{"id":45,"date":"2019-08-26T07:02:58","date_gmt":"2019-08-26T07:02:58","guid":{"rendered":"http:\/\/icp04.epgpbooks.inflibnet.ac.in\/?post_type=chapter&p=45"},"modified":"2019-08-26T07:20:53","modified_gmt":"2019-08-26T07:20:53","slug":"the-rasa-theory-of-bharata","status":"publish","type":"chapter","link":"https:\/\/ebooks.inflibnet.ac.in\/icp04\/chapter\/the-rasa-theory-of-bharata\/","title":{"rendered":"The Rasa theory of Bharata"},"content":{"raw":"
\r\n\r\n \r\n\r\nIntroduction<\/strong>\r\n\r\n \r\n\r\n1.Theory of Rasa<\/strong>\r\n\r\n \r\n

The theory of Rasa-Bhava establishes a relationship between the performer and the spectator. The model spectator is a Sahrdaya, someone \u2018who empathizes with the author.\u2019 Since the success of a performance is measured by whether or not the audience has a specific experience (rasa), the spectator becomes a vital participant in the play.<\/p>\r\n \r\n

Bharata calls human soul as Bhava-Jagat (the world of emotions). Bharata and later authors explain how the Art universalizes emotions making them an instrument of appeal to the spectators. They say that the actor acts as bearer, media and connector of emotions of the character. By conveying emotions the actor step by step opens inner Bhava-Jagat of the character, creates special emotional atmosphere, which can be felt and relished. The actor introduces and involves the spectators into this emotional atmosphere. Thus, emotions of the character are spread through the actor to spectators, who share them collectively, as a group, by relishing the Rasa. Thus emotions are embodied and translated from one person to many.<\/p>\r\n \r\n

Bharata devotes the sixth chapter of his classical work Natya Shastra, to an in depth analysis of the concept of Rasa<\/em>. It is in this chapter that we find the famous 'Rasa Sutra.' The awareness of the emotions has to be elicited in the minds of the spectator for them to relish it. The Rasa Sutra summarizes the factors in art construction that leads to relishing of the Rasa. Bharata very emphatically states in the Rasadhyaya of Natyashastra that \"na hi<\/strong> Rasad rite kaschid arthah pravartate\u201c <\/strong>\"no meaningful idea is conveyed if the \"Rasa\" is not evoked.The very core of the Bharata\u2019s Natya theory is the creation of \"Rasa\u201c.<\/p>\r\n \r\n

Every dramatic presentation is aimed at evoking in the minds of the audience a particular kind of aesthetic experience, which is described as \"Rasa\".<\/p>\r\n \r\n

The concept of \"Rasa\" is the most important and significant contribution of the Indian mind to aesthetics.The study of aesthetics deals with the realization of beauty in art, its relish or enjoyment, and the awareness of joy that accompanies an experience of beauty.Rasa has no equivalent in word or concept in any other language.<\/p>\r\n \r\n

The closest explanation can be <\/span>'aesthetic relish<\/strong>'.<\/span><\/p>\r\n\r\n<\/div>\r\n

\r\n\r\n \r\n

Panini mentions Natasutras of Silalin and Krishasva prior to Bharata's Natyashastra, yet, it is only Bharatamuni who seems to have given a scientific analysis and codification of the concept of Rasa.<\/p>\r\n \r\n

Bharata says that Natya is the imitation of life (lokanukruti) wherein the various human emotions have to be dramatically glorified (bhavanukirtanam) so that the spectator is able to flavour the portrayed pleasure and pain (lokasya sukhaduhkha) as Natyarasa.This Rasa experience will entertain and enlighten the spectator who becomes the 'Rasika\u2018.<\/p>\r\n \r\n\r\nWhat is Rasa?<\/strong>\r\n\r\n \r\n

The word Rasa<\/em> is derived from the root 'rasah<\/strong>'<\/em> meaning sap or juice, taste, flavour, or relish.The extract of a fruit is referred to as 'rasa,'<\/em> which itself is the essence of it, the ultimate flavour of it.<\/p>\r\n \r\n\r\n2. Rasa Sutra <\/em><\/strong>of Bharata<\/strong>\r\n\r\n \r\n

Bharata succinctly encapsulates the theory of Rasa<\/em> in his most famous formula-like Rasa<\/em><\/strong> sutra <\/em><\/strong>thus: \" Vibhava-anubhava-vyabhichari-samyogad rasa nishpattih <\/em><\/strong>.\" The aesthetic relish (the supreme delight which is called rasa<\/em>) is produced (rasanishpattih)<\/em> by a combination of the determinants (vibhava),<\/em> consequents (anubhava),<\/em> and transitory states or fleeting emotions (vyabhicharibhava).<\/em> He explains Rasa as the essence derived from the various ingredients. He gives the parallel of the extract, Rasa, got from various condiments, having different tastes, when combined becomes delectable to taste. Hence, that which can be tasted or flavored (aasvaadya) relishes good food, can be termed as Rasa.<\/p>\r\n \r\n\r\n3. Natya Rasa<\/strong>\r\n\r\n \r\n

This aesthetic relish, which is possible only through mental perception, is termed as 'natyarasa'. Even the terms vibhava, anubhava, and vyabhicharibhava refer only to stage representations, not to realities of life. It naturally follows that what they produce should only be \u2018Natya Rasa' (sentiments pertaining to the dramatic spectacle). One enjoys experiencing the emotions with the artistes, and sometimes even visibly expresses it by shedding tears or laughing spontaneously. But both the artiste and the spectator are well aware that neither of them is going through it in reality. This enjoyment is 'Natya Rasa'.<\/p>\r\n \r\n\r\n4. Rasa and Bhava<\/strong>\r\n\r\n \r\n

The 6th and 7th chapters of the Natyashastra, known as the Rasadhyaya and Bhavaadhyaya respectively, together bring out the concept of the Bhava-Rasa theory of Bharata, and have hence become the bedrock for all deliberations on aesthetics, including the most brilliant contribution of Abhinavagupta, whose Abhinavabharati remains till date the best commentary on the Natyashastra.<\/p>\r\n \r\n

According to Bharata, the playwright experiences a certain emotion (bhava). The director of the play should properly understand the idea and bhava-s of the character and convey his knowledge and understanding to the actors. The actors perform their parts using their own vision and experience, but they should follow the main idea and key bhavas emphasized by the director, Sutradhara.<\/p>\r\n \r\n

The term bhava means both existence and a mental state, and in aesthetic contexts it has been variously translated as feelings, psychological states, and emotions. In the context of the drama, bhavas are the emotions represented in the performance.<\/p>\r\n \r\n

\"Bhaava<\/strong>\" is derived from the root 'bhu'-bhavati, that is, 'to become', 'to come into existence'. Bharata gives a causal quality to Bhava, saying 'bhavayanti iti bhava', that is, a thing or mental state that brings its awareness or makes one conscious of it, which pervades one like a particular smell.<\/p>\r\n \r\n

Bhava is that which becomes rasa. In Natya Shastra it is said, that bhavas by themselves carry no meaning in the absence of Rasa: \u201c<\/span>Nahi rasadyate kashid_apyarthah pravattate<\/em>.\u201d Forms and manifestations of bhavas are defined by the rasa. It is therefore said, Rasa is the essence of art conveyed.<\/span><\/p>\r\n\r\n<\/div>\r\n

\r\n\r\n \r\n\r\nBharata says that which can be relished \u2013 like the taste of food \u2013 is rasa:\r\n\r\n \r\n\r\n\u201cRasyate anena iti rasaha (asvadayatva)<\/em>.\u201d<\/strong>\r\n\r\n \r\n

Rasa is the emotional response the bhavas inspire in the spectator (the Rasika or Sahrudaya). Rasa is thus an aesthetically transformed emotional state experienced by the spectator. Rasa is accompanied by feelings of pleasure and enjoyment. Such emotions tunes perception of the spectators, they create atmosphere of empathy, make people more sensitive, help to open mind and heart to understand the idea and message of the play.<\/p>\r\n \r\n

Rasa is associated with palate, it is delight afforded by all forms of art; and the pleasure that people derive from their art experience. It is literally the activity of savoring an emotion in its full flavor. The term might also be taken to mean the essence of human feelings.<\/p>\r\n \r\n

