rasa theory and nine rasa's (ASSIGNMENT SEM. 2 ) PAPER .8 CULTURAL STUDIES ....

Name : Niyatiben A. Pathak

Roll No.25

Enrollment No.2069108420180042

Topic .

Paper. Criticism ...

Submitted to. Department of English MKNU.

General Information..

 According to Dimock Indian Poetics may be appropriated for Indian Literature. He believes ‘Sanskrit critics have taxonomic approach to the psychology of emotions’. The ‘taxonomic’ involves to more from the ‘personal’ to ‘transpersonal’. There is a highly particular level. It is the level of interpersonal aesthetic delight.

“An exhibition and enjoyment that is more like spiritual realization is very much present in Indian Literature”

-       K. R. Shrinivas Iyanger

“Our emotions are the gastric juices which transform this world of appearance into the more intimate world of sentiments. On the other hand, this outer world has its own juices, having their various qualities, 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 sentences containing juices, which stimulate the juices of emotion. It brings to us ideas vitalized by feelings, ready to be made into the life-style of nature”
Rabindranath Tagore

Introduction….

Rasa is Sanskrit and has many translations in English, the main ones being: essence, juice, nectar, taste, or sap. Rasa is in everything, or I should say… everything has Rasa. Though some things have a higher vibrational  essence, others lower, some even dead. Rasa is the invisible substance that gives life meaning.
Rasa ( relish , passion ) but it is also described  as the state of ecstasy in the union with divine  .
The theory of Rasa-Bhava establishes a relationship between the performer and the spectator. The model spectator is a Sahrdaya, someone ‘who empathizes with the author.’ Since the success of a performance is measured by whether or not the audience has a specific experience (rasa), the spectator becomes a vital participant in the play.

Bharata calls human soul as Bhava-Jagat (the world of emotions). Bharata and later authors explain how the Art universalizes emotions making them an instrument of appeal to the spectators. They say that the actor acts as bearer, media and connector of emotions of the character. By conveying emotions the actor step by step opens inner Bhava-Jagat of the character, creates special emotional atmosphere, which can be felt and relished. The actor introduces and involves the spectators into this emotional atmosphere. Thus, emotions of the character are spread through the actor to spectators, who share them collectively, as a group, by relishing the Rasa. Thus emotions are embodied and translated from one person to many.



In Tantra these 9 Rasas are the essence of all of our emotions ;----

Rasa is defined thus: / vibhava anubhava vyabhichari samyogat rasa/  

vibhava           — causes or mainsprings of emotion (characters setting  

                  season,      background etc)

anubhava       — effects of emotions that develop sentiments or rasas (anxiety, anger, depression through which love (the principal emotion) is expressed. Vibhava (determinants or catalysts)

bhav

The means by which an emotion is activated are termed Vibhava. There are two kinds of Vibhava – the Alambhana Vibhava – the person or the object in respect of whom the emotion is experienced and whose appearance is directly responsible for the bringing forth of the emotion; and the Uddipana Vibhava – the situation in the environment in which that person or object is placed and which is helpful in intensifying the emotional experience.

Anubhava (consequences)

The outward manifestations brought forth as a result of the Vibhavas are known as the Anubhavas. These are divisible into Vacika – those which can be expressed by words (Vac – “speech”) and the Angika which are expressed by bodily expressions. In Indian drama, for example, the Anubhavas communicate to the audience, the emotions being felt by the characters onstage.
There are also “involuntary emotions” known as Sattvikabhavas: Stambha (paralysis), Sveta (sweating), Romanca (hair standing on end), Svarabheta (changes in one’s tone of voice), Vepathu (trembling), Vaivarnya (changes in the colour of one’s face), Asru (becoming tearful) and Pralaya (fainting).

