DEPARTMENT OF DANCE

FACULTY OF PERFORMING ARTS

THE MAHARAJA SAYAJI RAO UNIVERSITY

INTERNAL EXAM
2020-21
PAPER- 2
DETAIL STUDY ABOUT RASA THEORY
CODE- DAN 1301
SUBMISSION DATE- 25/10/2020
FSBPA- II

SUBMITED BY SUBMITED TO
POOJA S MANDAL MS. DHWANI MHASKAR
Q1. What is Rasa?

Ans. Rasa is the emotional satisfaction evoked by a combination of several factors, which help to
generate an appropriate psychological state. In a performing art like Dance and drama, rasa is
created I mind of spectator by actor. He creates this through various modes of expression. Rasa is
produced with the help of Sathayibhava , Vibhava and Sancharibhava. According to
Natyashastra there were eight Rasa i.e. the Shanta Rasa was included later on.

Rasa is produced from a combination of Determinants (Vibhava), Consequents (Anubhava) and

Transitory States (Vyabhicaribhava).

The word rasa appears in ancient Vedic literature. In Rigveda, it connotes a liquid, an extract and
flavor. In Atharvaveda, rasa in many contexts means "taste", and also the sense of "the sap of
grain". According to Daniel Meyer-Dinkgrafe – a professor of Drama, rasa in the Upanishads
refers to the "essence, self-luminous consciousness, quintessence" but also "taste" in some
contexts. In post-Vedic literature, the word generally connotes "extract, essence, juice or tasty
liquid".

RASA BHAVA BASICSE NTIMENTS

Shringara Rati (love, delight) The erotic love of pleasure

Hasya Hasa (laughter) The comic (mirthful)

Karuna Soka (sorrow) The pathetic (sadness)

Raudra Krodh (anger) The furious (anger)

Veera Utsaha (heroism) The heroic (vigorous)

Bhayanaka Bhaya (terror, fear) The fearful (terrible)

Bhibhatsa Juguptsa (disgust) The repulsive (odious)

Adbhuta Vismaya (astonishment) The wondrous (marvelous)

Shanta Sama (non-attachment) The peaceful (peace)

RASA SUTRA

Rasa Sutra Bharata defines rasa sutra as “Vibhav-Anubhav-Vyabhichari-Samyogat-Rasa

nishpatti”. He observes eight Rasas namely, shringar, hasya, veer, adbhut, roudra, karuna,
bhibhatsa, and bhayanak. Bhava brings about the inner idea of the poet. It then pervades the
mind of the spectator.

The permanent emotional states alone are said to obtain the status of the Rasa. They are eight in
number of which four are primary and four are secondary. The primary Rasa produces the
respective secondary Rasa in the following manner:

1. Erotic (Shringar) to Comic (Hasya);

2. Heroic (Veer) to Marvellous (Adbhut);

3. Furious (Roudra) to Pathetic (Karun);

4. Odious (Bibhatsa) to terrible (Bhayanak);

The erotic, comic, heroic, and marvelous are positive traits of mind, however the furious,
pathetic, odious, and terrible are negative.

The Erotic (Shringar) Rasa is derived from the dominant state of love and has its basis in shining
and brighter aspects of the world such as white, pure, and beautiful.

The Comic (Hasya) Rasa has its basis in the dominant emotion of laughter. It is derived from
showing unseemly dress or ornament, impudence, greediness, quarrel or defective limb.

The Heroic (Veer) Rasa has its basis in the superior type of persons, grandeur, greatness,
goodness, strength and energy. It displays concentration of mind, perseverance, diplomacy,
discipline, military strength, aggressiveness, reputation of might, and frightening capacity etc.

The Marvellous (Adbhut) Rasa finds its basis in the dominant state of astonishment. It is derived
from the determinants such as sight of heavenly being or events, attainment of desired object,
entrance into superior mansion, temple, audience hall, seeing illusory and magical acts etc. The
Furious (Roudra) Rasa finds its basis in the dominant state of anger. It is derived from the
determinant such as anger, rape, abuse, insult, untruth, allegation, jealousy and the like. The
Rakshasas, Danavas, and haughty men are its source.