Rasa is sensuous, proximate, experiential. Rasa is aromatic. Rasa fills space, joining the outside to the inside. What was outside is transformed into what is inside.<\/p>\r\n5. Sthaayi Bhaava<\/strong>\r\n\r\n \r\n

According to Bharata ,there are three types of Bhaava<\/em>, namely, Sthayi<\/em> ( Pervading stable emotions)(eight types), Vyabhichari<\/em> (thirty three), and Satvika<\/em> (eight), totaling to forty-nine.<\/p>\r\n \r\n

The Natya Shastra thus goes into great detail about the bhavas, which are broken down into three categories. Bharata mentions eight \u201cDurable,\u201d \u201cPermanent,\u201d or \u201cConstant\u201d emotional conditions called Sthayi bhavas:<\/p>\r\n \r\n

These emotional states are inherent to humans. They are basic as they are inborn, understandable without explanation. They also are characterized by intensity, as they dominate and direct behavior. On the stage Sthayi bhavas are represented by certain Anubhavas, explained in Natya Shastra .<\/p>\r\n \r\n\r\nEight Sthayi bhavas<\/strong>\r\n\r\n \r\n\r\nThey are\r\n\r\n \r\n

1.\u00a0Rati <\/strong>(Pleasure) (love), - Smiling face, sweet words, contraction of eye-brows, sidelong glances and the like.<\/p>\r\n \r\n

2.\u00a0\u00a0Hasa <\/strong>(Joy) - Smile and the like, i.e., laugher, excessive laugher.<\/p>\r\n \r\n

3.\u00a0Shoka <\/strong>(Sorrow) (grief)- Shedding tears, lamentation, bewailing, change of color, loss of voice, looseness of limbs, falling on the ground, crying, deep breathing, paralysis, insanity, death and the like.<\/p>\r\n \r\n

4.\u00a0Krodha <\/strong>(Malice) - Extended nostrils, unturned eyes, bitten lips, throbbing cheeks and the like.<\/p>\r\n \r\n

o\u00a0\u00a0 against enemies - knitting of the eye-brows, fierce look, bitten lips, hands clasping each other, touching one\u2019s own shoulder and breast.<\/p>\r\n

o\u00a0\u00a0 when controlled by superiors - slightly downcast eyes, wiping off slight perspiration and not expressing any violent movement.<\/p>\r\n

o\u00a0\u00a0 against beloved woman - very slight movement of the body, shedding tears, knitting eyebrows, sidelong glances and throbbing lips.<\/p>\r\n

o\u00a0\u00a0 against one\u2019s servants - threat, rebuke, dilating eyes and casting contemptuous looks of various kinds.<\/p>\r\n

o\u00a0\u00a0 artificial - betraying signs of effort.<\/span><\/p>\r\n\r\n<\/div>\r\n

\r\n\r\n \r\n

5.\u00a0\u00a0Utsaha <\/strong>(Courage) (heroism)- steadiness, munificence, boldness of undertaking and the like.<\/p>\r\n \r\n

6.\u00a0Bhaya <\/strong>(Fear) - trembling of the hands and feet, palpitation of the heart, paralysis, dryness of the mouth, licking lips, perspiration, tremor, apprehension of danger, seeking for safety, running away, loud crying and the like.<\/p>\r\n \r\n

7.\u00a0\u00a0Jugupsa <\/strong>(Disgust) - contracting all the limbs, spitting, narrowing down of the mouth, heartache and the like.<\/p>\r\n \r\n

8.\u00a0<\/strong>Vismaya <\/strong>(Surprise) - wide opening the eyes, looking without winking of the eyes and movement of the eye-brows, horripilation, moving the head to and fro, the cry of \u2018well done\u2019 and the like.<\/p>\r\n6.\u00a0 <\/strong>Vibhava and Anubhava<\/strong>\r\n\r\n \r\n

Actions and feelings are evoked in connection with certain surrounding objects and circumstances, called Vibhava-s. Different mental and emotional states manifest themselves and become visible through universal physiological reactions called Anubhava-s.<\/p>\r\n \r\n

Thus Bhava, the emotion felt by the character, results from a \u201cDeterminant\u201d (vibhava), or determining circumstance, such as the time of year, the presence of loved ones, the decor or environment, and so on. The vibhava affects the character so that he feels sorrow, terror, anger, or some such emotion (bhava).<\/p>\r\n \r\n

The \u201cConsequent\u201d (anubhava) of a particular bhava is a specific behavior exhibited by the actor as he portrays the character such as weeping, fainting, blushing, or the like. The anubhava, if properly executed, will cause the audience to feel a specific rasa corresponding to the bhava felt by the actor:<\/p>\r\n \r\n\r\nVIBHAVA---causes--->BHAVA---causes--->ANUBHAVA--->RASA Vibhaava<\/strong>\r\n\r\n \r\n

Vibhaava <\/em>(determinant) which is the cause (karana),which is of two types: Alambana Vibhaava <\/em>and Uddipana Vibhaava<\/em>. the main stimulating cause is termed as Alambana vibhaava <\/em>(the determinant), and, the environmental factors that are additional causes in evoking an emotion termed as uddipana vibhaava<\/em> (excitant).<\/p>\r\n \r\n\r\nAnubhaava<\/strong>\r\n\r\n \r\n

Bharata mentions, \u201cAnubhavyate anena vaksangatvabhinaya ite Anubhaava<\/em>.\u201d which means that the Anubhaava<\/em> is something that is equipped with Vak<\/em> (speech), Anga<\/em> (physic), and Satva <\/em>(from heart or having supreme quality). Anubhaava <\/em>is the consequent physical reaction through action, word and facial expression that follows (anu<\/em>), as the impact of the vibhaava.<\/em><\/p>\r\n \r\n\r\n7.\u00a0Vyabhichari ( Sanchari) bhaava<\/strong>\r\n\r\n \r\n

The vyabhichari bhaava-s<\/em> (also known as sanchari bhaava<\/em> ), are transitory, fleeting emotions. They are based on psychological states of the mind. Vyabhicari Bhaavas<\/em> are thirty three in number.<\/p>\r\n\r\n<\/div>\r\nThey are :\r\n

    \r\n \t
  • Nirveda\u00a0(Despondency)<\/em><\/li>\r\n \t
  • Glani\u00a0(Weakness)<\/em><\/li>\r\n \t
  • Sanka\u00a0(Suspicious)<\/em><\/li>\r\n \t
  • Asuya\u00a0(envy)<\/em><\/li>\r\n \t
  • Mada\u00a0(Inebriation)<\/em><\/li>\r\n \t
  • Srama\u00a0(exhaustion)\u00a0<\/em><\/li>\r\n \t
  • Alasya\u00a0(lethargy)<\/em><\/li>\r\n \t
  • Dainya\u00a0(Depression)<\/em><\/li>\r\n \t
  • Cinta\u00a0(anxiety)<\/em><\/li>\r\n \t
  • Moha\u00a0(delusion)\u00a0<\/em><\/li>\r\n \t
  • Smrti\u00a0(recollection)<\/em><\/li>\r\n \t
  • Dhrti\u00a0(fortitude)<\/em><\/li>\r\n \t
  • Vrida\u00a0(Bashfulness)<\/em><\/li>\r\n \t
  • Capalata\u00a0(in constancy)<\/em><\/li>\r\n \t
  • Harsa\u00a0(joy)<\/em><\/li>\r\n \t
  • Avega\u00a0(excitement)<\/em><\/li>\r\n \t
  • Jadata\u00a0(Stupefaction)<\/em><\/li>\r\n \t
  • Garva\u00a0\u00a0(Arrogance)<\/em><\/li>\r\n \t
  • Visada\u00a0(Despair)<\/em><\/li>\r\n \t
  • Autsukya\u00a0(impatient curiosity)<\/em><\/li>\r\n \t
  • Nidra\u00a0(sleep)<\/em><\/li>\r\n \t
  • Apasmara\u00a0<\/em>(Loss of memory)<\/li>\r\n \t
  • Svapna\u00a0(Dreaming)<\/em><\/li>\r\n \t
  • Prabodha\u00a0(Wakening)<\/em><\/li>\r\n \t
  • Amarsa\u00a0(indignation)<\/em><\/li>\r\n \t
  • Avahittha\u00a0(Dissimulation)<\/em><\/li>\r\n \t
  • Ugrata (Cruelty)<\/em><\/li>\r\n \t
  • Mati\u00a0(self assurance)<\/em><\/li>\r\n \t
  • Vyadhi\u00a0(Sickness)<\/em><\/li>\r\n \t
  • Unmada\u00a0\u00a0(madness)<\/em><\/li>\r\n \t
  • Marana\u00a0(death)<\/em><\/li>\r\n \t
  • Trasa\u00a0(fright)<\/em><\/li>\r\n \t
  • Vitarka\u00a0(deliberation)<\/em><\/li>\r\n<\/ul>\r\n
    \r\n

