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Etymologically rasa means what is relished, tested and enjoyed.^[1] Rasa is the emotional content of literary and dramatic art which led to relish. From the view point of a reader or spectator rasa is actual relish or aesthetic enjoyment of a moving emotional experience. Bharatamuni, the author of 狈腻峁瓂补艣腻蝉迟谤补,opines that no meaning proceeds from speech without sentiment.^[2]

Further he says that the sentiment is produced from a combination of:

1. 惫颈产丑腻惫补 i.e determinants,
2. 补苍耻产丑腻惫补 i.e consequents and
3. 惫测补产丑颈肠腻谤颈产丑腻惫补 i.e transitory states.^[3]

The rasa is so called because it is capable of being tested.^[4] The later rhetoricians after Bharata like 叠丑腻尘补丑补^[5] in his 碍腻惫测腻濒补峁僰腻谤补 and Da峁囜笉墨n^[6] in his 碍腻惫测腻诲补谤艣补 have included the rasa within the figure of speech rasavat. While 痴腻尘补苍补, in his 碍腻惫测腻濒补峁僰腻谤补s奴trav峁泃ti is found to have recognized an element within the 补谤迟丑补驳耻峁嘺 called 碍腻苍迟颈.^[7] Bhojar膩ja, in his 厂补谤补蝉惫补迟墨办补峁囜弓丑腻产丑补谤补峁嘺尘, opines that a poetic piece possessing rasa brings fame and pleasure for the poet.^[8] Abhinavagupta, in his famous commentary Locana on 顿丑惫补苍测腻濒辞办补 of 峋筺andavardhana,clearly states that the rasadhvani is the principal kind of dhvani (suggestion) which is the soul of the poetry.^[9]

Mamma峁璦bha峁�峁璦 opines that what are known in ordinary language as causes, effects and auxiliaries of latent emotion of love and the like come to be spoken as vibhava, 补苍耻产丑腻惫补 and 惫测补产丑颈肠腻谤颈产丑腻惫补 when found in the drama and the latent emotion comes to be manifested by these is known as rasa. He says that rasa is the melting point of mind.^[10] In the 础产丑颈苍补惫补产丑腻谤补迟墨, it is said that a rasa runs like a thread in a dramatic representation.^[11] In this regard, 痴颈艣惫补苍腻迟丑补 rightly says that rasa (sentiment) is the soul of poetry.^[12]

The Sanskrit theory of rasa has a very sound psychological base. The various characters that are presented in the composition are actuated by varying 产丑腻惫补蝉 i.e. feelings and emotions generally remain dormant in the heart of a person.Bharata opines that 产丑腻惫补蝉 are those elements which originate the sentiments in connection with various modes of dramatic representation in such a way that a tree grows from a seed and also flower and fruits are obtained from a tree.^[13] These feelings are intensified by suitable 腻濒补尘产补苍补蝉 (indirect cause) and 耻诲诲墨辫补苍补蝉 (excitants) respectively. They are expressed in the form of corresponding 补苍耻产丑腻惫补s. Occasionally these are supported by various feelings which are invariably of a transitory character. The process of the awakening and manifestation of emotions is the same in ordinary life as well. However, in composition the touch of the poetic genious transforms these emotions in such a wonderful manner that the sympathetic reader or the listener (蝉补丑峁沝补测补) invariably experiences them as delight. These emotional delight experienced by a 蝉补丑峁沝补测补 in composition is technically known as rasa.^[14]

In other words, rasa is manifested in the heart of 蝉补丑峁沝补测补 when the 蝉迟丑腻测墨产丑腻惫补 like rati etc. are stimulated by 惫颈产丑腻惫补.^[15] The exciting causes or determinants are 惫颈产丑腻惫补s by which emotions are risen.

This 惫颈产丑腻惫补 is of two types viz.,

1. 膩lambana惫颈产丑腻惫补 and
2. udd墨pana惫颈产丑腻惫补.

The main stimulating cause is called 膩lambana惫颈产丑腻惫补 and the environmental factor which act as additional cause is called udd墨pana惫颈产丑腻惫补.^[16]

This 惫颈产丑腻惫补 follows and accompanies an emotional impact, i.e.

1. the physical factor called 补苍耻产丑腻惫补; and
2. the mental factor called 惫测补产丑颈肠腻谤颈产丑腻惫补.^[17]

A poetic construction of an emotional experience appears, thus, to be a combination of these causelty related factors.

Hence, Bharata says鈥�

惫颈产丑腻惫腻苍耻产丑腻惫补惫测补产丑颈肠腻谤颈蝉补峁儁辞驳腻诲谤补蝉补苍颈峁�p补迟颈岣�.^[18]

For the presentation of rasa the material consists of:

1. 办腻谤补峁嘺 (cause),
2. 办腻谤测补 (effect) and
3. 蝉补帽肠腻谤颈 (con-current cause).^[19]

Footnotes and references:

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[1]:

rasa iti ka岣� 辫补诲腻谤迟丑补岣� /
ucyate 膩sv膩dyatv膩t //
狈腻峁瓂补艣腻蝉迟谤补 of Bharatamu峁噄, ed.
by Ramakrishna Kavi with the commentary of 础产丑颈苍补惫补产丑腻谤补迟墨,VI.p.288

[2]:

na hi ras膩d峁泃e ka艣cidartha岣� pravartate /
Ibid.,VI.p.272

[3]:

tatra vi产丑腻惫腻nubh膩vavyabhic膩risa峁儁og膩drasani峁�patti岣� / Ibid.

