This document provides an introductory overview of Rasa theory, which originated with Bharata in the Natyasastra. It discusses the eight main rasas or emotional responses - astonishment, terror, love, sorrow, anger, disgust, mirth, and energy. Each rasa is said to arise from different causal factors and have distinct characteristics. For example, love refers to deep attachment between individuals, while anger results from serious offenses. The document also defines key terms related to Rasa theory and cites sources to provide historical and scholarly context.

1. ● Name: Malek Hinaben Ibrahimbhai
● Class: MA Sem 2
● Roll no: 7
● Paper: Literary Theory and criticism
● Topic: Introductory note on Rase theory
● Email Id: hinamalek21@gmail.com
● Enrollment no. : 2069 1084 2020 0026
● Batch: 2019-21
● Submitted : STM. S. B. Gardi Department of English

2. Introductory note on Rase theory
● Rasa is said to arise the Sthayibhava in the individual is
awakened by his perception of the vibhavas, anubhavas,
vyabhicaribhavas and sattvic bhavas.
● The Rasa theory originates with Bharata in Natyasastra.
● It claims that the Object or meaning that is sought to be
conveyed in Literary compositions is in the nature of an
emotional effects of diverse human experience on the man’s
being.

3. Meaning of Rasa
● Rasa is an aspect of which no scholar has disapproved, through every
scholar has tried to establosts his own idea.
● The word “Rasa” is composed of two letters “Ra” which means “To give”
and “Sa” which means “Motion”.
● Various meaning of Rasa as given by V. S. Apte are-
“To flow”, “To make wet all over”, “To Taste”, “To relish”, “To soak”, “To
saturate in liquid”, “Water”, “Potion”, “Flavor”, “Fluid”, “Liquid”, “sauce”,
“Condiment”, “pleasure”, “delight”, “happiness”, “Charm” interest
elegance beauty.

4. The eight rhetorical sentiments Rasa recognized
in drama at as follows.
● Vismaya
● Bhaya
● Rati
● Karun
● Krodha
● Jugupsa
● Hasya
● Utsaha
● Astonishment
● Terror
● Love
● Sorrow
● Anger
● Disgust
● Mirth
● Energy

5. Vismaya - Astonishment
Vismaya arises due to astonishment caused by extraordinary
things, supernatural events.
All these emotions are inbuilt in human nature and are
awakened by one or other action and environment.
When these emotions, actions and environment come
together, they successfully generate the respective Rasa.

6. Bhaya - Terror
Bhaya arisesin the mind of the person who is exposed to
gave danger.
It does not transform into an emotion in state of ordinary
fear but when there is fear of life it can be experienced
clearly.

7. Rati - Love
Rati refers to the deep rooted emotion of Amor (God of Love)
existing in the mind of a man by reference to a women, or in
the mind of a woman by reference to a man .
It has many forms Raga, passing through Anuraga, Prem,
Sneha, Mana, pranaya and finally attaining the strongest bond
of love. It can be depicted as the feelings arising in the minds
of the opposite sex for each other.

8. Karun -Sorrow
Karun ras is caused due to serious offence of any kind.
It can be arise out of the loss of property, dear one or
beloved.
Represents sadness, compassion, pity or grief.

9. Krodha - Anger
Krodha arouses due to serious offence of any kind.
It reflects the hot temperament of the individual.
It arises asa result of personal offence or public offeense and
killings.

10. Jugupsa - Disgust
Jugupsa arises due to the hesitation one feels by hotties and
ghastly scenes.
One experiences a feeling of nastines on account of the sight of
dirty, filthy and rotten of terrific thini.

11. Hasya - Mirth
Hasya refers to the cheerful of mind.
It arises out of person’s ludicrous sense, deformity,
sudden slip of tongue or any other comic situation.

12. Utsaha - Energy
Utsah represents Hortitude and energy.
It arises from happy recollections, events of charity and valour
displayed by self or other person.
Such a state of mind belongs only to sblime characters.

13. Conclusion
● It is a fact that Rasa theory can be applied to modern literature
and this fact proves its universality, timeless quality and rich
potential. Even today, dramas are written for aesthetic pleasure.
The Rasa Theory of Bharat knowingly or unknowingly is employed
by authors and relished by readers as well as spectators. If we
remove the rasa from life, life becomes inert and motionless like
a beautiful wall clock, whose main spring has been removed.

14. Work citation
● Chaturvadi, Prof. B. M. Aspect of Rasa Theory. Trans.
Pro. P. Sri Ramachandrudu. Delhi: Vidhyadhi
Prakashan, 1996.
● Patel, Manilal H. "Indian Poetic Rasa theory." Patel,
Manilal H. Sahitya Mimansa. Ahemdabad: Pashva
publication, 1 January 2001. 182.
● Prasad, Gupteshwar. I.A Richards and Indian Theory of
Rasa. New Delhi: Sarup and Sons, 1994. Print.