Mudrarakshasa (literary study)
by Antara Chakravarty | 2015 | 58,556 words
This page relates 鈥楾he Theory of rasa鈥� of the English study on the Mudrarakshasa: an ancient Sanskrit dramatic play (Nataka) authored by Vishakhadatta which deals with the life of king Chandragupta. This study investigates the Mudra Rakshasa from a literary perspective, such as metrics, themes, rhetorics and other poetical elements. Chandragupta ruled the Mauryan Empire during the 4th century BCE, hence this text can also be studied as a historical textbook of ancient India.
Go directly to: Footnotes.
2. The Theory of rasa
As stated earlier Bharata is considered to be the first proponent of the theory of rasa, as the legendary 谤补蝉补蝉奴迟谤补 came out from his pen, which runs thus鈥�
bi产丑腻惫腻nu产丑腻惫补vyabhic膩risa峁儁og膩t rasa苍颈峁补迟迟颈岣�/[1]
鈥�rasa arises from the mutual operation of the 惫颈产丑腻惫补蝉, 补苍耻产丑腻惫补蝉 and 惫测补产丑颈肠腻谤墨产丑腻惫补s.鈥�
This means that the realization of rasa results from the union of 惫颈产丑腻惫补, 补苍耻产丑腻惫补 and 惫测补产丑颈肠腻谤墨产丑腻惫补 and its alignment with permanent mood known as 蝉迟丑腻测颈产丑腻惫补.
Mamma峁璦bha峁弓a and 痴颈艣惫补苍腻迟丑补 碍补惫颈谤腻箩补 also advocated this theory thus鈥�
vi产丑腻惫腻nu产丑腻惫补stat kathyante vyabhic膩ri峁嘺岣�/
惫测补办迟补岣� sa tairvi产丑腻惫腻dyai岣� sth膩y墨bh膩vo 谤补蝉补岣� 蝉尘峁泃补岣�//[2]
Again,
vibh膩ven膩nubh膩vena 惫测补办迟补岣� sa帽c膩ri峁嚹� tath膩 rasat膩meti raty膩di岣� sth膩y墨 产丑腻惫补岣� 蝉补肠别迟补蝉腻尘//[3]
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 moods 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 any other similar circumstances. Finally a condition arrives when the spectator or the reader forgets himself and enjoys the aesthetic pleasure indistinguishably. The resultant aesthetic enjoyment is called Rasa. These rasas are eight in number according to Bharata. Those are: 艢峁涐箙驳腻谤补 (erotic), 贬腻蝉测补 (comic), 碍补谤耻峁嘺 (pathetic), Raudra (furious), 痴墨谤补 (heroic), 叠丑补测腻苍补办补 (terrible), 叠墨产丑补迟蝉补 (odius) and Adbhuta (marvelous).
Cf.
艣峁涐箙g膩rah膩syakaru峁嚹� raudrav墨rabhay膩nak膩岣�/
b墨bhats膩dbh奴tasa峁僯帽膩艣cetya峁ａ弓au n膩峁瓂e 谤补蝉腻岣� 蝉尘峁泃腻岣�//[4]
Bharata says that there are eight 蝉迟丑腻测颈苍蝉 or basic mental states, thirty three 惫测补产丑颈肠丑腻谤颈苍蝉 or accessories and eight 蝉腻迟迟惫颈办补产丑腻惫补蝉 or involuntary physical reflexes. These forty-nine, taken together, make for 办腻惫测补谤补蝉腻产丑颈惫测补办迟颈. Rasas are born of these, when they are represented in a universalized state. These forty-nine emotions in their generalized form are the source of rasa.[5]
Now, coming to the terms what is 产丑腻惫补, 惫颈产丑腻惫补, 补苍耻产丑腻惫补, 惫测补产丑颈肠腻谤墨产丑腻惫补 or sa帽c膩r墨产丑腻惫补, s膩ttvika产丑腻惫补 and 蝉迟丑腻测颈产丑腻惫补.
According to Bharata, 产丑腻惫补s are those elements which originate the sentiments in connection with various modes of dramatic representation. Just as a tree grows from a seed, and flowers and fruit (including the seed) from a tree, so the sentiments are the source of all the states and likewise the states exist (as the source of all the sentiments).[6] Bharata accepts the 产丑腻惫补 as the basis of rasa. He describes it as that which brings into existence the sense of poetry through the three kinds of representation, i.e., through words, gestures and internal feelings-v膩ga峁単asattvopet膩n k膩vy膩rth膩n 产丑腻惫补yant墨ti 产丑腻惫腻岣�.[7]
According to 狈腻峁瓂补艣腻蝉迟谤补 the word 惫颈产丑腻惫补 is used for the sake of clear knowledge.[8] The word is synonymous with 办腻谤补峁嘺, nimitta and hetu. Therefore, the exciting causes or determinants of the rise of the emotions are called 惫颈产丑腻惫补蝉. The word 惫颈产丑腻惫补 is used to connote knowledge or cognition and is explained generally as denoting that which makes the three kinds of representation capable of being determined-v膩ga峁単asattv膩bhinay膩 ityato vi产丑腻惫腻岣�.[9] Vi产丑腻惫补s are further divided into two categories-膧lambana惫颈产丑腻惫补 (supporting causes) and Udd墨pana惫颈产丑腻惫补 (stimulating causes). 膧lambana惫颈产丑腻惫补 is that thing or person with reference to which a sentiment arises, such as the lover and the beloved in the case of 艢峁涐箙驳腻谤补rasa; Udd墨pana惫颈产丑腻惫补 are the circumstances which provide the excitement to the awakening of that particular emotion, such as the moonlit night, sweet fragrances of the flowers, the beauties of vernal season etc. in case of the sentiment of love.
