rasa sutra varnam.pdf

8/9/2019 Rasa Sutra Varnam.pdf

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RASA THEORY

Of particular concern to Indian drama and

literature are the terms 'bhava' or the state of mind

and rasa(litrally meaning 'juice' or 'essence')

referring generally to the emotional flavors/essence

crafted into the work by the writer and relished by

a 'sensitive spectator' or sahdayaor one with

positive taste and mind.

Rasas are created by bhavas. The first mention of

the concept of Rasa has been seen in the ancient

and by far one of the most important texts available

to us today which is Bharata Munis Ntyasstra,an ancient work of dramatic theory.

Possessed of a deep psychological insight, Bharat

actually investigated man's entire psyche and

discovered various emotions and sentiments, which

it capable of encompassing.


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He also elaborated how an emotion, when

represented into a medium, transpired 'Rasa', anddelighted thereby spectator's mind and effected

sublimation. He considered 'Rasa', its sole

instrument, though strangely did not attempt at

defining it. Questions such as: 'What is Rasa?' or

'Why does it delight?' are answered simply as:

'because it can be savored'.

Bharat's period varies from the second century B.

C. to second century A. D., but he alludes to some

earlier scholars, which suggests that during the

period after the Upanishads to Bharat, the subject

was in active discourse, though nothing of it nowexist.

The theory appears to have remained in focus in

post-Bharat period also but it is only from Ninth

century onward that any material becomes

available.


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Most of the 'Acharyas' - Bhatta Lollat, Dandin,

Shankuk, Bhattanayak, Anandavardhan,Abhinavagupta, Bhojaraj, Mammat, Ramachandra

Gunachandra, Shardatanay, Vishvanath,

Rupagoswami, and others, who further elaborated

Bharat's theory emerged during the period from the

ninth to the fourteenth century.

Although the concept of rasa is fundamental to

many forms of Indian artincluding dance, music,

musical theatre, cinemaand literature, the

treatment, interpretation, usage and actual

performance of a particular rasa differs greatly

between different styles and schools of abhinaya,

and the huge regional differences even within one

style.


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Experience of rasa (Ras Anubhava)

A rasa is the developed relish able state of a

permanent mood, which is called sthayi bhava.

Rasa is the cumulative result of Bhava (Emotions),

Vibhava (stimulus), Anubhava (involuntary

reaction) and Vyabhicari bhava (voluntary reaction).

For example, just as when various condiments and

sauces and herbs and other materials are mixed, a

taste (different from the individual tastes of the

components) is felt, or when the mixing of materials

like molasses with other materials produces six

kinds of tastes, so also along with the different

bhavas (emotions) the Sthayi bhava becomes a

taste (rasa, flavour, feeling). The production of

aesthetic rasa from bhavas is analogous to the

production of tastes/juices of kinds from food with

condiments, curries, pastes and spices.

But what is this thing called rasa? Here is the

reply. Because it is enjoyably tasted, it is called


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rasa. How does the enjoyment come? Persons who

eat prepared food mixed with different condimentsand sauces, etc., if they are sensitive, enjoy the

different tastes and then feel pleasure (or

satisfaction); likewise, sensitive spectators, after

enjoying the various emotions expressed by the

actors through words, gestures and feelings feel

pleasure. Etc. This final feeling experienced by the

spectators here can be explained as (the various)

rasas of natya (includes all forms of art thorough

which Rasa and be experienced).

Here are two verses handed down by tradition.

Those who are connoisseurs of tastes enjoy the taste of

food prepared from (or containing) different materials;

likewise, the intelligent, healthy persons enjoy various Sthayi

bhavas related to (i.e., expressed by) the acting of emotions.


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Bhavaor emotion, are the thoughts which come to

the mind after seeing an object or person.

Vibhavas means karana or cause. It is of two

kinds:

1.Alambana, the personal or human object and

substratum, or simply put the main reason or

cause and;

2.Uddipana, the excitants or the supportive

reasons or causes around the main object.

Anubhava, as the name signifies, means the

ensuants or effects following the rise of theemotion. The facial expressions, body movements,

etc., through the help of which the bhava or

sentiment is expressed or conveyed to the audience.


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Vedic concept

The Rishi Praskanva insists (Rig Veda I.46.6) that

the sources of knowledge, some of which are open

and some hidden they are to be sought and found

by the seekers who are after Truth, these sources

are not available everywhere, anywhere and at all

times. In this context Rishi Agastya (Rig Veda

I.187.4) stating thus

It reminds the ardent seekers about the six kinds of

Rasa or taste which food has but which all tastes

cannot be found in one place or item, for these tastes

are variously distributed throughout space. Food, in

this context, means matter or objects or thoughts,

which are all produced effects, effects that are

produced owing to various causes. The Rasas, are

the unique qualities which bring about variety in things

created whose source is one and one only.


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Relation between rasa and bhava

A question is asked here is: Are the bhavas

produced by rasas, or do the rasas produce the

bhavas? Some are of the opinion that their relation

is symbiotic. That however is not correct. It can be

clearly seen that rasa is produced from bhavas and

not vice versa.

Here are the verses in support of the above.

1. Theatre-producers say that a bhava is called as

such because it leads to (bhu) a rasa arising out of

various kind of acting.

2. Many materials of different kinds produce a

distinct flavour: likewise, a flavour is produced by

the bhavas through acting.

3. There is no rasa (flavour) without a bhava and

there is no bhava without rasa. Through acting,

mutually they lead to a distinct result.


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4. Condiments and herbs (i.e., vegetables) render

food tasty; so is the mutual relation betweenbhavas and rasas.

5. Out of a seed grows a tree, out of a tree a flower,

out of a flower a fruit, so rasa is the seed of all

(Sthayi) bhavas (of the spectators).

