Thinking activity of Cultural Studies and Post~colonialism

Sharmeen obaid Chinoy 's Got Oscar award for her documentary " A Girl in the River " has been much celebrated at home. It is about honor killing in Pakistan.

Sharmeen Obaid-Chinoy’s Academy Award for her documentary, "A Girl In The River":- The Price of Forgiveness is a 2015 documentary film directed by Sharmeen Obaid-Chinoy about honor killings in Pakistan.The documentary follows the story of a 19year old girl, who survives a honor killing attempt by her father and uncle. The protagonist has a solid stance on not forgiving her attackers,however, the public pressures her into forgiving. By doing that, the attackers are freed and can return home.This short film is about truly heroic Pakistani women, who have suffered appalling cruelty and oppression but who have refused to be silenced. In telling their stories to the world, they have fought back and exposed injustice.

      

Sharmeen’s films are about truly heroic Pakistani women — women who have suffered appalling cruelty and oppression but who have refused to be silenced. In telling their stories to the world, they have fought back and exposed injustice. It is shows the true situation of women that how they suffering so by showing this reality it brings awareness in society. It is not the situation of women in Pakistan but overall in  the world. We don't know many places where women are suffering. people not easily accept this reality. 

 

Prime duty of any literary writer is to present real and true picture of his/her Nation. Writers have ‘Freedom of expression’ as well. Thus they are free to portray the real image of country. But so called protector of culture may not like that their Nation and culture are reveled in black light in front of world‘. Padmavat’ movie also banned in several states of India. Because it speaks about dark side of Indian culture. Therefore many people tried to restrict the film..

In the same way ‘A Girl in the River’ was not accepted by wide range of people because they consider themselves as guard of culture. They cannot allow the story speaking harsh reality of Nation.

Why the white people have only right to give oscar award ? and why this award get so much high importance in all the awards ?    So this is the effect of post colonial culture. The Oscar award is organise by White men.  If the writer get Oscar awards he / she get more respect , famous in world.

Deconstruction

 What do you understand by 'Deconstruction'?
ans :-  Deconstruction is a term which is connected with demolition of a particular text or a particular thing and than looking at it with a new way by making margins center and center margin.

for further reading :- https://dilipbarad.blogspot.com/2015/03/deconstruction-and-derrida.html

Read an ad or TV serial or Film or literary text as post-structuralist critic. Be brief, precise and to the point.

Ans :-  we recently had controversy in surf exel advertisement. the controversy started with the thought of deconstruction of the advertisement. the religious believers had a problem of a girl of Hindu Religious and the boy from Muslim religion. than other problem was of Love Jihad in that advertisement.

for reference of the advertisement click here 

River and Tides

" A girl in the river : The price for forgiveness , is a documentary film about honor killings in pakistan . This short film is about truly heroic pakistani women , who have suffered from cruelty and oppression .In telling their stories to the world they fought back and exposed injustice .
" The white Tiger "  by Arvind Adiga , novel provides a darkly humorous perspective of india ' s class struggle in a globalized world. This novel examines issue of religion , caste , loyalty, corruption and poverty in India.
Writers like Arvind Adiga  he wrote the  novel about the darker side of India and his novel supplies a darkly humorous perspective of India’s class struggle in a globalised world. It is told through a retrospective narration from a village boy. We have many examples like Slumdog Millionaire. but, we can also say that writers has freedom of expression, they can write whatever they wants to. Sharmeen, she raise her voice against the male dominance. I am agree with the point and we have to accept the reality and change our self with appropriate situation. 
Palestinian-American scholar Edward Said's critique of Western representations of the Eastern culture in his 1978 book, Orientalism, is a seminal text for postcolonial studies and has spawned a host of theories on the subject. However, as the currency of the term "postcolonial" gained wider use, its meaning was expanded. Some consider the United States itself a postcolonial country because of its former status as a territory of Great Britain, but it is generally studied for its colonizing rather than its colonized attributes. In another vein, Canada and Australia, though former colonies of Britain, are often placed in a separate category because of their status as "settler" countries and because of their continuing membership in the British Commonwealth of Nations. Some of the major voices and works of postcolonial literature are Salman Rushdie's novel Midnight's Children (1981), Chinua Achebe's novel Things Fall Apart (1958), Michael Ondaatje's novel The English Patient (1992), Frantz Fanon's The Wretched of the Earth (1961), Jamaica Kincaid's ASmallPlace (1988), Isabelle Allende's TheHouseof theSpirits (1982), J. M. Coetzee's Waiting for the Barbariansand Disgrace (1990), Derek Walcott's Omeros (1990), and Eavan Boland's Outside History: Selected Poems, 1980-1990.

