Susruta, Caraka and Bharata

Summary

‘Susruta, Caraka and Bharata’ explores the interplay between ancient Indian medical science and the art of dramaturgy. The article argues that the Ayurvedic texts Caraka Samhita and Susruta Samhita share philosophical underpinnings with Bharata’s Natyasastra, particularly the theory of rasa, or aesthetic flavour. According to the author, aesthetic enjoyment depends on the balance of the body’s humours and mental states. Caraka and Susruta describe how disturbances in the tridosha (three bodily humours) and mental states such as fear, anger, grief and delusion affect both health and behaviourfile:///home/oai/share/563030_compressed-5-107.pdf. The Natyasastra lists vyabhicaribhavas, transient emotions that support the dominant mood of a play; these emotions often correspond to the pathological states enumerated in medical texts. For instance, the Bhayanaka (terrifying) rasa is supported by emotions like fear, bewilderment and paralysis, which Caraka associates with vata imbalance. The article also observes that Susruta emphasises the effect of mental disturbances on physical diseases, while Caraka prescribes moral and psychological remedies alongside medicinesfile:///home/oai/share/563030_compressed-5-107.pdf. Bharata draws from this medical vocabulary when defining how actors should portray emotions—eyes widen in fear, limbs tremble in anger, voice falters in sorrow—demonstrating an understanding of physiological responses. The article further notes that both Ayurveda and dramaturgy highlight the importance of equilibrium: just as the physician seeks to restore doshic balance, the playwright aims to balance emotions to produce rasa. The author analyses specific passages where Bharata mentions herbal drugs, diet and lifestyle appropriate for actors, suggesting he relied on contemporary medical knowledge. Additionally, the article explores common metaphors: life is likened to a drama and the body to a stage. It suggests that the cross‑pollination between medicine and theatre reflects the holistic worldview of classical India, where art, science and religion were not compartmentalisedfile:///home/oai/share/563030_compressed-5-107.pdf. This interdisciplinary perspective enriches our understanding of both Ayurvedic psychology and the aesthetics of Sanskrit drama.