Anu产丑腻惫补 is the outward manifestation of internal feelings brought out through the eyes, face and so on as a result of the emotions aroused by the 惫颈产丑腻惫补蝉. Bharata said that the Anu产丑腻惫补s are called so, because the dramatic representation by means of words, gestures and the temperament are made to be felt by this.[10] He has further divided 补苍耻产丑腻惫补 into two-痴腻肠颈办补 that are expressed by words and 膧峁単颈办补 i.e. bodily expressions, which result from some internal organic changes. Hence, the consequence of the emotion on the character is suggested by the 补苍耻产丑腻惫补蝉. Thus, the Anu产丑腻惫补s communicate to the audience through the 膧峁単颈办补 and 痴腻肠颈办补 representation of the character.
There also exist certain spontaneous or temperamental states of mind called S膩ttvika产丑腻惫补s. It is said the temperament in this connection is something originating in mind. It is caused by the concentrated mind.[11] As stated above, S膩ttvika产丑腻惫补s are eight in number-Stambha (paralysis), 艢veda (perspiration), 搁辞尘腻帽肠补 (horripilation), Svarabha峁単a (change of voice), Vepathu (trembling), 痴补颈惫补谤峁噛补 (change of colour), 础艣谤耻 (tears) and Pralaya (fainting).[12] Bharata further clearly stated that the nature of S膩ttvika产丑腻惫补 cannot be mimicked by any absent minded man.[13]
There are some other feelings transitory by nature that accompany or interrupt the permanent mood, without, however superseding it. These states are known as Vyabhic膩r墨产丑腻惫补s or the Sa帽c膩r墨产丑腻惫补s . They are like the waves in the ocean appearing and disappearing in the permanent mood.[14] They are not strictly confined to any particular rasa. The Sa帽c膩r墨产丑腻惫补s are thirty-three in number as recorded by Bharata and also supported by the later rhetoricians. Those are: Nirveda (despondency), 骋濒腻苍颈 (weakness), 艢补峁卥腻 (apprehension), 础蝉奴测腻 (envy), Mada (intoxication), 艢谤补尘补 (weariness), 膧濒补蝉测补 (indolence), Dainya (depression), 颁颈苍迟腻 (anxiety), Moha (distraction), 厂尘峁泃颈 (recollection), 顿丑峁泃颈 (contentment), 痴谤墨岣嵞� (shame), 颁补辫补濒补迟腻 (inconstancy), 贬补谤峁 (joy), 膧惫别驳补 (agitation), 闯补岣峚迟腻 (stupor), Garva (arrogance), 痴颈峁Ｄ乨补 (despair), Autsukya (longing), 狈颈诲谤腻 (slumber), 础辫补蝉尘腻谤补 (epilepsy), Supta (dreaming), Vibodha (awaking), 础尘补谤峁 (indignation), Avahittha (dissimilation), 鲍驳谤补迟腻 (sternness), Mati (resolve), 痴测腻诲丑颈 (sickness), 鲍苍尘腻诲补 (insanity), 惭补谤补峁嘺 (death), 罢谤腻蝉补 (fear) and Vitarka (deliberation).[15]
Again, there are 蝉迟丑腻测颈产丑腻惫补s present in the mind of every connoisseur. As the ocean melts all salt into the water, the 蝉迟丑腻测颈产丑腻惫补 not being interrupted by any sentiment dissimilar or similar to its nature befalling at intervals converts all of them into its own nature.[16] According to Bharata the sth膩y墨bh膩vs are like the kings or the preceptors. Just as a king is superior to other men and the preceptor is superior to his disciples, so the sth膩y墨bh膩vs are superior to other 产丑腻惫补s.[17] Thus 蝉迟丑腻测颈产丑腻惫补 emerge as a principal theme in a composition. These 蝉迟丑腻测颈产丑腻惫补s are eight in number corresponding to the eight rasas. They are-Rati (love), 贬腻蝉补 (humer), 艢辞办补(sorrow), Krodha (anger), 鲍迟蝉腻丑补(courage),Bhaya (fear), 闯耻驳耻辫蝉腻 (disgust) and Vismaya (wonder).
Cf.
ratirh膩sa艣ca 艣oka艣ca krodhots膩hau 产丑补测补峁� 迟补迟丑腻/
jugups膩 vi峁aya艣ceti sth膩y墨产丑腻惫腻岣� 辫谤补办墨谤迟颈迟腻岣�//[18]
As Bharata鈥檚 observation of rasa was mainly based on the dramatic performances, he mentioned about only eight rasas-a峁ａ弓au n膩峁瓂e 谤补蝉腻岣� sm峁泃膩岣�.[19] However the later rhetoricians accepted one more rasa, viz. 艢腻苍迟补, the permanent mood of which is Nirveda (self-disparagement).
