Arabhati, Ārabhati, Ārabhaṭī: 11 definitions
Introduction:
Arabhati means something in Hinduism, Sanskrit, Buddhism, Pali, Hindi. If you want to know the exact meaning, history, etymology or English translation of this term then check out the descriptions on this page. Add your comment or reference to a book if you want to contribute to this summary article.
Alternative spellings of this word include Aarbhati.
In Hinduism
Natyashastra (theatrics and dramaturgy)
Ārabhaṭī (आरभटी, “energetic style”) is the Sanskrit name for one of the four styles (vṛtti) of dramatic performance (prayoga). According to Nāṭyaśāstra 1.41-43, the four styles were originally prepared by Bharata and presented to Brahmā (who created the Nāṭyaveda from the four Vedas). The term is used throughout nāṭyaśāstra literature.
According to the Nāṭyaśāstra chapter 22, there are four varieties of the energetic style:
- saṃkṣiptaka (compression),
- avapāta (commotion),
- vastūtthāpana (elevation of the plot),
- saṃpheṭa (conflict).
One of the Four Styles (vṛtti) of dramatic production (nāṭya).—Ārabhaṭī (the Energetic)—The Style which includes the presentation of a bold person speaking many words, practising deception, falsehood and bragging and of falling down, jumping, crossing over, doing deeds of magic and conjuration etc, is called the Energetic one. This is applicable to the Terrible, the Odious and the Furious Sentiments (Nāṭyaśāstra XXII. 55ff).
Ārabhaṭī (आरभटी) or Ārabhaṭīvṛtti refers to one of the four Dramatic styles (vṛtti) in Indian Dramas, according to the Viṣṇudharmottarapurāṇa, an ancient Sanskrit text which (being encyclopedic in nature) deals with a variety of cultural topics such as arts, architecture, music, grammar and astronomy.—There are four kinds of vṛttis (dramatic styles) accepted in the Viṣṇudharmottarapurāṇa. According to the Viṣṇudharmottarapurāṇa, sāttvatī-vṛtti mainly displays vīrarasa and ārabhaṭī-vṛtti exhibits raudrarasa. The Sāhityadarpaṇa agrees on it. Abhinavagupta states that sāttvatī-vṛtti is the action of mind and ārabhaṭī-vṛtti is the action of body.
Natyashastra (नाट्यशास्त्र, nāṭyaśāstra) refers to both the ancient Indian tradition (shastra) of performing arts, (natya—theatrics, drama, dance, music), as well as the name of a Sanskrit work dealing with these subjects. It also teaches the rules for composing Dramatic plays (nataka), construction and performance of Theater, and Poetic works (kavya).
Languages of India and abroad
Pali-English dictionary
ārabhati : (ā + rabh + a) 1. begins; starts; 2. kills; tortures.
1) Ārabhati, 2 & Ārabbhati (ā + rabhati, Sk. ārabhati & ārambhati, ā + rabh) to begin, start, undertake, attempt S. I, 156 (ārabbhatha “bestir yourselves”) = Miln. 245 = Th. 1, 256 (bh.); Pug. 64 (bh.); viriyaṃ ārabhati to make an effort, to exert oneself (cp. ārambha) A. IV, 334. ‹-› aor. ārabhi DhA. II, 38 & ārabbhi PvA. 35.—ger. ārabbha, see sep.—pp. āraddha (q. v.). (Page 107)
2) Ārabhati, 1 (not with Morris J. P. T. S. 1889, 202 fr. rabh and identical with ārabhati2, but with Kern, Toev. s. v. identical with Sk. ālabhate, ā + labh meaning to seize the sacrificial animal in order to kill it; cp. nirārambha) to kill, destroy M. I, 371 (pāṇaṃ). (Page 107)
ārabhati (အာရဘတိ) [(kri) (ကြိ)]—
[ā+rabha+a+ti]
[အာ+ရဘ+အ+တိ]
[Pali to Burmese]
ārabhati—
(Burmese text): (၁) အားထုတ်၏၊ (ရှေးဦးစွာ) ပြု၏၊ ဖြစ်စေ၏။ (၂) အာပတ်သို့ ရောက်၏၊ အာပတ်သင့်၏။ (၃) ညှဉ်းဆဲ-နှိပ်စက်-သတ်-၏။
(Auto-Translation): (1) Strive, (first) execute, allow it to happen. (2) Arrived at the destination, your destination. (3) Pressure - oppression - killing.
Pali is the language of the Tipiṭaka, which is the sacred canon of Theravāda Buddhism and contains much of the Buddha’s speech. Closeley related to Sanskrit, both languages are used interchangeably between religions.