Vyabhicharibhava    — transitory states—33 in number. Vyabicaribhavas (complementary states)

The Sthayibhava (“permanent mood”) is a major emotion which is developed by a number of minor feelings referred to as Vyabicaribhavas. There are thirty-three Vyabicaribhavas: Nirveda (disinterest), Glani (tiredness), Sanka (apprehension), Asuya (insecurity), Mada (intoxication), Srama (exhaustion), Alasya (lethargy), Dainya (pity), Cinta (anxiety), Moho (delusion), Smrti (recollection), Dhrti (steadfastness), Vrida (shame), Capalata (impuliveness), Harsa (sudden delight), Avega (excitement), Jadata (stupor), Garva (arrogance), Visada (depression), Autsuka (longing), Nidra (sleep), Apasmara (epilepsy), Supta (dreaming), Vibodha (awakening), Amarsa (retstrained 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 Alambhana Vibhava – presence of the lover & beloved, the Uddipana Vibhavas’ – the atmosphere of the place where the two meet, the call of night-birds; a gentle breeze, the moon, etc.; it gives rise to the Anubhavas – how the lover & beloved express themselves to each other (i.e. holding hands, kissing, embracing); it produces involuntary bodily responses (the Sattvikabhavas) and may give rise to complementary (or transitory) emotional states – the Vyabicaribhavas.
For Bharata, Rasa – the flavour or taste, emerges from from the combination of the various emotional factors in the same way that the distinctive flavour of a cooked dish results from the different ingredients and the manner in which it is prepared.

CAUSE + EFFECTS + TRANSITORY STATES= RASA

Then Bharata speaks about the dominant states:- stayibhava, vyabhicharibhava, and satvikabhava. Satvikabhava is translated as temperamental state. Sat is connected with manas.

Stayibhava:- love, mirth, sorrow, anger, energy, terror, disgust, astonishment

vyabhicharibhava:-  discouragement, weakness, apprehension, envy, intoxication, weariness, indolence, depression, anxiety, distraction, recollection, contentment, shame, inconstancy, joy, agitation, stupor, arrogance, despair, impatience, sleep, epilepsy, dreaming, awakening, indignation, dissimulation, cruelty, assurance, sickness, insanity, death, fright, and deliberation.

Satvikabhava:- paralysis, perspiration, horripilation ( goose flesh), change of voice, colour, trembling, weeping and fainting.

4 kinds of histrionic representation— angika, vacika, aharya, sattvika (representation of temperament.

4 styles—        verbal (Bharati)(eloquent)

                         grand (sattvati)

                         graceful ( Kaisiki)

                        energetic ( arabhati)

4 usages—       avanti, dakshinatya, odramagadhi, panccalamadhyama.

2 practices— lokadharmi, natyadharmi.

2 groups of musical notes:- sari ra (body) and vainava ( from vina, instrumental)

3 types of playhouses—oblong, square, triangular.

RASAS EXPLAINED

Rasa is produced from a combination of determinants (vibhavas), consequents (anubhavas) and transitory states. Is there any dristanta for it?

TASTES  results from a combination of spices, vegetables and other articles. Six tastes are produced by articles such as raw sugar or spices or vegetables. So the stayibhava in combination with other bhavas become rasa.

What is the meaning of rasa—it is capable of being tasted- (asvadyate). How is rasa tasted?

It is said that just as  well-disposed persons while eating food cooked with many kinds of spices enjoy its tastes and attain pleasure and satisfaction, so the cultured people taste the dominant states (stayibhava) while they see them represented by an expression of the various states with works, gestures and the temperament and derive pleasure and satisfaction.

We shall now enumerate the Dominant states in different sentiments.

1. The Erotic Rasa

The Erotic (Sringara) Rasa proceeds from the Dominant State of love (Rati) and it has as its basis a  bright attire; for whatever in this world is white, pure, bright and beautiful is appreciated in terms of the dominant state of love (sringara).

            Hence the Erotic sentiment has been so named on account of its usually being associated with bright and elegant attire. It owns its origin to men and women and related to the fullness of youth.

It has two bases: union (Sambhoga) and separation (Vipralamba), of these two, the Erotic Sentiment in union arises from determinants like the pleasure of the season, the enjoyment of garlands, ornaments, (the company of) beloved persons objects (of senses), splendid mansions, going to a garden, and enjoying [oneself] there, seeing the [beloved one], hearing [his or her words], playing and dallying [with him or her]. It should be represented on the stage by consequents such as clever movement of eye, eyebrows, glances, soft and delicate movement of limbs and sweet words and similar other things. Transitory states in it do not include fear, indolence, cruelty and disgust. [The Erotic sentiment] in separation should be represented on the stage by consequents such as indifference, languor, fear, jealousy, fatigue, anxiety, yearning, drowsiness, sleep, dreaming awakening, illness, insanity, epilepsy, inactivity, [fainting], death and other conditions.

