v Abstract

Natyashastra has prepared and beautifully deliberated vast dramatic contents of all aspects. It is a very well written practical book of drama, which has not left any theatrical matter. Natyashastra is the vast treatise for the common people of all castes, sects and the genders (Nāṭyaśāstra.I.12) and it could be enjoyed in both ways, i.e. visually and audibly. It comprises of the essential elements from the four Vedas like the text from the Rigveda, the song from the Samaveda, the representation from the Yajurveda and the sentiments from the Atharvaveda. Thus, it is called the fifth Veda.

Therefore, the ancient Indian classical drama was religious but not secular; and that is why Bharata classifies it as the representation of the states of the three-worlds. It is the imitation of the action of the people Nāṭyaśāstra.I.112), which is based on various emotions (Nāṭyaśāstra.I.112) and which depicts different situations (Nāṭyaśāsta.I.112). Again, it is based on the actions of good, bad and middle people (I.113); and it is the representation of human nature with its joys and sorrows of the world (Nāṭyaśāstra.I.119). Therefore, it is called drama. This paper mainly discussed on principles of Natya. It presents natya as a medium of parting relief to the masses. It also enumerates the doctrine of Rasa theory of Bharata, the silent features of the Rasa theory. It shows natya rasa as an instrument of stage presentation.

Keywords: Natyasastra, Rasa, Vibhava, Anubhava, Vyabhicari

v The concept of Rasa

In Sanskrit poetics a place of pedestal has been given to rasa. The concept of rasa, as we know it today, originated with the Natyasastra of Bharat. But this concept has undergone a tremendous change since its original formation. It has remained a core subject of constant discussion in Sanskrit poetics and it has shown a really qualitative transformation from its original shape of natya-rasa to its up- to-date doctrine of Kavya- rasa. Even the question of the number of rasas has never witnessed unanimity and many additions have been taken into consideration by the later poeticians over and above the eight rasas outlined by Bharata. It is not only the definition of rasa or the number of rasas which have attracted much of the speculations offered by Indian poeticians, but also the purpose and the necessity of rasa, as illuminated by Bharata in his masterpiece, have suffered a lot of diversions and digressions.

Originally Bharata had thought about rasa in the context of natya alone; but the later poeticians, who were influenced and guided by their philosophical commitments, converted the simple and straightforward concept of rasa into something highly intellectual and metaphysical doctrine.

After discussions on theory of rasa is what Brahman is; just as the yogins and sages experience the supreme pleasure of knowledge of Brahman, similarly the sahrdayas experience the supreme bliss of rasa through poetry.  The latest idea about rasa which was firstly discussed by the great Abhinavagupta-pada about a thousand years back in c. 10^th cent. A.D. The contents and diction offered by Abhinava, while discussing Bharata’s concept of rasa was repeated throughout the ten centuries by the later-day critics. According to Abhinava Gupta, ‘the pleasure derived from rasa is indeed different from the worldly pleasures; it remains unparalleled in so far it crosses the barriers of memory, inference and physical perception”.  Mammata represented the essential points Abhinava’s rasa- doctrine in his kavya-prakasa stating that ‘taste of rasas is similar to taste of Brahmasvada’. Visvanatha put views on rasa in his Sahitya Darpan said that “It is only a blessed few who are able to experience the supernatural (alaukika) pleasure derived from the rasa.

v Features of Rasa Theory

The silent features of rasa doctrine that mentioned above, are quite in contrast with the ones elaborated by Bharata in his Natyashastra:

                             ·         The later poeticians focused that the pleasure came from rasa is alaukika whereas the kind of pleasure which Bharata had visualized and aimed at, is quite the alaukika.

                             ·         The later doctrine of rasa explained that the taste of rasa belonged to the intellectual and rather spiritual arena; on the other hand, Bharata discussed rasa is a medium which can minimize fatigues and worldly worries of the spectators.

                             ·         In the later period it was thought that the rasa pleasure can be experienced by a few blessed people whereas it is the common man who was to be the real beneficiary in the Bharata’s concept of natya-rasa.

                             ·         It is quite evident that Bharata discusses rasa in the context of natya, i.e., the stage-presentation of the play in its totality and its direct impact on the spectators.

