Defind the word Rasa and give detail note on the theory of Rasa types of rasa byBhartmuni.

#  Define  the word  Rasa and give detail note on the theory of Rasa and Type of Rasa.

Name : Radha B. Ghevariya 

Std. : M.A. SEM-2

Sub : Literary Theory and Criticism 

Roll no : 22 

Topic : Define  the word  Rasa and give detail note on the theory ofRasa and Type of Rasa.

Submitted to : Smt. S. B. Gardi Department of English 

Introduction

             Bharatiya Natyashastra an encyclopaedia  of Sanskrit literature is the earliest work on dramaturgy available at present the Natyashastra by Bhartmuni  is an ancient treatise the Natyashastra during 200 B.C to 200 A.D. it is know as the 15^th vaith because of it’s immense varieties there are 36000 sutras and  6000 slokas through which Bhartmuni talks about performing arts , theatre , dance , and music . that is why modern Indian critics often view to say .

“ Natyashastra is the foundation of fine arts

In India”

              The major question being discussed by Bhartmuni in his treatise “ the Natyashastra are how was drama born?” how should one built a theatre , dance like tandva the different variety of acting , the connect of character language , prosoding , musicing , employed in drama , the nature of rasa and Bhava etc….he has a given and analytical theory as far as rasa is a concern.

#   Theory of Rasa

             The very meaning of Sanskrit word Rasa is Juice or Essence . However     Bhartmuni has used the word in different contained the word rasa here, dose not mean any kind of liquid or syrup. According to Makarand Paranjap ;

“ Rasa in Bhartmuni is nothing but

The exposition of the structure of

human experience”

                However the Vedic meaning of Rasa refered to the experience of the supier reality which is one of the self existent delight thus , rasa is the emotion resulting from contemplation of various feeling according V.S. Seturaman :

 “ A blending of various Bhavas arises certain emotions accompanied by thrill and assence of joy is Rasa”

         Bhartmuni himself indentified the four kind  of Bhavas responsible for the various rasa . According to him ,

“vibhavaanubhavavyabhicharisamyogatrasanishpattihi”

           Here, Vibhava means determinates , Anubhava mean consequents , vyabhichari means transitory state and smyogat means combination . there are known as “state of mind” or “ state of being” there are ……

        1} Sthayibhava

        2} Anubhava

        3} Sattivikabhava

        4} Vyabhicharibhava

              

1} Sthayibhava

     

                     It is known as a dominant state of mind there are eight more sthayibhavas like love , meith , sorrow , enger , energy , terribal , discust and estoniment .

2} Anubhava

            Anubhava means bodily expression by which the emotions is expressed . eve non-verbal element also known as Anubhava.

3} Sattivikbhava

                 It is also known as Vibhava . Vibhava is the objective condition producing and emotion. Vibhava may be of two kinds.

-       Alambana

-       Uddipana

1} Alambana

                  Alambana Vibhava means a person or person with reference to whom the emotions is many-fested.

2} Uddipana

                 Uddipana Vibhava means the circumstances that have excited the emotions.

           There are eight kinds of sattivikbhava like paralysis , perspiration , horriplation, change of voice etc……

4} Vyabhicharibhava

                  Vyabhicharibhava means a serious of diverse emotions that feel the dominant emotions . it is known as transitory state of mind which are of 33 types. It comes and go like a lighting and within flickering of eyes.

# Types of Rasa

            Through the essence of all the rasa is the same , the test of each liquid acquire distinctiveness , because of it’s associations with Vibhava and Anubhava . during it’s experience the syrups of good Apple , lime and the sugarcane are all syrups and sweet , but have disting sweetness . in this respect the rasa may be classifies like different syrups . Bhartmuni classifies Eight rasas equivalent to eight sthayibhavas.

“  sringarahasyakarunaraudravirabhayanakah !

Bibhatsadbhutasamjana cetyashtav natye rasah smiritah”

            Thus , Bhartmuni has discussed the eight sentiment from the four original ones that are,

-       Erotic

-       Furious

-       Heroic

-       Odious

          The comic sentiments arises from the erotic. The pathetic from the furious , the marvellous from the heroic and terrible from the odious .

        Let us focus on the origins the colours and example of this sentiments.

1} the erotic sentiment

2} the comic sentiment

3} the furious sentiment

4} the pathetic sentiment

5} the heroic sentiment

6} the terrible sentiment

7} the odious sentiment

8} the marvellous sentiment

    Let us discuss about the more explanations of the this sentiment and example.

