# 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.
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 15th 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
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.
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 11th 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”
