Major -13
Name :- Mohinani Harshita pavanbhai
Year :- T.y B.A [ sem - 5 ]
Main subject:- English
Paper name :- Major -13
Exploring Indian knowledge system : texts , tradition and woldviews.
Assignment topic:- class assignment
- Rasa theory
• Home assignment
- dhvani Theory
• Essay on Siddhartha
Teacher's name :- Rachna ma'am Dave
★ Class assignment
• Rasa Theory :
• Introduction
Bharatmuni, the great ancient sage, explained the concept of Rasa Theory in his famous work Natyashastra, which is considered the earliest and most important text on Indian dramaturgy, dance, and aesthetics.
The word “Rasa” literally means "juice," "essence," or "flavor." In the context of art and literature, it refers to the aesthetic experience or emotional flavor that a spectator feels while watching a performance or reading a work of art.
Bharatmuni states that the purpose of drama, dance, or any art form is not just entertainment but to evoke emotions and elevate the audience to a higher level of aesthetic joy (Rasānubhava).
★ Definition of Rasa Theory according to BharatMuni :-
• Bharatmuni says in the Natyashastra:
“Vibhava-anubhava-vyabhichari- samyogad rasa-nishpattih”
(Rasa is produced from the combination of Vibhava, Anubhava, and Vyabhichari Bhava.)
Vibhava →
the cause or stimulus (for example, a beautiful garden for love, a battlefield for heroism).
Anubhava →
the physical expression (like gestures, tone, expressions shown by the actor).
Vyabhichari Bhava →
the transitory emotions (like doubt, excitement, fatigue, etc. which support the main feeling).
When these three come together on stage, they evoke a permanent emotion (Sthayi Bhava) in the spectator’s heart, which transforms into Rasa – the aesthetic relish or emotional essence.
✨ In short:
Rasa is the aesthetic experience felt by the audience when emotions (bhavas) are beautifully presented in drama or art.
★ Nine rasa :
1. Shringar Rasa : (रस of Love / Romance)
Basic Emotion (Sthāyibhāva): Rati (Love)
Colour: Green
Deity: Vishnu
Description: The rasa of beauty, love, and attraction. It can be sambhoga (union) – joy of meeting, or vipralambha (separation) – pain of longing. Depicted through delicate expressions, gestures, and charming moods.
2. Hasya Rasa : - (रस of Laughter / Comedy)
Basic Emotion: Hāsa (Laughter)
Colour: White
Deity: Pramatha (attendant of Lord Shiva)
Description: The rasa of joy, humour, and ridicule. It may appear as mild smiling, hearty laughter, or even ridicule. It uplifts the mood and brings lightness.
3. Karuna Rasa :- (रस of Compassion / Pathos)
Basic Emotion: Śoka (Sorrow)
Colour: Grey
Deity: Yama (Lord of Death)
Description: The rasa of grief, compassion, and pity. It expresses suffering due to separation, tragedy, or loss, moving the audience to empathy and softness of heart.
4. Raudra Rasa : (रस of Fury / Anger)
Basic Emotion: Krodha (Anger)
Colour: Red
Deity: Rudra (Shiva in fierce form)
Description: The rasa of rage, aggression, and destruction. It depicts ferocity in battles, revenge, and violent actions. The tone is strong, loud, and dynamic.
5. Vira Rasa : (रस of Heroism / Courage)
Basic Emotion: Utsāha (Energy / Enthusiasm)
Colour: Golden
Deity: Indra (King of Gods)
Description: The rasa of bravery, determination, and confidence. It celebrates heroic deeds in war, charity, or spiritual strength. Expressions are bold, steady, and uplifting.
6. Bhayanaka Rasa : (रस of Fear / Terror)
Basic Emotion: Bhaya (Fear)
Colour: Black
Deity: Kala (Time / Death)
Description: The rasa of dread, panic, and horror. It reflects helplessness, trembling, or loss of hope when facing danger, supernatural forces, or uncertain fate.
7. Bibhatsya Rasa : (रस of Disgust / Aversion)
Basic Emotion: Jugupsā (Disgust)
Colour: Blue
Deity: Shiva (as Mahākāla)
Description: The rasa of repulsion, hatred, or moral disapproval. It is shown in scenes of filth, cruelty, immorality, or corruption. The performer conveys revulsion through expressions and gestures.
