Hello viewers 👋
I am Kavita Chauhan,
student of sem 2 M.A. department of English m.k.b.u.
Thinking Activity of
Indian politics in Rasa theory
This blog is deal with Indian Poetics response to the thinking activity task
- assigned by Dr. Dilip Barad sir,
In this blog is part of thinking Activitiy task of Indian poetics & aesthetic for background reading you can read this Blog about ..Indian poetics &aesthetic
Introduction:
In ancient India, literary criticism was mainly in Sanskrit, known as Sahityasastra, Alamkarshastra, Kavyashstra, and Kavyamimansa. The primary goal of poetry was to evoke pleasure through Rasanubhuti.
Indian poetics, specifically Sanskrit poetics, played a crucial role in shaping literature. Concepts like Rasa, Vakrokti, Alamkara, Auchitya, and Riti emerged as branches of Indian poetics, it's discribing as below 👇
1. Rasa theory by Bharata
2. Dhvani theory by Anandvardhan
3. Vakrokti theory by Kuntaka
4. Alamkara by Bhamaha
5. Riti by Vaman
6.Auchitya by Kshemendra
Let's discuss in detail to rasa theory school of Indian politics:
1). RASA Theory :
Bharat Muni introduced the theory of Rasa in Natya Shastra, an ancient Sanskrit text focusing on the arts from the 1st millennium BCE, particularly in the realm of Natya (drama). While the foundational concepts are laid out by Bharat Muni, the most comprehensive exploration of Rasa in drama, songs, and other performance arts can be found in the writings of the Kashmiri philosopher Abhinavgupta. This highlights the enduring aesthetic tradition that persisted in ancient India.
Bharat emphasizes the crucial link between "Bhava" (emotion) and "Language" in Indian literary criticism. Bhava, the innate connection with emotions since birth, exists not only in humans but also in every living being naturally. On the other hand, language is artificial, learned, or imposed, shaping emotions and expressions, thus becoming a fundamental aspect of literature.
Literature's existence relies on language, as it provides the structure for emotions and expressions. However, Bhava plays a vital role in the inception of literature. Furthermore, literature serves as a mirror, allowing us to envision ourselves, making it a reflection of our own experiences and emotions.
કલા એક એવી વસ્તુ છે જેમાં આ ભાવોનું ઉધ્વીકરણ થાય ,તે એટલે રસ પ્રાપ્તિ."એક - દૂજે "-film નું example .
ભાવો ની સક્રિયતા રસો લઈ જાય છે.નવ રસો ભાવ ના બનેલા છે.
Bharat Muni in Natyashastra describes eight rasas. After on Abinavgupta add one more rasa namely "shanta" in it.
शृङ्गार करुण वीर
रौद्र हास्य भयानका।
बिभत्साद्भुत् शान्तश्च
नव नाट्ये रसास्मृता:॥
• Table of nine rasa •
Nine rasa come in the nine bhava .
Every bhava in everybody and it is stable
1. it's goes to memory but can't change .
2. Dream not on your hand.
3. Imagination world is it's your own.
Ex. સુગરીના માળા માં chnage નહીં હોય પણ આપડી ઉત્ક્રાંતિ છે ગૂફાથી ઘર સુધીની.
•||Three types of bhava ||•
1. Sthay bhava: stable
2.chasari bhava: (33 chansari bhavas & it's temporary time come and go)
3. Satvik bhava :(it's not express but knowing that's satvik bhava,
બીજ માંથી પૂનમ દઈ દે સહેજ પાપં નમેલી ખોલી નાખ. This line by Manoj Khanderiya is also example of Satvik bhava.)
Bhart Muni talk about rasa take bhavas in center and give formula:
विभावानुभावव्यभिचारिसंयोगाद्ररस निष्पत्ति:।
In this formula talk about four words it's as below 👇
1. વિભાવ :
2. અનુભવ :
3. વ્યભિચારી ભાવ :
4. સંયોગ :
That's all are come that time joy entertainment
રસ નિષ્પત્તિ અને આનંદ બંને પર્યાય છે
કલા માંથી આનંદ મળે છે
Art for life sake & Art for art sake.
As like what is saide poet in poem ? That type of questions poet nothing said but express experience of him that thing....
That's all bhavas explained in કાલિદાસ work Abhijnanan Shankuntalam.
1. Vibhav:
Rasa emerges through the connection between characters. In Abhijnanasakuntalam, Dushyant and Shakuntala exemplify Alambana-vibhava or Uddipana-vibhava. Another illustration could be Romeo and Juliet, representing vibhava-excitant.
-shrugar rasa
• Vibhav are divided in two types :
1. આલંબન વિભાવ (આધારે)
2. ઉદ્દીપન વિભાવ (ઉદ્યાન, વનસ્પતિ)
રા.વી. પાઠક ની કૃતિ "ખેમી" નું example (અપવાદ)
2.anubhav:
Anubhav means response
Other way said ... fellow to bhavas
3. Vybhicharee:
it's short time , temporary ex. સમુંદર માં મોજા આવા તે ક્ષનિક હોઈ , કૌતુક જાગે તે ચંસરી ભાવ અલ્પ સ્પર્શી ભાવ
-ભાવ એ મનુશ્ય ની સૌ થી વિશુદ્ધ મૂડી છે .
4. સંયોજન(સંયોગ):
Poet has to syncronizing in such way that can not differntiate with each other. Like suger melted in milk.
That all four are સંયોગ mix after rasa anubhuti happened.
•Now we will consider other acarya of the time.
In Sanskrit language critic's say to आलंगकारिक
1. ,Bhatt Lollata:
He highlights that Rasa is not there but emerges from. उत्पत्तिवाद
2.Shri Shankuk :
He advocates that Rasa is the Assumption of what is the situation.अनुमितिवाद
3. Bhatt Nayak:-
Bhatt Nayak counter argued Shankuk that there is no Rasa, it can’t be created or emerged and it even can’t be be supposed or perceived, but rather it is experienced or simplified(साधारणीकरण ).
This doctrine is considered as the prominent one because Bhatt Nayak uses the word Simplification(साधारणीकरण). It means to be diluted or melted in oneself. For Example, When the audience tries to simplify themselves what the character is.
4.Abhinav Gupta:
He talks about how characters loose their identity when they played a role. Spectators assume Rama's character as real Rama, feels the intensity of emotion. For example, Sita-virah, the agony of Rama is felt by them. This leads to be free from the beliefs that I am in agony. So in a way, chaeacters are becoming universal and creates atmosphere for catharsis.
Rasa અનુભૂતિ શરીર ને નથી થતી પણ મનને થાય
May be this is my understanding of rasa theory i write here I hope it's possible to useful to you
Thank you for visiting 😊
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