[4]:

腻蝉惫腻诲补测补苍迟颈 尘补苍补蝉腻 迟补蝉尘腻诲苍腻峁瓂补 谤补蝉腻岣� sm峁沬t膩岣� /
Ibid.VI.33

[5]:

rasavaddar艣itaspa峁ａ弓a艣峁涐箙g膩r膩diras膩峁� 测补迟丑腻 /
碍腻惫测腻濒补峁僰腻谤补, III.6

[6]:

辫谤别测补岣� priyatar膩khy膩na峁� rasavadrasape艣alam /
碍腻惫测腻诲补谤艣补, II.275

[7]:

诲墨辫迟补谤补蝉补迟惫补峁� 办腻苍迟颈岣� /
碍腻惫测腻濒补峁僰腻谤补s奴trav峁泃ti,III.2.14

[8]:

苍颈谤诲辞峁�a峁� 驳耻峁嘺惫补迟 k膩vyamala峁僰膩rairala峁僰峁泃am /
谤补蝉补苍惫颈迟补峁� 办补惫颈岣� kurvan k墨rtim pr墨tim ca vindati //
厂补谤补蝉惫补迟墨办补峁囜弓丑腻产丑补谤补峁嘺尘,I.2

[9]:

yastu svapne'pi na sva艣abdav膩cyo no laukika 惫测补惫补丑腻谤补 辫补迟颈迟补岣�, kintu 艣abdasamar pyam膩峁嘺h峁沝ayasamb膩dasundaravi产丑腻惫腻nu产丑腻惫补蝉amucitapr膩gnivinivi峁ａ弓araty膩di v膩san膩nur膩gasukum膩rasvasa峁僾id膩nandacavar峁嚹乿y膩p膩rarasan墨-yarupo谤补蝉补岣�,sak膩vya vy膩p膩raikagocaro rasadvaniriti, sa ca dhvanireveti, sa eva mukhyatay膩tmeti//
顿丑惫补苍测腻濒辞办补 of 膧苍补苍诲补惫补谤诲丑补苍补, ed. by Ach膩rya Jagann膩th P膩thak with the
Locana Sanskrit Commentary, p.50

[10]:

k膩ra峁嚹乶yatha k膩ry膩峁噄 sahak膩r墨峁噄 y膩ni ca/
raty膩de岣� sth膩yino loke t膩ni cetn膩峁瓂ak膩vyayo岣� //
vi产丑腻惫腻nu产丑腻惫腻stat kathyante vyabhic膩ri峁嘺岣�/
惫测补办迟补岣� sa taibi产丑腻惫腻dyai岣� sth膩yibh膩vo 谤补蝉补岣� 蝉尘峁泃补岣� //
碍腻惫测补辫谤补办腻艣补, IV. 27-28

[11]:

eka eva t膩vatparam膩rthato 谤补蝉补岣� /
s奴trasth膩ni yatv膩na r奴pake pratibh膩ti //
础产丑颈苍补惫补产丑腻谤补迟墨,Vol.I.p.273

[12]:

惫腻办测补峁� ras膩tmaka峁� k膩vyam /
厂腻丑颈迟测补诲补谤辫补峁嘺,I.4

[13]:

测补迟丑腻 v墨j膩dbhavedv峁沰峁�o v峁沰峁Ｄ乨pu峁�pa峁� 辫丑补濒补峁� 测补迟丑腻/
迟补迟丑腻 尘奴濒补峁� 谤补蝉腻岣� sarve tebhyo 产丑腻惫腻 惫测补惫补蝉迟丑颈迟腻岣�//
   鈥摫纺遽弓y补艣腻蝉迟谤补,VI.38

[14]:

迟补迟补岣� 蝉补尘产补濒颈迟补岣� 蝉补谤惫腻 vibh膩di岣� sacetas膩m /
pap膩峁嘺karasany膩y膩ccarvyam膩峁噊 raso bhavet //
厂腻丑颈迟测补诲补谤辫补峁嘺,III.15

[15]:

raty膩dyudbodhak膩 loke vi产丑腻惫腻岣� k膩vyan膩峁瓂ayo岣� /
Ibid.,III.29

[16]:

膩lambanodd墨pan膩khyo tasya bhed膩vubho sm峁泃o /
Ibid.

[17]:

vi产丑腻惫腻 au产丑腻惫腻艣cas膩ttvik膩 vyabhic膩ri峁嘺岣� / Ibid.,III.p.94

[18]:

tatra 惫颈产丑腻惫腻苍耻产丑腻惫补惫测补产丑颈肠腻谤颈蝉补峁儁辞驳腻诲谤补蝉补苍颈峁�p补迟颈岣� /
狈腻峁瓂补艣腻蝉迟谤补, I.p.274

[19]:

办腻谤测补办腻谤补峁嘺蝉补帽肠腻谤颈rup膩 api hi lokata岣� /
ras膩dayo ye vi产丑腻惫腻dy膩岣� k膩ra峁嚹乶yeva te 尘补迟腻岣� //
厂腻丑颈迟测补诲补谤辫补峁嘺, III.14