ENLIGHTENING FLAVORClassical Indian Concepts in Art and Rasa

BHARATA MUNI

Savoring the Ineffable

Preparing for

the Dance,

Parsvanatha

Temple

Out of the determinants

(vibhava), consequents

(anubhava), and

transitory mental states

(vyabhicharin) the birth

of rasa takes place.

–Bharata Natyasastra

VI.31

Bharata’s Eight Rasas in Relation

EMOTIONAL

STATE

PRIMARY

RASARELATION

EMOTIONAL

STATE

SECONDAR

Y RASA

Love Erotic is mimicked by Laughter Comic

Anger Furious results in Sorrow Pathetic

Energy Heroic results in Astonishment Marvelous

Disgust Vile results from Fear Terror

From Emotions to Rasas

STABLE

EMOTIONS

DETERMINANT

S

CONSEQUENT

S

TRANSITORY

EMOTIONSRASA

Love/rati

flirting, dates,

jewelry and

makeup, gardens

glances, sweet

words

not fear, laziness,

cruelty

Erotic (pathetic

when separated)

Cheer/hasa

unseemly dress,

misuse of words,

impudence

wide eyes,

throbbing lips, facial

coloring

laziness, dreaming,

lying, envy

Comic (laughing

with and being

laughed at)

Sorrow/shoka

curses, separation

anxiety, loss of

wealth, death,

captivity

crying, lamentation,

loss of breath

languor, anxiety,

yearning, fatigue,

delusion, dejection

Pathetic

Anger/krodharape, abuse, insult,

lying, cheating

red eyes, knit

eyebrows, defiance

determination,

indignation,

restlessness

Furious

Energy/utsaha

presence of mind,

perseverance,

diplomacy,

assertiveness

firmness,patience,

charity, diplomacy

contentment, pride,

energy, ferocityHeroic

Fear/bhaya

hideous noise,

panic, ghost, wild

animals, death

trembling, loss of

voice, horripilation

trembling, paralysis,

seizures Terrible

Disgust/jugupsaunpleasant,

offensive thingsvomiting, spitting,

seizure, delusion,

sickness, covering

the mouth

Vile

Astonishment/visma

ya

Heavenly beings,

rich architecture

wide eyes, staring,

exclamations

weeping, agitation,

hurryMarvelous

Bharata’s Transitory States

The thirty-three Transitory States (vijabhuari- bhava)1 are

known to be the following : discouragement, weakness,

apprehension, envy, intoxication, weariness, indolence,

depression, anxiety, distraction, recollection, contentment,

shame, inconstancy, joy, agitation, stupor, arrogance, despair,

impatience, sleep, epilepsy, dreaming, awakening, indignation,

dissimulation, cruelty, assurance, sickness, insanity, death,

fright and deliberation. These are defined by their names.

Bharata Natyasastra VI 18-21[Love] should be represented on the stage by Consequents such as clever

movement of eyes, eyebrows, glances, soft and delicate movement of

limbs, and sweet words and similar other things. Transitory States in it do

not include fear, indolence, cruelty and disgust.— in separation should be

represented on the stage by Consequents such as indifference, languor,

fears, jealousy, fatigue, anxiety, yearning, drowsiness, sleep, dreaming

awakening, illness, insanity, epilepsy, inactivity, [fainting], death and other

conditions.

Bharata Natyasastra VI 44-45

BHARATA—RASA AT A GLANCEThe Glances to express the Sentiments

I shall now explain the characteristics of these glances in connexion with the various Rasas and

Emotional States, and shall describe their functions.

Kanta : When with a feeling of love a person contracts his eyebrows and castes a sidelong

look, he is said to have a pleasing glance which has its origin in joy and pleasure. It is used in

the Erotic Rasa.

Bhayanaka : The glance in which the eyelids are drawn up and fixed, and the eyeballs are

gleaming and turning up is called terrible. It indicates a great fear and is used in the Terrible

Rasa.

Hasya : In the smiling glance the two eyelids are by turns contracted, and they open with the

eyeballs moving and slightly visible ; it should be used in representing jugglery (Comic).

