\u201cOur emotions are the gastric juices which transform this world of appearance into the more intimate world of sentiments. On the other hand, this outer world has its own juices, having their various qualities, which excite our emotional activities. This is called in our Sanskrit Rhetoric, Rasa, which signifies outer juices having their response in inner juices of our emotions. And a poem, according to it, is a sentence or sentences containing juices, which stimulate the juices of emotion. It brings to us ideas vitalized by feelings, ready to be made into the life-style of nature\u201d <\/em> Where the hand goes, the gaze follows. Rasa<\/em> can be understood as a dynamic experience between the artist, expression, and those who receive it. The artist experiences an emotion and is so overwhelmed by it that he seeks a medium with which to express those feelings. The one who views the artists\u2019 work receives this emotion through the artists\u2019 medium and so experiences the same emotion felt by the creator. The extent to which the viewer experiences the emotion felt by the creator depends on both the creator\u2019s aptitude in presenting the work and the viewers\u2019 aptitude to receive it.<\/p>\n\n\n\n A key text which deals with the emotional theory of Rasa is the Natyashastra<\/strong> (the Textbook on Drama), attributed to Bharata Muni <\/em>(some academics believe that it is more likely to be a compilation by several different authors). Bharata ascribed a divine origin to drama and considered it to be a fifth Veda. The Natyashastra primarily deals with theatre, dance & musical performance. According to the Natyashastra, the major purpose of dance, drama, ritual and poetry is catalytic in that aesthetic performance should provoke an emotion that is already present in members of the audience. The various elements of a performance combine to create a sympathetic response in those who experience them. Moreover, a member of the audience who has cultivated his or her own aesthetic response may experience a transformation of their own emotion into a purely aesthetic, transcendental feeling \u2013 an experience of divine bliss. This is the transformation of Bhava<\/em> (\u201cmood\u201d) into its essence \u2013 Rasa<\/em>. (NB: A scholar or connoisseur is sometimes referred to as a rasika<\/em>).<\/p>\n\n\n\n According to Bharata\u2019s Natyashastra there are eight fundamental feelings or mental states referred to as Sthayibhavas<\/em> which can be experienced by human beings. These are: Delight (Rati), Laughter (Hasya), sorrow (Soka), Anger (Krodha), Heroism (Utsaha), Fear (Bhaya), Disgust (Jugupsa), and wonder (Vismaya). Corresponding to these mental states are eight Rasas: the Erotic (srngara), the Comic (Hasya) the Pathetic (Karuna), the Furious (Raudra), the Heroic (Vira), the Terrible (Bhayanaka), the Odious (Bibhatasa), and the Marvelous (Adbhuta). A ninth Rasa, the Peaceful (Shanta) was later added.<\/p>\n\n\n\n The realisation of Rasa is said to result from the union of three interrelated elements \u2013 Vibhava, Anubhava and Vyabicaribhava and also the permanent mood called Sthayibhava.<\/p>\n\n\n\n The means by which an emotion is activated are termed Vibhava<\/em>. There are two kinds of Vibhava \u2013 the Alambhana Vibhava \u2013 the person or the object in respect of whom the emotion is experienced and whose appearance is directly responsible for the bringing forth of the emotion; and the Uddipana Vibhava \u2013 the situation in the environment in which that person or object is placed and which is helpful in intensifying the emotional experience.<\/p>\n\n\n\n The outward manifestations brought forth as a result of the Vibhavas are known as the Anubhavas<\/em>. These are divisible into Vacika<\/em> \u2013 those which can be expressed by words (Vac<\/em> \u2013 \u201cspeech\u201d) and the Angika<\/em> which are expressed by bodily expressions. In Indian drama, for example, the Anubhavas communicate to the audience, the emotions being felt by the characters onstage.