Assignment, Paper 9: Literary Theory & Criticism and Indian Aesthetics

This blog is written as a part of the sem-2 assignment, submitted to the Department of English, MKBU.

 Name: Avani Jani

Roll: 3

Semester: 2

Enrollment number: 4069206420220014

Paper 9: Literary Theory & Criticism and Indian Aesthetics

Topic: Essay on any 5 Rasa.

Submitted to: Smt. S. B. Gardi Department of English, MKBU.

Write an essay on any 5 Rasa.

 Introduction: 

Indian aesthetics is a fascinating subject that delves into the principles and concepts of art and beauty in the context of Indian culture. At the heart of Indian aesthetics lies the Rasa theory, which is a fundamental concept that aims to capture the emotional experience evoked by art. The Rasa theory suggests that a work of art can elicit specific emotions in its audience and that these emotions can be distilled into a set of basic sentiments, known as Rasas. These Rasas are believed to be universal and applicable across all forms of art, be it literature, music, dance, or theatre. Understanding Indian aesthetics and the Rasa theory can offer a unique perspective on how art can be appreciated and experienced, and provide insights into the artistic cultural heritage of India.

Rasa Theory: 

                        “तत्र विभावानुभावव्यभिचारीसंयोगाद्रस्निष्पत्ति ।।”

            — आचार्य भरतमुनि (Shastri )

This above-mentioned definition means-

“The Sentiment is produced (rasa-niṣpattiḥ) from a combination (saṃyoga)] of Determinants (vibhāva), Consequents (anubhāva), and Complementary Psychological States (vyabhicāri-bhāva).” (Ghosh )

The literal meaning of the Sanskrit word "rasa" is "juice" or "essence." It is believed that Rasa Theory is superior to all other theories, four commenters wrote something about this Rasa theory of Bharata. Worthy to note that RASA comes out only because of these four BHAVAS Vibhav, Anubhav, Sancharibhav, Sthayibhav, and Sthayibhav. Natysastra is the foundation of fine arts in India.

Aristotle defines tragedy in Book VI as "an imitation of an action that is serious, complete, and of a certain magnitude; in language embellished with each kind of artistic ornament, the several kinds being found in separate parts of the play; in the form of action, not of narrative; through pity and fear affecting the proper purgation of these emotions" (Kennedy )

However, in Indian aesthetics, rasa refers to the emotional essence or flavor that is evoked in the audience through artistic expression. It is the emotional or aesthetic experience that the audience feels while experiencing a work of art.

Rasa is considered to be the ultimate goal of any artistic expression in Indian aesthetics, as it seeks to create an emotional connection between the performer and the audience.

Write an essay on any 5 Rasa.

The concept of Rasa theory is an integral part of Indian aesthetics and has been widely used to understand and analyze various forms of art. Rasas are considered to be the essential emotional experiences that are evoked by art, and there are eight Rasas in total. In this essay, we will discuss five of these Rasas and their significance in Indian aesthetics.

1] Shringara Rasa:

Shringara is one of the nine rasas of the Navarasas. Sringara rasa is the sentiment of love in Indian aesthetics, which is often depicted in Sanskrit literature, poetry, and drama. The emotion of love is expressed through various determinants or Vibhavas and consequents or Anubhavas, which create a sense of beauty, pleasure, and harmony.

While acting out Shringara rasa, the performer sports a sideward glance, a gentle smile, slightly raised and quivering eyebrows, and a joyous face. In Mohiniyattom, one of Kerala’s classical dance forms, Vipralambha shringara is a common theme and exquisitely portrayed.(“Shringara - Navarasas”)

Spring and Kamdeva, the god of love, are inseparable. In Indian aesthetic traditions, ananda (bliss), prem (love), and (beauty) blend to become one. Our experience of beauty is followed by delight, and the object of delight becomes the object of love. (Vijayalakshmi) There are varying qualitative forms of love such as love for a romantic partner, a mother's love for her child, and an individual's love for the divine. Love is an aesthetic experience that can enhance our lives and transform an individual into a selfless being.