    However, of the Vyabhicari (Sancari) Bhaavas<\/em>, which are mentioned in the Sastra<\/em>, many do not seem to be emotions e.g. Srama<\/em> (exhaustion), or Smrti<\/em> (recollection).Moreover, they appear as a situation and a stage in life like, Marana<\/em> (death).<\/p>\r\n \r\n\r\n8.Satvika bhaava<\/strong>\r\n\r\n \r\n

    The Sattvika Bhaavas<\/em> are eight in number. They are the physical manifestation of intense emotion.<\/p>\r\n \r\n\r\nThey are :\r\n\r\n \r\n

      \r\n \t
    • Sthambha<\/em>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 (Paralysis)<\/li>\r\n \t
    • Sveda<\/em>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 (Sweat)<\/span><\/li>\r\n \t
    • Romanca<\/em>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 (horripilation)<\/span><\/li>\r\n \t
    • Svarabheda\u00a0\u00a0 <\/em>(change in the voice)<\/span><\/li>\r\n \t
    • Vepathu<\/em>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 (Trembling)<\/span><\/li>\r\n \t
    • Vaivarnya<\/em>(change of color)<\/span><\/li>\r\n \t
    • Asru<\/em>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 (Shedding tears)<\/span><\/li>\r\n \t
    • Pralaya<\/em>(Loss of Sense,fainting)<\/span><\/li>\r\n<\/ul>\r\n<\/div>\r\n
      \r\n\r\n \r\n\r\nIt is an amazing analysis of human emotions put in a nutshell !\r\n\r\n \r\n

      Temperamental states are expressed on the stage using Sattvika abhinaya. In fact, all the gesticulation of mental states may be designated as the Sattvika abhinaya. But the prominence given to the gesticulation of the temperamental states is due to the peculiar mental effort which is necessary for their presentation. Bharata has thus given first the gesticulation of temperament for, without it the real purpose of the performance would be lost.<\/p>\r\n \r\n

        \r\n \t
      1. Sveda <\/strong>- taking up the fan, wiping off sweat, looking for breeze.<\/li>\r\n \t
      2. Stambha <\/strong>- being inactive, smileless, being like inert object, limbs drooping.<\/span><\/li>\r\n \t
      3. Kampa <\/strong>- quivering, throbbing and shivering, wiping the eyes of tears, shedding tear incessantly.<\/span><\/li>\r\n \t
      4. Asru <\/strong>- wiping the eyes full of tears, shedding tears incessantly.<\/span><\/li>\r\n \t
      5. Vaivarnya <\/strong>- alteration of the color of the face with effort by putting pressure on the artery.<\/span><\/li>\r\n \t
      6. Romanca <\/strong>- repeated thrills, hair standing on end, touching the body.<\/span><\/li>\r\n \t
      7. Svarabheda <\/strong>- broken and choked voice.<\/span><\/li>\r\n \t
      8. Pralaya <\/strong>- motionlessness, breathing gently (unnoticed), falling on the ground.<\/span><\/li>\r\n \t
      9. Bharata\u2019s classification of Eight Rasas <\/strong><\/li>\r\n<\/ol>\r\n \r\n\r\nAccording to Bharata Sentiments are eight in number. <\/span>\r\n\r\n \r\n\r\nThey are :<\/span>\r\n
          \r\n \t
        • Love or amorous (sringra)<\/em><\/li>\r\n \t
        • comic or humour (hasya)<\/em><\/li>\r\n \t
        • pathos (karuna)<\/em><\/li>\r\n \t
        • horror or furious (raudra)<\/em><\/li>\r\n \t
        • heroism or valourous(Vira)<\/em><\/li>\r\n \t
        • fear or horrific (bhayanaka)<\/em><\/li>\r\n \t
        • disgust or repugnant (bibhatsa)<\/em><\/li>\r\n \t
        • wonder (adbhuta)<\/em><\/li>\r\n<\/ul>\r\n \r\n\r\nSanta <\/em>was added as the ninth at a later stage.\r\n\r\n \r\n

          Just as in music a procession of notes in certain combinations reveals a characteristic melodic whole or raga, similarly it seems that the representation of bhaavas<\/em> reveals Rasa<\/em> as an aesthetic whole.<\/p>\r\n\r\n<\/div>\r\n

          \r\n\r\n \r\n\r\nNumber of Rasas<\/strong>\r\n\r\n \r\n

          Since it is the Sthayi<\/em> which attains to Rasa<\/em> hood, the number of Rasas<\/em> corresponds to the number of the Sthayis<\/em>.The upcoming table shows the Sthayis<\/em> and their corresponding Rasas<\/em>.Bharata considers eight Rasas <\/em>to which three more Rasas <\/em>have been added by Udbhata. Thus, totally eleven Rasas<\/em> are recognized<\/p>\r\n \r\n\r\nChart showing Sthaayi bhaava and Rasa<\/strong>\r\n\r\n \r\n\r\n\"\"\r\n

          1.\u00a0\u00a0\u00a0 The Erotic - Sringara <\/strong>\u2013 (1) in union \u2013 The Anubhava-s to be represented are clever movements of eyes and eye-brows, soft and delicate movements of limbs, sweet words, etc.; whereas those to be represented (2) in separation \u2013 are despondency, weakness, apprehension, envy, weariness, anxiety, yearning, sleep, dreaming, awakening, illness, insanity, epilepsy, inactivity (temporary) death and other conditions.<\/p>\r\n \r\n

          2.\u00a0\u00a0\u00a0 The Comic - Hasya <\/strong>\u2013 It is to be represented by throbbing of the lips, and the cheeks, opening of the eyes wide or contracting them, perspiration, color of the face and taking hold of the sides. Hasya is self-centered when a man laughs himself and it is centered in others when he makes others laugh. This two-fold division of Hasya relates to its infectious nature. In the verses of the Anubhavas of the six types of Hasya are given.<\/p>\r\n\r\n

            \r\n \t
          • \u2018smita\u2019 (gentle smile): slightly blown cheeks, elegant glances, teeth not visible;<\/li>\r\n \t
          • \u2018hasita\u2019 (smile): blooming eyes, face and cheeks, teeth slightly visible;<\/li>\r\n \t
          • \u2018vihasita\u2019 (gentle laugher) \u2013 laugher suitable to the occasion; slight sound and sweetness, face joyful, eyes and cheeks contracted;<\/li>\r\n \t
          • \u2018upahasita\u2019 (laugher of ridicule): the nose expanded, squinting eyes, shoulder and head bent;<\/li>\r\n \t
          • \u2018apahasita\u2019 (vulgar laugher) \u2013 laugher on unsuitable occasion: tears in eyes, shoulders and the head violently shaking;<\/li>\r\n \t
          • \u2018atihasita\u2019 (excessive laugher) \u2013 eyes expanded and tearful, loud and excessive sound, sides covered by hands.<\/li>\r\n \t
          • Smita and hasita should be employed in the case of superior characters, vihasita and upahasita in the case of middling ones and apahasita and atihasita in the case of the inferior types.<\/li>\r\n<\/ul>\r\n<\/div>\r\n
            \r\n\r\n \r\n

            3.\u00a0\u00a0\u00a0 The Pathetic - Karuna <\/strong>\u2013 This is to be represented by shedding tears, lamentation, dryness of the mouth, change of color, drooping limbs, being out of breath, loss of memory and the like.<\/p>\r\n \r\n

