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The Eight Principal Rasas
The Eight Principal Rasas
The Eight Principal Rasas
http://hdl.handle.net/2027/umn.31951001053392h
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TABLEAUX
MIJRTTI
AR.D
AND DRAMATIC
OR
.
VRINDAKA,
PIECES,
THEIR FHARACTER,
JLLUSTRATING
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OF THE FIRST CLASE OF ACADEMIR MONT REAL ; OF THE ACADEMIR
CORRESPONDING MEMBER OF THE OENEvA INSTITUTE ; OF THE ORIENTAL
I) AERObTATlON METEOEOLOCIOI'IfFIRIE
MUSEUM, VIENNA ; OF TE EROYAL
" 5/0',4,;
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m' , TIIRIN; OF THE SOCIETY OF AMsTERDAM; OF THE EOCIETY OF ARTs AND sOIRNCEs,
ORRIsFoxDENT-E OF THE ACADEMY OF RAFFAELLO, URBIS); ACCADEMICO CORRISI.ONDENTE OF THE
JAVA; -*
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S)CIO CO-OI'EBATEUB OF THE A'QADEKYuOF FIITAGORIKA, e,
f 'R0211, MUSICAL INSTITUTE, FLORENCE;
EAFLEs; TDTTOREQDI MUsICA E DI LETIERE ACCADEMIA NAPOLI'LFBBREMERITO OF THE ROYAL
0F FARMA; ASSOCIATE MEMBER OF THE ROYAL ACADEMY OF sCIENCE, LETTERS AND -
.
'
UEIvIIRsn'Y '
FINE ARTS, RRUssELs ; FOEEION MEMBER OF TIIE ROYAL FHILOLOGICAL AND ETHNOCRAFHICA " I
INETITUTION OF NETHERLANDE INDIA AT THE HAGUE; FATEONIFOF THE ATHENNEUM OF
THE ROYAL UNIVERSITY OF sAssARI, sARDINIA ; ORDINARY MEMBER OF THE ORIENTAL
ACADEMY, FLORENCE; PRESIDENT ONORARIO OF THE ACCADEMIA .FITTAOORICA OvvEaO .
scULO ITALICA ; YREsIDENT D'ONORE UFFICIALE DELEOATO LsTITUTO UMDERTO FRIMO,
LECHORN ; sOcIO D ONORE AssOCIAzIONE GIOYANILE sALERINTANA sALERNO ; sOcIO '
FONDATORE ATENEO GIOvAN EATIsTA ALLEOTII IN AROENTA, NAPLES ; HONORARY
FREEIDRRT OF LUNION YALDOTAINE, GENEYE; sOCIO FROTETTORE CIRCOLO;
YITTORIO EMMAEUELE FILANTROFICO LEITERARIO sEDE IN CATANIA ; sOCIO
.
FROTE'ITORE CIRCOLO LETTERARIO ARTIsTICO MCsICALE EELLINI, CATANIA ;
810., 8:0, &C., &C. .,.
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Founded by
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MURTTI ANWITIH VRINDAKA,
TABLEAUX AND DRAMATIC PIECES.
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AND OF THE MOST EKALTED ORDER OF FRANCIS JOSEPH, AUSTRIA CHEVALIER OF THE ROYAL PORTUGUESE MILI-
;
I
TARY ORDER OF CHRIST, AND OF THE SECOND CLASS OF THE IMPERIAL ORDER OF MEDJIDIE FRANC CHEVALIER
OF THE ORDER OF THE KNIGHTS OF THE HOLY SAVIOUR, MONT REAL, JERUSALEM, RHODES, AND MALTA _
;
KNIGHT OF THE GURKHA STAR OF SARASVATI, NEPAUL AND OF THE ORDER OF BASABAMALA, SIAM; SAN
;
OF LITERATURE, AND HONORARY PATRON OF THE SOCIETY OF SCIENCE, LETTERS, AND ART, LONDON
; ;
FELLOW OF THE UNIVERSITY OF CALCUTTA JUSTICE OF THE PEACE FOR THE TOWN OF CALCUTTA
;
HONORARY MAGISTRATE AND MAGISTRATE OF POLICE IN THE TOWN OF CALCUTTA SOCIO ONORARIO
;
OF THE ROYAL ACADEMY, PALERMO OF THE ROYAL ACADEMY OF ST. CECILIA OF THE SOCIETA
;
;
;
HONORARY MEMBER OF THE ROYAL MUSICAL ACADEMY, STOCKHOLM OF THE ;
ARCHzEOLOGICALSOCIETY OF ATHENS OF THE PHILHARMONIC SOCIETY, MEL
;
OF THE FIRST CLASS OF ACADEMIE MONT REAL OF THE ACADEMIE D AEROSTATION METEOROLOGIQUE, PARIS
;
;
CORRESPONDINGMEMBER OF THE GENEVA INSTITUTE; OF THE ORIENTAL MUSEUM, VIENNA; OF THE ROYAL
ACADEMY, TURIN OF THE SOCIETY OF AMSTERDAM OF THE SOCIETY OF ARTS AND SCIENCES, JAVA
-
;
;
;
SOCIOCORRISPONDENTE OF THE ACADEMY OF RAFFAELLO, URBINO; ACCADEMICO CORRISPONDENTE OF THE
ROYAL MUSICAL INSTITUTE, FLORENCE SOCIO CO-OPERATEUR OF THE ACADEMY OF PITTAGORIKA,
;
5
UNIVERSITY OF PARMA; ASSOCIATE MEMBER OF THE ROYAL ACADEMY OF SCIENCE, LETTERS AND
FINE ARTS, BRUSSELS FOREIGN MEMBER OF THE ROYAL PHILOLOGICAL AND ETHNOGRAPHICAL
;
SOCIO
;
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PRINTED BY C. BOSE 00., STANHOPE PRESS, 249, BOw-BAzAR STREET, AND PUBLISHED BY THE AUTHOR.
