paper no -7 Literary Theory & Criticism: The 20th Western & Indians Poetics - 2

1. RASA THEORY
Prepared and presented by : Richa Pandya
Paper – 7 Literary Theory and Criticism 2
(20th century Western and Indian Poetics).
Semester 2
Roll no 28
Enrollment no 2069108420190030
Email id : richapandya163@gnail.com
S.B.Gardi Department of English
Maharaja Krishnkumarsinhji University

2. INTRODUCTION
A Rasa literary means “ Juice, essence or test”. Indian concept of aesthetic
flavour, an essential element of any work of visual, literary or performing art
that can only be suggested, not described. It is a kind of contemplative
abstraction in which the inwardness of human feelings suffuses the surrounding
world of embodied forms.
The theory of Rasa is attributed to ‘Bharata’ a sage priest who may have lived
something between the 1st century BCE and 3rd century CE.
It was developed by the rhetorician and philosopher ‘ABHINAVAGUPTA’ who
applied it to all varieties of theatre and poetry.

3. • The Natya Sastra is a Sanskrit text on the performing arts.
• The text consists of 36 chapter with a cumulative total 6000 poetic verses
describing performance arts.
• The Natya Sastra is notable as an ancient encyclopedic treatise on arts, one
which has influenced dance, music and literary traditions in India.
• It is also notable for its aesthetic “Rasa” theory, which asserts the
entertainment is a desired effect of performance arts but not the primary
goals and that the primary goals is to transport the individual in the
audience into another parallel reality , full of wonder and reflects on
spiritual and moral question.

4. RAS SUTRA
‘ Vibhava nubhava
sancarisamyogat rasanispatti’

5. Shringara
Hasya
Adbhuta
Veera
Shanta
Karuna
Bhayanaka
Bhibastsya
Raudra
Nine Rasa

6. SHRINGARA
• Shringara ( Rati) refers to the deep rooted
emotion of Amor (God of Love) existing in
the mind of a man by reference to a woman,
or in the mind of a woman by reference to a
man.
• In Abhijinansakuntalam Dushyant and
shakuntla’s meeting scene

7. HASYA
• Hasya refers to the cheerful state of mind. It
arises out of a person’s ludicrous sense, deformity,
sudden slip of tongue or any other comic
situation.
• In hasya which has been expressed by the
character like Viduashak and friends of
shkuntala with their way of talking and humour
they cretes laughter to the audience .

8. ADBHUTA
• Adbhut ( Vismaya) arises due to
astonishment caused by extraordinary
things, supernatural events etc.
• Hanuman lifted a mountain .

9. VEERA
• Veera (Utsah) represent energy. It arises
from happy recollections, event of charity
and valour displayed by self or other
person. Such a stateof mind belongs only to
sublime character.
• In Abhijnansakuntalam Shakuntala give a
birth of baby boy.

10. SHANTA
• In Ramayana Ram return Ayodhya.
• Ram Rajya Established.

11. KARUNA
• Karuna (Shoka) is caused due to loss of a
particular asset . It can aries out of the loss of
property, dear one or beloved.
• In Abhijinansakuntalsm Dushyanta forget his
memory.
• He didn’t recall anything at all about Shakuntala
and their marriage.

12. BHAYANAKA
• Bhayanaka ( Bhaya) aries in the mind of the person who is
exposed to grave danger . It does not transform into an emotion
inn state of ordinary fear but when there is fear life it can be
experienced clearly.
• In Ramayana Lakshman cut the nose of Shurpankha.
• The cycle of violence escalated ultimately reaching demon king
Ravana, who wah the brother of Shurpankha.

13. BHIBASTSYA
• Bhibastsya (jugupsa) aries due to the hesitationone feels
by horrid and ghastly scenes. One experiences a feelings
of nastiness on account of the sight of dirty, filthy and
rotten or terrific things.

14. RAUDRA
• Raudra (Krodha) arouses due to serious offence of
any kind. It reflects the hot temperament of the
individual. It arises as a result of personal offence
or and killings.
• In Abhijinansakuntalam when Dushyant denied to
known Shakuntala.
• At that time Shakuntala become angry.

15. CONCLUSION
• Without rasa we can’t imagine the literature.