Name: Ghanshyam Katariya
Paper 109 :Literary Theory & Criticism and Indian Aesthetics
Subject Code: 22402
Topic Name: Bhava and Rasa: Key Concepts in Indian Aesthetics and Performing Arts
Batch: M.A. Sem-2 (2022-24)
Roll No: 7
Enrolment No: 4069206420220017
Email Address: gkatariya67@gmail.com
Submitted to: Smt. S. B. Gardi, Department of English, MKBU
Bhava and Rasa: Key Concepts in Indian Aesthetics and Performing Arts
Introduction
Bhāva and Rasa are key concepts in Indian aesthetics, particularly in the context of performing arts such as dance, drama, and music. Bhāva refers to the emotional state or mood that a performer conveys through their body, voice, and facial expressions, while Rasa refers to the emotional response or aesthetic experience that a viewer or listener derives from the performance.
In Indian aesthetics, the primary goal of creative activity is to evoke Rasa, which is considered to be the essence or flavor of a performance. The performer's portrayal of Bhāva is seen as the means to achieve this goal. The ultimate aim of the creative process is to create a profound emotional impact on the audience, leading to a state of aesthetic pleasure or transcendence.
Both Bhāva and Rasa are believed to be universal and can be experienced by people of different cultures and backgrounds. They are seen as fundamental to the human experience of art and are considered to be a reflection of the deeper, spiritual essence of existence. In this sense, they are seen as having a profound importance in creative activity, not only in the context of performing arts but also in other forms of art such as literature and visual arts.
Rasas
Rasa at one time meant ‘water’, ‘juice’ or ‘wine’. At another time it implied ‘essence’. In another context it meant ‘relish’ or ‘savouring’. There was a time when it indicated the primary constituents of medicine. It also meant ‘aesthetic pleasure’ or ‘enjoyment’ – a meaning or association of meanings with which we are essentially concerned. Rasa Theory finds its root in the late Vedic period in Atharvaveda (200 BC- 100 BC). But Bharata Muni is regarded as the father of Indian Rasa Theory as he gave a major statement in his book Natyashastra, which is the Indian Treatise on performing arts, encompassing theatre, dance and music.
Rasa is a cumulative result of Vibhavas (stimuli), Anubhavas (involuntary states), and VyabhichariBhavas (voluntary states).
The basic rasas are four: the erotic (Sringara), the heroic (Vira), terror (Raudra), and disgust (Bibhatsa). Further, Hasya (horror, laughter) is derived from Raudra, adbhuta (wonder, magic) from Vira, and Bhayanaka (dread) from Bibhatsa.
शृङ्गारः करुणोद्भूत वीरोद्धास्तथा रौद्रभावः।
हास्यं भयानकं बीभत्सं रसाः नव विधा स्मृताः॥
(1) Sringara: based on love (Rati), it results in the case of men and women in healthy youth. It is of two kinds: (a) sambhoga(fulfilment); (b) Viprabalambha. The Sringara rasa must be expressed by loving looks, lifting or raising the eyebrows, sideward glances, and graceful steps and gestures. The vipralambha Sringara are dejection, fatigue, suspiciousness, jealousy, patience, sleepiness, dreaminess, and such like.
(2) Hasya: stimulated by disfigurement of dress, impudence, and so on. It is expressed by expansion of the lips, nose, and cheeks; hard staring and so on are its Anubhavas. The Vyabhicharibhava are dissimulation, laziness, sleepiness, and such like. Hasyam is of two types:
When one laughs at oneself.
When one makes others laugh.
Six types of laughing are:
smitha (gentle laughter)
Aasitha (laughter)
Vihasitha (loud laughter)
Upaliasifha (satirical laughter)
Apahasita (silly laughter)
Athi hasitha (loud laughter)
(3) Raudra: this rasa is associated with evil spirits and people of ferocious or short-tempered nature. The stimulus for this rasa is anger, boldness, abuses, insults, lies, and so on. Its Vyabhicharibhava are cold-bloodedness, excitement, intolerance, sweating, and such like.
(4) Karuna: Karuna or pathos is the Sthayibhavas of grief. It is stimulated by curses, pain, calamity, separation from near and dear ones, and so on. Its Anubhavas are shedding tears, pallor, drooping limbs, and such like. Its Vyabhicharibhava are disgust, exhaustion, fear, confusion, and such like.
(5) Vira: produced by an energetic, determined, unrelenting nature that is taken neither by surprise nor by confusion. It comprises challenging words and deeds showing courage, boldness, bravery, and self-confidence.