            4.\u00a0\u00a0\u00a0 The Furious - Roudra <\/strong>is to be represented by red eyes, knitting of eye-brows, defiance, biting of lips, throbbing of the cheeks, pressing one hand over the other and the like.<\/p>\r\n \r\n

            5.\u00a0\u00a0\u00a0 The Heroic - Veera <\/strong>\u2013 This is to be gesticulated by firmness, heroism, charity, diplomacy and the like.<\/p>\r\n \r\n

            6.\u00a0\u00a0\u00a0 The Terrible - Bhaya <\/strong>is to be represented by trembling of the hands, the feet and the eyes, horripilation, change of color and the loss of voice.<\/p>\r\n \r\n

            7.\u00a0\u00a0\u00a0 The Odious - Bibhatsa <\/strong>is to be gesticulated by contraction of all the limbs, narrowing down of the mouth and eyes, vomiting, spitting and (shaking the limbs in) disgust and the like.<\/p>\r\n \r\n

            8.\u00a0\u00a0\u00a0 The Marvelous - Adbhura <\/strong>\u2013 This is to be represented by wide opening eyes, looking with fixed gaze, horripilation, tears. Joy, perspiration, uttering words of approbation, making gifts, crying (incessantly) \u2018ha, ha, ha\u2019 waving the end of dhoti or sari and movement of fingers and the like.<\/p>\r\n \r\n

            Abhinavagupta interpreted rasa as a \u201cstream of consciousness\u201d. He then went on to expand the scope and content of the rasa spectrum by adding the ninth rasa: the Shantha rasa, the one of tranquility and peace. Abhinava explained that Shantha rasa underlies all the other mundane rasas as their common denominator. All the other rasas emanate from the Shantha rasa and resolve in to it. Shantha rasa is a state where the mind is at rest, in a state of tranquility.The other rasas are more transitory in character than is shanta rasa. The Shanta Rasa is the ultimate rasa the summum bonum.<\/p>\r\n \r\n\r\n10.Is Shantha<\/em> the nineth Rasa<\/em> ?<\/strong>\r\n\r\n \r\n

            Natyasastra <\/em>does not make it clear whether santa <\/em>was recognised by Bharata as a sentiment. Bharata recognises, of course, shama<\/em> (calmness) as the dominant emotion. Ascetic elements which have existed from very ancient times should have, under the influence of the Mahabharata,<\/em> given rise to this sentiment. The claim of shanta<\/em> to be treated as a sentiment cannot be denied on the ground that it has a limited appeal, as some critics hold, for the test for the value of a sentiment does not lie only in its appeal to large audience.<\/p>\r\n \r\n

            Shanta <\/em>is the main sentiment in the Nagananda <\/em>of Harsha who is said to have commented on the Natyasastra.<\/em><\/p>\r\n \r\n

            It is probable that this play started the inquiry of the claims of shanta<\/em> to be treated as a sentiment.<\/p>\r\n \r\n\r\nUdbhata was the earliest writer to mention santa<\/em> as a sentiment.\r\n\r\n \r\n\r\n'Rasanubhaava<\/strong>\r\n\r\n \r\n

            Several emotions follow one after the other, one replacing the other, strengthening the Sthayi bhaava at each stage, till finally the Sthayibhaava is established. And there is 'Rasanubhaava<\/em>'. \u201cThe cultured and learned persons taste and relish the well established dominant mood (sthayibhaava<\/em>) created by various bhaavas.<\/em><\/p>\r\n \r\n\r\nRasotpatti'<\/strong>\r\n\r\n<\/div>\r\n

            Bharata says that Bhaava<\/em> and Rasa<\/em> are mutually dependent. The performer or producer, be it an actor, dancer, singer, instrumentalist, or stage craftsmen, should be conscious of the Sthayi bhaava <\/em>and the Rasa <\/em>that they are striving to establish.This will help them realize their 'Siddhi<\/em>' ( experience of Rasa<\/em> ) through 'Rasotpatti.<\/em><\/p>\r\n \r\n

              \r\n \t
            1. Summary<\/strong><\/li>\r\n<\/ol>\r\n

              Bharata devotes the sixth chapter of his classical work Natya Shastra, to an in depth analysis of the concept of Rasa<\/em>. It is in this chapter that we find the famous 'Rasa Sutra.' The very core of the Bharata\u2019s Natya theory is the creation of \"Rasa\u201c.The concept of \"Rasa\" is the most important and significant contribution of the Indian mind to aesthetics. The word Rasa <\/em>is derived from the root 'rasah<\/strong>' <\/em>meaning sap or juice, taste, flavour, or relish. Bharata succinctly encapsulates the theory of Rasa<\/em> in his most famous formula-like Rasa sutra<\/em><\/strong> thus:<\/p>\r\n \r\n

                \r\n \t
              • \" Vibhava-anubhava-vyabhichari-samyogad rasa nishpattih <\/em><\/strong>.\" This aesthetic relish, which is possible only through mental perception, is termed as 'natyarasa'. Bhava is that which becomes rasa. Rasa is the emotional response the bhavas inspire in the spectator (the Rasika or Sahrudaya). Rasa is thus an aesthetically transformed emotional state experienced by the spectator. According to Bharata ,there are three types of Bhaava<\/em>, namely, Sthayi<\/em> ( Pervading stable emotions)(eight types), Vyabhichari<\/em> (thirty three), and Satvika <\/em>(eight), totaling to forty-nine. Bharata considers eight Rasas <\/em>to which three more Rasas <\/em>have been added by Udbhata. Thus, totally eleven Rasas <\/em>are recognized. Natyasastra <\/em>does not make it clear whether santa <\/em>was recognised by Bharata as a Several emotions follow one after the other, one replacing the other, strengthening the Sthayi bhaava at each stage, till finally the Sthayibhaava is established. And there is 'Rasanubhaava<\/em>'.<\/li>\r\n<\/ul>\r\n \r\n\r\nWeb links<\/strong>\r\n
                  \r\n \t
                • https:\/\/en.wikipedia.org\/wiki\/Natya_Shastra<\/li>\r\n \t
                • www.shadjamadhyam.com\/rasa_theory_with_reference_to_bharatas_nat.<\/li>\r\n \t
                • https:\/\/en.wikipedia.org\/wiki\/Natya_Shastra<\/li>\r\n \t
                • https:\/\/online.vmou.ac.in\/oldweb\/studymaterial\/MAfinEnglishpapV.pdf\r\nenfolding.org\/wikis-4\/tantra-wikiwikis-4tantra-wiki\/...\/rasa-theory\/<\/li>\r\n \t
                • https:\/\/www.questia.com\/library\/...\/sanskrit-poetics-as-a-study-of-aesthetic<\/li>\r\n \t
                • www.britannica.com\/topic\/Natyashastra<\/li>\r\n \t
                • rinistudytable.blogspot.com\/...\/bhava-and-rasa-in-bharatas-natyasastra.ht..<\/li>\r\n \t
                • nptel.ac.in\/courses\/109104050\/lecture13\/13_4.htm<\/li>\r\n \t
                • https:\/\/archive.org\/details\/NatyaShastraOfBharataMuniVolume1<\/li>\r\n \t
                • nasa2000.livejournal.com\/55628.html<\/li>\r\n<\/ul>","rendered":"
                  \n

                   <\/p>\n

                  Introduction<\/strong><\/p>\n

                   <\/p>\n

                  1.Theory of Rasa<\/strong><\/p>\n

                   <\/p>\n

                  The theory of Rasa-Bhava establishes a relationship between the performer and the spectator. The model spectator is a Sahrdaya, someone \u2018who empathizes with the author.\u2019 Since the success of a performance is measured by whether or not the audience has a specific experience (rasa), the spectator becomes a vital participant in the play.<\/p>\n

                   <\/p>\n

                  Bharata calls human soul as Bhava-Jagat (the world of emotions). Bharata and later authors explain how the Art universalizes emotions making them an instrument of appeal to the spectators. They say that the actor acts as bearer, media and connector of emotions of the character. By conveying emotions the actor step by step opens inner Bhava-Jagat of the character, creates special emotional atmosphere, which can be felt and relished. The actor introduces and involves the spectators into this emotional atmosphere. Thus, emotions of the character are spread through the actor to spectators, who share them collectively, as a group, by relishing the Rasa. Thus emotions are embodied and translated from one person to many.<\/p>\n

