Srngararasa

Sringar Rasa as an Analysis of Human Erotic BehaviorZameerpal Kaur

AbstractIndian classical poetics holds very old and rich tradition of poetics and

aesthetics, assumed to be started with Bharata Muni`s Natyashastra and continued almost for a period of seventeen centuries. Rasa theory is proved to be the universally accepted, most important contribution of Indian poetics. This theory reveals that human mind consists of some permanent or dominant moods i.e. Sthayi Bhavas which generally lie dormant, but are aroused by some external stimulus experience like witnessing an artistic product or reading a piece of literary work or in any other similar circumstances. Bharata has described eight Rasas linked with eight unique Sthayi Bhavas or permanent moods, as: 1. Sringara – love or the erotic, 2. Hasya - humour, 3. Karuna - pathos, 4. Raudra- wrath, 5. Vira - heroism, 6. Bhayanka - terror, 7. Vibhatsa - disgust, 8. Adhbuta - wonder or marvellous.

According to Bharta Muni, Sringara Rasa or mutual enjoyment of love between male and female, is the reciprocal joyful gestures of a young man towards a young woman contributing to mutual enjoyment of love. So, the erotic rasa or Sringar Rasa arises from the permanent mood of Rati or love – the agreeable inclination towards the desired object, in presence of the lover and beloved (that is Alambana Vibhava).The exciting causes or determinants (or the Uddipana Vibhavas) of Sringar Rasa are the atmosphere of the place where the two meet, for example the sweet voice of night-birds, the moon, garden, cool breeze, river bench, sweet music, picture gallery etc. This situation gives rise to Anubhavas or physical manifestation– how the lover and beloved express themselves to each other, it may be love-soaked speech, affectionate exchange of glances, embracing, kissing, twisting of brows or holding hands etc. It produces involuntary bodily responses (the Satvik Bhavas) like Sveda (sweating), Romancha (hair standing on end), Svarabheda (changes in one’s tone of voice), Vepathu (trembling),Vaivarnya (changes in the colour of one’s face) and also may give rise to complementary (or transitory) emotional states or the Vyabicari Bhavas.

This paper will focus on the detailed discussion of Sringar Rasa, considering Rati or love as the prominent mood of human erotic behavior. Bharata Muni has used all technical terminology of this theory in Sanskrit, which has been given with English substitutes throughout the paper.

Keywords: Rasa theory, Indian poetics, Sringar Rasa, Bharata Muni, Natyashastra, Rati or love, Sthayi Bhavas or permanat moods, Anubhava or physical manifestation, Bhavas or temperamental reactions.

Sringar Rasa as an Analysis of Human Erotic Behavior

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Bharta’s Natyashatra (almost 1st century B.C.) is considered to be an oldest independent available text of Indian aesthetics and literary criticism. Ancient Sanskrit poetics in India, holds a very rich tradition of literary criticism divided into six different streams or Schools namely Rasa, Alamkara, Riti, Dhvani, Vakrokati and Auchitya School.

Being the first and most important theory of the tradition, Rasa theory occupies the prominent place among all these schools of Indian Poetics. Bharta Muni is acknowledged to be the first exponent of the doctrine of relish or Rasa, which he has systematically set forth in his celebrated treatise on dramaturgy, Natyashastra. ‘Tradition considers Natyashastra as an additional Veda: The natya (in fact) is depiction and communication pertaining to the emotions of the entire triple world: the pious behaviour of those who practice religion, passion of those who indulge in sexual pleasure, the repression of those who go by a wicked path, the act of self restrained of those who are disciplined.’1

All of Bharta`s interpretations on rasa are mainly in the context of dramatic representations. In Natyashastra Bharata has interpreted every aspect of literature in terms of rasa.

Even though, his main concern was for the dramatic art form, the rasa theory has been applied to study all forms of literature including other forms of art and aesthetic creation also.

The theory emphasises on the emotional aspect of the text and how it is received by the reader/receptor.

Now the question is what is Rasa? As per Natyashastra, “the relish is Rasa” or Rasa is that which is relished. This relishing or asvada is of two types, relishing or asvada of external objects and relishing or asvada of internal objects. The external objects can be enjoyed only through the senses, whereas realisation (Rasa-anubhuti) takes place through mind,that is why it is a kind of mental experience.2

In Indian literary criticism Rasa is discussed in three aspects, as a poetical element, as a theory and as a literary school. In Natyashastra Bharata interpreted every aspect of literature in terms

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__________________________________________________________________of Rasa. Bharata interpreted the human feelings and emotions as Bhavas. Emotions or Bhavas are transformations of consciousness of particular mental states. Consciousness is unchangeable, it cannot undergo transformation. Other objects generally help in some or other in bringing the emotions into being, which are further classified to three categories: Sthayi or permanent mood, Vyabhichari or transitory moods and Satvik Bhavas or temperamental reactions or responses to the rise of a permanent emotion. In terms of Bhavas Bharta stated his formulation consisely in his well-known aphorism or Rasa-sutra as under:

