Exploring the Depths of Human Emotion: Rasa Theory in Kalidasa's ‘Abhijnana Shakuntalam’

Exploring the Depths of Human Emotion: Rasa Theory in Kalidasa's ‘Abhijnana Shakuntalam’:

About Rasa Theory,
Nine Rasas,
Key Concepts of Rasa Theory,
Introduction of Abhijnana shakuntalam,
Shakuntala: The Embodiment of Shringara Rasa,
Application of Rasa Theory
in Shakuntalam,
Conclusion

1. Presented by: Pallavi Parmar Exploring the Depths of Human Emotion: Rasa Theory in Kalidasa's ‘ Abhijnana Shakuntalam ’ Presented at:- Smt. Sujata Binoy Gardi, Department of English, MKBU, Bhavnagar .

2. Personal Information: Presented by:- Pallavi Rameshbhai Parmar Roll Number:- 20 Enrollment Number:- 5108230034 Paper 109: Literary Theory & Criticism and Indian Aesthetics Batch:-2023-2025 (M.A. Sem 2) Date:- 09 April, 2024 Subject Code:- 22402 Email:- [email protected] Presented at:- Smt. Sujata Binoy Gardi, Department of English, MKBU, Bhavnagar .

3. Table of contents 06 01 07 08 02 03 04 05 About Rasa Theory Nine Rasas Introduction of Abhijnana shakuntalam Application of Rasa Theory in Shakuntalam Key Concepts of Rasa Theory Conclusion References Shakuntala: The Embodiment of Shringara Rasa

4. About Rasa Theory: Concept: Rasa is an Indian aesthetic concept, essential in visual, literary, or performing arts. Attribution: Bharata, a sage-priest, is credited with developing the theory of rasa. Development: Abhinavagupta, a rhetorician and philosopher around 1000 CE, further elaborated on the theory of rasa. Human Feelings: Bharata identifies principal human emotions such as delight, laughter, sorrow, anger, fear, disgust, heroism, and astonishment. (Britannica,2024)

5. Rasas : These emotions are transformed into various rasas (aesthetic flavours): Erotic, Comic, Pathetic, Furious, Heroic, Aesthetic Experience: Rasas form the components of aesthetic experience, enriching artistic expressions. Merit-based : The ability to appreciate rasa is seen as a reward for spiritual merit from past lives. (Britannica,2024) Continue: Terrible, Odious Marvelous, Quietistic.

6. Rasa theory: Origin in Natyashastra: The term "Rasa" first appears in the Natyashastra, attributed to Bharata, an ancient Sanskrit text on performing arts. Uncertainty of Dating: The Natyashastra's date is uncertain, with estimates ranging from 500 B.C. to 500 A.D., making it a pivotal but challenging text to interpret. Concept of Rasa: Rasa denotes an aesthetic essence or flavour experienced by the audience during a performance. Actor-Audience Relationship: In Hindu aesthetics, the actor's portrayal of emotions allows the audience to "taste" or experience these emotions indirectly. Difference from Real Life: Rasa distinguishes between experiencing emotions in daily life and experiencing them through artistic representation. (Dace)

7. Rasa theory: Rasa Categories: Bharata initially mentions six Rasas in drama, later expanding to eight. These Rasas represent elemental human emotions such as love, pity, fear, heroism, or mystery. Transformation of Emotions: In real life, emotions are raw and instinctual, devoid of conscious reflection. However, in drama, emotions are contemplated and infused with meaning through artistic expression. Contemplative Experience: The audience engages with emotions in drama through contemplation and thought, gaining deeper insights into their significance and impact. Escape through Understanding: While experiencing emotions in drama, the audience simultaneously escapes the direct, passive immersion of real-life emotions by comprehending their artistic portrayal and symbolic resonance. (Dace)

8. Key Concepts of Rasa Theory: Vibhāva (Determinants) Anubhāva (Consequents) Sañcāribhāva (Transitory Mental States) Sthāyibhāva (Permanent Mental State) (Dace)

9. RASA BHAVA MEANING COLOUR Shrinagar (love) Rati Love/delight Pale Light Green Hasya (humorous) Hasa Laughter White Karuna (Pathetic/kindly) Shoka Sorrow Grey Raudra (furious) Krodh Anger Red Veera (heroic) Utsaha Heroism PaleOrange Bhāyanaka (Fearful) Bhaya Fear Black Bibhatsa (Odious) Jugupsa Hate/disgust Blue Adbhuta (Wonderful) Vismaya Wonder Yellow Shanta (Peaceful) Shanta Peace White (Koshy) Nine Rasas:

10. Title: Abhijnana Shakuntalam, or Abhigyan Shakuntalam or Shakuntalam Author: Kalidasa (5th century CE) Significance: Considered one of the greatest Indian literary works. Plot Summary: King Dushyanta seduces the nymph Shakuntala. The king rejects Shakuntala and their child. They are later reunited in heaven. Key Characters: Shakuntala: Represents a sentimental and selfless ideal, deeply connected to nature. Dushyanta: A heroic figure bound by dharma (religious and social duties), torn by lost love. (Britannica,2023) Introduction of Abhijnanashakuntala:

11. Theme: Depiction of aristocratic ideals through characters. Exploration of love, duty, and the consequences of actions. Character Development: Dushyanta's separation from Shakuntala is due to a sage's curse, not his direct actions. Nature Depiction: Kalidasa's hallmark: Beautifully portrays nature using elegant metaphors. (Britannica,2023) Continue…

