Rasa Theory with reference to the novel "The Old Man and the Sea"

1. Rasa Theory
with reference to
Hemingway’s “Old Man and The
Sea”

2. Name: Rajyaguru Dhvani Dipakbhai
Paper Name:Literary Theory and Criticism
Code: 109
Subject:Rasa Theory with reference to
Hemingway’s “Old Man and The Sea”
Roll no: 04
Email Id: dhvanirajayguru22@gmail.com
Department: Maharaja Krishnakumarsinhji University,
Bhavnagar

3. Introduction
• During the period, when Natyashastra is written, drama and poetry were
considered as similar.
• Indian poetics focuses on drama and poetry existed as an integral part of drama.
• Natyashastra is the first treatise on dramaturgy in Indian literary philosophical
tradition. It is an encyclopedia of various ideas and principles about drama as a
form of art.
• The date of its composition is often controversial in the Sanskrit history of literature.
It is agreed that, Bharata belong to 2nd BC. Some believes that he belongs to 2nd
AC.
• The Sanskrit poetics spread over the period of two thousand years. Pandit
Jagannath belongs to 17th century considered as last philosopher of Sanskrit
tradition.
• Natyashastra is scientific illustration of drama and its representation. The nature of
drama, origin and objectives of drama, language structure, technique, characters,
types and dialogue writing for drama are some points which are included in the
Natyashastra.(Chaudhry

4. Rhetorical Sentiments
(Rasa)
• What is Rasa?
• According to Bharata, “Rasa is so called because it is capable of being tasted (asvadvate).”
A particular state of mind gives rise to an aesthetic relish which emerges from the
combination of various emotional factors.
• As to the number of Rasa, Bharata acknowledges only eight kinds- “astau natya rasah
smrtah.” According to him, there are eight fundamental feelings or mental states referred
to as Sthayibhavas which can be experienced by human beings. These are: Delight (Rati),
Laughter (Hasya), sorrow (Soka), Anger (Krodha), Heroism (Utsaha), Fear (Bhaya),
Disgust (Jugupsa), and wonder (Vismaya). Corresponding to these mental states are eight
Rasas.(MANOJ KUMAR SORTHA)-Research Journal) and Ganesh Devy

5. Four Bhavas(Emotional State)
 Bhava is the state of mind while Rasa is the aesthetic flavour
that results from that Bhava.
• The Bhava themselves carry no meaning in the absence of
Rasa.
• Thus Rasa is basically forms and manifestations of Bhava in
the form of multitude of sensations through taste, emotion,
and delight.
• The Bhava is “Emotions or Feelings” which is already there
inside person. Rasa is the dominant emotional theme that is
invoked in the audience. When we watch a movie, a sad
scene makes us cry – that is Rasa. The Rasa-Bhava is what
establishes a relationship between the performer and the
audience. Ganesh Devy

6. Vibhava
• The vibhavas or determinants help in
development of a feeling in sentiment.
These vibhavas are of two kinds: alambana
(supporting) and uddipana (excitant).

7. Anubhav
• Anubhav is the reaction of Vibhava.
• According to Bharata, each rasa has three subtypes
based on three gunas– sattva, rajas and tamasa.
• The quality of vibhava, the source of sthayibhava
determines the types of correlated rasa.
• Even karuna rasa may be sattvika, rajasika or tamasika
depending on the cause of grief. For example, grief
caused by destruction of righteousness is sattvika, grief
caused by loss of worldly reputation or wealth is rajasika
and grief caused by the personal loss of one’s own is
tamasika. Thus, the theory of rasa is related with yoga as
well as the Vedantic philosophy of India. In the succeeding
chapters, we shall deal with individual ‘rasas’ in some
details.

8. Sthayibhaav
Rasa
Virarasa
Adbhut rasa
Bhayanakarasa
Shantarasa
Raudrarasa
Bibhatsarasa
Shrungararasa
Hasyarasa
Karunarasa

9. As to the number of Rasa, Bharata acknowledges only eight kinds-
“astau natya rasah smrtah.”
The 9th rasa, named 'Shant Rasa'(peaceful) has been added by
Abhinav Gupta, who was philosopher and aesthetician from Kashmir
around 950-1016 CE.
This rasas are having the sthayi bhaavs like..
Delight (Rati), Laughter (Hasya), sorrow (Soka), Anger (Krodha),
Heroism (Utsaha), Fear (Bhaya), Disgust (Jugupsa), and wonder
(Vismaya) .(Ravi Sinha)

10. Vyabhichari Bhava
Nirveda (Despondency or indifference)
Glani (Weakness languishing)
Sanka (Apprehension)
Asura (Envy or jealousy)
Mada (Intoxication)
Srama (Fatigue)
Alasya (Indolence)
Dainya (Depression)
Cinta (Anxiety)
Moha (Delusion)
Smrti (Recollection memory)
Dhrti (Contentment)
Vrida (Shame)
Capalata (Inconstancy)
Harsa (Joy)
Avega (Agitation)
Gaiva (Arrogance)
Jadata (Stupor)
Visada (Despair)
Antsukya (Longing)
Nidra (Sleep)
Apasmara (Epilepsy)
Supta (Dreaming)
Vibodha (Awakening)
Amarsa (Indignation)
Avahitta (Dissimulation)
Ugrata (Ferocity)
Mati (Resolve)
Vyadhi (Sickness)
Unmada (Insanity)
Marana (Death)
Trasa (Terror)
Vitarka (Trepidation

