1. Dramatic aspects (c): Rasa (sentiment)

Rasa has a prominent role in the creation of an art form. It makes the sublime feelings in the heart of a spectator. Many dramaturgical texts were chatty about the importance of Rasa. Bharata was considers as the establisher of Rasa school in the field of dramaturgy. According to him there are eight types of sentiments in dramaturgy such as Shringara (erotic), Hasya (comic), Karuna (sad), Raudra (furious), Vira (heroic), Bhayanaka (terrible), Bibhatsa (horrible) and Adbhuta (marvellous).

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In later period, masters like Anandavardhana, Abhinavagupta and several other scholars are stated that, there is one more sentiment which is known as Shanta (calmness). Thus the ‘Navarasa’ concept came to exist and many later dramaturgies accepted its implement and it became popular among the aesthete world.

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In a Nataka, there should be only one main sentiment (Angirasa) either Shringara or Vira. All the other sentiments present in the drama should exist as only supporting sentiments (Angarasas).

In Annadatricarita Virarasa is the main sentiment (Angirasa).The remaining sentiments like Adbhuta, Hasya and Raudra are the supporting sentiments (Angarasas). The sentiments of the drama Annadatri-carita can be analyzed as follows.

1. Virarasa

The Angirasa of the drama Annadatri-carita is Vira. According to Bharata, the Virarasa is a distinctive characteristics of the Dhirodatta heroes or the characters with best qualities. Utsaha is the sthayibhava of this sentiment.

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It consists of Mahendra as the deity and golden in colour.

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There are four types of heroes included in this sentiment. They are as follows with a popular example in the bracket:

1. Danavira (Parashurama)
2. Dharmavira (Yudhishthira)
3. Yuddhavira (Rama)
4. Dayavira (Jimutavahana).^[5]

Udayavarmakulashekhara, the hero of Annadatricarita can be included in the Danavira division. Here, his bounteous feeding in the war is the dana. In his donation Utsaha is the sthayibhava. In the form of receivers both Kaurava and Pandava militaries are the Alambanavibhavas. Vancishvara’s open-minded friendship with these parties are the uddipanavibhavas. His glad and determination when he completed this mission were the Sancaribhavas (Vyabhicaribhavas). It generated from the presence of impartiality attitude (anubhava) towards the Pandavas and Kauravas.

Moreover, the entire story revolves around this theme of ‘Annadana’. The determination of the king Vancishvara to fulfil it without any fail helped to enhance the Virarasa throughout the story.

2. Adbhuta Rasa

Adbhuta rasa refers to the expression of marvellous or wonder in dramaturgy. It has the vismaya (wonder) as it’s sthayibhava and Gandharva is the deity.

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In this drama Annadatri-carita, Adbhutarasa is a prominent Angarasa of the play. The playwright used many admirably depictions which feels the Adbhutarasa to the spectator. He used some metaphors and styles to represent it. The dialogues between the Shurasena, the messenger of Yudhishtira and his accompanied soldier Candrahasa portrays some amazing images of Vancirajya.

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I am feeling that, I entered into the heaven and watching Amaravati (capital of heaven) by passing the Sahya Mountain range.

Another illustration is

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We are in the heaven with our body by the greatness of our duty invested by our virtuous and auspicious king Yudhishthira.

Here, in these two cases the amazement produced from the beauty of kingdom is the Sthayibhava. The Virtuous Yudhishthira is the Alambanavibhava, his greatness is the Uddipanavibhava, the thrilling experience while seeing the beautiful kingdom is the Anubhava. The happiness produced from this is the Sancaribhava.

Another example is the reaction of the both messengers while they heard about the decision of the king to provide food for both armies. Now also, amazement is the Sthayibhava. Vancishvara is the Alambanavibhava and his decision is the Uddipanavibhava. Their immediate response of praising this decision is the anubhava. The joy and excitement of the messengers are the Sancaribhavas.

One more interesting incident is the hearing of an oracle when the king praised the deity before his departure to the war field.

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Let this ocean be like a lake with simple and small waves, let the wind be like favourable, calm and helpful for your voyage, let the path be like comfort and without any obstacles, let you fulfil your duty with good result and everlasting fame.

