Introduction to Rasa

-





Rasa (aesthetic relish) is the foundation of Indian dramaturgy and poetics, first systematized in Bharata Muni’s Natyashastra (c. 200 BCE–200 CE). Derived from the root ras (to relish), Rasa transcends mere emotion—it is a universalized experience evoked in the viewer (Sahridaya).

Core Principles:

  1. Rasa-Sutra:
    "Vibhāvānubhāvavyabhicārisaṃyogādrasaniṣpattiḥ" (NS VI)
    • Rasa arises from the union of:
      • Vibhāva (Determinants): Motives for emotion (e.g., a moonlit night for love).
      • Anubhāva (Consequents): Spontaneous physical reactions (e.g., smiles, embraces).
      • Vyabhicāribhāva (Transitory Emotions): Passing feelings reinforcing the core mood (e.g., anxiety in love).
  2. Sthāyibhāva (Permanent Mood):
    • The foundational emotion (e.g., Rati for love) hidden in every human, awakened by artistic performance.
  3. Rasa as Transcendence:
    • Associated to culinary relish: Spices (Bhavas) transform ingredients (Vibhavas) into a sublime taste (Rasa).


I. The Eight Primary Rasas & Their Anatomy

Bharata recognizes eight Rasas, each with unique emotional ecosystems:

1. Śṛṅgāra (Erotic)

  • Sthāyibhāva: Rati (Love)
  • Subtypes:
    • Sambhoga (Union): Joyful intimacy.
    • Vipralambha (Separation): Pining/longing.
  • Vibhāvas:
    • Ālambana: Lovers (e.g., Rādhā-Kṛṣṇa).
    • Uddīpana: Moonlight, flowers, secluded groves.
  • Anubhāvas: Side-glances, smiles, embraces.
  • Vyabhicāribhāvas (33 Transitory States):
    • Envy (Asūyā), fatigue (Śrama), longing (Autasukya).

Example: In Abhijñānaśākuntalam, Shakuntala’s longing for Duṣyanta exaggerates Śṛṅgāra through sighs and tearful gazes.



2. Hāsya (Comic)

  • Sthāyibhāva: Hāsa (Mirth)
  • Subtypes (6 Graduations):
    • Smita (gentle smile) → Atihāsita (fitful laughter).
  • Vibhāvas: Clumsy costumes, absurd dialogue, physical mishaps.
  • Anubhāvas: Twitching lips, raucous laughter.
  • Vyabhicāribhāvas: Laziness (Ālasya), stupefaction (Jadatā).

3. Karuṇa (Pathetic)

  • Sthāyibhāva: Śoka (Grief)
  • Subtypes (3 Expressions):
    • Mānasika (mental: sighing), Vācika (verbal: wailing), Āṅgika (physical: collapsing).
  • Vibhāvas: Death, poverty, separation.
  • Anubhāvas: Pallor, trembling, fainting.
  • Vyabhicāribhāvas: Despair (Viṣāda), depression (Glnāni).

4. Raudra (Furious)

  • Sthāyibhāva: Krodha (Anger)
  • Vibhāvas: Insults, battles, tyranny.
  • Anubhāvas: Clenched fists, red eyes, roaring.
  • Vyabhicāribhāvas: Excitement (Āvega), pride (Garva).

5. Vīra (Heroic)

  • Sthāyibhāva: Utsāha (Courage)
  • Subtypes (3):
    • Dānavīra (charity), Dharmavīra (righteousness), Yuddhavīra (battle).
  • Vibhāvas: Noble causes, adversaries.
  • Anubhāvas: Firm gaze, deep voice.
  • Vyabhicāribhāvas: Pride (Garva), recollection (Smṛti).

6. Bhayānaka (Terrible)

  • Sthāyibhāva: Bhaya (Fear)
  • Subtypes (3):
    • Vyaja (feigned), Aparādha (guilt-induced), Vitrasta (phobic).
  • Vibhāvas: Darkness, ghosts, isolation.
  • Anubhāvas: Trembling, choking voice.
  • Vyabhicāribhāvas: Stupefaction (Jadatā), epilepsy (Apasmāra).

7. Bībhatsa (Odious)

  • Sthāyibhāva: Jugupsā (Disgust)
  • Subtypes (2):
    • Śuddhaja (revulsion at filth), Udvegaja (horror at gore).
  • Vibhāvas: Corpses, vomit, decay.
  • Anubhāvas: Nausea, averted gaze.
  • Vyabhicāribhāvas: Sickness (Vyādhi), death (Maraṇa).

8. Adbhuta (Marvelous)

  • Sthāyibhāva: Vismaya (Wonder)
  • Subtypes (2):
    • Divyaja (divine visions), Ānandaja (earthly miracles).
  • Vibhāvas: Celestial beings, magical feats.
  • Anubhāvas: Wide-eyed stare, gasps.
  • Vyabhicāribhāvas: Hurry (Āvega), tears (Aśru).

