Name::- Sneha Agravat
Batch:- 2020-22 (MA sem 2)
Paper 9:- Literary Theory& criticism and Indian Aesthetics
Topic name:-INDIAN POETICS: RASA THEORY
Roll no.:-16
Enrollment no.:-3069206420200001
E-mail Id :- snehaagravat2000@gmail.com
Submitted to:- S.B.Gardi Department Of English Maharaja krishnkumarsinhji Bhavngar University
Introduction:-
What the ancients thought about the name and nature of poetry may be had from the Risks of the Vedas and the texts of the Upnishads.
The Vedic texts declared that the poets were ‘Gods’- Kavi’ was the term they employed while invoking the foremost of the Gods- Ganapati- they addressed him as the poet’s poet. The poet was the seer of truth having a subtle, profound and penetrating consciousness.
Thus, the Vedic conception of a poet took into account all aspects of poetry:-
1)Its creation,
2)its manifestation and
3) its impact upon the reader.
Apart from the normal consciousness which we call jagrat, the Upnishads spoke of subtler states such as swapta, susupti and turiya not to mention in free conscious levels. The Upnishadic Seer – poet could withdraw, ingather or collect contain and concentrate his consciousness and come out to express his vision and experience. He had the world. He could thus give us the vision and he knew the way to get back to the source and testify to the authenticity of the transcript.
Categorize Indian poetic theory very important and useful to us understanding of Indianpoetic. Every form and construct of very inserting finding of literary poet of poetry and play or drama. Indian aesthetics is a vast field. Any attempt to discuss it in such a brief space as this can only be sketchy and deal with the broad tendencies. Hence, here I have only attempted to give its brief overview with reference to major trends. Many Theory Growth in medieval day. They classified regards …
Let's see the Rasa Theory:-
Rasa
Bharatiya Natyashastra and encyclopedia, is the earliest work on dramaturgy available at present.Bharatmuni and Ancient Indian musicologist has authored the theoretical treatise, the Natyashastra during two hundred B.C. to two hundred A.D.It is even known as 5th ‘Veda’ because of it’s immense varieties. There are 36 thousands ‘sutras’ (couplet) and 6 thousands ‘shlokas’ through which Bharatmuni talks about performing arts, theatre, dance and music. That is why modern Indian critic often use to say that
‘’Natyashastra is the foundation of fine arts in India’’.
The major questions being discussed by Bharatmuni in his treatise ‘The – Natyashastra’ is that how was drama born? How should one built a theatre dances like Tandava, the difference varieties of acting, the customs of character, language, prosody and music employed in drama, the nature of rasa and bhava etc. He has given an analytical theory as far as rasa is concerned.
What is Rasa?
From the critical thinking point of view one cannot you aside the immense value of Sanskrit literature Which has provided the most dominant views on literary Criticism. From the anciant time of Bharata to the present time. A lot many books written in Sanskrit explaining the nature of literature focusing on the essanse of literature. For example:- aesthetic delight.
While aesthetic delight is concerned, it was Bharatmumi,who in his most wonderful treaties Natyasastra, has established the theory of the Rasa, which has been acclaimed the most valuable concept of Sanskrit poetry. Thus, Bharata has been called a founder of the Rasa School.
Basically specking, the Rasa theory was an attempt to learnt the emotional effect of drama.i.e. the nature of enjoyment experienced by the spectators. The basic purpose of the Rasa theory was find out the aesthetic thought of any literary work. To explaine this very concept Bharata has given the maxim:-
विभानुभव व्याभिचारी संयोगात रसनिष्पति:।
It means the Rasa is born out of the combination of vibhava,Anubhaya and Vyabhicharibhava.
In order to learn the mentioned statement, it would be better than to learn the exact meaning of certain terminology. They are the different bhavas.
The Bhavas:-
They are the elements very much needed for the Rasa of poetry. They directly appeal to the heart of the readers. They can produce Rasa and they stand for emotions and hoods. They can be sthayi, vibhava, Anubhava, Vyabhichari and satvik.