Sanskrit dictionary
1) Ārabhaṭī (आरभटी):—[=ā-rabhaṭī] [from ā-rabhaṭa > ā-rabh] f. boldness, confidence, heroism, [Rājataraṅgiṇī]
2) [v.s. ...] (in [dramatic language]) the representation of supernatural and horrible events on the stage.
Sanskrit, also spelled संस्कृतम् (saṃskṛtam), is an ancient language of India commonly seen as the grandmother of the Indo-European language family (even English!). Closely allied with Prakrit and Pali, Sanskrit is more exhaustive in both grammar and terms and has the most extensive collection of literature in the world, greatly surpassing its sister-languages Greek and Latin.
Hindi dictionary
Ārabhaṭī (आरभटी) [Also spelled aarbhati]:—(nf) sense of adventure.
...
Kannada-English dictionary
Ārabhaṭi (ಆರಭಟಿ):—[noun] (rhet. & dance.) the classical or vehement way of expounding or presenting on the stage, a few sentiments such as wrath or furiousness, fear, etc.
Kannada is a Dravidian language (as opposed to the Indo-European language family) mainly spoken in the southwestern region of India.
Nepali dictionary
Ārabhaṭī (आरभटी):—n. 1. boldness; confidence; 2. a branch of the dramatic art; machinery of the drama; representation of supernatural horrible events on the stage; 3. a kind of literary style; 4. a particular type of dance;
Nepali is the primary language of the Nepalese people counting almost 20 million native speakers. The country of Nepal is situated in the Himalaya mountain range to the north of India.
See also (Relevant definitions)
Partial matches: Rabha, Rabhati, A, Ti.
Starts with: Arabhati Sutta, Arabhativritti.
Full-text (+33): Uparambhati, Arabhativritti, Arambhati, Sampheta, Arabhati Sutta, Avapata, Vastutthapana, Samkshiptaka, Araddha, Vritti, Arabhi, Samarabhati, Shaurya, Aarbhati, Nikkhamati, Arbhati, Vayamati, Aradheti, Samarambha, Arapati.
Relevant text
Search found 26 books and stories containing Arabhati, A-rabha-a-ti, Ā-rabha-a-ti, A-rabhati, Ā-rabhaṭī, Ārabhati, Ārabhaṭī, Ārabhaṭi; (plurals include: Arabhatis, tis, rabhatis, rabhaṭīs, Ārabhatis, Ārabhaṭīs, Ārabhaṭis). You can also click to the full overview containing English textual excerpts. Below are direct links for the most relevant articles:
Gati in Theory and Practice (by Dr. Sujatha Mohan)
Gati in Vṛttis and Pravṛttis < [Chapter 3 - Application of gati in Dṛśya-kāvyas]
Importance of Gati in Uparūpakas < [Chapter 3 - Application of gati in Dṛśya-kāvyas]
Relevance of Gati in Rūpakas < [Chapter 3 - Application of gati in Dṛśya-kāvyas]
Buddhist Perspective on the Development of Social Welfare (by Ashin Indacara)
6. The Eight Roots of Laziness and obstacle to Vīriya (Aṭṭha-kusīta-vatthu) < [Chapter 1 - The Accomplishment of Persistent Effort and Watchfulness or Protection]
5. The Eight Roots of Making Effort (Attha-ārambha-vatthu) < [Chapter 1 - The Accomplishment of Persistent Effort and Watchfulness or Protection]
2. The Definition and Interpretation of Uṭṭhāna (Effort) < [Chapter 1 - The Accomplishment of Persistent Effort and Watchfulness or Protection]
Jivanandana of Anandaraya Makhin (Study) (by G. D. Jayalakshmi)
Analysis of Guṇas, Vṛttis and Rīti < [Chapter 6 - Dramatic aspects of the Jīvanandana Nāṭaka]
Basic features of Nāṭaka < [Chapter 6 - Dramatic aspects of the Jīvanandana Nāṭaka]
Dasarupaka (critical study) (by Anuru Ranjan Mishra)
Part 3-6 - Ḍima rules < [Chapter 4 - Ḍima (critical study)]
Dhanañjaya’s methodology of discussion < [Introduction]
Part 15 - Conclusion < [Chapter 6 - Samavakāra (critical study)]
Alankara Sastra (English study) (by V. Raghavan)
Arts in the Puranas (study) (by Meena Devadatta Jeste)
5. The concepts of Riti, Vritti and Pravritti < [Chapter 6 - Literature in the Puranas]
9. Natya or Dramaturgy < [Chapter 6 - Literature in the Puranas]
4. General topics of Poetics < [Chapter 6 - Literature in the Puranas]