The Rasa Quest: Journeying Through Emotion in Abhigyaan Shakuntalam (Assignment 109)

The Rasa Quest: Journeying Through Emotion in Abhigyaan Shakuntalam

Table of contents 

• Personal Information 
• Assignment Details 
• Abstract 
• Keywords 
• Understanding the nine Rasa 
• Introduction to Abhigyan Shakuntalam 
• Shrungara Rasa in the play
• Hasya Rasa in the play 
• Karuna Rasa in the play
• Raudra Rasa in the play 
• Veera Rasa in the play 
• Bhayanak Rasa in the play
• Adbhuta Rasa in the play
• Shanta Rasa in the play
• Conclusion 
• References 

Personal Information 

Name - Bhumiba Gohil 

Batch - M.A. Sem 2 (2023-2025)

Enrollment Number - 5108230016

Email Address - bhumibagohil333@gmail.com 

Roll Number - 4

 

Assignment Details 

Topic - The Rasa Quest: Journeying Through Emotion in Abhigyan Shakuntalam

Paper - Literary Theory and Criticism and Indian Aesthetics

Paper Number - 109

Subject Code - 22402

Submitted to - Smt. S.B. Gardi Department of English M.K.B.U.

Date of Submission - 26 April 2024

Abstract 

This assignment delves into the intricacies of Kalidasa’s masterpiece, “Abhigyan Shakuntalam,” through the lens of the nine rasas, or aesthetic experiences. Drawing upon classical Indian aesthetics, the assignment examines how each rasa is vividly portrayed throughout the play. Additionally, this assignment highlights the timeless relevance of the rasas in conveying human experiences and emotions, making “Abhigyan Shakuntalam” a timeless classic that continues to resonate with audiences across generations.

Keywords 

Nine Rasa, Abhigyan Shakuntalam, Kalidasa, Shrungara Rasa, Hasya Rasa, Karuna Rasa, Raudra Rasa, Veera Rasa, Bhayanak Rasa, Adbhuta Rasa, Shanta Rasa.

Understanding the Nine Rasas 

The concept of “Rasa”, was first introduced in the ‘Natyashastra’, an ancient Sanskrit text on dramaturgy by Bharata. The Sanskrit word 'rasa' literally means 'juice' or 'essence'. Here, rasa was introduced as a means to describe the distinct way emotions are experienced in the context of dramatic performance. 

According to Bharata Muni there are nine primary rasas corresponding to nine foundational emotions. They are:- 

• Shrungara (The Erotic) - The aesthetic experience of love, beauty, attractiveness.
• Hasya (The Comic) - The aesthetic experience of humor, mirth, laughter. 
• Karuna (The Pathetic) - The aesthetic experience of sorrow, pathos, tragedy.
• Raudra (The Furious) - The aesthetic experience of anger, rage.
• Veera (The Heroic) - The aesthetic experience of courage, heroism, chivalry.
• Bhayanaka (The Terrible) - The aesthetic experience of terror, fear.
• Bibhatsa (The Odious) - The aesthetic experience of disgust, revulsion.
• Adbhuta (The Marvelous) - The aesthetic experience of wonder, amazement. 
• Shanta (The Quietistic) - The aesthetic experience of peace, tranquility. 

Scholars like Bhatta Nayaka and Abhinavagupta developed and improved this idea over time. In particular, Abhinavagupta delves deeply into the nuances of rasa explaining its origins from causes, effects, and transient mental states portrayed on stage. 

At its core, Rasa deals with the fundamental question of how audiences experience emotions during a dramatic performance or any work of art. The theory of Rasa is a profound and unique contribution of Sanskrit dramatic tradition to the philosophy of aesthetics. 

(Dace)

Introduction to Abhigyan Shakuntalam

“Abhigyan Shakuntalam,” is a timeless Sanskrit play penned by the revered ancient Indian poet Kalidasa. It stands as a pinnacle of classical Indian literature. Composed around the 4th-5th century CE, this poetic masterpiece intertwines romance, drama, heartbreak, separation and philosophy, captivating audiences with its lyrical prose and profound insights into human nature. The play revolves around the enchanting love story of King Dushyanta and Shakuntala, a maiden raised in the hermitage of the sage Kanva. Their fateful encounter in the serene forests of India blossoms into a passionate romance, symbolizing the union of earthly desires and spiritual transcendence. However, their blissful journey is marred by misunderstandings and trials, leading to separation and eventual reconciliation.