When we put all the above topics together in one

single context it gives rise to the concept of

RasotpattiEvoking a Sentiment

From the above shloka we get another aspect of

defining Rasa. We can clearly see that the main aim

of the art of dance or for that matter any other art

from is Rasotpatti.


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ASHTARASA

A total of ashta or eight rasas have been recognized

in drama. They are:

1.SrngaraErotic

2.HasyaComic

3.KarunaPathetic

4.RaudraFurious

5.

ViraHeroic

6.BhayanakaTerrible

7.BibhatsaOdious

8.AdbhutaMarvellous

These eight sentiments or rasas have been named

by Druhina (Brahma).


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Bhavas (Psychological States)

There are different varieties of Bhavas that have

been defined in the Natyasastra. Bhava includes:

Sthayi Bhava (Durable/Permanent

Psychological States)

Sanchari/Vyabhichari Bhava

(Complementary/Wandering Pyschological

States)

Sattvika Bhava


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Sthayi Bhava (Durable/Permanent


This can be defined as the Bhava which comes first

to the mind at the time of rasotpatti and remains

throughout the duration of the event or sentiment

which has to be experienced. Every Rasa has its

own individual Sthayi Bhava. There are eight

Rasas, so there are eight Sthayi Bhavas. The Sthayi

Bhavas are:

1.RatiLove

2.HasyaMirth

3.ShokaSorrow

4.KrodhaAnger

5.UtsahaEnergy

6.BhayaTerror

7.

JugupsaDisgust

8.VismayaAstonishment


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Sanchari Bhava (Complementary / Wandering


These can be defined as wandering feelings which

dont last for very long. They arise to give

importance and underline the Sthayi Bhava. Once

their task is complete they go away. There are a


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total of thirty three Sanchari bhavas which have

been recognized. It is not necessary that each of thethirty three have to come up every time. Only the

bhavas which are relevant to a particular situation

will arise and they may come up to the surface

depending on the flow of events and sentiments.

The thirty three Complementary Psychological

states are known to be the following:

Discouragement, Weakness, Apprehension, Envy,

Intoxication, Weariness, Indolence, Depression,

Anxiety, Distraction, Recollection, Contentment,

Shame, Inconstancy, Joy, Agitation, Stupor,

Arrogance, Despair, Impatience, Sleep, Epilepsy,

Dreaming, Awakening, Indignation, Dissimulation,Dissimulation, Cruelty, Assurance, Sickness,

Insanity, Death, Fright and Deliberation.


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Sattvika Bhava

Sattvika Bhava can be defined as the true natural

feelings which come directly from the heart. These

feelings cannot be artificially created, but have to

come up on their own. In all there are eight

Sattvika bhavas recognized. They are:

1.SthambhParalysis

2.SvetambaPerspiration

3.RomanchHorripilation

4.SwarbhangothChange of Voice

5.VepathuTrembling

6.VyvarniyaChange of Colour

7.AshruWeeping

8.PralayaFainting


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Origins, colour and deities of rasas

The colours and Deities are:

Rasa Colour Presiding Deity

1. Srngara shyama Vishnu

2. Hasya white Prathamas

3. Karuna grey Yama

4. Raudra red Rudra

5. Vira gaura Mahendra

6. Bhayanaka black Kaala

7. Bibhatsa blue Mahadeva

8. Adbhuta yellow Brahma

These are the origins, colours and deities of the

rasas.


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Eight Rasas from four Original Rasas

The Hasya Rasa or Comic Sentiment arises from

the Srngara Rasa or Erotic Sentiment.

The Karuna Rasa or Pathetic Sentiment arises

from the Raudra Rasa or Furious Sentiment.

The Adbhuta Rasa or Marvellous Sentiment

arises from the Vira Rasa or Heroic Sentiment.

The Bhayanaka Rasa or Terrible Sentiment

arises from the Bibhatsa Rasa or Odious

Sentiment.


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Srngara Rasa

Srngara Rasa is based on the Sthayi bhava of rati

(love). It is revealed by gorgeous costumes. In our

daily life whatever is pure, holy, resplendent is

referred to as Srngara (i.e., in the phrase bedeck

oneself withor Srngarin). Whoever has a luxurious

dress is referred to as ornamenting oneself.

Attractive and beautiful dress is called Srngara by

common practice; the rasas and bhavas in the

natya also are given names in accordance with

paternal and maternal family tradition.

The Srngara Rasa results in the case of men andwomen, of healthy youth. It is of two kinds:

Sanyoga (fulfillment or love in union), Viyoga (non-

fulfilment; love in separation).


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The Sanyoga Srngara is stimulated by season (i.e.,

spring), garlands, scent (anointment), ornament

and experience or by listening to, or seeing desired

company, beautiful surrounding, delightful music,

beautiful parks. The Srngara must be expressed

(i.e., acted) by loving looks, lifting (raising)

eyebrows, side-glances, graceful steps and gestures

which are all anubhavas or involuntary (natural).

The Vyabhicari bhavas are the thirty-three

enumerated earlier except laziness, cruelty and

disgust.


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The anubhavas or the spontaneous reactions in the

case of Viyoga Srngara are dejection, fatigue,suspicion, jealousy, anxiety, impatience, sleepiness,

dreaminess, lassitude, forgetfulness, death, etc.

Actually these are the bhavas of Karuna rasa. Why

should they be acted in the case of Srngara? As

already said, Srngara is of two kinds. The authors

of Sastras on erotics are also of the same opinion.

We shall try to elaborate on this in the context of

emotional acting.