Karuna : The glance in which the upper eyelid has descended, the eyeball is at rest due to

mental agony, and the gaze is fixed at the tip of the nose, and there is tear (Pathetic).

Adbhuta : The glance in which eyelashes are slightly curved at the end, eyebrows are raised,

and the eyes are charmingly widened till the end (Wonder).

Raudri : The pitiless glance in which the eyeballs are rough, red, raised, and the eyelids are still

and the eyebrows knitted, is called cruel, and it is used in the Furious Rasa.

Vira : The glance which is bright, fully open, agitated, serious, and in which eyeballs are level is

used in the Heroic Rasa.

Blbhatsii : The glance in which the corners of the eyes are nearly covered by eyelids, the

eyeballs are disturbed in disgust and the eyelashes are still and close to each other (Vile).

Bharata’s Tempermental States

Are these States called Temperamental because other States

(Determinants, Consequents and Transitory States) are said to

be without the Temperament ?

[In answer] it is said that the Temperament in this connexion is

[something] originating in mind. It is caused by the concentrated

mind…. Its nature … cannot be mimicked by an absent-minded

man.

Bharata Natyasastra VII 93

How can sorrow which has weeping as its basis be represented on the

stage by anyone who is not sorry ? And how can happiness which has joy

as its basis be represented on the stage by any one who is not happy ?

Hence in acting there is a desired temperament connected with certain

States. The explanation of (he Temperament is this, that tears and

horripilation should respectively be shown by persons who are not [actually]

sorry or happy.

Bharata Natyasastra VII 93

Bharata’s Transitory States

…as taste (rasa) results from a combination of various spices,

vegetables and as six tastes (rasa) are produced by and other

articles,

such as sugar or spices or herbs, so the Emotional States,

when they come together with various other States become the

Rasa. Now one enquires, “What is the meaning of the word

rasa" ? It is said in reply to this that rasa is so called because it

is capable of being tasted. How is rasa tasted ? It is said that

just as well-disposed persons while eating food cooked with

many kinds of spices enjoy its tastes and attain pleasure and

satisfaction, so the cultured people taste the Emotional States

while they see them represented by an expression of the

various States with Words, Gestures and the Temperament and

derive pleasure and satisfaction.

The Birth of a Rasa

EMOTIONAL

STATEDETERMINANTS CONSEQUENTS

TRANSITORY

STATERASA

Love

flirting, dates, jewelry

and makeup, glances, sweet wordsnot fear, laziness,

cruelty

Erotic (pathetic when

separated)

For example, one who is elegantly dressed is called a lovely person (irnyarin).

Just as persons are named, after the custom of their father or mother or family in

accordance with the traditional authority, so the Rasa, the States and other

objects connected with drama are given names in pursuance of the custom and

the traditional authority. Hence the Erotic Rasa has been so named on account

of its usually being associated with a bright and elegant attire.

–Bharata Natyasastra VI.44

EMOTIONAL

STATE

DETERMINANT

S

CONSEQUENT

S

TRANSITORY

STATERASA

Laughter

unseemly dress,

misuse of words,

impudence

wide eyes, throbbing

lips, facial coloring

laziness, dreaming,

lying, envyComic

Why are the bhava (States) so called ? Is it because they bhavayanti (pervade) and are hence

called bhavas (States)?" It is said in reply that bhavas (States) are so called because through

Words, Gestures and the Representation of the Temperament, they bhavayanti (infuse) the

meaning of the play into the spectators. Bhava is 'cause' or ‘instrument’…

–Bharata Natyasastra VII.0

The Pathetic Rasa arises from

seeing the death of a beloved

person, or from hearing something

very unpleasant and these are its

Determinants.

–Bharata Natyasastra VI.62

EMOTIONAL STATE DETERMINANTS CONSEQUENTS TRANSITORY STATE RASA

Sorrow

curses, separation

anxiety, loss of

wealth, death,

crying, lamentation,

loss of breath

languor, anxiety,

yearning, fatigue,

delusion, dejection

Pathetic

The Pathetic Rasa is of

three kinds: that coming

from obstruction to lawful

deeds, from loss of wealth

and from bereavement.