Set against the backdrop of ancient Indian mythology and society, “Abhigyan Shakuntalam” explores themes of love, duty, fate, and the eternal quest for self-realization. Kalidasa’s rich tapestry of characters from the noble king and the virtuous Shakuntala to the wise hermits and mischievous deities adds depth and complexity to the narrative, offering timeless lessons on morality and human relationships. Through its exquisite language and evocative imagery, “Abhigyan Shakuntalam” continues to enthrall readers and scholars alike, serving as a testament to Kalidasa’s unparalleled literary genius and enduring legacy in the world of literature and performing arts.

(Kaushik)

Shrungara Rasa in the Play 

Kalidasa's masterpiece Abhigyan Shakuntalam is renowned as one of the finest examples of the portrayal of Shrungara rasa in Sanskrit drama. The play's depiction of the love story between King Dushyanta and Shakuntala exemplifies the rasa theory. According to Bharata's Natyashastra, Shrungara rasa arises when the permanent emotional state (sthayi bhava) of rati or love is brought to fruition through the combination of determinants (vibhavas), consequents (anubhavas) and transitory states (vyabhicharibhavas). Kalidasa deftly employs all these elements to evoke the quintessential experience of Shrungara in the viewer's mind.

The play begins by depicting the vibhavas that give rise to the amorous sentiment - Dushyanta's sight of the beautiful Shakuntala tending to plants in the hermitage. This visual stimulus of her charming form leads to love at first sight, as expressed in his lyrical outpourings praising her beauty. Their initial meeting through the bee episode further fuels the fire of passion between the couple. As their love blossoms, we see anubhavas or consequents like romantic dialogues, coyness, affectionate gestures, etc. clearly suggesting the Shrungara rasa taking root. For instance, Dushyanta's lines like 

"Shall I lay those feet red as lotuses in my lap and press them to relieve your pain?" 

ooze with Shrungara. The dramatic high point is their secret gandharva marriage sanctified by nature's witness. What is noteworthy is how Kalidasa's treatment of Shrungara rasa transcends the physical and sensual, instead celebrating the spiritual and psychological dimensions of conjugal love within the bounds of societal propriety. Even the sensual aspects are depicted with utmost aesthetic refinement and decorum.

(Saika)

Hasya Rasa in the Play 

Arising from the sthayi bhava of laughter, Hasya rasa finds expression through the witty exchanges and playful banter between Shakuntala and her companions like Priyamvada and Anasuya. The lighter, comic sequences in the play provide moments of relief from the intense pathos and romance. It is also seen through the character of “Vidushak”, whose character is similar to the jester found in English Plays.

(Gerow)

Karuna Rasa in the Play 

This rasa is evoked powerfully through the depiction of Shakuntala's plight after her separation from Dushyanta. She was cursed by Rishi Durvasa that her husband will forget her and this resulted in the separation of the couple. Shakuntala’s dejected appearance, the emotional distress of leaving Kanva's hermitage, and the compassion showed by nature's elements like the trees and deer shedding tears - all these determinants and consequents arouse intense karuna rasa in the audience.

(Gerow)

Veera Rasa in the Play 

Vira Rasa is portrayed primarily through the character of King Dushyanta. The rasa surfaces in scenes involving Dushyanta's bravery and skills as a warrior king out on hunting expeditions. His confidence and valor are highlighted during such episodes.

King Dushyanta is introduced as a dharmic hero, a yuddhavira (warrior hero), whose actions like respecting the rules of the hermitage reflect his heroic nature rooted in duty. The vira rasa disappears as the king loses his dharmic identity and heroic vigor, depicted through his utter depression after being separated from Shakuntala. The vira rasa is fully restored as the king reunites with Shakuntala, regaining his dharmic heroism which is now integrated with love. His son Bharata represents the perfect union of heroic duty and love.

