्रय और लक्ष्मण वषय हुए।
○ उद्दीपन वभाव: वषय द्वारा कयें क्रयाएं और वह स्थान जो रस नष्प त्ति में सहायक होते है उन्हें उद्दीपन
वभाव कहते हैं।

24. 3. अनुभाव: र त, हास, शोक आ द स्थायी भावों को प्रका शत या व्य त करने वाली आश्रय की चेष्टाएं अनुभाव कहलाती
हैं। ये चेष्टाएं भाव-जागृ त क
े उपरांत आश्रय में उत्पन्न होती हैं इस लए इन्हें अनुभाव कहते हैं, अथार्तृत जो भावों का अनुगमन
करे वह अनुभाव कहलाता है। अनुभाव क
े दो भेद हैं – इि छत और अ नि छत।
4. संचारी भाव: जो भाव क
े वल थोड़ी देर क
े लए स्थायी भाव को पुष्ट करने क
े न मत्ति सहायक रूप में आते हैं और तुरंत
लुप्त हो जाते हैं, वे संचारी भाव हैं। संचारी शब्द का अथर्तृ है, साथ-साथ चलना अथार्तृत संचरणशील होना, संचारी भाव स्थायी
भाव क
े साथ संच रत होते हैं, इनमें इतना सामर्तृथ्य होता है क ये प्रत्येक स्थायी भाव क
े साथ उसक
े अनुक
ू ल बनकर चल
सकते हैं। इस लए इन्हें व्य भचारी भाव भी कहा जाता है। संचारी या व्य भचारी भावों की संख्या ३३ मानी गयी है।

25. ● श्रृंगार रस (shringaar ras):
श्रृंगार रस को दशार्तृने क
े लए नतर्तृक अपने चेहरे पर सौंदयर्तृ का
भाव,
मुख पर ख़ुशी, आँखों में मस्ती की झलक इत्या द दशार्तृता है।
भारत मु न क
े अनुसार जो क
ु छ भी शुद्ध, प वत्र, उत्तिम और
दशर्तृनीय है वही श्रृंगार रस है। इस रस का स्थायी भाव र त है।
इसक
े दो भेद माने जाते हैं:
संयोग श्रृंगार, वयोग श्रृंगार
● वीर रस (veer ras):
वीर रस का स्थायी भाव उत्साह है और नृत्य में इसे फड़कते हुए
हाथ, आँखों में तेज और गवर्तृ आ द भं गमाओं से दशार्तृया जाता है।
इस रस क
े चार भेद माने जाते हैं:
धमर्तृवीर, दानवीर, युद्ध वीर और दयावीर
● हास्य रस (haasya ras):
हास्य रस ६ प्रकार का होता है:
िस्मत, ह सत, वह सत, अवह सत, अपह सत और अ तह सत।
जब हास्य आंखों क
े थोड़े से वकार से दशार्तृते है तो उसे हम िस्मत
कहते हैं, अगर थोड़े से दांत दखाई दे तो वह ह सत कहलाता है,
अगर थोड़े मधुर शब्द भी नकले तो वह सत, हँसते समय अगर
क
ं धे और सर भी कांपने लगे तो अवह सत, इसक
े साथ य द आंसू
भी आ जाए तो अपह सत और हाथ पैर पटक कर, पेट दबा कर
हंसने को अ तह सत कहा जाता है। इस रस का स्थायी भाव हास
है।
● करुण रस (karun ras):
करुण रस का स्थायी भाव शोक है। इसको दशार्तृते हुए चेहरे पर
शोक की झलक होती है और आँखों की दृिष्ट नीचे गरी हुई होती
है। करुण रस मानव ह्रदय पर सीधा प्रभाव करता है।
9 रस का सं क्षिप्त प रचय