2. The Comic Sentiment      

The comic (hasya) sentiment has as its basis the Dominant emotion of laughter. This is created by determinants such as showing unseemly dress or ornament, impudence, greediness, quarrel, defective limb, use of irrelevant words, mentioning of different faults, and similar other things. This (the comic sentiment) is to be represented on the stage by consequents like the throbbing of the lips, the nose and the cheek, opening the eyes wide or contracting them, perspiration, colour of the face, and taking hold of the sides. Transitory states in it are indolence, dissimulation, drowsiness, sleep, dreaming, insomnia, envy and the like. This (sentiment), is of two kinds; self -centred and centred in others. When a person himself laughs it relates to the self – centred (Comic sentiment), but when he makes others laugh it (the comic sentiment therein ) is centred in others.

            It has six varieties of which I shall speak presently.  They are: Slight Smile (Smita), Smile (Hasita), Gentle Laughter (Vihasita), Laughter of Ridicule (Upahasita), Vulgar Laughter (apahasita) and Excessive Laughter (Atihasita). Two by two they belong respectively to the superior, the middle and the inferior types [of persons].

            To persons of the superior type belong the slight smile (Smita) and the smile (Hasita), to those of the middle type of Gentle Laughter (vihasita) and the Laughter of Ridicule (upahasita) to those of the inferior type the Vulgar Laughter (apahasita) and the Violent Laughter (atihasita)

3. The Pathetic Sentiment

            Now the Pathetic (karuna) Sentiment arises from the dominant state of sorrow. It grows from Determinants such as affliction under a curse, separation from dear ones, loss of wealth, death, captivity flight)[ from one’s own place], [dangerous] accidents or any other misfortune. This is to be represented on the stage by means of consequents such as, shedding tears, lamentation, dryness of the mouth, change of colour, drooping limbs, being out of breath, loss of memory and the like. Transitory states connected with it are indifference, languor, anxiety, inactivity, insanity, epilepsy, fear, fainting, sadness, dejection, illness, inactivity, insanity, epilepsy, fear, indolence, death, paralysis, tremor, change of colour, weeping, loss of voice and the like.

4. The Furious Sentiment

            Now the Furious (raudra) Sentiment has as its basis the dominant state of anger. It owes its origin to Raksasas, Danavas and haughty men, and is caused by fights. This is created by determinants such as anger, rape, abuse, insult, untrue allegation, exorcizing, threatening, revengefulness, jealousy and the like. Its actions are beating, breaking, crushing, cutting, piercing, taking up arms, hurling of missiles, fighting, drawing, of blood, and similar other deeds. This is to be represented on the stage by means of consequents such as red eyes, knitting of eyebrows, defiance, biting of the lips, movement of the cheeks, pressing one hand with the other, and the like. Transitory states in it are presence of mind, determination, energy, indignation, fury, perspiration, trembling, horripilation, chocking voice and the like.

5. The Heroic Sentiment

            Now the Herioc (vira) sentiment, relates to the superior type of persons and has energy as its basis. This is created by determinants such as presence of mind, perseverance, diplomacy, discipline, military strength, aggressiveness, reputation of might, influence and the like. It is to be represented on the stage by consequents such as firmness, patients, heroism, charity, diplomacy and the like. Transitory states in it are contentment, judgement, pride, agitation, energy (vega) ferocity, indignation, remembrance, horripilation and the like.

6. The Terrible sentiment

            Now the Terrible (bhayanaka) sentiment has as its basis the Dominant state of fear. This is created by Determinants like hideous noise, sight of ghosts, panic and anxiety due to (untimely cry of jackals and owls, staying in an empty house or forest, sight of death or captivity of dear ones, or news of it, or discussion about it. It is to be represented on the stage by consequents such as trembling of the hands and the feet, horripilation, change of colour and loss of voice. Its Transitory states are paralysis, perspiration, choking voice, horripilation, trembling, loss of voice, change of colour, fear, stupefaction, dejection, agitation, restlessness, inactivity, fear, epilepsy and death and the like.

