Introduction
First of all it is very important to understand the science of language. It focuses on the well ordered exploration of the effects of certain languages as well as the characteristics of language overall. The simplicity and beauty of art lies in all the natural and human made things. Ex: Craftsperson, who creates different beautiful artistic creations.
Phonetics also plays a very important role over here, the vocal arbitory is used their. Knowledge is always compartive. To learn literature criticism is necessary, because through various interpretations an individual will get to know different meanings. Through the Example of Fear and Tear of Aristotle and Bharatmuni we can get to know the difference of Indian tradition and interpretation of dramatic art. For clear understanding Click here.
When you find emotions in language then language becomes sideline. Language is loaded with emotions. As soon as it reaches to meaning then language becomes subsidary and reaches to emotions. Emotions have no language. Emtions can be controlled but can't be removed. Emotions are complex. How Indian Poetics play role in the Indian literature is that, critics talks about how and the process talks about what.
About different schools of Rasa's:
- રસ - Emotions and sentiment, by Bharatmuni
- ધ્વનિ -Implication, by Anand Vardhan.
- અલંકાર - Principle of figurativeness, by Bhamah.
- રીતી - Mode of expression, by Vaman.
- વક્રોક્તિ - Principle of deviation, by Kuntaka.
- ઓચિત્ય -Propriety, by Shemendra.
Rasa
Rasa is a Sanskrit word that refers to the emotional essence evoked by a work of art, such as a poem, play, or music. Any of the rasa is not continous. There is always the begining of the another rasa at the end of the previous rasa. History and nature are interconnected. Every individual is dependent on other. To feel the different rasa we can take example of Shakespear's Tragedy. Rasa is made from emotions. There are total 9 rasa's and their emotions,
1. Shrungar - Passion
2. Karun - Sarrow
3. Vir- Excitement
4. Raudra- Anger
5. Hasya- Laugh
6. Bhayanak- Fear
7. Bibhads- Exacration
8. Adbhut- Astonismhent
9. Shant- Assurance
All these emotions are static. To dream is not in our hand. Imagination is our own territory. The emotions should be used in such a way that it can be used as a kala (Art) to express various emotions.
There are two type of emotions i.e Sthyayi Bhav ( Static ) and the Sanchrai Bhav ( it isTemperory and there are 33 such). Sthyayi bhav is invisible and we can gain rasa from it.
' na hi rasadrte kascid arthah pravartate '
(न हि रसद्रते कस्सिद अर्थः प्रवर्तते '।)
Meaning, "every activity ( on the stage ) is aimed at the creation or generation of rasa."
Bharatmuni gave thise slok which falls in the 6th adhyay of 5th slok.
- Vibhav (Determinants) - વિભાવ
- Anubhav (Consequences) - અનુભાવ
- Vyabhicaribhav (Transitory feelings) - વ્યભિચારી ભાવ/ સંચારી ભાવ
- Saiyog - સયોગ
The permenent mode called, Sthyayi bhava is Vibhav, Anubhav and Vyabhicharibhav. All the poets is not trying to explain anything but is trying to make us feel his work, like they want us to experience the emotions they are trying to express.
1. Vibhav:- Through the means of Rasa one can experience and express Rasa.
Example: Shrungar Rasa i.e Vibhav over here is through Dushyant and Sakuntla. There are two types in it,
- Alamban Vibhav- Is suitable situation.
- Udvipan Vibhav- Is natural things.
2. Anubhav:- Giving feedback means reacting. Rasa which is experienced through past is Anubhav. Anubhava is the physical response that follows, such as action, words, and facial expressions.
3. Vyabhicharibhav:- These bhav is brief, transitory emotions based on emotional state of the mind. Various such emotions occur one after the other, one replacing the other, increases the sthyayibhav at each stage, till the end the sthayibhava is fixed/ felt and there is 'Rasanubhava'.
- Vyabhicharibhav (વ્યભિચારીભાવ) also known as a Sancharibhav (સંચારી ભાવ)
- વિભાવ + અનુભાવ + સંચારી ભાવ = સંયોગ.
Some of the Examples, which were discussed are;
- Dushyant and Shakuntala are the main characters of the work( Sakuntala is a Sanskrit ancient play by Kalidasa.)
- Vibhava- Vibhava is that, on whose basis the intrest is realized.
- Alamban Vibhava - Can be seen in the character of Dushyanta, Shakuntala.
- Uddipaka Vibhava- Situation which was created by Bumblebee, as it also fetl the beauty of Sakuntala.
- Anubhava - when the edge of the cloth of saree or something got stuck in some of the tree at that time the reaction of the Sakuntala.
- Sanchari Bhav - these bhav is unstable. Shakuntala gets scared from the Bumblebee.
- Sanyog - obviously it is a love story between Sakuntala and Dushyant, there were experience of many rasa which created romantic interest
शृङ्गार करुण वीर रौद्र हास्य भयानका ।
बिभत्साद्भुत् शान्तश्च नव नाट्ये रसास्मृता: ॥
(- Abhinavgupta)
"Evam nava rasa drsta natyagnerlaksananvita". Shanta rasa is experienced when calmness infuses.
Shant rasa develops calmness of mind and a feeling of relaxation . Shant rasa arises from the desire to secure liberation of the self, which leads to the knowledge of truth and is connected with the extreme happiness. Whether Bharat in Natyasastra has listed eight or nine rasas is controversial. But it is widely accepted by scholars that Shant rasa is a later addition and as of now it forms an immortal part of the rasa theory.
Conclusion
The Rasa theory in Indian Poetics or aesthetics provides a profound understanding of the emotional impact of art on the human experience. Through the exploration of nine primary emotions or Rasas, ranging from love to fear, the theory offers a framework for analyzing various forms of artistic expression, including literature, drama, dance, and music. By delving into the intricate interplay between the artist, the artwork, and the audience, the Rasa theory continues to shape our perception and enjoyment of the arts.
I hope these information would be helpful.
Thank you🌻
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