(6) Adbhuta: stimulated by the sight of a divine person, by achieving the desired, by going to interesting places such as temples, and so on. Its Anubhavas are distended eyes, unthinking and steady glances, thrill, joy, words of appreciation, twisting the body, and such like. Its Vyabhicharibhava are being stunned, shedding tears, stammering, excitement, joy, restlessness, and such like.
(7) Bibhatsa: stimulated by seeing or hearing undesirable, ugly, and evil things. It is acted by withdrawing the body, leering, spitting, and agitation. Its Vyabhicharibhava are loss of memory, agitation, excitement, confusion, sickness, death, and such like.
(8) Bhayanaka: stimulated by seeing or hearing words, sounds, and objects, or by fear of jackals and owls, or by going into empty houses or lonely forests, or by seeing or listening to stories of people a person knows being killed or imprisoned, and so on. It comprises trembling legs and hands, eyes flitting to and fro, hair standing on end, face losing colour, and loss of voice. Its Vyabhicharibhava are being stupefied, sweating, stammering, confusion, fear, loss of memory, death, and such like.
(9) Santa: Santa is serenity and peace. It represents the state of calm and unruffled repose that is marked simply by the lack of all other rasas. Since all emotions are absent in Santa, there is controversy over whether it is a rasa at all.
According to Bharata, the other eight rasas were those proposed originally by Brahma, and the ninth, Santa, was his own contribution. Santa represents complete harmony between the mind, the body, and the universe. Santa is untroubled steadiness. Santa is the key to eternity. Essentially, there are eight rasas, which are called Ashta rasa, and the ninth one is the Santa rasa, which is nothing but the combination of all the rasas. As we find in the colour white, there is a combination of each colour.
Bhavas
Bhavas a very common term used in poetic expression and a well-known principle. Bhavas are essentially connected with the emotions, in the same way that the moon is connected with the mind and the sun with atma. Emotions cause certain kinds of Rasas to be created that are important for creative activity. The basics of bhavas and rasas are better explained in the NaΛyağastra. There is a verse in the Natyasastra that explains the context of bhava and rasa as follows: “यतो हस्ता स्ततो दृष्टि यतो द्रष्टतो मन: यतो मनस्ततो भवो यतो भवस्ततो रस” (the sight resides with action, the mind resides with sight, the emotions reside with mind and the rasas reside with emotions). It will be difficult to get into the concept of bhava, mana, and rasa without going into the basics.
"विभावानुभावव्यभिचारीसंयोगाद्रस निष्पत्तिः”
Vibhava
Vibhava is that which leads to a perception. So Vibhava is a cause. It is the cause of words, gestures, and facial expressions. So, in ordinary parlance, vibhaavita means “understood.”
Anubhava
Anubhavas are accompanied (anu) by words, gestures, and facial expressions. According to a traditional verse, an Anubhava is conveyed with the help of words, gestures, and so forth. There are three categories of bhavas—Sthayibhavas, Vyabhicharibhava, and Sattvikabhava. There are eight Sthayi Bhavas, thirty-three Vyabhicharibhava, and eight Sattvika Bhava.
Thus, forty-nine bhavas are the source of expression of the rasas of creation. Rasas are produced when Bhavass encounter common qualities.
Sthayi Bhavas
रतिहासश्च शोकश्च क्रोधोत्साहौ भयं तथा।
जुगुप्सा विस्मयश्चेति स्थायिभावाः प्रकीर्तिताः॥
The eight Sthayibhavas are the eight rasas. The one is the other’s expression—both involuntary (Anubhavas) and voluntary (Vyabhicharibhava).The eight Rasas or the Sthayi Bhavas are Sringara, Hasya, Karuna, Raudra, Vira, Bhayanaka, Bibhatsa, and Adbhuta. These are explained separately beneath the rasas. The other Vibhavas are:
(1) Rati (love is a feeling of pleasure): performed sweetly and gracefully.
(2) Hasya (laughter): expressed by smile, gentle laughter, and a guffaw.
(3) Soka (grief): expressed by collapsing on the ground and repeated lamentations, uneasy body movement, sighs and shaking of the head, knitted eyebrows, and such like.
(4) Krodh (anger): expressed by biting the lips, looking down and wiping away perspiration, looking like an angry man, and such like.
(5) Uts (energy or vigour): characteristic of an Uttama (high) character. It is used to express clarity, cleverness, and such like.
(6) Bhaya (fear): expressed by drooping limbs, hands and legs shaking, fearful eyes, and such like.
(7) Ghrina (disgust): only displayed by females and low characters. It is expressed by holding the nose, by covering, by looking doubtful, and such like.
(8) Ashcharya (wonder): a job excellently done pleases one, and the pleasure produces amazement at the fulfilment. This is expressed by extreme joy.
(9) Nirveda: the culmination of all emotions in one truth leading to the highest peace (not included in Bharata-Muni’s Natyashastra).
