Tyagaraja & Bhakthi
Tyagaraja & the Theory of Rasa
Anthony Raj
Class of 2013-14, DakshinaChitra.
INTRODUCTION
Natya Sastra (circa 100 BC) enumerated eight rasas. Rasa, in effect, stood for a “consciousness altering experience”, which was beyond normal human emotions.
Abhinavagupta (circa 1000 AD) strongly canvassed for inclusion of Shanta as the ninth rasa, and declared it the Rasa of Rasas. Hence the term Navarasas. In his view, Bhakthi (Spiritual Devotion) was only an appendage of the Shanta Rasa. It was suitable only for sthothras, and not as the main theme of a major poem or drama, much less a Rasa.
But the debate did not end there. This essay explores the impact of this debate on art, architecture, music and in particular on Tyagaraja and his composition, by juxtaposing many theories and presenting them as a hypothesis for enunciation of the theory of Rasa possibly in a modern vernacular.
Rasa, the NECTAR of artistic experience
In different contexts, the term Rasa appears in Vedic and Upanishadic literature. The usage variously associates the word with a liquid energizer, an elixir, a consciousness altering substance (though not explicitly hallucinogenic). In the Taittiriya Upanishad, the word “Rasa” is used in a metaphysical sense, and equated with the Ultimate Reality. The full scope of the connotations can be understood from its lexicographic interpretation. The Sanskrit dictionary (Monier Williams) has the following entry: Sap or juice of –plant; juice of fruit; any liquid or fluid; the best or finest part of anything; essence; marrow; elixir; potion; seminal fluid of Shiva; charm, pleasure or delight; the taste or character of a work, the feeling or sentiment prevailing in it. All these connotations are germane to understanding the connection between Raga and Rasa.
Bharata’s theory held that a Rasa is the developed and relishable state of a permanent mood (Sthayi Bhava), which results from the interplay of many attendant emotional
Anthony Raj
Class of 2013-14, DakshinaChitra.
INTRODUCTION
Natya Sastra (circa 100 BC) enumerated eight rasas. Rasa, in effect, stood for a “consciousness altering experience”, which was beyond normal human emotions.
Abhinavagupta (circa 1000 AD) strongly canvassed for inclusion of Shanta as the ninth rasa, and declared it the Rasa of Rasas. Hence the term Navarasas. In his view, Bhakthi (Spiritual Devotion) was only an appendage of the Shanta Rasa. It was suitable only for sthothras, and not as the main theme of a major poem or drama, much less a Rasa.
But the debate did not end there. This essay explores the impact of this debate on art, architecture, music and in particular on Tyagaraja and his composition, by juxtaposing many theories and presenting them as a hypothesis for enunciation of the theory of Rasa possibly in a modern vernacular.
Rasa, the NECTAR of artistic experience
In different contexts, the term Rasa appears in Vedic and Upanishadic literature. The usage variously associates the word with a liquid energizer, an elixir, a consciousness altering substance (though not explicitly hallucinogenic). In the Taittiriya Upanishad, the word “Rasa” is used in a metaphysical sense, and equated with the Ultimate Reality. The full scope of the connotations can be understood from its lexicographic interpretation. The Sanskrit dictionary (Monier Williams) has the following entry: Sap or juice of –plant; juice of fruit; any liquid or fluid; the best or finest part of anything; essence; marrow; elixir; potion; seminal fluid of Shiva; charm, pleasure or delight; the taste or character of a work, the feeling or sentiment prevailing in it. All these connotations are germane to understanding the connection between Raga and Rasa.
Bharata’s theory held that a Rasa is the developed and relishable state of a permanent mood (Sthayi Bhava), which results from the interplay of many attendant emotional