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Generated for Dasgupta, Sreemoyee (University of Pittsburgh) on 2015-09-28 13:59 GMT / http://hdl.handle.net/2027/umn.31951001053392h
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QUIXT'FE> ~
Q:
q
WKEZWWIZ.
is
GROWING
mil friends to have clear knowledge of the various elements that com
a
aesthetic necessary
is
Rams or Sentiments, which are their life and soul, and which give them
such variety. have attempted in these pages to furnish the curious
I
reader with short accounts of the dramatic laws of the Hindus, the
denitions of the various dramatic compositions as recognized in the
Stistras, an exposition of the Rasas, of the Bha'vas (through which the
former receive their full development), and of their various ramications, the
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names of the Rdgas adapted to each Rasa, brief notice of the Aryan Stage
a
and of the color of the drop-scene peculiar to each, and such other matters
as have been found to bear on the subject. With the view of illustrating the
eight principal Bases of the Hindus, have selected well-known scenes from
I
our classical writings, given their Tableaux and composed short dramatic
only excuse for bringing before the enlightened public the steady
is
en
it
bringing within their reach few relics of the untold musical and literary
a
S. M. TAG ORE.
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x.'-
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Generated for Dasgupta, Sreemoyee (University of Pittsburgh) on 2015-09-28 13:59 GMT / http://hdl.handle.net/2027/umn.31951001053392h
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CONTENTS.
Page. Page.
The Character of the Drama 1 MI'Irtti 21
Natalia 3 Prahelik.
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Prakara'ga 5 Dancing... 22
Vina 6 Bhva 24
Prahasana ,, The Sthyi Bhva n
Dima 7 Rati H 25
Vyyoga 8 Hsa n
Samabakra ,, SOka n
Vithi _ , 9 Krodha. n
.Aka . 10 Utsha 26
Ihamriga ,, Bhaya n
Nzitika. 11 JugupS.... n
Prakashika .. . 12 Vismaya. . . n
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Page.
Abahitth 32 Vilsa ...
Autsukya )) Vichchhitti .. .
Unmda 33 Vibboka ...
S'ak ... )) Kilakichita ...
Smriti )) Mottayita ...
Mati ... )) Kuttamita m
Bydhi ... 34 Bibhrama
Trsa )) Lalita ...
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Brig )) Mada
Harsha ... ))
Vira Rasa
Asy. ))
The Karuga Rasa
Vishda 35 The Raudra. Rosa
Dhriti ))
The Hsya Rasa
Chapalat )) Smita
Glni )) Hasita ...
Chint 36 Vihasita
Vitarka )) Abahasita ...
The Sttvika Bhva )) Apahasita
Stambha... )) Atihasita
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Page.
I.S'RIN_OARA RAsA. Sanskrit Song ... ... 115
Ram-Lilli. Its Translation ... 117
Argument ... ,, Hindu Notation .. 119
Sanskrit Song ,, English ditto ... 121
Its Translation Dramatic Piece ... 123
,, Hindu Notation ...
,, English ditto ... ... VI.BHAYANAKA RAsA.
Dramatic Piece ... Nri-singha ripping open the Bowels of
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Argument
Sanskrit Song Argument 139
Its Translation Sanskrit Song ... 141
,, Hindu Notation ... Its Translation ... 1413
,, English ditto ,, Hindu Notation .. 145
Dramatic Piece 7,, English ditto ... 14,7
IV.RAUDRA RAsA. Dramatic Piece 14,9
Vis'vdmitra cursing Haris'whandrm
Argument ... 101
VIIL-ADEHUTA RAsA.
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HAVING created the four Vedas, Brahma evolved the fth out of
them and called the Drama. The sage Bharata rst learnt from
it
it
Brahma, and played before Mahadeva. (1) The Drama consists of
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three parts namely, Nritya (the drama proper), Nritta and Nritya
;
(dancing) (2) The art which holds the mirror up to nature by per
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and gestures, the dramatic. (3) Many things are requisite in a
is
Drama but we shall not enter into them on the ground of their
;
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irrelevancy. The curious reader may, however, refer to the Sanskrit
_w-:-~v-_-.v-w1-
Drama, of which well he may drink his ll. On mature consideration,
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ments in the minds of the audience similar to those which they body
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THE EIGHT PRINCIPAL BASAS OF THE HINDUS.
2
forth. The ten kinds of art which teach Various measured movements
of the limbs and the trunk with m'ldsa, together constitute Nm'tta or
dancing. (1) Nm'tta, without the dramatic element, called Nritya
is
(simple dancing) (2). of two sorts Viz., mdrga and
is
Nm'tya dez'. (3)
;
That kind of entertainment composed of music and dancing which
(4) and that which in vogue amongst us, and which per
is
is
mdrga
;
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'Drama. (1) Dantz'la and other authorities classify sixteen kinds of
utrsas.
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Generated for Dasgupta, Sreemoyee (University of Pittsburgh) on 2015-09-28 13:59 GMT / http://hdl.handle.net/2027/umn.31951001053392h
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which excites the udcitta gugza, which celebrates the lives of mighty
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.THE EIGHT PRINCIPAL RASAS OF THE HIND'US.
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ters. The performance excludes these z-hallooing from a distance,
laying siege, bathing, and using any essence on the stage. The acts
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of the main action and its conclusion. There should not be much
I PRAKARARA.
THAT species of the Drama, the subject of which is ctitious
Generated for Dasgupta, Sreemoyee (University of Pittsburgh) on 2015-09-28 13:59 GMT / http://hdl.handle.net/2027/umn.31951001053392h
and human, which is based On the Iidi msa, whose hero is a Courtier,
a Brahmin, or a merchant, actuated by earthly motives, whose plot,
i although without the interest incidental to the delineation of royal
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or celestial personages, is nevertheless Charming, which has servants,
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pages, merchants and harlots or vulgar women for its dramatis
personw, whose heroine alternates between a woman of a family and
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6 THE EIGHT PRINCIPAL~ RASAS OF THE HINDUS;
rigs.
THAT kind of the Drama, the subject of which is a cunning person,
which includes a variety of incidents, which consists of one act and
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unfold the intended circumstances.
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should largely describe heroism, puissance, and prosperity. In it the
vim and (id?! msas preponderate. Its Vrz'ttz' is Bheiratz' (1), and its
uxm~
example Sdradd-tz'laka and Lz'ldmadhukam.
PBAHASANA.
THE hero of the Prahasana (farce) is an anchoret, a Brahmin, or
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-u-_-~.~.--'.___
Prahasana is of two kinds ;.uddha (pure ) and sankz'rgza (mixed).
With the above-mentioned characteristics, it is suddha ,- and when a
harlot, an impotent person, a page, a merchant, or maid-servants
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Generated for Dasgupta, Sreemoyee (University of Pittsburgh) on 2015-09-28 13:59 GMT / http://hdl.handle.net/2027/umn.31951001053392h
THE subject of the Dz'ma is famous, and its hero celebrated and
It
uni-ak..
generous. is complete in four acts. It only excludes rich and
Mega msas ,' but whatever may be the sentiment, its movements
should be powerful and taking. It is mainly concerned with eclipses
of the sun and moon, with falling stars and wars. It should touch
drabhatz' wittz's. No less than ten and six heroes enter into it. (2)
Tn'puraddha is an example of it.
