Introduction
Natyashastra was written by the great Sage Bharat Muni. Once upon a time when there a question arises regarding the use of the four Vedas. Because, Firstly, the four Vedas are read-only by the sages and devatas and they can’t be read by the “Sudras”. Secondly, the four Vedas each contain specific contents.
Looking at all these aspects “Indra” (king of god) once asked Lord Brahma (one of tri dev) to create a fifth Veda which will be beneficial to all. It is said that whatever Lord Brahma speaks is considered Veda. Lord Brahma collected Recitative from Rig Veda, Song from Sama Veda, Abhinaya from Yajur Veda, and Rasa from Atharva Veda.
Collecting all this he created the fifth Veda which is known as "Natya Veda". This fifth Veda is beneficial for all classes including the Shudras. Brahma handover Veda to Lord Indra and asked him to practice and implement it with the help of his followers, but Indra failed in it.
Lord Indra asked Lord Bahama to look for anyone else. Brahma asked Narada muni (messenger) to find a person on earth who will be capable of practicing this Fifth Veda.
Narada muni searched Bharata Muni on earth and informed lord Brahma. Bharata muni was called by Lord Brahma and asked to practice it. Bharata Muni with his 100 sons and with the help of other devata and apsara practiced the Natya Veda and wrote “Natyashastra”.
Natya Shastra consists of 36 chapters. Chapters 6th and 7th are completely described by Rasa and Bhava.
Rasa eti Bhava
Rasa
In any case the significance of Rasa eti Bhava, there are two essential implications of Rasa. Abstract implies „juice‟ or „fluid‟. Its optional or non-exacting importance is „extract‟.
In the Ayurveda, the term Rasa was utilized to signify the essential squeeze that the stomach-related framework extricates from food and which is later changed over into blood, substance, bones, marrow, fat, and sperm (susrut Samhita XIV).
Bharat has utilized the term Rasa in this feeling of „extract‟. In the wake of bringing up the issue of what this word implies, he himself gives its answer saying that Rasa is supposed on the grounds that it is deserving of being tasted.
In the setting of the show, Rasa is a concentration. It is one of the eleven components that Natya comprises. Yet, Rasa is extricated from the ten components (Bhava, Abhinaya, Dharmis, Vritti, Pravrtti, Siddhi, Svara, Atodya, Gana, and Ranga) of Natya, says Bharat Gupta. It is called a concentrate maybe in light of the fact that it doesn’t have its sole presence.
It exists just in different components. These ten components are consolidated into Bhava, Vibhava, and Anubhava from which Rasa rises or is separated. That’s the motivation behind why the rise of Rasa is called Rasanispatti. The word, nispatti‟ proposes tumbling down also, this tumbling down recommends the trickling of a concentration.
There is no word or idea in the space of Indian feel which has gained more noteworthy noteworthiness than Rasa. It is the most significant component of a Kavya.
Its significance has been plainly communicated underway of Alankara Sastra, by calling it "Atman" (the spirit) "Angin" (the vital component), "Pradhana Pratipadya" (a thing to be for the most part passed on), "Svarupadhayaka" (that which makes an arrangement a „Kavya‟) and "Alankarya" (a thing to be adorned) and so on. Rasa has been talked about in practically all crafted by Indian abstract analysis legitimately or by implication.
Be that as it may shockingly in the long history of 2,000 years, no autonomous work managing with Rasa-Siddhanta only, as a hypothesis is accessible.
There are some little works like Rasatarangini, Rasapradipa, and so on which only interpretation of Rasa however here Rasa as a hypothesis has not been talked about. They simply portray various assortments of Rasa, their developments their definitions, and models.
The facts confirm that the Rasa eti Bhava hypothesis is examined in detail in a portion of the significant works like Dhvanyaloka, Kavyaprakasa, Sahityadarpana, Bhaktirasamratarindhu, Rasagangadhara, and so on.
There is no work that gives the historical backdrop of the advancement of the Rasa hypothesis. Rasa, as a hypothesis, was talked about without precedent for the Sixth and Seventh sections of the Natyasastra of Bharat.
Rajasekhar states in the presentation of Kavyamimansa that Nandikesvara is an autnority on Rasa yet no work by the creator or on the other hand any direction has come down to us. Panini discusses Natasutra by Silali yet indeed, even his work isn't accessible to us. In this way, we need to accept that in the historical backdrop of Indian artistic analysis, Bharat is the primary individual to talk about the hypothesis of Rasa despite the fact that there are questions in regard to the initiation. Be that as it may, the significance of Natyasastra can’t be diminished.