                   <\/p>\n

                  Bharata devotes the sixth chapter of his classical work Natya Shastra, to an in depth analysis of the concept of Rasa<\/em>. It is in this chapter that we find the famous ‘Rasa Sutra.’ The awareness of the emotions has to be elicited in the minds of the spectator for them to relish it. The Rasa Sutra summarizes the factors in art construction that leads to relishing of the Rasa. Bharata very emphatically states in the Rasadhyaya of Natyashastra that “na hi<\/strong> Rasad rite kaschid arthah pravartate\u201c <\/strong>“no meaningful idea is conveyed if the “Rasa” is not evoked.The very core of the Bharata\u2019s Natya theory is the creation of “Rasa\u201c.<\/p>\n

                   <\/p>\n

                  Every dramatic presentation is aimed at evoking in the minds of the audience a particular kind of aesthetic experience, which is described as “Rasa”.<\/p>\n

                   <\/p>\n

                  The concept of “Rasa” is the most important and significant contribution of the Indian mind to aesthetics.The study of aesthetics deals with the realization of beauty in art, its relish or enjoyment, and the awareness of joy that accompanies an experience of beauty.Rasa has no equivalent in word or concept in any other language.<\/p>\n

                   <\/p>\n

                  The closest explanation can be <\/span>‘aesthetic relish<\/strong>‘.<\/span><\/p>\n<\/div>\n

                  \n

                   <\/p>\n

                  Panini mentions Natasutras of Silalin and Krishasva prior to Bharata’s Natyashastra, yet, it is only Bharatamuni who seems to have given a scientific analysis and codification of the concept of Rasa.<\/p>\n

                   <\/p>\n

                  Bharata says that Natya is the imitation of life (lokanukruti) wherein the various human emotions have to be dramatically glorified (bhavanukirtanam) so that the spectator is able to flavour the portrayed pleasure and pain (lokasya sukhaduhkha) as Natyarasa.This Rasa experience will entertain and enlighten the spectator who becomes the ‘Rasika\u2018.<\/p>\n

                   <\/p>\n

                  What is Rasa?<\/strong><\/p>\n

                   <\/p>\n

                  The word Rasa<\/em> is derived from the root ‘rasah<\/strong>‘<\/em> meaning sap or juice, taste, flavour, or relish.The extract of a fruit is referred to as ‘rasa,’<\/em> which itself is the essence of it, the ultimate flavour of it.<\/p>\n

                   <\/p>\n

                  2. Rasa Sutra <\/em><\/strong>of Bharata<\/strong><\/p>\n

                   <\/p>\n

                  Bharata succinctly encapsulates the theory of Rasa<\/em> in his most famous formula-like Rasa<\/em><\/strong> sutra <\/em><\/strong>thus: “ Vibhava-anubhava-vyabhichari-samyogad rasa nishpattih <\/em><\/strong>.” The aesthetic relish (the supreme delight which is called rasa<\/em>) is produced (rasanishpattih)<\/em> by a combination of the determinants (vibhava),<\/em> consequents (anubhava),<\/em> and transitory states or fleeting emotions (vyabhicharibhava).<\/em> He explains Rasa as the essence derived from the various ingredients. He gives the parallel of the extract, Rasa, got from various condiments, having different tastes, when combined becomes delectable to taste. Hence, that which can be tasted or flavored (aasvaadya) relishes good food, can be termed as Rasa.<\/p>\n

                   <\/p>\n

                  3. Natya Rasa<\/strong><\/p>\n

                   <\/p>\n

                  This aesthetic relish, which is possible only through mental perception, is termed as ‘natyarasa’. Even the terms vibhava, anubhava, and vyabhicharibhava refer only to stage representations, not to realities of life. It naturally follows that what they produce should only be \u2018Natya Rasa’ (sentiments pertaining to the dramatic spectacle). One enjoys experiencing the emotions with the artistes, and sometimes even visibly expresses it by shedding tears or laughing spontaneously. But both the artiste and the spectator are well aware that neither of them is going through it in reality. This enjoyment is ‘Natya Rasa’.<\/p>\n

                   <\/p>\n

                  4. Rasa and Bhava<\/strong><\/p>\n

                   <\/p>\n

                  The 6th and 7th chapters of the Natyashastra, known as the Rasadhyaya and Bhavaadhyaya respectively, together bring out the concept of the Bhava-Rasa theory of Bharata, and have hence become the bedrock for all deliberations on aesthetics, including the most brilliant contribution of Abhinavagupta, whose Abhinavabharati remains till date the best commentary on the Natyashastra.<\/p>\n

                   <\/p>\n

                  According to Bharata, the playwright experiences a certain emotion (bhava). The director of the play should properly understand the idea and bhava-s of the character and convey his knowledge and understanding to the actors. The actors perform their parts using their own vision and experience, but they should follow the main idea and key bhavas emphasized by the director, Sutradhara.<\/p>\n

                   <\/p>\n

                  The term bhava means both existence and a mental state, and in aesthetic contexts it has been variously translated as feelings, psychological states, and emotions. In the context of the drama, bhavas are the emotions represented in the performance.<\/p>\n

                   <\/p>\n

                  “Bhaava<\/strong>” is derived from the root ‘bhu’-bhavati, that is, ‘to become’, ‘to come into existence’. Bharata gives a causal quality to Bhava, saying ‘bhavayanti iti bhava’, that is, a thing or mental state that brings its awareness or makes one conscious of it, which pervades one like a particular smell.<\/p>\n

                   <\/p>\n

                  Bhava is that which becomes rasa. In Natya Shastra it is said, that bhavas by themselves carry no meaning in the absence of Rasa: \u201c<\/span>Nahi rasadyate kashid_apyarthah pravattate<\/em>.\u201d Forms and manifestations of bhavas are defined by the rasa. It is therefore said, Rasa is the essence of art conveyed.<\/span><\/p>\n<\/div>\n

                  \n

                   <\/p>\n

                  Bharata says that which can be relished \u2013 like the taste of food \u2013 is rasa:<\/p>\n

                   <\/p>\n

                  \u201cRasyate anena iti rasaha (asvadayatva)<\/em>.\u201d<\/strong><\/p>\n

                   <\/p>\n

                  Rasa is the emotional response the bhavas inspire in the spectator (the Rasika or Sahrudaya). Rasa is thus an aesthetically transformed emotional state experienced by the spectator. Rasa is accompanied by feelings of pleasure and enjoyment. Such emotions tunes perception of the spectators, they create atmosphere of empathy, make people more sensitive, help to open mind and heart to understand the idea and message of the play.<\/p>\n

                   <\/p>\n

                  Rasa is associated with palate, it is delight afforded by all forms of art; and the pleasure that people derive from their art experience. It is literally the activity of savoring an emotion in its full flavor. The term might also be taken to mean the essence of human feelings.<\/p>\n

                   <\/p>\n

                  Rasa is sensuous, proximate, experiential. Rasa is aromatic. Rasa fills space, joining the outside to the inside. What was outside is transformed into what is inside.<\/p>\n

                  5. Sthaayi Bhaava<\/strong><\/p>\n

                   <\/p>\n

                  According to Bharata ,there are three types of Bhaava<\/em>, namely, Sthayi<\/em> ( Pervading stable emotions)(eight types), Vyabhichari<\/em> (thirty three), and Satvika<\/em> (eight), totaling to forty-nine.<\/p>\n

                   <\/p>\n

                  The Natya Shastra thus goes into great detail about the bhavas, which are broken down into three categories. Bharata mentions eight \u201cDurable,\u201d \u201cPermanent,\u201d or \u201cConstant\u201d emotional conditions called Sthayi bhavas:<\/p>\n

                   <\/p>\n

                  These emotional states are inherent to humans. They are basic as they are inborn, understandable without explanation. They also are characterized by intensity, as they dominate and direct behavior. On the stage Sthayi bhavas are represented by certain Anubhavas, explained in Natya Shastra .<\/p>\n

                   <\/p>\n

                  Eight Sthayi bhavas<\/strong><\/p>\n

                   <\/p>\n

                  They are<\/p>\n

                   <\/p>\n

                  1.\u00a0Rati <\/strong>(Pleasure) (love), – Smiling face, sweet words, contraction of eye-brows, sidelong glances and the like.<\/p>\n

