Consituents of Rasa ( Rasa Siddhanta)

Constituents of Rasa  (Rasa Siddhanta)

The The Rasa Siddhāṅta, or theory of aesthetic experience, finds its roots in the Nātyaśāstra by Bharata, a comprehensive guide to drama. It is built upon four types of acting: angika abhinaya (non-verbal expression), vācika abhinaya (verbal expression), aharya abhinaya (costumes and props), and sāttvika abhinaya (involuntary non-verbal expression). These elements combine to evoke deep emotions in the audience. Scholars like Bhattanāyaka and Abhinavagupta further developed this theory after Bharata.

The Rasa theory originates from the sixth chapter of Nātyaśāstra, the Rasasutra, which states that aesthetic pleasure arises from the integration of three elements: vibhāva, anubhāva, and vyābhicāribhāvās.

1. Vibhāva: Vibhāva serves as the cause or determinant of an emotion, creating awareness of intended emotions through objective conditions like objects, situations, or events. It is divided into two types: ālamban Vibhāva (person or persons causing the emotion) and uddīpan Vibhāva (external circumstances enhancing the emotion).

Example: In a story, when the hero and heroine see each other for the first time in a garden, the hero and heroine represent the ālamban Vibhāva, while the garden, fragrant breeze, and singing birds represent the uddīpan Vibhāva.

2. Anubhāva: Anubhāva refers to expressions that manifest emotions, such as gestures, smiles, or glances, conveying the inner feelings of characters.

3. Vyābhicāribhāvās: These are transient emotions that reinforce the primary emotion. For example, while waiting for her husband, a woman may feel anger, anxiety, and happiness successively, all reinforcing her primary emotion of love (śṛṅgār).

The interplay of vibhāva, anubhāva, and vyābhicāribhāvās leads to sthāyibhāva, the dominant emotional state. Bharata identifies eight sthāyibhāvas, each corresponding to a specific rasa:

1. Rati (Erotic Love) - śṛṅgār (Amorous)

2. Hasa (Laughter) - Hāsya (Comic)

3. Śoka (Sorrow) - Karuna (Compassionate)

4. Krodha (Anger) - Raudra (Wrathful)

5. Utsāha (Enthusiasm) - Vīra (Heroic)

6. Bhaya (Fear) - Bhayāṅakar (Fearful)

7. Jugupsa (Disgust) - Bībhatsa (Odious)

8. Vismaya (Astonishment) - Adbhuta (Marvelous)

These emotional states, evoked through the careful interplay of elements, contribute to the overall aesthetic experience of the audience in dramatic performances.