We need to respect the work and its creator and acknowledge the work as the first on the Rasa hypothesis. Before discussing the recorded improvement of the Rasa hypothesis, let us attempt to comprehend the Rasa idea that Bharat has given in his Natyashastra. Bharat's idea of Rasa: Bharat Muni is the framework creator, if not the originator of a complex strategy for utilizing feelings in dramatization.
He additionally built a hypothesis about the nature of feelings and their shared relationship, which has been acknowledged in India, by theatre individuals as well as by producers all things considered.
His assertion for feeling, ‟Bhava‟ in Sanskrit use implies; a condition, turning into, a method of feeling or thinking, conclusion, indication, or intension.
Despite the fact that Bharat Muni has utilized „Bhava‟ essentially to indicate feeling, different undertones are not precluded.
There can be numerous sorts of considerations or expectations in a given condition however with the end goal of Natya (and workmanship all in all), the state is signified by sentiments.
Bhava
Many people ask what is “Bhava”.
The Sanskrit word bhava (भव) implies being, common presence, turning out to be, birth, be, creation, starting point, yet additionally routine or enthusiastic inclinations.
While characterizing Bhava, the Muni says:
How could it be that they are called Bhava?
It is on the grounds that they are (bhavanti) existent that they are called thus, or on the grounds that they extend and communicate(bhavayanti) that they are called Bhava?
It is stated: that in light of the fact that with the offices of verbal, gestural, and unpretentious activities, they convey (bhavayanti) the significance of Kavya, they are called Bhava. What's more, Bhava, want, and finished activity, all mean something very similar.
In basic utilization, the action word from Bhava, bhavitam is utilized to demonstrate impregnation. As in the sentence, Indeed, this aroma, this flavor has impregnated everything here.
In this framework, feelings are viewed as powers that draw out the aggregate inward intension or the transmittable substance.
Contemplations, or scholarly ideas, may fluctuate or vary with time, however, passionate states are a constant piece of human instinct. Bhava, however newly felt in new circumstances and thoughts, continues as before regarding passionate substance.
They can, in this way, be named perpetual classifications. Bharat Muni separates them into three gatherings: Sthayi, Vyabhicari, and Sattvika.
In spite of the fact that it isn't so expressed, it is inferred that certain feelings by their very nature are all the more profoundly situated in the human heart.
In this manner, they can be developed for a more extended time in the sensational activity. They can additionally be felt just without anyone else, and some of them are consistently present in the human mind.
Such states are called Sthayi by the Muni, and they are eight in number: Rati or exceptional joy, Hasa or humor, Soka or anguish, Krodha or outrage, Utsaha or certainty, Bhaya or dread, Jugupsa or aversion, and lastly Vismaya or wonder.
The identical, quality of these among different emotions is demonstrated by Bharat Muni through similes.
The Sthayi, he says, are lords among men, or instructors among understudies. The transient or Vyabhicari passionate states are thirty-six: nirveda, glani, Sanka, asuya, Mada, srama, alasya, dainya, Cinta, moha, etc.
As indicated by the Indian framework, the Sthayi in Othello is Krodha and Rati though asuya, moha, and Cinta are the Vyabhicari. The third class of Sattvika Bhava has been talked about in the setting of the mode of impersonation.
Carefully, the Sattvika Bhava appears in the body of the states of the brain energized by Sthayi Bhava. They are overwhelming, and are, in this manner, called Sattvika or psychosomatic.
Bhava Prakara (Types of Bhava)
Vibhava and Anubhava
Presently, what is this Vibhava? A Vibhava is for making things known. Vibhava, Karuna, and Hetu are all words. That which makes known numerous sorts of importance with the assistance of verbal what's more, real Abhinaya is known as a Vibhava.
It might be asked, for what reason is a class like Vibhava essential when there is the classification of various channels of Abhinaya?
The appropriate response is straightforward. The single term Vibhava can mean all the instruments of meaning and this comes inconvenience in any examination of the wonder of dramatic correspondence. The historical backdrop of dramatic and artistic analysis in India is adequate evidence of the utility of the term Vibhava.
In spite of the fact that the Natyasastra doesn't make the qualification, later scholars further sub-separated Vibhavas into two, Alambana and Uddipana. The entertainer was called Alambana and the occasional portrayals were called Uddipana.
In the event that Vibhava is the transporter of the channels of correspondence, the channels themselves are called Anubhava.
The verbal and body Abhinayas including the offers of appendages, middle, head, and so forth., by which the importance is experienced, is called Anubhava.