Vyabhichari/ Sanchari Bhavas
निर्वेदग्लानिशङ्काख्यास्तथासूया मदः श्रमः।
आलस्यं चैव दैन्यं च चिन्तामोहः स्मृतिर्धृतिः॥
व्रीडा चपलता हर्ष आवेगो जडता तथा।
गर्वो विषाद औत्सुक्यं निद्रापस्मार एव च॥
सुप्तं विबोधोऽमर्षश्चापि अवहित्थं अथोग्रता।
मतिर्व्याधिस्तथा उन्मादस्तथा मरणमेव च॥
त्रासश्चैव वितर्कश्च विज्ञेया व्यभिचारिणः।
त्रयस्त्रिंशदमी भावाः समाख्यातास्तु नामतः॥
(1) Nirveda: poverty, disease, insult, humiliation, abuse, censure, anger, beating, separation from dear ones, detection of truth, and such like are the stimulant causes. In the case of women and low characters, its expression takes the form of crying, heavy sighs, hesitation, and so on.
(2) Gtani: hurt, emptiness, illness, starvation due to vows and fasts, anxiety, highly intoxicating drink, excessive exercise, and such like are its Vibhavas. Its expressions are weak speech, dull eyes, emaciated cheeks, trembling and drooping body, and so on.
(3) Shanka: associated with doubting, low, and female characters. Robbing, offending authorities like the king, committing sinful acts, and such like are its Vibhavas. Its Anubhavas are frequently glancing to and fro, covering the face, pale face trembling, and so on.
(4) Asuya: its Vibhavas are hatred of the good luck, riches, and intelligence of others. Its Anubhavas are proclaiming faults and obstructing good deeds, looking with a knitted brow, and contempt and ridicule.
(5) Mada (intoxication): is of three kinds—lively, middling, and low. Its cause is fivefold. It is said that one intoxicated person sings, another cries, a third laughs, a fourth uses harsh words and the fifth sleeps.
(6) Shrama (fatigue): its Vibhavas are walking, exercise, and so on and its anubhavas are rubbing and shampooing the body, heavy sighs, stern steps, making faces, and such like.
(7) Alasya: its Vibhavas are depression, satiety, and so on. Its Anubhavas are aversion to all activities, stretching on a bed, drowsiness, and such like. It is depicted by both men and women.
(8) Daivya: bad luck, worry, and so on are its Vibhavas. Its Anubhavas are diffidence, bad headache, restlessness, and such like.
(9) Chinta (anxiety): its Vibhavas are loss of prosperity, poverty, and so on. Its Anubhavas are sighing, heaving, worrying, and such like.
(10) Moha (fainting): its Vibhavas are bad luck, fear of illness, calamity, excitement, and so on. Its Anubhavas are unconsciousness, giddiness, falling, and such like.
(11) Smriti (memory): the remembrance of happy and unhappy experiences. Its Vibhavas are loss of peace of mind, insomnia, constant worrying over memories of similar experiences, and such like. Its Anubhavas are shaking the head, looking down, raising the eyebrows, and such like.
(12) Dhriti (fortitude): its Vibhavas are bravery, knowledge, prosperity, devotion to elders, and so on. Its Anubhavas are enjoying what is achieved and not grieving over what is not achieved or is destroyed.
(13) Vridha (bashfulness or sense of shame): its Vibhavas are disobedience, confession of guilt, repentance, and so on. Its Anubhavas are hiding the face, looking down, writing on the
ground with the toe, biting nails, and such like.
(14) Vyakulata (nervousness): Its Vibhavas are hatred, intolerance, envy, and so on. Its Anubhavas are harsh words, beating, killing, and such like.
(15) Harsha (joy): Its Vibhavas are achieving one’s desires, pleased minds, the blessings of kings, gods, and elders, and such like. Its Anubhavas are a pleased look, a cheerful face, embracing, feeling thrilled, tears of joy, and such like.
(16) Avega (agitation or excitement): Its Vibhavas are portents of storms, rain, fire elephants running amok, natural calamities, and so on. Its Anubhavas are physical collapse, uneasiness, amazement, and such like.
(17) Jadataa (slothfulness): its Vibhavas are hearing and seeing things one likes or dislikes, illness, and so on. Its Anubhavas are silence, staring unblinkingly, and such like.
(18) Garva (pride or arrogance): its Vibhavas are prosperity, a handsome figure, youth, and so on. Its Anubhavas are jealousy, argumentativeness, looking at one’s self in the mirror, contemptuous laughter, and such like.
(19) Visada (sorrow, regret, disappointment): its Vibhavas are incompletion of work undertaken and calamity due to acts of gods. Its Anubhavas are seeking help, thinking of a remedy, restlessness, sighing, and such like.