VibhawanubhawavyabhcharisanyogadrasnishpatiThe rasa results

from the combination of determinants (Vibhavas), consequents (Anubhavas) and the accessory or secondary moods (Sanchari Bhavas), which are in the minds of the recipients of the aesthetic product as a response to the product. The rasa theory reveals the human mind consists of some permanent or dominant moods i.e. Sthayi Bhavas which generally lie dormant but are aroused by some stimulus experience like witnessing an artistic product or reading a literary piece of work. Finally a condition arrives when the spectator/reader forgets himself and enjoys the aesthetic pleasure indistinguishably. The resultant aesthetic enjoyment is called Rasa. Hence Rasa is a mental state or pleasure aesthetically enjoyed or capable of being tested or relished. And the Rati, Hasya, Krodha, Utsaha, Vismaya are the objects of experience of a person or Sthayi Bhawas or permanent/dominant moods which are latent in his/her own mind and when fully aroused attains the condition of Rasa or is transferred onto Rasa and becomes relish worthy. So, Rasa is the experience of one`s own mental emotions.

Bharata described eight Rasas linked with unique Sthayi Bhawas, as: 1. Sringara – the erotic, 2. Hasya – the humour, 3. Karuna - the pathos, 4. Raudra- the wrath, 5. Vira - the heroism, 6. Bhayanka - the terror, 7. Vibhatsa - the disgust, 8. Adhbuta - the wonder or marvelous.


__________________________________________________________________In this paper an effort has been made to explore how Indian

poetics and aesthetics deal with the basic extinct of erotic. The representation of human erotic behaviour and its analysis as described in Natyashatra has been discussed with special reference to Sringar Rasa.

Bharata presented forty-nine bhawas comprising eight Sthayis, eight Satvik Shavas and thirtynine Vyabhichari Bhavas.

The Sthayis are dominant or permanent moods as compared to Vyabhichari Bhawas, which are mainly transient in nature means always rising and disappearing in the service of the dominant emotions. So the permanency of Sthayis is relative in comparison with Vyabhicharis.

The Satvik Bhavas are more appropriate temperamental reactions or responses indicating the rise of permanent emotion. Although these are not directly mentioned in Rasa sutra they are recognised as necessary accomplishments of an emotion. The three fold division of the Bhavas is shown as under:

Sthayi Bhavas are eight;Rati or love, Soka or grief, Krodha or wrath, Utsaha or energy , Bhaya or fear, Hasa or humour, Jagupsa or disgust. Vyabhchari or Sanchari Bhavas are thirty-three; Nirveda or despondency, Vishada or frustration, Gilani or fatigue etc. Sattvik Bhavas are eight; Sveda or perspiration, Stambha or stupefaction, Kanmpa or tremor, Ashru or tears, Romancha or horrification, Parlya or swoon, Svarbhanga or change of voice, Vismaya or wonder.

The exciting causes or determinants of the rise of the emotions are called Vibhavas. These are further divided into two categories: Alambana or supporting causes and Uddipana or stimulating causes. The supporting causes are mainly characters or persons in a play, poem or piece of a literary work, for example lover and beloved in Sringar Rasa. Stimulating causes are the circumstances which provide the excitement to the awakening of that particular emotion eg. flowers, moon rise, spring season etc. in the case of Sringar Rasa. Rati becomes the Sthayi Bhava of Sringar Rasa

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__________________________________________________________________when the heart is delighted by an object towards which the mind is favorably disposed such as one`s own husband.

The external or physical manifestation which conveys the working or propagation of the emotion is called Anubhavas eg. movement of eyes, lips, hands, arms etc.

So, the whole concept of Rasa resolves around these emotions, feelings and physical reactions. Hence, the theory of Rasa has a semi- physiological, semi-psychological basis and attempts to explain how human feelings and emotions worked upon by poetry.

In this way the Rasa theory ranges from the practice of literary creation process to the art of acting and further analysing the responses/consequences of the reader/spectator regarding drama. In Bharata’s interpretation the spectator holds the pivotal position, while in the proceeding theories the reader or the audience occupies.

The most significant formulation of Rasa theory is Generalisation i.e. artistic pleasure is enjoyed inseparably, when the actor, receptor, time, space, person are timed to one unique rhythm or generalised. The Vibhawas, Anubhawas, Vyabhicharis and the Sthayi bhawas, abandon their local, individual associations or limitations and acquire a sort of generality, rather universality. So, the Rasa realisation is a cumulative psychic experience, impregnated with ‘Ananda’ (extreme delight).