The Pathetic (Karun) Rasa is rooted in the dominant state of sorrow, misery, and suffering. It is
derived from determinants such as afflictions due to separation from dear ones, divorce, loss of
wealth, person, death, accident or plight and captivity.

The Odious (Bibhatsa) Rasa has the dominant state of disgust. It is derived from determinants
such as hearing of unpleasant, offensive, impure, harmful things or seeing and discussing them.
On the stage it can be represented by consequents such as stopping the movement of all limbs,
narrowing down the mouth and the like.

The Terrible (Bhayanak) Rasa is rooted in the dominant state of fear. It is derived from the
determinants such as hideous noise, sight of ghost, panic, anxiety, or voices of jackals and owls,
an empty house, dense forest, sight of murder or death of hearing and discussion of such events
and also horripilation, change of color and loss of voice etc.

Q1. What is Bhava?

Ans. Bhava is something which conveys the meaning intended, through words, physical gestures
and facial expressions. It is the expression of the mental state which is the essential ingredient in
Bharatnatyam dance. Bhava is that which leads to the result. The creation of expression by mode
of vachika, angika and sattvika aspects is bhava. In dance, it indicates the emotional condition
displayed by a character in its existing stage. The term is derived from the Sanskrit root “bhoo”
meaning “to become”. It means expression of the idea by depicting the mental state. Rasa can be
created only when the Vibhava, Anubhava, Vyabhichari and Sanchari bhavas are combined
together in its adequate proportions.
Bhava and Rasa are related mutually. Our view is that Rasa arises from mutual contact of Bhava
and Rasa. The other view is that Rasa arises from the emotional states alone and not vice versa.
During the process of histrionic representation, the two (Bhava and Rasa) accomplish their status
and function by dual interaction. The Bhava produces poetic contents through words, gestures,
and movements, and psycho-physical representation. ‘Bhav’ is a root that denotes compassion.
Bhava is produced by Vibhav (stimulants) and functions as awareness to the spectator
(Anubhav), and the acting modes of words and gestures (Sattva-abhinaya).
Sthayibhava can be termed as the origin of bhava from which Rasa is originated.
Emotions that are stable and universal can be termed as sthayi bhavas or constant feelings. They
have a close relationship with human expressions that are easily identifiable. It is these sthayi
bhavas which give rise to different bhavas and rasas.
Bhava is mainly classified into four categories- Vibhava, Anubhava, Satvikabhava and
Vyabhichaari bhava.
Vibhava Bhava: The term Vibhava means knowledge. It is the expression of bhavas by the
combination of Vachika, Angika and Sattvika abhinaya. It is the aspect that evokes Rasa in its
complete form. Vibhav has the sense of cause or stimulant, instrument of intention. Vibhav
determines words,gestures, psycho-physical acts. Vibhav is the determinant or stimulant of
Bhava. Actor determines words, gestures and psycho-physical acts on the basis of Vibhav and
also the spectator determines out of actor’s representation of words , gestures and psychophysical
acts. The creation of Rasa in a peculiar way can be termed as Vibhava. In Vibhava, the
characteristic feature of each individual is determined from the expression of feelings. It is of
two types:
 o a). Alambana Vibhava: The evoking of emotion by the deed of an object or
person can be termed as Alambana Vibhava. It can be an idea about the nature or
the deed of the characters. The emotional experience Sita felt at the sight of Shri
Rama is an example of Alambana Vibhava.
o b). Uddipana Vibhava: The aesthetic feelings which arouse the emotional
pleasure of an individual can be termed as uddipana. When Sita was left alone
after seeing Rama, the feeling she had can be compared to Uddipana Vibhava. It
is of four types- Guna, Alankara, Cheshtha and Tatasha.

