TOPIC: RASA THEORY BY BHARATMUNI
SUBJECT; LITERORY THEORY AND CRITICIS: 20TH WESTERN AND INDIAN POETICS
NAME: AMI SOJITRA
COLLEGE: DEPARTMENT OF ENGLISH, MAHARAJA KRISHNAKUMARSINHJI BHAVANAGAR UNIVERSITY
SEMESTER;2
EMAIL: amisojitra23@gmail.com
Bharatiya Natyashastra an encyclopedia of
Sanskrit literature is the earliest work on dramaturgy available at present the
Natyashastra by Bharatmuni was an ancient treatise the Natyashastra during 200
B.C to 200 A.D. it is known as the 15th vaith because of its immense varieties
there are 36000 sutras and 6000 slokas
through which Bharatmuni talks about performing arts , theatre , dance , and
music . That is why modern Indian critics often view to says :
“Natyashastra is the
foundation of fine arts
In India”
The major question being
discussed by Bharatmuni 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
Bharatmuni has used the word in different contained the word rasa here,
dose not mean any kind of liquid or syrup. He said that:
“No any meaningful idea
is conveyed if rasa is not evoked”
However the Vedic meaning of Rasa referred
to the experience of the superior 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 essence of joy is Rasa”
Bharatmuni 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
# 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 -Heroic
- Furious -Odios
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(shringara
rasa)
2} the comic sentiment(Hasya rasa)
3} the furious sentiment(raudra rasa)
4} the pathetic sentiment(karuna
rasa)
5} the heroic sentiment(vir rasa)
6} the terrible sentiment(Bhayanaka
rasa)
7} the odious sentiment(Bibhatsa
rasa)
8} the marvellous sentiment(Adbhauta
rasa
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:
In the film “Akashvani” we find that when they
both are together its seems like a sweet and lovely atmosphere. But just
because her sister run away the love in separation occurs.
2)
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 craze 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-Oters
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 4) ) Valugar laughter
2)Smile 5) laughter
of Ridicule
3) Gentle laughter 6) The excessive laughter
Example:
Series of the film Golmal and Heraferi
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”
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 etc.
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 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.
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 noise, side of ghost , panic and anxiety due to untimely cry of jackal and
owls stating 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 conquest such as trembling of the
hand and the feet , horriblilation ,loss of voice , theatrically speaking . It
is easy to perform the Bhayanaka rasa on the stage. According to many critics
fear is not neutral to noble character and heroes on country what excites fear
in ordinary people excites anger in violent .
7} Odious
sentiment
Sometimes a doubt 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 Rasa where thus established
, he sealed the doors of the mention of the Rasa . 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”