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Assignment Paper 8 Cultural Studies

  Name – Karan D. Pandya

  Batch – 2018-20

  Roll No – 18

  Paper No 8 – Cultural Studies

  Topic –British Cultural Materialism & New Historicism

   Enrollment No -2069108420190029

  Email ID – pandyakaran32@gmail.com

  Submitted – Smt. S. B. Gardi 

  Department of English Bhavnagar  

  University

 Cultural Studies

British Cultural Materialism

  Cultural studies is referred to as "cultural materialism" in Britain, and it has a long tradition. In the later nineteenth century Matthew Arnold sought to redefine the "givens" of British culture. Edward Burnett Tylor's pioneering  anthropological study Primitiae Culture (1877) argued that "Culture or civilization, taken in its widest ethnographic sense, is a complex whole which includes knowledge, belief, art, morals, law, custom, and any other capabilities and habits acquired by man as a member of society". Claude L6vi-Strauss's influence moved British thinkers to assign "culture" to primitive peoples, and they with the work of British scholars like Raymond Williams, to attribute culture to the working class as well as the elite. As Williams memorably states: "There are no masses; there are only ways of seeing [other] people as masses". To appreciate the importance of this revision of "culture" we must situate it within the controlling myth of social and political reality of the British Empire upon which the sun never set, an ideology left over from the previous century. In modern Britain two trajectories for "culture" developed: one led back to the past and the feudal hierarchies that ordered community in the past; here, culture acted in its sacred function as preserver of the past.

The other trajectory led toward a future, socialist utopia that would annul the distinction between labor and leisure classes and make transformation of status, not fixity, the norm. This cultural materialism furnished a leftist orientation "critical of the aestheticism, formalism, anti historicism, and a politicism common among the dominant postwar methods of academic literary criticism"; such was the description in the Johns Hopkins Guide to Literary Theory and Criticism. Cultural materialism began in earnest in the 1950s with the work of F. R. Leavis, heavily influenced by Matthew Arnold's analyses of bourgeois culture. Leavis sought to use the educational system to distribute literary knowledge and appreciation more widely; Leavisites promoted the "great tradition" of Shakespeare and Milton to improve the moral sensibilities of a wider range of readers than just the elite.

Ironically the threat to their project was rr.ass culture. Raymond Williams applauded the richness of canonical texts such as Leavis promoted, but also found they could seem to erase
certain communal forms of life. Inspired by Karl Marx, British theorists were also influenced   by Gyorgy Luk6cs, TheodorAdorno, Louis Althusser, Max Horkheimer, Mikhail Bakhtin, and Antonio Gramsci. They were especially interested in problems of cultural hegemony and in the many systems of domination related to literature. From Gramsci, an Italian Marxist, for example, they got the concept of cultural "hedge firered," referring to relations of domination not always visible as such. Williams noted that hegemony was "a sense of reality for most people. beyond which it is very difficult for most members of society to move". But the people aren't always victims of hegemony!; they sometimes possess the power to change it. Althusser insisted that ideology was ultimately in control of the people, that "the main function of ideology is to reproduce the society's existing relations of production, and that that function is even carried out in literary texts."
Ideology must maintain this state of affairs if the state and capitalism can continue to reproduce themselves without fear of revolution. Althusser saw popular literature as merely "carrying the baggage of a culture's ideology," whereas "higher" literature retained more autonomy and hence had more power.

