The Theory of Rasa Or Indian perspectives on communicationi Rasa is the central principle of Indian dramatics and poetics.

. tasted ( : - that which can be (bitter),

) is Rasa. This is the definition of Rasa. There are six kinds of Rasas

(spicy), (acrid), (sweet), (salty), (sour).These Rasas can only be experienced by the sense of taste. The food that is made up of all these Rasas is called the six. The same idea of taste is applied to drama and poetry. Thus drama and Rasa-food or poetry is supposed to have the same tastefulness and hence Rasas. The eight primary Rasas are (beauty), (laughter), (sadness), ] (anger), (bravery), (dangerous), (obscene), (miraculous). Various theorists of Dramatics have propounded more or less Rasas. It is believed that Bharatas Natyashastra is the first work that discusses the form of Rasa process. However, according to Dr G T Deshpande, before Bharata, two Acharyas Druhin and Vasuki also propounded two different Rasa traditions. Bharata restricts himself to the Rasas in Drama. His rule of Rasa is as follows ] : ( . .6.22) A combination of Vibhaava, Anubhaava and Sanchaari Bhaava leads to the formation of Rasa. The formation is an expression, a completion, a bearing of fruit. Thus Vibhaava, Anubhaava and Sanchaari Bhaava leads to formation of Rasa just as the different tastes like bitter, spicy, sour, sweet etc produce tasty food. A discussion of Rasa Rasa is the life, the most important principle of Poetics. The poetry that comes out of words is because of the Rasas. Only that which has Rasa is poetry. Here one is reminded of the ovee of Dnyaneshwar , , [ ( 347:18) The ability to do poetry suits speech, the ability to partake of the Rasa suits poetry and the ability to partake of the Rasa is to be able to touch the Supreme Principle. Poetry without Rasa is an imitation of poetry. The attractiveness of poetry is because of the Rasas. To be able to taste Rasa, the object that is being tasted should have taste worthiness. However, in the case of poetry and drama this taste is to be tasted with the help of the ears and the eyes. When these organs taste the Rasas they create sensations of happiness and sorrow that reach the mind and if the mind is functioning well then emotions such as happiness, sorrow, etc are awakened. The stronger the sensations the stronger the emotions and these are reflected on the human body parts. When the emotions reach a peak then exclamations emerge unknowingly and other organs of the body also react to these emotions simultaneously. The incident or event described by the poet becomes the living experience of the person listening to the poetry. The

person becomes with it. This means that the Rasa invoked by the poetry and experienced by the person listening to the poetry becomes the same. Thus, the poetry or the drama that invokes emotions within a person listening or watching the performance and the degree to which such invocation takes place determines the degree and quality of Rasa in the poetry or the drama. Such a poetry or drama is said to be having Rasa it is . The poetry that contains the best essence of these specific emotions feels good and one wants to taste it over and over again. Hence literary experts have called these specific . [ emotions Rasa. Feelings of anger, happiness are treated as the dharma of the mind. These could be interpreted as basic characteristics of the mind. These are experienced by everybody and the experts of poetics have assigned them the noun Bhaava . It is impossible to find a person who has not experienced these Bhaavas in life. These Bhaava exist in the minds of all humans and the moment they get Chetana or they are touched by life they spread like a drop of oil on water and take over the entire mind. The experts on poetics decided on the Rasas based on these basic and self existent Bhaavas in all humans. While explaining the process of Rasas some definitive nouns have been given. These are as follows 1. Sthayee Bhaava These are the Bhaavas or Dharmas that are permanently present. The Bhaavas that are basic and self existent and when triggered by the Rasas expand themselves to overtake the whole of ones mind and leave their impression later too are (sex), (laughter), (sorrow), called Sthayee Bhaava. These are eight \ and , more , (anger), , (energy), ], , (love) and (fear), , or and (repulsion or revulsion) . To these are added three , is (surprise) and eight Rasas are ascribed to each respectively. These are (peace), (devotion). The first Rasa,

. The Rasa appears when there is no Bhaava. The state of mind is comparable or Sneha is the Sthayee Bhaava of .

to the flame of an oil lamp that is steady. and love for Ishwara is the Sthayee Bhaava of 2. Vibhaava

