Part 9 - Sentiments (rasa) used in a Prahasana

Laughter (hāsya) is the main sentiment in the Prahasana. According to Bharata, laughter (hāsya) is the very essence of its permanent state, laugh (hāsa), (hāsyo nāma hāsasthāyibhāvātmakaḥ -Nāṭyaśāstra.VI, Kedarnath, p.97). Bharata further states that the laughter is of two types; i.e. selfcentered (ātmastha) and centered in others (parastha), (Nāṭyaśāstra.VI. Kedarnath, p.97).

Again, Bharata states that the laughter sentiment is of six kinds (cf. Nāṭyaśāstra.VI.53)., i.e.

1. gentle smile (smita),
2. smile (hasita),
3. gentle laughter (vihasita),
4. deriding laughter (uphasita),
5. indecent laughter (aphasita) and
6. reeling laughter (atihasita).

Dhanañjaya states that all these six types of laughter are employed in the Prahsana,

“rasastu bhūyasā kāryaḥ ṣaḍvidho hāsya eva tu (Daśarūpaka.III.56)”.

Mahendravarman’s Mattavilāsa Prahasana has applied some gentle laughter (vihasitam) through the characters like Kāpālika, Devasomā, Buddhist monk and Unmattaka or mad man.

For instance, when intoxicated, Devasomā begs support of Kāpalīka; but when he tries to support her, he himself falls down and says:

priye devasome! kim tvam kupitāsi, yadavalamitumupasarpato me dūrībhavasi
  –Mattavilāsa, Unni, p.39.

“Dear Devasomā! Why are you angry with me? You distance yourself when I try to support you”.

The conversations of Kāpālika and Devasomā are funny and create laughter in so many cases, even when they lose their begging bowl. The Śākyabhikṣu’s hatred for his religion also creates very good laughter (bhoḥ paramakāruṇikena……… vidhānam ca na dṛṣṭam -Mattavilāsa, Unni, p.44). Further the fighting between Kāpalika and Śākyabhikṣu is also very funny.

For instance, when Kāpalika asks for the bowl, Śākyabhikṣu says:

namaḥ kharapaṭāyeti vaktavyam………buddha evādhikaḥ
  –Mattavilāsa, Unni, p.47.

“namaḥ Buddhāya”and then Kāpalika replies that admire kharapaṭa, who promulgated the science of theft or the Buddha, who is very superior to kharapaṭa in this field”

Further, the incoherent talk of the mad man creates very good laughter, when he says that:

grāmasūkaramaruhya gaganamutpatitena sāgareṇa prabhñjya rāvaṇam balādgṛhītaḥ śakrasutastimiṅgilaḥ
  –Mattavilāsa, Unni, p.55.

“The ocean having reached up to the sky on the back of a domestic pig, smashed Rāvaṇa and seized the sea-monster, the son of Śukra!”

Thus, in this way, the Mattavilāsa Prahasana is full of very good laughter and makes every situation very interesting.

Another sentiment, that is prevalent in the Prahasana, is marvelous (adbhuta), which is compulsory for every drama at the conclusion or Nīrvahaṇa Sandhi (nirvahaṇe kartavyo nityam hi raso’dbhutastajñaiḥ -Nāṭyaśāstra.XIII.94). Here in the Mattavilāsa Prahasana, the act of getting the bowl through the mad man provides for the marvellous sentiment.