Rasa – Indian Aesthetic Theory

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).

Rasa Bhavam

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.