NUANCES OF RASA

IN
NATYA SHASTRA
KADAMBARI PANDEY, DELHI UNIVERSITY. 08/01/2024

ABSTRACT

The paper attempts to touch the aspects of rasa in Natya shastra. The stages of Sanskrit
poetic criticism in brief, kinds of rasa and bhavas associated with it, cataloging of Rasa
and origin of it. Rasa, in the context of Natyashastra, refers to the aesthetic experience
or emotional essence that is evoked in the audience during a performance.
Natyashastra is an ancient Indian treatise on performing arts, traditionally attributed
to the sage Bharata Muni. The concept of Rasa is a fundamental and central idea in
Natyashastra, and it encompasses several dimensions. Rasa, translated as "essence" or
"flavor," encapsulates the overarching emotional experience that a performance aims
to evoke in the audience. This abstract concept is integral to understanding the
transformative power of Indian classical dance, music, and theater. The enduring
legacy of Rasa in Natyashastra lies in its ability to provide a holistic framework for
artists to convey the depths of human experience, fostering a sublime and
transformative journey for both the performer and the audience. As a cultural and
artistic cornerstone, Rasa continues to shape the aesthetics of Indian classical
performing arts, emphasizing the transcendent power of emotion and the pursuit of
aesthetic bliss.

INDIAN KNOWLEDGE SYSTEM

India has a rich and diverse knowledge system that spans various domains, including
philosophy, science, mathematics, medicine, arts, and literature. The traditional Indian
knowledge system is deeply rooted in ancient texts, scriptures, and oral traditions.
Several ancient civilizations have acknowledged India's contributions to the field of
knowledge. Not only in ancient times but also throughout history, India has exported
knowledge to other civilizations and cultures.

Introduction

Natyashastra is an ancient Indian text that serves as a comprehensive treatise on the

performing arts. Traditionally attributed to the sage Bharata Muni, Natyashastra is
believed to have been composed over two thousand years ago and is a foundational
work in the realm of Indian aesthetics and dramatic theory. The term "Natyashastra" is
a compound of two Sanskrit words: "Nātya," meaning drama or theater, and "Shastra,"
meaning a scientific or systematic treatise. The text not only addresses the practical
aspects of drama, dance, and music but also delves into the philosophical and
metaphysical underpinnings of artistic expression. The Natyashastra is organized into
several books, each dealing with specific aspects of the performing arts. It covers a wide
range of topics, including the elements of drama, the classification of characters, the
structure of a play, the use of language, the theory of emotions (Rasa), the art of
expression (Abhinaya), and the technical aspects of music and dance. Talking about
Authorship, Natyashastra draws upon the insights of numerous contributors,
reflecting the collaborative nature of knowledge transmission in ancient Indian
traditions.

The Stages of Sanskrit poetic criticism

Sanskrit poetic criticism has a rich tradition with several stages or schools of thought
that have evolved over the centuries. While there might be variations in the
categorization of these stages, a common framework includes the following:

(a) Alamkara School:

Contributors: Bhamaha, Dandin, and Udbhata.

Focus: This school primarily dealt with the concept of "Alamkara" or ornamentation in
poetry. Alamkara refers to the use of figures of speech, metaphors, and other literary
devices to enhance the beauty of poetry. Bhamaha’s work Kavyalankara, Dandi’s
Kavyadarshana and Udbhata’s Kavyalankarasara sangraha were works solely on
Alamkara (Rhetoric). It was the time when rhetoric and rupaka's were considered as
two separate shastras.

(b) Rasa School:

Contributors: Anandavardhana and Abhinavagupta.

Focus: The Rasa school emphasized the concept of "Rasa," which translates to aesthetic
experience or emotion. Rasa theory suggests that the purpose of poetry is to evoke
specific emotional responses in the reader or audience. Vamana was the first to consider
rasa as soul of poetry, quoting as “Ritiratma kavyasya”. After this many thoughts and
schools came forward in for and against, for the same.

(c) Dhvani School:

Contributors: Anandavardhana and later Abhinavagupta.

Focus: Dhvani refers to the suggested or implied meaning in poetry. This school
emphasized the power of suggestion and how poetry communicates more than just its
literal meaning. It goes beyond explicit content to evoke emotions and aesthetic
pleasure.

(d) Aucitya School:

Contributors: Kuntaka and Rudrata.

Focus: Aucitya, or appropriateness, is the central theme of this school. It emphasizes

the need for appropriate expression, vocabulary, and style in accordance with the
subject matter, context, and audience.

(e) Vakrokti School:

Contributors: Kuntaka.