Karuna, in fact, is the disinterestedness or

indifference consequent to curses, misery,

separation from loved persons, loss of wealth,

murder, imprisonment, etc. Viyoga, on the other

hand, is interestedness, or hopefulness because of

impatience, anxiety, etc. For this reason Karuna

and Viyoga are entirely distinct from one another.


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The Srngara may be considered in its two types as

related to all the bhavas. Moreover, a personenjoying happiness, achieving his desires and

helped by proper season, flowers, etc. when he is in

a womans company that is called Srngara.

There are two verses in Arya metre which say in

sutra style: Srngara rasa is produced by seasonal

flowers and ornaments, by enjoying (the company

of) beloved persons, music and poetry and by

diversions like going to a park. This should be acted

by graceful looks and words and sweet speeches

and smiles and by pleasing and attractive gestures.

After Bharta, all theoreticians of Indian poetics has

accepted Sringar Rasa or love as an important part

of human psyche andbehavior as well as the driving

force of human life and existence.


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Rati or love in Sringara Rasa is love or inclination of

man or woman towards each other on the basis ofmutual involvement or consent of each other.

Rudarta clearly mentions in Kavyalamkara that no

other Rasa is capable of proceeding that bliss or

pleasure which the Sringar Rasadoes. The

sentiment permeates all human beings, and more

that that even the flora and fauna. Anandvardhan

in Dhvanyaloka considers Sringar Rasa among all

Rasas as sweetest and the most exhilarating.

Bhoja holds Sringara to be synonyms of self and

ego (Ahamkara). Here, the term Ahamkara (ego) as

used by Bhoja does not mean false pride or

arrogance, but is indicative of innate attachment of

man to one`s own self. Because of this very ego and

self- attachment he begins to expand his

personality. When a lovely damsel casts glances ona man, it awakens an emotion of self

consciousness, self confidence and self attachment


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and plunges him headlong into bliss. This is verily

the state of Ahamkara, in which he feels an ecstaticthrill, regards himself as fortunate, gratified and an

object of sweet and tender love.

Bhoja considers ego as the main attribute of soul,

which binds all human beings with this world. No

one can feel happy if his ego is not satisfied. We

love those who love us. Ultimately we come to love

ourselves. So, Bhoja claims the erotic to be the

basic Rasa and declares that poetry is beautiful

only because of the erotic.

Union oriented Sringara takes place when two

lovers enjoy the company of each other.

Separation oriented Sringara takes place when two

lovers are separated from each other due to some

cause or situation. It is also called Viparlambha.Viparlambha is further divided into four parts -

Puravaraga, Mana, Pravasa and Karuna.


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The situation of hero and heroine inclining towards

each other before actual union is called Puravaraga(predisposition). So, Puravaraga is love before

union. This is generated by looking a person to be

loved in picture, dream or hearing about him/her

from others.

Mana (anger in love) means anger or displeasure,

generated by exceeding love or jealousy. In this

situation lover and beloved stay at the same place,

but there is an absence of exchange of kisses,

embrace etc. It is further divided into two categories

Pranaya Mana and Irshya Mana. Pranaya Mana is

the situation when a sort of anger develops between

the two lovers sometimes without any solid reason

and Irshya Mana is the situation of doubt,

suspicion or jealousy among each other may be due

to presence of another person male or female

between them.

Third category of Viparalamba is Pravasa (sepration

due to travel) or person (Nayaka) being abroad.


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Departure may be occurred by business, by curse

or by some fear etc.

Fourth category is called Karuna (separation

causing grief). This happens when one of the lovers

has died and hope of re-union declines.

So, Bharata has minutely described almost all

aspects of love between male and female through a

detailed discussion based on different examples

from ancient Indian literature. Not only this, he has

presented Sringar Rasa as the prominent Rasa

among all other Rasas present in his eight Rasa

division. After Bharata Muni many other Indian

scholars like Vishav Nath, Bhoja, Bhanu Dat

Mishar, Abhinav Gupat, Pandit Raj Jagan Nath,

Manmat etc. have also accepted the importance of

Sringar Rasa as compared to the others. It has

further been accepted that other permanent moods

like humor, wrath, terror may vary in ratio or may

not be present in all human beings, but Rati or love

is a universal feeling or emotion that is always

present in all the persons.


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COMMENTARIES ON RASA

Rasa--roughly translated: "as emotive aesthetics" -

is one of the most important concepts in classical

Indian aesthetics, having pervasive influence in

theories of painting, sculpture, dance, poetry, and

drama. Rasa theory argues that the presentation of

emotions is the proper object and domain of poetic

discourse. Bharata in Natyashastrahis pioneering

work on Indian dramatics mentions eight rasas and

says Rasa is produced when Vibhaava,

Anubhava and Vyabhichari bhavacome together.

Abhinavabharatia commentary on Bharata's

Natyasastra talks about these scholars and

comments on their theories. Bhatta Lollata believed

art to be an imitation of reality. His views were

contested by Sri Sankuka who stated that art

cannot be an imitation simply because it exists in a

different place and time. Further he explained his

point of view by giving the analogy of a pictorial

horse (chitaraturaganyaya). He says when one sees


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a horse painted one doesnt mistake it for the

original horse but one sees it as the representationof the original horse and thus derives the aesthetic

pleasure through this identification. Since art

cannot imitate all the qualities of the original

subject hence it is just an inference and not an

imitation. BhattaTauta, Abhinavagupta's teacher,

raised a valid question regarding the imitation of

the mental state.

According to him there is no way an actor can feel

and react in exactly the same way as the original

character. The actor presents his feelings i.e. how

he would react if put in the original characters

position. Hence art cannot be inferred but depends

on the imagination of the spectator.

