Rasa Theory in Shakespearian Tragedies

2020 ◽  
Author(s):  
Swapna Koshy
Keyword(s):  
2021 ◽  
Vol 26 ◽  
pp. 115-139
Author(s):  
Sthaneshwar Timalsina ◽  

This paper explores the philosophy of emotion in classical India. Although some scholars have endeavored to develop a systematic philosophy of emotion based on rasa theory, no serious effort has been made to read the relationship between emotion and the self in light of rasa theory. This exclusion, I argue, is an outcome of a broader presupposition that the 'self' in classical Indian philosophies is outside the scope of emotion. A fresh reading of classical Sanskrit texts finds this premise baseless. With an underlying assumption that emotion and self are inherently linked, this paper explores similarities between the Indian and Chinese approaches.


1989 ◽  
Vol 109 (1) ◽  
pp. 170
Author(s):  
E. G. ◽  
G. K. Bhat
Keyword(s):  

2020 ◽  
Vol 11 ◽  
pp. 67-76
Author(s):  
Mahendra Kumar Budhathoki

Literature like poetry has aesthetic value along with social value. The expression of emotion is the power of literature that enthralls readers; readers enjoy texts experiencing rasa. This paper aims to analyze Shakespeare’s “My Mistress’ Eyes are Nothing Like the Sun” and Marvell’s “To His Coy Mistress” from the perspective of the rasa theory, i.e. an Eastern aesthetic theory. The poems randomly selected expose hasya rasa experience. The poets exploit hasya rasa to disseminate and propagate pleasure as well idea, thought, like erotic love, frivolous; the experience of hasya rasa is a uniqueness that enthralls readers to read the poems again. The expression and realization of rasa constitute the aesthetic value and power of the poems. The poems selected here demonstrate that the formal and serious poems can be amusing, chucklesome. Although the realization level of hasya rasa may vary from individual to individual as their academic, professional, social status, and age, there is hasya rasa experience in the poems.


Antipodes ◽  
2019 ◽  
Vol 33 (1) ◽  
pp. 41
Author(s):  
Chatterjee
Keyword(s):  

2021 ◽  
pp. 526-543
Author(s):  
Anshu Surve ◽  
Garima Hariniwas Tiwari

Natyashastriya theory of Rasa is a spirit so abstract that can only be suggested, not described in any work of visual, literary or performing art. Rasabhasa, a concept from Bharata Muni’s Rasa theory, alternatively nomenclated as a semblance of Rasa interestingly appearsparallel to Rasa but is not Rasa. Bharatmuni reiterates the relishing of Rasa or Rasabhasa from a conditional amalgamation of Bhava (emotions), Alambana Vibhava (protagonist), Uddipan Vibhava (environment) and Vyabhicharibhava (transitory emotional feelings) in the protagonist i.e. the one who leads (NayatiItiNeta). The conditionality isfurther enunciated emphasizing that not all protagonists relish Rasa or Rasabhasa distinctively in a dramatic performance. Modern plays with their stark distinctions from the ancient Indian plays like Abhigyanshakuntalam portray multilayered characters dealing with the questions of identities in various spatialities and temporalities at a glance do not seem insinuated with the characteristics underpinned in Natyashastra. These distinctions and coming away from the thematic contextualization of ancient Indian plays enshrouds the idea of Rasa Relish. Dattani’s On a Muggy Night in Mumbai and Seven Steps around the Fire explicitly raise gender and identity issues of LGBT community, in dealing with their thematic structure and characterization reveal relishing of Rasa or Rasabhasa. The paper critically problematizes the translational affinities between Rasa and Rasabhasa, also aspires to explore two plays by drawing on the concept of Rasabhasa. (Re) interpreting Rasa and Rasabhasa in the context of modern LGBT plays is the central premise of this research paper.


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