Walter Benjamin attacked fascism by questioning the value of what he called the " artta" of culture. Benjamin helps explain the frightening cultural context for a film such as Leni Riefenstahl's Triumph of the Will (1935). Lukdcs developed what he called a "reflection theory," in which he stressed literature's reflection, conscious or unconscious, of the social reality surrounding it not just a flood of realistic detail but a reflection of the essence of a society. Fiction formed without a sense of such reflection can never fully show the meaning of a given society.

Cultural materialists also turned to the more humanistic and even spiritual insights of the great student of Rabelais and Dostoevsky, Russian Formalism Bakhtin, especially his amplification of the dialogic form of meaning within narrative and class struggle, at once conflictual and communal, individual and social. Feminism was also important for cultural materialists in recognizing how seemingly "disinterested" thought is shaped by power structures such as patriarchy.

  New Historicism

Laputn-"the whore." What did Jonathan Swift mean when he gave that name to the flying island in the third voyage of Gulliver's Travels? It is a question that has tantalized readers since the eighteenth century. The science fiction aspect of that island still amuses us, but why "the whore"? There may be an answer, and as we will show later, new historicism is the right approach to answer this question.
  "If the 1970s could be called the Age of Deconstruction," writes joseph Litvak, "some hypothetical survey of late twentieth-century criticism might well characterize the 1980s
as marking the Return to History, or perhaps the Recovery of the Referent" (120). Michael Warner phrases new historicism motto as, "The text is historical, and history is textual".
Fredric ameson insisted, "Always historicize!". As a return to historical scholarship, new historicism concerns itself with extraliterary matters-letters, diaries, films, paintings, medical treatises-looking to reveal opposing historical tensions in a text. New historicists seek "surprising coincidences" that may cross generic, historical, and cultural lines in borrowings of metaphor, ceremony, or popular culture. New historians see such cross cultural phenomena as texts in themselves. From Hayden\Atrhite, cultural studies practitioners learned how figural relationships between present and past troPes are shaped by historical discourses. From Clifford Geertz, they derived the importance of immersion in a culture to understand its "deep" ways, as opposed to distanced observation. Carolyn Porter credits the emergence of American Studies, Women's Studies,and Afro-American Studies on college and university campuses for ushering in new historicism as a volatile new presence in literary criticism.

New historicism versus old historicism: the latter, says Porter, saw history as "world views magisterially unfolding as a series of tableaux in a film called Progress," as though all Elizabethans, for example, held views in common. The new historicism rejects this periodization of history in favor of ordering history only through the interplay of forms of power Stephen Greenblatt, a Renaissance scholar and founding editor of the journal Representations, may be credited with the coining of the term "new historicism." Greenblatt identifies major influence on his thought from ]ameson, Foucault, and Jean Francois Lyotard, all of whom raise the question of art and society as related to institutionalized practices. Jameson blames capitalism for perpetrating a false distinction between the public and the private, and Lyotard argues that capitalism has forced a false integration of these worlds. New historicism exists, Veeser explains, between these two poles in an attempt to work with the "apparently contradictory historical effects of capitalism" without insisting upon an inflexible historical and economic theory (1-6). From Foucault, new historicists develooped the idea of a broad "totalizing" function of cultureobservable in its literary texts, which Foucault called the episteme. For Foucault history was not the working out of "universal" ideas: because we cannot know the governing ideas of the past or the present, we should not imagine that "we" even have a "setter" for mapping the "real." Furthermore, history itself is a form of social oppression, told in a series of ruptures with previous ages; it is more accurately described as discontinuous, riven by "fault lines" that must be integrated into succeding cultures by the epistles of power and knowledge.