Abhinavagupta though agrees to many of the

suggestions put forward by Rasa theory also points

at its various limitations. According to him art is


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not just about evoking certain feelings but a real

work of art in addition to possessing emotive chargeneeds to have a strong sense of suggestion and

capacity to produce various meanings. This is

where he refers to Dhvanivada. He says that for a

work of art it is not enough to be

having abhida (literal meaning)

and laksana (metaphorical meaning) but it should

also possess Vyanjanathe suggested meaning

which has absolutely nothing to do with the other

two levels of meaning. Thus an aesthetic experience

cannot be experienced like any ordinary mundane

experience. A true aesthetic object does not simply

stimulate the senses but also stimulates the

imagination of the spectator. Once the imagination

is stimulated the spectator aesthete gets

transported to a world of his own creation. This

emotion deindividualises an individual by freeing

him from those elements which constitute

individuality such as place, time etc. and raises

him to the level of universal. Thus art is

otherworldly or Alaukika in its nature.


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One of the major passage in which he dwells on

alaukikatva is:

When a man hears the words: A son is born to you

joy is produced (through the power of denotation -

abhida). But the suggested sense (rasa and the like)

is not produced the way joy is produced in the above

case. Nor does it come about through the secondary

usage (laksana, gunavrtti, bhakti). But it arises in a

sensitive man (sahrdaya - a man who is sensitive to

literature) through his knowledge of vibhavas and

anubhava, because of his hrdaya-samvada

(sympathetic response) and his tanmayibhava

(identification). It is vilaksana (different) from

ordinary awareness of happiness etc. and it is not

an objective thing Dhvaynalokalocana,

In this passage he points out clearly that the

vibhavas do not correspond to any karana (reason)

in case of art like they do in everyday life. Theymake the relish of Rasa possible and hence exist at

a different plane altogether.


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Abhinavagupta turned his attention away from the

linguistic and related abstractions which hadpreoccupied even Anandavardhana, focussing his

attention instead on the human mind, specifically

the mind of the reader or viewer of a literary work.

The first step in Abhinavagupta's project involved

the recognition that the theory of rasadhvani, could

not be understood as a theory of abstract linguistic

structure. Rather, it only made sense as a theory of

the way people respond to literature. In other

words, rasadhvani had to be conceived in

psychological terms. According to this system the

reader becomes the central focus of literary

criticism. The aim of kavya is to give pleasure, but

this pleasure must not bind the soul to the body.

According to him the pleasure one derives out of a

real work of art is no less than divine pleasure. As

one has to constantly struggle and detach oneself

to reach the Almighty similarly a true connoisseur

of arts has to learn to detach the work from its

surroundings and happenings and view it


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independently, e.g. the feeling that might bring pain

in real life is capable of causing pleasure in an artform. The great success of Greek tragedies can be

attributed to the pleasure it aroused in the

spectators and brought about the emotional

Catharsis (purging out).

In his Dhvanyaloka Anandavardhana observes: In

the province of poetry (creative literature) obviously

standards of truth and falsity have no relevance.

Any attempt to find out or discover whether a poem

(or any literary composition) is true or false by

employing means of valid cognition leads to ridicule

alone Abhinavagupta comments on it: Such a

person will be ridiculed as follows: He is not able or

competent to appreciate aesthetic experience or his

mind has become (truly) hard by indulging in dry

logic.


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Thus he asserts that the willful suspension of

disbelief is a prerequisite for enjoying any art form.The moment one starts questioning it or doubting it

and looking at it objectively it loses its charm and

status and becomes equivalent to any mundane

object. One enjoys a play only when one can

identify the character as the character from the

drama and not as ones friend or associate. For the

time that the drama goes on the character should

take over the actor in a spectators mind i.e. the

spectator should rise above the worldly connections

and try to experience the supernatural aspect of art

which has nothing to do with the worldly concerns.


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SRANGADEVAS SANGITA RATNAKAR

ON RASA

GLANCES

Glances expressing Rasa should be looked upon as

eight in number: Kanta, Hasya, Karuna, Raudra,

Vira, Bhayanaka, Bibhatsa, and Adbbhuta.

The eight glances produced by the Sthayibhavas

(Permanent Moods), when they have not become

transitory, are known as Sthayi glances: Snigdha,

Hrsta, Dina, Kruddha, Drpta, Bhayanvita,Jugupsita, and Vismita.

The glances relating to the Vyabhicaribhavas

(Transitory Moods) are twenty in number: Sunya,

Malina, Sranta, Lajjita, Sankita, Mukula,

Ardhmukula, Glana, Jihma, Kuncita, Vitarkita,Abhitapta, Visanna, Lalita, Akekara, Vikosa,

Vibhranta, Vipluta, Trasta, and Madira. All these


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glances, added together, are accepted to be thirty-

six.

GLANCES EXPRESSING RASA

Kanta

The Kanta glance is that which seems to drink in

its object, is open, and extremely clear. It is

accompanied by movements of the brows and

Kataksa, and excites the passion of love.

Those well versed in the arts say that Kataksa is

moving the pupils here and there and letting them

come to rest in a variety of charming ways.

Hasya

In the Hasya glance, the pupils are drawn slightly

inwards and move in various ways; the eyelids are

slightly contracted, at first slowly, later moderately,

and then quickly. It is recommended for indicating

the feeling of astonishment.


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Karuna

The Karuna glance is said to be that in which the

upper eyelids droop down, tears fall, the pupils are

dull with sorrow, and the eyes are directed solely

towards the tip of the nose.

Raudra

The Raudra glance is said to have tremulous

eyelids, motionless pupils, and intensely red and

severe eyes. It is terrible with knitting of brows, and

cruel.

