Rasa Theory


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Rasa Theory

  1. 1. Bharat Bhammar Roll No : 04 Semester : 2 Year : 2014-15 Paper :07:Literary Theory and Criticism Submitted to: Smt. S.B.Gardi Department of English M.K. Bhav. University Rasa Theory
  2. 2. Four kinds of ‘Bhava’ Sthayibhava Vyabhicaribhava Sattvikabhava Anubhava
  3. 3. What is Rasa?  According to Makarand Paranjap ‘’Rasa in Bharatmuni, is nothing But the exposition of the structure Of human experience’’.  Rasa is the emotion resulting from a contemplation of a various feelings.
  4. 4. Sentiments Meaning God Color 1)Shringara attractiveness Vishnu Light green 2)Hasya Mirth/comedy pramatha white 3)Rudra Furg Rudra Red 4)Karun yam Compassion/tragedy Yama Gray 5)Bibhatsam Disgust/aversion Shiva Blue 6)Bhayanakam Horror/Terror Kala Black 7)Vira Heroic mood Indra Yellowish 8)Adbhutam Wonder/Amazement Brahma Yellow 9)Shantam Peace - White
  5. 5.  The shringar rasa is associated with the God Vishnu. This sentiment is associated with bright and elegant attire. The mutual affection of love is found not only between men and women but also between birds, animals, and all the other creatures, since love convergent with every heart, it has the prominent place among the rasas. It has two varieties. The Erotic sentiment Love – in – separation Love – in – union
  6. 6.  However in separation there will be hope great or small of that meeting later. Even in love, love in union there will be a fear of separation, some times before the first union takes place desire may grow dominant and make the lover languish.  The whole idea can be summed up where in V.S.Seturaman quotes “Shringar is reach in pleasure associated with desired objects favorable music and poetry and is related with either the union or the separation of men and women”
  7. 7. The Comic sentiment Six types of Humors The slight smile Excessive laughter Vulgar laughter Laughter of Ridicule Gentle laughter Smile
  8. 8.  According to T.N SHRINKANTAIYYA the analysis of humor is extremely difficult. The modern philosophers who have set out to examine the origin of this manifold humor and the nature of it’s ‘charm have not yet arrived at a define conclusion.  While taking about the humor Bharatmuni says that “The humor arise from the grotesque dress and costume of other, shameless character, craze for sensual pleasure, mischief, foul words, physical handicaps, accusation of other and the like…”
  9. 9.  some of the best example in Sanskrit of work generates pathos are “Shakuntala” “Raghuvansham” by Kalidasa “Kadambari’’ – by Banabhatt  In Shakuntala separation of lover due to curse generates pathos. While in Raghuvansham the death of indumati, stimulates the pathetic sentiment.  According to Sreekantaiyya “Pathetic is a very dedicate rasa, during its experience the heart melt a great deal” The Pathetic sentiment
  10. 10.  The raudra rasa is created by anger, rape, abuse, insult, untrue, allegation, exercising threatening and the similar determinants. “The raudra rasa is created by striking, cutting, multiliation and piecing in fight and tumult of the battles and other similar thing.”  Theatrically the raudra rasa is represented on the stage through red eyes, knitting of eye brows, billing of lips and other similar expression, transitory states connected with it. Accordingly The Furious sentiment
  11. 11. The Heroic sentiment Velour of munificence Velour of virtue Velour of war  The sthayins for vira is vigor (utsaha) and is associated with Indra.  The heroic sentiment is related with the superior type of person. Theatrically the vira rasa is represented on the stage through firmness, patience, heroism, charity, diplomacy and other similar thing.  Bharat divides the rasa of velour into three kinds
  12. 12. The Terrible sentiment  The terrible rasa has its dominant state of fear which is black in color and it associated with deity ‘Yama’.  It is related with bright and scariness. It is usually reacted by gothic atmosphere like hideous, noise, sight of ghost, panic anxiety due to the ultimate cry of dangerous and wild animals, state of solitude ,battle etc.
  13. 13. The Odious sentiment  The odious rasa has as it’s the dominant state of disgust .  it is usually created by determinants such as hearing of unpleasant, offensive impose and harmful thing or seeing them or discussing them ,viewing a nauseated sight and other similar things.  Theatrically the Bibhatsam rasa is represented on the stage through narrowing down of mouth, vomiting, spitting, shaking the limbs in ulterdisgust.
  14. 14. The Marvelous sentiment  Like shringar rasa which is perhaps more wide spread is Adbhutam. All experience, wonder, fantastic, astonishment which is its basic wander begins from the time.  In poetry and drama there is a special impotence for figure of speech like hyperbole and fancied comparison, which generates marvelous sentiment.