Anubhava Bhava: This is the expression of the emotional feelings or sentiments felt by a person
embedded in the mind. These come as natural emotions. This is represented by the movement of
the eye brows and facial expressions. For example, when the Nayika hears the cuckoo singing or
sees the Moon, she feels the pangs of separation more and this is actually Anubhava. Anubhavas
are immediate reactions and can be found in common people

Sattvika Bhava: This bhava evokes the sympathy by responding to the sorrow of others. The
person gets worried over the problems of others. Satvik Bhava is something that originates in the
mind. Sattva is produced when the mind is in perfect concentration on state of equipoise. The
Sattvik bhavas are essential for histrionic representation of human nature. They are eight in
number. For a person who being depressed or troubled feels happy and relieved when he is
consoled by another. Sattvika bhavas are of six kinds- stambha, sveda, romancha, vaivarnya,
svarabhedas and ashru.
• Vyabhichari Bhava: This is also known as sanchari bhava. The term means
improvisation or explanation. Vyabhichari Bhavas are more prominent towards creating
the sentiments in a variety of ways. They move the spectators to the poetic sentiments in
actual dramatic performance. They are thirty-three in number. These are transitory
emotional feelings that differ from person to person. They will not have a constant nature.
Sancharibhavas are of 33 varieties-
• Nirveda (disgust),
• Glani (torment),
• Samshaya (doubt),
• Shrama (toil),
• Dainya (feebleness),
• Jadatva (dullness),
• Asuya (jealousy),
• Chinta (anxiety),
• Vyadhi (sickness),
• Avega (pride),
• Garva (agitation),
• Dhriti (firmness),
 • Smrithi (recollection),
• Chapalya (inconsideration),
• Ugrata (ferocity),
• Trasa (fear),
• Avahita (attention),
• Vishada (dejection),
• Mada (arrogance),
• Autsukya (eagerness),
• Mati (determination),
Sancharibhava leads to thr Sthayibhava with examples. It depends on the nature of the artist’s
imagination to perform Sancharibhava to establish the sthayibhava of the particular rasa. It
changes and finaly leads to Sthayi bhava. Therefore, it is known as the Sanchari Bhava.

1. Nirveda: Poverty, disease, insult, humiliation, abuse, censure, anger, beating, separation from
dear ones, detection of truth etc., are the stimulant causes.
In case of females, and low characters, it's enpr. is the form of crying, heavy sighs, hesitation
etc.,

2. Gtani: hurt, emptiness, illness, starvation due to vows and fasts, Anxiety, highly intoxicating
drink, too much exercise etc., are it’s vibhavas.
It’s anubhavas are weak speech, dull eyes, emaciated cheeks, trembling, drooping body etc.,

3. Shanka: It is associated with doubting, Low, and female charecters. Robbing, offending the
authorities like King, comitting Sinful act etc., are its vibhavas.
Sancharibhava leads to thr Sthayibhava with examples. It depends on the nature of the artist’s
imagination to perform Sancharibhava to establish the sthayibhava of the particular rasa. It
changes and finaly leads to Sthayi bhava. Therefore, it is known as the Sanchari Bhava.It’s
anubhavas are frequently glancing To and fro, covering the face, pale face trembling etc.,

4. Asuya: it’s vibhavas are hatred for good luck, riches and intelligence of others. It’s anubhavas
are proclaiming faults and obstructing good deeds looking with knitted brow, and contempt and
ridicule.

5. Mada: it is of three kinds and has ___ Bhavas. Intoxication is of three kinds - lively, middling,
and low. Its cause is fivefold. It is said that one intoxicated person sings another cry, a third one
laughs, a fourth for one uses harsh words and the fifth sleeps.
6. Shravana: (Fatigue) Its vibhavas are walking excersice etc. and it anubbhavas are rubbing &
shampooing the body, heavy sighs, stern steps making faces etc.

7. Alasya: Its vibhavas are depressing illness satiety etc. Its anubhavas are aversion to all
activities stretching on bed drousiness etc. It is epicted by female and low characters.
8.Daivya: Ill luck worry etc are it vibhavas. It is anubhavas are diffidence, heavy headache and
restlessness etc.

