Chapter III
Bharatanatya Shastra
Translated by Manmohan Ghosh
Introduction
The Bharatanatya Shastra, attributed to the sage Bharata Muni, is a foundational text in Indian aesthetics, providing a comprehensive framework for the performing arts, including dance, drama, and music. Comprising 36 chapters (or 37 in some recensions), the text systematically explores the principles of artistic expression, stagecraft, and aesthetics. Chapter III of the Bharatanatya Shastra, as translated into English by Manmohan Ghosh, focuses on the concept of Rasa and its associated Bhavas, which are central to the aesthetic experience in Indian performing arts. This chapter is pivotal, as it lays the theoretical foundation for understanding how emotions are evoked and experienced in performance. This essay examines the content, significance, and contributions of Chapter III, as presented in Ghosh’s translation, and its enduring relevance to the practice and appreciation of Indian performing arts.
Chapter III: Rasa and Bhava
Chapter III of the Bharatanatya Shastra is dedicated to the theory of Rasa, the aesthetic essence or emotional flavor that constitutes the core of any artistic performance. Rasa, often translated as "taste" or "essence," refers to the emotional experience evoked in the audience through the skillful presentation of a performance. Bharata Muni outlines eight primary Rasas: Shringara (love), Hasya (humor), Karuna (pathos), Raudra (anger), Veera (heroism), Bhayanaka (terror), Bibhatsa (disgust), and Adbhuta (wonder). Later traditions, though not explicitly in Chapter III, include a ninth Rasa, Shanta (peace). These Rasas are not mere emotions but refined aesthetic experiences that elevate the audience to a state of transcendence.
Closely related to Rasa is the concept of Bhava, which refers to the emotional states or moods that give rise to Rasa. Chapter III categorizes Bhavas into three types: Sthayi Bhavas (permanent or dominant emotions), Vyabhichari Bhavas (transitory or complementary emotions), and Sattvika Bhavas (involuntary physical manifestations of emotion). The Sthayi Bhavas correspond directly to the eight Rasas and form the basis of the emotional content of a performance. The Vyabhichari Bhavas (33 in number) are fleeting emotions, such as anxiety, envy, or joy, that enhance the dominant mood. The Sattvika Bhavas (eight in number) include physical responses like trembling, sweating, or fainting, which reflect the intensity of the emotional experience.
The chapter explains how Rasa is evoked through the interplay of Vibhavas (determinants or causes), Anubhavas (consequents or effects), and Vyabhichari Bhavas. Vibhavas are the stimuli (such as characters, situations, or settings) that trigger an emotion, while Anubhavas are the visible expressions (gestures, facial expressions, or movements) that convey it. The skillful combination of these elements by the performer results in the audience experiencing Rasa, a shared emotional and aesthetic delight.
Manmohan Ghosh’s Translation of Chapter III
Manmohan Ghosh’s English translation of the Bharatanatya Shastra, published in two volumes (1950 and 1961) by the Asiatic Society of Bengal, is a meticulous and scholarly effort to render the complex Sanskrit text accessible to a global audience. In Chapter III, Ghosh’s translation is particularly significant for its clarity in explaining the abstract and culturally specific concepts of Rasa and Bhava. His work is accompanied by detailed notes and commentary, which provide context and elucidate the technical terminology for readers unfamiliar with Indian aesthetics.
Ghosh’s translation of Chapter III is notable for its fidelity to the original Sanskrit while maintaining readability in English. He carefully translates terms like Rasa, Bhava, Vibhava, and Anubhava, providing explanations to bridge the gap between Indian and Western aesthetic traditions. For instance, he describes Rasa as “aesthetic relish” or “sentiment,” acknowledging the difficulty of finding an exact English equivalent. His annotations draw on classical Indian commentaries, such as those by Abhinavagupta, to clarify the philosophical underpinnings of the text. Ghosh also includes a glossary of terms, making Chapter III accessible to both scholars and practitioners.
One of the challenges Ghosh faced was conveying the poetic and metaphorical nature of Bharata Muni’s language. For example, the analogy of Rasa as “taste” (derived from the culinary metaphor of savoring food) is deeply rooted in Indian cultural sensibilities. Ghosh’s translation retains this metaphor while explaining its significance, ensuring that readers understand the experiential quality of Rasa. His work also highlights the psychological and spiritual dimensions of the chapter, emphasizing that Rasa is not merely an emotional response but a transformative aesthetic experience.