Focus: Vakrokti refers to "twisted" or indirect expression. This school emphasized the
beauty of indirect or oblique expression in poetry, highlighting the significance of
deviation from the ordinary to create aesthetic impact.

These stages are not strictly chronological, and there is often an overlap in the periods
during which these schools were prominent. Moreover, the ideas and concepts from
each stage have influenced subsequent generations, contributing to the rich and
nuanced tradition of Sanskrit poetic criticism. As the central theme of this paper is
nuances of rasa in Natya shastra, let's dwell upon the origin of it.

Origin of Rasa
The Natya Shastra doesn't provide any specific mythological narrative about the origin
of Rasa. Instead, it focuses on the philosophical and aesthetic aspects of Rasa,
explaining its nature, classification, and the means through which it can be evoked in
the context of performing arts. However, Sharadatanaya, a Shaivite, provides an
interesting viewpoint on the origin of rasa in his treatise “Bhavaprakasam”.

The origin of Rasa can be traced back to the supreme deity, Lord Brahma. The narrative
begins with the gods seeking a way to alleviate the suffering of humans, who were
burdened by the sorrows of life. In response, Brahma is said to have created the Natya
Veda, a fifth Veda and extends it to Bharata Muni. Sage Bharata was asked to perform
a drama along with the Bharata Putras based on the instruction taught by the Brahma
himself. Bharata thereupon composed a rupaka, Tripuradhahanam and was staged in
the heavenly abode. On watching the act, Lord Brahma was deeply touched, impressed
and experienced the sentiments that resulted in evoking the four Rasas in conjunction
with the four Vrittis (Bharathi, Satvathi, Kaishiki, Aarbhati) spontaneously from his
four heads.

The following rasa are generated from the mouths of Brahma: -

PRIMARY RASA FACE OF BRAHMA VRITTI

SHRINGAR RASA EASTERN FACE KAISHIKI

RAUDRA RASA WESTERN FACE ARABHATI

VEERA RASA SOUTHERN FACE SATTVATI

BIBHATSA RASA NORTHERN FACE BHARATI

Then the remaining rasa (Secondary rasa) are born out of the above-mentioned
primary rasa i.e.,
 1. Hasya rasa from Shingara rasa
2. Karun rasa from Raudra rasa
3. Adabhut rasa from Veera rasa
4. Bhayanaka rasa from Bibhatsa rasa

Cataloging of Rasa

The cataloging of rasa in Natya shastra according to Bharat Muni are only eight in
numbers. The same has been advocated by Kalidasa in his five-act drama,
Vikramorvasiyam.
According to Udbhata there are nine rasas which have been introduced in his
Kavyaalankarasara Sangraha.

“श्रगृं ार-हास्य-करुण-रौद्र-वीर-भयनकहा
भीभत्साद्भूतः सृंथाश्च नव नात्ये रसाह स्मरतः”

Vishvanatha also added Vatsalya as tenth rasa but did not get wide acceptance as
Navarasa.

Kinds of Rasa

Eloquent mentioned rasa, contrarieties and auxiliaries to explain more details which
has not been stated in Natya shastra. The enumeration of Rasas has remained relatively
stable over the centuries, with the original eight Rasas identified by Bharata serving as
the foundation for later developments in Indian aesthetics. The historical evolution of
Rasa reflects a nuanced exploration of human emotions and the aesthetic experience in
the realm of art and literature

RASA CONTRARIETIES AUXILIARIES

Shringara Karuna, Bibhatsa, Raudra, Adbhuta, Hasya and

Vira, Bhayanaka Vira

Hasya Bhayanaka and karuna Shringara

 Karuna Hasya and Shringara xxx

Raudra Hasya, Shringara and Vira

Bhayanaka

Vira Bhayanaka and Shanta Raudra, Adbhuta

and Shringara

Bhayanaka Shringara, Vira, Raudra, xxx

Hasya and Shanta

Bibhatsa Shringara Vira

Adbhuta xxx Shringara

Shanta Vira, Shringara, Raudra and xxx

Bhayanaka

Let's briefly discuss the major rasa mentioned above.

1. SHRINGARA
Shringara Rasa is one of the eight primary Rasas (emotional states) in Indian classical
aesthetics, as outlined in the Natya Shastra, an ancient Indian text on performing arts
attributed to the sage Bharata. Shringara specifically refers to the Rasa of love, beauty,
and romantic or erotic sentiment.
It encompasses the emotions associated with various aspects of love, from the sublime
to the passionate. It is the King (or Queen) of all Rasas, the very purpose of creation and
the universe. The Sthayi bhava of Shringara Rasa is Rati, which is erotic love or passionate
love.