7. The Odious sentiment

            Now the odious (bibhatsa) sentiment has as its basis the dominant state of disgust. It 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 the limbs, narrowing down of the mouth, vomiting, spitting, shaking the limbs [in disgust] and the like. Transitory states in it are epilepsy, delusion, agitation, fainting, sickness, death and the like.

8. The Marvellous sentiment

            The Marvellous (adbhuta) Sentiment has as its basis the dominant state of astonishment. It is created by determinants such as sight of heavenly beings or events, attainment of desired objects, entrance into a superior mansion, temple, audience hall (sabha), a seven – storied palace and (seeing) illusory and magical acts. It is to be represented on the stage by consequents such as wide opening of eyes, looking with fixed gaze, hooripilation, tears [ of joy] perspiration, joy, uttering words of approbation, making gifts, crying incessantly ha, ha, ha waving the end of dhoti or sari, and movement of fingers and the like. Transitory states in it are weeping, paralysis, perspiration like. Transitory states in it are weeping, paralysis, perspiration, chocking voice, horripilation, agitation, hurry, inactivity, death and the like.

 Bhava and Rasa

Bharata says that which can be relished – like the taste of food – is rasa: रस्यते अनेना इति रसः (अस्वादायत्व)

According to Bharata, the playwright experiences a certain emotion (bhava). The director of the play should properly understand the idea and bhava-s of the character and convey his knowledge and understanding to the actors. The actors perform their parts using their own vision and experience, but they should follow the main idea and key bhavas emphasized by the director, Sutradhara. 



The term bhava means both existence and a mental state, and in aesthetic contexts it has been variously translated as feelings, psychological states, and emotions. In the context of the drama, bhavas are the emotions represented in the performance. 



Bhava is that which becomes (Sanskrit root “bhoo”, “bhav” means “to become”); and bhava becomes rasa. In Natya Shastra it is said, that bhavas by themselves carry no meaning in the absence of Rasa’’. नहीं रसदयते काशीद_अप्यर्थः प्रवत्र्तते.”?Forms and manifestations of bhavas are defined by the rasa. It is therefore said, Rasa is the essence of art conveyed. 



Rasa is the emotional response the bhavas inspire in the spectator (the Rasika or Sahrudaya). Rasa is thus an aesthetically transformed emotional state experienced by the spectator. Rasa is accompanied by feelings of pleasure and enjoyment. Such emotions tunes perception of the spectators, they create atmosphere of empathy, make people more sensitive, help to open mind and heart to understand the idea and message of the play. 



Rasa is associated with palate, it is delight afforded by all forms of art; and the pleasure that people derive from their art experience. It is literally the activity of savoring an emotion in its full flavor. The term might also be taken to mean the essence of human feelings. 



Rasa is sensuous, proximate, experiential. Rasa is aromatic. Rasa fills space, joining the outside to the inside. What was outside is transformed into what is inside.

As Bharata asserts, “सत्व. . . is [something] originating in mind. It is caused by the concentrated mind. The सत्व

is accomplished by concentration of the mind. It’s nature cannot be mimicked by an absent-minded man.”

The Natya Shastra calls  सात्त्विका अभिनय the “Spirited” modes of abhinaya, but the best explanations link it to Stanislavsky’s “Magic ‘If’” and “Sense of Truth.” This allows the actor to convince himself the circumstances are real to the character, even though, as the actor, he knows they are not.

1. 1Love/Sringara… It is the ultimate Rasa. The king or queen emotion that heals
anything. It frees the ego and connects us to devotion. When you appreciate beauty it connects you to the source of love. It is the creative play between Shiva and Shakti, sun and moon, yin and yang. The purpose of the universe it to experience this divine love. This love exists in everything. It is within each one of us and radiates out to the cosmos.
 2.1. Joy/Hasya… This Rasa connects you to your humor, laughter, happiness and contentment. It is the extension of what you feel within love.

3.1.Wonder/Adhuta… Curiosity, Mystery, Awe. When you become fascinated with the idea of life. It is your playfulness and innocence. You enter into complete appreciation and become an explorer or adventurer. It is magic!