There has consistently been a banter in Sanskrit scholarly hypothesis about who encounters significance, is it the observer, the entertainer, or both? I have cited the Natyasastra before to show that the entertainer must become the character surrendering his own self as a spirit reawakened.
He is, accordingly, expected to encounter the significance himself, the impact of the feeling to be ordered ought to be finished on him and it should show on his body and voice. This impact on the body is an encounter or Anubhava.
The accounts of these Sthayibhāva are as below:
- Rati -Rati refers to the deep-rooted emotion of Amor (God of Love) existing within the mind of a person by relation to a girl, or within the mind of a girl by relevancy to a person. it's many forms from Raga, passing through Anuraga, Prem, Sneha, Mana, Pranaya, and eventually attaining the strongest bond of affection. It will be depicted because of the feelings arising within the minds of the other sex for every other.
- Hasya -Hasya refers to a cheerful state of mind. It arises out of a person’s ludicrous senses, deformity, sudden slip of tongue, or other comic situations.
- Shoka -Shoka is caused thanks to the loss of a specific asset. It can arise out of the loss of property, dear one, or beloved.
- Krodha -Krodha arouses because of serious offenses of any kind. It reflects the recent temperament of the individual. It arises as a result of personal offense or public offense and killings. Utsah -(Hortitude) Utsah represents energy. It arises from happy recollections, events of charity, and valor displayed by self or another person. Such a state of mind belongs only to magnificent characters.
- Bhaya -Bhaya arises within the mind of the one who is exposed to grave danger. it doesn't transform into emotion in an exceedingly state of ordinary fear but when there's the fear of life it may be experienced clearly.
- Jugupsa - Jugupsa arises because of the hesitation one feels by horrid and ghastly scenes. One experiences a sense of nastiness on account of the sight of dirty, filthy, rotten, or terrific things
- Vismaya -Vismaya arises because of astonishments caused by extraordinary things, supernatural events, etc.
- Sancaribhāva
- Nirveda – Indifference
- Glani – Debility
- Sanka – Apprehension
- Asuya – Envy
- Mada - Intoxication of Pride / Inebriety
- Srama – Wearinessry
- Alasya – Indolencetige
- Dainya – Depression
- Cinta - Painful reflection
- Moha - Delusion of mind
- Smrti – Recollection
- Dhrti – Contentment
- Vrda – Shame / Bashfulness
- Capalta – Unsteadiness
- Harsa – Joy
- Avega - Agitation/ Flurry
- Jadata - Stupefaction / Immobility
- Garva – Arrogance/ Conceit
- Visada – Despondency
- Autsukya – Impatience/ Eagerness
- Nidra – Sleep / Slumber
- Apasmara – Dementedness/ Catalepsy
- Supta – Dreaming
- Vibodha – Awakening/ Wakefulness
- Amarsa - Animosity / Indignation / Wrath
- Avahitta - Constraint / Dissimulation
- Ugrata – Ferocity/ Acrimony
- Mati - Resolve/ Determination
- Vyadhi – Sickness
- Unmada – Madness/ Derangement
- Marana – Demise/ Mortality
- Trasa – Alarm/ Fright
- Vitarka – Trepidation/ Dubiousness
- Satvikabhāva (Involuntary Changes/Psychosomatic)
- Stambha – Motionlessness/ Stupefaction
- Swaid – Perspiration
- Romancha - Erection
- Swarbhanga - Halting tone
- Vaipathu – Trembling/ Tremour
- Vaivarnya - Becoming pale/ Pallor
- Ashru - Shedding tear
Rasa parakara (Types of rasa).
Rasa is born by music, meter, movement, signal, voice, tone, dress, make-up, and condition. Bhāva is the establishment of Rasa. Remembering all these, Bharat gives a distinct sutra of how rasa is created.
His popular rasa-sutra is ' Vibhāva nubhāva sancarisamyogat rasanispatti' for example through the mixing together, co-appearance – samyogat – of vibhāva, anubhāva, and sancribhāva developing/readiness/appearance/creation of rasa happens/occurs.
This sutra clarifies the beginning of Rasa as the result of the mix of Vibhāvas, Anubhāvas, and Sancaribhāvas. Vibhāvas represent the determinates, Anubhāvas for the subsequent, and Sancaribhāvas for the brief mental states which are assistant to the fundamental mental mien.
This sutra clarifies the beginning of Rasa as the result of the mix of Vibhāvas, Anubhāvas, and Sancaribhāvas. Vibhāvas represent the determinates, Anubhāvas for the subsequent, and Sancaribhāvas for the brief mental states which are assistant to the fundamental mental mien.
