Assignment 109

Rasa Theory

Name: Emisha Ravani

paper: 109 Literary Theory & Criticism and Indian Aesthetic

Roll no: 07

Enrollment no : 4069206420210031

Email id: emisharavani3459@gmail.com

Batch : 2021-2023(M.A sem 2) 

submitted to: S. B. Gardi Department of English, maharaja Krishnakumarsinhji bhavnager University

The word rasa appears in ancient Vedic literature. In Rigveda, it connotes a liquid, an extract and flavor.[12][note 1] In Atharvaveda, rasa in many contexts means "taste", and also the sense of "the sap of grain". According to Daniel Meyer-Dinkgräfe – a professor of Drama, rasa in the Upanishads refers to the "essence, self-luminous consciousness, quintessence" but also "taste" in some contexts.[12][note 2][note 3] In post-Vedic literature, the word generally connotes "extract, essence, juice or tasty liquid".[1][12]

Rasa in an aesthetic sense is suggested in the Vedic literature, but the oldest surviving manuscripts, with the rasa theory of Hinduism, are of Natya Shastra.

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 (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.

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 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 (1st century AD Approx) 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:

vibhava anubhava-vyabhichari-samyogad rasr-nisapattihi (N.S.6th ch).

विभावानु भाव व्यभिचारी संयोगाद रस निष्पतिः।

This means that rasa develops from the blending of vibhava, 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.

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.

Vyabhicharibhava: transitory (fleeting) emotions.

Vibhava : excitant or stimulating determinants.

Anubhava : Consequent or ensuing response.

Sthayibhava

Sthayibhava means permanent emotions inherent in all human beings. They are dormant, inborn and innate emotions that are acquired by training or education. They are permanent feelings deeply embedded in human psyche. They are eight in number but some rhetoricians have added three more.

Let us have a look at the main eight or nine sthayibhavas.

Sthayibhavas

Rati (Love)

Hasa (Laughter)

Soka (Grief)

Krodha (anger)

Utsaha (Enthusiasm)

Bhaya (fear).

Jugupsa (Disgust)

Vismaya (astonishment)

Nirveda (Indifference/renunciation).

Vatsalya (Affection for children).

Sneha or Sahacarya (Desire for the companionship particular friend).

 

These sthayibhavas are manifested into the following rasas:

Sl. No.    Sthayibhava    Rasa

1.    Rati    Sringara (Erotic)

2.    Hasa    Hasya (Comic)

3.    Soka    Karuna (Compassionate)

4.    Krodha    Raudra (Wrathful)

5.    Utsaha    Vir (Heroic)

6.    Bhaya    Bhayanaka (Terrifying)

7.    Jugupsa    Bibhatsa (Odious)

8.    Vismaya    Adbhuta (Marvellous)

9.    Nirveda    Santa (Tranquil)

Sthayibhavas are comparatively stable and last longer. They are frequent and more powerful. Generally, all human beings experience them now and then. Sancharibhavas contain ancilliary emotions. The sancharibhavas or vyabhicharibhavas are said to be 33 in number.

They are as follows:

Sancharibhavas or Vyabhicharibhavas

Nirveda (Despondency or indifference)

Glani (Weakness languishing)

Sanka (Apprehension)

Asura (Envy or jealousy)

Mada (Intoxication)

Srama (Fatigue)

Alasya (Indolence)

Dainya (Depression)

Cinta (Anxiety)

Moha (Delusion)

Smrti (Recollection memory)

Dhrti (Contentment)

Vrida (Shame)

Capalata (Inconstancy)

Harsa (Joy)

Avega (Agitation)

Gaiva (Arrogance)

Jadata (Stupor)

Visada (Despair)

Antsukya (Longing)

Nidra (Sleep)

Apasmara (Epilepsy)

Supta (Dreaming)

Vibodha (Awakening)

Amarsa (Indignation)

Avahitta (Dissimulation)

Ugrata (Ferocity)

Mati (Resolve)

Vyadhi (Sickness)

Unmada (Insanity)

Marana (Death)

Trasa (Terror)

Vitarka (Trepidation)

There are sattvikabhavas or involuntary states or inbuilt body responses besides other bhavas. They are eight in number.

Stambha (paralysis)

Pralaya (fainting)

Romanca (horripilation)

Sveda (Perspiration)

Asru (Tears)

Vairarnya (Change of colour)

Vipathu (Trembling)

Vaisvarya or svarahbhanga (Change in voice/ breaking of the voice).

Vibhava

The vibhavas or determinants help in development of a feeling in sentiment. These vibhavas are of two kinds: alambana (supporting) and uddipana (excitant).

Anubhava

Anubhavas are the consequents or reactions to these deternminants. Thus according to Bharata, through the union of vibhava, anubhava and sancharibhava rasa is manifested.

Let us take an example of karuna rasa. The view play, for example, experiences the feeling of grief (se manifest in the performer. A number of vibhavas are such cases such as death of some loved one, misfortunes, sufferings etc. They depend on visaya, asraya, and uddipana. vibhava of soka takes different visible forms depending on the nature of the experienced. Abhinaya indicates the sthayibhavas. Bharata uses the word ‘nispatti’ (rendering) of rasa through bhavas in sahrdaya. In the sentiment of soka (grief), there may be anubhavas like mourning (vilapa), weeping (rudana), shedding of tears etc. Sattvikbhavas would be indicated through tears, change of voice etc. In abhinaya, we find actions like weeping, paleness of face, change of voice, deep breathing, fainting, immobility, loss of memory etc.

According to Bharata, each rasa has three subtypes based on three gunas sattva, rajas and tamasa. The quality of vibhava, the source of sthayibhava determines the types of correlated rasa. Even karuna rasa may be sattvika, rajasika or tamasika depending on the cause of grief. For example, grief caused by destruction of righteousness is sattvika, grief caused by loss of worldly reputation or wealth is rajasika and grief caused by the personal loss of one’s own is tamasika. Thus, the theory of rasa is related with yoga as well as the Vedantic philosophy of India. In the succeeding chapters, we shall deal with individual ‘rasas’ in some details.

ninth rasa was added by later authors. This addition had to undergo a good deal of struggle between the sixth and the tenth centuries, before it could be accepted by the majority of the Alankarikas, and the expression "Navarasa" (the nine rasas), could come into vogue.

Śāntam: Peace or tranquility.[24] deity: Vishnu. Colour: perpetual white.

Shānta-rasa functions as an equal member of the set of rasas, but it is simultaneously distinct as being the most clear form of aesthetic bliss. Abhinavagupta likens it to the string of a jeweled necklace; while it may not be the most appealing for most people, it is the string that gives form to the necklace, allowing the jewels of the other eight rasas to be relished. Relishing the rasas and particularly shānta-rasa is hinted as being as-good-as but never-equal-to the bliss of Self-realization experienced by yogis.

Characteristics or Rasa

But before we conclude, let us enumerate the salient characteristics or 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 brahmananda, 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.’

Work cited : 

Sarkar, Somnath, et al. “Rasa Theory of Indian Aestheticsu.” All About English Literature, 20 July 2021.