Rasa theory in “Shakuntalam” by Kalidas

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Name: - Yesha Bhatt

Course: - M.A. English

Semester: - 2

Batch: - 2015-2017

Enrolment no: - PG15101003

Submitted to: - Smt. S.B.Gardi Dept. of English MKBU

Email id: - yeshab68@gmail.com

Paper no: - 7 Literary theory and Criticism

Topic: - Rasa theory in “Shakuntalam” by Kalidas

v Introduction of Rasa theory:

                                    The Rasa theory originates with Bharata in Natyasashtra. it has finds its root in vedic period in Atharvaveda (200BC – 100BC). It suggests that every object and meaning has an emotional effect which diverts human mind with its experience and controls the heart and mind of human. Bharata has described all the emotions and state of mind differently, he has analysed the structure of that emotions, and expressed his views upon the relations of that emotions and their effect on human’s being with the literary context. Thus the theory of Rasa has become a very important as literary theory, which has a connection with human experience and strongly rooted in reality.

      “Rasa” -  a Sanskrit word which suggests ‘juice’ or ‘essence’ and aesthetics, it denotes an essential mantle state when such emotions evokes in the mind of a human while reading such, watching or hearing such work of art. When a person listen or watch or read any kind of work there is a process in his mind which continuously going through and evokes such feelings which has different emotions, it considers as Rasa, there is a different kind of Rasa, there are nine Rasa which Bharatamuni has given description of, and he has connected all the Rasa with different Hindu God and different colours.

1] Srngaram- Love, Attractiveness, presiding by Vishnu, Colour: Green

2] Hasyam- Laughter, Mirth, Comedy, presiding by Ganesha, colour: White

3] Raudram- Fury, presiding by Rudra, colour: Red

4] Karunyam- Compassion, Tragedy, Presiding by Yama, colour: Dove coloured

5] Bibhatsam- Disgust, presiding by Shiva, colour: Blue

6] Bhayanakam- Horror, Terror presiding by Kali, colour: Black

7] Viram- Heroic Mood, presiding by Indra, colour Wheatish brown

8] Adbutam- Wonder presiding by Brahma colour: Yellow

9] Shantam- peace, tranquillity presiding by Vishnu colour: white

In addition to the nine Rasas, two more appeared later especially in literature,

      Vatsalya- parental love

      Bhakti- spiritual devotion

                                          Bharatmuni has presented his theory of Rasa in the sixth chapter of Natyashashtra, he has said that,

“No meaningful idea is conveyed if the “Rasa” is not evoked”

Further he adds that every dramatic presentation has an aim to evoke such aesthetic experience in the mind of the audience, it is a kind of the realization of beauty and art to the mind and awareness towards joy. Bharatmuni has scientifically presented the analysis of Rasa in his Natyashashtra. He said that Natya is the imitation of life, in which different human emotions should dramatically, presented to the audience and glorify such emotions in the mind of audience as it is about pain or pleasure.

                                          The production of aesthetic relish is calls ‘rasanishpattih’, which can be gain by combination of, determinates (vibhava), consequents (anubhav), and fleeting emotions (vyabhicharibhav). He has given two terms to experience the Rasa, first is which we can taste or flavour (asvadya) and the second is the well established dominant mood (sthayibhav). Dominant mood can be created by different Bhavas and abhinayas.

“Abhijnanasakuntalam” by Kalidas

                                       The best work for study the Rasa theory is Shakuntalam by Kavi Kalidas. The work has been written in Devanagari, it is a well-known Sanskrit play by Kalidas. It is a story from Mahabharata and written in not surely but between the 1^st century BCE and 4^th century CE. The title “Abhijnanasakuntalam” means ‘pertaining to token-recognized-Sakuntala’, so the literal translation of the title could be of sakuntala who is recognised by a token, it sometime translated as “the Recognition of Sakuntala” or “The Sign of Sakuntala”.

                                        Kalidas has presented three main Rasa of life in this work, Srngaram (Love), Karunyam (Compassion), and Shantam (peace) the remaining all six Rasas are also there but the concentration of Kalidas is more upon the main three.