Vira

The Vira glance is described by the wise as that

which is steady, open, and majestic. It has even

pupils, is bright, and narrowed at the corners. This

glance indicates the eight varieties of feelings

associated with the Rasa: generosity, courage,

nobility, sweetness, delicacy, power, grace, and

sportfulness.


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Bhayanaka

The Bhayanaka glance is that in which the eyelids

are stretched and turned upwards, while the pupils

quiver and are turned upwards. It is employed to

indicate running away in fear from the object seen.

Bibhatsa

Bibhatsa is that in which the eyelashes tremble and

meet, the pupils are agitated, the eyelids lowered,

and the glance rests at the sides out of disgust at

the object seen.

Adbhuta

The Adbhuta glance is clear, with the pupils moving

inwards and outwards in relation to the bright

white of the eye, the tips of the eyelashes slightly

lowered, and the outer ends of the eyes open.


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GLANCES EXPRESSING PERMANENT

MOODS

A glance expressive of Rasa becomes a glance

expressive of Bhava when the feeling is not strong

enough.

Snigdha

The glance known as Snigdha is open, lovely, and

sweet, with charming eyebrows. It is characterized

by Kataksa and is full of eagerness. Kirtdhara and

others say that one brow should be gently raised

upwards in this glance.

Hrsta

The Hrsta glance is spoken of as having full cheeks

and pupils which move inwards. It is slightly

lowered, moving, winking, and accompanying a

smiling countenance.


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Dina

The glance which has half-closed upper eyelids and

slightly restricted [movements of the] pupils, has

tears, and is dull in movement, is considered to be

Dina.

Kruddha

It is said that the Kruddha glance has motionless

and raised eyelids, and is fierce, with slightly

tremulous pupils and crookedly knit eyebrows.

Drpta

The Drpta glance expresses fortitude, and is open

and steady.

Bhayanvita


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The Bhayanvita glance is that in which the eyeballs

seem to leave their sockets, the lids are wide openowing to the feeling of fear, and the pupils agitated.

Jugupsita

The Jugupsita glance is said to have indistinct

vision, contracted eyelids, and pupils which are

hidden. It expresses revulsion at the object seen.

Vismita

The Vismita glance is considered to be expansive,

with the two eyelids wide open, and the pupils

turned upwards, motionless.

These glances along with the Transitory Moods

expressing glances have been enumerated by as an

illustration. The glances are innumerable,

depending on the combination of the actions of the

brows, pupils, and lids. Even the Creator Brahma is

not capable of describing each one of these glances.


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FACIAL COLOUR

The colour of the face explains the states of the

mind which are expressions of the Rasas; hence, as

it is useful in the expression of the Rasas.

The colour of the face is of four kinds:

1.

Svabhavika - natural

2.Prasanna - clear

3.Rakta - red

4.Syama - dark.

Svabhavika

Of these, Svabhavika (natural) is true to its name,

and is prescribed by the wise for portraying

unexcited moods.

Prasanna

Prasanna is the clear colour which is used in the

Comic (Hasya), Erotic (Srngara), and Marvellous


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(Adbhuta) Rasas.

Rakta

Rakta is the colour red. It is used in the Pathetic

(Karuna), Furious (Raudra), Heroic (Vira), and

Marvellous (Adbhuta) Rasas.

Syama

Syama (dark) is true to its name. It is used in the

Odious (Bibhatsa) and Fearful (Bhayanaka) Rasas.

The gestures of the various limbs shine all the more

when combined with the proper colour of the face

just as the quarters shine with the moon at night.

Just as in the representation of the Rasas and the

Bhavas, the movements of the eyes change every

second, so also the proper colour of the face should

be produced to suit each Rasa.


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For the colour change to be as quick and swift as

the change in mood, the actor/dancer needs to beable to bring a change through their own self and

cant reply on external sources of help. The

performer should try to connect with the character,

event, and or situation which he/she wish to

convey to the audience. In true essence they should

try to come as close as possible to performing

Sattvika Abhinaya.

THE NINE SENTIMENTS (RASAS)

The wise desire this triple symphony: song, dance

and instrumental music, to be prominent in Rasas.

Produced by the Determinants or causes

(Vibhavas), Consequents or results (Anubhavas),

and Transitory Moods (Vyabhicaribhavas) that

reside in the actor, without having as basis oneself,

another, a friend, an enemy, etc., and free from any

distinction due to the distinctions of nature, place,

and time; receptive only to the pure Sthayibhava


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(Permanent Mood) such as Love (Rati), Laughter

(Hasa), etc., and therefore, owing to the lack of anyimpediment, founded on complete peace; different

from intuition, sensation, recollection, and other

kinds of knowledge; dissimilar to the knowledge of

Brahman in being based on various Permanent

Moods like Rati; blissful, self-revealing knowledge

called enjoyment; that is Rasa. Or Rasa is the

Permanent Mood when it is revealed through

enjoyment.

There are nine accepted Rasas: the Erotic

(Srngara), the Comic (Hasya), the Pathetic (Karuna),

the Furious (Raudra), the Heroic (Vira), the Fearful

(Bhayanaka), the Odious (Bibhatsa), the Marvellous

(Adbhuta), and the Tranquil (Santa).

Since the Tranquil sentiment can be effected only

by Quietude (Sama), and since that cannot exist in

the actor, there can be only eight Rasas in dramas

so say some people. That question cannot be

raised, however, for the actor does not enjoy any


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Rasa. The audience tastes the Rasa; the actor is

recognized as the vessel, out of which they taste it.It is but reasonable that those clean-hearted

people, who are concentrated of mind, enjoy the

Tranquil sentiment produced by its own

Determinants (Vibhavas).