Mythical characters.
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THE EIGHT PRINCIPAL RASAS OF THE HIND'US.
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______.________________________----~
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THE hero of the Vyriyoga some god or personage of the blood
is
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dramatz's Personae. complete
'x'....c__..'',.-M-MA,
one act, and should treat of wars, &c., but they should not owe
Generated for Dasgupta, Sreemoyee (University of Pittsburgh) on 2015-09-28 13:59 GMT / http://hdl.handle.net/2027/umn.31951001053392h
is
than his-ya, deli and sdnta, should preside in it. (1) Saugandhz'kd
. I
SAMAEAEREA.
with gods and asums. Its
is
is
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plete in three acts. Every act should severally take up three kinds
of hypocrisy, of escape and of dalliance.
be
There should twelve
heroes and. eighteen heroines in it. The rst act should be nished
in twenty-four, the second in eight, and the third in four, alazulas.F Its
plot should include wars, water, re and elephants. The ight in it
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Generated for Dasgupta, Sreemoyee (University of Pittsburgh) on 2015-09-28 13:59 GMT / http://hdl.handle.net/2027/umn.31951001053392h
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girl and lying with her in secret, called Kdmavihdra. This
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species of the drama contains complex metres replete with passion
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Samudra-lllanthana an example.
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~m-qw-ww~w:
IN the there one act and one or two actors. Like the
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10 THE EIGHT rnmcnmn BASAS or THE HINDUS.
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example.
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groves, example
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Sarmz'shthd Yaydtz'.
isiwsiss.
THE Ihdmm'ga consists of four acts. Its hero a god; its
is
goddess.
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intercourse should take place between the hero and the heroine, in
consequence of quarreling, ravishment, intoxication, &c. In its action,
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THE EIGHT PRINCIPAL RASAS OF THE HINDUS. 11
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with the exception that in arms may be used. Fighting between
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the combatants should be avoided on some plea or other. (1) Km
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an instance of it.
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Generated for Dasgupta, Sreemoyee (University of Pittsburgh) on 2015-09-28 14:00 GMT / http://hdl.handle.net/2027/umn.31951001053392h
complete Kai-9,1705
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she should be a virgin, with a bosom newly inamed with love.
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union of the couple should rest with her. (2) Ratndvalz' and
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12 THE EIGHT PRINCIPAL RASAS OF THE HINDUS
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Both its hero and its quasi-hero should come of vulgar parentage;
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an instance of it.
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THE EIGHT PRINCIPAL RASAS OF THE HINDUS. 13
assist.
THIS is complete in one act. It consists mainly of music, but
virsszsx.
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11 1 s1K i.
Public Domain in the United States, Google-digitized / http://www.hathitrust.org/access_use#pd-us-google
THE hero of the Dz'pz'kci should be foolish ; and the play should
mainly concern itself with the comical exhibition of his folly. It con
sists of one act and has one actor. The speeches should be addressed to
the air. (3) We have not seen any example of this species in the Sans
I
,-.1,_
I
:Wl..~
r __ x, A._-~,x_-,,-.-
r311?
,lAv l he->-
. . .
.
l'_
I
lI
14; THE EIGHT PRINCIPAL RASAS OF THE HINDUs.
EALUTSARATARA.
' '
BOTH the hero and the heroine in the Kalotsdhatard should
T
(1)
EHITEA.
No acting takes place in the In person comes out
it
O'hz'trd.
a
and exhibits pictures embodying various feelings and sentiments (2).
a
running commentary with or without music.
in
verse, and
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'
' "A ~
PISSSPSITA.
y
I
I '
sentiment of this kind of the drama
THE. disgust. It
is
is
complete in one act. The dramatz's 10mm should be rdkshasas,
i
mawiswmwmqifaifiql areiuftwwrinqgiwiwrsfmt'l
WRIFIEIU RETIRE a RIIRII fsm RI Rfzm augiiqamiit
II
.~
I
ERII'IIRREIIRIRI mirttuuzur
ll
fanammwifrs
(q)
W
Is) Egan" 3W7 qrifmfw (15am RIEIRI'I FREE?! :{RERIIIEIIREIII
I
.I
ricsi'rsis'rsi.
SIX or seven persons are introduced in this species of the drama.
It contains no plot. The men should display feats of jugglery, with
or
itinerant Indian conjurors
(I)
comments on them. The Bedt'ytis
' '
exhibit these tricks.
Generated for Dasgupta, Sreemoyee (University of Pittsburgh) on 2015-09-28 14:00 GMT / http://hdl.handle.net/2027/umn.31951001053392h
.
T
T
K
II
A
S
derful, (2)
sausage.~
Public Domain in the United States, Google-digitized / http://www.hathitrust.org/access_use#pd-us-google
'~. ~-\
-
1
_
THAT which contains ve, seven, eight or nine acts, whose hero
heaven-born,
is
a
speeches
' i i i ' '
an example of it.
is
(3) Wkmmoreast
" patois derived from Sanskrit and put in the mouths of women and insignicant characters.
A
This comic character gures in almost every Sanskrit. drama. His wretched jokes generally
1'
only as to character the inimitable witticisms of the latter being all his own.
,,
;
fastest
I
n
II
16 THE EIGHT PRINCIPAL RASAS OF THE HINDUS.
scssraf
THAT which introduces nine or ten men and ve or six
is
the with, which consists of one act and which mainly con
is
kazlslz'lci
is
IBIHHAKA.
THE play in which various stories are represented, whose
dramatic Personae are men of different castes, and which not tied
is
down to xed number of acts, called Vn'ndaka. The stories should
is
a
~
be fascinating. (2)
~ -.
variety.
.,.-
-
~
BILPAKA.
THAT which in four acts, which has four which
is
complete crittz's,
ufatfda
|
amimi mslfwfam
Wgm mn'rrfsfaiinr
srm
l
_
.
Generated for Dasgupta, Sreemoyee (University of Pittsburgh) on 2015-09-28 14:00 GMT / http://hdl.handle.net/2027/umn.31951001053392h
i. p. ____-A.
Paaaaana
m)...
A PLAY in which the hero a low character, which has no Szitra
is
l-_'~,.w;..__._r~_~..~
dhdrms Vz'shkambhaka or Prabesaka, which has but one act, which
is
nu---1-_--A___.~_-.~
lawn,
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Preizkhazga. (2) .
-
The arguing of doubtful point. The doubt of the existence or otherwise of thing.
3
1
Desire.
a
!
lover. king.