Significance of Chapter III
Chapter III is arguably the heart of the Bharatanatya Shastra, as it articulates the aesthetic theory that underpins all Indian performing arts. The concept of Rasa is revolutionary because it shifts the focus from the performer’s technique to the audience’s emotional experience. Unlike Western dramatic theories, which often emphasize plot or character development (e.g., Aristotle’s Poetics), the Bharatanatya Shastra prioritizes the evocation of a universalized emotional state. This makes Chapter III a cornerstone of Indian aesthetics, influencing not only dance and drama but also literature, music, and visual arts.
The chapter’s detailed classification of Bhavas provides performers with a systematic framework for expressing emotions. For practitioners of Bharatanatyam, Kathak, or other classical dance forms, Chapter III serves as a guide for mastering Abhinaya (expressive techniques), particularly Angika (physical gestures) and Sattvika (involuntary expressions). The interplay of Vibhavas, Anubhavas, and Vyabhichari Bhavas outlined in the chapter offers a blueprint for creating nuanced and impactful performances that resonate with audiences.
Ghosh’s translation of Chapter III has been instrumental in making these concepts accessible to a global audience. By rendering the chapter in English, he enabled scholars, artists, and educators outside India to engage with the Bharatanatya Shastra’s aesthetic principles. This has facilitated cross-cultural comparisons, such as between Rasa and the Western concept of catharsis, enriching global discourse on art and aesthetics.
Impact on Indian Performing Arts
The ideas in Chapter III have had a profound influence on the practice and revival of Indian performing arts, particularly Bharatanatyam. In the early 20th century, Bharatanatyam faced challenges due to colonial policies and societal stigma. The availability of the Bharatanatya Shastra in English, through Ghosh’s translation, provided a scholarly foundation for revivalists like Rukmini Devi Arundale, who sought to restore the dance form to its classical roots. Chapter III’s emphasis on Rasa and Bhava offered a theoretical basis for refining Abhinaya, ensuring that performances adhered to the text’s aesthetic principles.
The chapter’s concepts also remain relevant in contemporary performance practices. Modern Bharatanatyam choreographers draw on the Rasa theory to create pieces that evoke specific emotional responses, whether traditional themes like devotion or modern narratives addressing social issues. The universality of Rasa allows performers to connect with diverse audiences, transcending cultural and linguistic barriers.
Challenges and Limitations
While Ghosh’s translation of Chapter III is a remarkable achievement, it faces challenges inherent in translating a text steeped in cultural and philosophical specificity. The abstract nature of Rasa and Bhava can be difficult to convey to readers unfamiliar with Indian traditions. Additionally, the chapter’s focus on theoretical exposition may feel dense for practitioners seeking practical guidance. Ghosh’s scholarly approach, while rigorous, prioritizes textual accuracy over performative context, which may limit its accessibility for some artists.
Furthermore, the Bharatanatya Shastra was originally intended for oral transmission and practical application within a guru-shishya (teacher-student) tradition. Some nuances of Chapter III, such as the experiential quality of Rasa, may be better understood through live performance or training rather than textual study. Nevertheless, Ghosh’s translation remains an invaluable resource for bridging this gap, providing a foundation for further exploration and interpretation.
Conclusion
Chapter III of the Bharatanatya Shastra, as translated by Manmohan Ghosh, is a cornerstone of Indian aesthetic theory, offering profound insights into the nature of Rasa and Bhava. Ghosh’s meticulous translation has made this chapter accessible to a global audience, preserving its philosophical depth while elucidating its technical concepts. By articulating the principles of emotional expression and aesthetic experience, Chapter III provides a timeless framework for performers and scholars alike. Its influence on the revival and globalization of Indian performing arts underscores its enduring relevance, ensuring that the Bharatanatya Shastra remains a living tradition in the modern world. Ghosh’s translation of this chapter stands as a testament to his scholarship, bridging ancient wisdom with contemporary understanding and fostering a deeper appreciation of Indian art and culture.
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