P-109 Assignment, A brief introductory note on ‘Rasa’ theory.

 P-109 Assignment

 A brief introductory note on ‘Rasa’ theory.

Name-Kishan Jadav

Paper -109: Literary Theory & Criticism and Indian Aesthetics

Roll no-10

Enrollment no-3069206420200008

Email id- jadavkishan55555@gmail.com

Batch-2020-22 (MA Sem-2)

Submitted to- S. B. Gardi Department of English,   

Maharaja Krishnakumarsinhji Bhavnagar University

Introduction

Bharatmuni was an ancient Indian theatrologist and musicologist. He wrote the “Natyashastra”, a theoretical treatise on ancient Indian dramaturgy and histrionics especially Sanskrit theatre. He was consider as the father of Indian theatrical art forms.  A version of the Natyashastra had been in existence before the 3rd century.  The Natyasastra is a compendium of performed arts: drama, music, and dance. The Natyasastra was used through the fifteen hundred years of Sanskrit literature thought as the bedrock of literary theory. To many revivlistic Indian critics last two hundred years, Bharata has been the maker of the Rasa Theory. While there is no  denying that his fascinating insight in the psychology of aesthetic reception was the phenomenal triumph of intellect, it is necessary to remind ourselves that the Natyasastra is notdevoted solely to the exposition of Rasa theory. “Natyasastra is the function of fine arts in India.” In Natyasastra he talks about ‘Rasa theory’ and ‘Bhava’, he also talks about the connect of character,languages, prosoding, music employed in drama. The Sanskrit Natya theory is the creation of “Rasa.”

Process of Rasa theory:

“Rasa” is word which means juice and essence, in context of Bharatmuni Rasa is a kind of an essence which comes with the expressions of the artist, and the process is very interesting that first artist feels the emotion and expresses the feelings with body gestures and facial expressions and then it has understood by the audience and if audience also get the same feelings Rasa is evoked. Bharatmuni has identified the four kinds of bhava (emotions) responsible for the various Rasas, they are known as a state of mind or state of being they are Sthayibhava, anubhav, vibhava, and Satvikbhava. Bhava (emotions) are usful to evoke the Rasas in human mind. Bharatmuni has presented his theory of Rasa in the sixth chapter of Natyashashtra According to Bharatmuni, Rasa is the mixture of vibhav (determinate), aanubhav (consequents) and vyabhicharibhav (fleeting emotions), and with all this three emotions we can experience Rasa.

Types of Rasa

According to Bharata’sNatyashastra there is eight fundamental feeling or mental states referred to as Sthayibhavas which can be experienced by human beings. These are Delight (Riti) laughter (Hasya), Sorrow (Shoka), Anger (Krodha), Heroism (Utsaha), Fear (Bhaya), Disgust (Jugupsa), and Wonder (Vismaya).

          Corresponding to these mental states are eight Rasa:

(1)           The Erotic - (Srungara)

(2)           The comic – (Hasya)

(3)           The Pathetic – (kruna)

(4)           The Furious – (Raudra)

(5)           The Heroic – (Vira)

(6)           The Terrible – (Bhayanaka)

(7)           The Odious – (Bibhatasa)

(8)           Marvelous – (Adbhuta)

(9)           Peaceful – (Shanta)        (it was later added.)

The realization of Rasa is said to result from the union of three interrelated elements-Vibhava, Anubhava and Vyabicharibhava and also the permanent mood called Sthayibhava.

(1)   The  Erotic Sentiment (Shringara Rasa)

The Sringara Rasa proceeds from the dominant state of love and is associated with the Lord Vishnu. The mutual affection of love is found not only between man and woman but also between birds, animals and the other entire creature. The Erotic Sentiment in union arises from determinates like pleasure of the season the enjoyment of Garlands the company of beloved persons, objects etc…

It should be represented on the stage by the consequents such as clever movement of eyes, eyebrows, soft and delicate movement of the body, sweet word and similar other things.

KaviKalidasa in his AbhigyanaShakuntalam , the scene of union of Shakuntala and Dushiant at that time he write the best example of Sringara Rasa.

“Sringara is reach in pleasure, associated with desired object favorable music and poetry and is related with either the union or the separation of man and woman.

(2)   The Comic Sentiment (Hasya

Rasa)

Humor is extremely difficult to analyze even he 20th century philosophers who have set out to examine the origin of this manifold humor. But the nature of its charm has not yet arrived at definite conclusion. While talk about humor Bharatamuni says that,

 

When a person make laughter on himself or laughter related to his or her own self its cold self-centered laughter.

Centered – in – others is other form of laughter. When a person makes laughter on other person.In this there are six types of laughter.

(1)           Slight smile  (smita)

(2)           Smile        (hasita)

(3)           Gentle Laughter  (vihasita)

(4)           Laughter of Ridicule  (uphasita )

(5)           Valgure Laughter  (aphasita)

(6)           Excessive laughter  (atihasita)

The best example of Hasya Rasa is “TarakMahetakaUltaChashma”. It creat big laughter among the audience. It shows both types of laughers.

(3)      The pathetic Sentiment (Karuna Rasa)

The pathetic sentiment arises from the dominant state of sorrow. It is usually   presented through the separation from dear one, loose of wealth, death, accident or any type of misfortune. All this represent on stage by the means of consequents.

We found some best examples of Krun Rasa. In Abhigyanshakuntalam the separation of Shakuntala and Dhushiant due to cruse, it generates pathos. We also find same types of pathos in Romeo and Juliet, the death of Juliet create Karuna Rasa. According to shreekantaiya,

“Pathos is the very delicate Rasa, during its experience the heart melts a great deal.”