                   <\/p>\n

                  2.\u00a0\u00a0Hasa <\/strong>(Joy) – Smile and the like, i.e., laugher, excessive laugher.<\/p>\n

                   <\/p>\n

                  3.\u00a0Shoka <\/strong>(Sorrow) (grief)- Shedding tears, lamentation, bewailing, change of color, loss of voice, looseness of limbs, falling on the ground, crying, deep breathing, paralysis, insanity, death and the like.<\/p>\n

                   <\/p>\n

                  4.\u00a0Krodha <\/strong>(Malice) – Extended nostrils, unturned eyes, bitten lips, throbbing cheeks and the like.<\/p>\n

                   <\/p>\n

                  o\u00a0\u00a0 against enemies – knitting of the eye-brows, fierce look, bitten lips, hands clasping each other, touching one\u2019s own shoulder and breast.<\/p>\n

                  o\u00a0\u00a0 when controlled by superiors – slightly downcast eyes, wiping off slight perspiration and not expressing any violent movement.<\/p>\n

                  o\u00a0\u00a0 against beloved woman – very slight movement of the body, shedding tears, knitting eyebrows, sidelong glances and throbbing lips.<\/p>\n

                  o\u00a0\u00a0 against one\u2019s servants – threat, rebuke, dilating eyes and casting contemptuous looks of various kinds.<\/p>\n

                  o\u00a0\u00a0 artificial – betraying signs of effort.<\/span><\/p>\n<\/div>\n

                  \n

                   <\/p>\n

                  5.\u00a0\u00a0Utsaha <\/strong>(Courage) (heroism)- steadiness, munificence, boldness of undertaking and the like.<\/p>\n

                   <\/p>\n

                  6.\u00a0Bhaya <\/strong>(Fear) – trembling of the hands and feet, palpitation of the heart, paralysis, dryness of the mouth, licking lips, perspiration, tremor, apprehension of danger, seeking for safety, running away, loud crying and the like.<\/p>\n

                   <\/p>\n

                  7.\u00a0\u00a0Jugupsa <\/strong>(Disgust) – contracting all the limbs, spitting, narrowing down of the mouth, heartache and the like.<\/p>\n

                   <\/p>\n

                  8.\u00a0<\/strong>Vismaya <\/strong>(Surprise) – wide opening the eyes, looking without winking of the eyes and movement of the eye-brows, horripilation, moving the head to and fro, the cry of \u2018well done\u2019 and the like.<\/p>\n

                  6.\u00a0 <\/strong>Vibhava and Anubhava<\/strong><\/p>\n

                   <\/p>\n

                  Actions and feelings are evoked in connection with certain surrounding objects and circumstances, called Vibhava-s. Different mental and emotional states manifest themselves and become visible through universal physiological reactions called Anubhava-s.<\/p>\n

                   <\/p>\n

                  Thus Bhava, the emotion felt by the character, results from a \u201cDeterminant\u201d (vibhava), or determining circumstance, such as the time of year, the presence of loved ones, the decor or environment, and so on. The vibhava affects the character so that he feels sorrow, terror, anger, or some such emotion (bhava).<\/p>\n

                   <\/p>\n

                  The \u201cConsequent\u201d (anubhava) of a particular bhava is a specific behavior exhibited by the actor as he portrays the character such as weeping, fainting, blushing, or the like. The anubhava, if properly executed, will cause the audience to feel a specific rasa corresponding to the bhava felt by the actor:<\/p>\n

                   <\/p>\n

                  VIBHAVA—causes—>BHAVA—causes—>ANUBHAVA—>RASA Vibhaava<\/strong><\/p>\n

                   <\/p>\n

                  Vibhaava <\/em>(determinant) which is the cause (karana),which is of two types: Alambana Vibhaava <\/em>and Uddipana Vibhaava<\/em>. the main stimulating cause is termed as Alambana vibhaava <\/em>(the determinant), and, the environmental factors that are additional causes in evoking an emotion termed as uddipana vibhaava<\/em> (excitant).<\/p>\n

                   <\/p>\n

                  Anubhaava<\/strong><\/p>\n

                   <\/p>\n

                  Bharata mentions, \u201cAnubhavyate anena vaksangatvabhinaya ite Anubhaava<\/em>.\u201d which means that the Anubhaava<\/em> is something that is equipped with Vak<\/em> (speech), Anga<\/em> (physic), and Satva <\/em>(from heart or having supreme quality). Anubhaava <\/em>is the consequent physical reaction through action, word and facial expression that follows (anu<\/em>), as the impact of the vibhaava.<\/em><\/p>\n

                   <\/p>\n

                  7.\u00a0Vyabhichari ( Sanchari) bhaava<\/strong><\/p>\n

                   <\/p>\n

                  The vyabhichari bhaava-s<\/em> (also known as sanchari bhaava<\/em> ), are transitory, fleeting emotions. They are based on psychological states of the mind. Vyabhicari Bhaavas<\/em> are thirty three in number.<\/p>\n<\/div>\n

                  They are :<\/p>\n

                    \n
                  • Nirveda\u00a0(Despondency)<\/em><\/li>\n
                  • Glani\u00a0(Weakness)<\/em><\/li>\n
                  • Sanka\u00a0(Suspicious)<\/em><\/li>\n
                  • Asuya\u00a0(envy)<\/em><\/li>\n
                  • Mada\u00a0(Inebriation)<\/em><\/li>\n
                  • Srama\u00a0(exhaustion)\u00a0<\/em><\/li>\n
                  • Alasya\u00a0(lethargy)<\/em><\/li>\n
                  • Dainya\u00a0(Depression)<\/em><\/li>\n
                  • Cinta\u00a0(anxiety)<\/em><\/li>\n
                  • Moha\u00a0(delusion)\u00a0<\/em><\/li>\n
                  • Smrti\u00a0(recollection)<\/em><\/li>\n
                  • Dhrti\u00a0(fortitude)<\/em><\/li>\n
                  • Vrida\u00a0(Bashfulness)<\/em><\/li>\n
                  • Capalata\u00a0(in constancy)<\/em><\/li>\n
                  • Harsa\u00a0(joy)<\/em><\/li>\n
                  • Avega\u00a0(excitement)<\/em><\/li>\n
                  • Jadata\u00a0(Stupefaction)<\/em><\/li>\n
                  • Garva\u00a0\u00a0(Arrogance)<\/em><\/li>\n
                  • Visada\u00a0(Despair)<\/em><\/li>\n
                  • Autsukya\u00a0(impatient curiosity)<\/em><\/li>\n
                  • Nidra\u00a0(sleep)<\/em><\/li>\n
                  • Apasmara\u00a0<\/em>(Loss of memory)<\/li>\n
                  • Svapna\u00a0(Dreaming)<\/em><\/li>\n
                  • Prabodha\u00a0(Wakening)<\/em><\/li>\n
                  • Amarsa\u00a0(indignation)<\/em><\/li>\n
                  • Avahittha\u00a0(Dissimulation)<\/em><\/li>\n
                  • Ugrata (Cruelty)<\/em><\/li>\n
                  • Mati\u00a0(self assurance)<\/em><\/li>\n
                  • Vyadhi\u00a0(Sickness)<\/em><\/li>\n
                  • Unmada\u00a0\u00a0(madness)<\/em><\/li>\n
                  • Marana\u00a0(death)<\/em><\/li>\n
                  • Trasa\u00a0(fright)<\/em><\/li>\n
                  • Vitarka\u00a0(deliberation)<\/em><\/li>\n<\/ul>\n
                    \n

                    However, of the Vyabhicari (Sancari) Bhaavas<\/em>, which are mentioned in the Sastra<\/em>, many do not seem to be emotions e.g. Srama<\/em> (exhaustion), or Smrti<\/em> (recollection).Moreover, they appear as a situation and a stage in life like, Marana<\/em> (death).<\/p>\n

                     <\/p>\n

                    8.Satvika bhaava<\/strong><\/p>\n

                     <\/p>\n

                    The Sattvika Bhaavas<\/em> are eight in number. They are the physical manifestation of intense emotion.<\/p>\n