Rasa is created only because of Vibhav , Anubhav and Vyabhicharibhava. VIBHAV is just like pilar of it and because of it Bhvak feels Rasa.Bharatmuni describes 33 Sancharibhava in Natyasastra.
Vibhav : Emotion arise because of Vibhav
Anubhav : Reaction of Bhavak
Sancharibhav : Come and go
Sthayibhav : like…. Love, Mirth, Sorrow ,etc….
Vibhava(determinants or catalysts):-
Vibhava means by which an emotion is activated are termed Vibhava. There are two types of Vibhava. 1) The AlambhanaVibhava –the person or the object in respect of whom the emotion is experienced and who’s appearance is directly responsible for the bringing forth of the emotion. 2) UddipanaVibhava, it means 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 in to Vacika- those which can be expressed by words (vac-“speech”) and the Angika which are expressed by bodily, expression, In Indian drama. For example, the Anubhava communicate to the audience, the emotions being felt by the characters on stage.
There also “involuntary emotions” known as Sattvikabhava; Stambha (paralysis), sveta (sweating), Romanca(hair standing on end),Svarabheta, it means changes in one’s tone of voice. Vepathu (terembling.Vaivarnya it means change in the color of one’s face. Asru (becoming tearful) and pralaya, it means fainting.
Vyabhicharibhava(complementarystates):-
This Sthayibhava (permanent Mood) is a major emotion which is developed by a number of minor feelings referred to as Vyabhicharibhava.we found there are thirty-three Vyabhicharibhavas: Nirveda (disintrest), Glani (tiredness), Sanaka (apprehension), Asuya (insecurity), Mada (intoxication),Srama (exhaustion ), Alasya (lethargy) , Dainya (pity), Cinta (anxiety), Moho (delusion), Smrti (recollection), Dhriti (steadfastness), Vrida (shame), Capalata (impulsiveness), Harasa (suddendelight), Avega (excitement), Jadata (stupor), Grava (arrogance), Visada (depression), Autsuka (longing) Nindra (sleep), Apusmara (epilepsy), Supta (dreaming), Vibodha (awakening), Amarsa (restrained 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 AlambhanaVibhava-presence of the lover and beloved, the UddipanaVibhava’s – the atmosphere of place where the two meet, the call of night birds; a gentle breeze, the moon, etc.: it gives rise to the Anubhavas-how the lovers express themselves to each other to holding hands and etc.it produces involuntary bodily responses (the Sattvikabhavas) and may give rise to complementary or transitory emotional states- the Vyabicharibhavas.
It means for Bharata Rasa-the flavor or taste, emerges from the combination of the various emotional factors in the same way that distinctive taste of a cooked dish it is made from the different ingredients and the manner in which it is prepared. But when we eat the food, we enjoyed it with all ingredients. We cannot say that I eat only flour or only salt, but we enjoy combination of all ingredients not a particular ingredient. Same in Rasa theory a particular Bhava can’t provoke Rasa. But the mixture of all kind of Bhava provokes Rasa in our mind. Through the Bhava we come to know and understand about Rasa. ‘Beauty is always in completeness.’Bhava has no language, it comes from our mind.
“Our emotion is the gastric juice which transform world of appearance into the more intimate of sentiments. On the other hand this world has its own juices, and quality 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.
Bharatmuni explained nine Rasa in Natyasastra.
According to critic Mohan Thamps ………..
“ Majority of the traditionalist; considers that nine rasas are enough to cope with infinite varity of literary production.”
Vibhava means determines, anubhava means consequences and vyabhacari means transitory state or feeling.
The Sanskrit meaning of rasa is that juice or essence. However Bharatmuni has used the word in different context. The word rasa here dose not like any type of liquid or syrup.
According to Makarand Patanjali:-
‘’ Rasa in Bharatmuni, is nothing But the exposition of the structure Of human experience’’.
The Vedic meaning of rasa is essence and it refers to the experience of the supreme reality, which is one of the self existence delights. Rasa is the emotion resulting from a contemplation of a various feelings.