Love (Rati), Laughter (Hasa), Sorrow (Soka), Anger

(Krodha), Energy (Utsaha), Fear (Bhaya), Disgust

(Jugupsa), Astonishment (Vismaya), and

Detachment (Nirveda) these nine are the

Permanent Moods.

Some people have said that Disgust (Jugupsa) is

the Permanent Mood in the case of Tranquil

sentiment. Some say it is Enthusiasm (Utsaha),

others say that it is Quietude (Sama), and yet

others say that all these together form the

Permanent Mood of the Tranquil sentiment


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THE TEMPERAMENTAL STATES

(SATTVIKABHAVAS)

When, by these Permanent moods like Love

explained before, consciousness is modified, that

modified consciousness identifies itself with the

soul (prana); and that soul makes the body its own;

then the modifications in the body like Stupefaction

are produced.

In this way, produced by the Determinants

connected with Love, etc., which are being relished,

and indicated by Consequences such as

Stupefaction occurring in the body, these internalstates shine forth in the soul on which

consciousness has been super-imposed. They are

called Sattvikabhavas, since they shine forth in

sattva, or the vital breath.

Or, Sattva can be the Sattva Guna explained in

Samkhya philosophy; or it means goodness. Here


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goodness is accepted to be purity of body and soul.

Here Sattvikabhavas are accepted by good people tobe Moods (Bhavas) existing in Sattva.

The vital breath (prana) depends on each of the

other four elements, beginning with earth, as the

prominent factor. Sometimes the vital breath itself

becomes the prominent element and moves in the

body. When it depends on the earth element, then

the state of Stupefaction (Stambha) is indicated.

From the vital breath based on the water element

come tears (Asru); and from that based on the fire

element come Change of Colour (Vaivarnya) and

Perspiration (Sveda). From that based on Ether(Akasa) is produced Unconsciousness (Pralaya).

When independent, it [vital breath] indicates

Horripilation (Romanca), Trembling (Vepathu), and

Change of Voice (Svarabheda) respectively,

depending on whether it the vital breath is weak,

medium, or strong.


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The external Stupefaction, etc., in the body are

easily produced in the case of ordinary people whoconsider the body to be the same as the soul; but

they are not easily produced in the case of the great

who have no such misconception.

Thus three kinds of Moods or States, Bhavas are

given: the Permanent Mood, The Transitory Mood,

and the Temperamental State. All the eight

Temperamental States can appear in any one of the

sentiments. In a drama, one sentiment must always

be made the Permanent one among the sentiments;

other Rasas the Bhavas are meant here are only

Transitory States; since they follow the mainsentiment. Among them, conflicting sentiments

must be delineated as existing in different persons.

The varied arrangement of the sentiments in a

drama must be like the arrangement of flowers [in a

garland]. The permanent Rasa takes the place of

the thread [in the garland]. This is the view of those

who know the sentiments.


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SRNGARARASA RAJ

From the above articles, we have been able to see

that Srngara Rasa or the Erotic Sentitment has

been considered as the most important sentiment

or Rasa by all the scholars over the centuries. As

mentioned in Bharatas Natya Sastra there are four

main Rasas from which the other four have been

derived and together they form the eight Rasas orAshta Rasa.

Of these eight Rasas scholars are of the opinion

that Srngara is the most important Rasa of all.

Hence giving it the title, Srngara Rasa Rasa Raj

or Rasapati.

Even though the Sthayi Bhava of the Rasa is Rati

or love, its eventual aim is Nirvana. It is the closet

to the bliss of self. It helps people achieve the

concept of jiva atma merging with the param atma

(Atma ka Paramatma se Milan).


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It is believed that everybody experiences love or

Srngara once in their lifetime atleast. Toconcentrate on Love and Beauty is to worship the

divinity of creation. It is believed that creation only

happened for the enjoyment of love, with Shiva and

Shakti. This makes Srngara the very purpose of the

universe.

Since Srngara is considered the Rasa Raj, we shall

now try to see how does the Erotic Sentiments

affect the other Sentiments.

As already mentioned in the Natya Sastra, Hasya

Rasa has been derived from Srngara Rasa itself.

Sanyoga Srngara which shows lovers in union can

be taken as an example to explain the Hasya Rasa.

Krishna with his childish pranks would trouble the

Gopis of Vrindavan, he would sing and dance with

them. All these would lead to the Hasya Rasa.


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The Karuna Rasa or Sorrow can again be related to

Srngara. The easiest way would be to show it withrespect to Viyoga a Srngara, but the Karuna Rasa

has no deep rooted feelings making it difficult to

equate the two. However, we can establish that

sorrow is only felt for a person or object when there

are some feelings involved. The feeling may not

necessarily be that of love, it may be care and

concern, but all these feelings stem from the deeply

rooted sentiment of Srngara. When Sita was

abducted by Ravana, the sorrow felt by both Ram

and Sita stems from their love for each other.

The Raudra Rasa or Anger sentiment may also be

related to Srngara Rasa. The best example to

explain this is the anger that erupted from within

Lord Shiva when his wife Sati jumped into the fire

and gave up her life. This anger stemed from the

deep rooted love that he had for her.


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The Vira Rasa can be seen from Ramanayana,

when Rama builds the Setu bridge with the help ofthe vanar sena in order to go and rescue his

beloved wife.

The Bibhatsa Rasa can be explained with the help

of an incident from the Mahabharata. When

Dusshana pulled Draupadi by her hair and

insulted her Bhima in his anger vowed to kill him

and drink his blood. This vow was fulled filled

during the war of kurukshetra. Only his love for

Draupadi, made Bhima commit such a horrendous

act.

