“Rasa is realised in from the combination of the sthāyibhāva (permanent and dominant emotional mood) with the vibhāva-s (the objects of emotions such as the hero and the heroine, and the exciting causes such as the spring, flowers, moonlight and the bower), anubhāva-s (the external manifestations of emotions such as the movement of the eye-brows, glances and smile) and the vyabhicāribhāva-s (accessory moods) which come and go helping in the manifestation of the rasa). Bharata mentions eight dominant emotional moods, or sthāyibāva-s, that may be aroused by a dramatic representation into the state of aesthetic pleasure. These are rati (love), hāsa (laughter), śōka (sorrow), krōdha (anger), utsāha (energy), bhaya (fear), jugupsā (repugnance) and vismaya (wonder); the rasa-s corresponding to these are respectively called śṛṅgāra, hāsya, karuṇa, raudra, vīra, bhayānaka, bībatsa and adbhuta. Later writers accept a nineth rasa called śānta corresponding to the sthāyibāva of nirvēda (detachment). Really the rasa or the aesthetic pleasure derived from literature is one and the same in all cases; the division into various rasa-s is based on the difference in the sthāyibāva-s which contribute to the rasa- s. This rasa is a condition produced in the spectator, is a single feeling and a pleasurable one”. (p.286- 287 Indian Theories of Meaning, by K Kunjunni Raja)
Dr. V Premalatha, Department of Music, Central University of Tamil Nadu, Thiruvarur , “Rasa and Kāla of Rāgas, by V Premalatha,” MusicResearchLibrary, accessed October 22, 2024, http://musicresearchlibrary.net/omeka/items/show/2287.
Tip: find more in-depth studies here: http://musicresearchlibrary.net >>
“Music Research Library is a collection of publicly accessible and downloadable electronic resources related to Indian Music organized into various collections. These include manuscripts, articles, books, periodicals, source texts and teaching resources.”