1} The Erotic Sentiment

           The sringara rasa proceeds from the dominant state of love and is associated with the God Vishnu . it has as its basis a bright and elegent attire . the  sringara is not only first in last but also  in the popularity. The matual affection of love is found not only between man and woman but also between birds , animals and all the other creature . since , love is conversant with every heart . it has the prominent place among the rasa it has two main bases.

-       Love-in-union

-       Love-in- sepration

          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 consequent such as clever movement of eyes , eyebrow , soft and delicate movement of the body , sweet words and similar other thing.

        The erotic sentiment in sepration should be represented on the stage by consequents such as indifference , fear , jealousy , anxiety, yearning , inactivity , death and other conditions.

         However , in sepration there will be hope, great or small of there meeting latter while in love will be a fear of sepration . because sometimes before the first union takes place, desire , may grow dominant and make lover languish.

for example:

           It is found in the first three act of Shakuntlam . which is written Kalidas after the union of Shakuntlam and dushyant sepration may occure due to the curse . the whole idea of the erotic sentiment can be summed- up wherein V.S.Seturaman  says,

“Srinagar is reach in pleasure , associated with desired object, favourable , music and poetry and is related with either the union or the separation of man and woman”

2} The comic sentiment

               The comic sentiment proceeds from the dominant emotion of laughter . the preciding deity comic sentiment is Pramathas . the comic sentiment is created by determinate such as showing unseemly dress or ornament , impudence greedings , quarrel , use of irrelevant words , mentioning of different fault and similar other things. However , T.N.Shreekantaiya humour is extremely difficult to analyse even the modern philosopher who have set out to examine the origin of this manifold humour , but the nature of it’s charm have not yet arrived at definite conclusion . while talking about the humour Bhartmuni says ,

“the humour arises from the grotesque and custom of others , shameless character craz for sensual ; pleasure , mischief foul words physical handicapped , occusation of other and the like …..”

      According to him these sentiment of two  main kinds ,

-       Self-centered

-       Centered-in-other

1)  Self –centered

    When a person himself laughs it relates to the self-centered.

2)Centered – in -others

                    When a person makes other person laugh by means of strange behaviour , by dress it is known as comic sentiment exist in other. On the basis theorist admit that humour has six different kinds.

-       Slight smile 

-       smile

-      laughter of  ridicule

-      valgur laughter

-      excessive laughter

      Two by two they belong respectively to the superior , the middling and the inferior types of persons.

1)slight smile

             It deals with the superior types of person .it should be characterterised by slightly blown  checks and elegant glancess and in it the teeth should not be visible.

2)Smile

      It  should be distinguished by blooming eyes , face and checks . it contrast with smita  in smile the teeth should be slightly visible.

3) Gentle laughter

           The gentle laughter should have slight sound and sweetness it should be suitable to the occusion and in it the eyes and the checks should be contracted and the face joyful.

4)Valugar laughter

               The laughter on occasion not suitable to it the laughter with tears in ones , eyes , or with the shoulder and the head violently shaking is called the Valugar laughter.

5)laughter of  Ridicule

           During the laughter of ridicule , the nose should be exampled the eyes  should be squinting , and the shoulder and the head should be bent.

6)  The excessive laughter

      The excessive laughter is that in which the eyes are exampaded and fearful sound is long and excessive and the slight are covered by hands.  Comic situation which may arises in the course of play for person  of superior modelling of inferior type are thus to be given expression by smile, blooming laughter , full laughter , loud laughter , mead laughter and hypocritical laughter  respectively.

3} The pathetic sentiment

                The pathetic sentiment arises from the dominant state of sorrow .it is usually presented through  determinates such as affliction under accurse , sepression from clear ones , loose of wealth, death , captivity , flight , accident or any other misfortune this is to be represented on the stage by the means of consequent . such as shedding tears , lamentation  dryness of the mouth , change of colour , dropping out of breeth ,loose of memory and the like,,,,some of the works in Sanskrit language are the best examples to generate pathos.

 for example

-       Shakuntlam

                      -  Kalidas

-          Raghuvansham

-          Kalidas

-       Kadambari

-           Banabhatt

          In sakununtala sepression of lovers due to curse generate pathos . while in Raghuvansham the death of Indumati stimulate  the pathetic sentiments. According to  Shreekantaiya,

“Pathos is the very delicate rasa during it’s experience the heart melts a great deal”

      Even among  Sanskrit poet Bhavbhuti went to the extent of suggesting that “ Pathos alone is Rasa”