So, considering the impotence of Rati or love some

scholars have declared Sringar Rasa in which all

other Rasas like Hasya, Adbhuta, Vira can easily

merge. Bhoja has discussed Sringar Rasa in his

famous work Sringar Parkasha assigning theutmost importance to Sringar Rasa and declaring

Sringar Rasa as the most significant and


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widespread concept to analyse human behavior and

psychology in different conditions andcircumstances. The concept of Sringar Rasa

provides an approach or way to observe and

analyse almost all unexplored dimensions of

human erotic behavior in different situations of

mutual enjoyment, pleasure, union and separation.

Sringar Rasa presents, Rati or love or the erotic as

the most important driving force of human act and

conduct in life, which has a power to control or

alter the priorities of a person`s life. In this way,

through Sringar Rasa the human erotic behavior

and its impact on life can be aesthetically observed

and evaluated.

In the following section of the project we will focus

on Rasa Sutra, paying special attention to Viyoga

Srngara. To explain Rasa Sutra with respect to

Viyoga Srngara, we will make use of the dance item

Varnam. The Varnam being used in particular is

set to Raag Shankara Bharnam and Taal Aadi.


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Varnam

This is the item where the dancers are tested for

their capacity to perform both abinaya and nrutta.

This can be treated as a benchmark to judge the

artist's talent. The item will contain many complex

steps and will have lot of room for expressions also.

To perform this item one should have lot of stamina

and concentration.

The main item of the Bharatanatyam recital is

the varnam, which reveals in full the abstract and

expressive aspects of the dance, and builds on the

rhythmic, melodic, as well as lyrical aspects of the

music. The dance alternates between passages

of nruttaand nrutya, balancing pure dance and

expressive dance, and combining both in the final

movements. The dancer interprets the music and

poetry with great elaboration in

both nruttaand nrutyapassages.


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A typical structure of a varnam included 2 pallavis,

2 anupallavis, muktaisvaram and its sahitya,charman sahitya, chittasvarams and their sahityas.

The Nayika is a Virahotkanthita Nayika based on

avastha, according to age she is a Madhyama and

according to age she is an Uttama Nayika.

Virahotkanthita

The item narrates the various stages of Viyoga

Shringara.


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Viyoga Srngara has been described as having ten

stages. The Nayika goes through these ten stages as

she suffers the pangs of separation from her

beloved. The Nayika may not necessarily go through

all the stages explained in the shloka but these are

the generic guidelines. The ten stages of Viyoga

Srngara are:

1.AbhilashaLonging

2.ChintanamRemembrance

3.AnusmrutiRecollection

4.GunakirtanamPraising

5.

UdvegahDistress

6.VilaapLamentation

7.UnmadaInsanity


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8.VyadhiSickness

9.

JadataStupor10. MaranamDeath


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In the first Pallavi of the Varnam, the Nayika is

describing her beloveds looks to her friend. Shetalks about his good looks and charm and the fact

that he is extremely handsome to look at. Initially

shabdarth is used to convey the meaning which is

later followed up by using bhavarth to lay further

emphasis on the concept of his looks.

The Nayika is mesmerized by his looks and

continues to compare his looks and expresses it to

her friend. She compares his face to the beautiful

full bright moon, his hair is black and curly like a

bee, his cheeks are very well contoured and she

compares his voice to the conch, having a deep

voice.

As already established the Rasa is Srngara, which

makes the Sthayi Bhava Rati. The sanchari bhavas

which can be attributed to this are recollection,

contentment, joy, pride. The bhava being convey is

love and happiness. The vibhava is the Nayaka

himself. The Nayika wants to be with her beloved

and that is the main reason. The anubhava is the


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way she is describing her beloved to her friend. The

Angika Abhinaya used will be the anubhava. Theglances used are Kanta and Snigdha. The dancer

also needs to make use of side long glances to bring

out the love and slight coyness.

The entire sentiment or motivation behind the

development of the srngara rasa in varnam can be

attributed to Devadasis. They were the first people

to make use and fully develop the Srngara Rasa

and incorporate it in their art form. Srngara Rasa

was considered very important as it brought out the

main aim of performing which was the bhakti

bhava and the only objective was to merge with the

supreme power of the universe.

Although, the portrayal of the Srngara Rasa was

initially was extremely erotic, with the advent of

Rukmani Devi, she mellowed down the extreme

form and moved it more towards the bhakti bhava

or spirituality.


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Another important person who made sure to

continue the use and promotion of the SrngaraRasa was Balasaraswati. She was the last Devedasi.

She embraced the Srngara Rasa and was doing all

she could to bring out this beautiful Rasa and

revive it from its fallen status as a taboo.


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In the second Pallaviof the Varnam, the Nayika is

talking to her friend and telling her that the currentseparation from her beloved is very difficult for her

to bear.

In the bhavarth, she tells her friend that even

though the nights are nice and pleasant with the

soothing rays of the moon, these same rays are

causing her heart to feel very anxious, the early soft

early morning rays of the sun are piercing her heart

like the serpants bite, the sweet and melodious

sound of the cuckoos and birds are unbearable and

the gentle sound of the waves is hitting her heart

and causing restlessness which is all unbearable as

all these only make her heart desire her beloved

more and remind her of him.

The main vibhava is still separation from the

Nayaka. However, the udipana vibhava are the

natual surroundings which remind her more of the

fact that her beloved is not with her. The

anubhavas are the changes in the facial

expressions. The Nayikas expressions move more


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towards feeling grief and helplessness. The

sanchari bhavas used here are depression, anxiety,distraction, inconstancy and agitation, despair,

impatience.

The eyebrows are slightly raised. The pupils are

semi closed like in Karuna and Dina drushti. There

is restlessness visible in the body. The dancer

needs to bring ia change in her body language to

get her restlessness across to the audience.


