“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.1 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: https://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.”
- As regards the raga-based music that underpins dramatic representation today (“classical” as well as “regional” dance and drama), the preference for specific combinations of notes (just as the avoidance of others) appears to follow a tendency widely shared across cultural boundaries, outlined as follows by Dale Purves:
“Musicians and listeners must have been aware long before the abstract conception of scales came into use that different tone collections tend to elicit different emotions” which entailed particular restrictions presumably serving “to maintain a mood of subdued reverence that differed from popular (‘folk’) music that then, as now, elicits more carnal emotions pertinent to the needs, desires, and disappointments of daily life”. – Music as Biology: The Tones We like and Why (Harvard University Press 2017), pp. 79-80 [↩]