26. ● अद्भुत रस (adbhut ras):
अद्भुत रस का स्थायी भाव वस्मय या आश्चयर्तृ है। इसे दशार्तृने
क
े लए नतर्तृक अपने चेहरे पर आश्चयर्तृ की भाव और आँखों को
साधारण से ज्यादा खोलता है।
● वीभत्स रस (vibhatsa ras):
घृणा और ग्ला न से प रपुष्ट होकर वीभत्स रस बनता है।
इसे दशार्तृने क
े लए नतर्तृक अपने चेहरे पर घृणा भाव लता है और
नाक, भौं, मिस्तष्क सकोड़ लेता है। इस रस का स्थायी भाव
घृणा, जुगुप्सा है।
● रौद्र रस (raudra ras):
इस रस का स्थायी भाव क्रोध है। रौद्र रस में मुँह लाल हो उठता है
और आँखें जलने लगती है, दांतों क
े नीचे होठ एवं माथे पर वक्र
रेखाएं नज़र आती हैं।
● भयानक रस (bhayanak ras)
इस रस का स्थायी भाव भय है। जब नतर्तृक इसे दशार्तृता है तो
उसक
े चेहरे पर भय, आँखें खुली हुई, भौएं ऊपर की ओर,
शरीर िस्थर एवं मुँह खुला हुआ रहता है।
● शांत रस (shant ras)
जब मानव सांसा रक सुख दुःख, चंता आ द मनो वकारों से
मुि त पा जाता है तो उसमे शांत रस की उत्प त्ति होती है।
इस रस का स्थायी भाव नवर्वेद है।
इसे दशार्तृने क
े लए चहरे पर िस्थरता, आँख की दृिष्ट नीचे
की ओर, और नाक, भौं एवं मिस्तष्क अपने स्वाभा वक
स्थान पर होता है ।
9 रस का सं क्षिप्त प रचय

27. Shringara
Love, Attractiveness
Deity: Vishnu
Color: Light Green
Hasya
Mirth, Laughter
Deity: Pramata
Color: White
Raudra
Fury
Deity: Rudra
Color: Red
Karuna
Compassion, Tragedy
Deity: Yama
Color: Grey
Bibhatsa
Odious, Disgust
Deity: Shiva
Color: Blue
Bhayanaka
Terror, Horror
Deity: Kala
Color: Black
Veer
Heroic, Chivalry
Deity: Indra
Color: Golden
Adbhuta
Marvellous, Wonder
Deity: Brahma
Color: Yellow
Shanta
Tranquility, Peace
Deity: Vishnu
Color: White
Rasa at a glance

28. Nāyaka
&
Nāyika

29. Acharya Vishwanath Kaviraj has described heroes in the following manner - A
man who is generous, courteous, youthful, self-sufficient, smart, intelligent is a
Nayak. A Nayak has eight “Satvik” traits - Shobha, Vilaas, Madhurya, Gambhir,
Sthairya, Tez, Lalit, and Audarya.
● Shobha: The truthful spirit of the protagonist with infinite enthusiasm,
sharp mindedness combined with affection, who despises lowly
behaviour, and competes with the mighty.
● Vilaas: Actions such as patience, walking like a lion, talking with a
slight smile, etc. of the hero is known as Vilaas.
● Madhurya: A hero who does not let nervousness come in the mind
even when a distractive situation arises.
● Gambhir: Remaining still in spite of fear, grief, anger, joy, etc is known
as Gambhir.
● Sthairya: Despite being faced with frightening situations, being
unfettered is known as Sthairya.
● Tez: To not tolerate disrespect and ill-behaviour is known as Tez.
● Lalit: Being aesthetic in terms of clothing, being soft yet well-spoken is
known as Lalit.
● Audarya: Treating everyone with kindness and viewing everyone as
equals is known as Audarya.
Nayaka

30. Dheerudaat: One who is free from all vices, has forgiveness in him, and
is constant in terms of emotions is known as Dheerudaat. He is humble,
and has feelings of kindness and generosity as well.
Example: Sri Ramachandra.
Dheerodatt: One who is elusive, fickle minded, greedy, boastful is known
as Dheerodatt.
Example: Raavan, Kans, etc.
Dheerlalit: One who is free from worry and has a soft nature, and skilled
in arts is known as Dheerlalit.
Example: Sri Krishna, King Udayant.
Dheerprashant: One is known to be calm, thankful, and generous
amidst all situations.
Example: Sudama.
Nayaka bheda by Swabhav/Behaviour

31. Pati: There are five types - Anbhigya, Dakshan, Anukul, Shat, and Drisht.
Anbhigya is one who has no knowledge of the “shringar” of a woman.
Anukul is one who is so loyal to his lover that he doesn’t think of any
other woman. Dakshin is one who has the same love despite having
several wives. In this case, all wives think that the man loves her the
most. Shat is one who is with another woman but hides it from his wife
and sweet talks her into being an ideal man. Drisht is one who despite
committing mistakes has no shame, but remains calm and courteous,
and lies without hesitation.
Upapati: Uppati is one who is attracted to other women despite having
a lover. He is attracted to any beautiful woman. There are two types -
Vachan chatur and Kriya chatur. Vachan chatur is one who uses words
to convince his lover of him being perfect, whereas Kriya chatur is one
who tricks his wife/lover.
Vaishik: Vaishik is one who is shameless and indulges in prostituiton.
Nayaka bheda by Dharm/Duty