                     <\/p>\n

                    They are :<\/p>\n

                     <\/p>\n

                      \n
                    • Sthambha<\/em>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 (Paralysis)<\/li>\n
                    • Sveda<\/em>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 (Sweat)<\/span><\/li>\n
                    • Romanca<\/em>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 (horripilation)<\/span><\/li>\n
                    • Svarabheda\u00a0\u00a0 <\/em>(change in the voice)<\/span><\/li>\n
                    • Vepathu<\/em>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 (Trembling)<\/span><\/li>\n
                    • Vaivarnya<\/em>(change of color)<\/span><\/li>\n
                    • Asru<\/em>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 (Shedding tears)<\/span><\/li>\n
                    • Pralaya<\/em>(Loss of Sense,fainting)<\/span><\/li>\n<\/ul>\n<\/div>\n
                      \n

                       <\/p>\n

                      It is an amazing analysis of human emotions put in a nutshell !<\/p>\n

                       <\/p>\n

                      Temperamental states are expressed on the stage using Sattvika abhinaya. In fact, all the gesticulation of mental states may be designated as the Sattvika abhinaya. But the prominence given to the gesticulation of the temperamental states is due to the peculiar mental effort which is necessary for their presentation. Bharata has thus given first the gesticulation of temperament for, without it the real purpose of the performance would be lost.<\/p>\n

                       <\/p>\n

                        \n
                      1. Sveda <\/strong>– taking up the fan, wiping off sweat, looking for breeze.<\/li>\n
                      2. Stambha <\/strong>– being inactive, smileless, being like inert object, limbs drooping.<\/span><\/li>\n
                      3. Kampa <\/strong>– quivering, throbbing and shivering, wiping the eyes of tears, shedding tear incessantly.<\/span><\/li>\n
                      4. Asru <\/strong>– wiping the eyes full of tears, shedding tears incessantly.<\/span><\/li>\n
                      5. Vaivarnya <\/strong>– alteration of the color of the face with effort by putting pressure on the artery.<\/span><\/li>\n
                      6. Romanca <\/strong>– repeated thrills, hair standing on end, touching the body.<\/span><\/li>\n
                      7. Svarabheda <\/strong>– broken and choked voice.<\/span><\/li>\n
                      8. Pralaya <\/strong>– motionlessness, breathing gently (unnoticed), falling on the ground.<\/span><\/li>\n
                      9. Bharata\u2019s classification of Eight Rasas <\/strong><\/li>\n<\/ol>\n

                         <\/p>\n

                        According to Bharata Sentiments are eight in number. <\/span><\/p>\n

                         <\/p>\n

                        They are :<\/span><\/p>\n

                          \n
                        • Love or amorous (sringra)<\/em><\/li>\n
                        • comic or humour (hasya)<\/em><\/li>\n
                        • pathos (karuna)<\/em><\/li>\n
                        • horror or furious (raudra)<\/em><\/li>\n
                        • heroism or valourous(Vira)<\/em><\/li>\n
                        • fear or horrific (bhayanaka)<\/em><\/li>\n
                        • disgust or repugnant (bibhatsa)<\/em><\/li>\n
                        • wonder (adbhuta)<\/em><\/li>\n<\/ul>\n

                           <\/p>\n

                          Santa <\/em>was added as the ninth at a later stage.<\/p>\n

                           <\/p>\n

                          Just as in music a procession of notes in certain combinations reveals a characteristic melodic whole or raga, similarly it seems that the representation of bhaavas<\/em> reveals Rasa<\/em> as an aesthetic whole.<\/p>\n<\/div>\n

                          \n

                           <\/p>\n

                          Number of Rasas<\/strong><\/p>\n

                           <\/p>\n

                          Since it is the Sthayi<\/em> which attains to Rasa<\/em> hood, the number of Rasas<\/em> corresponds to the number of the Sthayis<\/em>.The upcoming table shows the Sthayis<\/em> and their corresponding Rasas<\/em>.Bharata considers eight Rasas <\/em>to which three more Rasas <\/em>have been added by Udbhata. Thus, totally eleven Rasas<\/em> are recognized<\/p>\n

                           <\/p>\n

                          Chart showing Sthaayi bhaava and Rasa<\/strong><\/p>\n

                           <\/p>\n

                          \"\"<\/p>\n

                          1.\u00a0\u00a0\u00a0 The Erotic – Sringara <\/strong>\u2013 (1) in union \u2013 The Anubhava-s to be represented are clever movements of eyes and eye-brows, soft and delicate movements of limbs, sweet words, etc.; whereas those to be represented (2) in separation \u2013 are despondency, weakness, apprehension, envy, weariness, anxiety, yearning, sleep, dreaming, awakening, illness, insanity, epilepsy, inactivity (temporary) death and other conditions.<\/p>\n

                           <\/p>\n

                          2.\u00a0\u00a0\u00a0 The Comic – Hasya <\/strong>\u2013 It is to be represented by throbbing of the lips, and the cheeks, opening of the eyes wide or contracting them, perspiration, color of the face and taking hold of the sides. Hasya is self-centered when a man laughs himself and it is centered in others when he makes others laugh. This two-fold division of Hasya relates to its infectious nature. In the verses of the Anubhavas of the six types of Hasya are given.<\/p>\n

                            \n
                          • \u2018smita\u2019 (gentle smile): slightly blown cheeks, elegant glances, teeth not visible;<\/li>\n
                          • \u2018hasita\u2019 (smile): blooming eyes, face and cheeks, teeth slightly visible;<\/li>\n
                          • \u2018vihasita\u2019 (gentle laugher) \u2013 laugher suitable to the occasion; slight sound and sweetness, face joyful, eyes and cheeks contracted;<\/li>\n
                          • \u2018upahasita\u2019 (laugher of ridicule): the nose expanded, squinting eyes, shoulder and head bent;<\/li>\n
                          • \u2018apahasita\u2019 (vulgar laugher) \u2013 laugher on unsuitable occasion: tears in eyes, shoulders and the head violently shaking;<\/li>\n
                          • \u2018atihasita\u2019 (excessive laugher) \u2013 eyes expanded and tearful, loud and excessive sound, sides covered by hands.<\/li>\n
                          • Smita and hasita should be employed in the case of superior characters, vihasita and upahasita in the case of middling ones and apahasita and atihasita in the case of the inferior types.<\/li>\n<\/ul>\n<\/div>\n
                            \n

                             <\/p>\n

                            3.\u00a0\u00a0\u00a0 The Pathetic – Karuna <\/strong>\u2013 This is to be represented by shedding tears, lamentation, dryness of the mouth, change of color, drooping limbs, being out of breath, loss of memory and the like.<\/p>\n

                             <\/p>\n

                            4.\u00a0\u00a0\u00a0 The Furious – Roudra <\/strong>is to be represented by red eyes, knitting of eye-brows, defiance, biting of lips, throbbing of the cheeks, pressing one hand over the other and the like.<\/p>\n

                             <\/p>\n

                            5.\u00a0\u00a0\u00a0 The Heroic – Veera <\/strong>\u2013 This is to be gesticulated by firmness, heroism, charity, diplomacy and the like.<\/p>\n

                             <\/p>\n

                            6.\u00a0\u00a0\u00a0 The Terrible – Bhaya <\/strong>is to be represented by trembling of the hands, the feet and the eyes, horripilation, change of color and the loss of voice.<\/p>\n

                             <\/p>\n

                            7.\u00a0\u00a0\u00a0 The Odious – Bibhatsa <\/strong>is to be gesticulated by contraction of all the limbs, narrowing down of the mouth and eyes, vomiting, spitting and (shaking the limbs in) disgust and the like.<\/p>\n

                             <\/p>\n

                            8.\u00a0\u00a0\u00a0 The Marvelous – Adbhura <\/strong>\u2013 This is to be represented by wide opening eyes, looking with fixed gaze, horripilation, tears. Joy, perspiration, uttering words of approbation, making gifts, crying (incessantly) \u2018ha, ha, ha\u2019 waving the end of dhoti or sari and movement of fingers and the like.<\/p>\n