                             ·         By giving this status to rasa, Bharata, in a way directly attached rasa with staging of plays and made it an instrument of stage presentation. On the other hand, later poeticians, though discussing rasa with the help of dramaturgical terminology as introduced in the Natyasastra of Bharata, would explain it in the context of poetry alone.

v Natya-rasa as an instrument of the staging of plays

Bharata’s natya was purported to be a source of relief and diversion from the day-to-day complexities of life faced by man, which resulted in giving birth to various types of physical, mental, weariness, and all-round gloom and dismay. Natya was to be wholesome of some constitutes like theatre, acting, songs, music, rasa. In short, Bharata has explained rasa like other items in the natya, as an instrument in the staging of the plays, though, of course, rasa happens to be an instrument of great significance.

Bharata stated that natya is meant for the common man. He has observed that “The natya in all its rasas, bhavas and presentations would to be for all the people belonging to upper, middle and lower society.; it would impart useful knowledge and give patience, playfulness and pleasure to all; the people who are fatigued with mental worries, physical tiredness and worldly sorrows would, in all times, find rest and diversion through natya. The natya would the ilud give to the people religious advantages, long life and fame, sharpening of intellect and general usefulness. Bharata has given this opinion in four karikas of Natyashastra in which he has tried to focus on the purpose of natya. In the very beginning he has made it sufficiently clear that natya is for all and not for a chosen few; the natya envisages a kind of welfare for people from all walks of life. The natya will not only give them pleasure and diversion from worldly sorrows but will also graft in their minds useful qualities like patience, etc. which will help in the street lead a purposeful and happy life. This is the best specimen in the entire Sanskrit poetics of the description of the relationship between literature and society.

Rasa is one of the constituents of natya, therefore it has to be dramatized in such a way as to accomplish the social purpose of natya. Bharata has explained eleven constituents of natya. of all these instruments of natya, the rasa has been given a place of prime.

The rasa-sutra mentions an amalgamation of vibhava, anubhava and vyabhicari-bhava as a pre-requisite of rasa-realization. The kind of explanation which Bharata has brought forth on these three important dramaturgical terms, put the things beyond doubt that the illustrates author of natyasastra was treating rasa purely as an instrument of stage.

Bharata explains bhava as one which presents the abhinaya (acting) of rasa in different ways. Similarly, the definition of vibhava conclude that they imply a kind of rasa which is obtained through abhinaya. According to Bharata, rasa is the abhinaya, i.e. it is to be enacted, performed on the staged. Its staging ultimately leads to the maturity of natya. Here some quotations of Bharata are mentioned about vibhav, anubhava, vyabhicarin.

·       Vibhava: It is one of which introduces us with the abhinaya of speech, physical gestures, and emotions.

·       Anubhava: It is one which makes us feel the abhinaya of speech physical gestures and emotions.

·       Vyabhicarin: vi and abhi are the two prefixes car is a root meaning gati (movement). When combined with the abhinaya of speech, physical gestures, and emotions, the vyabhicarins variously lead us to the rasa during performance.

The above translated quotations from Bharata sufficiently demonstrate their author’s approach to the bhavas. There is no doubt that the later poeticians explained bhavas in a highly philosophic manner; yet they did not do the exercise from the point of view of natya or stage.

The rasa which was the resultant achievement of the abhinaya of the three varieties of bhava on the stage, was itself an instrument of stage-performance. While commenting on different rasas in the Natyasastra, Bharata has always kept high before himself the ideals of abhinaya.

·       Rati: “the abhinaya or rati is to be done through smiling face, sweet chirping of birds, sweet talks, amorous movements of the eye-brows, and the like.”

·       Soka: “the soka is to be enacted by the gestures like shedding of tears, show of agony, shrieks, murmuring voices, moha, deathand so on.”

·       Nirveda: “nirveda is born from poverty and separation and its abhinaya is performed through long breaths etc.”

v Conclusion

Bharata has envisaged natya as a medium of imparting relief to the masses who are down with physical tiredness, mental weariness, and a variety of sorrows in the world. The natya is a wholesome presentation of some eleven or thirteen constituents which together make for its success. Rasa is one such constituents, though in the matter of significance it occupies the first place. Bharata has cherished rasa, along with all its bhavas, as essentially an instrument of abhinaya, i.e., an instrument of staging of plays.