: A term introduced here is Vaasana. Vaasana is knowledge derived from memory, it is also Bhaavana, it is an impression unconsciously left on the mind by past actions which produce feelings of pleasure or of pain, it is also a fanciful or false idea, it is ignorance, it is a wish, a desire or an inclination. The Sthayee Bhaava exist inside the human mind in the form of Vaasana or memory. The Vibhaava make the Sthayee Bhaava taste worthy and bring forth the Rasas. The Vibhaava bring life into the Sthayee Bhaava and cause them to grow. Vibhaava are thus the catalysts that trigger the Sthayee Bhaava transforming them into Rasa. Vibhaava are of two kinds and . Aalambana is something on which another dependent. It is
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. It gives support to something. Aalambana Vibhaava thus provides support to the Sthayee Bhaava. The character that leads to the full expression of the Bhaavana or the Sthaayee Bhaava is called the Aalambana Vibhaava. The Aalambana Vibhaava thus is the characterization. Characterization is the process by which the personality of the character is revealed. Direct characterization tells the audience who the character is. Indirect characterization shows things that reveal the personality of the character. It uses speech, thoughts, effect on others toward the character, actions of the character and looks that includes make up and costume. Uddipan Vibhaava is the stimuli. The actions of the characters as well as the place, time and the conditions that excite the Sthaayee Bhaava are called Uddipan Vibhaava. The place, time and the conditions are the elements of the mise-en-scene. The arrangement of everything that appears in the framing actors, lighting, dcor, props, costume is called mise-en-scne, a French term that means placing on stage. The frame and camerawork also constitute the mise-en-scne of a movie. The actions of the characters would include physical movements as well as the dialogue. Thus we find that the Vibhaavas are located in the poetry or the drama. Significantly, the action of the Vibhaava can only be complete when they reach the audience. Characterization and mise-en-scene have a goal that of triggering the Rasa and ultimately the Sthayee Bhaava but whether such triggering has occurred and to what extent can only be judged from the response of the audience. ( ) : Anubhaava lead to one 3. Anubhaava physically experiencing the Sthaayee Bhaava. The physical location of the experience is very clear in Anubhaava. These may be located in the performer as well as the audience. Thus, Anubhaava happens both to the performer as well as the audience. 4. Vyabhichaari Bhaava : : These are also called the Sanchaari Bhaava. The Bhaavas that make the Sthaayee Bhava pass through the entire work be it poetry or a drama are called the Vyabhichaari or Sanchaari Bhaava. Sanchaar is to spread. Sanchaari are those that have the capacity to spread about. There is not direct correlation between a Rasa and a Vyabhichaari Bhaava. They appear in relation to any Rasa and make it grow. They leave behind a brief taste. There are 33 Vyabhichaari Bhaava , , , , , ^ , , , , , , , , , ] , [ , , , [ , and [. , , \ , , , [ , , , \ , [ , , ,