4. Courage/Vira… Bravery, Confidence, Pride. When you call upon your the Warrior that lives inside you. It is strong and vibrant

5. Peace/Shanta… Deep calmness and relaxation. When you become still and quiet. In peace you become so full that you are empty. You will not find peace anywhere but within.

6. Sadness/Karuna… When you can experience sadness and connect it back to the cosmos, you then experience compassion. Compassion is what connects us all. Through compassion we can relate deeply to each other. When ones sadness is truly experienced around a situation it can give a sense of completion. Grieving is a key aspect in healing.

. 7. Anger/Raudra… In anger we go into the fire. One moment of anger can destroy lifetimes of good merit. Respect anger. When anger isn’t honored it can bring up irritation, violence, hatred. Feel the anger. Let it move through you. Breath into the fire.

8. Fear/Bhayanaka… Doubt, Worry, Insecurity. When we live our lives in fear, we shut down completely.

9. Disgust/Vibhasta… self pity, Loathing, self hatred. Only through a loving emotion can you heal and appease disgust but bhakati rasa is the one which is revered most as all first 6--rasas can be attained  through भक्ति रस .how to taste the nectar of bhakati rasa the following methods has been  advocated----Bhakti is a Sanskrit term that signifies an attitude of devotion to a personal God that is similar to a number of human-human relationships (difference is that in bhakti relationships is soul-Supersoul, soul-God) such as beloved-lover, friend-friend, parent-child, and master-servant.

These nine principles of devotional service are described as helping the devotee remain constantly in touch with God.
Rasa means relish also --here is an example ---here is a discription by using an apple .you get an apple and from the outside the apple can look beautiful, shiny , red but then from inside that apple may be sour , mushy and disappointing .now , on the other side , you take an apple and take a bite , juice flies from the corners of your mouth , and the crisp sound cracks in your ears . the sweetest most lovely taste fills your mouth and little joy spreads throughout your body . it got the right amount of essence or rasa from the sun , the moon , the stars , the rain , the earth and was picked at the right time and eaten also at the right time therefore exploding with the  juice or nectar . this is the high vibrational rasa of apple .
so , all these rasas are in the human body for that matter in all the living kingdome and for that matter in universe also but man being man has to learn to keep the energy of all these rasas in balance  so as to enjoy the fruit of life and  enjoy the ecstatic experience of  भक्ति रस for the growth of soul / union of soul ~~ the main purpose of human life .

Natyaveda or Natyashashtra were divided into four parts:

1)Art of effective speech or recitation

2)Art of music

3)Art of acting and

4)Rasas

With the science or theory of which the Natyaveda is concerened,primarily presents Rasa,and the three acts are the means of its effective presentation.thus,it is an organic whole.so the Natya is divided into two parts mainly:Rasa & Presentation of Rasa.

The presentation of Rasa can be done in four ways:

1)Angika (Acting consiting part of body)

2)Vachika (Acting of speech organs)

3)Sattvika (The art of involve oneself in character and feel it which adds involuntary expressions

& gestures.

4)Aharya (The other supportive create atmosphere for play.

Sthayi bhava and vyabhachari bhava are the two types of bhavas.Rasas sre engendered from the combination of these three elements.

Vibhav,Anubhav,Vyabhichari bhav and Sanyog are essential for Rasa.

In brief let`s glimps on it:

Vibhav:it has two elements.

1)Alamban (It is the means of expression of feelings through which feelings reaches to the viewer.

2)Udipan (They are the events happens in the drama and the stage decoration as well as the atmosphere created by musis,light effect on the stage and depiction of the atmosphere through words in text.

Anubhav:it is the physical changes due to the rise of an emotion.these changes are voluntary as they can be produced by an effort of the will.they are called Anubhavas.

Vyabhichari Bhav:these are transient emotions.they are like waves,which rise from the ocean of the basic mental state and subside into the same.

Works Cited

(aesthetics), R. (2018, March 30). Wikipedia contributors. (W. contributors, Ed.) Wikipedia, The Free Encyclopedia.

Bibliography

(aesthetics), R. (2018, March 30). Wikipedia contributors. (W. contributors, Ed.) Wikipedia, The Free Encyclopedia.

study material . (2018).