8
Attachment.
i
a
4-.-
1 Contraction of the
9
Em
J12)
. ._v-i
mm
(Q arm: fawsirn irmfawfa'mfzr guru: wife?
WW
1
12Hr
l
W:
main! min?! as:
mama hag
n
Wife: fer
"
asiar-r
l
my -
g
m'rw
u
uamatrf
.
Wamarzmaaia:
l
a ,
.!_~_,_
. .__. _--
a Gama
l
_
a
"
uaauuirsnmfsmrnfswa:
5'?
"Eaaaimm
u
mHZlEWT
n
n
_
M)"
18 THE EIGHT PRINCIPAL RASAS OF THE HINDUS.
ssstisasa- i
l
A PLAY which consists of three or four acts, whose hero is
a reprobate,_ which contains other rasas than the ride' and karuga,
which treats of mock ghts, blockade, and ight, and which includes
/ I
HBI L L I S It - i
eight or ten women, which has one hero, which contains words
pregnant with worth, which contains the with, and which
Hm'llz'a. (2)
assess.
THIs has only one act and ve dramatic Personae. It should largely
display various languages. Its vrz'ttz's are kaist'ki and bhdrati- There
should be no Sdtradhdra. Like the Vithi, the entire act should abound
in music and dancing. Its benedictory verses should be sarcastical.
is
~m-~m~b4rt
example.
ssisasira. .
has a celebrated
51%,
mew-..,',. ..."''.-
'
name of grigadita. (2) Krirrasa'tala an example of it.
is
wa. ~_,
I
I
.
H
L
K
Y
I
,, ~_1~cc-~n
THAT which has mainly to do with the passion of terror, which
~A.i~.~_~__._~A.
in one act, and which exhibits poltroon of a hero,
is
is
complete
a
Public Domain in the United States, Google-digitized / http://www.hathitrust.org/access_use#pd-us-google
named Viluki. (3) _ We have not seen any specimens of this variety.
rsmsast
A PLAY in which the passion of the wonderful predominates,
which introduces two or three characters, and in the performance
of which the instrument tumbak played, goes by the name of
is
bag-pipe.
I
(
W
Southern India.
8A J JITA.
THAT which is presided over by the passion of love, which
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abounds in dance and song, which is full of the v-z'dzishaka, whose hero
PAHIYABTTA.
THAT which has only one character, which is destitute of lan
(i) WW
(- 0 use we?
twi-f HHTFEW slw: n
iwiim'maw ' . 0 \
wilt: 0\
@gwgnama massif-trivial.
filiafal'lgll Wag-q II as wzsfiqsrj uzarlqzuzs'r u
W.
THE EIGHT PRINCIPAL RASAS OF THE HINDUS.
msrra
THAT species of the drama which has no acting, but in which
ssasshzsi.
Public Domain in the United States, Google-digitized / http://www.hathitrust.org/access_use#pd-us-google
Ries-I
u
ll
119%:
,_-~_._._-__~._
w---._~. Mk m~>~Mm~ m
sesame
._._
of two kinds and ldsya. Ta'daca accompanies
is
Nm'tya ta'daca
;
III
c,x--_.
Sam'ta having Dhruvas and other kinds of songs. It has various
is
tdrlzldaca.
Generated for Dasgupta, Sreemoyee (University of Pittsburgh) on 2015-09-28 14:00 GMT / http://hdl.handle.net/2027/umn.31951001053392h
pebalz'
;
pebah'.
"WW
frequently, According to some, the vahurzipa tdndaca
is
cahurzipa.
with changes of dress.
The Maya dancing excites amour in the bosom of youth. It
is
divided into two parts; chhum'ta and yauvata. The dance of the
hero and heroine in representation exciting love, including senti
a
- WWWlQ-nq-nmu-
ag-Mm
Zaghu. Vz'shama
;
frightful dress are m'kata dancing graceful upward tripping and that
;
is
at IT, I?! 4w
2
THE EIGHT PRINCIPAL RASAS OF THE HINDUS. - 23
_'
According to Ndrada Sahz'td, puii-nm'tya (male-dancing),* or tab.
WW...._,_
dava and strt-nm'tya (female-dancing ), are generally known as llisya.
jakkarz'. The dance which the SabarasiL perform with songs, is entitl
..
called kuragz'. Mattdvali is the dance performed by the drinking
folks of Turkey. (1) Ndtya, nm'tya and nm'tta alike depend upon bhd'va.
...-..-. ...
" It
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is certain that notwithstanding its present absence, male-dancing was in vogue in classic India.
+ A race of mountaineers formerly seen in the mountainous regions of Western India. The kind of
dance mentioned here is still in vogue among the Sthals and other peoples.
was Hm u
WW3 mimrii rst smear
1
anaemia-miss!
riagzemiw ezja' aswsqa | ml @6151 as
said sja'i
1|
u
mammnia' ms vitae
1
u
minimum? 111
martin f! my Hum gmrmafw was.
u
Basra.
A Bhtiva is a mental modication. There are three kinds of
Bhdvas ,- sthtiyz', bydvz'chdrz' and svtitttka. (1) The full development of a
Bhava is entitled Rosa.
srsirissira.
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was
.ANY according or disagreeing Bha'va, which cannot be bid, and
which culminates in a Rasa: (passion) through bibha'va, anubha'va,
;
krodha, utsa'ha, vaya, jugupsd and m'smaya. Some include same in
I
the list. (1)
BhTL _,
Generated for Dasgupta, Sreemoyee (University of Pittsburgh) on 2015-09-28 14:00 GMT / http://hdl.handle.net/2027/umn.31951001053392h
stat.~\
THE expansion of the facial muscles at something ludicrous
W_~II*W-
see
SURE.
THE mental agitation
is
KHBHHA.
THE nervous and mental irritation -in extreme cases merging
w
wsr
1
(R) Rim:
marquee mfqsemrm lmnfaas
l
l
(8,)
V =.,--_--.=..-_.,
....
__-__-_____________________
26 THE EIGHT PRINCIPAL RASAS OF THE HINDUS.
"-nrsanar
.
______..
THE pains which one is at on entering upon a course, constitute
-~___.._..._
e .
Utsdha (encouragement). (2)
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f
. \
lemma,w _
. _ _.-_-.____._____-__~
THE apprehension of danger, accompanied with a painful emo~
*ansnPst.
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YIS MAY .
515263
THE renunciationof the pleasures of the world, and the absorp
WIN?"
. '__ '. ..
