Assignment of paper 109: Rasa theory in " Shakuntalam" by Kalidasa

This blog is part of assignment of Paper 109: Literary Theory & Criticism and Indian Aesthetics.

Rasa theory in "Shakuntalam" by Kalidasa

Table of content:

•  personal Information
• Assignment details
• Keywords
• Introduction
• the predominant rasas portrayed in Kalidas a's play Abhjnanasakuntalam
• Cultural and Philosophical Implications
• Critical Reception

personal Information:

• Name: Maruniya Jay B
• Batch: M.A sem 2(2023-2024)
• Enrollment No: 5108230027
• Roll No: 13
• Email ID: maruniyajay2018@gmail.com

Assignment details:

• Topic: Rasa theory in "Shakuntalam" by Kalidasa
•  Paper and subject code: Paper 109: Literary Theory & Criticism and Indian Aesthetics(code: 22402)
• Submitted To: smt. Sujata Binoy Gardi, Department of English, MKBU, Bhavanagar
• Date of submission:26-04-2024

Abstract:

This study delves into the application of the Rasa theory in "Shakuntalam" by Kalidasa, a masterpiece of Sanskrit literature. The Rasa theory, a fundamental concept in Indian aesthetics, elucidates the emotional responses evoked in the audience through the portrayal of various sentiments. This paper aims to analyze how Kalidasa employs the Rasa theory to evoke specific emotional experiences in the audience, thereby enhancing their appreciation of the play. Through an exploration of key scenes, characters, and literary devices, the predominant Rasas of Shringara (Love), Karuna (Compassion), and Veera (Heroism) are identified and examined. Additionally, the cultural and philosophical implications of the Rasa theory in "Shakuntalam" are discussed, shedding light on its relevance to Indian thought and aesthetics. The study also reviews critical reception and scholarly interpretations, highlighting the enduring impact of Kalidasa's utilization of the Rasa theory on Indian literature and theatre. By providing a comprehensive analysis of the Rasa theory in "Shakuntalam," this paper contributes to a deeper understanding of the intersection between aesthetics, emotion, and cultural expression in classical Indian literature.

keywords: Rasa theory, Kalidasa, Sanskrit, literature, Indianaesthetic, Shakuntalam, Bhava, Vibhav,aAnubhava, Vyabhicha ri Bhava, Rasas (Shringara, Karuna, Veera, etc.)

Introduction:

Introduction of Rasa Theory:

The Rasa theory, originating with Bharata in the Natyashastra, finds its roots in the Vedic period, particularly in the Atharvaveda (200 BC-100 BC). This theory proposes that every object and meaning possesses an emotional effect capable of captivating the human mind through experience, thereby influencing the heart and mind. Bharata meticulously delineated various emotions and states of mind, analyzing their structures and articulating their impact on individuals within a literary context. Consequently, the theory of Rasa has evolved into a significant literary framework, deeply intertwined with human experiences and firmly grounded in reality. 

Rasa," a term rooted in Sanskrit meaning 'juice' or 'essence' in aesthetics, embodies the quintessential emotional state evoked in the human mind while engaging with various forms of art-be it through reading, watching, or listening. As individuals interact with artistic creations, a continuous mental process unfolds, stirring diverse emotions that are collectively referred to as Rasa. Bharat Muni, in his exploration of Rasa, delineated nine distinct emotional essences, each intricately linked to different Hindu deities and associated with specific colors.

• Srngaram- Love, Attractiveness, presiding by Vishnu, Colour: Green
• Hasyam- Laughter, Mirth, Comedy, presiding by Ganesha, colour: White
• Raudram- Fury, presiding by Rudra, colour: Red
• Karunyam- Compassion, Tragedy, Presiding by Yama, colour: Dove coloured
• Bibhatsam- Disgust, presiding by Shiva, colour: Blue
• Bhayanakam- Horror, Terror presiding by Kali, colour: Black
• Viram- Heroic Mood, presiding by Indra, colour Wheatish brown
• Adbutam- Wonder presiding by Brahma colour: Yellow
• Shantam- peace, tranquility presiding by Vishnu colour: white

In addition to the nine Rasas, two more appeared later especially in literature,

• Vatsalya- parental love
• Bhakti- spiritual devotion

Bharat Muni has presented his theory of Rasa in the sixth chapter of Natyashastra, he has said that, "No meaningful idea is conveyed if the "Rasa" is not evoked"

Further he adds that every dramatic presentation has an aim to evoke such aesthetic experience in the mind of the audience, it is a kind of the realization of beauty and art to the mind and awareness towards joy. Bharat Muni has scientifically presented the analysis of Rasa in his Natyashastra. He said that Natya is the imitation of life, in which different human emotions should dramatically, presented to the audience and glorify such emotions in the mind of audience as it is about pain or pleasure.