–Bharata Natyasastra VI.78

EMOTIONAL

STATE

DETERMINANT

S

CONSEQUENT

S

TRANSITORY

STATERASA

Angeranger, rape, abuse,

insult, lying, cheating

red eyes, knit

eyebrows, defiance

determination,

indignation,

restlessness

Furious

Now the Furious (raudra)

Rasa has as its basis the

Dominant State of anger. It

owes its origin to …

haughty men, and is

caused by fights.

–Bharata Natyasastra VI.63

EMOTIONAL STATE Energetic

DETERMINANTS

presence of mind,

perseverance,

diplomacy,

assertiveness

CONSEQUENTSfirmness,patience,

charity, diplomacy

TRANSITORY STATEScontentment, pride,

energy, ferocity

RASA Heroic

The Heroic Rasa is of three kinds, arising from making gifts, from doing one’s

duty(dharma) and from fighting one's enemy.

–Bharata Natyasastra VI.79

Now the Heroic (vira) Rasa

relates to the superior type

of persons and has energy

as its basis.

–Bharata Natyasastra VI.66

EMOTIONAL

STATE

DETERMINANT

S

CONSEQUENT

S

TRANSITORY

STATERASA

AstonishmentHeavenly beings, rich

architecture

wide eyes, staring,

exclamations

weeping, agitation,

hurryMarvelous

The Birth of a Rasa

The Marvelous Rasa is of

two kinds, viz. celestial and

joyous. Of these the

celestial is due to seeing

heavenly

sights, and the joyous due

to joyful happenings

–Bharata Natyasastra VI.82

The Birth of a Rasa

The Marvelous Rasa is that

which arises form words,

character, deed and

personal beauty.

–Bharata Natyasastra VI.75

The Birth of a Rasa

Siva as Bhairava

EMOTIONAL STATE Fear

DETERMINANTS

hideous noise,

panic, ghost, wild

animals, death

CONSEQUENTStrembling, loss of

voice, horripilation

TRANSITORY STATEStrembling, paralysis,

seizures

RASA Terrible

The Terrible Rasa is also of three

kinds: feigned fear, fear from a wrong

action, and fear from an apprehension

of danger. –Bharata Natyasastra VI.80

The Goddess As Death (Camunda)

EMOTIONAL STATE Disgust

DETERMINANTSunpleasant,

offensive things

CONSEQUENTS vomiting, spitting,

TRANSITORY STATES

seizure, delusion,

sickness, covering

the mouth

RASA Vile

The Vile Rasa is of

three kinds:

nauseating, simple,

and exciting.

–Bharata

Natyasastra VI.81

BHARATA—RASA

Just as connoisseur of cooked food (bhalcta) while eating food

which has been prepared from various spices and other

articles, tastes it, so the learned people taste in their mind the

Emotional States (such as love, sorrow etc) when they are

represented by an expression of the Emotions with Gestures.

Hence these Dominant States in a drama are called the rasas.

BHARATA—RASA

Rasa is an emotional state cultivated through

the media of human gestures, behaviors, and

music and dance for conscious savoring.

BHARTṚHARI

The Creative Flash of Understanding

The meaning of the

sentence as a flash of

insight (pratibha) is

described—when the word-

meanings in a sentence are

detached (from out of the

sentence) and (thus)

understood, a different

flash of insight is produced

(out of it) T

–Bhartṛhari Vākyapadīya

143

Glancing at the amaranth’s glossing sprays

glowing in exquisite loveliness, just-revealed,

–loveliness that rightly belongs to the

beloved’s face–

how can a sensitive heart not flutter in pain

stung by proud Love’s flying arrows, my love?

—Kalidasa, The Gathering of the Seasons

(Rtusamharam), 18

That (flash of insight)

presented by the word-

meanings is described as

the meaning of the

sentence. It is by no means

describable to others in

such terms as "it is like this"

Having been formed from

the function of one's inner

self, its nature is not known

even to the person.

