Literary theories can help a critical reader to analyze a text from different angles. Drama is a Performative art. Bharat Muni in his Natyashastra, discussed every aspect of drama like music, dance, stage, characters, audience etc. Rasa theory discussed by him along with this can be helpful to elaborate and focus on the aesthetic feeling that is created in the reader or spectator while reading or watching the effective presentation of a play.
Rasa theory discussed by him along with this can be helpful to elaborate and focus on the aesthetic feeling that is created in the reader or spectator while reading or watching the effective presentation of a play. Devang states that aesthetic pleasure derived from artistic circumstances is called rasa. Bharat Muni was the first person to systematically discuss Rasa Theory in detail in his Magnum opus Natyashastra. It is observed that proper conjunction of Vibhava, Anubhava, Vyabhicaribhava appeals to the Stthayibhava which leads to the Rasa nishpatti. Vibhava are of two kinds: 1) Alambana 2) Uddipana. Anubhava are categorized into three: 1) Angika 2) Vachika 3) Sattavika. There are thirty three Vyabhicaribhava and eight Stthayibhava which are permanently latent emotions in the human mind. Rasa are eight in numbers and the ninth rasa is Shanta rasa which was added later on. Rasa Theory deals with the emotions aroused in the reader. It makes the literary work alive.
Manoj in his research presents a few generalisations about the Indian and Western theories of drama represented by Bharat Muni and Aristotle respectively. It tries to find out the differences between these two major theories as well. Manoj states that the Indian and Western theories of drama represented by Bharat Muni and Aristotle respectively, have broken down and drama in both the cultures moved to other concepts dominated by modern ideas like absurdity and individuality. But there is still one element in each theory which has stood the test of time and the theory remains relevant due to that only. That element in Bharat Muni 's theory of drama is Rasa.
Originated in Indian context particularly in Sanskrit, rasa theory has been applied to the Western Literature as well. Mahendra Kumar Budhathoki in his study found that the major rasa in Twelfth Night is Sringara Rasa and subordinate rasas articulated are Karuna, hasya, Raudra, bibhatsa, and Adbhuta. Mahendra observed that emotions, aesthetic pleasure, and Rasa experience that are aroused by complete deindividualisation give plays their form and life. The reader or the spectator go through the aesthetic experience while reading or watching the play Twelfth Night when they identify themselves with the same emotions shared with characters. Representation of human emotions through effective dialogues, actions, and characterization allows the reader or spectator to feel the emotions which the author has felt earlier while composing the play.
Rasa can be considered as the heart of all elements in a drama. In Western Literature, William Shakespeare's plays represent human life and it's aspects effectively using various dramatic techniques. In this research, Dhwani has analyzed Shakespeare's Tamburlaine the Great Part I & II in light of Rasa Theory pioneered by Bharat Muni in Natyashastra. The dominant Rasa generated through the actions of the play is Raudra which is directly connected to the Dominant state of Anger. She analyzed this dominant state of anger with reference to Aristotle, Darwin, William James, psychologists specifically Sigmund Freud. All states of mind combined with Krodha leads to Raudra Rasa nishpatti. ". we love to feel even fear or sorrow if it is detached from all practical consequences (Ghosh, 2018)."
Among all the rasa there is a dominant Rasa representation in any work of art. The Secrets of The Nagas, a novel by Amis Tripathi is evaluated with the theory of Rasa specifically Sringara Rasa and Karuna Rasa by Prof Dr Jagdish Joshi and Mr Saurabh Vaishnav. Sringara Rasa is found in both separation and union. Researchers went through the entire text and tried to present relevant extracts from the novel leading to rasa nishpatti. Sex is considered as a form of love. Literature is the representation of life and reflection of society and culture of mankind. To feel and connect with the emotions one feels in life with what he reads would be interesting.
Rasa theory having Indian origin seems to be equally applicable to World literature but there is a scope to study it in Indian context first. Arzoo and Manju focus on the origin of Rasa Theory and its relevance in the Indian literary pieces. The rasa theory has been invented in the Indian context, particularly emphasizing on Performative art like drama. Rasa indicates tastes but in this context it is considered as an aesthetic flavor. In Indian Literature rasa theory has an abundant lucid impression of Alamkara rasa, Mimansa rasa, Manyare rasa, Gangadhar, and many more. The theory of Rasa resembles equal importance when applied to the Indian or Western literary pieces.
Theory of Rasa has its root in ancient Indian theory of drama represented by Bharat Muni in his Magnum opus Natyashastra. It is still found Relavent in the modern times as it focuses on human emotions and helps to analyze the drama. Rasas articulated in a play need to be identified to study a play in light of Rasa Theory. It is equally important to notice how rasas are articulated and what are the obstacles in rasa realization while reading a play. It is found that Rasa Theory is highly regarded as an important theory of Indian Aesthetics and it is studied and applied to Indian as well as Western Literature by the researchers across the Globe.
Works Cited
Arzoo, Manju. “Rasa Theory in Indian Literature: An Analytical Perspective.” PalArch's Journal of Archaeology of Egypt / Egyptology, 2020, https://archives.palarch.nl/index.php/jae/article/view/5652.
Budhathoki, Mahendra. “Rasa Theory Applied to William Shakespeare's Twelfth Night.” Academia.edu, Literary Studies, 1 Jan. 2020, https://www.academia.edu/65324351/Rasa_Theory_Applied_to_William_Shakespeare_s_Tw elfth_Night.
Ghosh Ranjan K, Essays in Literary Aesthetics. Singapore Springer 2018
Joshi, Jagdish, and Saurabh Vaishnav. “Sringara and Karuna Rasas in the Secret of the Nagas.” Towards Excellence, June 2020, https://hrdc.gujaratuniversity.ac.in/Uploads/EJournalDetail/29/43/10.pdf.
Raval, Devang. “Rasa Theory.” Vidhyayana, Dec. 2020, https://j.vidhyayanaejournal.org/index.php/journal/article/view/350.
Vachhrajani, Dhwani. Rasa Analysis of Tamburlaine the Great . Ayudh , Dec. 2017, http://www.ayudhpublication.com/ayudh/.
Sortha, Manoj Kumar. "Bharata Muni and Western Dramatic Theory." Research Journal of English Language and Literature 1.2.2013.
Vachhrajani, Dhwani. Rasa Analysis of Tamburlaine the Great . Ayudh , Dec. 2017, http://www.ayudhpublication.com/ayudh/.
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