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In thefirst Anupallaviof the Varnam, the Nayika

now talks about the greatness of her beloved. Shenow goes on to tell her friend that her beloved is

king of this whole wide land. He is the descendant

of the great Suryavanshi clan and has built the

great Setu Bridge. There is nobody else like him on

this earth.

The anubhavas in this case are the changes in the

facial expression to show pride or virata. The body

is upright, shoulders are pulled by and stance is

tall and erect. The sanchari bhavas used here are

virta, contentment, joy, pride.

The eyebrows are slightly raised but normal. The

eyes are wide open and the glances are straight.

The glance used is drpta. There is a firm and

slightly arrogant smile on the face.


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In the second Anupallavi of the Varnam, the

Nayika is seen expressing to her friend that it is herhearts deepest desire to be able to embrace and

hold her beloved and it has to be done at his very

moment as it is the perfect time and setting.

The anubhavas in this case are a soft sweet smile, a

slight blush on the cheeks. The body is very

relaxed. The sanchari bhavas used here are

inconstancy, joy, dreaminess.

The glances used are kanta and snigdha. The head

is slightly bent. The dancer needs to make graceful

body movements which are soft. She can also make

use of side long glances.


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In the Muktai swaram sahityaof the Varnam, the

Nayika is tells her friend that the flowery arrows ofManmatha are piercing her heart and causing

agitation in her. She then goes on to describe her

beloved who is an expert lover and who is also very

wealthy and owns many elephants and chariots, he

is also learned in the varied art forms of warfare as

well as scriptures and music. She then moves on to

describe him as being gentle, caring, large hearted,

a great king to the throne and then expresses her

desire to have him next to her.

There are varied anubhavas that take place here.

The Nayika goes from lamentation and distress to

praising her beloved and feeling pride. The dancers

body language and facial expression change from

expressing despair and lamentation to showing

happiness, joy, pride and contentment. The

sanchari bhavas used are discouragement, anxiety,

recollection, contentment, despair dreaming,

sorrow, astonishment.


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The glances used include vira, drpta, karuna,

drpta, hrsta and vismita.


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In the Charnamof the Varnam, the Nayika is seen

telling her friend that she is no longer able to bearthe separation from her beloved, her heart is no

longer in her control.

The anubhavas in this case changes in the face by

showing despair and insanity. The body language

also changes to accommodate the change in the

mood.

The sanchari bhavas used here are weakness,

weariness, anxiety, impatience, insanity.

The eyebrows are tensed in kunchita. The eyes aresemi shut and the glances are down. The glance

used is dina and karuna. There is helplessness on

the face and body.


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In thefirst and second Chitaswaram sahityaof

the Varnam, the Nayika tells her friend that sheshould not have to take this separation from her

beloved, the time is just right for her to be in the

bedroom with her beloved to she can kiss him and

make love to him.

The anubhavas in this case are a slightly dropped

and relaxed body but in a semi happy state at the

thought of being with her beloved. The sanchari

bhavas used here are adbhuta, shame,

inconstancy, joy, dreaminess, insanity.

The eyes are looking downwards, head is bentslightly. The glances used are dina, snigdha, kanta.

There is a slight blush and coyness in the dancer.


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In the third and fourth Chitaswaram sahityaof

the Varnam, the Nayika is again talking about herbeloved. She now decribes the great deeds done by

her beloved, his rich lineage and tells her friend

that in the whole universe she only loves and only

have her eyes set for him.

The anubhavas in this case are a happy and

relaxed body. There is a slight excitement in the

body language and facial expression.

The sanchari bhavas used here are adbhuta, joy,

dreaminess, hasya, contentment, stupor.

The eyes are looking straight.The glances used are

hrsta, snigdha, kanta. There is a slight blush,

happiness and coyness in the dancer.


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CONCLUSION

From the above we can see that Srngara is an

extremely important aspect of the Rasas. It has

been rightly identified as Rasapati or the king of all

rasas. It has been observed that the devadasi did

their best to save the main essence while depicting

and executing the dance form.

It can be said, that rasotpatti is a very important

aspect while presenting any art from. From the

above it that has been observed in Varnam that

every aspect of dance has some form of

development and excecution of rasa.

The final goal of any dance form is to move from the

Angika abhinaya aspect to Sattvika abhinaya. The

final goal of any dancer is to be able to reach a

stage where they are able to perform Sattvika

abhinaya which comes directly from the heart. The

reason for this is to unite with the paramatma and

attain salvation.


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By understanding the application of the rasa sutra

in the practical aspects of dance or for that matterany other art form, it gives the performer a

framework on which he/she can develop their

performance which will enhance the experience for

the performer as well as the audience. Even though

a framework or guideline has been provided for the

use and execution of rasa, it is not necessary for

the performer to only use the given options of

bhavas and other elements that in total comprise of

the rasa sutra.

A clear understanding, gives the performer limitless

options to experiment with a wide variety of ways to

bring out the true essence of the rasa and bhava

they wish to showcase.

Experiencing Rasa in varied ways using the same

tools available is what makes it a highly soughtafter experience.


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REFERENCES

1.

Article by Prof. P.C. Jain and Dr Daljeet

2.SHALL WE KNOW Natya : by LAKSHMI

RAMASWAMY

3.Bharatanatyam by Manjula Lusti Narasimhan

4.The Yoga of the Nine Emotions: The Tantric

Practice of Rasa Sadhana By Peter Marchand

5.

Natyasastra by Manomohan Ghosh6.The Natyasastra by Aday Rangacharya

7.Natyasastra by Dr. Unni

8.Theory and Practice of Aangikabhinaya by Dr.

Sandhya Purecha

www.inter-disciplinary.net

www.ikashmir.net

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