,_ ,_ -~_____-_-_____-_-~-__M . \A.V_W\_-
m
.THE EIGHT PRINCIPAL RASAS OETHE HINDU. 27
w\aasssirh.lf
of
of;
s..'- :aaebbveeonsilps: the "actions which eretheexpressiqns
arwemotion, ;and or represented
in
which are described *a poem
'
Marley-1(1). -
'
'
_.
1.
.
'1
I
x'
stsaira.
.
@::*'
Generated for Dasgupta, Sreemoyee (University of Pittsburgh) on 2015-09-28 14:00 GMT / http://hdl.handle.net/2027/umn.31951001053392h
_..'
,
is
of
mum-,.
viz., rilamvana and uddt'pana. (2)
itamsasaunsairs.
,.~_.c~I.H
.
'
te'
zlrlambaha-ibt'thdva}
A I
~~M___M..AJ
'
of.
who are the mutual stay each other. (3)'
BHHIPAHArBIBHAY. -
g
excites
a
to
ifrmi WTIRF'II
Q:
its:
(a)
rm-s1: stvafsmmi
ii
wm'imreii w nished
n
u
-e~w-~'rl
28 THE EIGHT rnmcrrxr. nxsxs or THE HINDUS.
..M
Bydm'chdrz' or Sachdn' bhgiva. There are thirty-three species of it ;
karsa, asuyli, bz'sha'da, dhn'tz', chapalatd, gldm', chz'nta and m'tarka. (1)
HIBYEEII.
~
THEfeeling of self-humiliation which arises from danger, envy,
Evans.
FLURRY is called A'vega. If physical, it brings disease ; if it
arises from an external cause, it brings on xture; if from re, it
brings tears, &c. (3)
(I) WHH sh st
swrw I
ui3uum= agrmsmrerrwwemq
mm
mr'gwfawismfis'm sjsuarvwrge
(R) |
airs?
l
HAINYQ.
THE weakness incident to poverty goes by the name of Daz'nya.
l
saawa. I
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I
THE perspiration which comes out after co-habitation or through i
fatigue, is called Srama. Hard breathing and dead sleep are its
effects. (2) l
aasa.
THE insensibility or the ecstacy which accompanies intoxication i
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is called Mada. The good in this state lie down, the indi'erent
laugh and sing, while the bad use hard words and weep. (3) .
i
I
aaaara. l
I
q
@liti wamfasiz ar frFqfa
W= rarefaztfzwm
i ( l) -"ii HFsaa'rFai's'J rim-i n
I
I (R) "
c
sci mtfacmsfa'q:
Q
swrraaeai nil Warmer: smfaufn'ii
(i)
(e)
|
,i
|
i
Win shim 11% Fruit nets mfa afafmauamustmms
||
|
I
l~
1
.__-________.._____'
<.._~.____:.;.;___._._-;..
__.__ _ _, ..:_e ____._..I_m-_e- III
assert.
THE heat which is generated by feats of heroism, or on the
MBHA.
THE restlessness caused by civega, fear or by brooding over
YiBBHI-IA.
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SVAPNA.
MENTAL activity during sleep is known as Svapna. Anger, excite
qdmms'qsaaamissimfws n qmmtfm=mitw ||
THE EIGHT PRINCIPAL RASAS OF THE HINDUS.
assesses.
THE agitation of mind under astral inuence is called
EIIBBBA.
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masans.
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Aaasva.
THE lassitude brought on by fatigue or pregnancy, is called
I
Alasya. It results in yawning and the discoloration of the skin. (4)
AMABSHA.
THE pain which is felt at calumny or disgrace, is what
eyes, the shaking of the head, frowning and general fury of de-
meanour. (1)
i'wK1M-~~
-
inset.
.
\
I ...-..
is
is
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the closing of the eyes, heavy breathing, and the stretching of the
1
limbs. (2)
aeaairraa.
.. . ._,.v. MWWwM-v
anrsnsra.
--~<---W.__~A..
1
entitled Autsulvya. Agitation of mind, hurry, perspiration,
is
object,
fazrurmmirmifsfnsarl HmiGswI-Ei'siamgtamr
(a)
(a)
I
i
simtl-mwmrammfasqmfza
WW
awrmfanawiuinsimfzns
ll
n
i
I
g
a: nufazssgiemsnwfmiui
funmatrswfuwfeurksin
ll
ll
m___
Hamish.
THE complete up-setting of the mind induced by lust, grief, fear,
is
It
Wmw
A
AI
l
y'guvuiwzftnmnnm
K
.
A
N
S
isl'ailk.
its accompaniments.
uw;*mm
(2)
Public Domain in the United States, Google-digitized / http://www.hathitrust.org/access_use#pd-us-google
I.
T
P6
5
3
I
m
, Smm'tz'.
(3)
~QQW
MATI.
THE ascertaining of a question by process of didactic ratiocina
a
Matz.
(s)
l
l
II
THE EIGHT PRINCIPAL RASAS OF THE HINDUS.
l
BYAEHL
THE agitation of the bodily humours through imperfect oxida~
I
T B A S is . 1
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trembling. (2)
8515A.
THE witnessing of the decline of ones good name through indis
HABSHA.
THE delight at attaining our ends is Harsha. It vents itself in
tears and a choked utterance. (4)
I I
A S HYA .
arfsnfzaiwillmml stfms'mmssmzrfem
mm
(I) (Q) n
I
(a) rsinqmw= n (a) srqmwg'mslsnitssumfwgm
maimed
|
i
THE EIGHT PRINCIPAL RASAS OF THE HINDUS. 35
vissiea.
THE fruitless pining which results in exhaustion, called
is
1 raw.i
HHBITI.
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objects Dlm'tz'.
neasaaara.
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staaa
THE languor which felt after sexual intercourse and labor,
is
ilH'iW-l! (a)
WWWRET
l
a1 Wf eammutmw
mmilfqm
u
ll
mamas;
(a) mqjisg'sm sn (I!)
'
I
.
. , .
carers.
PINING disappointment goes by the name of Ohz'ntri. Vacant
look and sighs are its adjuncts.
1)
(
A... IxMxW'_x__
YITABKA.
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eye-brows is
and movements of the head and ngers are the signs. (2)
rsssirrrrsassirs.
.
is
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Srittm'ka-bhdva. shapes
bha'va. (3)
4~_4_Wm w
STAMBHII.
_
_ THE mental stupor which generated by fear, excessive joy and
is
(4)
srizmssmii
|
THE EIGHT PRINCIPAL RASAS OF THE HINDUS 37
HYEGA.
THE perspiration which comes out, after co-habitation, from toil
or heat, called Sceda. (1)
is
Business.