The production of aesthetic relish is calls 'rasanishpattih', which can be gain by combination of, determinates (vibhava), consequents (anubhav), and fleeting emotions (vyabhicharibhav). He has given two terms to experience the Rasa, first is which we can taste or flavor (asvadya) and the second is the well established dominant mood (sthayibhav). Dominant mood can be created by different Bhavas and abhinayas.

A highly recommended piece for delving into the Rasa theory is "Shakuntalam" by Kavi Kalidas. This renowned Sanskrit play, composed in Devanagari script, is a masterpiece by Kalidas, drawing from the epic Mahabharata. Though its exact composition date remains uncertain, it is believed to have been written between the 1st century BCE and the 4th century CE. The title, "Abhjnanasakuntalam," translates to 'pertaining to token-recognized-Sakuntala, implying a narrative centered around Sakuntala's recognition through a token. Often rendered as "The Recognition of Sakuntala" or "The Sign of Sakuntala," the play offers rich insights into the complexities of human emotions and experiences within the context of classical Indian literature.

The predominant Abhjnanasakuntalam : rasas portrayed in Kalidas a's play:

Kalidasa's "Shakuntala" indeed exemplifies his mastery in weaving together various rasas or emotional flavors, as prescribed by Bharata's doctrine of rasa.

1. Sringara Rasa (The Romantic Sentiment): The love between Shakuntala and Dushyanta embodies both the ecstasy of union (sambhoga sringara) and the agony of separation (vipralambha sringara). Their affection, expressed through dialogues, gestures, and poetic descriptions, evokes both the erotic and sublime aspects of romantic love.

Example:

Sambhoga Sringara (Love in Union): "Her lower lip has the rich sheen of young shoots,/her arms the very grace of tender twining stems;/her limbs enchanting as a lovely flower/glow with the radiance of magical youth." This description of Shakuntala's beauty by Dushyanta evokes the erotic aspect of sringara rasa.

2. Karuna Rasa (The Pathetic Sentiment): The narrative unfolds tragic events such as the separation of the lovers, Shakuntala's abandonment by Dushyanta due to the curse, and the poignant scenes of departure from the hermitage. These evoke a profound sense of sorrow and grief, stirring the audience's emotions.

Example :

"How can my grief ever leave me, O my beloved child, when I see grains of wild rice already scattered by you sprouting green shoots at the cottage door." Sage Kanva's sorrow at Shakuntala's departure from the hermitage evokes karuna rasa.

3. Raudra Rasa (The Furious Sentiment): The curse imposed on Shakuntala by the wrathful sage Durvasa and Shakuntala's justified outburst when Dushyanta fails to recognize her are instances of intense anger and fury, portraying the darker facets of human emotions.

Example :

"SAKUNTALA (in anger): Ignoble man! You who are like a well covered with grass...you judge every one by the measure of your own heart... who would stoop to imitate your conduct ... practicing falseness putting on the mantle of virtue?" Shakuntala's outburst against Dushyanta when he fails to recognize her is an instance of raudra rasa.

4. Veera Rasa (The Heroic Sentiment): King Dushyanta's heroic deeds, such as protecting Shakuntala from a bee and accepting Indra's call to battle the Titans, display valor, courage, and nobility, evoking feelings of admiration and inspiration.

Example :

"KING (hastily steps forward): Ha! While the chastiser of the wicked, great Puru's scion rulers  over this rich earth, who dares behave in the churlish manner to guideless, young girls of the hermitage."Dushyanta's heroic act of protecting Shakuntala from the bee depicts Veera Rasa.

5.Adbhuta Rasa (The Wondrous Sentiment): Dushyanta's marvel at the seamless glide of the chariot and Sarvadamana's playful interaction with lion cubs evoke a sense of wonder and amazement, captivating the audience with the extraordinary and magical elements of the narrative.

Example:

"KING (in a tone of almost wonder): How's this Matali! The wheels glide noiseless; no jolting is felt; no dust is seen whirling around; they do not touch the surface of the Earth; nothing marks the chariot's descent."Dushyanta's sense of wonder at the smooth glide of the celestial chariot illustrates adbhuta rasa.

6.Santa Rasa (The Quietistic Sentiment): The tranquil and serene ambiance of the hermitages, particularly those of Kanva and Kashyapa, instills a sense of peace and calm, providing moments of respite amidst the turbulent emotions and events unfolding in the story.

example :

"Rippling beneath a passing breeze, waters flow in deep channels to lave the roots of trees; smoke drifts up from oblations to the Sacred Fire to dim the soft sheen of tender leaf buds; free from fear, fawns browse lazily in meadows beyond, where darbha-shoots are closely cropped."This description of the serene hermitage of Kanva evokes santa rasa.

