Short Introduction to Rasa Theory

Nātyashāstra by Bharata is the most detailed, and elaborate of all treatises on dramatic criticism and acting ever written in any language and is regarded as the oldest surviving text on stagecraft in the world. Bharata in his Nātyashāstra demonstrates every facet of Indian drama while covering areas like music, stage-design, make up, dance, and virtually every aspect of stagecraft. 

Though, the exact date and authorship of Nātyashāstra is difficult to be stated, based on the different scholars’ arguments, it is widely accepted that, it has been written during the period between 200 B. C. E. and 200 C. E. and it is attributed to Bharata. Kapila Vatsayan, a leading scholar of Indian classical dance, has argued that based on the unity of the text, and the many instances of coherent references to later chapters in the earlier text, composition is likely that of a single person and that is most probably Bharata. 

Natyashastra is a text written in Sanskrit, consists of 6000 verses, 35 or 36 chapters. Some passages are written in prose form also. The text is in a form of a loose dialogue between Bharata and a number of munis who approach him, asking about Nātyaveda. The answer to this question comprises the rest of the book. Nātyashāstra is considered as fifth Veda.

In Nātyashāstra, Bharat has discussed about Rasa in Chapter 6, 7, 15, and 16. Let us discuss the theory of Rasa given by Bharata in detail. 

Concept of Rasa:

It is an Indian concept of aesthetic flavor, an essential component of any work of visual, auditory, or literary art that can only be suggested or experienced not described. It is a kind of contemplative abstraction in which the inwardness of human feeling suffuses the surrounding world of embodied forms.

Thus, it can be said that rasa is the aesthetic feeling that is created in the reader or spectator when he witnesses an effective presentation of the art. 

“Nahirasadhatekaschidarthapravartate”(Nothing operates other than rasa.) (Nātyasāstra)According to Bharata, rasa is the soul of poetry. It is meaningless if there is no rasa in any literary work. 

1. Sringāra rasa 

The Erotic statement or Sringāra rasa has its origin in the dominant state of love. It has two bases: (1) Union (sambhoga) and (2)Separation (vipralambha).When someone dressed up well and has attractive appearance, or the season of spring, or going to garden with beloved – such vibhāva results in experience (anubhāva) of the character to feel better, to get indulge in such movements, slight smile on face, blushing and that directly appeals to the dominant state of love which results in the realization of sringāra rasa.(Sethuraman-23-24)

2. Hāsya Rasa 

The Comic Sentiment or Hāsya rasa has its root in the dominant state of laughter. It can be created from comic statements, use of pun, different looks, etc. It can be shown on the stage with the consequents like widening of eyes, colour of the face, etc. This statement is of two types: (1) Self-centered- when a person himself laughs. (2) Centered in others- when he makes others laugh it.There are six varities of it: 

1. Slight smile (smita) 

2. Smile (hasit) 

3. Gentle laughter (vihasit) 

4. Laughter of ridicule (uphasit) 

5. Vulgar laughter (apahasit) 

6. Excessive laughter (atihasit) 

First two types (smita and hasit) belong to superior type of persons; next two types (vihasit and uphasit) belong to middling type of persons; and last two types (apahasit and atihasit) belong to inferior types of persons. (Sethuraman-25-26)

3. Karuna Rasa 

Pathetic sentiment or Karuna rasa arises from the dominant state of sorrow. It grows because of death of dear one, loss of wealth, failure, etc. It can be represented on stage by the consequences like crying, lamentation, change of colour, or loss of memory. (Sethuraman-27)

4. Rudra Rasa 

Rudra rasa or the furious sentiment has its origin in the dominant state of anger. This is created by determinants such as rape, abuse, or insult. Its actions are breaking something, fighting, slapping, drawing of blood, or such other deeds. Furious sentiment in its words, movements, and deeds is fearful and terrible. (Sethuraman-27-28) 

5. Vira Rasa 

The heroic sentiment or the Vira rasa has its origin in the dominant state of energy and it relates to the superior type of persons. It can be created by determinants like discipline, strength, dedication, presence of mind and such others. It is to be presented on the stage by the consequences like heroism, charity, firmness, etc. (Sethuraman-28-29)

6. Bhayankara Rasa 

The basis of terrible sentiment or Bhayankara rasa is the dominant state of fear. It arises in the darkness, battle, sight of ghosts, etc. It can be represented on the stage by the consequences like horripilation, trembling of hands and feet, change of colour, and such other consequences. (Sethuraman-29)

7. Bibhatsa Rasa 

The odious sentiment or Bibhatsa rasa originates from the dominant state of disgust. It is created by discussing or seeing harmful things, death by accident and bloodshed, etc. It is to be presented on the stage through consequences like vomiting, down of mouth, etc. (Sethuraman-30) 

8. Adbhuta Rasa 

The marvelous sentiment or Adbhuta rasa has its origin in the dominant state of astonishment. It can be created by determinants such as achievement of desired things or person, sight of heavenly things, pleasurable acts, etc. It can be represented on the stage by the consequences like tears of joy, widening of eyes, crying hāhāhā or Ohh My God! Etc. (Sethuraman-30)