Vibhava is the root (karana), the chief motivating reason being termed as alambana vibhava and, the

environmental factors that are supplementary causes termed as uddipana vibhava (excitant).

Anubhava is the resultant physical response through action, word and facial expression that follows
(anu), as the impact of the vibhava.

The thirty-three vyabhichari bhava (also referred to as sanchari bhava), are momentary, fleeting
emotions based on emotional states of the mind. Numerous such emotions pursue one after the
other, one replacing the other, intensification the sthayi bhava at each stage, till in conclusion the
sthayibhava is established and there is 'Rasanubhava'. Rasanubhava just as in music a procession of
notes in certain combinations reveals a characteristic melodic whole or raga; in the same way it
seems that the demonstration of bhavas reveals rasa as an aesthetic whole.

Bharata divided the Rasa under eight types (ashtarasa) and gives the resultant Bhava which gives rise
to the rasa. These are known as Sthayi Bhava or pervading stable emotion. They are rati (love),
utsaha (heroism), krodha (anger), hasa (mirth), bhaya (fear), shoka (grief), jugupsa (disgust), and
vismaya (wonder). The resultant eight Rasa are sringara (amorous), karuna (pathetic), raudra
(furious), bhayanaka (horrific), hasya (humorous), bibhatsa (repugnant), vira (valorous), and adbhuta
(wondrous).

Bharata says that Bhava and Rasa are commonly reliant. The entertainer or maker, be it an artist,
musician, vocalist, composer, or theater craftsmen, should be aware of the sthayi bhava and the rasa
that they are determined to launch. This will help them understand their 'siddhi' from first to last
'Rasotpatti'.

Different Rasas Bharat in Nāṭyaśastra emphasizes the fact that the object of art is pleasure. No
doubt, art can be didactic of full of philosophical speculations, but all must come through a medium
that is pleasurable.

Bharat in Chapter VI of Nāṭyaśastra gives the eight rasa as:

Srngara Hasya Karuna Raudra Vira Bhayanaka Bhibhatsya adbhuta sangno chetyashato natye
rasaha smruta. (N.S 6.16)

Which means, The eight Sentiments (rasa) recognized in drama are as follows: Erotic (Srngara),
Comic (Hasya), Pathetic (Karuna), Furious (Raudra), Heroic (Vira), Terrible (Bhayanaka), Odious
(Bibhatsa) and Marvellous (Adbhuta).

Afterwards he mentions the ninth rasa as ‘Shanta’ rasa. There are evidences of support for the ninth
rasa. Bharat, himself, in the Nāṭyaśastra mentions, “Evam nava rasa drsta natyagnerlaksananvita”.
Shanta rasa is experienced when all calm pervades. Shanta rasa develops calmness of mind and a
feeling of relaxation. Shanta rasa arises from the desire to secure liberation of the self, which leads
to the knowledge of truth and is connected with the highest happiness. Whether Bharat in
Nāṭyaśastra has listed eight or nine rasas is controversial. But it is widely accepted by scholars that
santa rasa is a later addition and henceforth it forms an immortal part of the rasa theory.

