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
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:
●
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) )
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