According to the rule of Rasa propounded by Bharata in the Natya Shastra it is the Vibhaava, Anubhaava and the Vyabhichaari or Sanchaari Bhaava that together lead to Rasa formation. This Rasa is formed, as we have seen, in both the performer as well as the audience. An analysis of the Rasas 1. Shringarasa or Rati is the sexual attraction between males and females. The Shringarasa is dependent on the two individuals who are thus attracted to each other.
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These individuals are thus the Vibhaava of the Shringarasa. The stars, the moon, the coming of spring, the dialogue between such individuals that brings out the nature of their attraction, attractive costumes, erotic pictures, love songs etc stimulate the emotion of Rati. Hence, these are the Uddipan Vibhaava of Shringarasa. When sexual desire is stimulated touching, embracing, etc action takes place. These are the Anubhaava of this Rasa. Laughing, feeling shy, feeling as if one has lost all control of the senses, feeling lazy etc are the Vyabhichaari Bhaava of this Rasa. There are two kinds of Shringarasa Sambhogashringar ( ) and ). In the first kind the lovers meet leading to Vipralambhashringar ( corresponding actions and thoughts. In the second kind their love is expressed but they are unable to meet. Haasyarasa Laughing is the principle emotion of this Rasa and hence the Sthaayee Bhaava. The person who leads to laughter is the Aalamban Vibhaava of this Rasa. The actions or the speech of that person are the Uddipan Vibhaava of the Rasa. While laughing tears come out of the eyes, the mouth is open, etc. These are the Anubhaava of the Rasa. The desire to sleep, feel lazy, tired etc are the Vyabhichaari Bhaava of the Rasa. Karunarasa Death (of a beloved), distance (from a beloved), destruction, disease etc create this Rasa. Its Sthaayee Bhaava is sorrow or . The thing or person that is destroyed and leads to the Rasa is the Aalanban Vibhaava. News about the destruction or the pain or the distance etc or the suffering of the person leads to an increase in sorrow and are the Uddipan Vibhaava. Crying, cursing fate, falling on the ground, beating oneself, howling etc are the Anubhaava of the Rasa. The body becomes pale, weak, the abandonment of all desire, losing consciousness, feeling anxious or going insane are the Vyabhichaari Bhaava of the Rasa. Raudrarasa Anger \ is the Sthaayee Bhaava of this Rasa. The enemy is the Aalanban Bhaava of the Rasa. The actions of the enemy that ignite the feelings of anger are the Uddipan Bhaava. Hitting with a fist, throwing an enemy on the floor, beating, burning, cutting, defacing etc are the Uddipan Vibhaava of this Rasa. The hair rising on the body, the raising of the eyebrows, biting of the lips, throwing weapons, using sharp words etc are the physically visible of the Rasa and are the Anubhaava. Aggression, jealousy, envy etc are the Vyabhichaari Bhaava of the Rasa. Veerarasa Energy is the Sthaayee Bhaava of this Rasa.The enemy is the Aalanban Bhaava. The attack by the enemy, the enemy entering the territory, spying, fomenting secessionist activity, an arms race, preparing the army etc increase the energy and are thus the Uddipan Bhaava. Intelligence, stability, getting together ones supporters etc are the Anubhaava. Pride, reasoning, joy, steadfastness are the Vyabhichaari Bhaava. Bhayaanakarasa Fear is the Sthaayee Bhaava of this Rasa. That from which one tries to run away is the Aalanban Bhaava of the Rasa and the actions that lead to one running away are the Uddipan Bhaava. Becoming tongue tied, shivering, looking about for protection, running away in flight are the Anubhaava and helplessness, anxiety, inability to move are the Vyabhichaari Bhaava. Beebhatsarasa [ [ Disgust considered as the feeling which gives rise to the Beebhatsa sentiment or Rasa. That disgust is called Jugupsaa and
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2.

3.

4.

5.

6.

7.

is the Sthayee Bhaava of the Rasa. Blood, meat, foul smelling things are the Aalaban Bhaava of the Rasa. Foul smell, decomposing matter, etc are the Uddipan Vibhaava. Spitting, turning the face away, covering the face, shutting the eyes are the Anubhaava and losing consciousness, feeling ill, swimming of the head etc are the Vyabhichaari Bhaava. 8. Adbhutarasa Surprise or shock is the Sthaayee Bhaava of this Rasa. That which leads to such surprise is the Aalanban Bhaava. A description of that which surprises is the Uddipan Bhaava. Being stopped in ones tracks, getting confused in ones mind, expanding of the eyes are the Anubhaava. The shivering of speech, the hair standing on end on ones body are the Vyabhichaari Bhaava. The table below gives Rasas and the related bhaavas in Marathi for quick reference.

, , \ [ ^ , , ] [ ,
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, , , ], , , , [ ,

, ,

, ,

, , ^

, ] ,

, ] . [ , , , \ , , , , , ,
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\ , ] \ ] , , ] ] , , , , , , ] , , ] ] \ , , [ , , [ [, , [ [ ] , , , [ [ , [ , ] \ , , , \ ,

 / , [ , , , , , , / [ [ [ , , , , [ ,

The discussion on Rasa is the discussion of the effect of Vibhaava, Anubhaava and Sanchaari or Vyabhichaari Bhaava. In his critique of the the Dhvanyaalokalochana ( ) ii Abhinava Gupta has pointed to the chief points of discussion. Dr G T Deshpande has presented in brief these points of discussion and debate. 1. There is a Sthaayee Bhaava in the characters. The Vibhaava, Anubhaava and Sanchaari Bhaava meet the Sthaayee Bhaava in the character making it stronger and more pronounced. This Sthaayee Bhaava is the Rasa. Thus, Rasa is primarily present in imitable characters like Rama etc and by the power of drawing a connection it is seen to be present in the actor. 2. Rasa is dependent on the actor and not the character. The Sthaayee stands upright within the actor because of the characteristic Vibhaava, Anubhaava and Sanchaari and is no longer different from the character and this realization leads to the tasting of the Sthaayee. 3. Just as a painting gives an impression of reality, similarly, the Sthaayee is seen to be present in the actor owing to the mix of the tools of acting. This false impression and knowledge of the Sthaayee is the Rasa. 4. When the Vibhaava Anubhaava is shown correctly, the state of the Sthaayee changes. The Vaasana of the audience matches the Sthaayee. The relishing of the Vaasana is Rasa. 5. According to different critiques Vibhaava, Anubhaava, Sthaayee, Vyabhichaari on their own are Rasa. Some argue that their coming together is Rasa and some others argue that their intermingling or intermixing is Rasa. . 6. Rasa has a being in itself 7. According to Bhattanayak Rasa is not seen, it is not created nor does it stand alone. It is tasted like a person eating the eatable. 8. Vibhaava are elements outside of the actor. Anubhaava and Vyabhichaari act upon the Vibhaava making the elements produce Sthaayee experiences of sorrow or happiness.