+1. Śānta (Tranquil)

(Later addition by Abhinavagupta)

  • Sthāyibhāva: Śama (Peace)
  • Vibhāvas: Hermitage, scriptures, meditation.
  • Anubhāvas: Serene posture, closed eyes.
  • Vyabhicāribhāvas: Detachment (Nirveda), knowledge (Mati).

Anubhāva (Consequents)

  • Voluntary bodily reactions:

    • Śṛṅgāra: Caresses, sidelong glances.

    • Raudra: Brandishing weapons.

Sāttvika Bhāva (Involuntary Reactions)

8 Physiological responses:

Sveda (sweating), Stambha (paralysis), Romāñca (goosebumps), Svarbhanga (voice-break), Vepathu (tremors), Vaivarṇya (pallor), Aśru (tears), Pralaya (fainting).



Philosophical Debates: The "How" of Rasa



 Abhinavagupta’s Resolution (c. 950–1016 CE):

  • Sahṛdaya (Ideal Spectator): "One whose heart mirrors the artist’s intent."

  • Rasa as Transcendence:

    "Rasanā is Brahmanānda-sahodara"
    (Aesthetic bliss is akin to spiritual ecstasy)

    IV. Rasa in Practice: From Text to Performance

    Key Applications:

    1. Theatre: Costumes (Aharyabhinaya) amplify Raudra (e.g., red for fury).

    2. Poetry: Dhvani (suggestion) evokes Karuṇa through imagery of decay.

    3. Dance: Hand gestures (Hastas) crystallize Śṛṅgāra’s longing.

    The Sahṛdaya’s Role:

    • Must possess cultural competence to decode symbols (e.g., monsoon clouds = longing).

    • Barriers to Rasa: Ego, ignorance, literal-mindedness.

    Conclusion: Rasa as Universal Aesthetics

    Rasa theory transcends classical Indian arts:

    • Psychological Depth: Anticipates modern empathy studies.

    • Cross-Cultural Relevance: Resonates with Aristotle’s catharsis.

    • Legacy: Guides Bollywood narratives, Koodiyattam dance, and Tagore’s poetry.

    "Rasa is not felt; it is relished—a communion between artist and witness where the mundane dissolves into the sublime." 

Comments

Post a Comment

Popular posts from this blog

Introduction to Indian Poetics

-
Image
  Indian poetics is a vast and intricate field that encompasses literary theories, aesthetics, and critical frameworks developed over thousands of years. Unlike Western literary criticism, which often focuses on structural and post-structural analysis, Indian poetics emphasizes the experiential, emotional, and philosophical dimensions of literature. It is deeply rooted in classical Sanskrit traditions but has evolved through regional (Bhasha) literatures, Persian influences, and modern reinterpretations. Why Study Indian Poetics? Provides indigenous frameworks for analyzing literature. Bridges the gap between classical and contemporary literary studies. Offers insights into the cultural and philosophical underpinnings of Indian literature. Encourages interdisciplinary approaches (literature, philosophy, linguistics, performance studies). This newsletter explores two major domains: Sanskrit Poetics (the classical foundation) and Poetics in Indian Bhasha Literature (regional adap...
Read more

Dandin and The Kavyadarsha

-
Image
  Dandin and His Contribution to Indian Poetics  In the rich tapestry of Indian literary criticism, few figures shine as brightly as Dandin  (circa late 6th - early 7th century CE). A master of both poetic practice and theoretical formulation, Dandin's seminal work, the  Kavyadarsha  ("The Mirror of Poetry"), remains a cornerstone of  Alamkarashastra  (the Science of Literary Embellishment, or Indian Poetics). This discourse, concise yet deeply insightful, systematically explores the nature, structure, and essential qualities of  kavya  (literature/poetry), providing generations of poets and critics with a guiding light. This newsletter delves into the life, work, and enduring legacy of Dandin, unpacking the intricate technical vocabulary of the  Kavyadarsha  to illuminate its foundational role in understanding Sanskrit and broader Indian literary aesthetics. Indian Knowledge System Dandin: The Theorist and His Times Life and...
Read more

The Natyashastra

-
Image
  Discovering the Foundations of Indian Performing Arts & Literary Criticism Introduction to Indian Poetics Introduction: The Origin of Dramatic Art The  Natyashastra , accredited to the sage Bharata Muni, stands as India’s oldest surviving discourse on performing arts, encompassing theatre, dance, music, and poetics. Composed between 200 BCE and 200 CE, it is well-regarded as the  Natyaveda  (Fifth Veda), synthesizing foundations from the four Vedas: speech ( Rigveda ), song ( Samaveda ), acting ( Yajurveda ), and emotion ( Atharvaveda ).  Bharata systematized pre-existing artistic traditions into 6,000 verses, creating an encyclopaedic guide for creators, performers, and audiences. Unlike earlier fragmented works (e.g., by Parasara or Narada), the  Natyashastra  offers a complete framework for  natya  (drama) as a vehicle for moral education, aesthetic pleasure, and spiritual elevation. I. Core Poetics & Literary Thoughts The...
Read more