<\/p>\n\n\n\n There are also \u201cinvoluntary emotions\u201d known as Sattvikabhavas<\/em>: Stambha (paralysis), Sveta (sweating), Romanca (hair standing on end), Svarabheta (changes in one\u2019s tone of voice), Vepathu (trembling), Vaivarnya (changes in the colour of one\u2019s face), Asru (becoming tearful) and Pralaya (fainting).<\/p>\n\n\n\n The Sthayibhava (\u201cpermanent mood\u201d) is a major emotion which is developed by a number of minor feelings referred to as Vyabicaribhavas. There are thirty-three Vyabicaribhavas: Nirveda (disinterest), Glani (tiredness), Sanka (apprehension), Asuya (insecurity), Mada (intoxication), Srama (exhaustion), Alasya (lethargy), Dainya (pity), Cinta (anxiety), Moho (delusion), Smrti (recollection), Dhrti (steadfastness), Vrida (shame), Capalata (impuliveness), Harsa (sudden delight), Avega (excitement), Jadata (stupor), Garva (arrogance), Visada (depression), Autsuka (longing), Nidra (sleep), Apasmara (epilepsy), Supta (dreaming), Vibodha (awakening), Amarsa (retstrained anger), Avahittha (deception), Ugrata (ferociousness), Mati (analysis), Vyadhi (sickness), Unmada (temporary insanity), Marana (death), Trasa (panic) and Vitarka (argumentiveness).<\/p>\n\n\n\n For example, the Erotic Rasa arises from the Alambhana Vibhava \u2013 presence of the lover & beloved, the Uddipana Vibhavas\u2019 \u2013 the atmosphere of the place where the two meet, the call of night-birds; a gentle breeze, the moon, etc.; it gives rise to the Anubhavas \u2013 how the lover & beloved express themselves to each other (i.e. holding hands, kissing, embracing); it produces involuntary bodily responses (the Sattvikabhavas) and may give rise to complementary (or transitory) emotional states \u2013 the Vyabicaribhavas.<\/p>\n\n\n\n For Bharata, Rasa \u2013 the flavour or taste, emerges from from the combination of the various emotional factors in the same way that the distinctive flavour of a cooked dish results from the different ingredients and the manner in which it is prepared.<\/p>\n\n\n\n For Abhinavagupta, all experiences (be they cognitive, emotional, perceptual etc.) leave \u201ctraces\u201d in the mind. These traces have two components \u2013 the Representational, and the Emotional. The representational element can be a visual image or a propositional fact, the emotional element is a re-experiencing of the original feeling. So for example, in recalling a deceased friends, one may recall an image of them; recall certain facts about them, but also re-experience the sadness felt at their passing.<\/p>\n\n\n\n These traces are latent in our minds, according to Abhinavagupta. At certain times, they may be fully activated \u2013 we recall the memories and re-experience (to varying degrees) the emotions associated with them. However, there are also times when these traces are activated, but not brought into self-reflective awareness, yet there is some affect. So for example I might enter a particular place and feel suddenly sad. I might reflect on the sudden surge of sadness and recall a prior experience of sadness in that place, but what is important here is that the representational content of the memory was \u2013 initially \u2013 not present.<\/p>\n\n\n\n
Rabindranath Tagore<\/p>\n\n\n\n
Where the eyes turn, there goes the mind.
Where the mind goes, there comes bhava,
And where the bhava comes, there also will be rasa.
Natya Shastra<\/em><\/p><\/blockquote>\n\n\n\nTHE NATYSASHASTRA<\/h2>\n\n\n\n
THE COMPONENTS OF RASA<\/h2>\n\n\n\n
VIBHAVA (DETERMINANTS OR CATALYSTS)<\/h3>\n\n\n\n
ANUBHAVA (CONSEQUENCES)<\/h2>\n\n\n\n
VYABICARIBHAVAS (COMPLEMENTARY STATES)<\/h3>\n\n\n\n
ABHINAVAGUPTA\u2019S THEORY OF RASA<\/h2>\n\n\n\n