Indian Poetics
Introduction
Rasa theory of Bharata—in Vedas, rasa means sap or essence—experience of the
supreme reality. Seers of the Vedas knew about the need for
‘Sahridayatwa’ to understand poetry. Valmiki’s sloka—overpowered by the intense
feeling of pathos—karunarasa of Ramayana—kraunca birds.
Bharata lived during the first or second part of the
first century B.C. deals with various aspects of dramaturgy. Drama was a much
developed art during his times. Gives a proper definition to rasa in his Natyashastra.
Ö Between Bharata and Anandavardhana –Bhamaha
who was more interested in style. He held much respect for alamkara
(embellishments). Believed that poetry must inculcate moral feelings.
Ö Dandin believed that lucidity, sweetness,
richness, and grandeur constituted poetry.
Ö Vamaha—style or ‘riti’ was the soul of
poetry.
Ö Anandavardhana—author of Dhwanyaloka formulated
the rasa theory in categorical terms—rasa cannot be directly expressed—only
through ‘dhwani’, rasa gets expressed
Ö Abhinavagupta was a commentator of Dhwanyaloka. He wrote
Locana and Abhinavabharathi. He believed that the sahridaya
realizes rasa which is alaukika—transcendental, ineffable, cannot be
experienced. Somewhat like the ‘sublime’ of Longinus.
Ö Kuntaka, a contemporary of Abhinavagupta believed
that vakrokti—a deviation from the ordinary mode of speech constitute the
essence of poetry—Vakroktijivita.
Ö Mahimabhatta—a powerful logician—founder of
the ‘anumana’ school—principle of suggestion.
Ö Kshemendra—auchityavichara—propriety.
Bharata—Natyashastra
Bharata explains samgraha, karika and nirukta (Digest,
memorial verse and etymology)
When subjects taught in detail have been compressed
and brought together in sastras and their bhasyas we can call it samgraha.
When a rule is
explained briefly in the manner of a sutra by means of a minimum number of
works it is called memorial verse. It shows the meaning clearly.
The etymology arises in connection with various nouns.
It is helped by dictionaries and rules of grammatical interpretation, includes
the meaning of the root as well as the reasons modifying it, and is helped by
various findings of sastras. Words expressing meaning in brief are called
etymology.
The
8 Rasas.
Sringara
— love
Hasya — comic
Karuna — pathetic
Raudra — furious.
Vira — heroic.
Bhayanaka — terrible.
Bibhatsa — odious
Adbhuta — marvellous.
Later writers added one more rasa—santhi—making the
total into 9 rasas—navarasas.
Ö Rasa
is defined thus: / vibhava anubhava vyabhichari samyogat rasa/
Ö vibhava — causes or mainsprings of emotion
(charcters setting season, background
etc)
Ö anubhava — effects of emotions that develop
sentiments or rasas (anxiety, anger, depression through which love (the
principal emotion) is expressed.
Ö Vyabhicharibhava
— transitory states—33 in number.
Ö CAUSE
+ EFFECTS + TRANSITORY STATES= RASA
Then Bharata speaks about the dominant states:- stayibhava, vyabhicharibhava, and
satvikabhava. Satvikabhava is translated as temperamental state. Sat is
connected with manas.
Ö Stayibhava:-
love, mirth, sorrow,
anger, energy, terror, disgust, astonishment (8)
Ö vyabhicharibhava:-
discouragement, weakness, apprehension, envy,
intoxication, weariness, indolence, depression, anxiety, distraction,
recollection, contentment, shame, inconstancy, joy, agitation, stupor,
arrogance, despair, impatience, sleep, epilepsy, dreaming, awakening,
indignation, dissimulation, cruelty, assurance, sickness, insanity, death,
fright, and deliberation. (33)
Ö Satvikabhava:- paralysis, perspiration, horripilation (
goose flesh), change of voice, colour, trembling, weeping and fainting.
4 kinds of histrionic representation— angika, vacika,
aharya, sattvika (representation of temperament.
4 styles—
verbal (Bharati)(eloquent)
grand (sattvati)
graceful ( Kaisiki)
energetic
( arabhati)
4 usages— avanti,
dakshinatya, odramagadhi, panccalamadhyama.
2 practices— lokadharmi, natyadharmi.
2 groups of musical notes:- sari ra (body) and vainava
( from vina, instrumental)
3 types of playhouses—oblong, square, triangular.
RASAS EXPLAINED
Rasa is produced from a combination of determinants
(vibhavas), consequents (anubhavas) and transitory states. Is there any
dristanta for it?
TASTES results
from a combination of spices, vegetables and other articles. Six tastes are
produced by articles such as raw sugar or spices or vegetables. So the
stayibhava in combination with other bhavas become rasa.
What is the meaning of rasa—it is capable of being
tasted- (asvadyate). How is rasa tasted?
It is said that just as well-disposed persons while eating food
cooked with many kinds of spices enjoy its tastes and attain pleasure and
satisfaction, so the cultured people taste the dominant states (stayibhava)
while they see them represented by an expression of the various states with
works, gestures and the temperament and derive pleasure and satisfaction.
We shall now enumerate the Dominant states in
different sentiments.
1. The
Erotic Rasa
The Erotic (Sringara)
Rasa proceeds from the Dominant
State
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.
Ö 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.
2. 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)
3. 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.
4. The
Furious Sentiment
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.
5. 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.
6. 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.
7. 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 [in disgust] and the like. Transitory states in it
are epilepsy, delusion, agitation, fainting, sickness, death and the like.
8. 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, hooripilation, 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,
horripilation, agitation, hurry, inactivity, death and the like.
The three kinds of the Erotic, the comic and the
Terrible sentiments
The
Erotic sentiment is of three kinds, viz. of words, dress, and action. And the
comic and the terrible sentiments are likewise of three kinds, viz limbs, dress
and words.
The three kinds of the pathetic sentiment
The pathetic sentiment is of three kinds,
viz, that arising from obstruction to lawful deeds, from loss of wealth and
from bereavement.
The three kinds of the herioc sentiment
The Heroic sentiment is like wise of three
kinds, viz, that arising from making gifts, from doing one’s duty (dharma) and from fighting [one’s enemy]
The three kinds of the Terrible sentiment
The terrible sentiment is also of three
kinds, viz, feigned fear, fear from a wrong action, and fear from an
apprehension of danger
The Three kinds of the odious sentiment
The Odious sentiment is of three kinds,
viz. Nauseating, simple, and exciting, of these the sentiment from a sight of
stool and worms is nauseating, and the sight of blood and similar objects is
exciting.
The two kinds of the marvellous sentiment
The Marvellous sentiment is of two kinds,
viz. Celestial and joyous. Of these celestial is due to seeing heavenly sights,
and the joyous due to joyful happenings.
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