Methods of expression can also be methods of oppression; even though the modern age is governed by a complex master narrative, it may still be seen as only a narrative to succeed those of earlier generations. A new 1pistbme will render obsolete our ways of organizing knowledge and telling history.

New historicism frequently borrows terminology from the marketplace: exchange, negotiation, and circulation of ideas are described. H. Aram Veeser calls "the moment of exchange" the most interesting to new historicists, since social symbolic capital may be found in literary texts: "the critic's role is to dismantle the dichotomy of the economic and the non-economic, to show that the most purportedly disinterested and self-sacrificing practices, including art, aim to maximize personal or symbolic profit" . Greenblatt adds that "contemporary theory must situate itself . . . in the hidden places of negotiation and exchange" ("Towards a Poetics of Culture" 13). Bourdieu's insights are again a resource, especially his definition of tllte habitus, a "system of dispositions" comparable to what linguists analyze as the sum of tacit knowledge one has to know to speak a given language.

What about Laputa? How can new historicism help us answer the question raised a few pages ago? In "The Flying Island and Female Anatomy: Gynaecology and Power in Gulliver's Travels," Susan Bruce offers a reading of Book III that makes some new historicist sense out of Swift's use of Laputa. Bruce ties together some seemingly disparate events of the year 1727, soon after the book was published,including relations between eighteenth-century midwives and physicians and a famous scandal involving a "monstrous birth" that rocked the Royal Court.

Bruce examines a four-volume commentary on Gulliver's Travels by one Cavolini di Marco, in which the author gives a fairly dry account of his observations until he gets to the episode in Book IV, "A Voyage to the Houyhnhnms," in which Gulliver captures rabbits for food. At that point, di Marco launches into a tirade: But here I must observe to you, Mr. Dean, en passant, that Mr Gulliver's Rabbits were wild Coneys, not tame Gutless ones, such as the consummate native effronterie of St. Andr6 has paulmed upon the publick to be generated in the Body of the Woman at Godalming in Surrey. St. Andrew having, by I know not what kind of fatality, insinuated himself among the foreigners, obtained the post of Anatomist-Royal.

Di Marco was referring to a scandal involving the royal physician St. Andrew and the so-called rabbet-woman of Surrey, Mary Toft, who managed to convince prominent members of the medical profession in 1727 that she had  to a number of rabbits, which she had actually inserted into her vagina and then "labored" to produce. Bruce asks why di Marco felt it necessary to allude to this event. By researching records of Toft's trial and the ultimate ruin of St. Andrew, she illuminates the depiction of the female body as island in Book III of Gulliver's
Travels and elsewhere.

Bruce describes the trend toward the education of midwives and the medical profession's desire to stamP them out. Examining books published for literate midwives during this period and testimony from Mary Toft's trial allows Bruce to describe the hostility not only toward the midwife who collaborated with Toft in the hoax but toward women in general. Bruce then connects the male establishment's outrage at the female Power expressed in the hoax to Gulliver's observations on women/ especially his nauseating description of the Queen of Brobdingnag at the table or his seeing another Brobdingnagian woman with a breast tumor with holes so large that he "could have easily crept" into one. The implication is that under the male gaze, the magnification of the female body leads not to enhanced appreciation but rather to horror and disgust. Bruce connects Gulliver's anxious fixation on the female body to the anxieties of his age involving the rise of science and the changing role of
women.

Laputa is a gigantic trope of the female body: the circular island with a round chasm at the center, through which the astronomers of the island descend to a dome like structure of
the "Flandona Gagnole," ot "astronomer's cave." Laputa has at its center a giant lodestone on which the movement of the island depends. The floating physical structure of Laputa is
like a uterus and vagina; Gulliver and the Laputians are able to enter this cavity at will and control not only the movements of the lodestone and island, but also the entire society. As Bruce remarks, "It is this which engenders the name of the island: in a paradigmatic instance of misogyny, the achievement of male control over female body itself renders that body the whore: laputa" .