Cultural and Philosophical Implications:

Cultural context of "Shakuntalam"

"Shakuntalam" is set in ancient India during the time of King Dushyanta and the sage Kanva. The play reflects various aspects of Indian culture, including societal norms, religious beliefs, and traditional values. The depiction of the forest hermitage, royal courts, and divine elements such as gods and sages all contribute to the rich cultural tapestry of the narrative. Moreover, "Shakuntalam" explores themes of love, duty, and destiny that resonate deeply with Indian audiences, reflecting timeless cultural ideals.

Relationship between Rasa theory and Indian philosophical concepts

The Rasa theory, with its emphasis on evoking emotional responses in the audience, intersects with several key philosophical concepts in Indian thought. For example, the idea of Samsara (the cycle of birth and rebirth) suggests that emotions experienced in one life may carry over into the next, influencing the individual's karmic journey. Similarly, the concept of Dharma (moral duty) relates to the ethical implications of emotional experiences depicted in art. The Rasa theory thus provides a framework for understanding the emotional and moral dimensions of human existence within the broader context of Indian philosophy.

Critical Reception:

Scholarly interpretations of the Rasa theory in "Shakuntalam"

Scholars have extensively analyzed how Kalidasa employs the Rasa theory in "Shakuntalam" to evoke emotional responses and create aesthetic experiences for the audience. They explore the nuanced portrayal of Rasas, the use of Bhavas, Vibhavas, Anubhavas, and Vyabhichari Bhavas, and the overall effectiveness of Kalidasa's techniques in engaging viewers. Additionally, scholars may examine the play's thematic depth, character development, and narrative structure through the lens of the Rasa theory, shedding light on its significance in the broader context of Indian literature and theatre.

Impact of the play on Indian literature and theatre

"Shakuntalam" holds a revered status in Indian literary and theatrical traditions, serving as a benchmark for excellence in storytelling and dramatic artistry. Kalidasa's masterful blending of poetry, drama, and philosophy in "Shakuntalam" has inspired generations of writers, playwrights, and performers. The play's themes of love, fate, and redemption resonate deeply with audiences across time, contributing to its enduring popularity and cultural significance. Furthermore, "Shakuntalam" has influenced the development of Indian theatre techniques and performance styles, shaping the trajectory of dramatic expression in the region.

Continued relevance of the Rasa theory

Despite being formulated over a millennium ago, the Rasa theory remains highly relevant in contemporary discourse on aesthetics and emotional experience. Scholars and artists continue to explore its principles in various forms of art, including literature, theatre, dance, and music. The Rasa theory provides a universal framework for understanding the emotional impact of artistic expression, transcending cultural and temporal boundaries. Its enduring relevance underscores the timeless appeal of human emotion and its role in shaping our perception of art and beauty.

conclusion:

In conclusion, looking at the Rasa theory in "Shakuntalam" shows us how emotions and stories are connected. Kalidasa, the writer, uses this theory to make us feel different emotions like love and bravery as we read or watch the play. We also see how the play reflects the culture of ancient India and talks about big ideas like destiny and duty. Comparing it to Western ideas about art, we see that it's different but still important. People who study this play help us understand its meaning better, showing us how it's influenced Indian stories and plays for a long time. Seeing how the Rasa theory is still talked about today shows us that understanding our feelings and stories is something everyone cares about, no matter where or when they live.

Resource:

Britannica, The Editors of Encyclopaedia. "rasa". Encyclopedia

Britannica, 19 Mar. 2024, https://www.britannica.com/art/rasa.

Accessed 25 April 2024

Chaudhury, Pravas Jivan. "The Theory of Rasa." The Journal of Aesthetics and Art Criticism , vol. 11, no. 2, 1952, pp. 147-50. JSTOR

,https://doi.org/10.2307/426040. Accessed 25 Apr. 2024.

Gerow, Edwin. "Plot Structure and the Development of Rasa in the Sakuntalā. Pt. I." Journal of the American Oriental Society , vol. 99, no. 4, 1979, pp. 559-72. JSTOR

,https://doi.org/10.2307/601446. Accessed 25 Apr. 2024.

Mund, Tripti. "The Doctrine of Rasa and Abhijyana Shakuntalam." Kalidasa's Shakuntala And The Doctrine Of Rasa ,skcollege.org/wp-content/uploads/2020/01/Abhijyana-Shakuntalam-and-Rasa-converted.pdf. Accessed 25 Apr. 2024.