Indian Poetics and Aesthetics - RASA Theory (TheAct)

 

Greetings!! Everyone This blog is a part of thinking activity on Indian Poetics; given by Dr. Dilip Barad sir. 

# Introduction:-

Indian poetics, a realm as expansive as it is diverse, encapsulates the rich tapestry of traditional poetry and literary critique within Indian literature. These frameworks, referred to as Alankaras, are found upon the tenets of rhetoric and aesthetics, forming the cornerstone of the exploration and admiration of Indian verse and prose.

Among the earliest and most impactful treatises on Indian poetics stands the Natyashastra, authored by the venerable Indian sage Bharata Muni. Originating around the 2nd century BCE, this seminal work elucidates fundamental principles of Indian poetics, prominently featuring the concept of rasa, wherein art strives to evoke specific emotional resonances within its audience.

Integral to Indian poetics is the notion of Dhvani, denoting "suggestion" or "implication," emphasizing the strategic deployment of literary devices to evoke distinct emotional and aesthetic responses. This encompasses metaphors, similes, and other rhetorical devices.

Furthermore, Indian poetics embraces Alankara, signifying "ornamentation" or "embellishment," which encompasses the utilization of literary adornments such as alliteration, rhyme, and meter to enrich and intensify the allure of literary works.

Beyond these core concepts lie a myriad of additional literary devices and techniques woven into the fabric of Indian poetics. From evocative imagery to symbolic motifs and intricate narrative structures, these elements collectively contribute to the multifaceted landscape of Indian literature.

In essence, Indian poetics emerges as a nuanced and multifaceted discipline that has exerted a profound influence on the development of Indian literary traditions and cultural ethos throughout the ages.

Within Indian poetics, we encounter six distinct schools of theoretical thought, each offering unique perspectives and insights into the intricate artistry of Kavya, the poetry of India.

# Let's First discuss about the "RASA" theory in Indian Poetics:-

FOR PRIMARY INFORMATION ABOUT "RASA" THEORY CLICK HERE

Rasa theory is a fundamental concept in Indian poetics, particularly in the realm of classical Sanskrit literature. It's an intricate framework used to analyze and understand the emotional impact of artistic expression, particularly in poetry, drama, and other performing arts.

At its core, rasa theory explores the idea that the purpose of art is to evoke emotions in the audience. The Sanskrit word "rasa" literally translates to "juice" or "essence," suggesting that the aim of artistic creation is to extract and communicate the essence of human emotions.

There are 9 different rasas in Indian Poetics which all are based on expressions,...

There is one Sanskrit verse by Abhinav Gupta for understand these 9 Rasa in easier way,...

शृंगार करुण वीर,

रौद्र हास्य भयानक।

बिभत्स्यद्रभुत शांतश्व,

नव नाट्य रसा: स्मृता।।

                    - अभिनव गुप्त 

Rasa	Meaning	Emotion/ Sentiment	Associated Elements
Shringara	Love/Beauty	Erotic, romantic	Cupid, flowers, music
Hasya	Laughter	Comic, humorous	Wit, satire, jesters
Karuna	Compassion	Pathetic, sympathy	Suffering, tears
Raudra	Fury	Furious, angry	Thunder, bold gestures
Veera	Heroic	Valorous, courageous	Battle, bravery
Bhayanaka	Fear	Frightening, dreadful	Darkness, ominous sounds
Bibhatsa	Disgust	Revolting, repulsive	Ugliness, grotesque
Adbhuta	Wonder	Amazement, marvel	Supernatural, miracles
Shanta	Tranquility	Peaceful, calm	Serenity, gentle sounds

# Let's Discuss the detail information about all 9 Rasas:-

The roots of Rasa theory in Indian poetics can be traced back to ancient Sanskrit texts, particularly Bharata Muni's "Natya Shastra." Bharata Muni is considered the founder of Rasa theory. "Natya Shastra" is one of the earliest and most comprehensive treatises on dramaturgy and performing arts in the world. In the "Natya Shastra," Bharata Muni discusses various aspects of theater, including the aesthetics of performance, emotions, gestures, music, and the psychology of the audience. Central to the theory is the concept of Rasa, which refers to the emotional essence or flavor evoked in the audience by a work of art, particularly in drama. According to Rasa theory, there are nine primary emotions or Rasas: Shringara (erotic), Hasya (comic), Karuna (pathetic), Raudra (furious), Veera (heroic), Bhayanaka (terrifying), Bibhatsa (odious), Adbhuta (marvelous), and Shanta (peaceful). Each Rasa is associated with a particular sentiment, and the successful portrayal of these emotions in a performance is believed to evoke a corresponding emotional response in the audience. Bharata Muni's "Natya Shastra" laid the foundation for the development of Indian aesthetics and continues to be a significant influence on classical Indian art forms, including dance, music, and theater. His insights into human emotions and the art of evoking them have had a profound impact not only on Indian culture but also on the broader understanding of aesthetics and performance worldwide.