But eventually the control over the feminine that drives Laputa becomes its own undoing, for the more the men of the island try to restrict their women from traveling below to Balnibarbi (where they engage in sexual adventures with Balnibarbian men , the more male impotence threatens Laputian society. Gulliver notes the men's ineffectuality in several ways, abstracted as they are in their foolish "science"; they are so absent-minded they must have an attendant called a "Flappe{' who constantly must slap them out of their reveries. The women/ on the other hand, have an "Abundance of Vivacity; they condemn their Husbands, and are exceedingly fond of
Strangers. . . . Mistress and Lover may proceed to the greatest Familiarities before [the   husband's] Face, if he be but provided with Paper and implements, and without his Flapper by his side." Bruce connects the men's "doomed attempt of various types of science to control the woman's body" to the debate about language in Book III. While the men invent the "Engine for Improving Speculative Knowledge" that produces only broken sentences, the women and other cofiunoners clamor "to speak with their own Tongues, after the Manner of their Forefathers." Thus in "A Voyage to Laputa," control of women has to mean control of their discourse as well as their sexuality, reflecting the contemporary debates of Swift's day. One final historical note: a pamphlet published n7727 was purportedly written by "Lemuel Gulliver Surgeon and Anatomist to the Kings of Lilliput and Blefuscu, and Fellow of the Academy of Sciences in Balnibarbi." It is entitled The Anatomist Dissected: or the Msn-Midwife finally brought to Bed.Its subject is Mary Toft, the "rebbet woman."

Assignment Paper 7 Literary Criticism

Name – Karan D. Pandya

  Batch – 2018-20

  Roll No – 18

  Paper No 7– Literary Criticism

  Topic –Plot and Major Female Characters of Middlemarch

   Enrollment No -2069108420190029

  Email ID – pandyakaran32@gmail.com

  Submitted – Smt. S. B. Gardi 

  Department of English Bhavnagar  

  University

Nine Rasa’s Of Bharat muni

The word rasa appears in ancient Vedic literature. In Rigveda, it connotes a liquid, an extract and flavor. In Atharvaveda, rasa in many contexts means "taste", and also the sense of "the sap of grain". According to Daniel Meyer-Dinkgräfe – a professor of Drama, rasa in the Upanishads refers to the "essence, self-luminous consciousness, quintessence" but also "taste" in some contexts. In post-Vedic literature, the word generally connotes "extract, essence, juice or tasty liquid".

Rasa in an aesthetic sense is suggested in the Vedic literature, but the oldest surviving manuscripts, with the rasa theory of Hinduism, are of Natya Shastra. According to the Natya shastra, the goals of theatre are to empower aesthetic experience and deliver emotional rasa. The text states that the aim of art is manifold. In many cases, it aims to produce repose and relief for those exhausted with labor, or distraught with grief, or laden with misery, or struck by austere times. Yet entertainment is an effect, but not the primary goal of arts according to Natya shastra. The primary goal is to create rasa so as to lift and transport the spectators, unto the expression of ultimate reality and transcendent values.

Bharat muni enunciated the eight Rasas in the Natyashastra, an ancient Sanskrit tex  Dramatic Theory and other performance arts, written between 200 BC and 200 AD. In the Indian performing arts, a rasa is a sentiment or emotion evoked in each member of the audience by the art. The Natya Shastra mentions six rasa in one section, but in the dedicated section on rasa it states and discusses eight primary rasa^.Each rasa, according to Nātyasāstra, has a presiding deity and a specific color. There are 4 pairs of rasas. For instance, Hasya arises out of shringara The  of a frightened person is black, and the aura of an angry person is red. Bharat muni established the following:

●       Śṛungāram (शृङ्गारं): Romance, Love, attractiveness.

●       Hāsyam (हास्यं): Laughter, mirth, comedy.

●       Raudram (रौद्रं): Fury.

●       Kāruṇyam (कारुण्यं): Compassion, mercy.