11. Process of Rasas
• The significant contribution of this historic work is the theory of ‘Rasa’
which can be understood as a dynamic experience between the
artist (the creator), the artistic expression (the work of art), and those
who receive it (the audience).
The artist experiences an
emotion and is so
overwhelmed by it that he
seeks a medium with which to
express those feelings.
The spectator or the
audience viewing the artists’
work receives this emotion
through the artist’s medium
and thus experience the
same emotion felt by the
creator.
The extent to which the
viewer experiences the
emotion felt by the creator,
depends on both the
creator’s sensibility in
presenting the work and the
viewers’ cultural training to
receive it.
S

12. Summary of “Old Man and the
Sea”
• The Old Man and the Sea, short heroic novel by Ernest Hemingway,
published in 1952 and awarded the 1953 Pulitzer Prize for fiction.
• The central character is an old Cuban fisherman named Santiago, who has
not caught a fish for 84 days. The family of his apprentice, Manolin, has
forced the boy to leave the old fisherman, though Manolin continues to
support him with food and bait.
• Santiago is a mentor to the boy, who cherishes the old man and the life
lessons he imparts. Convinced that his luck must change, Santiago takes his
skiff far out into the deep waters of the Gulf Stream, where he soon hooks a
giant marlin. With all his great experience and strength, he struggles with the
fish for three days, admiring its strength, dignity, and faithfulness to its
identity; its destiny is as true as Santiago’s as a fisherman. He finally reels the
marlin in and lashes it to his boat.
• However, Santiago’s exhausting effort goes for naught. Sharks are drawn to
the tethered marlin, and, although Santiago manages to kill a few, the sharks
eat the fish, leaving behind only its skeleton.
• After returning to the harbour, the discouraged Santiago goes to his home to
sleep. In the meantime, others see the skeleton tied to his boat and are
amazed. A concerned Manolin is relieved to find Santiago alive, and the two
agree to go fishing together.

13. Rasa in “Old Man and the
Sea”
• Bibhatsa Rasa(Jugupsa or disgust):
• The family of his apprentice, Manolin, has
forced the boy to leave the old
fisherman.Because Santiago has not
caught fish in last 84 days..Which shows
the Sthaayi Bibhatsa Rasa(because it
shows they feel Santiago is a fail man) of
Manolin’s family towards Santiago..

14. Rasa in “Old Man and the
Sea”
• Vira ras (Heroism):
• Santiago was an old fisherman of Cuba. Though he was weak and old, yet he was full of courage. He had
an adventurous spirit, great power of endurance, unfailing resolution and indomitable fisherman.Which also
shows his Vira ras..
• Throughout the novel, Santiago is filled with composure and absence of infatuation, perseverance, good
tactics, valor, power, aggressiveness, and might influence the various Vibhavas. When he struggles with
the marlin for two days and two nights, various Anubhavas such as firmness, heroism, bravery, readiness
to sacrifice, proficiency and the like do spell within him. The Sancari Bhavas such as fortitude, intellect,
pride, impetuosity, ferocity, indignation, recollection, horripilation and the like do come and go. With the
combination of all the above Vibhavas, Anubhavas and the Sancaribhavas, Vira Rasa is being relished by
the reader/viewer.(Gregory P Fernando)-St Clement Anniversary

15. Rasa in “Old Man and the
Sea”
• Hasya Rasa(Happiness):
• This rasa arise when Santiago finally kills fish
and catches with the harpoon..

16. Rasa in “Old Man and the Sea”
• Karuna Rasa(Sorrow):
• When Hemingway writes in text, 'He could not see the fish's jumps but only heard the breaking of the
ocean and the heavy splash as he fell. The speed of the line was cutting his hands badly but he had
always known this would happen and he tried to keep the cutting across the calloused parts and not let
the line slip into the palm nor cut the fingers.’
• This struggle of Santiago develop Sorrow in audience for him..Also after struggling so hard the sharks
ate the fish, which also develop pity and Sorrow in audience for Santiago.. (Gregory P Fernando)-St
Clement Anniversary

17. Rasa in “Old Man and the Sea”
• Shringar Rasa (love):
Moving on to the great anxiety of the boy Manolin to serve
the old man in some way least, time and again, he snaps the
conversation and offered some help. When the old man refused to
take him on board the skiff, Manolin offered to bring baits for him.
The boy was grateful to the old man for what he had done to him
when he was a little boy of five.They are not only individuals
representing the community they belong to but also symbols of
universal significance. As individuals, Santiago is a skilful and
seasoned fisherman and Manolin is his disciple. But they are more
important as symbols. The old man is a symbol of frail humanity
struggling against a hostile universe while the boy is a symbol of
the human struggle against nature. Manolin is in the making. The
old man will die and then Manolin will continue the struggle with
the spirit of Santiago in him.And Manolin’s love shows Shringara
Rasa with Sthaayibhaav of Love. (Gregory P Fernando)-St
Clement Anniversary

18. Reference
Chaudhury, Pravas Jivan. “The Theory of Rasa.” The Journal of
Aesthetics and Art Criticism, vol. 11, no. 2, 1952, pp. 147–50,
https://doi.org/10.2307/426040. Accessed 14 Apr. 2022.
Devy, Ganesh. Bharatmuni.
Fernando, Gregory P. “Rasa Theory Applied to Hemingway’s
‘The Old Man and The Sea’ and ‘A Farewell To Arms’.” St
Clement University, 2003, pp. 1–249.
Sinha, Ravi K. “Bharat Muni: The Theory of 'Rasa’*.” R N
College,Hajipur.
Watave, K. N., and K. N. Watawe. “THE PSYCHOLOGY OF
THE RASA-THEORY.” Annals of the Bhandarkar Oriental
Research Institute, vol. 23, no. 1/4, 1942, pp. 669–77,
http://www.jstor.org/stable/44002605. Accessed 14 Apr. 2022.