Assignment: Paper no. 109

• Name:- Payal Bambhaniya

• Batch:- M.A. Sem. 2 (2022-2024)

• Roll no. :- 14

• Enrollment no.:- 4069206420220002

• Paper no.:- 109

• Paper Code:- 22402

• Paper Name:- Literary Theory & Criticism and Indian Aesthetics

• Topic:- Rasa Theory 

• Email ID:- payalbambhaniya92@gmail.com

• Submitted to:- SMT S. B. Gardi Department of English, MKBU.

Table of contents:-

• Introduction
• Rasa Theory
• Nine Rasas
• Conclusion 

Rasa Theory:-

Introduction:-

Indian Poetics refers to the study of poetry and literary Criticism in the Indian subcontinent. Poetics menas an internal theory of literature which defines, explains and judges the variety of literary works. The word Indian Poetics is often known as Sanskrit Poetics that lays principles and laws for interpretation of different literary forms. Bharat is known as the first pioneer of literary theory in Indian literary tradition. Bharata is a Philosopher of Kavya Shastra, his Natyashashtra is regarded as the major text of Indian Kavyashastra.Natyashashtra contains thirty seven chapters. The sixth chapter is the most important and crucial one. The  chapter is about the comprehensive analysis of rasa Theory, its manifestation, its experience, types of rasa and their nature.

Different Schools of Literature:-

•  Emotions - રસ 

• Implications -  ધ્વનિ 

• Principal of figurativeness - અલંકાર 

• Mode of Expression - રીતી 

• Principal of Deviation - વક્રોક્તિ 

• Propriety - ઓચિત્ય 

About Bharata :-

Bharata is known as the first pioneer of literary theory in Indian literary tradition. Bharata belongs to the second century BC, he writes Natyashashtra, in which is, the source text of many literary theories. It deals with the theory of Rasa that has been interpreted in various ways by different Philosophers and literary scholars. Rasa Theory asserts that entertainment is the desired effect of performance arts but not the primary goal and that the primary goal is to transport the individual in the audience into another parallel reality, full of wonder, where he experiences the essence of his own consciousness and reflects on spiritual and moral questions.

Rasa Theory:-

Rasa means essence, taste of flavour. Indian concept of aesthetic flavour, an essential element of any work of visual, literary, or performing art that can only be suggested, not described. It is a kind of contemplative abstraction in which the inwardness of human feelings suffuses the surrounding world of embodied forms. 

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 CE. It was developed by the rhetorician and Philosopher Abhinavagupta, who applied it to all varieties of theatre and poetry. The principal human feelings, according to Bharata , are delight , laughter, sorrow, anger, engery, 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, marvellous, and quietistic. These rasas comprise the components of aesthetics experience. The power to taste rasa is a reward for merit in some previous existence.

The word rasa appears in ancient Vedic literature. In Rigveda , it connotes a liquid, an extract and flavor. In Atharvaveda, rasa in many contexts means "taste", and also the sense of "the sap of grain". According to Daniel Meyer- Dinkgrafe- a professor of Drama, rasa in Upnishadas refers to the "essence, self- luminous consciousness, quitessence" but also "taste" in some contexts. In post Vedic literature, the word generally connotes "extract, essence, juice or tasty liquid". The concept of rasa is fundamental to many forms of Indian arts including dance, music, theatre, painting, sclupture, and literature, the interpretation and implementation of a particular rasa differs between different styles and schools. 

The origin of Rasa theory is in the sixth chapter of Natyashashtra, the Rasasutra. Bharat writes: विभािानुभािव्यभभचारिसंयोगाद्रसननष्पवि. The Sutra means that the aesthetic pleasure of an emotion happens by the integration of three elements: 

• Vibhav

• Anubhava

• Vyabhicharibhava

Vibhava:-  Vibhava means something that causes the rise of an emotion. So Vibhava  is a cause or determinant of an emotion. It is  हेतु, कारण or निमित . It is the objective condition producing the emotion like a set of objects, a situation, or a chain of events that would cause certain emotions. The primary purpose of Vibhava is to create the awareness of the emotions that the author intends. Vibhavas are of two types: one is alamban Vibhava and the other is uddipan Vibhava. Alamban Vibhava means the person or persons with reference to whom the emotion is manifested. Uddipan Vibhava means the external circumstances that help in enhancing the emotion. 

Anubhava:- Anubhava means the expressions. The gestures, smile, and glance of the person would be anubhava. The gestures are expressive of what is going on in the heart and mind of the two persons.

Vyabhicharibhava:- Vyabhicharibhava are transient emotions which are not primary emotions but reinforce the primary emotions. For instance, a woman eagerly waiting for her husband may feel anger for his being late, may feel anxious thinking that something might have happened to him, may feel happy at the thought of endearment might have happened to him, may feel happy at the thought of ending words he would say upon arrival. The interplay of Vibhava, anubhava and vyabhicharibhava leads to sthayi bhava. There are eight sthayibhavas discussed by Bharata in Natyashashtra and there are eight rasas. There are 4 pairs of rasas. For instance, Hasya arises out of Srinagara. The Aura of a frightened person is black, and the aura of an angry person is red. Bharata Muni established the following:-

• Romance- शृंगार 

• Laughter- हास्य 

• Fury- रौद्र 

• Compassion- करुण 

• Disgust- बीभत्स 

• Horror - भयानक 

• Heroism - वीर 

• Wonder- अद्भुत

And a ninth rasa was added by later authors. This rasa is Shantam: Peace or tranquillity.