9)Chinta-(anxiety)- Its vibhavas are loss of prosperity, poverty etc. Its anubhavas are sighing,
heaving, worrying etc.

10)Moha-(fainting)- Its vibhavas are bad luck, fear of illness, calamity, excitement, etc. Its
anubhavas are unconsciousness, giddiness, falling etc.
Q3. Nayak Nayika Bhed.
Ans.
NAYIKA BHEDA
In navarasa, Sringara rasa is most important rasa. There various types of lovers and beloveds.
The relationship of lover and beloved can be classified into eight types according to the mental
state of Nayika or the beloved. According to sage Bharata, Nayika is utmost importance and they
can be classified into Swiya, Prakiya and Samanya.
The nayika was the creation of Sanskrit literature, mainly of Bharat Muni, author of the
Natyashastra dating almost to the 1st century B.C., and the renowned exponent dealing primarily
with dance – drama or Natya. The foundation of the literary tradition of analyzing and
classifying the emotional states of men and women in love with zest and precision, who are
referred as nayaka and nayika were laid down by Bharata Muni and was continued by his
descendants in a well-defined approach. In fact, the later texts identified surprisingly many more.
And whether it is the Natyashastra or the Kavyasastras, one can clearly perceive an interesting
fact that nayika was a purely male point of view discussed only by the men.
1. Swiya: One who always thinks only about her own nayaka (husband). She even enjoys
the very thought of him.
2. Parakiya: One who enjoys the company of other men, despite being married and without
her husband’s knowledge.
3. Samanya: One who trains herself in music, dance and love play, to entertain men. She
gives herself to other men, merely for materialistic gain.
Classification on the basis of the social status Bharata also describes four classes of Nayikas
according to their Social Status
(a) Divya– a goddess
(b) Nrupa – patni – a queen
(c) Kula stree – a woman of high family
(d) Ganika– a courtezan. These according to their characteristics are of various kinds, such as
self – controlled (dhira), light hearted (lalita), exalted (udatta/)

There are a few classifications of the Nayikas.

The first classification in Shringara based on behaviour is as given below:
Mugda: The innocent one
Madhya: one with medium intelligence
Prakalpa: The experienced one (married, a public woman or on who belongs to another one)
The Ashta-Nayika is a collective name for eight types of nayikas or heroines as classified by
Bharata in his Sanskrit treatise on performing arts – Natya Shastra. The eight nayikas represent
eight different states situations (avastha) in relationship to her hero or nayaka. As archetypal
states of the romantic heroine, it has been used as theme in Indian painting, literature, sculpture
as well as Indian classical dance.
• Vasakasajja (One adorned for union) – Here the Nayika is waiting for her hero to return
from his journey and she in accordance with the occasion, dresses up beautifully and
decorates her abode, especially her bedroom chambers to welcome her lord.
• Virahonkhanditha (One anguished by separation) – The Nayika is pining for her lover
who has still not come back to her. She is completely distressed at the absence of her
lover who is yet to return from his journey. She is demonstrative about her suffering and
cannot bear to see happiness around her till her lover returns. Tears are her constant
companion.
 • Svadhinabhartruka (One who is proud of her lord) – This Nayika is loved very much
by her lover. She enjoys everything around her. She loves to travel and have fun. She is
generally satisfied about the way her life is going.
• Kalahantharitha (One who repents after a quarrel) – This Nayika has fought with her
lover and is now repenting about the same as she is separated from her lover. In sudden
anger and in arrogance, she rejected her lover and is now deeply regrets it. She is
generally restive.
• Khanditha (One who is angry with her lover) – This Nayika is distressed and very angry
with her lover for his infidelity. She is very rude in her behaviour towards him.
• Vipralabdha (One who feels deceived by her lover) -The Nayika feels betrayed and
hence is upset, irritated, swooning, tearful and the like.
• Proshitabhartruka (One who is missing her lover) – The Nayika is missing her lover
who has gone for a trip and hence is sad due to the temporary separation.
• Abhisarika (One who goes in search of her lover) – The Nayika here is very bold and
has no qualms in going in search of her lover. She pursues her lover relentlessly. She is
smart, daring & nonchalant.
Nayika based on nature:
Madhyama or a middling woman is that woman who desires men and is desired by men, is
skilled in the act of love, jealous of her rivals, is overcome with malice, is not sincere and has
short lived anger, is proud and can be pacified in a moment. Adhama or an inferior woman who
is angry without a suitable cause, ill-natured, very proud, fickle, harsh and remains angry for a
long time