                             <\/p>\n

                            Abhinavagupta interpreted rasa as a \u201cstream of consciousness\u201d. He then went on to expand the scope and content of the rasa spectrum by adding the ninth rasa: the Shantha rasa, the one of tranquility and peace. Abhinava explained that Shantha rasa underlies all the other mundane rasas as their common denominator. All the other rasas emanate from the Shantha rasa and resolve in to it. Shantha rasa is a state where the mind is at rest, in a state of tranquility.The other rasas are more transitory in character than is shanta rasa. The Shanta Rasa is the ultimate rasa the summum bonum.<\/p>\n

                             <\/p>\n

                            10.Is Shantha<\/em> the nineth Rasa<\/em> ?<\/strong><\/p>\n

                             <\/p>\n

                            Natyasastra <\/em>does not make it clear whether santa <\/em>was recognised by Bharata as a sentiment. Bharata recognises, of course, shama<\/em> (calmness) as the dominant emotion. Ascetic elements which have existed from very ancient times should have, under the influence of the Mahabharata,<\/em> given rise to this sentiment. The claim of shanta<\/em> to be treated as a sentiment cannot be denied on the ground that it has a limited appeal, as some critics hold, for the test for the value of a sentiment does not lie only in its appeal to large audience.<\/p>\n

                             <\/p>\n

                            Shanta <\/em>is the main sentiment in the Nagananda <\/em>of Harsha who is said to have commented on the Natyasastra.<\/em><\/p>\n

                             <\/p>\n

                            It is probable that this play started the inquiry of the claims of shanta<\/em> to be treated as a sentiment.<\/p>\n

                             <\/p>\n

                            Udbhata was the earliest writer to mention santa<\/em> as a sentiment.<\/p>\n

                             <\/p>\n

                            ‘Rasanubhaava<\/strong><\/p>\n

                             <\/p>\n

                            Several emotions follow one after the other, one replacing the other, strengthening the Sthayi bhaava at each stage, till finally the Sthayibhaava is established. And there is ‘Rasanubhaava<\/em>‘. \u201cThe cultured and learned persons taste and relish the well established dominant mood (sthayibhaava<\/em>) created by various bhaavas.<\/em><\/p>\n

                             <\/p>\n

                            Rasotpatti’<\/strong><\/p>\n<\/div>\n

                            Bharata says that Bhaava<\/em> and Rasa<\/em> are mutually dependent. The performer or producer, be it an actor, dancer, singer, instrumentalist, or stage craftsmen, should be conscious of the Sthayi bhaava <\/em>and the Rasa <\/em>that they are striving to establish.This will help them realize their ‘Siddhi<\/em>‘ ( experience of Rasa<\/em> ) through ‘Rasotpatti.<\/em><\/p>\n

                             <\/p>\n

                              \n
                            1. Summary<\/strong><\/li>\n<\/ol>\n

                              Bharata devotes the sixth chapter of his classical work Natya Shastra, to an in depth analysis of the concept of Rasa<\/em>. It is in this chapter that we find the famous ‘Rasa Sutra.’ The very core of the Bharata\u2019s Natya theory is the creation of “Rasa\u201c.The concept of “Rasa” is the most important and significant contribution of the Indian mind to aesthetics. The word Rasa <\/em>is derived from the root ‘rasah<\/strong>‘ <\/em>meaning sap or juice, taste, flavour, or relish. Bharata succinctly encapsulates the theory of Rasa<\/em> in his most famous formula-like Rasa sutra<\/em><\/strong> thus:<\/p>\n

                               <\/p>\n

                                \n
                              • ” Vibhava-anubhava-vyabhichari-samyogad rasa nishpattih <\/em><\/strong>.” This aesthetic relish, which is possible only through mental perception, is termed as ‘natyarasa’. Bhava is that which becomes rasa. Rasa is the emotional response the bhavas inspire in the spectator (the Rasika or Sahrudaya). Rasa is thus an aesthetically transformed emotional state experienced by the spectator. According to Bharata ,there are three types of Bhaava<\/em>, namely, Sthayi<\/em> ( Pervading stable emotions)(eight types), Vyabhichari<\/em> (thirty three), and Satvika <\/em>(eight), totaling to forty-nine. Bharata considers eight Rasas <\/em>to which three more Rasas <\/em>have been added by Udbhata. Thus, totally eleven Rasas <\/em>are recognized. Natyasastra <\/em>does not make it clear whether santa <\/em>was recognised by Bharata as a Several emotions follow one after the other, one replacing the other, strengthening the Sthayi bhaava at each stage, till finally the Sthayibhaava is established. And there is ‘Rasanubhaava<\/em>‘.<\/li>\n<\/ul>\n

                                 <\/p>\n

                                Web links<\/strong><\/p>\n

                                  \n
                                • https:\/\/en.wikipedia.org\/wiki\/Natya_Shastra<\/li>\n
                                • www.shadjamadhyam.com\/rasa_theory_with_reference_to_bharatas_nat.<\/li>\n
                                • https:\/\/en.wikipedia.org\/wiki\/Natya_Shastra<\/li>\n
                                • https:\/\/online.vmou.ac.in\/oldweb\/studymaterial\/MAfinEnglishpapV.pdf
                                  \nenfolding.org\/wikis-4\/tantra-wikiwikis-4tantra-wiki\/…\/rasa-theory\/<\/li>\n
                                • https:\/\/www.questia.com\/library\/…\/sanskrit-poetics-as-a-study-of-aesthetic<\/li>\n
                                • www.britannica.com\/topic\/Natyashastra<\/li>\n
                                • rinistudytable.blogspot.com\/…\/bhava-and-rasa-in-bharatas-natyasastra.ht..<\/li>\n
                                • nptel.ac.in\/courses\/109104050\/lecture13\/13_4.htm<\/li>\n
                                • https:\/\/archive.org\/details\/NatyaShastraOfBharataMuniVolume1<\/li>\n
                                • nasa2000.livejournal.com\/55628.html<\/li>\n<\/ul>\n","protected":false},"author":3,"menu_order":6,"template":"","meta":{"pb_show_title":"on","pb_short_title":"","pb_subtitle":"","pb_authors":["r-thiagarajan"],"pb_section_license":""},"chapter-type":[],"contributor":[58],"license":[],"class_list":["post-45","chapter","type-chapter","status-publish","hentry","contributor-r-thiagarajan"],"part":3,"_links":{"self":[{"href":"https:\/\/ebooks.inflibnet.ac.in\/icp04\/wp-json\/pressbooks\/v2\/chapters\/45","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/ebooks.inflibnet.ac.in\/icp04\/wp-json\/pressbooks\/v2\/chapters"}],"about":[{"href":"https:\/\/ebooks.inflibnet.ac.in\/icp04\/wp-json\/wp\/v2\/types\/chapter"}],"author":[{"embeddable":true,"href":"https:\/\/ebooks.inflibnet.ac.in\/icp04\/wp-json\/wp\/v2\/users\/3"}],"version-history":[{"count":5,"href":"https:\/\/ebooks.inflibnet.ac.in\/icp04\/wp-json\/pressbooks\/v2\/chapters\/45\/revisions"}],"predecessor-version":[{"id":51,"href":"https:\/\/ebooks.inflibnet.ac.in\/icp04\/wp-json\/pressbooks\/v2\/chapters\/45\/revisions\/51"}],"part":[{"href":"https:\/\/ebooks.inflibnet.ac.in\/icp04\/wp-json\/pressbooks\/v2\/parts\/3"}],"metadata":[{"href":"https:\/\/ebooks.inflibnet.ac.in\/icp04\/wp-json\/pressbooks\/v2\/chapters\/45\/metadata\/"}],"wp:attachment":[{"href":"https:\/\/ebooks.inflibnet.ac.in\/icp04\/wp-json\/wp\/v2\/media?parent=45"}],"wp:term":[{"taxonomy":"chapter-type","embeddable":true,"href":"https:\/\/ebooks.inflibnet.ac.in\/icp04\/wp-json\/pressbooks\/v2\/chapter-type?post=45"},{"taxonomy":"contributor","embeddable":true,"href":"https:\/\/ebooks.inflibnet.ac.in\/icp04\/wp-json\/wp\/v2\/contributor?post=45"},{"taxonomy":"license","embeddable":true,"href":"https:\/\/ebooks.inflibnet.ac.in\/icp04\/wp-json\/wp\/v2\/license?post=45"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}