32. Maani: A man who on being insulted by someone feels bad and takes it
to heart is known as Maani.
Proshit: A man who, on separation from his beloved, his upset is known
as Proshit.
Nayaka bheda by Situation/Avastha
Anukoola: Who is faithful to the woman.
Dakshina: When rejected he pleads to be accepted by the woman.
Satha: The deceitful one.
Nayaka bheda by Attitude

33. Proshita: The one who has gone on a journey.
Virahi: Who is separated from his beloved, feels pangs of separation
and loneliness.
Vipralabdha: One who feels he us cheated by the one he loves.
Vaisika: Who is seeking union with his beloved
Drishta: One who is unfaithful to his beloved. He feels guilty and pleads
to forgive him.
Nayaka bheda by Love Relationship

34. nāyika…

35. Swakiya: One who is always kind, shy, courteous towards her lover, and is
engrossed in house work. She is devoted to her lover and doesn’t think of
other men. There are three types of Swakiya Nayika (distinction on the basis
of age) - Mughda, Madhya, and Pragalbha.
● Mughda: One who has just explored her new found youth and
feelings of attraction is Mughda. She is slightly hesitant and shy.
● Madhya: One who has equal feelings of attraction, lust, and shyness.
She is not shy and evasive of her lover being physically close to her.
● Pragalbha: One who has no feelings of shyness, no qualms of
societal rules and judgements is known as Pragalbha. Despite being
in love, her lustful desires aren’t fulfilled.
Parakiya: One who secretly is in love with another man/other men. There are
two types of Parkiya Nayikas - Oodha (a married woman who is not in love
with her husband and has an extra-marital affair with another man), and
Anoodha (one who is not married yet is in love with another man).
Samanya: One who sells her youth to make money is known as Samanya.
Some people have identified Samanya into two types - Janani Adhina (one
who is subject to her mother’s orders yet works) and Swatantra (one who is
independent and works).
Nayika bheda by Dharm/Duty

36. Padmini: One who is beautiful, and is as fragrant as a Lotus, and is
engaged in music, dance, and other art forms.
Chitrini: One is skilled in the arts, who likes to be humorous once in a
while, and who is also coy. She has beautiful features like big eyes,
sharp nose, etc.
Shankini: One whose body language shows arrogance, and anger. Her
neck has three lines like a shell.
Hastini: One who has a heavy body structure and is loud and
aggressive.
Nayika bheda by Jati/Type

37. Uttama: Uttama is one who is bound by her duty at all times and puts
her best foot forward for her lover. She always looks out for her lover no
matter what the circumstance is.
Madhyama: Madhyama is one who loves her husband, but is doubtful
of his actions, words, and other tendencies. Unlike Uttama, she doesn’t
hide her lover’s vices. She addresses them and reprimands him for the
same.
Adhama: Adhama is one who gets angry on her lover without any
reason, thus creating negativity. She uses hurtful words to put him
down. Despite all the love he gives her, she insults him.
Anya Sambhoga dukkita nayika: When the nayika sends her sakhi to
pacify the nayak and bring him to her, the sakhi instead enjoys his
company and returns with lame excuses. The nayika, seeing through
her friend, scorns and abuses her This is the lakshana of anya
sambhoga dukkita nayika.
Nayika bheda by Nature/Prakriti

38. Ashta Nayika by Situation/Avastha
Name Sanskrit name Meaning
1 Vasakasajja Nayika वासकसज्जा ना यका One dressed up for union
2 Virahotkanthita Nayika वरहोत्क
ं ठता ना यका One distressed by separation
3 Svadhinabhartruka Nayika स्वाधीनभतृर्तृका ना यका One having her husband in subjection
4 Kalahantarita Nayika कलहांत रता ना यका One separated by quarrel
5 Khandita Nayika खं डता ना यका One enraged with her lover
6 Vipralabdha Nayika वप्रलब्धा ना यका One deceived by her lover
7 Proshitabhartruka Nayika प्रो षतभतृर्तृका ना यका One with a sojourning husband
8 Abhisarika Nayika अ भसा रका ना यका One going to meet her lover