• Uttama nayika: In spite of knowing that her nayaka has done her wrong, she excuses
him and stays with him
• Madhyama nayika: She behaves exactly like the nayak. If he shows his love, she too
expresses it. If he gets angry, so does she.
• Adhama Nayika: She is interested only to have his company, to suit her own likes and
convenience. She is not bothered whether he is clever or foolish, young or old, kind
hearted or rude. She only cares for his company. Even when he is soft, she is rude to him.
Quite unnecessarily, she gets angry with him. Even when he pleads with her, she refuses
to calm down.

NAYAK BHED
Just like the heroines, the moods and emotions of the hero are also classified. The main division
is
• Dheerodaatta eg. Lord Ram.
• Dheeroddhata eg. Demon Ravana
 • Dheeralalita eg. Vatsaraaja
• Dheerashanta eg. Buddha
Nayak’s Saatvik Qualities:
1. Shobha
2. Vilaas
3. Madhuria
4. Gambhiria
5. Sthariya
6. Tej
7. Lalit
8. Audhariya
Classification of Nayak according to their basic characteristics:
In the 25th Chapter of Natyashastra known as Vaishik upchara or Bahya upachara– Dealing with
CourtezansBharata described three types of woman on the basis of their prakruti or nature. They
are (a) Uttama or Superior, (b) Madhyama or middling and (c) Adhama or inferior. Uttama or a
Superior Woman is a woman who remains unperturbed when she has been offended, does not
use harsh words to her beloved one, has short-lived anger, possesses skill in arts, is desired by
men for her high birth wealth, capacity for giving enjoyment and the like, is an expert in the acts
of love (kamatantra) is honest, possesses physical charm, becomes angry only when there is
proper cause, speaks without malice and knows the proper occasion for all acts, is fit for sexual
union and is ‘subhaga’ i.e. of proper health and age.

• Uttama Nayaka – Pati (Uttama or Pathi)

He is the one who is faithful to his Nayika, or his married wifeMan, who has controlled
his senses, is wise, skilled in various arts and crafts, honest, expert in enjoyment, brings
consolation to the poor, is versed in different sastras, grave, liberal, and munificient, is to
be known as superior (uttam) character.
• Madhyam Nayaka – Upapathi (Madhyam or Upapathi)
He is the one who has a wavering mind, and is capable of attracting other women to him
• Adhama Nayaka – Vaishikan (Adhama or Vaishikan)
He is the one who is unfaithful to his Nayika, and takes pride in throwing his money and
buying a woman for his pleasure.
Classified according to their moods. They are:
Anukoolan: One who never thinks of any woman other than his married wife, such as Lord
Rama.
 Dakshinan: One who enjoys the company of all the women around him with equal affection.
He is the Upapathi or Madhyama Nayaka. when rejected he pleads to be accepted by the
woman.
Dristan: One who commits a mistake, and inspite of being scorned by the Nayika, tries to
pacify her and stays by her side.
Sadan: One who deceives and cheats his Nayika.
Classification on the basis of their Friends and surrounding:
• Peedamardhanan: One who has affection and respect for his friend’s Nayika. He also
cools down the Nayika’s temper, when she is angry with the Nayak.
• Vidan: One who is very well versed in the Kama Sastra.
• Sedan: One who is capable of bringing together the estranged Nayika and Nayak.
• Vidooshakam: One who is capable of making everybody laugh, a jester.