Cf.
nirvedasth膩y墨bh膩vo鈥檚ti 艣膩nto鈥檖i navamo 谤补蝉补岣�/[20]
Now, apart from these above mentioned technical terms, there are two more terms in the 谤补蝉补蝉奴迟谤补-蝉补峁儁辞驳补 and 苍颈峁补迟迟颈. Though Bharata has not clearly mentioned anywhere the meanings of these two words, we can assume that by 蝉补峁儁辞驳补, Bharata has referred to the unity of the different 产丑腻惫补s and by 苍颈峁补迟迟颈 he meant the realization of the emotions conveyed by the artists to the mind of the audience. These two terms have made a huge controversy in the field of rasa. As a result of which four schools of rasa, viz, 耻迟辫补迟迟颈惫腻诲补, 补苍耻尘颈迟颈惫腻诲补, 产丑奴办迟颈惫腻诲补 and 补产丑颈惫测补办迟颈惫腻诲补 have been developed subsequently.
Thus, we can say that the rasa theory is an omnipresent humanistic theory which does not leave out any of the emotions that could produce rasa.
Footnotes and references:
[1]:
狈腻峁瓂补艣腻蝉迟谤补 of Bharatamuni, Ed. Pandit Shivadatta and Kashinath Pandurang Parab, Nirnaya Sagara Press, Bombay, 1894, p.62
[2]:
碍腻惫测补辫谤补办腻艣补, IV.28
[3]:
厂腻丑颈迟测补诲补谤辫补峁嘺, III.1
[4]:
狈腻峁瓂补艣腻蝉迟谤补, VI.15
[5]:
tatr膩峁ａ弓au 产丑腻惫腻岣� sth膩yina岣 trayastri峁兣沘dvyabhic膩ri峁嘺岣�/ a峁ａ弓au s膩tvik膩岣�/ evamete 办腻惫测补谤补蝉腻产丑颈惫测补办迟颈hetava ekonapa帽c膩艣ad产丑腻惫腻岣� pratyavagantavy膩岣�/ ebhya艣ca s膩m膩nyagu峁嘺yogena 谤补蝉腻 苍颈峁补诲测补苍迟别// 狈腻峁瓂补艣腻蝉迟谤补, VI, p. 70
[6]:
[7]:
狈腻峁瓂补艣腻蝉迟谤补, VII, p.69
[9]:
Ibid.
[10]:
yadayam补苍耻产丑腻惫补yati v膩ga峁単asattvak峁泃amabhinayam/ Ibid., p.69
[11]:
iha hi 蝉补迟惫补峁� 苍腻尘补 尘补苍补岣� 辫谤补产丑补惫补峁�| tacca sam膩hitamanastv膩dutpadyate/ Ibid., P.82
[12]:
[13]:
tasya yo鈥檚au svabh膩vo rom膩帽c膩sv膩dik峁泃a岣� sa na 艣akyate鈥檔yamanas膩 kartumiti/ Ibid., p.82
[14]:
sth膩yinyunmagnanirmagn膩岣� kallol膩 iva v膩ridhau// 顿补艣补谤奴辫补办补尘, IV.7
[15]:
苍颈谤惫别诲补驳濒腻苍颈艣补峁卥腻办丑测腻蝉迟补迟丑腻蝉奴测腻尘补诲补艣谤补尘腻岣�/ 腻濒补蝉测补峁� caiva 诲补颈苍测补峁� ca cint膩 尘辞丑补岣� 蝉尘峁泃颈谤诲丑峁泃颈岣�//狈腻峁瓂补艣腻蝉迟谤补, VI.18| vr墨岣嵞� capalat膩 har峁 膩vego ja岣峚t膩 迟补迟丑腻/ garvo vi峁Ｄ乨a 补耻迟蝉耻办测补峁� nidr膩pasm膩ra eva ca// Ibid., VI.19 蝉耻辫迟补峁� vibodho鈥檓ar峁艣c膩pyavahitthamathograt膩/ matirvy膩dhistathonm膩dastath膩 mara峁嘺meva ca// Ibid., VI.20 tr膩sa艣caiva vitarka艣ca vij帽ey膩 vyabhic膩ri峁嘺岣�/ trayastri峁兣沘dam墨 产丑腻惫腻岣� sam膩khy膩t膩stu 苍腻尘补ta岣�// Ibid., VI.21
[16]:
viruddhairaviruddhairv膩 产丑腻惫补irvicchidyate na ya岣�/ 膩tma产丑腻惫补峁� nayatyany膩n sa sth膩y墨 濒补惫补峁嚹乲补谤补岣�// 顿补艣补谤奴辫补办补尘, IV. 34
[17]:
[18]:
狈腻峁瓂补艣腻蝉迟谤补,VI.17
[19]:
Ibid., VI.15