Hasya Rasa - Sentiment of Laughter

Hasya Rasa (Comic Sentiment/ emotion or sentiment of laughter)

Hasya Rasa is one of the nine primary sentiments, or Rasas, described by Bharata Muni in the ancient Indian treatise on performing arts and drama known as the "Natyashastra." The term "Rasa" translates to "essence" or "sentiment," and Bharata Muni identified nine fundamental emotional states that are the essence of artistic and dramatic experiences. Here's a closer look at how Hasya Rasa fits into this framework:

1. Definition of Hasya Rasa:

Hasya Rasa is the sentiment of humor, laughter, and mirth. It aims to evoke joy and amusement in the audience. It encompasses a range of comedic expressions, from subtle wit and satire to slapstick comedy and absurdity.

2. Characteristics of Hasya Rasa:

The dominant emotion in Hasya Rasa is joy, and its purpose is to entertain and uplift the spirits of the audience. It is often associated with laughter, smiles, and a light-hearted atmosphere.

3. Presiding Deity and Color:

According to the Natyashastra, the presiding deity of Hasya Rasa is Gandharva, a celestial musician. The associated color is white, symbolizing purity and brightness.

4. Determinants (Vibhavas) of Hasya Rasa:

The determinants or Vibhavas of Hasya rasa are Vikrtavesa (Unseemly dress), Vikrtalankara (misplaced ornaments), Dharstya (Impudance), Laulya (covetousness), Kalaha (quarrel), Asatpracapa (near-obscene utterance), Vyanga Darsana (displaying deformed limbs), Dosoda Harana (Pointing out the faults of others) and other related things.

The determinants or Vibhavas that contribute to the generation of Hasya Rasa include various elements such as comical situations, witty dialogues, absurdities, and incongruities. These factors create a humorous context that triggers laughter.

4. Expressions and Gestures (Anubhavas) of Hasya Rasa:

In the context of a dramatic performance, Hasya Rasa is expressed through various physical and emotional manifestations known as Anubhavas. These include laughter, playful gestures, comic facial expressions, and other comedic actions that convey the lighthearted nature of the sentiments like biting the lips, throbbing of the nose and the cheek, opening the eyes wide, contracting the eyes, perspiration, colour of the face, holding the sides and others in comical way.

5. Transitory States (Vyabhicari Bhavas) of Hasya Rasa:

The transitory emotional states associated with Hasya Rasa include feelings like lethargy, dissimulation, drowsiness, sleeplessness, dreaming, waking up, envy and other things- joy, satisfaction, and contentment. These states arise as a result of the humor presented in the performance.

6. Audience Experience:

The ultimate goal of Hasya Rasa is to evoke a positive and joyful experience for the audience. Laughter is considered a form of emotional release, and experiencing humor in the context of a performance contributes to the overall aesthetic pleasure of the spectators.

7. Role in Dramatic Performance:

Hasya Rasa plays a crucial role in balancing the emotional palette of a dramatic performance. It provides moments of lightness and entertainment, preventing the overall narrative from becoming monotonous or overly intense.

8. Application in Various Art Forms:

   • Hasya Rasa is not limited to theatrical performances alone. It finds expression in various art forms, including literature, poetry, visual arts, and contemporary forms of entertainment. The universal appeal of humor allows Hasya Rasa to transcend cultural and temporal boundaries.

   •  Hasya is  of two types: Atmastha (self-based)  and Parastha (based on others), evoking laughter through odd elements like misplaced ornaments, unseemly behavior, etc.

   • There are six varieties of Hasya Rasa: Smita (gentle smile), Hasita (slight laughter), Vihasita (open laughter), Upahasita (Laughter of ridicule), Apahasita (obscene laughter), and Atihasita (Boisterous laughter).

   •  High-rank individuals exhibit Smita and Hasita; ordinary people display Vihasita and Upahasita; mean individuals express Apahasita and Atihasita.

   • Characteristics of 'Smita' for high rank: slightly blown cheeks, elegant glances, concealed teeth. Hasita features blooming mouth/eyes, blown cheeks, slightly visible teeth.

   •  Vihasita for ordinary individuals: sweetly produced laughter, contracted eyes, blooming cheeks, cheerful luster. Upahasita includes expanded nostrils, slightly bent shoulders, and head.

   •  Apahasita is usually unsuitable for lower social status, marked by tears, violent shaking of shoulders and head. Atihasita is excessively boisterous, with expanded eyes, tears, and hands covering sides.

   •  Hasya Rasa is essential to Natyashastra; in humorous interludes, depiction of smile or laughter should align with the social standing of superior, middling, and mean individuals.

Two well-known comic scenes from Sanskrit literature that exemplify the Hasya Rasa (comic or humorous emotion) are:

1. "Mattavilasa Prahasana" (The Play of the Drunken Sport) by Mahendravikramavarman:

   • This play, believed to be composed in the 9th century, is a classic example of Sanskrit humor. It revolves around the character of King Mahendravikramavarman, who, due to a series of misunderstandings, believes he has become a great philosopher. The play features hilarious situations and witty dialogues as the king, in his supposed wisdom, dispenses comically absurd philosophical teachings.

   • One particular scene involves the king trying to teach the concept of non-attachment to a cat. The cat, being a cat, is entirely disinterested and unwilling to participate in the royal discourse. The absurdity of the situation, combined with the king's earnestness, creates a humorous atmosphere that highlights the playful nature of Hasya Rasa.

2. "Mrichakatika" (The Little Clay Cart) by Sudraka:

   • "Mrichakatika" is a famous Sanskrit play written in the 5th century. It includes various comic elements, and one notable scene involves the character Charudatta and the thief Maitreya. Charudatta, a generous and kind-hearted man, is mistakenly thought to be wealthy, and Maitreya, a witty and clever thief, decides to rob him.

   • In their interactions, Maitreya's attempts to steal from Charudatta are repeatedly thwarted by unforeseen events, creating a humorous chain of events. The clever dialogue, mistaken identities, and the constant shift in power dynamics between the two characters contribute to the comedic nature of the scene.

Both of these comic scenes showcase the skill of Sanskrit playwrights in crafting humor through witty dialogues, clever situations, and the juxtaposition of characters. The comedic elements serve not only to entertain the audience but also to convey social commentary and insights into human nature.

         Thus, Hasya Rasa, as described by Bharata Muni, is an essential and delightful  sentiment that enriches the artistic and theatrical experience by bringing joy and laughter to the audience. It remains a timeless element of creative expression in the world of  performing arts.