Rasa Theory

A presentation on Rasa Theory as part of my PhD Course Work
Paper 2: General Area of Research

1. Bharat’s Theory of Rasa: A Pioneering Concept in Indian Poetics Researcher: Disha P Kariya   PhD Course Work  Paper 2: General Area of Research PhD Registration No: 2181 Department of English M K Bhavnagar University Bhavnagar

2. Introduction The Theory of Rasa, formulated by Bharat, constitutes a pioneering and timeless concept within Indian poetics. This profound theory delves into the intricate relationship between emotions, aesthetics, and narrative, laying the foundation for a comprehensive understanding of the artistic experience. Rooted in ancient Indian philosophy, the Theory of Rasa has significantly influenced literature, theater , and cultural expression, underscoring its enduring significance in the realm of creative pursuits.

3. Indian Poetics Poetics is the theory of literary forms and devices. In Indian Poetics: Natya – the play which blended drama, music, dance Kavya – poetry and other forms of literary composition Various Schools in Indian Poetics (next slide) Natyasastra by Bharatmuni is considered as the oldest and pioneer work in Indian Poetics specially on Stage craft

4. Theory/ Concept Pioneer Work Rasa Bharat Muni Natyashastra Dhvani Anandvardhana Dhvanyaloka Vakrokti Kuntak Vakroktijivita Alankara Bhamah Kavyalamkara Aucitya Ksemendra Aucitya Vicara Riti Vamana Kavyalamkarasutra Commentary on Natyashastra and Dhvanyaloka Abhinava Gupta Abhinava Bharati Locana

5. Rasa Theory Rasa is the aesthetic feeling that can be created in a reader or spectator while witnessing an effective presentation/ performance of the art. Bharatmuni in his Natyashastra discussed about Rasa Theory in chapter 6, 7, 15, 16. Evaluating a work of art from rasa theory in focus includes the analysis of language, characterization, presentation, and other literary devices to see how emotional response is evoked in the reader or spectator. It focuses on the entire literary process from its conceptions in the mind of the author, performance of an actor, and the final perception of the reader or spectator.

6. Rasa Sutra Vibhavanubhava – vyabhicari – samyogad – rasa – nispattih The Rasa is accomplished as a result of the conjunction of Vibhāva , Anubhāva , and Vyābhicāribhāva , which appeals to the Sthāyibhāva which leads to the Rasa experience. (Sethuraman-191)

7. Vibhava : causes or mainsprings of emotions Alambana Vibhava : a person/s with reference to whom the emotions are manifested (Characters) Uddipan Vibhava : the circumstances that have excited the emotion (Setting) Anubhava : Consequences expressed through bodily expressions Vyabhicari Bhava: a series of diverse emotions that feed the dominant emotion (transitory states) Stthayibhava : the basis of Rasa experience (inborn gifts of men)

8. Rasa Sentiment Dominant State Bhava Colour Deity Sringara Erotic Love Rati Light green Vishnu Hasya Comic Mirth Hasya White Pramathas Karuna Pathetic Sorrow Soka Ash Yama Raudra Furious Anger Krodha Red Rudra Vira Heroic Energy Utsaha Light orange Indra Bhayankara Terrible Terror Bhaya Black Kala Bibhatsa Odius Disgust Jugupsa Blue Shiva Adbhuta Marvelous Astonishment Vismaya Yellow Brahma

9. Commentators Bhatta Lollata First to attempt a psychological analysis of Rasa Rasa is produce in an action Sri Sankuka Theory based on inference Rasa is experienced by an actor

10. Bhatta Nayaka Rasa is neither due to action or apprehension Audiance can experience rasa Abhinav Gupta Saharadaya audience who feels the same as the poet has felt earlier when he composed the work of art.

11. Obstacles in Rasa Realization Pratipattavayogyatāsambhāvanavirahah (Lack of imagination) Swagataparagatatvaniyēmānadesakālavisēsavesah (time and place) Nijasukādhivivasibhava (Presence of private grief or joy) Pratityupāyavaikalyam (absence of adequate means) Sphutawabhāvah (language) Apradhānata (unity of tone) Samsayayogha (doubt in general)

12. Rasa Analysis of a Text Close reading Textual analysis Reader response Comparative analysis

13. Conclusion Bharat’s Theory of Rasa stands as a pioneering concept in Indian poetics. However good a theory may be, it faces some challenges or limitations. Like a living thing, a theory also grows, changes, modifies itself to the needs of the time. Unfortunately Rasa theory has no remarkable development or upgradation in last hundreds of years. Though, the fact that it can be applied to modern literature only points to its universality, timeless quality, and its rich potential .

14. Narayanan, Dr Sharda . “The Tradition of Natya : Position and Development of Natya in Sanskrit Tradition (Part 3: Rasa Experience in Indian Aesthetics).” Indic Today , 23 Nov. 2022, www.indica.today /long-reads/the-tradition-of-natya-position-and-development-of-natya-in-sanskrit-tradition-part-3-rasa-experience-in-indian-aesthetics/. Patnaik , Priyadarshi . Rasa in Aesthetics An Application of Rasa Theory to Modern Western Literature. D K Print World Pvt Ltd , 2004. Sastri , Panchapagesa P. The Philosophy of Aesthetic Pleasure. Annamalai University, 1940. Seturaman , V S. Indian Aesthetics: An Introduction . Ajit Printing Press , 2017. References