8. Adbhuta Rasa (रस of Wonder / Amazement)
Basic Emotion: Vismaya (Astonishment)
Colour: Yellow
Deity: Brahma (Creator)
Description: The rasa of curiosity, surprise, and awe. It appears in moments of discovering the unknown, witnessing miracles, or experiencing the grandeur of the universe.
9. Śānta Rasa (रस of Peace / Tranquility)
Basic Emotion: Sama (Equanimity / Serenity)
Colour: Light Blue or White (varies by texts)
Deity: Narayana (Vishnu in cosmic form)
Description: The rasa of calmness, detachment, and spiritual bliss. It represents balance, meditation, and liberation from worldly desires.
👉 Bharatmuni explained that rasa is the essence of all artistic experience—when the actor’s expression (bhava) is combined with the audience’s imagination, the aesthetic joy (rasa) is born.
★ Conclusion of Rasa Theory
Bharatmuni’s Rasa Theory is the foundation of Indian aesthetics. He explained that the ultimate goal of any art form—be it drama, dance, poetry, or music—is to create Rasa, the aesthetic experience of joy and fulfillment in the audience.
Just as food becomes tasteful only when flavored, artistic expression becomes meaningful only when it evokes rasa. The performer conveys emotions (bhavas), but the spectator does not feel personal sorrow, anger, or joy—instead, they relish the universalized, aesthetic experience of those emotions.
★ Home assignment 🏡
• Dhavani Theory
By Anandavardhana
★ Introduction of Dhvani Theory
Ānandavardhana, a 9th-century Sanskrit literary critic and poet, introduced the famous Dhvani Theory in his work “Dhvanyāloka” (Light on Dhvani). This theory became a turning point in Indian poetics.
The word “Dhvani” literally means echo, resonance, or suggestion. According to Ānandavardhana, the true beauty of poetry lies not merely in its literal meaning (abhidhā) or figurative meaning (lakṣaṇā), but in the suggested meaning (vyañjanā). This suggested meaning goes beyond words and directly touches the reader’s or listener’s heart, creating a deeper emotional and aesthetic experience (rasa).
• In his view:
Dhvani (suggestion) is the soul of poetry.
Without suggestion, poetry becomes ordinary and lacks artistic charm.
It is through dhvani that emotions, moods, and subtleties of experience are fully expressed.
Thus, Anandavardhana shifted the focus of poetics from external ornamentation (alaṅkāra) to the inner essence of poetry, making dhvani the foundation of aesthetic experience in literature.
★ Definition of Dhavani Theory:
Anandavardhana defines Dhvani as that special quality of poetry where the suggested meaning (vyañjanā) becomes more important than the literal (abhidhā) or figurative (lakṣaṇā) meaning.
👉 In his own words from Dhvanyāloka:
“Kāvyaśarīrasya ātmā dhvaniḥ” –
The soul of poetry is dhvani (suggestion).
So, according to him:
A poem becomes truly powerful not just because of what is directly said, but because of what it suggests beyond the words.
This suggested meaning awakens rasa (aesthetic emotion) in the reader or listener, which is the ultimate goal of poetry.
Contents of the text Dhvanayaloka:
In the first Udhyota Anandavardhana establishes his theory that Dhvani – suggestion is the soul of poetry. He refers to three different views of those who are against the doctrine of Dhvani-
(1) Dhvanyabhavavaadins likesome saying that Dhvani does not exist,
(2) Bhaktavaadins_some
regard that it is included in Lakshana, and (3) Anirvachaniyatavaadins
others speak its essence as lying beyond the scope of words which is known only to the men of literary taste. The beautiful idea of poetry is of two types expressed (Vacya) and implied (Pratiyamana). The expressed meaning is known to all in the form of Alankaras (the figures of speech). The implied or suggested sense is something like the distinct charm in the ladies other than the beauty of the various limbs of the body. The implied sense is quite different than the literal meaning and not just merely on its parts and exists in the poetry of great poets.
