sem-2 paper-7 assignment

To evaluate my assignment click here

Name: Kajal Keraliya

Topic: Rasa Theory

Roll no.: 18

Paper no 7:  Literary Theory and Criticism

M.A: Sem-2

Enrolment no.:2069108420180030

Year: 2017-19

E-mail: Www.kajalk1@gmail.com

Submitted to:

Smt. S.B. Gardi Department Of English

Maharaja Krishnakumarsinhji

Introduction

Bharata Muni was an ancient Indian theotrologist and musicologist who wrote the Natyashastra, a theoritical treatise on ancient Indian dramaturgy and histrionics, especially Sanskrit theatre. Bharata is considered the father of Indian theatrical art forms. The Nattiyam comprises 36 chapters and is possibly the creation of more than one scholar. It dates from between the 3rd century BCE and the 1st-century CE.
Ancient Indian dance and music find their root in the Nattiyam. Besides propounding a theory of three types of acting, Bharata discusses in detail the classical Indian vocal/instrumental music and dance integral to Tamil drama. Bharata classified Sanskrit theatrical forms (Natyam/Rupaka) into ten types, of which drama (nataka) is one. Bharata also outlines a set of rasas or moods/emotions that were to be influential in defining the nature of Indian dance, music, and theatre.

   ‘’Natyashastra is the foundation of fine arts in India’’.

                    The major questions being discussed by Bharatmuni in his treatise ‘The – Natyashastra’ is that how was drama born? How should one built a theatre dances like Tandava, the difference varieties of acting, the customs of character, language, prosody and music employed in drama, the nature of rasa and bhava etc. He has given an analytical theory as far as rasa is concerned.

What is Rasa?

               According to Bharatmuni

            ‘’ Vibhava anubhava vyabhacari samyoght rasa nishpattihi’’

               

           The term of Bhava, Vibhava and Anubhava related with the NatyaSastra of Bharat Muni, and hence it is important to understand

the meaning of these terms.

  1.The Concept of Vibhava

                      Vibhava (hetu, karana, nimmita) means ‘Cause ’of what happens or is happening in life. Bharata has termed it as ‘Vibhava’ and has described its primary purpose as, creating the awareness of the emotions that the creator (Poet/Author) intends to.With the reference to artistic presentation (creative expression), Vibhava can be inntepreted as, ‘Developing the knowledge or understanding of a specific emotion (mental state) that the creator (Poet/Author) intends to convey through the means and modes of acting. The Vibhavas are of two types one is ‘Aalambana Vibhava’and the other is ‘Uddipana Vibhava’. In broader sense, they are the internal and external causes of something. ‘Alambana vibhava’is source of a particular emotion that determines its nature and ‘Uddipana vibhava’is the one, which enhances the emotion caused by a stimulant. It has no direct bearing or connection with the cause or consequence and it is not a part of the process but indirectly plays the role of enhancer of a particular emotion borne out of a stimulant. This can be best explained by many literary presentations such as works of Kalidasa or other renowned authors.

2. The concept of Anubhava

           The outward manifestations brought forth as a result of the Vibhavas are known as the Anubhavas. These are divisible in to Vacika- those which can be expressed by words (vac-“speech”) and the Angika which are expressed by bodily, expression, In Indian drama. For example, the Anubhava communicate to the audience, the emotions being felt by the characters on stage.

       There also “involuntary emotions” known as Sattvikabhava; Stambha (paralysis), sveta (sweating), Romanca(hair standing on end),Svarabheta, it means changes in one’s tone of voice. Vepathu (terembling.Vaivarnya it means change in the color of one’s face. Asru (becoming tearful) and pralaya, it means fainting.

3. The concept of Vyabhicharibhava

               This Sthayibhava (permanent Mood) is a major emotion which is developed by a number of minor feelings referred to as Vyabhicharibhava.we found there are thirty-three Vyabhicharibhavas: Nirveda (disintrest), Glani (tiredness), Sanaka (apprehension), Asuya (insecurity), Mada (intoxication),Srama (exhaustion ), Alasya (lethargy) , Dainya (pity), Cinta (anxiety), Moho (delusion), Smrti (recollection), Dhriti (steadfastness), Vrida (shame), Capalata (impulsiveness), Harasa (suddendelight), Avega (excitement), Jadata (stupor), Grava (arrogance), Visada (depression), Autsuka (longing)  Nindra (sleep), Apusmara (epilepsy), Supta (dreaming), Vibodha (awakening), Amarsa (restrained anger), Avahittha (deception), Ugrata (ferociousness), Mati (analysis), Vyadhi (sickness), Unmada (temporary insanity), Marana (death), Trasa (panic) and Vitarka (argumentiveness).

          For example, the erotic Rasa arises from the AlambhanaVibhava-presence of the lover and beloved, the UddipanaVibhava’s – the atmosphere of place where the two meet, the call of night birds; a gentle breeze, the moon, etc.: it gives rise to the Anubhavas-how the lovers express themselves to each other to holding hands and etc.it produces involuntary bodily responses (the Sattvikabhavas) and may give rise to complementary or transitory emotional states- the Vyabicharibhavas.