Bharata’s Rasa sutra was further interpreted by succeeding/posterior scholars mainly Bhatta Lollata, Bhatt Sankuka, Bhatt Nayaka and Abhinav Gupta with different philosophical representations.

The detailed discussion about Rasa theory can be seen in the following major works: Natyashastra, Agani Purana, Dashrupaka, Rasa Trangini, Saraswati Kanthabharnam, Siringar Prakash, Sahitya Darpana, Ras Gangadahara, Kavyaminansa.Sringar Rasa

According to Bharta Muni, Sringara Rasa or mutual enjoyment of love between male and female, is the reciprocal joyful gestures of a young man towards a young woman contributing to mutual love and enjoyment. So, the erotic Rasa or Sringar Rasa arises from the


__________________________________________________________________permanent mood of Rati or love – the agreeable inclination towards the desired object, in presence of the lover and beloved (i.e. Alambana Vibhava).

If we try to interpret Sringar Rasa as per Bharta`s division of all constituents of Rasa like, Sthayi Bhavas or permanent moods, Satvik Bhavas or involuntary bodily responses, Vyabhichari or transitory moods, Uddippan Vibhawas or exciting causes and Alamban Vibhawas, it will come as under;

Sthayi Bhava: Rati-agreeable inclination towards the desired object.

Satvik Bhavas: Sveda (sweating), Romancha (hair standing on end), Svarabheda (changes in one’s tone of voice), Vepathu (trembling),Vaivarnya (changes in the colour of one’s face).

Alambana Vibhavas: Heroes, heroines or the men, women involved in Rati/love towards each other.

Udipan Vibhavas: The moon, garden, cool breeze, river bench, sweet music, picture gallery etc.

Anubhavas: love-soaked speech, smiling, affectionate exchange of glances, embracing, kissing, twisting of brows etc.

So, the exciting causes or determinants (or the Uddipana Vibhavas) of Sringar Rasa or the erotic are the atmosphere of the place where the two persons meet, for example the sweet voice of night-birds, the moon, garden, cool breeze, river bench, sweet music, picture gallery etc. This situation gives rise to Anubhavas or physical manifestation– how the lover and beloved express themselves to each other, it may be love-soaked speech, affectionate exchange of glances, embracing, kissing, twisting of brows or holding hands etc. It produces involuntary bodily responses (the Satvik Bhavas) like Sveda (sweating), Romancha (hair standing on end), Svarabheda (changes in one’s tone of voice), Vepathu (trembling),Vaivarnya (changes in the colour of one’s face) and also may give rise to complementary (or transitory) emotional states or the Vyabicari Bhavas. Gupteshwar explains it as according to Bharata, each Rasa is developed from a stable state (Sthayi Bhava), which dwells in all

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__________________________________________________________________human hearts as an innate idea or tendency and is fed by a number of minor feelings more than one mood.3

After Bharta, all theoreticians of Indian poetics has accepted Sringar Rasa or love as an important part of human psyche and behavior as well as the driving force of human life and existence. Rati or love in Sringara Rasa is love or inclination of man or woman towards each other on the basis of mutual involvement or consent of each other.

Rudarta clearly mentions in Kavyalamkara that no other Rasa is capable of proceeding that bliss or pleasure which the Sringar Rasa does. The sentiment permeates all human beings, and more that that even the flora and fauna. Anandvardhan in Dhvanyaloka considers Sringar Rasa among all Rasas as sweetest and the most exhilarating. Bhoja holds Sringara to be synonyms of self and ego (Ahamkara). Here, the term Ahamkara (ego) as used by Bhoja does not mean false pride or arrogance, but is indicative of innate attachment of man to one`s own self. Because of this very ego and self- attachment he begins to expand his personality. When a lovely damsel casts glances on a man, it awakens an emotion of self consciousness, self confidence and self attachment and plunges him headlong into bliss. This is verily the state of Ahamkara, in which he feels an ecstatic thrill, regards himself as fortunate, gratified and an object of sweet and tender love.4

Bhoja considers ego as the main attribute of soul, which binds all human beings with this world. No one can feel happy if his ego is not satisfied. We love those who love us. Ultimately we come to love ourselves. So, Bhoja claims the erotic to be the basic Rasa and declares that poetry is beautiful only because of the erotic.

Hence, the permanent feeling of the erotic is represented by the feeling of love, and Sanskrit poetics speaks of two types of this feeling; love in union and love in saparation. So, Sringara is divided into two categories Samyoga or union and Viyoga or sepration. When the lovers feel themselves united and in perfect harmony is Samyoga and in the other side when the loves feel themselves


__________________________________________________________________separated and are incapable of living in perfect harmony with each other, is called Viparlamba Sringara or Viyoga.5

Union oriented Sringara takes place when two lovers enjoy the company of each other.