THE standing on end of the hairs of the body, for delight,
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avast-Basses.
'
THE hoarse voice which occasioned by intoxication, joy or
is
THE trembling
vssarss.
of the body through anger,
I
envy, or fatigue,v
_
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is
Vepathu. (4) .
it.
A
Y
Y
A
B
B
3
I
'
by
known as
is
Assn.
THE tears which fall through anger, grief or excessive joy, are
'
called Aim. (6)
-
A
A
B
A
L
P
Y
'
(7)
(1.)
II
(I)
|
(Q)
{mailman}: m) me: was}: (s) Esra: srsgxmqi EEK wmnr:
(8)
n
|
RASAS.
0204"
of mind;
Public Domain in the United States, Google-digitized / http://www.hathitrust.org/access_use#pd-us-google
I ,_ I
I.~SBINE1&BA.
THE feeling which springs up in the minds of the hero and
the heroine at the sight and embrace of each other in elegant
raiments, under the warm inuence of music and a beautiful scenery
l
I
rrsrtaitmmsmwmaim wrgswiI-crwmrai a as fs l
I
II
THE EIGHT PRINCIPAL HAsAs 0E THE HINDUS. 39
clad in all the verdure and freshness of spring, goes by the name
its presiding deity, Vishnu. In this Rasa, rate is the sthtiyi-bhdva ; the
hero and the heroine are the tilambana-bt'bhziva of each other ; the
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moon, sandal, the black bee and other objects apt to excite love are
its amtbhdva ; other bhtivas than ugratti, marazta, tilasya and jugupsa',
an instance in point.
Sambhoga. (2)
A.
VIPRALAMBHA.
* A religious festival celebrating the loves of Krishna, Rdh. and the milk-maids of Vrindgban,
at
mam
(r) miusmrmimfzsii: ifsvww$<qm= n
l
mesa:
'
5
u
_______-_-___..xx.__
I I
(a)PuRssA-RAcA.
THE mental condition of the hero and the heroine, who have
W
seen each other personally by magic or in dreams, who have seen
each others likeness only, or who have heard of each others
beauty and charms through messengers, maids or heralds, and
who burn for a sight of each other, is called PzZrbba-rdga (rst
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emotion).
a
person is restored to life. But the drama may explicitly land him
on the verge of the grave, without actually letting it over his
close
bones. First the Pzirbba-niga of the heroine and then that of the hero
ought to be displayed through signs. There are three kinds of it ;
Nili, Kusumbha and
,h
iljlajz'shthd. (1)
./-___.n
(I) winresimrfz sherman): I were: :IEIEI: mist wmvrrgsf I
wrfs'lrjltmlr 1am: a swi- || wrstgr siwsmumsmmm I
STRIP-r1
\I
Hans sinsmlsllg were I swam i'qliit'vilil FFIHEWII
mnfsrsmarajanmn mfalslailw 7afifimllilll
sIa-awfqm wagma-wncwme I
Wine-g sgsrsi anI-q'rfw mu l
Gan-$15!: szrfssisargrfrfa (Hrs new: ll Ws'sfw sfx negaha wits II
sIIE-nw q? finer msmmfsswil and am: fem (In: 3's: wmfqir: I
swuftnzsssafu ll sasmnfasv rrisfz s rst II
(1)-manage.
(l)
itself, is called Nz'Zi-rga.
)--Kusumbha-Riga.
(2
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a
priate expressions, suddenly
is
vanishes,v called Kuswnbha-rdga. (2) _
)-Ma'1'ij1.l9hthi-Riga.
(3
is
tinguished as Majzlehthti-rtiga. (3)
Public Domain in the United States, Google-digitized / http://www.hathitrust.org/access_use#pd-us-google
(U-IVH A.
N
~(1)Pra@a'ya-Ma'aa (Love-anger).
THE baseless anger which the hero or the heroine feels, because
he or she
Loves not
wisely but too well,"
\
n
safaq
.
R) .6 .rl tIJstmnmWcHwn
WW
E
I:
1
)I'rshyi-Mtina.
(2
THE wrathful emotion which excited in the mind of the hero
is
ine on seeing her lover in the company of another mistress or on
is
llrshyd-mzina. (1) It may be pacied in these six ways :-by sdma
(c)-PRAvAsA
l
Vzp'ralambha. (2)
A
iwimd) HQ?! tmi aw a-gfsrfrui msksmfswsaniist 51113
n
n
n
I
i
THE EIGHT PRINCIPAL EASAS OF THE HINDUS. 4:3
(d)-KARUNA VIPRALAIVIBHA.
THE unavailing lamentation of the hero or the heroine at her or
his death, in the fond hope of recalling the loved image back, is
B.
SAMBHOGA.
Generated for Dasgupta, Sreemoyee (University of Pittsburgh) on 2015-09-28 14:00 GMT / http://hdl.handle.net/2027/umn.31951001053392h
WHEN the hero and the heroine see and fold each other in loves
ecstatic embraces, it is called Sambhoga.
out of generosity, modesty and love, are classied under these ten
heads: Lil, Vz'ldsa, Vichchhz'ttz', Vz'bboka, Kz'lakz'chz'ta, Mottdyzla,
(a)|. i LA .
(b)Vl LAn.
AT sight of the hero, when the fair one puts things-such as
carriages and furniturein elegant order, and displays her talk and
look to the best advantage, it goes by the name of Vz'lrisa. (4)
Quaint gasil
WW:
(I) zgjsstfaq :IEEFE IIFWHFQEEHIIIHHEW fwd IIFH II
29m
IT: ;mie'rasw
(a)
.'. (c)-vIcI-IcI-IHI1'TI.
THE heroines putting on of a spare dress, such as is calculated
to heighten her personal attractions, is called Wchchhz'tti. (l)
(d)-VIBBOKA.
(107661.(2)
(e)I<ILAI<IITcI-II1'A.
(f)-IvIo'r'rAv|"rA.
WHEN the heroine absorbed in the contemplation of her lover,
scratches her ear and does that sort of thing, her action is called ]
Motteiyz'ta. (4)
(g)I<u'r'rA|vI|rA.
1
THE shaking of the heroines hand or her head, which follows the
heros sudden holding of her by the hair, the bust or the nether
W
lip, is entitled Kuttamita. (5)
(k)s|sHRA|v|A.
Bz'bhrama the heroines putting on (through urry at the intel
is
ft'j-hAu'rA.
WHEN beautiful woman makes an elegant toilette, her action
a
Generated for Dasgupta, Sreemoyee (University of Pittsburgh) on 2015-09-28 14:00 GMT / http://hdl.handle.net/2027/umn.31951001053392h
called Lalz'ta.
is
(2,)
(j
)-m A.
