Thinking Activity
Indian Poetics: Rasa Theory
This blog is written in response to the thinking activity assigned by Dr. Dilip Barad sir, Department of English, MKBU on Indian Poetics. In this blog I will deal with Rasa Theory.
Introduction:-
Indian poetics is being considered as the earliest(ancient) criticism. So many scholars of India tried to define various literary theories very closely and if we pick any one theory, we will say this is right and at the same time we pick up other theories we would realise that they are also right. But what are those chief characteristics that distinguish as well as give prominent space to all of them in literary theories. We all have three kinds of imagery: 1. Dream 2. Land of memory and 3. Imagination. We can change Dream and Memory or can't even interrupt it as there is no scope of it. The only thing that is in our hands is "IMAGINATION". This imagination is the only facet that leads oneself to create literary aer. To understand Indian literary criticism, it is significant to understand that in literature,we always try to visualise ourselves. So it can be said that literature is our own reflection. In Indian Aesthetics, there are various schools and each of them tries to elaborate the significant part of poetics. These are
1. Rasa theory by Bharata2. Dhvani theory by Anandvardhan3. Vakrokti theory by Kuntaka4. Alankara by Bhamah5. Riti by Vaman6. Ramaniyata by Jagganatha
Rasa theory:-
The theory of Rasa is elaborated by Bharat Muni in the Sanskrit text Natya Shastra, an ancient text on the arts from the 1st millenium BCE which is an art of Natya(drama). However, its most complete exposition in drama, songs and other performance art is found in the works of the Kashmiri philosopher Abhinavgupta which demonstrates the persistence of a longstanding aesthetic tradition of ancient India.
The rasa school stresses this experiential or subjective side of poetic meaning.
Rasas are created Bhavas means State of mind.
According to Bharat, to understand Indian literary criticism, it is significant to understand the connection of "Bhava"(emotion) and "Language". Bhava is the first thing with which humans are connected since birth, also each and every animal has Bhava(Which is Natural). But language is something which is unnatural,which is taught or imposed. Language gives shape to emotions and expressions, thus it has become the branch of literature. The emergence of literature is impossible without language. But Bhava is an essential facet of the emergence of literature. Another significant point is in literature,we always try to visualise ourselves. So it can be said that literature is our own reflection.
સાહિત્ય જ આપણી ભાવસૃષ્ટિને વિચારસૃષ્ટિમાં ફેરવે છે.
Literature is the combination of Bhava and language.
Bhava+ Language = Literature.
As Mammat in his Kavya Prakash says that "સાહિત્યને સમજવા માટે ભાવ અને ભાષા વચ્ચેનો સંબંધ સમજાવો જરૂરી છે ." If we take an example of Cubism in Indian literature, in 'Shishupal Vadh',we can't find repetition of any word in the text after 9 Sargas. So this is an example of how language can be used in an excellent way. Bharat muni says that our life is also a kind of drama school where we all are a playing role of a character. So how is important, to which our Various Bhavas are expressed. In Sanskrit it is said that,
"रसात्मकम् वाक्यम् काव्यम्" अर्थात् रसयुक्त वाक्य ही काव्य है।
The Text begins its discussion of Rasa with as sutra called the Rasa Sutra:
विभावानुभावव्यभिचारिसंयोगाद्ररस निष्पत्ति:।
"Rasa is produced from a combination of Determinants(Vibhava), Consequents(Anubhava) and Transitory States(Vyabhicharibhava)."
This Rasa sutra can be divided into four parts:
Vibhava
Anubhava
Vyabhicharibhav
Combination of all three
In साहित्य दर्पण, It is said that, Rasa is emerged when Sthayi bhavas are combined with Vibhav, Anubhav and Vyabhicharibhav. So, before understanding Rasa Sutra, Let's first try to look at the Sthayi Bhavas:
Sthayi Bhavas:
Sthayi bhavas are those bhavas which we can't prevent from coming out as an expression. We can control these bhavas, we can increase and decrease the immensity of its expression. As Aristotle says in the definition of tragedy, "Tragedy is an imitation of an action that is serious, complete and of a certain magnitude... through pity and fear affecting the proper purgation of these emotions''. There are 8 Sthayi bhavas according to Bharata, but later on Abhinavagupta adds one more sthayi bhava 'Shant', which is not described by Bharata. Now generally 9 bhavas are called Sthayi bhavas. As Abhinavgupta describes,
शृङ्गार करुण वीर रौद्र हास्य भयानका।
बिभत्साद्भुत् शान्तश्च नव नाट्ये रसास्मृता:॥
From this sutra we can get nine Rasas:
Apart from these Sthayi bhavas, there are Asthayi Bhavas also, which are described in the rasasutra under the name "Vyabhichari Bhavas".
