Monday, May 9, 2022

Assignment Sem 2 : Rasa Theory

 

 

 

 

                                               Rasa Theory

Name – Janvi Nakum

 

Paper-  Literary Theory and Criticism and Indian Aesthetics

 

Roll no- 11

 

Enrollment no –4069206420210020

 

Email id – janvinakum360@gmail.com

 

Batch- 2021-2023(M.A. Sem – 2)

 

Submitted to – S.B. Gardi Department of English Maharaja Krishnkumarsinhji Bhavnagar University

 Indian Aesthetics

 Indian aesthetics is a unique philosophical and spiritual point of view on art, architecture and literature. In Indian aesthetics, a rasa (Sanskrit: रस lit. ‘juice’ or ‘essence’) denotes an essential mental state and is the dominant emotional theme of a work of art or the primary feeling that is evoked in the person that views, reads or hears such a work.

 Although the concept of rasa is fundamental to many forms of Indian art including dance, music, musical theatre, cinema and literature, the treatment, interpretation, usage and actual performance of a particular rasa differs greatly between different styles and schools of abhinaya, and the huge regional differences even within one style.

 The theory of rasa is attributed to Bharata, a sage-priest who may have lived sometime between the 1st century BCE and the 3rd century. It was developed by the rhetorician and philosopher Abhinavagupta (c. 1000), who applied it to all varieties of theatre and poetry. The principal human feelings, according to Bharata, are delight, laughter, sorrow, anger, energy, fear, disgust, heroism, and astonishment, all of which may be recast in contemplative form as the various rasas: erotic, comic, pathetic, furious, heroic, terrible, odious, marvelous, and quietistic. These rasas comprise the components of aesthetic experience. The power to taste rasa is a reward for merit in some previous existence. The theory of the rasas develops significantly with the Kashmiri aesthetician Ãndandavardhana’s classic on poetics, the Dhvanyāloka which introduces the ninth rasa, shānta-rasa as a specifically religious feeling of peace (śānta) which arises from its bhāva, weariness of the pleasures of the world.

 

 

School

Thinker

Text

Time

Rasa

Bharat

Natyashastra

Second C. B.C

Dhvani

Ãndandavardhana's

Dhvanyāloka

Sixth C. A. D

Alamkara

Bhamaha

Kavyalamkara

Ninth C. A. D

Vakroti

Kuntaka

Vakroktivijit

 Ninth C. A. D

Riti

Vamana

Kavyalamkarasutra

 Eleventh

C. A.D

Aucitya

Ksemendra

Aucityavicarcarca

Eleventh

C. A. D

 What is ‘Rasa’?

Rasa at one time meant ‘water’, ‘juice’ or ‘wine’. At another time it implied ‘essence’. In another context it meant ‘relish’ or ‘savouring’. There was a time when it indicated the primary constituents of medicine. It also meant ‘aesthetic pleasure’ or ‘enjoyment’ a meaning or association of meanings with which we are essentially concerned.

 Rasa Theory Context

Rasa Theory finds its root in the late Vedic period in Atharvaveda (200 BC- 100 BC). But Bharata Muni is regarded the father of Indian Rasa Theory as he gave major statement in his book Natyashastra  which is a Indian Treatise on performing arts, encompassing theatre, dance and music.

 Bharata, the great rhetorician has tried to explain how this aesthetic pleasure takes place. He has tried to give the theory of ‘rasa’ in one sutra (aphorism). He says:

 विभावानु भाव व्यभिचारी संयोगाद रस निष्पतिः।

 This means that rasa develops from the blending of vihara, anubhava and vyabhichari. It manifests itself when the sthayibhava, the emotion of the reader is correlated with the following three aspects presented in a piece of creative literature (i) excitant (ii) ensuing response and (iii) transitory feelings.

 These three should be combined into one. Many theoreticians have tried to explain the above mentioned aphorism in different way. Bhattlollata, Srisankuka, Bhattanayka and Abhinavagupta are the major commentators who have tried to explain the theory of rasa from their different and individual points of view.

 Characteristics of rasa

It is akhanda, complete and indivisible. It is a blending of all the three elements. One element alone cannot produce it.

It is sva-prakash, self-manifested. It needs no other agency. It is manifested on its own when the above mentioned three elements are finely blended.

It is free from the touch of any other perception. This means that to enjoy it, we must be wholly focused and concentrated.

It is a sheer joy. It is a pure state of consciousness. It is higher than the sensual pleasures that we derive from food, sleep, or intoxicants etc.

It is known as the joy that elevates one to brahmadanda, the joy supreme. It can be compared with the sublime joy or ecstasy that Longinus refers to in his views on ‘The sublime.’

It is beyond ordinary, physical and material, worldly joy. It is a sense of wonder or of surprise. It broadens one’s vision and understanding of life.

The poet through the manifestation of ‘rasa’ makes us partake the various experiences and emotions that we may not have experienced in our individual lives.

It is the spiritual experience that makes man identify with the spirit divine which is one and unfragmented whole. He experiences the feeling of oneness (advaita) through the experience of ‘rasa.’

 Types of Rasa

Before we understand the structure of ‘rasa’ in detail. We must understand the following four terms in some detail. These are as follows:

 Sthayibhava : permanent emotions or feelings.

Vyabhichari bhāva: transitory (fleeting) emotions.

Vibhava : excitant or stimulating determinants.

Anubhava : Consequent or ensuing response.