A
n
THE pride begot of good fortune and youth known as Mdaa. (3)
The lover should prepare for the is
master and main action,
rr-r'isa sass,
THE Rasa, the sthriyi-bhdva of which utsdha (high spirits), the
is
golden,
....
help, etc., the anubhdva, and dhaz'ryya (patience), matz', garbba, (pride)
m'tarka and horripilation, the
is
nised as Vim Rasa. A great person should be the hero of this Rasa.
it,
I;
;
46 THE EIGHT PRINCIPAL RASAS OF THE HINDUS.
_
dayd
__-_
an example of this Rasa.
Generated for Dasgupta, Sreemoyee (University of Pittsburgh) on 2015-09-28 14:00 GMT / http://hdl.handle.net/2027/umn.31951001053392h
7- ~_
THIs sentiment is excited at the loss of what we love or like and
A.__A.
at the befalling of what we do not like. Its color is like that of the
Indian rock-dove ;* its presiding deity is Yama its
;1-
sthaiyi-bhtivq.
byabhz'cheiri-bheivas.
"' In distributed as the Rock Dove (Columba
birds as extensively livia), slight local or geo
graphical variations constantly occur. Thus, in India, all the wild Blue Rocks have ash-coloured
feathers over the rump, whereas the European birds, as well-known, White rumps; and, as
is
is
well'known to most fanciers, this white rump one of the most difficult points to breed out in
is
any of our Blue varieties whereas the Blue breeds derived from the Indian birds have, as might be
;
fEQIHEIIEHEIHIEIQIEIIIIHEFEm
l
THE EIGHT PRINCIPAL RASAS OF THE HINDUSI'
m:
I _...?- m-n-aw-ww-wm ~v>s.
4:7
bibhdva ,-its anubhdva are frowning, the biting of the nether lip, the
sweat, vepathu, mada and frenzy. (2) The wrath of Visvamitra with
I I I
Harischandra is its example.
giin'iiiwfarammwsumfa a II siqnwmruaiteanmxm I
-:ulW-._;__ ._....,...
=-'-_-evymv-qcmu._..A.,..,......a,;--.._ .. . ........ "my" .' ~~~~-~~
.__.W_._M,_T..__ xx x~~
48 THE EIGHT PRINCIPAL RASAS or THE HINnUs.
bhriva ,- (1)
The regal days of Kalnemi are an example of it.
quivers. (2)
B
I T A ._ H A s
THAT laugh which discovers the teeth a little is called Hasz'ta. (3)
cl
VIHASITA.
THE graceful smile is called Vz'hasz'ta. (4)
D.
ABAHASITA.
IN Abahasz'ta, the head and shoulders shake. (5)
Vide Hamlet, Act II, Scene 1.
laaaqi was,
I'm (s) issfssir sas'sisi
(it) TEETH?" 6 PM. W. E "
NEW!
swam-Imam: I
ll
THE EIGHT PRINCIPAL RASAS or THE HINDUS. 4,9
R
.APAHASITA
Apahaslta is
Laughter holding both his sides. Its expressions
R
ATIHASITA.
Generated for Dasgupta, Sreemoyee (University of Pittsburgh) on 2015-09-28 14:00 GMT / http://hdl.handle.net/2027/umn.31951001053392h
vr.rss,ssartsaxa sass.
Public Domain in the United States, Google-digitized / http://www.hathitrust.org/access_use#pd-us-google
a
the uddipana-bz'bha'va, whose anubhdva are discoloration, an indistinct
'\ , .
(upmrammsi famw mwmre'll Hangman HIIEIHIQW an I
w Hrs: H 51 sIII Her arm gw'r
(a)
usmazsrssma Hams;
"
WE m"-
(I) sglgsrmlfmwq shear I (a) Hair ewszrfmrr Ira-21m
MT Wsisaqzrga: I Wait sq simrfrmmsem' Hr? II
ff I
{Inuit as HFHHI
zgw ya: I
. illqmglfqfwmlwi
was a mmI-lalm
K o II
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f ? W ame}: I 4
whose
Sdnta, etc.
Blz'bhatsa
naka, to Raudm and lastly, Vim, Adz, Raudm, Hdsya and Bhayd
,-
I
m: usmrim mimics? a:
Wm: Wait
mmimeastmagt
(I)
(s) sire:
I
a
l
5:11
I
master immatures-GIFT
II
Wwmssm: {he}
||
HQQJWQWIHW'EI'
massive msra am rm: Q?"
I
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II
II
szssr'rm
n
_l_________m_________
52 THE EIGHT PRINCIPAL RASAS 01: THE HINDUS.
YHITT I.
IN Sringara, Hdsya and Kamnei, the Kazlsz'ki Waltz; in Vi'ra,
Raudm and Adbhuta, the Sdttatz' and Bhdmtz' Vn'ttz's ; and in Bhayzi
employed. (1)
A.
Generated for Dasgupta, Sreemoyee (University of Pittsburgh) on 2015-09-28 14:00 GMT / http://hdl.handle.net/2027/umn.31951001053392h
I I
KAISIKI VRITTI.
WHEN the actors and actresses-m ostly the latter-discourse
B.
SATTATI VRITTI.
Vm'ttz' which is replete with sattaguna heroism, bounty,
THE
Public Domain in the United States, Google-digitized / http://www.hathitrust.org/access_use#pd-us-google
II
III smauwrisfiw
min
(E) (a) m'ziaawrinmaisgmmffsH:
I
I
im-_______-"T-n"_*
.A.~._.....-_....
.
ram
.r ~-A_
THE EIGHT mmIcIrAL EAsAs or THE HINEUs. 53
.-....-I
D.
_
BHAEATI VRITTI.
is
the Bharati V'rz'ttzz'. (1)
Generated for Dasgupta, Sreemoyee (University of Pittsburgh) on 2015-09-28 14:00 GMT / http://hdl.handle.net/2027/umn.31951001053392h
I
In the Vim Rasa, the look should be open, grave, xed, dazzling
Public Domain in the United States, Google-digitized / http://www.hathitrust.org/access_use#pd-us-google
should betoken grief and the look should be directed at the tip of
WW
The Raudra Rasa requires restless lids, and the xed, red,
1
54 THE EIGHT PRINCIPAL RASAS oP THE HINnUs.
In the Ha'sya Ram, the pupils should be partly hid and be rol
ling at times the lids should be partially closed. The pupils should
;
In the Bibhatsa Rasa, the eyes should be partially shut, and the
lids and pupils, restless the side-glance and very contracted look
5
go in as adjuncts. (3)
In
ed, with starling orbs and full pupils; the eyes should be half
'
shut. (4)
(s)
I
Waqwl?
|
|
ll
THE EIGHT PRINCIPAL RASAS OF THE HINDUS. 55
v . ,_._
ludicrous and comic displays ; in the Bhaydnaka, actions and things
,
_,
the Raudra, cursing, etc., and lastly in the Sa'nta, endeavours after
_ __.__..__.._______
......_4 Mg-WW"
contentment, are respectively treated of. (1)
.s/ri,
IN Hmorsn-Natta, dimmer,
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IN THE InAscIBLE.-Turushkagaum.