          It means for Bharata Rasa-the flavor or taste, emerges from the combination of the various emotional factors in the same way that distinctive taste of a cooked dish it is made from the different ingredients and the manner in which it is prepared. But when we eat the food, we enjoyed it with all ingredients. We cannot say that I eat only flour or only salt, but we enjoy combination of all ingredients not a particular ingredient. Same in Rasa theory a particular Bhava can’t provoke Rasa. But the mixture of all kind of Bhava provokes Rasa in our mind. Through the Bhava we come to know and understand about Rasa. ‘Beauty is always in completeness.’Bhava has no language, it comes from our mind.

                       “Our emotion is the gastric juice which transform world of appearance into the more intimate of sentiments. On the other hand this world has its own juices, and quality which excite our emotional activities. This is called in our Sanskrit Rhetoric, Rasa, which signifies outer juices having their response in inner juices of our emotions. And a poem, according to it, is a sentence or sentaining juice, which stimulate the juice of emotion, it brings to us ideas vitalized by feelings, ready to be made into the life-style of nature”

                                                                         -         Rabindranath Tagore

Ø Types of Rasa

“Shungarakarunaviraroudrahasyabhayanka,

Bibhatsadbhutashantshyanavanatyerasahsrmuta”

RASA	BHAVA	MEANING	COLOUR
Shringar(Erotic)	Rati	Delight	Pale Light Green
Hasya (Humorous)	Hasa	Laughter	White
Karuna (Pathetic)	Shoka	Sorrow	Grey
Raudra (Terrible)	Krodh	Anger	Red
Veera (Heroic)	Utsaha	Heroism	Pale Orange
Bhayanaka (Fearful)	Bhaya	Fear	Black
Bibhatsa (Odious)	Jugupsa	Disgust	Blue
Adbhuta (Wonderous)	Vismaya	Wonder	Yellow
Shanta (Peaceful)	Calm	Peace	White

(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 pathetic sentiment. ( karun rasa)

                                  Karun rasa arises from the dominant state of sorrow. It is usually presented through affliction under a curse, separation, from death, loss of wealth, dangerous and grievous accident or any other similar misfortune. Theatrically it is presented on the stage by means like shedding of tears, lamentation, dryness of mouth, change of color fainting etc. some of the best example in Sanskrit of work generates pathos are

                               “Shakuntala”

                                “Raghuvansham” by kalidasa

                                “Kadambari’’ – by Banabhatt

 

In Shakuntala separation of lover due to curse generates pathos. While in Raghuvansham the death of indumati, stimulates the pathetic sentiment. According to sreekantaiyya

                                “Pathetic is a very dedicate rasa, during its experience the heart melt a great deal”

                       Even among Sanskrit poets, Bhavbhuti went to the extent of suggesting that pathos alone is rasa.

3.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 .

                   Theatrically , the virrasa is represented on the stage through firmness , passions , heroism , charity , diplomacy and the like , transitory state in it are containment judgment , pride , energy remembrances etc,…..Bharatmuni , 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.        

                              

4. The Furious sentiments ( Raudra rasa)

             Raudra Rasa is one of the important rasa in Natyashastra and the dominant emotion or the Sthayi Bhava in this rasa is Krodha or anger. It takes its origin in the Raksasas, Danavas and very haughty human beings with a regular battle as its immediate cause. Its outcome is though the Vibhavas or determinants much as Krodha (anger), Dharsana (violation of modesty), Adhiksepa (abuse), Apamana (insult), Anrtavacana (uttering falsehoods), Vakparusya (Harsh words), Droha (animosity), Matsarya (jealousy) and kindred ones. The activities connected with Raudra Rasa are beating, tearing, harassing, chopping off, breaking, piercing, striking hurling missiles, shedding blood, seizing of weapons and similar activities.

                                  

5. The Comic Sentiment (Hasya Rasa)

                                          

                        Humor is extremely difficult to analyze even he 20^th 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,

        “The Humor arises from the grotesque and custom of others, shameless character craze for sensual; pleasure, mischief, foul words. Physical handicapped accusation of others and the like.”

        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.

                    

6.The Terrible sentiment.(Bhayanak Rasa)

                    The terrible rasa has its dominant state of fear which is black in color and it associated with deity ‘yama’.It is related with bright and scariness. It is usually reacted by gothic atmosphere like hideous, noise, sight of ghost, panic anxiety due to the ultimate cry of dangerous and wild animals, state of solitude ,battle etc. Theatrically speaking it is easy to perform the Bhayanakam rasa. It is presented on the stage through trembling of the hands and the feet, horriplation, change of color, heavy breathing etc.

7.the Odious sentiment ( Bibhatsa Rasa)

          Now the odious sentiment has as its basis the dominant state of disgust. Zit is created by determinants like hearing of unpleasant, offensive, impure and harmful things or seeing them or discussing them. It is to be represented on the stage by consequents such as stopping the movement of all limbs, narrowing down of the mouth vomiting, spiting like. Transitory states in it are epilepsy, delusion, agitation.

The odious sentiment arises. In many ways from disgusting sight, taste, smell, touch a sound which causes uneasiness.                               

(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.

Works Cited

Shodhganga.com

Indianetzone.com