• Romance - शृंगार रस

Bharata defines Srinagara rasa as " Whatever is sacred, pure, placid and worth-seeing can compose to shringara." Shringara rasa is a sthayibhava of love, whatever in the ordinary world is bright, pure, shining or beautiful is associated with love. It arises from vibhav such as a representation of the seasons, garlands, ointments, ornaments, people to one object of the senses, fine, homes, love making, going to gardens, listening to music, watching games and so forth. According to Bhojaraja, Sringara creates an attachment of a person to himself. His personality is expanded because of his self-love and self-attachment. Shringara rasa is of two types Sambhog rasa and Vipralambha Sringara rasa. The sambhog rasa means love in union and Vipralambha means love in separation. 

• Compassion - करुण रस 

Karun rasa has its central emotions as sorrow and pathos and are found very importantly both in Mahabharata and Ramayana. Bharata states in Natyashashtra that karun rasa means companate or the pathetic and sorrowful that comes from the primary rasa of Rudra or the furious. The result of furiousness should be known as the aesthetic experience of compassion. It is clear that Rudra is the primary source of the karun rasa and that leads to pathos or sorrow. 

• Rudra - रौद्र रस 

Rudra rasa indicates the sentiment of anger and furry. In the Natyashashtra the Rudra is explained as: it has anger for its permanent emotion. Demons, monsters and violent men are its characters. It is caused by battles. It arises from such vibhav as anger, provocative action, insult, lies, assaults, harshwords, oppression and envy. The sthayibhava or permanent state of Rudra is anger. This rasa is releted to an arrogant and angry state of mind. It has its roots in cruel actions and deeds. The vibhav of Rudra rasa is related to arrogent and angry state of mind.

• Heroism - वीर रस 

Vir rasa is derived from Utsaha, the sthyibhav of vir rasa is an enthusiasm, and discipline, power, courage, might and velour are some vibhav of its. The Sancharibhava of vir rasa are patience, remembrance, dignity etc. It is divided into the cause of the heroism. Vir rasa includes both internal and external conflict. The relation of vira rasa to other rasa is explained in Natyashashtra as: the awesome aesthetic experience comes from the heroic…the result of the furious should be known to be an aesthetic experience of compassion. 

• Laughter - हास्य रस 

Hasya rasa is an important sentiment of any literary work of art. Humor in work of art is not only comic relief but also it is predominant rasa. In all kinds of literature the Hasya rasa is found as the chief element which holds the attention of the perceiver. A literary work of art may turn uninteresting without the comic touch in the story, it will turn into heavy and unexciting watching or reading. In Natyashashtra it is said, when one laughs on one's own , that laughter is said to be existing in one. When one causes another person to laugh, the laughter is said to be existing in another person. The purpose of satire is to ridicule someone. It is a force indicating the weakness of contemporary social and religious life. It satirizes the weakness of society.

• Wonder- अद्भुत रस 

The Adbhut rasa is known as a marvelous sentiment. In Natyashashtra, Bharata explains the Adbhut rasa as follows, the permanent emotion of Adbhut rasa is wonder. It arises from such vibhav as seeing heavenly beings, gaining one's desired object, going to a temple, a garden or a meeting place, or seeing a flying chariot, a magic show. The feeling of wonder is involved in the state of excitement. The consequences or reaction of Adbhuta rasa dilation of eyes, horripilation, tears. 

• Horror and Disgust - भयानक रस और बिभत्स रस 

Bhayanaka and Bibhatas rasa deals with the terrifying and the disgusting emotions. These rasa are generally put together because these two rasa are so intimately connected, looking at them in isolation would make their discussion a little incomplete. In Natyashashtra Bharat Writes, the sight of the disgusting is terrifying. Bhayanaka rasa has fear. It arises from such vibhav as ghastly noises, seeing of supernatural beings, ghosts, fear and panic. The proper treatment of the emotions of fear and its representation of the Bhayanaka rasa can be developed.

• Peace - शांत रस 

Shanta rasa suggests a state of calm. The Sthayibhava of Shanta rasa is sama which leads to moksha, arising from vibhav such as knowledge of the truth, detachment, purity of mind etc. It should be acted out by means of anubhav , such as yama and niyama. Relishing the rasas and particularly Shanta rasa is hinted as being as good as but never equal to the bliss of self realisation experienced by yogis.

Conclusion:-

To sum up, Rasa theory takes into consideration the entire literary process from its conception in the mind of an artist to its final perception in the heart of a perceiver or reader. Rasa theory has a tremendous linguistic potential. Rasa theory emphasises the importance of emotions and aesthetic experience. It also recognised the role of cultural and historical context in shaping language and communication. 

Words count:- 1,776

Images:- 11