The taste of the Rasas is an experience. It is different from the other experiences. To be able to partake of this experience the Rasik has to be on a specific plane with respect to the poetry. If due to any reason this plane is disturbed then the Rasa goes away. Abhinava Gupta calls these the Rasa Obstacles. . There are eight such ) Lack of imagination is Sambhaavanaviraha. If 1. Sambhaavanaviraha ( someone does not know the object of poetry or drama there would be no question of experiencing Rasa. This can be an obstacle for the poet/actor or the Rasik. If the poet does not know what is right or wrong this obstacle can come up. However, if the work of the poet is good but not understood by the Rasik because of lack of imagination then this obstacle can come up too. To deal with this obstacle the poet chooses a mass topic or a topic that is acceptable to the masses ( ). ) This obstacle 2. Swaparagata Deshakala Visheshaavesha ( is located in the Rasik. Audiences taste their own sorrows and happiness through poetry and drama. As long as the experience is a happy one they are lost in the work. However, if the experience is personally painful to them they cannot bear it. It is then impossible to partake of the Rasa. This is because the audience is not on the common plane (with the work of art) and hence partaking of the Rasa is not possible. Bharata in his Natya Shastra proposes a Poorvaranga Vidhi that helps the Rasik to obtain a Sadharanibhaava ( ) that helps the Rasik partake the Rasa. ) At times the audience is so 3. Nijasukhaadivivasheebhaava ( caught up in its own happiness and sorrows it is unable to taste the Rasas because of preoccupations. While watching, listening, reading memories of happiness and sorrow keep coming back. In drama, Bharata recommends including dance and song to tide over this obstacle. 4. Prateetyupaayavaikalya ( ) The Vibhaava Anubhaava are central to Rasa experience. They have to be synchronized with each other for Rasa experience. If they are not complementary to each other or they are absent altogether then that produces an obstacle to Rasa experience. 5. Sphutatvabhaava ( ) Vibhaava, Anubhaava have to be experienced clearly. If there is no clarity it becomes an obstacle to Rasa experience. According to Bharata Prateetyupaayavaikalya and Sphutatvabhaava can be dealt with by making acting more attuned to peoples Vruttis . These Vruttis are attitudes, states, conditions, behavior, conduct, modes of action etc. ) If a subordinate object is focused upon rather than the 6. Apradhanata ( important object of a poem or a drama then it presents an obstacle to experience Rasa. The poet or dramatist should focus on the Sthaayee Bhaava to get over this obstacle. 7. Sanshayayoga ( ) There is no one to one correlation between the Sthaayee Bhaava, the Vibhaava, Anubhaava and the Sanchaari Bhaava. As a result confusion may arise about what the message is. This sense of doubt is an obstacle.