(4)  Furious Sentiment  (Rudra Rasa)

             “The Furious Sentiment is created by strayking cutting mutilation and piercing in fights and Tamalt of

The beltle and the like.”

Many critiques say that the furious Sentiment is full of conflict of arms, and in it words movements and deeds are terrible and tearful. Transitory states connected with the furious sentiment are presence of mind determinations energy indignation perception.

(5)      The Heroic Sentiment  (Vir Rasa)

According to critique Heroic sentiment is,

“The special condition such as energy, perseverance, optivison absence of surprise and presence of mind facility the NishpattihiVira Rasa”

The Heroic sentiment reflects to the superior type of person and has energy or enthusiasm has its basis. The presiding deities of the sentiments areIndra and represented with the color ‘yellowish or orange, mixture of both color’.

Theatrically the Virarasa is represented on the stage through firmness passions, heroism, charity diplomacy and the like. Bharatamuni in Natyashastra, he divided the Rasa of velour in to three kinds,

(1)           Valor of Munificence  (Danvira)

(2)           Valor of virtue    (Dharmvira)

(3)           Valor of war   (Yudhavira)

Resent critic have add the fourth type of ‘Valor of Mercy’(Dayavira). The entire valor interrelated with each other. We found, Karana in Mahabharta was called as Danvira.Udhishthira was known Dharmvira. Arjuna was Yudhavira. Shreedamaa was the best example of Dyavira.

(6)  Terrible Sentiment (Bhayanakarasa)

The Terrible sentiment has its dominant state of fear. Black color refers BhayanakaRas, and it associated with ‘Lord Yamaraja’. It is usually created by fearful atmosphere like Hideous, Noise, side of ghost panic and anxiety due to a timely cry of Jacket.It is to be represented on the stage by consequent such as term ling of the hand and the feet, horribilation, change of color and loss of voice. Ti is very easy to perform the Bhayanaka Rasa on the stage.

             Through rear appear to be one of the nature tendency of man as he grow more civilized try to control in and things it shameful to exhibit it. According to many critics fear is not natural to Nobel character and on contrary what excites fear in ordinary people excites anger in violent.In many horror movies we found Bhayanaka Rasa. When Rama in forest and fight with ‘Rakshasa’ at that time we fell ‘Bhaya’.

(7)      Odious Sentiment (Bibhastya Rasa)

             The Odious sentiments has its basic the dominant state of disguise it is created by determinants like hearing of unpleasant, offensive, impure and harmful things or sing them or discussing them. It is to be represented on the stage by consequent such as stopping the movement of all the limes. Narrowing down of the mouth vomiting.

              In other word Bibhastya is disgust. The emotion evoked by anything that nauseates us, that revolts or sickens us is Bibhastya. When something comes to our notice that is coarse and graceless, beneath human dignity, something which revolts or sickens us it is Bibhatsya that we feel. For example ‘When prince Siddhartha was a young man  and for the first time he sickness, old age and death, he was moved to disgust which later translate in to sorrow, deep introspection and peace, as he transformed into Gautama, the Buddha.” 

(8)        The Marvelous Sentiment (Adabhuta Rasa)

             The marvelous sentiment has its basic dominant state of atonement. The preceding deity of the sentiment is ‘Brahman’. It is created by determinants search as slight of heavenly begins or events attainment of object. In this we found superior mention or temple, and seven storied place and illusory and magical acts.It is to be represented on the stage by consequence such as ‘wide opening of eyes, looking with fixed gas horribilation and tears with joy. Bharatamuni has mentioned this Rasa in his treaties the ‘Natyashastra’ he elaborately states for each its color.

                     “The principle of Rasa is the very soft of Indian poetics. It is the nectar that our thinker has obtained after charning the ossom of poetry.”

                                                                    -Shreekantaiya

             Adbhuta Rasa is acuriosity of man regarding the creation of the world and all its wonders, For example, ‘the glory of a king returning from a successful battle, the magical feats of a god are both adbhutafor a common man.’

(9)  The Peace Sentiment (Shanta rasa)

                  This Rasa is added later after all eight Rasa. Shant is serenity and peace. It represents the state of calm and unruffled repose that is marked simply by the lake of all other Rasa.Because all emotions are absent in Shanta there is controversy whether it is a rasa at all. According to Bharata, the other eight rasa are as proposed originally by Brahma, and the ninth, shanta, is his contribution. It represents complete harmony between the mind, body and the universe. Shanta rasa is what Buddha felt when he was enlightened, when he reached the higher spiritual plane that led him to salvation or nirvana and freed him from the cycle of life and death. We can say that when we go to nature and seat on the green hill site at that time we feel peace, it also called shanta rasa. Shanta is a clear and cloudless state. Shanta is untroubled steadiness. Shanta is the key to eternity.

Conclusion:

Thus, if rasa created between actor and audience but yet there are types in rasa also. We can’t say it is only one but there are nine rasa and through it we can enjoy any dance of performance. So after all we can say that rasa are very important to judge any dance or performance. We are unable to judge without these nine rasa. It helps us to understand or evaluating an art so it is very important. These all rasa are related to human nature we can find it in human being.

Workcited :

Encyclopedia Britannica. 2021. Rasa | Indian aesthetic theory. [online] Available at: <https://www.britannica.com/art/rasa> [Accessed 29 May 2021].

INDIAN CULTURE. 2021. The rasa theory: an essay in understanding. [online] Available at: <https://indianculture.gov.in/rasa-theory-essay-understanding> [Accessed 29 May 2021]

"Rasa Theory (Indian Aesthetics); Summary & Analysis • English Summary". English Summary, 2021, https://englishsummary.com/rasa-theory/#Features_of_Rasa_Theory&gsc.tab=0