2. HASYA
Hasya specifically refers to the Rasa of humor, laughter, and comic sentiment. It
encompasses the emotions associated with the amusing and light-hearted aspects of
life. Hasya Rasa covers various forms of humor, including verbal wit, situational
comedy, and physical humor. It explores the lighter side of human experiences and
interactions. The Haasya Rasa is born from the Sthayi Bhava, Hasa.
Hasya is associated with the color white and elements like flowers and fragrances,
symbolizing purity and the joyous nature of humor.
Hasya Rasa plays a vital role in the aesthetic experience of Indian classical arts,
contributing to the holistic portrayal of human emotions and experiences. It is an
acknowledgment of the importance of joy, laughter, and the lighter aspects of life in the
artistic and cultural traditions of India.

3. KARUNA

Karuna specifically refers to the Rasa of compassion, empathy, and a deep sense of
pathos or sorrow. It involves the expression and experience of emotions associated with
empathy for the suffering of others. Karuna rasa is prevalent rasa of epic Ramayana.

It reflects an understanding and sharing of the pain, suffering, or adversity experienced

by others. In the performing arts, the aim is to elicit a heartfelt response from the
audience, fostering a sense of empathy. Karuna is often associated with the color grey
and elements like rain and clouds, symbolizing the emotional complexity and depth
associated with sorrow and compassion. Sthayi Bhava of karuna Rasa is Shoka. Karuna is
also associated with a spiritual dimension, reflecting the concept of selfless love,
compassion, and the alleviation of suffering.
5. VIRA

Vira Rasa involves the portrayal and experience of heroic and courageous emotions. It
encompasses the spirit of bravery, fearlessness, and valor. Vira Rasa is often associated
with narratives that depict the triumph of good over evil, heroic deeds, and the valor
of legendary characters. Tale of Abhimanyu on battlefields of Kurukshetra in
Mahabharata represents Vira rasa of different kind.

Vira Rasa plays a significant role in traditional Indian drama, especially in the portrayal
of heroic characters facing challenges, battles, or conflicts. Vira Rasa can also have a
spiritual dimension, reflecting qualities such as righteousness, self-sacrifice, and the
pursuit of justice. Vira is often associated with the color saffron and elements like the
sound of a conch shell, symbolizing the grandeur and nobility of heroism. Sthayi Bhava
of vira is accepted as Utsaaha.
6. BHAYANAKA

Bhayanaka specifically refers to the Rasa of fear, horror, and the emotions associated
with terror and awe. Bhayanaka Rasa involves the portrayal and experience of fear,
horror, or terror. It encompasses the emotions associated with being frightened or
experiencing a sense of dread. The aim is to evoke a sense of awe, suspense, and fear
in the audience. Bhayanaka is often associated with narratives involving supernatural
beings, ghosts, monsters, or situations that induce fear Bhayanaka is associated with
symbolic elements such as dark colors, eerie sounds, and depictions of frightening
creatures, emphasizing the unsettling and fearful nature of the emotion. Staayi Bhava:
Bhayam. Color is Black.

7. BIBHATSA

Bibhastsa is odious. Bibhatsa Rasa involves the portrayal and experience of disgust or
repulsion. It encompasses the emotions associated with encountering something
unpleasant, offensive, or repulsive. In the performing arts, especially in classical Indian
dance and drama, artists use gestures, expressions, and movements to convey the
sentiment of Bibhatsa. The aim is to evoke a sense of revulsion, abhorrence, or
discomfort in the audience. Bibhatsa is often associated with narratives that include
unpleasant or grotesque elements, challenging the audience's sensibilities and invoking
a strong emotional response. Natyashastra registers Bibhatsa as a fleeting emotion,
which stays briefly and acts as a catalyst to transform into higher emotion of sorrow.
Staayi Bhava: Jugupsa. Associated color is Blue.
8. ADBHUTA

Adbhuta Rasa involves the portrayal and experience of wonder, amazement, or

astonishment. It encompasses the emotions associated with encountering something
extraordinary, mysterious, or awe-inspiring. Adbhuta is often associated with
narratives that include elements of the supernatural, magical, or fantastical. It explores
the boundaries of the known and elicits a sense of wonder in the audience. It is
associated with symbolic elements that convey a sense of wonder, such as celestial
objects, magical creatures, or surreal landscapes. It's often associated with the color
yellow. Sthayi Bhava is Vismayam.