(Gerow)

Bhayanaka Rasa in the Play 

The curse of Shakuntala, by Rishis Durvasa, leading to her abandonment and suffering, evokes the sthayi bhava of bhayanaka or terror in the viewers. The harsh penance and wrath of sages was a source of dread in ancient Indian society. Furthermore, this rasa is seen when Shakuntala has to leave the security of the hermitage and the forest which was her natural abode. As she parts ways to go to the king's palace, she experiences fear of the unknown world outside the hermitage.

(Gerow)

Adbhuta Rasa in the Play 

This rasa arising from the sthayi bhava of vismaya (astonishment) is depicted through scenes involving the supernatural and magical. The appearance of the celestial beings like Kashyapa, the power of mantras and curses, all evoke a sense of awe and amazement. It is also portrayed through the wonder at obstacles overcome and the marvelous reconciliation of love and duty represented by the reunion of the king and Shakuntala, blessed with their son.

(Gerow)

Shanta Rasa in the Play 

Shanta Rasa is evoked not directly but subtly, throughout the play. The Shanta rasa's sublime peace and serenity can be seen as an inherent part of the opening and closing segments. It provides a sense of stillness amid the dynamic interplay of other rasas like Shrungara, Veera, Karuna etc.

The tranquil forest setting was Shakuntala's origin, and the final reunion re-establishes that sense of peaceful belonging after the turbulence of separation, loss and recovery. So the Shanta rasa could be present as an underlying harmonizing currents, complementing the more overtly portrayed rasas in this spiritual romance.

(Gerow)

Conclusion

In conclusion, Kalidasa seamlessly weaves these varying rasas throughout the play's narrative, with each rasa being highlighted at different points to elevate the theatrical experience. However, all the other rasas ultimately serve to accentuate the predominant sringara rasa at the core of the drama. This harmonious interplay of emotions is what makes Abhigyan Shakuntalam an aesthetically rich and satisfying work of art as per the classical Indian dramaturgy.

Abhigyan Shakuntalam stands out for the exquisite balance Kalidasa achieves - neither do the rasas feel forced nor do they become ends unto themselves. They arise organically from the progression of the plot and characters, creating a sense of verisimilitude that transports the viewer into the world he has created on stage. In encapsulating the very essence of the rasa theory from the ancient Natyashastra, while imbuing it with his own creative genius, Kalidasa has composed an unparalleled masterclass in dramaturgy. This play’s status as the pinnacle of Sanskrit drama rests not only on its poetic brilliance, but also on this critically-acclaimed playwright's peerless mastery over evoking the nine flavors of emotional experience or navarasa. It is a work that will continue to be savored by rasika connoisseurs for all time to come.

References 

Dace, Wallace. “The Concept of ‘Rasa’ in Sanskrit Dramatic Theory.” Educational Theatre Journal, vol. 15, no. 3, 1963, pp. 249–54. JSTOR, https://doi.org/10.2307/3204783. Accessed 25 Apr. 2024.

Gerow, Edwin. “Plot Structure and the Development of Rasa in the Ã…Å¡akuntalā. Pt. I.” Journal of the American Oriental Society, vol. 99, no. 4, 1979, pp. 559–72. JSTOR, https://doi.org/10.2307/601446. Accessed 26 Apr. 2024.

Gerow, Edwin. “Plot Structure and the Development of Rasa in the Ã…Å¡akuntalā, Pt. II.” Journal of the American Oriental Society, vol. 100, no. 3, 1980, pp. 267–82. JSTOR, https://doi.org/10.2307/601799. Accessed 26 Apr. 2024.

Kaushik, Ashok. Abhigyan Shakuntalam. Diamond Pocket Books Pvt Limited, 2020.

Saikia, Naba Moni. “The Use of Sringara Rasa in Abhijnana Sakuntalam by Mahakavi Kalidas.” Turkish Online Journal of Qualitative Inquiry, vol. 12, no. 5, https://www.tojqi.net/index.php/journal/article/download/8817/6270/9447. Accessed 26 April 2024.

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Images - 7