(20) Autsukya (uneasiness): its Vibhavas are separation, repeated remembrance of separation, and so on. Its Anubhavas are deep, long sighs, downcast face, thoughtfulness, drowsiness, and such like.
(21) Nidra (sleep): Its Vibhavas are weakness, fatigue, weariness, intoxication, and so on. Its Anubhavas are puffed-up face, looking at the body, roving eyes, yawning, eyes closing, drooping body, and such like.
(22) Apasmara (forgetfulness): its Vibhavas are being possessed by gods, ghosts, and so on. Its Anubhavas are trembling, heaving, jumping, running, falling, foaming at the mouth, and such like.
(23) Supta (being asleep, being overcome by sleep): its Vibhavas are bewilderment, enjoying objects of the senses, and so on. Its Anubhavas are drooping body, stretching as on awakening, closing the eyes, the limbs of the body being stationery, and such like.
(24) Vibodha (awakening): hunger, the end of a dream, the touch of a hard substance, and loud sounds are the Vibhavas. Yawning and rubbing the eyes are the Anubhavas.
(25) Amarsa (intolerance, impatience): is produced in a man who is insulted and ridiculed by others richer, stronger, and better educated than himself. These are the viBhavas stimuli. The Anubhavas are shaking of the head, sweating, looking downcast, moodiness, determination, and such like.
(26) Avahittam (dissimulation): is in the nature of covering up real things. Its Vibhavas are a sense of shame, fear, defeat, loss of dignity, and so on. Its Anubhavas are appearing different, distracting from or distorting facts, and such like.
(27) Ugrataa (fierceness): its viBhavas is offending a king. Its Anubhavas are killing, binding, beating, condemnation, and such like.
(28) Mati (understanding, judgement): its Vibhavas are studying various ğƘstras, consideration of pros and cons, and so on. Its Anubhavas are raising doubts, arguing, and removing doubts in the interest of students.
(29) Vyaadhaii: the three humours are vaata (wind, gas), pitta (bile), and kafa (phlegm). Combinations of any of these result in diseases that are characterised by fever and such like. The Anubhavas of these characteristics are trembling and quivering all over, folding up the body, craving for warmth, tossing the body, hands, and feet, and so on.
(30) Unmaada (insanity): separation, loss of wealth, natural calamities, and disturbances of the three humours are the various Vibhavas. Its Anubhavas are laughing or crying, moving in a chaotic manner, and so on.
(31) Maranam (death caused by illness or violence): its Vibhavas or causes are weapons, poison, animals, diseases, accidents, and so on. The Anubhavas are symptoms of illness and its consequent effects, quivering, hiccup, drooping shoulders, and such like.
(32) Traasa (dread): the Vibhavas are lightning, meteors, rainstorms, and so on. Its Anubhavas are covering the body, trembling, shaking, and such like.
(33) Vitarka (argumentation): its Vibhavas are doubt, deliberation, discrepancy, and so on. Its Anubhavas are reasoning, solving questions, and such like.
Sattvika Bhavas
स्तम्भः स्वेदोऽथ रोमाञ्चः स्वरभेदोऽथ वेपथुः।
वैवर्ण्यं अश्रु-प्रलय इत्यष्टौ सात्विकाः स्मृताः॥
Sattva means “emotions” or “genuineness,” which are qualities of the mind. Things like feeling thrill, tears, pallor, and such like can be achieved only when the mind is composed. Pain and pleasure can be shown or expressed only when being emotionally correct. There are eight Sattvikabhava. They are as follows:
(1) Stamba (stupefaction): acted by standing still, with the body unmoving, the eyes unseeing, and the limbs lifeless.
(2) Sveda (sweating): depicted by using a fan, wiping away perspiration, and such like.
(3) RomƘncha (feeling thrilled): depicted by frequent actions as if the hair is on end, by plucking movements, and by touching the limbs.
(4) Svarabedha (break in the voice): shown by stuttering in different voices.
(5) Vepathu (trembling): depicted by quivering and shaky movements.
(6) Vaivarnya (pallor): shown by pressure on the pulse and changing the colour of the face.
(7) Asru (tears): shown by wiping the eyes.
(8) Pralaya (swoon, death): shown by collapsing to the floor or the ground.
(words- 2317)
Works Cited
Gupta, A. Neerja, and Mayako Shimamoto. A Student's Handbook of Indian Aesthetics. Cambridge Scholars Publishing, 2017.
Sarkar, Somnath. “Rasa Theory of Indian Aesthetics.” All About English Literature, 21 May 2021, https://www.eng-literature.com/2021/05/rasa-theory-of-indian-aesthetics.html Accessed 30 March 2023.