Types of Rasa:
1. Fear – Bahyanak
2. Joy/happiness – Hasya
3. Anger – Raudra
4. Sadness – Karuna
5. Disgust – Bibhitsa
6. Surprise – shringar
7. Contempt – Veera
8. Interest (anticipation) – Adbhuta
श्रृंगारकरूणवीररौद्रहास्यभयानका।
बीभत्साद्भूतशांतश्च नवनाट्येरसास्मृता।।
- भरतः नाट्यशास्त्र
- छंद अनुष्टुप
other Four Critics of RASA theory:-
Bhatta Lollata Creationism
Shree Shankuka Permissiveism
Bhatta Nayaka Nepotism
Abhinavagupta Expressionism
Contribution of Bhatt Lollat in Rasa theory:-
In Rasa theory we found four schools (vada) of different critique. First one is Bhatt Lollat.His school known as ‘utpattivad’. He says that there is no Rasa in us, but Rasa should be created in our mind. He says thatwhat Nayak (hero) they create Rasa in our mind. According to him the rasa essentially embodies the emotional state that the work of art seeks to portray. It hopes to evoke a resonant emotion in the audience.
Contribution of Shree Shankuk in Rasa Theory:-
His vada (school) is known as ‘Anumativada’. His school introduce us some failure of BhattaLollat and try to clarify it, though we cannot found proper rasaprakreeya (proses of Rasa). According to him Rasa comes from the imagination (anuman) of the audience. We found four types of imagination 1. ‘yathartha’(as it is) for example he is Rama.2. ‘Sadrushya’ (like) he is similar to Rama.3. ‘Sanshya’ (doubt) he is like Rama. (4) Mithya (false) he is not Rama, first we believe that he is Rama but actually he is not Rama but a person played role of Rama.Same in the picture of Horse, and we cannot says that it is a Horse. We can also say that it is not Horse because it is a picture of horse not a real one. We can say that willing suspension of disbelief.
Contribution of BhattaNayaka in Rasa Theory:-
His school known as ‘Bhukteevada’. He gives a principal of ‘Sadharanikaran’. He was apposing to above both critique. According to him Rasa is not in Hero but audience has to create it. He says that ‘sadharnikaran’ (commonness) is necessary between audience and Nata(Hero) for creating Rasa or enjoying the play. Audience and Hero have power of grasping (Bhavn). He put more weigh on sthaibhava and sadharnikaran, and says rasa is not come from Hero,and not from original character.
Contribution of Abhinav Gupta in Rasa Theory:-
Abhinav Gupta was one of the Indian greatest philosophers, mystics and aestheticians. Forthcritique who talks about the Rasa theory, his school known as ‘Abhivyanjnavada’. In his work ‘Abhinavbharti’ he talks about Rasa theory. Inthis work, he writes about the rasasutra of Bharata in consonance with the theory of abhivyakti (expression).He says that when the hero (Nata) and the audience, both forget about their personality, who is he or her at that level they feel
Rasa and enjoy the play. For example, Mr. A played a role of hero or Rama. When Mr. A forgets that he is Mr. A and enters in to the character of Rama. He thinks that now he is original Rama. Form audience one person knows Mr. A at that time he can’t enjoy the play. But when he accepts Mr. A as a Rama and forgets that he is Mr. A. At this level both Hero and audience really get pleasure form the play.
We get true meaning of ‘Rasaprakriya’ from Abhinavgupta’s view on Rasa theory.
Conclusion:-
So, this is all about Bharatmuni, his Natyashastra and Rasa theory. In Rasa theory now there is nine rhetorical sentiments. May be this one added later as Bharatmuni only talk about the described eight Rasa and the ninth one is Shanta Rasa or Relaxation which represents the peace and state of mind. Normally this last Rasa can not be experienced because may be everyone’s mind is super busy in many things, in peaceful nature also the mind never stops working so this may be not experienced often as other sentiments are experienced.
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