Rasa Theory
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This document discusses the Indian concept of Rasa theory, which identifies nine aesthetic emotions or rasas that can be elicited in the audience of artistic works. It defines each of the nine rasas - Shringara, Hasya, Adbhuta, Veera, Shanta, Karuna, Bhayanaka, Bhibastsya, and Shorya. For each rasa, it provides a brief definition and example from classical Indian literature to illustrate how that emotion is expressed. The overall document serves to outline the key elements of the traditional Indian theory of rasa as an important contribution of Indian aesthetics.
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This document is a student paper on the topic of Rasa theory submitted to a professor. It introduces Rasa theory as originating from the Natyashastra text describing 9 basic human emotions or rasas. These are then defined as: love (Shringar), laughter (Hasya), wonder (Adhuta), heroic (Veera), peace (Shanta), grief (Karuna), horror (Bhayank), disgust (Bhibastsya), and bravery (Shorya). Each rasa is then briefly described in terms of the emotion it represents.
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The document discusses the concept of rasa in Indian poetics. It defines rasa as the aesthetic experience or emotional response evoked in the audience by a work of art. There are eight primary rasas - love, humor, sorrow, anger, courage, fear, disgust, and wonder. Rasa is produced through the interaction of sthayibhavas (permanent emotional states), vibhavas (stimuli), anubhavas (expressions), and vyabhicaribhavas (transitory states) within the audience's consciousness. Some examples given are the erotic shringara rasa evoked through love, and the compassionate karuna rasa evoked through grief. The document provides details on the rasas and their
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Dorothea and Lydgate pursue their ideals in Middlemarch but ultimately face frustration and failure. Dorothea's idealistic nature leads to inner frustration and suffering as her dreams are not fulfilled. Lydgate takes on financial burdens that become a tragic flaw, also leading to frustration. Bulstrode tries to hide his past but is blackmailed by Raffles, destroying his idealism and forcing him to leave Middlemarch. Several other characters like Rosamond, Fred, Casaubon, and Ladislaw also have their ideals fail in the novel.
VictorV/S Monster
- The document is a paper submitted by Parmar Shubhda A. to S B GardiMaharaja Krishnakumarsinhji Bhavnagar University on the topic of "Victor V/S Monster" from Mary Shelley's Frankenstein.
- It compares Victor Frankenstein and his creation, analyzing their differing levels of intelligence, emotions of guilt on Victor's part and shame on the monster's part, and their positions in society as the monster is isolated due to its appearance.
- Key quotes from Frankenstein show Victor's initial joy in creation and later guilt, as well as the monster's hatred of its creator and feeling of being a hideous creation.
Robinson cusoe
This document summarizes the topic "Robinson Crusoe as a colonizer" submitted by Smt. S.B. gardi of the English Department at MK Bhavangar University. It discusses how Robinson Crusoe exhibits aspects of colonialism through his sense of power and control over the island as the sole inhabitant, naming the people and places to assert possession, and establishing a master-slave relationship with Friday through language. The document analyzes Crusoe's role as a colonizer and founder of a new world through the lens of colonialism and post-colonial theorists like Edward Said.
Different between Tragedy and Epic
The document is a paper submitted by Parmar Shubhda A. to Smt. S.B. gardi at M k bhavnagar university on the topic of the differences between tragedy and epic. It defines tragedy as a dramatic form that invokes catharsis in its audience through human suffering. Epic is defined as a long narrative poem focused on heroic or divine figures that the fate of tribes or nations depends on. The paper then outlines some key differences between the two forms - tragedy focuses on a single plot over a short time period with unity of place and action, while epic covers many plots over a longer time without those same unities.
Hamlet play within play
This document is a paper about Shakespeare's tragedy Hamlet that was submitted by Parmar Shubhda A. for an English literature course. It discusses tragedy as a dramatic form focused on human suffering that provides catharsis for audiences. It also examines the cosmological and supernatural elements in Hamlet, the internal conflict and struggle of characters, and the play within a play scene in Act III that has psychological impact and reveals truth to Hamlet.
myth in kanthapura
This document discusses myths in the novel Kanthapura by Raja Rao. It defines myth as stories that demonstrate the inner meaning of the universe and human life according to Joseph Campbell and Alan W. Watts. It discusses the mythical elements in Kanthapura such as the goddess Kenchamma who protects the village from a monster, and provides examples of how political figures like Gandhi and Nehru are portrayed through mythical characters like Ram and Bharat. The significance of myths in Indian life and their role in political movements that followed Gandhi's principles are also mentioned.
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Rasa Theory
- 1. Name – Parmar Shubhda A. Paper – 7 (Literary Theory & Criticism) Roll no – 32 Topic – Rasa Theory Submitted by – S BGardiMaharaja Krishnakumarsinhji Bhavnagar University Department of English
- 2. Concept of Rasa Important + significant contribution Indian mind to aesthetics
- 3. Nine Rasa Shringar Hasya Adbhuta Veera Shanta Karuna Bhayanaka Bhibastsya shorya
- 4. Shringara (Love) Shringara : love and beauty. emotion represent appeals to the human mind one finds beautiful, that which evokes love . Example – Kalidasa (Abhijnashakuntalam)
- 5. z Karuna (Tragedy) Karuna : grief and compassion. The feelings of unspeakable tragedy and despair Utter hopelessness and heartbreak . Example – Kalidasa (Abhijnashakuntalam)
- 6. Veera (Heroic mood) Veera : heroism. It represents bravery and self-confidence. Example- Character of Rama ( Ramayana)
- 7. Shorya Example- Character of Parshuram (Bravery) Shorya : strength for fighting Once desire to fight and die for cast ,religion.
- 8. Hasya (Laughter) Hasya : express joy or mirth. It can be used to depict simple joy Riotous laughter and everything in between. Example – Lord Krishna's childhood
- 9. Bhayanaka (Horror) Bhayanaka : fear The subtle and nameless anxiety presentiment of evil, the feelings of helplessness evoked by a mighty and cruel ruler . Example- character of Rakshsha
- 10. Bhibatsya (Disgust) Bhibatsya :disgust The emotion evoked by anything that nauseates us, that revolts or sickens us is Bhibatsya. Example- Prince siddharth
- 11. Adbhuta ( wonder) Adbhuta : wonder and curiosity That one feels when one comes across something divine and supernatural . Example – Shree Rama
- 12. Shanta Shanta : serenity and peace It represents the state of calm and unruffled repose. It is marked simply by the lack of all other rasas. Example - (Peace) Character of Rama
- 13. Video