Eternal India Encyclopedia

Eternal India

encyclopedia

MUSIC

NAVARASAS

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.

Swaadheena pathikaa

In proximity with the lover/

husband. (Security)

Abhisaarikaa

Going in Search of the lover/

husband.

Vaasikasajjikaa

One who is dressing up in an-

ticipation and arranging. the

house.

Virahothkanthithaa

- The one pining away alone in

love.

Khandithaa

The thwarted or jilted heroine.

Vipralabdhaa

The lady whose husband/lover

is far away and is deeply

yearn-

ing for reunion.

Kalahankarikaa

The quarrelling heroine (Dis-

content)

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.

Veera rasa

or Valour: This portrays

emotions such as the following:

Gaambheerya

(Majesty),

Uthsaaha

(Enthusiasm)

and

Shaurya

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.

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

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.

iv.

Haasya rasa

or Humour (

Vilaasa

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.

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.

Bayaanaka Rasa

or Fear: The principal

mood or

bhaava

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.

Abject subjugation is the ultimate emotional

sentiment. Self-derision also figures there.

Karunaa, Schringaara

and

Bhayaanaka

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

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.

viii.

AdbhuthaRasa

(Wonder):

Aaschcharya

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.

ix.

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.

Vaatsalya

— Parent's love for the child.

Bhakti

— Devotion.

GaanaRasa —

Musical Aesthetics.