●       Bībhatsam (बीभत्सं): Disgust, aversion.

●       Bhayānakam (भयानकं): Horror, terror.

●       Veeram (वीरं): Heroism.

●       Adbhutam (अद्भुतं): Wonder, amazement.  

^●         Śāntam rasa :- A ninth rasa was added by later authors.

⮚      The Erotic Rasa

            The Erotic (Sringara) Rasa proceeds from the Dominant State of love (Rati) and it has as its basis a  bright attire; for whatever in this world is white, pure, bright and beautiful is appreciated in terms of the dominant state of love (sringara).

            Hence the Erotic sentiment has been so named on account of its usually being associated with bright and elegant attire. It owns its origin to men and women and related to the fullness of youth.

It has two bases: union (Sambhoga) and separation (Vipralamba), of these two, the Erotic Sentiment in union arises from determinants like the pleasure of the season, the enjoyment of garlands, ornaments, (the company of) beloved persons objects (of senses), splendid mansions, going to a garden, and enjoying [oneself] there, seeing the [beloved one], hearing [his or her words], playing and dallying [with him or her]. It should be represented on the stage by consequents such as clever movement of eye, eyebrows, glances, soft and delicate movement of limbs and sweet words and similar other things. Transitory states in it do not include fear, indolence, cruelty and disgust. [The Erotic sentiment] in separation should be represented on the stage by consequents such as indifference, languor, fear, jealousy, fatigue, anxiety, yearning, drowsiness, sleep, dreaming awakening, illness, insanity, epilepsy, inactivity, [fainting], death and other conditions.

⮚      The Comic Sentiment

The comic (hasya) sentiment has as its basis the Dominant emotion of laughter. This is created by determinants such as showing unseemly dress or ornament, impudence, greediness, quarrel, defective limb, use of irrelevant words, mentioning of different faults, and similar other things. This (the comic sentiment) is to be represented on the stage by consequents like the throbbing of the lips, the nose and the cheek, opening the eyes wide or contracting them, perspiration, colour of the face, and taking hold of the sides. Transitory states in it are indolence, dissimulation, drowsiness, sleep, dreaming, insomnia, envy and the like. This (sentiment), is of two kinds; self -centred and centred in others. When a person himself laughs it relates to the self – centred (Comic sentiment), but when he makes others laugh it (the comic sentiment therein ) is centred in others.

            It has six varieties of which I shall speak presently.  They are: Slight Smile (Smita), Smile (Hasita), Gentle Laughter (Vihasita), Laughter of Ridicule (Upahasita), Vulgar Laughter (apahasita) and Excessive Laughter (Atihasita). Two by two they belong respectively to the superior, the middle and the inferior types [of persons].

            To persons of the superior type belong the slight smile (Smita) and the smile (Hasita), to those of the middle type of Gentle Laughter (vihasita) and the Laughter of Ridicule (upahasita) to those of the inferior type the Vulgar Laughter (apahasita) and the Violent Laughter (atihasita)

⮚      The Pathetic Sentiment

            Now the Pathetic (karuna) Sentiment arises from the dominant state of sorrow. It grows from Determinants such as affliction under a curse, separation from dear ones, loss of wealth, death, captivity flight)[ from one’s own place], [dangerous] accidents or any other misfortune. This is to be represented on the stage by means of consequents such as, shedding tears, lamentation, dryness of the mouth, change of colour, drooping limbs, being out of breath, loss of memory and the like. Transitory states connected with it are indifference, languor, anxiety, inactivity, insanity, epilepsy, fear, fainting, sadness, dejection, illness, inactivity, insanity, epilepsy, fear, indolence, death, paralysis, tremor, change of colour, weeping, loss of voice and the like.