Moreover we can also say that Bharat Muni explained the Rasa theory in Natya Shastra, an old Sanskrit book about the arts from over a thousand years ago. This theory mainly focuses on drama. Although the idea started with Bharat Muni, the Kashmiri philosopher Abhinavgupta provided a more detailed explanation in his works, showing that the artistic tradition in ancient India has been around for a long time.

> Rasa and Bhava both are inter linked Rasas comes from Bhavas and According to Bharat, understanding Indian literary criticism means seeing how feelings ("Bhava") and language are linked. "Bhava" is our natural connection to emotions from birth, even animals have it. But language is something we learn, not natural. Language helps express emotions, making it part of literature. Literature can't exist without language. But "Bhava" is crucial for literature too. In literature, we see ourselves, so it reflects who we are.

We can also find the theory of Rasa in chapter 6 of Natyashastra in which Bharat Muni talked about Shad Rasa (6 Rasa).

* ભાવનું ઉર્ધ્વીકરણ એટલે રસની પ્રાપ્તિ. *

There is one verse for Bhava,

विभावानुभावव्यभिचारिसंयोगाद्ररस निष्पत्ति:।

Rasa is produced from a combination of Vibhava, Anubhava and Vyabhicharibhava.

The main feelings mix with other emotions to create a mood, according to a book called साहित्य दर्पण (Sahitya Darpan). These main feelings guide us to temporary emotions. There are 33 types of these temporary emotions. They're like quick changes, similar to waves in the ocean. Also, they show up on our faces as expressions.

Another aspect to consider is the subtle Satvik Bhavas, often imperceptible to the naked eye. In the narrative of Kumarsambhav, when Narad presented the proposition regarding Shiva to Parvati, her lowered eyelids exemplified the essence of Satvik Bhavas.

Another example of Satwik Bhava was given by Manoj Khanderiya,..

બીજ માંથી પૂનમ દઈ દે સહેજ પાપં નમેલી ખોલી નાખ. 

Moreover we can also say that Rasaparpti essentially intertwines with the Western concept of "Art for Art's sake," linking the creator (Kalakar) with the audience's emotional experience (Bhavak).

# Basic Information about,...

1. Vibhav:-

Rasa emerges in conjunction with characters like Dushyant and Shakuntala in Abhijnanan Shankuntalam. In this narrative, they exemplify Almbanvibhav or Uddipan vibahav. Similarly, in the case of Romeo and Juliet, they represent vibhav-excitant.

2. Anubhav:-

Locations such as the tamala grove where Dushyant and Shakuntala encountered each other, the oak tree in Romeo and Juliet's tale, and the garden serve as prime instances of 'anubhav' or experiential settings. However, Ra. Vi. Pathak's "Khemi" stands out as an exception in the realm of 'anubhav'. 

3. Vyabhicharibhav:-

It resembles the Sanchari Bhavas, representing fleeting emotions, originating directly from emotional states. An instance of this is experiencing depression due to profound sorrow. At times, these sentiments interlink with multiple emotions in from a sense of sorrow.

4. Sainyog(Samyog):-

સમ + યોગ in this we can analyze that mixture and samyog interlink with each other and which helps to produce the Rasa.

There were some critics in Bharata's definition of Rasa; to whom Bharata was fail to answered their arguments,..

1. Bhatt Lollat

2. Shri Shankuk

3. Bhatt Nayak

4. Abhinavgupta

> According to Bhatt Lollat there is no Rasa ; One has to produce Rasa when a play is played at that time actors have to performed as like with all the expressions which includes all the particular Rasas. Ex. Metamorphosis; Mina Kumari

> According to Shri Shankuk there is no Rasa or Rasa can not produce by anyone just one can guess the Rasa. It also known as "Anumitivaad".

> According to Bhatt Nayak Rasa can be produce in simple way by one who is performing any kind of art.

> According to Abhinav Gupta many times audience can not be get over from sthayi bhava at that time comic element produce the Rasabhas, Purvabhas or Rasavighna.

In concluding part according to my understanding During the final dialogue, all the spiritual leaders delved into the topic of poetic delight. They emphasized that we can truly savor the beauty of poetry when a specific occurrence is elevated to a universal experience.

Thank You For reading...

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