The Pratiyamanartha – implicit aspect cannot be understood by the people who merely know grammar and lexicon but it can be understood by men who are the admirers of poetry. The suggested sense is principal element in poetry. When suggested sense, is prominent it is called
Dhvani Kavya. In all good poetry Dhvani is found as important element. Such poetry in which the sound and its explicit meaning become subordinate and implicit meaning embraces various divisions such as the bare idea, figures of speech and sentiment is called the highest type of
poetry. In figures of speech like Samasokti, Akashepa, Paryayaokti, Slesha, Visheshokti, Apahnuti etc there is no Dhvani. Because the Vacya-expliciî/direct /denotative or conventional meaning in much prominent than the Vyangya - implicit or suggested meaning. This type of poetry has charm but not as much as Dhvani Kavya, hence called as Gunibhuta Vyangya Kavya.
The implicit aspect/suggested meaning is of three kinds
(1) Vastu – the plot,
(2) Alankara – the figures of speech and
(3) Rasa – the sentiment and there are many sub-division to these three.
Dhvani is two-fold Avivakshita Vacya where the literal meaning is not intended to be conveyed hence further extended literal import is needed and Vivakshitanyapara vacya is where literal
import is intended but sub-serves the implied meaning.
He closes the first Udhyata by clearing all objections of the people who are anti-Dhvani theory with all illustrations. He shows Dhvani is neither identical with Bhakti (Lakshna) the secondary
meaning nor is incapable of defining and illustrated.
In the second Udhyota he deals with sub varieties of Avivakshita vacya in to Arthantara Sankramita and Atyanta tiraskrita and gives examples of each. He divides Vivakshitanyapar vacya into Asmlakshya Kramavyangya and samlakshyakramavyangs. The Asmlakshya Kramavyangya which can be considered as Rasadhvani is constituted by Rasa, Bhava, Rasabhasa and Bhavabhasa and Bhavaprashana and others are subordinate, and also the difference between Gunas and Alankaras, sub divisions of Samlakshya Kramavyangya into Sabdaskti moola and
Asthashakti moola, sub division of Arthashaktimoola into vastu and Alankara and etc were discussed with suitable examples of Alankara Dhvani.
III Udhyota is dealt with sub-divisions of Dhvani based upon Vyanjaka, Padaprakasha, Vakya Prakasha, three kinds of Sanghatana and how it depends upon its appropriations of speaker, the
Sense, the Plot and Rasa. How is Rasa is manifested, sustained and how Alankaras become suitable to evoke Rasa, the things that are opposed to arouse the Rasa, the importance of five stages (Mukha, Pratimukha, Garbha, Avamarsha and Nirvhana to lead Rasa manifestation, light
on how the establishment of Shanta the Rasa , varieties of Kavyas like Gunibhuta, Chitra, and Dhvani due to the poets Pratibha.
IV Udhyota elaborates the fresh aspects in the domain of Dhvani, and Gunibhuta how the same idea can appear new with poet’s imaginations, his concern about Rasa, Karuna Rasa in Ramayana and Shanta Rasa in Shastra Kavya Mahabharata, as the principal Rasas , establishing the province of poetry is unlimited though hundreds of poets composing hundreds of works
continuously. There is no dearth of good quality of poetry for the imagination of poet, the same thought, same idea can be suggested in a number of ways with charming expressions.
★ Essay assignment:
Novel : Siddhartha
By Hermann Hesse
★ Introduction:
Siddhartha (1922) is a philosophical novel by German author Hermann Hesse.
It tells the spiritual journey of a man named Siddhartha (not the Buddha, though his path crosses with the Buddha, Gautama).
The novel explores themes of self-discovery, enlightenment, the futility of rigid teachings, and the importance of experience over doctrine.
★ About the author:
Full Name: Hermann Karl Hesse
Born: July 2, 1877, in Calw, Germany
Died: August 9, 1962, in Montagnola, Switzerland
Nationality: German-Swiss
Occupation: Novelist, poet, painter, essayist
Hesse came from a family of Christian missionaries and scholars. His childhood was strict, with strong religious influence, but he often resisted authority, showing an early independent spirit.
📚 Career & Major Works
Hesse’s works often explore self-discovery, spirituality, individuality, and the conflict between modern life and inner truth.