Sringara has high visibility in the Indian arts. Natyashastra is not only a treatise, though it is the most ancient one, to mention this kind of rasa. The concept of navarasas existed even before Bharata composed Natyashastra. He acknowledges his debt to older masters. Post the age of Bharata, distinguished dramatic works in which Shringara forms the subject came into existence. These included poetic literature from the 7th century onwards. The kind of love treated may be divine or human, but the passion seldom falters. In the post-Gupta and medieval sculptures and Indian miniature paintings, the theme of Sringara is prevailing. In addition to these, the monuments, such as Konark and Khajuraho, come to mind with the mention of eroticism in the arts of India. But it is not erotica that comes to mind while thinking of Sringara. It is, rather, the sentiments in all its subtlety of aspects, its infinitely variegated forms, that figure so prominently in the arts. The mood and the flavor of love can be depicted and communicated movingly.(“Sringara Rasa - Natyashastra”)

One example of Sringara rasa in Sanskrit literature is the story of Radha and Krishna, which is often depicted in poetry and drama. In this story, the love between Radha and Krishna is described through various Vibhavas, such as the pleasant season of spring, fragrant flowers, and beautiful landscapes. The consequences of Sringara rasa are expressed through the sweet glances of Radha and Krishna, their movements, and their intimate conversations.

Another example of Sringara rasa in Sanskrit poetry is the famous work of Kalidasa, Meghaduta, where the love between the separated couple is expressed through the Vibhavas of the rainy season, beautiful mountains, and gardens. The consequences of Sringara rasa are depicted through the yearning and longing of the lovers for each other, expressed through various Anubhavas, such as anxiety, sorrow, and melancholy.

This following example in Gujrati fits well for the shringara bhava:

પોઢેલા પિયુના પરે ઝળુંબતી કો રંગભીની વધૂ,

વિશ્રંભે ચૂમવા ચહે નીરખીને એકાન્ત આવાસનું,

ઓચિંતાં પિયુનેન ત્યાં ઊઘડતાં છાયે મુખે લાલિમા,

થંભ્યો અધ્ધર ઊગતો ક્ષિતિજથી, તેવો દીસે ચન્દ્રમા!

2]Veera Rasa:

Veera rasa is the sentiment of heroism or valor in Indian aesthetics, which is often depicted in Sanskrit literature, poetry, and drama. The emotion of valor is expressed through various determinants or Vibhavas and consequents or Anubhavas, which create a sense of courage, strength, and confidence.

One example of Veera rasa in Sanskrit literature is the epic poem Ramayana, which depicts the valor and heroism of Lord Rama. In this poem, Rama's courage and strength are expressed through various Vibhavas, such as his powerful bow, his army of monkeys, and his loyal brother Lakshmana. The consequences of Veera rasa are depicted through Rama's fearless battles with powerful demons, his unwavering determination to save his wife Sita, and his ultimate victory over evil forces.

Another example of Veera rasa in Sanskrit poetry is the work of Bharavi, Kiratarjuniya, which depicts the valor and bravery of Arjuna, the hero of the Mahabharata. In this poem, Arjuna's courage and strength are expressed through various Vibhavas, such as his powerful bow, his divine chariot, and his loyal friend Krishna. The consequences of Veera rasa are depicted through Arjuna's fearless battles with powerful enemies, his unwavering determination to uphold dharma, and his ultimate victory over his foes.

In Sanskrit drama, the expression of Veera rasa is achieved through the use of costumes, makeup, and gestures. For example, the use of elaborate and colorful costumes and makeup can enhance the heroic qualities of the characters, while the use of powerful and dramatic gestures can create a sense of courage and strength.

The Natyashastra describes the Sancari Bhavas, which are the fleeting emotions that make up the Vira rasa. These include characteristics such as fortitude, intellect, pride, impetuosity, ferocity, indignation, recollection, horrification, and similar traits. Two verses in the Arya meter have been passed down traditionally regarding this topic. To create the Vira rasa, one must exhibit enthusiasm, perseverance, freedom from grief and surprise, and a lack of delusion. On stage, the Vira rasa should be portrayed effectively through actions such as scolding and censuring wrongdoers, displaying bravery, vigor, heroism, enthusiasm, aggressiveness, and heroic exploits.

