Rasa Theory - Indian Aesthetics - Summary & Analysis - ES

11/12/2019 Rasa Theory | Indian Aesthetics | Summary & Analysis • ES
 
Rasa Theory | Indian Aesthetics | Summary & Analysis

You're here: Home » Literary Theory in English Literature
Rasa Theory asserts that entertainment (in the drama/performance) is expected to evoke Rasa or joy (artistic)
but that is not the primary goal. The primary goal is instead to create parallel life in front of the audience to
experience a sense of one’s own (i.e. Consciousness, spiritual and moral question).
Bharatamuni believes that the dramatic form of aesthetic experience is the most perfect fruition of aesthetic
activity because drama is the synthesis of all arts. According to Abhinav Gupta (one of the famous critics of
Natyashastra), Rasa is simplest and most we bewildering expression in the Sanskrit language. Anyone can
experience it but cannot define it precisely.
Contents 
1. Features of Rasa Theory (Indian Aesthetics)
2. Bhavas in Indian Aesthetics Theory of Rasa
1. i) Sthaibhavas
2. ii) Vhibhavas
3. iii) Anubhavas
4. iv) Vyabhikaribhavas
3. Rasas in Indian Aesthetics Theory of Rasa
1. 1. Shringara Rasa
2. 2. Karuna Rasa
3. 3. Haysa Rasa
4. 4. Rudra Rasa
5. Other Rasas
Features of Rasa Theory (Indian Aesthetics)
1. Rasa means aesthetics, juice, essence, taste in performance.

2. Rasa is the undefinable realization and intense feelings with detachment.
3. It is the flavor (general) or aesthetic emotion (metaphorical).
4. It is the soul of poetry.
5. Rasa is an emotion and cannot be described in opposition to Aristotle.
6. Originally, Rasa means juice, essence or elixir.
7. It is the pleasure experienced by each class of people.
8. No other word can define Rasa completely.
9. It is the impression created on the mind of the sympathetic audience by the expressions of
Bhavas (emotions) and it’s experienced by it.
10. Rasa is not experienced in common situations but only in the art form.
Rasa’s Foundation is laid upon a particular view of psychology that holds our personality and according to which
a few primary emotions live in the conscious and subconscious state of our being. These emotions are vast,
https://englishsummary.com/rasa-theory/ 1/6
amusing, pathetic, heroic, passionate, fearful, disgusting and wonderful. Later on peaceful, intellectual and
devotional were also added.
These emotions are running in a permanent manner and may in the sense called dominant emotions.
(Sthaibhavas).
These prominent states that determine particular internal temperaments are regarded as the dominant
characteristics of those emotional states.
According to Bharatmuni, the realization of Rasa results from Union of Vibhavas, Anubhavas, and
Vyabhikaribhavas. When Sthaibhavas unite with other, the three Bhavas, one attains the quality of Rasa.
Save 18
from englishsummary.com
-------------------------------------------------------------------------------------
English Summary
Literary Criticism
Bhavas in Indian Aesthetics Theory of Rasa

i) Sthaibhavas
These are the permanent or dominant moods.

They are 8 in number- Rati (love), Hasya (humorous), soka (sorrow), krodha (anger), utsaha
(enthusiasm), bhaya (fear), jugupsa (disgust) and vismaya (wonder).
Later on, passiveness was added by Abhinavgupta and Anandvardhana.
Sthaibhavas are the basis of Rasa and are supreme among all Bhavas which are 49 in number.
Sthaibhavas constitute the principal theme of a composition.
They run all emotions like garland and cannot be overpowered by them. Rather the latter feed and
strengthen them and help them emerge as Rasa.
ii) Vhibhavas
They are the situations which are responsible to bring out Sthaibhavas. Vhibhavas have two aspects-
Alambana and Uddipana. The person in whose mind Sthaibhavas run is known as Allambana Vibhavas. The
moonlit, spring, soft breeze, fragrance of flowers are Uddipanana Vhibahavas. In other words, they are stimuli.
iii) Anubhavas
They are their effect seen upon the character after the emotions arise in the actor(s). They make spectators
feel or experience Abhinaya by words and gestures.
iv) Vyabhikaribhavas
They are the transitory and temporary mental states.

