Rasa is a central concept in Indian aesthetic theory.
The term has a variety of meanings Aesthetics refers to a distinctive type of
emotional experience that can be experienced in connection with an artwork. The
concept is presented in the Nāṭyaśāstra (200-500
C.E.), traditionally attributed to Bharata, a work that amounts to a collection
of knowledge on dramatic performance (including music and dancing).
That Nāṭyaśāstra enumerates
eight rasas that can be aroused
in audience members through skillful performances.
These include
1.
the
erotic (śṛṅgāra),
2.
the
comic (hāsya),
3.
the
pathetic or sorrowful (karuṇa),
4.
the
furious (raudra), the heroic (vīra),
5.
the
terrible (bhayānaka),
6.
the
odious (bībhatsa), (hateful)and
7.
the
marvelous (adbhuta).
8.
Later
interpreters often acknowledged a ninth rasa,
9.
the
tranquil (śānta).
Each rasa corresponds
to a bhava, an ordinary emotion that
is presented in the drama.
Rasa, however,
is a distinctively aesthetic kind experience in which one savors the essence of
an emotion type. It is considered to be an achievement, both on the part of
performers who are able to bring out the universal dimensions of emotion
presented in a play and on that of the audience member who is sufficiently
cultivated to appreciate such universalized emotion.
Rasa can
be attained only by the person who is detached from personal motives and
interests and identifies with the supreme universal Self.
Abhinava also
emphasizes the ninth rasa, the
tranquil (śāntarasa), which he sees
as the goal of all the other rasas.
He compares the experience of this rasa to
that of spiritual liberation (mokṣa), which is the goal of every human
life.
Emotional states and Rasa
5
The permanent emotional states alone are said to obtain the status of the Rasa.
They are
eight in number of which
four are primary and
four are secondary.
The primary Rasa produces
the respective secondary Rasa in the following manner:
1. Erotic (Shringar) to Comic (Hasya);
2. Heroic (Veer) to Marvellous (Adbhut);
3. Furious (Roudra) to Pathetic (Karun);
4. Odious (Bibhatsa) to terrible (Bhayanak);
The erotic, comic, heroic, and marvelous are positive traits of mind, however the furious,
pathetic, odious, and terrible are negative.
The Erotic (Shringar)
Rasa is derived from the dominant state of love and has its basis in
shining and brighter aspects of the world such as white, pure, and beautiful.
The Comic (Hasya) Rasa has its basis in the dominant emotion of laughter. It is derived
from showing unseemly dress or ornament, impudence, greediness, quarrel or defective limb.
The Heroic (Veer) Rasa has its basis in the superior type of persons, grandeur, greatness,
goodness, strength and energy. It displays concentration of mind, perseverance, diplomacy,
discipline, military strength, aggressiveness, reputation of might, and frightening capacity etc.
The Marvellous (Adbhut) Rasa finds its basis in the dominant state of astonishment. It is
derived from the determinants such as sight of heavenly being or events, attainment of desired
object, entrance into superior mansion, temple, audience hall, seeing illusory and magical acts
etc.
The Furious (Roudra) Rasa finds its basis in the dominant state of anger. It is derived
from the determinant such as anger, rape, abuse, insult, untruth, allegation, jealousy and the like.
The Rakshasas, Danavas, and haughty men are its sources.
6
The Pathetic (Karun) Rasa is rooted in the dominant state of sorrow, misery, and
suffering. It is derived from determinants such as afflictions due to separation from dear ones,
divorce, loss of wealth, person, death, accident or plight and captivity.
The Odious (Bibhatsa) Rasa has the dominant state of disgust. It is derived from
determinants such as hearing of unpleasant, offensive, impure, harmful things or seeing and
discussing them. On the stage it can be represented by consequents such as stopping the
movement of all limbs, narrowing down the mouth and the like.
The Terrible (Bhayanak) Rasa is rooted in the dominant state of fear. It is derived from
the determinants such as hideous noise, sight of ghost, panic, anxiety, or voices of jackals and
owls, an empty house, dense forest, sight of murder or death of hearing and discussion of such
events and also horripilation, change of color and loss of voice etc.
The wise should know that the Vibhav and the Anubhav are such matters in the art of acting as are
actually created by human nature, and as closely follow the ways of human nature and worldly
conduct” (Ibid:10).
‘Lokatraya’ has been the core content of the art. The human nature and conduct of the
world being the guiding principle
Nishpatti
According to Bharata, “Nishpatti is a manifestation (Abhivyakti) of what was already
latent.” Abhinav says,
“All Rasas are dominated by pleasure, because of being the manifest and uninterrupted form of
tasting ones own consciousness” (Ghosh M.M. 1950:8)
Debate over Shantih: Is it a Rasa?
Abhinav Gupta considers Shantih (peace) as the ninth Rasa. This is the point of debate
over its status of Rasa in the tradition of Sanskrit scholarship in art and literature. The debate
provides new directions and insights in exploring the nature of man and the nature of art from the
point of view of dramatic performance and aesthetic realization of both entertainment and
instruction for proper education and culture.
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