Ārabhaṭī-vṛtti (fierce fights and outrageous deeds)

That mode of conduct which is full of fierce fights, varied struggle and outrageous deeds is the Horrific type of bearing. It is invariably attended with feats of jugglery and deeds of conjuration and conflicting situations. The horrific bearing generally conspicuous in the form of bodily activities, and Abhinava Guptapada specifically calls it to consist in physical movements (Kāyā-vyāpāra). It has four sub-division:

(i) Compression (Saṅkṣiptikā): Consists in a brief arrangement of some matter by cunning contrivances^[1] as is avident in the Viddhaśālabhañjikā where casting of reflection of the puppet (Śālabhañjikā) is done. It is characterized by the activities of some helping friends that support the hero in his tactics.

Dhanañjaya and Viśvanātha have an alternative connotation to give to this feature which consists in the withdrawl of a character previously employed in a task and replacement of the same by another.^[2] Sāgaranandin records an opinion which holds that this feature consists in the installation of another Nāyaka in place of the previous one who is ruined, and illustrates the point by reference to Rāma’s installation of Vibhīṣaṇa in place of the deceased Rāvaṇa.^[3] The change of attitude or basic temperament of a hero from one type to another amounts to Saṅkṣiptka according to the alternative opinion of some cononist recorded Singa Bhupāla. An illustration of the feature in this sense is presented in the change of Paraśurāma’s character from dhīroddhata to dhīraśānta on his contact with Rāma.^[4]

(ii) Reconiter (Saṃpheṭa) is a menacing talk between the two furious characters. It includes a group fight or a duel and copious use of weapons.^[5]

(iii) Tumult (Avapāta): Constant appearance and exits of several characters moving about hastily or in a flurry constitutes the element of Avapata.^[6] Generally, it is the outcome of fear or perplexity caused by some eminent danger or invasion. Rarely, it may be due to joy as well.

(iv) Production of matter (Vastutthapana) Consists in presenting some fresh matter or causing situations anew by means of the art of conjuration and the like artifices. This elements is mostly chequrred with a variety of sentiments and tends to present the element of marvel in the action.^[7] In the opinion of Bharata, it presents that state, wherein all or many rasas are admixed in some shape or the other. It could be either simple or full of terror.^[8]

Footnotes and references:

[1]:

Sāhityadarpaṇa VI-135b; Rasārṇava-sudhākara I-282b.

[2]:

Daśarūpaka II-58. Sāhityadarpaṇa VI-136a;

[3]:

Nāṭaka-lakṣaṇa-Ratnakośa 1365-6.

[4]:

Rasārṇava-sudhākara i-283.

[5]:

Nāṭyaśāstra XX-60; Sāhityadarpaṇa VI-135a; Rasārṇava-sudhākara I-285b.

[6]:

Nāṭyaśāstra XX-53. Sāhityadarpaṇa VI-136b; Rasārṇava-sudhākara I-284.

[7]:

Sāhityadarpaṇa VI-134; Rasārṇava-sudhākara I-284; Daśarūpaka II-59.

[8]:

Nāṭyaśāstra XX-59.