 Bhavas in Indian Aesthetics

Sthayibhava

These are the permanent or dominant moods.

 Later on, passiveness was added by Abhinavagupta and Ãndandavardhana's.

Sthayibhava are the basis of Rasa and are supreme among all Bhavas which are 49 in number.

Sthayibhava constitute the principal theme of a composition.

They run all emotions like garland and cannot be overpowered by them. Rather the latter feed and strengthen them and help them emerge as Rasa.

Vibhava

They are the situations which are responsible to bring out Sthayibhava. Vaibhav's have two aspects- Alambana and Uddipana. The person in whose mind Sthayibhava run is known as Allambana Vibhava.

 The moonlit, spring, soft breeze, fragrance of flowers are Uddipanana Vhibahavas. In other words, they are stimuli.

 Anubhava

They are their effect seen upon the character after the emotions arise in the actor(s). They make spectators feel or experience Abhinaya by words and gestures.

 Vyabhichribhavas

They are the transitory and temporary mental states.

They strike mind and become the cause of experiencing a permanent mood.

They are 33 in numbers. Some of them are a weakness, depression, anxiety, despair, etc.

They spring out of principal emotion and ultimately merge into it.

 They are like waves and bubbles that appear and disappear as the mighty stream of dominant emotion flows on, smiling and replying and dancing.

The realization of Rasa is the result of the union of Sthayibhava, Vibhava, Anubhav's, and Vyabhichribhavas. Rasa theory draws a clear distinction between real-life experience and art experience- unordinary. In order to realize Rasa that must possess an adequate degree of intellectual and emotional equipment.

 Nine Rasa in Rasa Theory

रतिहासश्च शोकश्च क्रोधोत्साहौ भयं तथा।

जुगुप्सा विस्मयश्चेति स्थायिभावाः प्रकीर्तिताः

 

No

sthayibhava

Rasa

1

Rati

Sringara (Erotic)

2

Hasa

Hasya (Comic)

3

Soka     

Karuna (Compassionate)

4

Krodha 

Raudra (Wrathful)

5

Utsaha 

Veer ( Heroic)

6

Bhaya   

Bhayanaka (Terrifying)

7

Jugupsa

Bibhatsa  (Odious)

8

Vismaya              

Adbhuta (Marvellous)

9

Nirveda

Santa (Tranqu)

 

 

 Rasa

 God

 Colour

Sringara

Vishnu

Light green

Karuna

Yama

Grey

Haysa

Shiva

White

Veer

Indra

Saffron

Rudra

Shiva

Red

Bhayanaka

Yama

Black

Adbhuta

Brahma

Yellow

Santa

Vishnu

Perpetual white

Bibhatsa

Shiva

Blue

 Rasas in Indian Aesthetics

Sringara Rasa

It is given the highest honor ever since the beginning of Poetics.

Sthayibhava or emotion of this erotic sentiment is Rati or love. Hero and heroine are Alambana Vaibhav's. Swam, youth, solitude, songs of cuckoo are Uddipana Vaibhav's.

Sideglances, twisting of limbs, brows are Anubhav's.

Leaving aside, the fight is Vyabhichribhavas.

Collectively they provide joy Shringara Rasa.

Karuna Rasa

It emerges due to Soka (grief).

It is pleasurable as it has the power to meet the human heart.

A deceased person is Alambana.

Reference to him is Uddipana.

Cursing destiny, stupefaction are the Anubhava.

Disgust, anxiety and uneasiness are Vyabhichribhavas.

Haysa Rasa

It is the comic elements. It happens by showing unseemly dress, ornaments, quarrels, defective limbs etc.

 Rudra Rasa

Anger, rape, abuse, insult, threatening, jealousy etc. ate Alambana Vhibahavas.

Beating, breaking, crushing, cutting are Uddipana Vhibahavas

Red eyes, knitting of eyebrows, biting of lips, determination, energy, restlessness and trembling are Vyabhichari Bhavas.

 Veera Rasa : zeal or utsaha ,Heroism

Bhayanaka Rasa : fear or Bhaya

Adbhuta Rasa : Vismaya, Wonder, Amazement

Santa Rasa  : Nirveda

Originally, there were six rasas but later the number of rasa became eight. In other words, we can say each related to a distinct human emotion like love, pity, fear, heroism, etc. Later the Santam rasa added by Abhinavagupta, but this inclusion was not easy.

 For instance, Shantam rasa functions as an equal member of the set of rasas. In addition to, the rasa is simultaneously distinct as being the most clear form of aesthetic bliss. However, according to the scholar Abhinavagupta, Shanta rasa is like the string of a necklace. Therefore, allowing the jewel of eight rasas to be relished, It is the main thing that gives form to the necklace

Critics, like Bharata Muni himself, Santam rasa cannot be treated as a rasa because its “sthayi bhava” is detachment. However, scholars argue that portraying such a state of cessation or detachment from all worldly desires is not possible on stage.

Reference

 

https://openart.in/general-topics/indian-aesthetics

https://englishsummary.com/rasa-theory/?msclkid=6a2a18f0d00611ec884336195777cf72

https://www.eng-literature.com/2021/05/rasa-theory-of-indian-aesthetics.htm

 

No comments:

Post a Comment

The Mechanics of Writing

  what is Mechanics of Writing ?  The mechanics of writing refer to the technical aspects of writing, such as spelling, punctuation, grammar...