1.       The first one is Srngaram Rasa, in the starting of the epic poetry; it is about an entry of the Dushyant who is very handsome as the God of love Kamadev. The description of the beauty of Sakuntala has described in this couplets by Dushyant,

Here he has clearly presented his views and description of the appearance of Sakuntala her clothing, that how she looks. In the next lines he further says that,

He is continuously praising Sakuntala and observing her beauty, the description of beauty in words like this evokes the emotion of love in the mind of the reader. Further he adds the compliment that she is not from earth because her beauty is heavenly,

If a reader is reading the work, he of course will try to imaging the beauty of sakuntala and it will evoke the attraction and an emotion of love in his mind, it is an experience of Srngaram Rasa.

2.       Second is Hasyam (Laughter, Mirth and Comedy) which has been expressed by the characters like Vidushak and friends (sakhi) of sakuntala with their way of talking and humour they creates laughter to the audience. By the end of the first three chapters sakuntala and Dushyant are in love with each other, and wanted to marry with each other. In the starting of the fifth chapter, poet entertain the readers with the song by the wife of Dushyant,

And Dushyant replies to his wife by saying that she has smartly cheated him with hatred. Especially the presence of Vidushak always evokes laughter in the story.

3.        First three chapters of the book has laugher and Srngaram rasa but from the fourth chapter there is a starting of Karunyam (Compassion and Tragedy) Rasa, in this chapter they both get married and the guardian of Sakuntala Kanv come to  know about the love marriage of his daughter. Sakuntala was in thoughts of Dushyant when he was not there and at that time Durvasa came into an ashram of Kanv and sakuntala did not replied him and he cursed her, this was the very first time when tragedy happens and it continuous further when she went to his husband Dushyant and tries to recall his memory that she is his wife but he did not accept her and continuously blame her and finally her own guardian also blames her by saying,

And Sakuntala has abandon by all the people around her, it is the most tragic part in  the story.

4.       In the story Bhayanakam Rasa has not evoked as much as others are there, but after the curse of Durvasa sakuntala went to the kingdom of Dushyant and meet him as his wife he denies her to accept as his wife and that time both talks with each other in the satirical way  both taunts each other and that time atmosphere of the courtier became very horrible, as Dushyant taunts Sakuntala by calling her very smart woman who is using her beauty to  win Dushyant, as he says,

5.       The Heroic Mood has firstly appeared in the description of Dushyant and secondly it has appeared when he has called by rushi  to save his ashram from devils and giants but the exact experience of Viram Rasa can be done in seventh and the last chapter of the book, when Matli enters in the story.

Here Matli has given the description of strength of King Dushyant.

6.       The Adbutam- (Wonder) rasa has first appeared in the curse of Durvasa, when she was lost in the memory of Dushyant and not replied to the most powerful rushi and with anger he has cursed her that the person whom you are thinking about will forget you, and said,

But when friend of Sakuntala went behind Durvasa to stop him and forgive Sakuntala, he returns and says that he is not able to take his words back but he could make its effect light with blessing her that if she will give such sign of love to his husband he will recognise her. This whole incidence has a very wonderful experience by the reader that how interestingly everything happens. The another incident of wonder is when Dushyant is ready to keep Sakuntala in his palace till the birth of baby, but Sakuntala has been taken away to heaven by some womanly shadow and she disappears. When Dushyant is going in heaven with Indra and his victory also expressed wonder and The incident of locket by the son of Dushyant and Sakuntala is also a kind of wonder.

7.       Shantam rasa has been presented almost each chapters in one or the other way, the description of an atmosphere of ashram is quite peaceful and in the end of fourth chapter when Sakuntala is going to her husband’s house his father like guardian feels peace that Sakuntala is now happy with his family and it’s her new beginning in life.

  In the end of the story when Sakuntala gave the sing of love, a ring to Dushyant he remembers his love and Sakuntala and its happy ending, that scene also gives an experience of peace and make readers happy. The love of both has been stated at the ashram of Kanv on earth, and after passing all the problems the family is now staying in the ashram of Marich rushi in heaven here is the real peace as par Hinduism and they lived happily.

Conclusion:

                  Abhijnanasakuntalam by Kalidas has very effectively presented the experienced all the emotions of human life. Love, peace, wonder, anger and tragedy are the most important part of human life and Kalidas has appropriately presented all this emotional feelings in the part of Mahabharata with some changes in plot. This is the best work to study Rasa theory. It is a kind of a wonderful journey with real love and heavenly atmosphere, the description of everything is very beautiful and wonderful. 

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