Some Aspects of the Rasa‑Theory

Summary

This article by Tapasvi Nandi examines the classical Sanskrit theory of rasa (aesthetic flavour), as codified by Bharata in the Natyashastra and further elaborated by later commentators like Dhananjaya and Singabhupala. It begins by tracing the evolution of the concept of rasa from the early emphasis on eight principal rasas—śṛṅgāra (erotic), hāsya (comic), karuṇa (pathos), raudra (furious), vīra (heroic), bhayānaka (terrifying), bībhatsa (disgusting) and adbhuta (wonderful)—to the later inclusion of śānta (peaceful) and the debate over the status of vipralambha karuṇa as a separate rasa. The author explains how rasa arises when the permanent emotional states (sthāyibhāvas) in the characters interact with external determinants (vibhāvas) such as time, place and objects, and manifest through expressive gestures, speech and involuntary physiological reactions (anubhāvas and vyabhicāribhāvas). Through close reading of Singabhupala’s Rasarnavasudhakara, the article surveys his discussions on the classification of heroes and heroines, the appropriate use of metres and linguistic styles (riti and vṛtti), and the proper mixing (saṅkara) of different rasas in a drama. Singabhupala’s nuanced treatment of rasa‑laya (tempo), his critique of earlier theorists like Bhaṭṭa Lollata and Śaṅkuka regarding the locus of rasa, and his advocacy of the bhukti‑vyakti view, which holds that rasa is primarily experienced by the sensitive spectator rather than being inherent in the actor or text, are presented in detail. The article also contextualises Singabhupala’s positions within broader discussions on the relationship between aesthetics and ethics, highlighting his insistence that a successful dramatic performance depends on the artist’s capacity to evoke emotional responses in the audience while maintaining moral decorum. By comparing passages from the Rasarnavasudhakara with examples from actual plays, the author demonstrates how theoretical principles are applied in practice. The study ends with reflections on the continued relevance of rasa theory in modern Indian performing arts and literary criticism.