The central theme around which the Rasa is discussed and debated is the famous rule of Bharata: ] : Abhinava Gupta discussed the various characteristics and principles of this rule in the Abhinava Bharati, a treatise on dramatics and the Lochan, which is a treatise on the Dhanvyalokavyakhya. That the experts on poetics and the dramatics had come to differences is reflected for the first time in the Dhvanyaloka. There are five areas of the theory of Rasa where differences emerged. 1. The form of Rasa ( ) Rasa is tasted. On this point there is agreement. There is however a difference in that some argue that the taste is an experience whereas others argue that it is consumption. Abhinava Gupta argues that this experience is a continuous one without any obstacle and is earthly and not otherworldly. Some however argue that the Rasa experience is similar to the spiritual experience or Brahmasvaada ( ). \ ) The seed and the supporting tools are discussed here. 2. The tools of Rasa ( Traditionally, the Sthaayee Bhaava is considered the seed of the Rasa and Vibhaava, Anubhaava and Vyabhichaari Bhaava are supporting tools. Abhinava Gupta declared that the Sthaayee Bhaava and the Vyabhichaari Bhaava were different. According to him the Sthaayee Bhaava were present in all beings at birth whereas Vyabhichaari Bhaava was not. 3. The resting place of Rasa ( ^ ) Rasa resides in the characters and the actors. This is one argument. However, according to Bhattanayak and Abhinava Gupta, as a result of Sadharanikaran the Rasik is the residing place of Rasa. They argue that at the time of the experience of taste, there is no difference between the performer and the Rasik. 4. The completion of Rasa ( ) There are four opinions about the relationship between Rasa and its tools. A) Rasa is located in the character and by imitation in the actor. Hence the relationship between Rasa and the character and actor is that of product and producer. Thus, by the actors effort the Vibhaava, Anubhaava and Sanchaaribhaava become producers of Rasa while by the effort of the Rasik they become the or indicators of Rasa. B) Rasa and its tools have a relationship of one that can be known and one that can indicate knowledge or lead one to knowledge ( ). C) Rasa and its tools are related like food and its consumers ( ). D) The relationship between Rasa and its tools is like the word and its meaning ( ). In the last two opinions it is assumed that before the tasting of the Rasas there is Sadharanikaran of the Vibhaava, Anubhaava and Sanchaaribhaava. Sadharanikaran means the specific space and time relations of Vibhaava, Anubhaava and Sanchaaribhaava dissolve and they take on common or general forms ( ) that are acceptable across space ( [ ) and time ( [ ). Bhattanayaka added this dimension of Sadharanikaran to the discussion on Rasa and Abhinava Gupta had to accept it.

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5. The effect of Rasa (

) According to Abhinava Gupta, Rasa leads only to

Sukha ( [ ). According to Ramachandra Gunachandra, the author of Natyadarpan, Shringar, Hasya, Veera, Adbhuta and Shanta Rasas lead to happiness while Karun, Bhayanak, Beebhatsa and Raudra lead to sorrow and the Rasik is attracted to both, especially a good mix of both. The Philosophical View of Rasa ( [ ) To experience Rasa a person has to be a ] , someone who can look from an objective point of view ( ) without getting involved in or attracted to ( ) the things around the person. However, the philosophical outlook recommends a position where one is not completely detached or completely attached. Thus, the philosophers argue a condition called Sahridaya ( ). In the heart of a Sahridaya Rasik sympathy ( ) arises and only then can the Rasik experience the Rasa. Sympathy is possible only when a person is able to keep himself aloof from an object. This is neither a condition of complete detachment nor of complete attachment to the object. Ananda or happiness are of three types Vishayananda ( ), Brahmananda ( )

and Rasananda ( ). Vishayananda is earthly, of this world and Rasananda is extraordinary. Brahmananda and Rasananda are different in that the former is experienced when Vaasanas are uprooted ( ) whereas the latter is achieved when the Vaasanas are purified ( ). : Brahma is Rasa. In this sense Ananda is the only Rasa. In fact, according to Abhinava Gupta, Bharata too imagined a single Maha Rasa and called the others Rasa. This idea was further developed by Karnapoor ( [ ), a poet. In his work Alankarkaustubh ( ) he imagines a fantastic Sthaayee Bhaava for the Maha Rasa of Bharata. He called it Aasvaadankurakanda ( ). When the Rasa is formed the seed of taste blossoms. This blossom is a Bhaava. This is explained in the following verse by Karnapoor : : [ : : ( :63)

Aasvaada is taste. Ankur is seed. Kanda is the root. The aasvaadankurakanda is the characteristic of the Chitta (variously called the soul, mind, core being etc). When a person has done away with Rajas and Tamas and the Chitta is enlightened by pure Sattvaguna that person experiences state of peaceful rest. That state is called aasvaadankurakanda. Thus Rasa is pure. It is only called by different names.

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Bharatiya Sanskruti Kosha The Dhvanyaalokalochana was written by Anandvardhan (840-870 CE). He propounded the theory that the soul :|| He also argued that Rasa was central to poetry. Abinava Gupta of poetry was in the sound - was a commentator on poetics and dramatics in the latter half of the tenth century. He was a Kashmiri Shaivite Brahmin. He is credited with several critical commentaries on tantra and literature. Lochana, a critique of the Dhvanyaalokalochana, and the Abhinavabharati are his commentaries on Rasa and the Natya Shastra respectively.
ii

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