–Bhartṛhari Vākyapadīya

144

[Glancing at ((the amaranth’s glossing sprays)

glowing in exquisite loveliness)]

It effects the fusion of the

(individual) word-meanings,

without itself being logically

thought out, and it is

comprehended as

seemingly taking the form

of the collection (of the

word-meanings).

–Bhartṛhari Vākyapadīya

145

She will come into your view absorbed

in the day’s rites of worship or drawing my

likeness

imagined wasted by separation

or asking the melodious songster in the cage,

sweet one, do you remember our lord?

You were a favorite with him.

—Kalidasa, The Cloud Messenger

(Meghadutam), 84

or asking the melodious

songster in the cage,

sweet one, do you remember

our lord?

You were a favorite with him.

In the matter of the

knowledge of what to do,

no one transgresses it (i e

this flash of insight) which

is either produced directly

from speech or is a result of

recollection. The whole

world looks upon it as

authority (for their conduct )

Even in animals the

knowledge of the beginning

of behavior dawns by virtue

of it.

–Bhartṛhari Vākyapadīya

146-7

And this (flash of insight)

arises from precepts

accompanied by

recollection The precept is

qualified by either proximity

or distance (That is, it may

be of the near past, or of

ancient times).

–Bhartṛhari Vākyapadīya

151-4

The impassioned loverhaving passed some

months

on that hill, parted from her unsupported

—the golden armlet slipping down

to lay bare his wasted forearm—

saw on Asadha’s most auspicious day

a cloud embracing the crest of a hill,

strikingly shaped like a sportive elephant

bent down to butt a river bank

—Kalidasa, The Cloud Messenger

(Meghadutam) 2

That flash of insight is

considered to be of six

lands, as obtained (1 ) by

nature (2) by action (3) by

practice (4) by meditation

(5) by invisible causes and

(6) as handed down by the

wise—(similarly) although a

word functions as denoting

an object, which is

associated with shape,

color and parts, it does not

denote these (as part of its

meaning)

–Bhartṛhari Vākyapadīya

151-4

a cloud embracing the crest of a hill,

strikingly shaped like a sportive elephant

bent down to butt a river bank

—that through the

instrumentality of the

scent of a jasmine, or of a

lotus flower, the

accompanying which are

invariably associated with

the scent, are also

apprehended. The word

("water") functions as

denoting water whether it

is a drop or a mass—

without reference to

attributes, number,

quantity and location

–Bhartṛhari Vākyapadīya

157-8

Having rested, go on, sprinkling with fresh

raindrops

clusters of jasmine-buds in the gardens by

woodland streams,

enjoying a fleeting togetherness

as your gift of shade touches

the faces of flower gathering maidens, who

each time they wipe the sweat off their

cheeks, bruise

the wilting lotuses hung at their ears

—Kalidasa, The Cloud Messenger

(Meghadutam) 28

The burnt man understands

burning in a certain way

from his (direct) contact

with fire, but the meaning

burning is conveyed by the

word in a different way. The

meaning of the sentence is

grasped as of the nature of

a synthesis, when the

individual word-meanings

are in mutual association.

Its essential nature is not

presented (at the individual

word-meanings)

A preception is not identical

with its actual constituents

(the sense-data), and

similarly that formless one

(the meaning of the

sentence) is understood m

the form of the synthesis of

the word-meanings

–Bhartṛhari Vākyapadīya

418-22

BHARTṚHARI—PRATIBHĀ

Pratibhā is an ineffable intuitive understanding

co-originating from the logico-linguistic

apprehension of the meaning of a thing.

REFLECTIONS

What aesthetic terms would you use to describe Swades or the music in

the film?

Where would Bharata place Swades in his list of rasa? Where would

you? What inflections (other rasas) might Bharata make on the primary

rasa? You?

Is Swades more heroic or marvelous, in Bharata’s senses of the terms?

What is the relation between rasa and pratibha? How do each apply (or

not) to Gowariker and his film? To your experience of the film?

Compare and contrast the film scene in Swades with the drama scene.

Consider how to describe them in terms of pratibha.