Theory of Rasa
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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.
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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
Paper no.:7 Literary Theory and Criticism
1) The document discusses the Dhvani theory and Alamkara in Sanskrit poetics. It describes Dhvani as referring to suggestion and being considered the essence of poetry according to Anandavardhana.
2) It outlines two main divisions of Dhvani - Avivekshitavachy or the expressed sense, and Vivekshitavachy or the illustrated sense.
3) Alamkara refers to ornaments or embellishments used in classical music and poetry to enhance beauty. It describes two broad categories of Alamkara - Varnalankar based on syllables and Shabdanulankar based on sound production techniques.
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The document provides an overview of Rasa theory from Indian poetics as described in the Natyashastra text. It discusses key concepts like the eight primary rasas or sentiments (e.g. love, humor, sorrow), their corresponding emotional states called bhavas, and vibhavas and anubhavas which help develop the sentiments. It also analyzes how rasas like heroism, happiness, sorrow, disgust, and love are portrayed in Hemingway's short story "The Old Man and the Sea" through the characters' experiences.
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Paper no7 Literary theory and criticism
Here my presentation of paper no 7.Its a part of my of academic activity.Its submitted to Dr.Dilip Brad Sir Department of English MKBU.
14 avani
This document provides an overview of Rasa theory, a leading theory in Indian dramaturgy. It defines Rasa as the soul that brings drama to life. According to Bharata Muni, Rasa is the main purpose of drama. The document then discusses the key components of Rasa production according to Bharata's Rasa Sutra - vibhav, anubhav, vyabhichari, and sanyog. It notes that the combination of these four bhavas, or emotions, spices drama like spices enhance food. Finally, it presents the relationship between sthayi bhavas and the nine rasas or flavors they produce.
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- 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
- 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.