(i) Sringara Rasa- This rasa is called the Rasa-raj. It towers over all the other sentiments as
it is the most important emotion in human beings. It appeals to human mind as life is a
never ending quest for love and affection. Love is portrayed through rich imagery and
there are different meanings of love e.g. love between a mother and a child, love
between siblings, love between friends, love between a man and a woman, love
 between the Almighty and devotee and so on. The sthāyibhāva for sringara rasa is Rati
(love).
(ii) Hasya Rasa - Laughter is the most vital factor in human life. It varies from light hearted
giggle to a rapturous outbreak of laughter. The sthāyibhāva of this rasa is Hasya. The
object of ridicule is alambana of this sentiment. The dominant emotion of laughter is
created by incongruous costumes, comic actions, untoward movements, the unbridled
speech, absurd activities and change of voice. It is generated by possibilities of
deformity. Smile, tickled appearance, exhibition of teeth and similar features are the
ensuants.
(iii) Karuna Rasa - Soka is the dominant emotion which develops into Karuna rasa. It deals
with the feelings of despair, heartbreak, hopelessness, death, separation from loved
ones, etc. In both Eastern and Western literature Karuna rasa is considered to be of the
superior kind. Aristotle speaks of Catharsis which the spectators receive as tragic relief
and Bharat speaks of delight in Karuna rasa. Even a great epic like Ramayan begins with
the sloka which generates Karuna rasa. On seeing the death of a Kraunch couple, so
much remorse and pity filled Valmiki’s heart and he created the entire Ramayan.
(iv) Raudra Rasa - The sthāyibhāva of Raudra rasa is Krodha. The synonym for Raudra rasa is
Lord Shiva. Raudra rasa is reflected in the Tandav dance of Lord Shiva, which generates a
havoc in all the three worlds namely the sky, the earth and the nether world. The
ultimate imitation is the destruction or death at the universal level. Words can manifest
anger as well as inflict pain. Anger is a neutral term which can be applied to both evil and
good. It is the rasa that portrays the violent streak in a person. Raudra rasa not only
depicts the human fury but also the fury imposed by nature like unexpected natural
calamities and disasters.
(v) Vir Rasa - The predominant emotion of zeal or utsaha develops into Vir Rasa when
manifested by means of the suggestive factors in a dramatic composition. The ancients
have observed that such zeal appears running in five channels of human mind and thus
presents five patterns when viewed objectively. The zeal may be in respect of giving gifts
(dana), in showing compassion (daya), in combating the enemy (yuddha), in observance
of duty(dharma) and in taking and practicing oath (pratigya). Thus the varied heroism
may produce five types of heroes and accordingly the five types of heroic sentiment as
well. In other words, the hero may have the munificent zeal, the sympathetic zeal, the
bellicose zeal and pratigya vir.
(vi) Bhayanaka Rasa - The safety and well-being of one’s near and dear ones is known to be
the most primeval feelings perceived by man. Any symptoms of sabotage of any kind to
the loved ones gives rise to the Bhayanaka Rasa. The sthāyibhāva of Bhayanaka rasa is
Bhaya. Dreadful and terrible objects are responsible for arousing the feelings of fear and
terror. When the Raudra rasa is at its peak it transforms into the Bhayanak rasa. It is a
preliminary state of fear when suggested in a dramatic composition which gradually
takes the shape of terror. The object which frightens is the alambana e.g. horrific place,
the appearance of wild beasts, the shrieks of jackals and foxes, the howling of owls and
the miserable plight of one’s own relations. Loneliness of the spot, want of company,
unarmed condition, narration of horrific incidents and the roaring noise often excite the
sentiment. Trembling, shrieking, pallid looks, bloodless appearance, shouting for help
and scared face are the after-effects of fear. Stupefaction, choking of voice, horripilation
and quiver are the Sattvika Bhāvas. Suspicion, swoon, agitation, inconstancy, uneasiness,
epilepsy and even apprehensions of the loss of life are the auxiliary feelings that
promote this rasa.
(vii) Bibhatsa Rasa -The sthāyibhāva of Bibhatsa rasa is Jugupsa. All elements which arouse
feelings of disgust are responsible for arousing Bibhatsa rasa. When one notices
something coarse and graceless, beneath human dignity, the sight is sickening and
arouses the feeling of disgust. This rasa is not used in the romantic and comic plays, but
it forms the chief role in tragic dramas. Usually scenes after battle, dead bodies create a
feeling of disgust. The ugly object or the horrid scene is the alambana. It is generally
arouse by filthy descriptions, obscene sights and talks. Squalor of body, turning of face,
conspuing at the sight and making wry faces is the Anubhāvas. Agitation, capilepsy
(Apasmara), retching sensation, disease and apprehension of death are some of the
feelings that remain ancillary to this emotion.
(viii) Adbhuta Rasa - The sthāyibhāva for Adbhuta rasa is Vismaya. Unexpected and
supernatural elements are responsible for generating Adbhuta rasa. It is full of wonder
and curiosity, which arouses out of superhuman activities, unrivalled beauty and
fascinating and enchanting things. This rasa is assisted by marvelous elements, which
arouse feelings of surprise and gradually develop into Adbhuta rasa. The wonderful
objects or an unexpected incident or performance of the impossible, like the feats of
jugglers become the alambana of the marvelous sentiment. The circumstances
surrounding such an object or incident excite the feeling. The unwinking gaze,
broadening of eyes, use of interjections, twisting of fingers are some of the expressions
that ensue from the rise of the Adbhuta rasa. Stupor, perplexity, unboundedness and
flurry are the ancillary feelings that support the sentiment. It is generally followed by
such self-existent states as stupefaction, flow of tears, horripilation and choked voice.
(ix) Shanta Rasa - The dominant emotion which develops into Shanta rasa is Nirveda. The
realization of God, transience of the world including mankind is the objects which
awaken the sentiment of peace. This rasa is responsible to provide a feeling of ecstasy,
serenity and peace. Shanta rasa is regarded as the one rasa which can transform life
from violence to peace, from darkness to light, from ignorance to awareness and from
mortality to immortality. The universe realized as unsubstantial becomes the alambana.
The study of the Upanishadic texts, the visit to the penance-groves, meeting with sages
and seers excites the sentiment. Disinterest in the pleasures (trshna, kshaya),
indifference to friends and foes alike, meditation and steadfastness of action are the
Anubhāvas. Joy, reminiscence, reasonableness and unmade are the ancillary feelings.