IKS- Indian Knowledge System

The Rasa Theory in Bharata's Natyashastra 

Introduction,

Bharata's Natyashastra, the foundational text of Indian dramaturgy, presents the earliest and most profound articulation of Rasa Theory - the unique aesthetic framework through which emotional experience in art is conceptualized. Developed between 200 BCE and 200 CE, this Sanskrit treatise is a monumental contribution to performance arts and literary criticism. Among its key innovations is the concept of rasa, the aesthetic experience of emotion evoked in a sensitive spectator (sahridaya) through the medium of dramatic performance. This theory has had enduring influence not only in traditional Indian aesthetics but also in modern interpretations of literature and performance.

Conceptual Foundations of Rasa,

In the Natyashastra, Bharata defines rasa as the essence or flavor derived from a combination of expressive elements in drama. The formulation "Vibhāvanubhāva-vyabhicāri- samyogad rasa-nispattih" (N.S. VI) establishes the fundamental process through which rasa emerges from the union of vibhāvas (determinants), anubhāvas (consequents), and vyabhicāri bhāvas (transitory emotional states), rasa is produced.

This process is both psychological and aesthetic. Emotions (bhāvas) portrayed on stage are internalized by the audience, transforming into a profound and often transcendental experience of rasa. As the PDF describes, "Rasa is created or promoted in the mind of a spectator by the Bhava being expressed" establishing the interdependence between emotion (bhāva) and aesthetic enjoyment (rasa). Bhava is the physical body, and rasa is its soul.

Structure and Components of Rasa,

According to Bharata, there are eleven components essential to a dramatic performance. However, rasa and bhãva are the most critical among them. The other nine include abhinaya, dharmi, vrtti, pravrtti, siddhi, svara, ātodya, gāna, and ranga.

1. Vibhāvas (Determinants): These are divided into ālambana (e.g., hero, heroine) and uddīpana (e.g., environment, music, moonlight). They set the emotional context. 

2. Anubhāvas (Consequents): These include expressions like smiling, crying, trembling, or blushing. They are conscious emotional responses.

3. Vyabhicāri Bhãvas (Transitory States): There are 33 such emotions, such as jealousy, fatigue, and shame, which support the main emotion.

4. Sthāyibhāvas (Stable Emotions): These are enduring emotions such as love (rati), anger (krodha), or sorrow (śoka), which, when intensified through the above elements, become rasa

Also essential are sāttvika bhāvas, involuntary physiological reactions (e.g., sweating, tears), highlighting the actor's internalization of emotion. Together, these elements elicit a specific rasa in the audience

The Eight (Later Nine) Rasas,

Bharata originally proposed eight rasas, each with a corresponding stable emotion: 

1. Śrngära (Love/ Amorous)- rati (love)

2. Hāsya (Laughter/Comic) - hāsa (mirth)

3. Karuņa (Compassion/Pathetic) - śoka (sorrow)

4. Raudra (Anger/Furious) - krodha (rage)

5. Vīra (Heroism/Valorous) - utsāha (enthusiasm)

6. Bhayānaka (Fear/Terrifying) - bhaya (fear)

7. Bībhatsa (Disgust/Repugnant) - jugupsā (aversion)

8. Adbhuta (Wonder/Marvelous) - vismaya (astonishment)

Each rasa has a distinctive color, presiding deity, and expressive characteristics. For example, Śngāra is presided over by Vishnu and is associated with the color dark blue.It elaborates that Srngāra has two subdivisions: sambhoga (union) and vipralambha (separation), highlighting the versatility within each rasa.

Later commentators, particularly Abhinavagupta, added the ninth rasa:

9. śanta (Tranquility/Peace) - śama (calm)

Though not explicitly mentioned in the Natyashastra, śanta was widely accepted in later traditions

The Role of the Audience: The Sahridaya,

The term sahridaya refers to the "sympathetic spectator," one whose heart is refined and responsive to aesthetic experience. Bharata defines a sahridaya as one "who can watch the dramatic performance with all his senses undisturbed, is pure and honest, is expert in judging and lovingly appreciates merit." The ultimate goal of performance is not to mimic real emotions but to evoke rasa in such spectators

The rasa thus created is not mundane emotion but a universalized experience, detached from the performer's or viewer's ego. This aligns closely with Indian spiritual philosophy, where detachment and enjoyment can coexist in aesthetic experience.

Philosophical Interpretations and Commentaries,

Four major commentators offer diverse interpretations of Bharata's Rasa Sutra:

1. Bhatta Lollata- Proposed the utpatti-vāda (theory of production): rasa is produced in the actor through the integration of determinants and emotions. He believes the actor's portrayal generates rasa directly.

2. Śrī Śankuka - Advocated anumiti-vāda (theory of inference): The audience infers the emotions portrayed by the actor. Rasa exists not in the actor or character but in the inferred emotional state.

3. Bhatta Nayaka - Introduced bhukti-vāda (theory of enjoyment): rasa is experienced by the audience as a transcendental aesthetic emotion. He differentiates three levels of word function-abhidā, bhāvakatva, and bhogyatva- through which rasa is generalized and relished.

4. Abhinavagupta - Developed abhivyakti-vāda (theory of manifestation): Rasa is not created or inferred but manifested in the heart of the sahridaya by removing mental obstacles and universalizing personal emotions. He likens the experience of rasa to brahmānanda (philosophical bliss).

These interpretations deepen the psychological and philosophical understanding of rasa and solidify its role in Indian poetics and performance theory.

Illustrative Examples from Rasas,

Each rasa manifests through specific determinants, consequences, and moods:

‣ Śrngāra Rasa: Hero and heroine (ālambana vibhāvas), moonlight (uddīpana), gentle smile and shy glances (anubhāvas), and emotions like jealousy or joy (vyabhicari bhāvas).

‣ Raudra Rasa: Anger (sthāyibhāva), demons or enemies (vibhāvas), fiery speech and gestures (anubhāvas), supported by trembling, rage, and agitation (satvika and vyabhicāri bhāvas).

‣ Karuna Rasa: Evoked by grief, Ioss, and separation, expressed through sobbing, lamentation, and gestures of despair.

This systematic structuring of emotions enables actors to train in specific techniques and audiences to experience universal emotions without personal suffering.

Conclusion,

Bharata's Rasa Theory in the Natyashastra is a landmark in aesthetic and dramatic theory. It offers a complex yet coherent system for understanding how emotions are evoked and experienced in artistic performance. Unlike Western theories centered on catharsis or realism, rasa focuses on emotional transformation through universalized aesthetic experience. Its continued relevance in dance, drama, cinema, and literature underscores its adaptability and depth.

The Natyashastra does more than outline performance techniques-it provides a philosophy of art, emotion, and consciousness. As emphasized by later thinkers like Abhinavagupta, rasa is not merely felt--it is realized, making it a bridge between sensory enjoyment and spiritual elevation.