⮚      The furious Sentiments

            Now the Furious (raudra) Sentiment has as its basis the dominant state of anger. It owes its origin to Raksasas, Danavas and haughty men, and is caused by fights. This is created by determinants such as anger, rape, abuse, insult, untrue allegation, exorcizing, threatening, revengefulness, jealousy and the like. Its actions are beating, breaking, crushing, cutting, piercing, taking up arms, hurling of missiles, fighting, drawing, of blood, and similar other deeds. This is to be represented on the stage by means of consequents such as red eyes, knitting of eyebrows, defiance, biting of the lips, movement of the cheeks, pressing one hand with the other, and the like. Transitory states in it are presence of mind, determination, energy, indignation, fury, perspiration, trembling, horripilation, chocking voice and the like.

⮚      The Heroic Sentiment

            Now the Herioc (vira) sentiment, relates to the superior type of persons and has energy as its basis. This is created by determinants such as presence of mind, perseverance, diplomacy, discipline, military strength, aggressiveness, reputation of might, influence and the like. It is to be represented on the stage by consequents such as firmness, patients, heroism, charity, diplomacy and the like. Transitory states in it are contentment, judgement, pride, agitation, energy (vega) ferocity, indignation, remembrance, horripilation and the like.

⮚      The Terrible Sentiment

            Now the Terrible (bhayanaka) sentiment has as its basis the Dominant state of fear. This is created by Determinants like hideous noise, sight of ghosts, panic and anxiety due to (untimely cry of jackals and owls, staying in an empty house or forest, sight of death or captivity of dear ones, or news of it, or discussion about it. It is to be represented on the stage by consequents such as trembling of the hands and the feet, horripilation, change of colour and loss of voice. Its Transitory states are paralysis, perspiration, choking voice, horripilation, trembling, loss of voice, change of colour, fear, stupefaction, dejection, agitation, restlessness, inactivity, fear, epilepsy and death and the like.

⮚      The Odious Sentiment

            Now the odious (bibhatsa) sentiment has as its basis the dominant state of disgust. It is created by determinants like hearing of unpleasant, offensive, impure and harmful things or seeing them or discussing them. It is to be represented on the stage by consequents such as stopping the movement of all the limbs, narrowing down of the mouth, vomiting, spitting, shaking the limbs and the like. Transitory states in it are epilepsy, delusion, agitation, fainting, sickness, death and the like.

⮚      The Marvellous Sentiment

             The Marvellous (adbhuta) Sentiment has as its basis the dominant state of astonishment. It is created by determinants such as sight of heavenly beings or events, attainment of desired objects, entrance into a superior mansion, temple, audience hall (sabha), a seven – storied palace and (seeing) illusory and magical acts. It is to be represented on the stage by consequents such as wide opening of eyes, looking with fixed gaze, tears [ of joy] perspiration, joy, uttering words of approbation, making gifts, crying incessantly ha, ha, ha waving the end of dhoti or sari, and movement of fingers and the like. Transitory states in it are weeping, paralysis, perspiration like. Transitory states in it are weeping, paralysis, perspiration, chocking voice, agitation, hurry, inactivity, death and the like.

A ninth rasa was added by later authors. This addition had to undergo a good deal of struggle between the sixth and the tenth centuries, before it could be accepted by the majority of the Alankarikas, and the expression "Navarasa" (the nine rasas), could come into vogue.

⮚      Śāntam:

            Shānta-rasa functions as an equal member of the set of rasas, but it is simultaneously distinct as being the most clear form of aesthetic bliss. Abhinavagupta likens it to the string of a jeweled necklace; while it may not be the most appealing for most people, it is the string that gives form to the necklace, allowing the jewels of the other eight rasas to be relished. Relishing the rasas and particularly shānta-rasa is hinted as being as-good-as but never-equal-to the bliss of Self-realization experienced by yogis.

WORK CITED :-

(aesthetics), R. (2018, March 30). Wikipedia contributors. (W. contributors, Ed.) Wikipedia, The Free Encyclopedia. ( https://en.wikipedia.org/wiki/Rasa_(aesthetics) )