Here also, the oracle from the sky is a subject of wonder. The Adbhuta rasa is beautifully aligned in this verse. Vancishvara is the Alambanavibhava and his mission is the Uddipanavibhava. Calm and appropriate climate for voyage are the Anubhavas. The Sancaribhavas are the happiness and excitement when they heard this oracle.

3. Hasya Rasa

Among the nine sentiments, Hasya rasa has a significant role in a play. The appropriate application of humour helps to relax and make joy in the mind of a viewer while enjoying a drama. The features of the Hasya rasa is given below-

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In the fourth act of the Annadatricarita, there is a conversation between three soldiers about the Annadana by Vancishvara. It contains a bit of Hasya elements also.

The taste of the food provided by the king Vancishvara influenced the soldiers a lot. Consequently, they desired that this war may continue for a long time.

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I don’t want to reach the Warfield because, ifI expire in the battle how canI enjoy the delicious food from the Vancirajya. People who die in the war will reach heaven. But, this kind of flavoursome food which is delicious than divine nectar, will not available even in the heaven.[...]

Here, Vancishvara is the Alambanavibhava, the food provide by him is the Uddipanavibhava. The happiness occurred from the enjoyment of the food is Sancaribhava. It generated from the taste of the delicious food (Anubhava). Thus, the author intended to depict the excellence of the food provided by Vancishvara with the topping of a bit of Hasya element.

5. Raudra Rasa

A fragment of Raudra rasa also present in the drama. According to Natyashastra the Raudra rasa can be define as follows:

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On the basis of the above mentioned definition, Raudra rasa of Annadatri-carita can be cited from the following scene:

In the fourth Act of the drama, when Shakuni approached Vancishvara by requesting the full favour for Duryodhana and not help Pandavas, the King shouted at him. This is the only situation in this drama where Raudrarasa occurs. Herein, the anger (Krodha) by the king is the Sthayibhava. Likewise, Shakuni is the Alambanavibhava and his request is the uddipanavibhava. The quiver and fever of the Shakuni is the Anubhavas andhis anxiety and Fear is the Sancaribhavas.

Thus the author skilfully linked the Adbhuta, Hasya and Raudra in the form of Angarasas with the main sentiment Vira rasa.

Footnotes and references:

[1]:

Natyashastra of Bharata, with the commentary Abhinavabharati by AbhinavaGuptacharya, By MadhusudanShastri M.A., Banaras Hindu University, Varanasi, 1971.

[2]:

Sahityadarpana of Vishvanathakaviraja, Ed. by AcharyaSheshraja Sharma Regmi, (Varanasi: ChowkhambaKrishnadas Academy, 2004), 389.

[3]:

Natyashastra of Bharata, with the commentary Abhinavabharati by AbhinavaGuptacharya, By MadhusudanShastri M.A., (Varanasi: Banaras Hindu University), 1971. 749-751.

[4]:

Sahityadarpana of Vishvanathakaviraja, Ed. by AcharyaSheshraja Sharma Regmi, (17Varanasi: ChowkhambaKrishnadas Academy, 2004), 173. [...]

[5]:

Ibid., 263.

[6]:

Sahityadarpana of Vishvanathakaviraja, Ed. by Acharya Sheshraja Sharma Regmi, (Varanasi: ChowkhambaKrishnadas Academy, 2004), 269.

[7]:

Annadatricarita, Prof. BalaramaPanicker K., (Thiruvananthapuram:published by the author, 1946), 6.

[8]:

Ibid.,7.

[9]:

Ibid.,29.

[10]:

Sahityadarpana of Vishvanathakaviraja, Ed. by Acharya Sheshraja Sharma Regmi, (Varanasi: Chowkhamba Krishnadas Academy, 2004), 255.

[11]:

Annadatricarita, Prof. BalaramaPanicker K., (Thiruvananthapuram:published by the author, 1946), 40.

[12]:

Natyashastra of Bharata, with the commentary Abhinavabharati by Abhinava Guptacharya, By Madhusudan Shastri M.A., (Varanasi: Banaras Hindu University, 1971), 143-144.