39. The Ashta-Nayika is a collective name for eight types of nayikas or
heroines as classified by Bharata in his Sanskrit treatise on performing
arts - Natya Shastra. The eight nayikas represent eight different states
(avastha) in relationship to her hero or nayaka. As archetypal states of
the romantic heroine, it has been used as theme in Indian painting,
literature, sculpture as well as Indian classical dance and music.
Ashta Nayika by Situation/Avastha
The Natya Shastra describes the nayikas in the following order:
Vasakasajja, Virahotkanthita, Svadhinabhartruka, Kalahantarita,
Khandita, Vipralabdha, Proshitabhartruka and Abhisarika. The nayikas
are further classified in two varieties of the shringara rasa, the rasa
related to love: Sambhoga (love in meeting) and Vipralambha (love in
separation).
Vasakasajja, Svadhinabhartruka and Abhisarika are associated with
Sambhoga; the others with Vipralambha.
In the Shringara Prakasha, Bhoja relates the various nayakas and
nayikas with musical ragas and raginis (a female raga). Somanatha's
Ragavibodha (1609) and Damodara's Sangitadarpana (c. 1625)
continue this trend.

40. Ashtanayika
The Ashta-Nayika classification (nayika-bheda) first appears in Natya Shastra (24.210-11), a key Sanskrit treatise on
Indian performing arts, authored by Bharata (dated between 2nd century BC and 2nd century AD). The classification is
detailed in later works like the Dasarupaka (10th century), Sahityadarpana (14th century) and various other treatises on
poetics as well as erotic Kamashastra texts like Kuttanimata (8th-9th century) based on courtesans, Panchasayaka,
Anangaranga and Smaradipika. Keshavadasa's Rasikapriya (16th century) in Hindi, also elaborates on the Ashta-nayika.
The Ashta-Nayika have been illustrated in Indian painting, literature, sculpture as well as Indian classical dance, such as
Kathak. Notable medieval paintings that depict the Ashta nayika are the Ragamala paintings, as those from the Bundi
school of painting.
A famous example in Indian literature is Jayadeva's Gita Govinda (12th century) as well as in the Vaishnava poet
Banamali's compositions, Radha dons the roles of the various nayikas while with her nayaka is the god Krishna. The
Ashta-Nayika is a central theme in Pahari embroidery used to decorate the Chamba Rumal, especially produced in
Chamba, Himachal Pradesh. The Ashta Nayika are usually portrayed in eight panels on the Rumal.
In Indian (Hindustani) classical music, the eternal love between Radha and Krishna is represented through the
consciousness of Radha as the leitmotif that dominates the lyrics. Especially the semi-classical genre of Thumri
imbibes the myriad moods of Radha as Ashta Nayika consumed by passionate love for Krishna.

41. Vasakasajja
Vasakasajja ("one dressed up for union") or
Vasakasajjika is waiting for her lover returning from a
long journey. She is depicted in her bed-chamber filled
with lotus leaves and garlands.[3] She is dressing
herself for the union with her lover and "eager with
expectation of love's pleasure".[6] Her beauty is
compared by Kesavadasa to Rati - the Hindu love
goddess, waiting for her husband, the love god
Kamadeva. A Vasakasajja sculpture is found in the
Lakshmana Temple in Khajuraho and the National
Museum, Delhi.
The Ragavibodha associates the raginis Bhupali and
Todi with Vasakasajja.

42. Virahotkanthita
Virahotkanthita ("One distressed by separation") or
Utka (as described by Keshavadasa) is the
distressed heroine pining for her lover, who, due to
his preoccupation, fails to return home. She is
depicted waiting for him, sitting or standing on a
bed or out in the pavilion.
The Ragavibodha identifies the raginis Mukhari,
Pauravi and Turushkatodi with the Virahotkanthita,
while the Sangitadarpana names Patamanjari in
this category.