Vira Rasa is one of the rasas in the Natyashastra and it deals with the exhibition of energy and enthusiasm with persons of high rank. The Vibhavas or determinants of Vira rasa are Asammoha or Composure and absence of infatuation, Adhyavasaya or perseverance, Naya or good tactics, Vinaya or humility, Parakrama or Valour, Shakti or Power, Pralapa or Aggressiveness, Prabhava or mighty influence and other similar things. The presentation of the Vira rasa on the stage is through the Anubhavas or Consequents such as Sthairya (firmness), Shaurya (heroism), Dhairya (patience), Tyaga (readiness to sacrifice), Vaisaradya (Proficiency) and the like. (“Vira Rasa in Natyashastra”)

3] Hasya Rasa:

Hasya rasa, also known as the sentiment of humor, is one of the nine rasas or emotional flavors in Indian aesthetics. It is a combination of joy and laughter that brings happiness and lightness to the audience.

In Sanskrit literature, Hasya rasa is often depicted through various comic situations and characters, such as the witty court jester or the bumbling sidekick. One example of Hasya rasa can be found in the play "Mrichakatika" by Shudraka. In this play, the character of Vasantasena, a courtesan, is being held captive by a wealthy merchant named Samsthanaka. However, when Samsthanaka tries to force himself upon her, Vasantasena outwits him and escapes. The situation is presented humorously, with Samsthanaka portrayed as foolish and Vasantasena as clever.

Another example of Hasya rasa can be found in the works of Kalidasa, such as in his play "Malavikagnimitram". In this play, the character of the jester Sarvilaka provides comic relief through his humorous antics and witty remarks. His humorous behavior and dialogue serve to lighten the mood and provide a contrast to the serious events taking place in the main plot.

Hasya Rasa is an integral part of the Natyashastra. Laughter is the Sthayi Bhava or the dominant emotion in Hasya rasa. The determinants or Vibhavas of Hasya rasa are Vikrtavesa (Unseemly dress), Vikrtalankara (misplaced ornaments), Dharstya (Impudance), Laulya (covetousness), Kalaha (quarrel), Asatpracapa (near-obscene utterance), Vyanga Darsana (displaying deformed limbs), Dosoda Harana (Pointing out the faults of others) and other related things. In the dramatic performance it is displayed through the Anubhavas or consequents like biting the lips, the throbbing of the nose and the cheek, opening the eyes wide, contracting the eyes, perspiration, the color of the face, holding the sides, and others.

The Vyabhicari Bhavas or the Transitory States of Hasya Rasa are lethargy, dissimulation, drowsiness, sleeplessness, dreaming, waking up, envy, and other things.

Hasya is of two kinds, Atmastha, or self-based, and Parastha, or based on others. When the actor laughs to himself it is called Atmastha when he makes another laugh it is called Parastha. The display of oddly placed ornaments, unseemly behavior, irrelevant words, faulty dress, strange movements of the limb, etc. makes people laugh so this Rasa is called Hasya. (“Hasya Rasa in Natyashastra”)

4] Karuna Rasa: 

Karuna rasa is an emotional flavor or sentiment in Indian aesthetics that encompasses feelings of compassion, empathy, and sadness. It is often depicted through tragic situations and characters in Sanskrit literature, such as in the play "Shakuntala" by Kalidasa or in the poems of "Gita Govinda" by Jayadeva. These works evoke a sense of sorrow and empathy in the audience, portraying the human experience of suffering and the desire to alleviate it. Karuna rasa serves to deepen our understanding of human emotions and the human condition, highlighting the importance of empathy and compassion in our interactions with others.

