The document presents information on the theory of rasa from the Natyashastra, including the sutra explaining how rasas are produced through vibhav, anubhav, and vyabhicharibhav. It discusses the nine main rasas of shringara, hasya, karuna, bhayanaka, veer, rudra, bibhatsa, adbhuta, and shant, providing details on the causes, involuntary reactions, and transitory feelings that characterize each rasa. The document concludes by listing several references used in the discussion of rasa theory.

1. Presented by : Chandani Pandya
Department of English MKBU
Presentation Topic : Theory of Rasa
Paper no. 109 : Literary Theory & Criticism and Indian Asthetic.
M.A Sem-2
Roll no. 06
Batch 2020-21
Email ID : pandyachandani11@gmail.com

2. Theory of Rasa

3. Introduction
• The rasa theory originates with Bharata in Natyashastra. It claims that the object
or meaning that is sought to be conveyed in literary compositions is in the nature
of an emotional effect of diverse human experience on man's mind and heart.
• Although the concept of rasa is fundamental to many forms of Indian art
including dance, music, musical theatre, cinema and 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.

4. Rasa Sutra
Vibhav-anubhav-vyabhicharibhav-samyogad-rasanispattih
(Natyashastra, VI)
This sutra of Bharata is explained by various philosophers and
rhetoricians after him till 11th century. The following names are
noteworthy in this tradition, Bhatt-Lollata, Sri-samkuka, Bhatta-
nayaka and Abhinav-gupta. The ideas of last one is much appropriated
and recognized till present time.

5. Nine rhetorical sentiments recognized in
drama and dramatic presentation
Shringara
Hasya
Karuna Bhayanaka
Veer
Raudra Bibhatsa
Adabhut
Shant

6. 1. Shringara (Love)
a) Vibhav (causes): stimulus would be season,
flower, ornaments or anything beautiful or
desirable.
b) Anubhav (involuntary reactions): looking
sideways, coy glance, sweet words etc.
c) Sancharibhav or Vyabhichyaribhav
(transitory feelings): lassitude, suspicion,
jealousy, affection etc.

7. 2. Hasya (Humor)
a) Vibhav: peculiarity of dress or speech
etc.
b) Anubhav: spouting, mimicking etc.
c) Sancharibhav: smile, snicker, laughter,
guffaw etc.

8. 3. Karuna (Compassion)
a) Vibhav: loss, death, calamity, leaving up
etc.
b) Anubhav: tears, fainting, lamentation
etc.
c) Sancharibhav: sorrow, trembling, fear
etc.

9. 4. Rudra (Horror)
a) Vibhav: anger, violence, treachery etc.
b) Anubhav: red eyes, rubbing hands,
biting lips etc.
c) Sancharibhav: sweating, excitement
impatience etc.

10. 5. Veer (Heroic)
a) Vibhav: determination, strength,
bravery, courage etc.
b) Anubhav: courageous act, generosity
etc.
c) Sancharibhav: decision, arrogance etc.

11. 6. Bhayanaka (Fear)
a) Vibhav: frightful things, lonely sights,
darkness etc.
b) Anubhav: trembling, pallor, loosing
voice etc.
c) Sancharibhav: fainting, hurrying,
standing rooted etc.

12. 7. Bibhatsa (disgust)
a) Vibhav: bad news, loud lamentation etc.
b) Anubhav: repulsion, spitting, turning up
nose etc.
c) Sancharibhav: fainting illness, death,
hate etc.

13. 8. Adbhuta (awesome or wonder)
a) Vibhav: seeing unusual things,
achieving the desired, magic etc.
b) Anubhav: wide or staring eyes,
thrill, exclamation etc.
c) Sancharibhav: standing stunned,
over-joy etc.

14. References
• 1. A.C. Bhaktivedant Swami Prabhupad, Bhagvadgita. The BhaktivedantBook Trust
International, Inc. 1986.
• 2. Bhatt G.K. trans. Natyashastra in Devy G.N. Ed. Indian LiteraryCriticism. Orient Longman,
2002.
• 3. Devy G.N. Indian Literary Criticism. Orient Longman, 2002.
• 4. Ghosh M.M. Bharat Natya Manjiri,……… 1950.
• 5. Kermode Frank Ed., The Waste Land and Other Poems. Penguin, 19986. Sanghrakshit. A
Survey of Buddhism: its Doctrines and Method throughthe Ages Triratnagranthmala, 1996.