They strike mind and become the cause of experiencing a permanent mood.
They are 33 in numbers. Some of them are the weakness, depression, anxiety, despair etc.
They spring out of principal emotion and ultimately merge into it.
They are like waves and bubbles that appear and disappear as the mighty stream of dominant emotion
flows on, smiling and replying and dancing.
The realization of Rasa is the result of the union of Sthaibhavas, Vibhavas, Anubhavas and Vyabhikaribhavas.
Rasa theory draws a clear distinction between real life experience and art experience- unordinary. In order to
realise Rasa that must possess in an adequate degree of intellectual and emotional equipment.
Rasas in Indian Aesthetics Theory of Rasa
1. Shringara Rasa
It is given the highest honor ever since the beginning of Poetics.

Sthaibhava or emotion of this erotic sentiment is Rati or love. Hero and heroine are Alambana Vibhavas.
Swam, youth, solitude, songs of cuckoo are Uddipana Vibhavas.
Sideglances, twisting of limbs, brows are Anubhavas.
Leaving aside, the fight is Vyabhikaribhvas.
Collectively they provide joy Shringara Rasa.
2. Karuna Rasa
It emerges due to Soka (grief).

It is pleasurable as it has the power to meet the human heart.
A deceased person is Alambana.
Reference to him is Uddipana.
Cursing destiny, stupefaction are the Anubhavas.
Disgust, anxiety and uneasiness are Vyabhikaribhavas.
3. Haysa Rasa
It is the comic elements. It happens by showing unseemly dress, ornaments, quarrels, defective limbs etc.
4. Rudra Rasa
Anger, rape, abuse, insult, threatening, jealousy etc ate Alambana Vhibhavas.
Beating, breaking, crushing, cutting are Uddipana Vhibahavs
Red eyes, knitting of eyebrows, biting of lips, determination, energy, restlessness and trembling are
Vyabhikari Bhavas.
Other Rasas
Vira Rasa (zeal or utsaha)

Bhayanka Rasa (fear or Bhaya)
Adhbuta Rasa (Vismaya)
Santa Rasa (Nirveda)
Search an Article
Have You Read These?

1. Chapter 1: Introduction to Literature Criticism and Theory
2. The Indian Serenade Summary by PB Shelley
3. Indian Traditions and The Western Imagination Summary
4. The Argumentative Indian by Amartya Sen Summary
5. Indian English Poetry
6. Indian English Drama Before Independence
 Literary Theory in English Literature
Didn’t Get An Answer?
Ask a Question
We'll answer for free!
NOW
PLAYING
Join Free Broadcast On:

WhatsApp
Telegram
Join Us On Social Media

Don't BELIEVE? Just check one!
About Advertise Careers Contact Privacy Publish Articles Terms Sitemap
© 2019 English Summary · Website by Tech India

Rasa Theory - Indian Aesthetics - Summary & Analysis - ES

Uploaded by

Copyright:

Available Formats

Rasa Theory - Indian Aesthetics - Summary & Analysis - ES

Uploaded by

Document Information

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Rasa Theory - Indian Aesthetics - Summary & Analysis - ES

Uploaded by

Copyright:

Available Formats

11/12/2019 Rasa Theory | Indian Aesthetics | Summary & Analysis • ES

Rasa Theory | Indian Aesthetics | Summary & Analysis

Features of Rasa Theory (Indian Aesthetics)

1. Rasa means aesthetics, juice, essence, taste in performance.

Bhavas in Indian Aesthetics Theory of Rasa

These are the permanent or dominant moods.

They are the transitory and temporary mental states.

Rasas in Indian Aesthetics Theory of Rasa

It is given the highest honor ever since the beginning of Poetics.

It emerges due to Soka (grief).

Vira Rasa (zeal or utsaha)

Have You Read These?

 Literary Theory in English Literature

Didn’t Get An Answer?

We'll answer for free!

Join Free Broadcast On:

Join Us On Social Media

About Advertise Careers Contact Privacy Publish Articles Terms Sitemap

© 2019 English Summary · Website by Tech India

You might also like