9. SHANTA
Shanta typically refers to the Rasa of tranquility, peace, and serenity. It represents a
state of calmness and a sense of inner peace, often associated with spiritual or
meditative experiences. In classical Indian aesthetics, the exploration of calmness and
tranquility is an essential aspect of some Indian literature, philosophy, and art. It aligns
with the broader goal of achieving a balanced and harmonious emotional experience.
Shanta stands for serenity and peace. Associated color is White and Sthayi bhava is
Shamam / Tatva Gyanam

Rasa Theory:

The Rasadhyaya (6.31) of Natyashastra quotes the quintessential aphorism of rasa. It

states

“ ववभव अनभु व व्यवभचारी सम्योगात् रस वनष्पवतः ”

From the union of vibhavas (Determinant conditions) anubhava (consequents) and

vyabhicari bhavas (ancillary emotions), rasa (aesthetic delight) is realised.

Rasa theory is composed of several important factors which contribute to the

realization of rasa in refined spectator. These are discussed below: -

Bhavas: Bhavas refer to the emotional states or moods that are portrayed and evoked
in a dramatic performance. These are the fundamental emotions that form the core of
the aesthetic experience.
Anubhava: Anubhava refers to the visible or external manifestations of the Bhavas.
These are the expressive elements, actions, and physical manifestations that convey the
emotional states to the audience. Facial expressions, body language, gestures, vocal
modulation, and other outward expressions are considered Anubhavas. They are the
observable signs of the internal emotional states.

Vibhavas: Vibhavas are the determinants or factors that contribute to the arousal of
Bhavas. They are the circumstances, situations, or stimuli that evoke and intensify the
emotional states in a performance.

Types: Vibhavas are categorized into Alambana Vibhava (supporting factors) and
Uddipana Vibhava (exciting factors). Alambana Vibhavas include the physical or
situational supports, while Uddipana Vibhavas are the provocative elements that
initiate or intensify the emotions.

Sthayibhava: Each Rasa is associated with a dominant emotional state called

"Sthayibhava." This is the enduring emotional mood that underlies the entire artistic
presentation. It is considered the primary or principal emotion that, when conveyed
effectively, leads to the experience of Rasa. In other words, sthayibhavas being subtle,
they cannot express themselves, they get manifested through these vyabhicari bhavas
only.

Vyabhicari bhava: Vyabhicari Bhavas, also known as "Sanchari Bhavas" or "Transitory

Emotional States," refer to the various transient or transitory emotions that arise and
accompany the dominant emotion (Sthayibhava) in a dramatic performance. These are
the fleeting emotions and expressions that intensify, elaborate, or complement the
primary emotion. While Sthayibhava is the enduring emotion, Vyabhicari Bhavas are
the ancillary or subsidiary emotions that enhance the overall emotional experience.

Sattvic Bhava: Sattvic Bhava refers to the pure or tranquil emotional states that arise
from a sense of inner peace, contentment, and spiritual harmony. Unlike the more
dynamic and intense emotions associated with the other Bhavas, Sattvic Bhavas are
characterized by serenity and purity. They are often associated with feelings of love,
devotion, compassion, and other elevated states of emotion that align with spiritual or
transcendent experiences.

Dharmi and Lokadharmi: The Natya Shastra distinguishes between two modes of
presentation—Dharmi and Lokadharmi. Dharmi refers to a more stylized, formal
mode, often associated with classical performances, while Lokadharmi is a more
naturalistic mode seen in everyday life.

Natyadharmi and Loka: The concept of Natyadharmi involves the stylized or

conventional representations in art, while Loka refers to the natural or realistic aspects
of human experience.

Conclusion:

The concept of Rasa in Natya Shastra is a profound exploration of the aesthetic and
emotional dimensions of performing arts, particularly in classical Indian drama. This
ancient text, attributed to the sage Bharata, lays the foundation for understanding the
nuanced interplay of emotions, expressions, and the audience's aesthetic experience.
Rasa is considered a transcendent aesthetic experience that transcends individual
emotions, creating a shared emotional resonance between the performer and the
audience. It is not merely an imitation of emotions but a means of evoking a profound
and cathartic response.

REFERENCES

1.Natyashastra (English)
by Bharata-muni | 1951
Sentiments (rasa) [Chapter VI] (wisdomlib.org)

2. Special aspect of Natya shastra, National school of drama, Translation H.V Sharma

3. Dr.Vijayapal Pathloth, RASA PRAKARANAM The aesthetics of Sentiments and their

interpretation in Kuchipudi Dance, IJCRT, 2020.
https://ijcrt.org/papers/IJCRT2010483.pdf

4. PSR Appa Rao, Natya Shastram, Natyamaala Publications, 2000.

5. BHARATA ON RASA Microsoft Word - B-2, Unit-1 (egyankosh.ac.in)

6. Karthuraj, Kerala Mural Paintings.