43. Svadhinabhartruka
Svadhinabhartruka ("one having her husband in
subjection") or Svadhinapatika (as named by
Keshavadasa) is the woman who is loved by her
husband and controls him. He is subjugated by her
intense love and pleasing qualities. He is devoted
and faithful to her In paintings, this nayika is
depicted with a nayaka, who applies mahawar on
her feet or a vermilion tilak (mark) on her forehead.
In Jayadeva's Gita Govinda as well as in the poem
Kuru Yadunandana, Radha is portrayed as a
Svadhinabhartruka. In the latter, Radha commands
her lover, the god Krishna, to rearrange her makeup
which is in disarray.
Many raginis like Malashri, Travanika, Ramakriti,
Jaitashri and Purvi are associated with
Svadhinabhartruka.

44. Kalahantarita
Kalahantarita ("one separated by quarrel") or
Abhisandhita (as named by Keshavadasa) is a
heroine separated from her lover due to a fight or
jealousy[6] or her own arrogance.[3] Her lover is
usually depicted leaving her apartment
disheartened, while she too becomes heartsick and
repentant without him. In other portrayals, she is
depicted refusing the advances of her lover or
refusing a wine cup from him. In Gita Govinda,
Radha is also portrayed as Kalahantarita in an
instance.

45. Khandita
Khandita ("one enraged with her lover") is an
enraged heroine, whose lover had promised her to
spend the night with her, but instead comes to her
house the next morning after spending the night
with another woman. She is depicted offended,
rebuking her lover for his infidelity.
In the Sangitadarpana, the ragini Varati represents
the Khandita Nayika.

46. Vipralabdha
Vipralabdha ("one deceived by her lover"), is a
deceived heroine,[6] who waited for her lover the
whole night.[3] She is depicted throwing away her
jewellery as her lover did not keep his promise.[3]
This happens when a lover meets a Khandita and
promises a tryst and breaks his promise.
The Sangitadarpana associates Vipralabdha with
the ragini Bhupali. However, the Ragavibodha
presents the raginis Varati and Velavati as
Vipralabdhas.

47. Proshitabhartruka
Proshitabhartruka ("one with a sojourning
husband") or Proshitapatika (as named by
Keshavadasa) is the woman whose husband has
gone away from her for some business and does
not return on the appointed day. She is depicted
seated mourning, surrounded by her maids, but
refusing to be consoled.
The Ragavibodha describes the raginis Dhanashri
and Kamodi as Proshitabhartrukas.

48. Abhisarika
Abhisarika ("one who moves") is a heroine, who sets
aside her modesty and moves out of her home to
secretly meet her lover. She is depicted at the door
of her house and on her way to the tryst, defying all
kinds of difficulties like the storm, snakes and
dangers of the forest. In art, Abhisarika is portrayed
often in hurry towards her destination.
The raginis Bahuli and Saurashtri are described
having the traits of the daring Abhisarika.
There are 2 types of Abhisarika Nayika:
Abhisaarati: She is called jyotsni or sukta. She
always dresses in white and goes out in bright
sunlight to meet her nayaka.
Tamasi: She is called Nila. She always covers
herself in a black veil and slips off into the darkness
of the night.

49. Sahitya
Darpana
Bhasa
bhusana
Rasa
manjari
Kavya
alankara
Dasha
rupaka
Bhoja Natya
darpana
Kama
sutra
Bhāva
prakula
Main
Classification
Svakiya
Parakiya
Samanya
Sadharana
Svakiya
Parakiya
Samanya
Sadharana
Dharma
Dasha
Avastha
Guna
Atmiya
Parakiya
Sarvaguna
Svakiya
Parakiya
Sadharana
Nāyika
Pratināyika
Upanāyika
Ananyanāyika
Kulasa
Divya
Kshatriya
Paryakamni
Maiden
Wife
Hetaira
Svakiya
Anya
Sadharana
Sub
Classification
1
Mugdha
Madhya
Proudha
Pragalbha
Mugdha
Madhya
Proudha
Pragalbha
Mugdha
Madhya
Proudha
Mugdha
Madhya
Proudha
Ten types of
Nāyikas
Padmini
Citrini
Shankini
Hastini
Sub
Classification
2
Dhira
Adhira
Dhiradhira
Dhira
Adhira
Dhiradhira
Sub
Classification
3
Jyeshtha
Kanishta
384 nāyika
Classification of Nāyika bheda according to various text

50. Dasharupakam
Ten Rupakas are as follows
1. Natakam
2. Prakaranam
3. anka
4. eehamruga
5. Dima
6. samavakara
7. Bhana
8. prahasanam
9. veethi
10. vyayoga

51. good luck!
&
thank you
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