Rasa Theory in English Literature

Natyashastra is an ancient Indian discourse on theatre with details about performing arts, theatrical techniques, dance, and music. It is believed to have been written during the period between 200 BC and 200 AD in Classical India and is attributed to the Sage 'Bharata'. He provides an extensive description of the genres of drama, plot structure, characters and their types, and doctrine of 'bhava' and 'rasa'.

The significant contribution of this historic work is the theory of 'Rasa' which can be understood as a dynamic experience between the artist (the creator), the artistic expression (the work of art), and those who receive it (the audience). The artist experiences emotion and is so overwhelmed by it that he seeks a medium with which to express those feelings. The spectator or audience viewing the artist's work receives this emotion through the artist's medium and thus experiences the same emotion felt by the creator. According to Bharata, "Rasa is so called because it is capable of being tasted (asvadvate). In the work of Bharata Muni, the word 'rasa' came to connote the highest taste of divine experience accompanied by a sense of supreme delight. 

According to Bharata, there are eight fundamental feelings or mental states referred to as 'Sthayibhavas' which can be experienced by human beings. They are:

1. Rati - Delight

2. Hasya - Laughter

3. Soka - Sorrow

4. Krodha - Anger

5. Utsaha - Heroism 

6. Bhaya - Fear

7. Jugupsa - Disgust

8. Vismaya - Wonder 

Corresponding to these mental states are the eight 'Rasas'. They are:

1. Shringara - The Erotic

2. Hasya - The Comic

3. Karuna - The Pathetic

4. Raudra - The Furious

5. Vira - The Heroic 

6. Bhayanaka - The Terrible

7. Bibhatasa - The Odious 

8. Adbhuta - The Marvelous

These Rasas arise out of four basic or original ones. A ninth Rasa - 'Shanta' or 'Shantam' (Peace) suggested by the perpetual white colour with Vishnu as the presiding deity was added by later authors. 

The most significant thing about the Rasa is that its realization ensues from the union of these interrelated elements - 'Vibhava', 'Anubhava', and 'Vyabhicharibhava' and also the permanent mood called Sthayibhava. Vibhava (determinants) is the means by which an emotion is evoked. There are two types of Vibhava:

ALAMBHANA VIBHAVA - It relates to the person or the object in respect of whom the emotion is experienced and whose appearance is directly responsible for the evocation of the emotion. 

UDDIPANA VIBHAVA - It refers to the situation in the environment in which that person or object is placed and which is instrumental in intensifying the emotional experience. 

'Anubhava' (Consequence) is the outward manifestation brought forth as a result of the Vibhava.

There are also "involuntary emotions" known as 'Sattvikabhavas'. They are: 

1. Stambha - Paralysis

2. Sveda - Sweating

3. Romancha - Hair standing on end

4. Svarabheda - Changes in one's tone of voice

5. Vepathu - Trembling

6. Vaivarnya - Changes in the colour of one's face

7. Asru - Becoming tearful

8. Pralaya - Fainting

The 'Sthayibhava' (permanent mood) is a major emotion that is developed by several minor feelings referred to as 'Vyabhicharibhavas' which are 33 in number.