WHAT IS “RASA”?
“Rasa” is a
Sanskrit word which implies the meaning “nectar”, “juice”, “essence”, “taste”,
“sap of grain”, “flavour”, “consciousness”, “bliss” and likewise.
The concept
of “rasa” points to the ‘emotional
flavours’ crafted and encrusted in a poem or a piece of writing, by the
writer, with a reader/recipient/aesthete “sensitive enough”, to feel/absorb the
emotional flavour represented through the work of writing or poetry.
The evocation
of rasa is a result of a skillful
application of the infusion of emotions and moods into a brilliant piece of
poetry, drama, visuals or any other art form.
A connoseiur
in the field of understanding rasas is
known as rasika.
10 POINTS ABOUT “RASA THEORY
#1 Rasa theory is an ancient theory in the fields of
Indian Poetics (Kavya-shastra), Indian Theatre (Natya-Shastra) & Indian
Aesthetics (Saundarya-shastra).
#2 It was first brought up by Bharata Muni – An ancient sage known as the “father of Indian theatrical art forms”.
#3 Rasa Theory suggests that ordinary language is
different than poetic language.
#4 The foundation of rasa in poetics, is based on the idea
that, there are two main parts of a word – called as “Sattva” and “Bhava” of a word/shabda
Sattva represents static aspect of a word
bhava represents dynamic or changing aspect of a word – the quality of
emotion, feeling or mood attached to it
bhava is the instrument of “causation”
#5 The quality of rasa is created by the infusion or the combination of
various bhavas, that is, the various emotional
states or emotional tendencies of mind.
#6 There are mainly four kinds of bhavas behind the production of a rasa. Rasa is produced from a combination of Determinants (vibhava), Consequents (anubhava), Dominant/Pervading States (Sthayi Bhava) and Transitory States (vyabhicaribhava).
Vibhava is the trigger/cause/kaarana – represents
knowledge. Anubhav is the outward manifestation/effect/bodily reaction to the
trigger (vibhava).
In poetry, an
imagery might be the stimulus (vibhava) evoking the emotional response (bhava) of romance in the reader, while anubhav is the actual feeling/sensation
of pleasure/joy felt in the heart area of the poet as well as the reader.
#7 Apart
from the determinants (vibhava) and consequents (anubhava), there are total
49 psychological states according to the Rasa Theory. These 49 psychological
states include
8 Dominant/Pervading/Durable/Stable
States (Sthayi bhavas) +
8 Involuntary
Physiological States/Reactions (Sattvika
bhavas) +
33 Transitory/Complementory
States (Vyabhchari/Sanchari bhavas)
= 49
#8 Just as different combinations of ingredients and spices produce
different flavours, different combinationsof bhavas produce different rasas,
the emotional flavours, tasted by the poet and the audience.
Determinants(Vibhavas), Consequents(anubhava) and transitory
states(vyabhachari/sanchari bhavas) infuse together to intensify a dominant/pervading
state(sthayi bhava) which results in the formation of a emotional flavour (rasa).
#9 According to Rasa Theory, when the poet writes, he creates a resonant
field of emotions. To understand the poetry, the poet and the reader must be on
the same wavelength of inner energy spectrum.
#10 According to the theory, the goals of poetry or theatre, are to empower
aesthetic experience and deliver emotional rasa. Yet entertainment is an
effect, but not the primary goal of any of these arts. The primary goal is to
create rasa so as to lift and
transport the spectators, unto the expression of ultimate reality and
transcendent consciousness.
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