Karuna rasa is a very essential part of the Natyashastra. The dominant emotion or the Sthayi Bhava in Karuna rasa is soka or sorrow. The Vibhavas or determinants of Karuna rasa are curses, distress, downfall, calamity, separation from the near and dear ones, loss of wealth, murder, imprisonment, flight, dangerous accidents, and misfortunes. Its presentation in the stage is through the following Anubhavas, viz. discharge of tears, lamentation, parched throat, and mouth, pallor of the face, drooping of the limbs, gasping for breath, loss of memory, and other similar things. (“Karuna Rasa in Natyashastra”)

5] Rudra Rasa: 

Rudra rasa is an emotional flavor or sentiment in Indian aesthetics that is associated with feelings of anger, fury, and violence. It is often portrayed through characters that are fierce, aggressive, and destructive in Sanskrit literature, such as the deity Shiva in his fierce form. An example of Rudra rasa can be found in the epic "Mahabharata," where the character Bhima is depicted as a powerful and violent warrior who is capable of destroying his enemies. Another example is the depiction of the demon king Ravana in the epic "Ramayana," where his fierce and violent nature evokes a sense of fear and awe in the audience. The purpose of Rudra rasa is to evoke a sense of power and intensity in the audience, reminding us of the destructive potential of human emotions and actions.

(sculpture at Gangaikonda Cholapuram Peruvudaiyar Temple,India)

(Ugra Narsimha sculpture at Halebidu,India)

(Kalimata Statue Chandeshwori Temple Tokha Municipality Kathmandu Nepal)

Raudra Rasa is one of the important rasa in Natyashastra and the dominant emotion or the Sthayi Bhava in this rasa is Krodha or anger. It takes its origin in the Rakshasas, Danavas, and very haughty human beings with a regular battle as its immediate cause. Its outcome is though the Vibhavas or determinants much as Krodha (anger), Dharsana (violation of modesty), Adhiksepa (abuse), Apamana (insult), Anrtavacana (uttering falsehoods), Vakparusya (Harsh words), Droha (animosity), Matsarya (jealousy) and kindred ones. The activities connected with Raudra Rasa are beating, tearing, harassing, chopping off, breaking, piercing, striking hurling missiles, shedding blood, seizing weapons, and similar activities.(“Raudra Rasa in Natyashastra”)

Raudra Rasa is generated by the stimulation caused by battles, physical attacks, cutting and tearing, and other forms of violent mutilation. Its portrayal in theatrical performance involves the use of specific acts, such as launching various kinds of missiles and severing body parts like heads and arms. Therefore, Raudra Rasa is considered an intense and brutal activity that involves the wielding of weapons and the use of alarming words and actions, instilling fear and terror in the audience.

Conclusion: 

In conclusion, Rasas are an essential component of Indian aesthetics, and understanding their significance can help us appreciate the nuances and complexities of Indian art. By exploring the five Rasas discussed above, we can gain insight into the emotional experiences that are evoked by Indian art and understand how they contribute to the richness and diversity of Indian culture.

Words: 2436

Works cited: 

Ghosh, M. M. A Treastise on Ancient Indian Dramaturgy and Histrionics : Natyasastram Ascribed to Bharata Muni. CHAUKHAMBHA; First edition (1 January 2016).

“Hasya Rasa in Natyashastra.” Indianetzone.com, 18 May 2010, https://www.indianetzone.com/47/hasya_rasa_natyashastra.htm.

“Karuna Rasa in Natyashastra.” Indianetzone.com, 18 May 2010, https://www.indianetzone.com/47/karuna_rasa_natyashastra.htm.

“Raudra Rasa in Natyashastra.” Indianetzone.com, 27 July 2010, https://www.indianetzone.com/47/raudra_rasa_natyashastra.htm.

Shastri, Babul Shukla. NATYASASTRA OF BHARATMUNI 1-4 VOLS. ( Text With Hindi Translation). vol. 1-4, chaukhamba.

“Shringara - Navarasas.” Kerala Culture, http://www.keralaculture.org/shringaaram/33.

“Sringara Rasa - Natyashastra.” Indianetzone.com, 4 August 2010, https://www.indianetzone.com/47/sringara_rasa_natyashastra.htm.

Vijayalakshmi, Guru. “Expressing The Erotic: What 'Sringara Rasa' Means To Indian Dance.” Swarajya, 28 April 2017, https://swarajyamag.com/culture/expressing-the-erotic-what-sringara-rasa-means-to-indian-dance.

“Vira Rasa in Natyashastra.” Indianetzone.com, 18 May 2010, https://www.indianetzone.com/47/vira_rasa_natyashastra.htm.