Eternal India Encyclopedia

Eternal India encyclopedia

MUSIC

NAVARASAS

Abject subjugation is the ultimate emotional sentiment. Self-derision also figures there. Karunaa, Schringaara and Bhayaanaka go together to form Viraha. Examples of Raagas : Pharaju, Revathee, Thodi, Sahaana, Shubhapanthuvaraali, Bha- vapriya, Gaulipanthu, Sahaana, Mukhaari, Shanmukhapriya, Vaachaspathi, Dwijaawan- thee and Sarasaangee. vii. Beebhathsa rasa (Disgust) : Principal Bhaava is Jugupsaa (Despondency). This is rather a tough rasa to portray, but is quite common in viraha (separation). Disgust, disappointment, dejection, sor- row, apathy, forlorn feeling, utter helpless- ness, confounded condition, melancholia are all covered by this rasa. Raagas that depict this rasa are usually serious and sad such as Poorveekalyaanee, Gamanaschrama, Varaali, Mukhaari, Man- daaree, Vasantha bhairavi, Aahiri, Ghantaa, Bhairavi, Maanji, Punnaagavaraali, Naadanaamakriya, Bhavapriya, Ka- nakaangee, Rishabhapriya, Schubhapan- thuvaraali, Saaveri, Sindhuraamakriya, Maayaamaalavagaula etc. Bhaava. Vismaya — Amazement is the principal bhaava: wonder, astonishment, amazement, surprise, appreciation, admiration, adoration are all expressions of the sentiment of won- der. Joy, happiness and gaiety also tag along with this. Thus aesthetic joy in music is also part of this rasa. Depiction can be effective by: Bhauli, Devagaandhaaree, Valaji, Shuddha Saaveri, Malayamaarutha, Dhanyaasi, Bi- lahari, Mohanaa, Gaudamalhaar, Khara- harapriya, Kedaaragaula, Raamapriya, Aar- abhi, Schree, Vasanthaa, Aananda bhairavi etc. Shaantha Rasa (Peace): Nirveda Bhaava is the main bhaava. Also thripthi (content- ment) and Saadhu Bhaava (Imperturability). Inspidity in the form of tranquillity and seren- ity. There are three additional essences called uparasas. 1. Vaatsalya — Parent's love for the child. 2. Bhakti — Devotion. 3. GaanaRasa — Musical Aesthetics. viii. AdbhuthaRasa (Wonder): Aaschcharya ix.

iii. Karunaa rasa or Pathos : It portrays plaintive love, longing, pining etc. It also covers sadness and sorrow. Deenathaa and Schoka. (helplessness and grief). This is next in importance to Shringaara and exhudes pathetic feelings, agony, plaint, surrender, condescension, intense feeling, ca- jolery, forlomness, loneliness, agony, despair and tinges of soft, sentimental and feminine qualitiies of unbearable separation. The main Bhaava (mood) is Shoka (pa- thos), better expressed as longing, yearning and pining for return of lover. Rakthi raagas usually excel in this rasa like Bhairavi, Mukhaari, Thodi, Varaali, Punnaaga Varaali, Saaveri, Sahaana, Kaanada, Aahiri, Ghantaa, Hindola, Maanji, Shanmukhapriya. Karunaa occurs in plaints (pleadings) by the lady with her partner as in 'Dainya' bhaava too. The lover may beg too, in reverse. and Vinoda. Fun and frolic. Wry humour is usually implied too). The main Bhaava (mood) is Haasya (laughter) or playful and jocular mood. Though this seems a minor rasa, it is very important in dramatics, as in dance drama, where the jester or clown enlivens the audi- ence, as also other characters, like friends. Laalithya (light-heartedness) and Santhosha (joy, gaiety) merry feelings and happiness come in this, too. Ghana and joyous raagas generally radiate this rasa. iv. Haasya rasa or Humour ( Vilaasa v. Raudra Rasa or Fury : ( Krodha - Ire and Kopa — Anger) The principal mood or bhaava is Krodha (anger or Kopa). The degree of anger may be mild to intense wrath. Hatred, jealousy, contempt, derision are also covered by this rasa. Examples : Athaana - pure anger; Aar- abhi - anger with malice; Vasantha - anger with wicked triumph; Surati - derision; Kaamavardhinee - Contempt; Chalanaata - hatred; Kalyaanee -jealousy. vi Bayaanaka Rasa or Fear: The principal mood or bhaava is Bhayam (fear). This may be of many types. Victim of fear and frustration, anguish, agony, despair, terror, helplessness, humility, debasement; all these are covered by this.

i. Shringaara or Love : Eight varieties are prominent in this. Variety-meaning (Suitable raaga) Samyhuktha Shringaara Love in Proximity ( Khamaas )

Vipralambha Shringaara Love in Separation

( Viraha )-

( Mukhaari )

Nashta Shringaara

Love in Expectation

( Kaanada )

Abhisaara Shringaara

Love in Pursuit (Thodi)

Samara Shringaara

Love in Quarrel ( Aarabhi )

Milana Shringaara

Love in Meeting ( Mohana)

Punarmilana Shringaara

Love in Re-Union

(Aananda bhairavi)

There are eight types of love-heroines called the ashtanaayikaas.

1. Swaadheena pathikaa In proximity with the lover/

husband. (Security)

2. Abhisaarikaa

Going in Search of the lover/ husband.

3. Vaasikasajjikaa

One who is dressing up in an-

ticipation and arranging. the

house.

4. Virahothkanthithaa - The one pining away alone in love.

5. Khandithaa

The thwarted or jilted heroine.

6. Vipralabdhaa

The lady whose husband/lover

is far away and is deeply

yearn-

ing for reunion.

7. Kalahankarikaa

The quarrelling heroine (Dis- content)

8. Proshithabharthrikaa ' Protected by her Man, the lady is happy and contented. Shringaara covers the following feelings, moods, expressions etc. Love in its eight as- pects and their infinite variations. ii Veera rasa or Valour: This portrays emotions such as the following: Gaambheerya (Majesty), Uthsaaha (Enthusiasm) and Shaurya or Paraakrama (Heroism). The Bhaava or mood is 'Uthsaaha' (en- thusiasm). The qualities expressed are : Beauty, heroism, victory, valoursness, daring pride, zeal, zest, egotism, power, greatness, grandeur, might, regal splendour and allied emotional nuances. Heroic characters depict different types of Veera rasa. Raagas that are able to portray Veera are like : Naatakuranji, Devagaandharee, Aar- abhi, Gaula, Naata, Reethigaula, Kedaara, Begade, Gambheera naata, etc. Ghana raagas, among others portray this rich rasa effectively.

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