Key Novels:
1. Peter Camenzind (1904) – His debut novel, about an artist’s life.
2. Demian (1919) – Explores psychology, self-realization, and inner conflict (influenced by Jungian ideas).
3. Siddhartha (1922) – His most famous novel, inspired by Indian philosophy and Buddhism.
4. Steppenwolf (1927) – A psychological novel about the “split self” in modern man.
5. Narcissus and Goldmund (1930) – Contrasts the spiritual and sensual life through two friends.
6. The Glass Bead Game (1943) – His final major work, a utopian-intellectual novel, for which he received the Nobel Prize in Literature (1946).
★ 🗂 Structure
The novel is divided into two parts (each with several chapters).
Part I: The Brahmin’s Son
1. The Brahmin’s Son
Siddhartha is a handsome, intelligent young Brahmin.
Loved by all, but he feels dissatisfied with traditional teachings and rituals.
He seeks deeper meaning in life.
Along with his friend Govinda, he decides to leave home in search of truth.
2. With the Samanas
Siddhartha and Govinda join the Samanas (wandering ascetics).
They practice fasting, self-denial, and meditation.
Siddhartha becomes skilled but feels that asceticism alone does not lead to true enlightenment.
3. Gotama
They hear of the Buddha, Gotama, who has reached enlightenment.
Siddhartha and Govinda meet him.
Govinda becomes a follower of the Buddha.
Siddhartha respects Gotama but decides not to follow him because he believes true enlightenment cannot be taught, only experienced.
4. Awakening
Siddhartha realizes he must find his own path, not follow doctrines.
He feels reborn, with new eyes, ready to experience life directly.
Part II: Kamala
5. Kamala
Siddhartha enters a city and meets Kamala, a courtesan.
She teaches him about love and pleasure.
To win her, Siddhartha becomes wealthy under the guidance of a merchant, Kamaswami.
6. Among the Child People
Siddhartha lives a life of luxury and indulgence.
He plays dice, drinks, and enjoys worldly pleasures.
Slowly, he feels empty and realizes he has lost his way.
7. Samsara
Years pass. Siddhartha grows weary of his worldly life.
He feels disgusted with himself, recognizing he has become spiritually empty.
One night, he leaves the city secretly, leaving behind wealth and Kamala.
8. By the River
Siddhartha, in despair, considers suicide by drowning.
But as he hears the sacred word “Om”, he awakens spiritually again.
Govinda, now a monk, unknowingly helps him briefly.
Siddhartha decides to stay near the river.
9. The Ferryman
Siddhartha meets the ferryman, Vasudeva, a humble man of wisdom.
He begins to live with him, learning from the river, which becomes his greatest teacher.
10. The Son
Kamala, bitten by a snake, comes to the river with her young son (Siddhartha’s child).
She dies, leaving the boy in Siddhartha’s care.
Siddhartha loves his son deeply, but the boy resents him and eventually runs away.
Siddhartha suffers but learns about attachment and letting go.
11. Om
Siddhartha grows wise, accepting the unity of all life.
He realizes the river contains all voices of existence, flowing as one eternal present.
He achieves inner peace and enlightenment, much like the Buddha, but through his own path.
12. Govinda
Govinda visits Siddhartha, still searching.
He asks Siddhartha for wisdom.
Siddhartha says enlightenment is beyond words—it must be experienced.
He allows Govinda to kiss his forehead, where Govinda experiences a vision of unity and bliss.
Govinda realizes Siddhartha has truly attained enlightenment.
🌿 Themes
Search for Self: True wisdom cannot be taught, only lived.
Experience vs. Doctrine: Siddhartha rejects rigid teachings to find truth through life.
Unity of Existence: The river symbolizes timeless flow, unity of all things.
Detachment and Love: Through losing his son, Siddhartha learns compassion and acceptance.
Cycle of Life (Samsara): Material wealth and pleasure lead only to emptiness.
🎯 Conclusion
Siddhartha’s journey mirrors the human quest for meaning.
Unlike others who seek guidance only in scriptures or teachers, Siddhartha realizes the truth lies in experiencing life fully—pleasure, pain, loss, love, and nature—until the soul awakens to unity.