12. Innocent Love: Shakuntala embodies Shringara Rasa as an innocent and pious heroine experiencing the first stirrings of love upon meeting Dushyanta. Expressive Shyness: She expresses her love shyly and furtively, reflecting the natural and uncorrupted nature of Shringara Rasa. Passion and Union: Shakuntala becomes the object of Dushyanta's intense passion, symbolizing the aspect of union (Sambhoga) within Shringara. (Saikia) Shakuntala: The Embodiment of Shringara Rasa

13. Joyous Reunion : Their reunion in Act 7 is portrayed joyously, with Shakuntala's recognition of Dushyanta representing the pinnacle of Sambhoga Shringara. Suffering and Separation: Despite their union, Shakuntala experiences separation (Vipralambha) and sorrow when Dushyanta forgets her due to a curse. Pathos and Resilience: Shakuntala's sorrowful departure and her plight evoke pathos (karuna) associated with Vipralambha Shringara. Pure and Contrasting Love: Throughout the play, Shakuntala's pure and innocent love contrasts with Dushyanta's initial weakness, demonstrating the refined treatment of Shringara Rasa. (Saikia) Shringara Rasa: A Major Rasa

14. Sringara (Erotic) Rasa: Central Theme: The primary theme of "Shakuntala" revolves around the romantic love between Shakuntala and King Dushyanta. Mukha Samadhi (Beginning): At the outset, their relationship is portrayed as an initial attraction or infatuation (mukha samadhi), signifying the budding stage of their love. Dominant Rasa: As the narrative unfolds, sringara rasa (erotic love) becomes the prevailing emotional tone, underscoring the deepening affection between Shakuntala and Dushyanta. ( Gerow) Application of Rasa Theory in Shakuntalam:

15. Karuna (Pathetic) Rasa: Vimarsa Samadhi (Fourth): When Dushyanta forgets Shakuntala due to the sage's curse, the mood of their love transforms into one of poignant separation and sorrow (karuna rasa). Symbol of Sympathy: The narrative evokes sympathy for Shakuntala's plight and the tragic consequences of the curse, highlighting themes of loss and separation. Raudra (Furious) Rasa: Garbha Samadhi (Third): The conflict between love and duty is depicted through the anger (krodha) of Sage Durvasa and Dushyanta's own rage. Expression of Tension: Raudra rasa (furious) underscores the internal conflict and external tension arising from conflicting obligations and responsibilities. . ( Gerow) Application of Rasa Theory in Shakuntalam:

16. Hasya (Comic) Rasa: Pratimukha Samadhi (Second): The interactions between Dushyanta and the clown character introduce elements of hasya rasa (comic) in the play. Characterization: Shakuntala's bashful demeanor and playful banter contribute to a light-hearted and humorous atmosphere, reflecting the initial lightness and lack of seriousness in Dushyanta's approach to love. Vira (Heroic) Rasa: Character Portrayal: Dushyanta embodies the vira rasa (heroic) as a noble and dharmic ruler. Inversion of Heroism: However, Dushyanta's heroism is challenged and inverted as he neglects his duty, leading to the breakdown of his relationship with Shakuntala and the ensuing turmoil. . ( Gerow)

17. Conclusion; In Kalidasa's play 'Abhijnana shakuntalam', the use of Rasa theory helps bring out deep human emotions in a compelling way. Through different emotional flavors like love, humor, sorrow, anger, and heroism, the story becomes rich and relatable. The love story between Shakuntala and King Dushyanta, with its twists of fate and conflicting duties, feels real and touching. Kalidasa's skillful storytelling and understanding of Rasa theory make 'Abhijnana shakuntalam' a timeless masterpiece that continues to resonate with audiences, showing us the profound complexities of human feelings and experiences.

18. References : Britannica, The Editors of Encyclopaedia. "Abhijnanashakuntala". Encyclopedia Britannica, 16 Nov. 2023, https://www.britannica.com/topic/Abhijnanashakuntala . Accessed 9 April 2024. Britannica, The Editors of Encyclopaedia. "rasa". Encyclopedia Britannica, 19 Mar. 2024, https://www.britannica.com/art/rasa . Accessed 9 April 2024. Gerow, Edwin. “Plot Structure and the Development of Rasa in the Śakuntalā. Pt. I.” Journal of the American Oriental Society , vol. 99, no. 4, 1979, pp. 559–72. JSTOR , https://doi.org/10.2307/601446 . Accessed 9 Apr. 2024.

19. References: Dace, Wallace. “The Concept of ‘Rasa’ in Sanskrit Dramatic Theory.” Educational Theatre Journal , vol. 15, no. 3, 1963, pp. 249–54. JSTOR , https://doi.org/10.2307/3204783 . Accessed 9 Apr. 2024. Koshy, Swapna. Rasa Theory in Shakespearian Tragedies . Routledge, Taylor & Francis Group, 2022. Saikia, Mr. Naba Moni. “The Use of Sringara Rasa in Abhijnana Sakuntalam by Mahakavi Kalidas. | Turkish Online Journal of Qualitative I.” Turkish Online Journal of Qualitative Inquiry , Turkish Online Journal of Qualitative Inquiry (TOJQI), https://www.tojqi.net/index.php/journal/article/download/8817/6270/9447 . Accessed 9 April 2024.

20. Thank you