Bharat in Nāṭyaśastra emphasizes the fact that the object of art is a pleasure.
No doubt, art can be didactic and full of philosophical speculations, but all must come through a medium that is pleasurable. Rasa is the most essential component that excites feelings and gives guidance alongside joy.
In Natyashastra Bharata explained the eight rasas as: Srngara Hasya KarunaRaudra Vira Bhayanaka Bhibhatsyaadbhutasangno chetyashato natye rasaha smruta. (N.S 6.16).
This means, that the eight Sentiments (rasa) recognized in drama are as follows: Erotic (Srngara), Comic (Hasya), Pathetic (Karuna), Furious (Raudra), Heroic (Vira), Terrible (Bhayanaka), Odious (Bibhatsa) and Marvellous (Adbhuta).
Afterward, he mentions the ninth rasa as ‘Shanta’ rasa. There is evidence of support for the ninth rasa. Bharat, himself, in the Nāṭyaśastra mentions, “Evam Nava rasa data natyagnerlaksananvita”.
Shanta rasa is experienced when all calm pervades. It is developing calmness of mind and a feeling of relaxation.
Shanta rasa arises from the desire to secure the liberation of the self, which leads to the knowledge of truth and is connected with the highest happiness.
In Nāṭyaśastra Bharat Muni has listed eight or nine rasas is controversial. It is widely accepted by scholars that Santa rasa is a later addition and henceforth it forms an immortal part of the rasa theory.
1) Srngara Rasa (king of all Rasa)
2) Hasya Rasa
3) Karuna Rasa
4) Raudra Rasa
5) Vir Rasa
6) Bhayanaka Rasa
7) Bibhatsa Rasa
8) Adbhuta Rasa
9) Shanta Rasa
https://www.indiansfolkartandcultures.com/2020/05/a-role-of-indian-classical-dance-in.html
Rasa eti Bhava it's Colour and God
| Rasa | Bhava | Colour | God |
| Srngara Rasa | Rati | Syama | Vishnu |
| Hasya Rasa | Hasya | Pramatha | Sita |
| Karuna Rasa | Shoka | Kapota | Yama |
| Raudra Rasa | Krodha | Rakta | Rudra |
| Vir Rasa | Utsah | Gaura | Mahendra |
| Bhayanaka Rasa | Bhaya | Krsna | Kala |
| Bibhatsa Rasa | Jugupsa | Nila | Mahakala |
| Adbhuta Rasa | Vismaya | Pita | Brahma |
Conclusion
Rasa eti Bhava, the emotions that are described are the basic emotions that reside in humans and are present from the times of human existence.
The inquisitive nature of human beings has always pushed man to further think and rethink various aspects of any theory.
Though emotions and feelings are primitive sensations in human beings, Bharat was the first to lay copious and seriatim details about the emotions and the circumstances responsible for the generation of the same.
Science has also taken interest in seeking the circumstances and environment responsible for the generation of one particular emotion. Eventually, neuroscience approves of the fact that emotions are an inseparable part of human existence. which, Bharat had explained in detail many decades ago.
The brain and the sensory nerves are responsible for the reaction given by the body to a certain activity or event.
It is truly the brain that coordinates the entire body and produces the impulses to react and respond in a precise manner.
Rasa generation is thus a process that involves the active participation of all the sensory organs headed by the brain.
Therefore, the human brain reacts to an event or activity with the emotional quotient that it feels.
Since the time of its composition, Natyasatra is held in high esteem.
It is believed that Bharat is an acronym of three syllables, ‘Bha’ = ‘Bhāva ’(mood), ‘Ra’ = ‘Raga’(melodic framework), and “Ta’ = ‘Tala’(rhythm).
He was a connoisseur and so his work is complete in all senses. Bharat tells that plays should blend distinctive rasas however one rasa ought to overwhelm while others should subordinate them.
Rasa eti Bhava's theory can be applied to modern literature and the fact proves its universality, timeless quality, and rich potential.
Even today, dramas are written for aesthetic pleasure.
The Rasa Theory of Bharat knowingly or unknowingly is employed by authors and relished by readers as well as spectators.
If we remove the Rasa eti Bhava from life, life becomes inert and motionless like a beautiful wall clock, whose mainspring has been removed.
Writer Declaration
Rasa eti Bhava is a collection of all the data and squeezed form, for the people who don’t get all the thing’s briefly.
All credit goes to my teachers, all researcher scholars who had already done many valuable works upon Rasa & Bhava. Special thanks to my sister Sampada (eminent Odissi dancer), for the beautiful expression for my blog Rasa eti Bhava.
Wonderful definition
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