Now let's try to understand three aspects of the Rasa Sutra.
1. Vyabhichari Bhavas:
Vyabhicharibhavas can be called Asthayi or Sanchari Bhavas. These bhavas are temporary bhavas which become helping or catalytic bhavas to Sthayi Bhavas. According to Acharya Mammat, there are 33 Asthayibhavas except 9 Sthayi Bhavas. Which are Nirveda, Guilt, Doubt, Anguish, Madness, Labor, Laziness, Humility, Worry, Infatuation, Memory, Dhriti, Vrida, Flattery, Joy, Impulse, Inertia, Pride, Nostalgia, Curiosity, Sleep, Epilepsy, Dream, Enlightenment , amarsha (intolerance), avahittha (concealment of emotion), fierceness, mania, disease, frenzy, death, terror and argument.
2. Vibhav:-
Vibhava means cause. The reasons for the emergence of Sthayi bhavas are called vibhavas. They create / evoke permanent feelings, making them palatable. These are considered basic in the origin of Rasa.
There are two types of Vibhav: आलंबन विभाव and उद्दीपन विभाव.
आलंबन(Support) विभाव : The characters through which the rasa is possible are called alamban vibhavas.
उद्दीपन(Stimulant) विभाव: The actions performed by the subject and the place which helps in the discharge of the rasa are called Udipan Vibhava. This can be both Internal as well as external.
3. Anubhav:
In a simpler word Anubhav means reaction. This reaction doesn’t stay for a longer period of time, that's why these bhavas can be categorised under Vyabhichari(temporary)bhavas. Aristotle describes it as a change of fortune. He says that the change of fortune of the hero should be an event that occurs contrary to the audience’s expectations and that is therefore surprising, but that nonetheless appears as a necessary outcome of the preceding action.
Acharya Mammat, in the beginning of Kavyaprakash says that a poet’s creation is far beyond the creation of Brahma(God).
नियतिकृतनियमरहितां ह्लादैकमयीमनन्यपरतंत्राम्।नवरसरुचिरां निर्मितिमादधती भारती कवेर्जयति।।
In the world of Brahma, there are only 6 Rasas(Sweet, Sour, Salty, Bitter, Pungent and Astringent). At the same time these rasas are temporary not permanent. Whereas there are 9(more than that) rasas of the world of a poet and these are permanent or long lasting also.
In response to the rasa theory, so many scholars emerged with their different point of views. Here I am going to explain four essential counter arguments of four scholars.
1. Bhatt lollatt:-
Bhatt Lollatt argues that there is no Rasa but it is rather being created. This argument of Lollat is being considered as ‘उत्पत्तिवाद’.
2. Shree Shankuk:-
Shree Shakuk counter argued Lollat’s opinion that there is no Rasa and it can’t be created or emerged, but rather it can be supposed or perceived. This supposition or perception are of four types:
यथार्थ प्रतीति:- He is Bharata.
सादृश्य प्रतीति:- He is like Bharata.
संशय प्रतीति:- He can be BHarata.
मिथ्या प्रतीति:- He is not Bharata.
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. Abhinavagupta:-
Abhinavagupta counter argued to all three scholars that Rasa is generated only when the nut-nuty, the audience and the creator predict bhavas and engrossed in that bhavas. So Abhinavgupta in a way merges the opinions of all three scholars.
Now let’s try to collaborate all three bhavas(Vibhava, Anubhava and Vyabhicharibhav) together with a literary example:
પોઢેલા પિયુના પરે ઝળુંબતી કો રંગભીની વધૂ,
વિશ્રંભે ચૂમવા ચહે નીરખીને એકાન્ત આવાસનું,
ઓચિંતાં પિયુનેન ત્યાં ઊઘડતાં છાયે મુખે લાલિમા,
થંભ્યો અધ્ધર ઊગતો ક્ષિતિજથી, તેવો દીસે ચન્દ્રમા!
In this example all three bhavas emerge one by one.
- વિભાવ:- પતિની નિદ્રા અને એકાંત
- અનુભાવ:- ચુમવાનો ભાવ
- વ્યભિચારીભાવ:- ઓચિંતું પતિનું જાગી
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