Separation oriented Sringara takes place when two lovers are separated from each other due to some cause or situation. It is also called Viparlambha. Viparlambha is further divided into four parts- Puravaraga, Mana, Pravasa and Karuna.

The situation of hero and heroine inclining towards each other before actual union is called Puravaraga (predisposition). So, Puravaraga is love before union. This is generated by looking a person to be loved in picture, dream or hearing about him/her from others. tangible

Mana (anger in love) means anger or displeasure, generated by exceeding love or jealousy. In this situation lover and beloved stay at the same place, but there is an absence of exchange of kisses, embrace etc. It is further divided into two categories Pranaya Mana and Irshya Mana. Pranaya Mana is the situation when a sort of anger develops between the two lovers sometimes without any solid reason and Irshya Mana is the situation of doubt, suspicion or jealousy among each other may be due to presence of another person male or female between them.

Third category of Viparalamba is Pravasa (sepration due to travel) or person (Nayaka) being abroad. Departure may be occurred by business, by curse or by some fear etc.

Fourth category is called Karuna (separation causing grief). This happens when one of the lovers has died and hope of re-union declines.

So, Bharata has minutely described almost all aspects of love between male and female through a detailed discussion based on different examples from ancient Indian literature. Not only this, he has presented Sringar Rasa as the prominent Rasa among all other Rasas present in his eight Rasa division. After Bharata Muni many other Indian scholars like Vishav Nath, Bhoja, Bhanu Dat Mishar, Abhinav Gupat, Pandit Raj Jagan Nath, Manmat etc. have also

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__________________________________________________________________accepted the importance of Sringar Rasa as compared to the others. It has further been accepted that other permanent moods like humor, wrath, terror may vary in ratio or may not be present in all human beings, but Rati or love is a universal feeling or emotion that is always present in all the persons.

According to R.S.Tiwary, ‘The ‘Rasa’ Doctrine indirectly emphasizes the impersonal aspect of poetry inasmuch as it takes into account the commonality of feelings and emotions, the common universe of human reactions and responses.’6

So, considering the impotence of Rati or love some scholars have declared Sringar Rasa in which all other Rasas like Hasya, Adbhuta, Vira can easily merge. Bhoja has discussed Sringar Rasa in his famous work Sringar Parkasha assigning the utmost importance to Sringar Rasa and declaring Sringar Rasa as the most significant and widespread concept to analyse human behavior and psychology in different conditions and circumstances. The concept of Sringar Rasa provides an approach or way to observe and analyse almost all unexplored dimensions of human erotic behavior in different situations of mutual enjoyment, pleasure, union and separation. Sringar Rasa presents, Rati or love or the erotic as the most important driving force of human act and conduct in life, which has a power to control or alter the priorities of a person`s life. In this way, through Sringar Rasa the human erotic behavior and its impact on life can be aesthetically observed and evaluated.

Notes1 G. N. Devy, Indian Literary Criticism (New Delhi: Orient BlackSwan, 2010)

3-4.2 Sri Ram Chandandrudu, trans., Some Unexplored Aspects of the Rasa Theory,

(Delhi: Vidyanidhi Prakashan ,1996), 79. 3 Gupateshwar Prasad, I.A. Richards and Indian Theory of Rasa (New Delhi:

Sarup & Sons ,2010), 18.4 Kameshwar Nath Mishar, Saraswatikanthabharnam by Bhoja (Varanasi:

Chaukhamba Publications, 2004) 25-325 Ananta Lal Gangopadhyay, Pandit Raja Jagannatha on Aesthetic Problems,

(Calcutta: Sanskrit Pustak Bhandar, 1984), 83.6 R.S Tiwary, A Critical Approach to Classical Indian Poetics,

(Delhi:Chaukhamba Oriental Research Studies, 1984),134.


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Bibilography

Balasubrahmanya, N. Indian Poetics. New Delhi: Sahitya Akademi ,2001.

Chaturvedi, B.M. Some Unexplored Aspects of the Rasa Theory. Translated by Sri Ram Chandandrudu,Vidyanidhi Prakashan,1996.

De, S.K. Sanskrit Poetics as a Study of Aesthetics. Berkeley and Los Angeles: University Of California Press,1963.

Hegde, Suryanarayana. The Concept of Vakrokti in Sanskrit Poetics, Delhi: Motilalbanarsidass, 2009.

Ray, Mohit K. A Comparative Study of The Indian Poetics and The Western Poetics. Delhi: Motilalbanarsidass, 2008 .

Sharma, Mukunda. The Dhvani Theory in Sanskrit Poetics. Varanasi: Chowkhamba Sanskrit Series, 1968.

Tiwary, R.S. A Critical Approach to Classical Indian Poetics. Delhi:Chaukhamba Oriental Research Studies, 1984.

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Srngararasa