4} The Furious sentiment

            The sathya for the rudra or fury is  Croth . it own its origin to Raksasas , danavas and haunghty men and is caused by fights . this is created by determinates such as Enger , rape abuse insult an true allegation exorcising , tereterning , revenge fullness , jealousy and the like . this is to be represented on the stage by means of consequent such as red eyes, knitting of eyebrows , defence biting of  the lips , movement of the checks , presing one hand with the other and the like…..according to V.S.Seturaman

“the furious sentiment is created by strayking , cutting multination and piercing in fights and tumult of the battle and the like”

             Many critics is that the furious sentiment is full of conflict of arms  and in it words , movement and deeds are terrible and tearfull , transitory states connected with the furious sentiment is are presence of mind determinations energy indignation , percepration , trembling , horriblilation , chocking voice and the like ,……

5)The heroic sentiment

          The heroic sentiment reflects to the superior type of person and has it’s basic the presiding deity of the sentiments is Indra and represented with the colour which is yellowish in reflection . according to critic ,

“the special condition such as energy ,perseverance  , optivision , absence of surprise and presence of mind facilight the nishpattihi virrasa”

       Theatrically , the virrasa is represented on the stage through formness , passions , heroism , charity , diplomacy and the like , transitory state in it are containment judgement , pride , energy remembrances etc,…..Bhartmuni , in Natyashastra has divided the rasa of valour into three kinds :-

1)  Valour of manificance (Danavira)

2)  Valour of virtue ( Dharmvira)

3)  Valour of war ( Yudhvira)

However , some of the recent critic , have add the fourth type “velour of mercy” ( Dayavira)  all the valour are inter related with each other.

6} Terrible sentiment

           The terrible sentiment has its dominant state of fear. Which is black in colour and is associated with the deity ‘yama’ . it is related with fear and scariness. It is usually created by gothic atmosphere like hideous , noise , side of ghost , panic and anxiety due to antimely cry of jocket and owels staing in and empty house of forest slight of death or capacity of  dear once of news of it or discussion about it . it is to be represented on the stage by conquient such as termling of the hand and the feet , horriblilation , change of colour and loss of voice , theatrically speaking . it is easy to perform the Bhayanaka rasa on the stage. According to T.N.Shreekantaiya though fear apper to be one of the nature tendency of man as he grow more civilized try to control in and thing it shameful to exhibit it. According to many critics fear is not newtrol to noble character and heroes on country what excites fear in ordinary people excites anger in violent .

7} Odious sentiment

             Sometimes a dout may arise how odious whose source is distinguished can became rasa if enjoyment is found in pathos , it is in the odious also but here in the vibhatsya the distress too great . even when a description of the repulsive is heard , feeling it many a time as if it is actually seen and experienced in real life. The odious sentiment 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 , fainting etc,……

8} The Marvellous Sentiment

               The marvellous  sentiment like Srinagar , a rasa which is perhaps more wide speeded  Adbhuta all experience wonder , fantastic , astoniment . which has its basic wonder begins from the time the child open is eyes and last till the end of its like . in poetry and drama there is a special importance for figure of speech like happerboll and effective comparison . which generate the marvellous sentiment . the marvellous sentiment has as its basic the dominant state of  astoniment . the preceding deity of the sentiment is Brahman . it is created by determinants search as slight of heavenly begins or events , attainment of object andrass into a superior mention temple , audience whole a seven storied palace and illusiory and magical acts…..it is to be represented on the stage by conquence such as wide opening of eyes , looking with fixed gase , horriblilation , tears , percepration , altering words of approbation , making gifts and similar other things thus V.S.Seturaman comments that the marvellous sentiment is that which,

“Arises from words , character ,deed and personal beauty”

      Bhartmuni  has mentioned this eight rasas in his treatise the ‘Natyashastra’ he elaborately states for each its colour the origins , the deity , the Vibhava , Anubhava and sancharibhava and how they should be acted . according to Shreekantaiya

“ the principle of rasa is the very kurnal of Indian poetics it is the nector that our thinker have obtained after charming the ossom of poetry”

       Till now we have considered the matter of pleasant experience called rasa by Bhartmuni but probably from the earliest period and the most importantly . the debate whether sant should be considered a rasa or not took place.

Conclusion

         Finally in 11^th century , the debate which to a conclusion by the time of abhinnavgupta . he admitted the santrasa and avoided it on the first place , after that nine rasas where thus established , he sealed the doors of the mention of the rasas . here, it is appropriate to cite wherein Mohan Thampi says,

“majority of the traditionalist ; considered that nine rasas are enough to cope with infant variety of literary product”