(Qwzimtjarmnmh nitwrfzmwefmimI
5: gsifsi iii will? IIfHHWP wmma' Ili Irv-H We
II
emf: W W "WWW
I
II
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.,__=__A__. ..7" W _. i___-.__I,V-___~_..._.VE_.-~_____-...-__. ~
I
i
l 56 THE EIGHT PRINCIPAL RASAS or THE Hmnus.
, I
In Mmrm-Kauu'kz', kdmodi, sakard, bagdla and natt.
urn-".- "1W1"
IN THE TEEE1ELE.-1l[alZ(ira.
IN Drscusn-Pulindz'kd,
a?
Generated for Dasgupta, Sreemoyee (University of Pittsburgh) on 2015-09-28 14:00 GMT / http://hdl.handle.net/2027/umn.31951001053392h
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I
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mam
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II
fazifaaz
I
mwi
I
aaasmrrgm uvirtuwauw ira: murqiit
was:
II
\
I
Public Domain in the United States, Google-digitized / http://www.hathitrust.org/access_use#pd-us-google
I
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I
II
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II
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:
I
THE EIGHT PRINCIPAL RASAS OF THE HINDUS. 57
nm'tya ,- in the Kamna, the pebalz' ,- in the Raudm, the laghu dance ,
K \K
min: master a wasa is."
a.
.5
imam-{isms fish?! zusfs'is: I
miwrmw diminish W ll
Generated for Dasgupta, Sreemoyee (University of Pittsburgh) on 2015-09-28 14:00 GMT / http://hdl.handle.net/2027/umn.31951001053392h
ts'f i93l811ll<i=ll
whims: Purim-Ii 112s II
s'sjimar H IIIH
miatv'msszwifn zital
QKK FGT H $5: f'sn'El Hszsi II
sews?
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gfss mu Hsuii uftitisi II
II
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53:
mini zh'snrzs Tran Hamid: at"
Rm rf zitfssi HlTrlT aqtsfmcsm war II
rslmsszmi Eqmi wtrm I
sinus: uvhsril 671%matches: II
fasiim-s qt iizu Iii HTQI wgwff II
new it Htfsrn Him srwiltiiti |l
smmiiw mjmi usiwmm l
nwmfzims HIIIHHIEITTHII l
defend smssu vssr'rf Emir (I? II
employed. (2)
THE scene which hangs before the audience before the com
thin yet holeless cloth. As in every act and its sub-divisions, scenes
as: $5 erg
safe Hat asrsji II sunsh til IE ta" 3% a'lzs: II
[In order to show the very form and pressure of the Rasas, and
to impress them strongly on the readers imagination, I have given
Generated for Dasgupta, Sreemoyee (University of Pittsburgh) on 2015-09-28 14:00 GMT / http://hdl.handle.net/2027/umn.31951001053392h
THE STAGE.
Acconnme to Kohala and other authorities, the foundations of
Public Domain in the United States, Google-digitized / http://www.hathitrust.org/access_use#pd-us-google
gamismiisrawre'au qmfwass
Wtifit1 II
60 THE EIGHT PRINCIPAL RASAS OF THE HINDUS.
is
A
it;
, H
sions of the Stage should vary with the character of the repre
_s wmm
tted up. The pillar should not be planted in the centre. The
should be placed all round it. The top should be adorned with
__
lands of owers; and the bottom should be white-washed. The
A
platform should not be slippery, lest the feet of the actors slip. On
the
a l a &
In} 11mm: qsimwrififimi swim-RI 113i: sum games as: a:
II
IQ
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.
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I
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-
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1,A.
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.~ x v
l
THE ASSEMBLY. W
,
the courtiersx and little children on the south, on the north the
heretics, strange armed people, the immoral, the sick, the inappre
Public Domain in the United States, Google-digitized / http://www.hathitrust.org/access_use#pd-us-google
a _
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mi:
II
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Public Domain in the United States, Google-digitized / http://www.hathitrust.org/access_use#pd-us-google
THE EIGHT PRINCIPAL RASAS OF THE HINDUQS.
I.
sRINGARA RASA.
Generated for Dasgupta, Sreemoyee (University of Pittsburgh) on 2015-09-28 14:00 GMT / http://hdl.handle.net/2027/umn.31951001053392h
._.,.<..__
~
- I I
s A s A-L I L A.
THE Gopz'm's (milk-maids) of Brindabana, charmed by the beauty
and grace of Krishna and fascinated by the soft strains of his magic
pipe, ardently desired to be his wives. With that view they celebrated
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Krishna took kindly to the fair ones, and promising to make love
with them at one and the same time, assumed countless shapes for
the purpose, and commenced upon the affair in right earnest. This
'
ra
Emma
W1
is rr
-_oo><o__
(rm; I)
mm
z
I
nsimmsvrasuxsu
WW WWWWI
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II
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THE EIGHT PRINCIPAL RASAS OF THE HINDUS.
II
u fas'tI usifir sisutmmuasp
wuss-Ii
a
I
ll
ll
rcrwsajsgg
WWWHWWQHI
II
|
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Public Domain in the United States, Google-digitized / http://www.hathitrust.org/access_use#pd-us-google
THE EIGHT PRINCIPAL RASAS OF THE HINDUS
Zlrli Essa,
Eqntiwqnl
Generated for Dasgupta, Sreemoyee (University of Pittsburgh) on 2015-09-28 14:00 GMT / http://hdl.handle.net/2027/umn.31951001053392h
all
@hh 30hr.
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at
at
law: at sight the
at
llltltlll, and having about swat garland
a
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III
at
mil, "It
ct
magi:
to
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at
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THE EIGHT PRINCIPAL RASAS OF THE HINDUS.
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rms
LALITA.
First Strain.
I
TALA-EATILIEA.
or
THE Hmnus.
71
Generated for Dasgupta, Sreemoyee (University of Pittsburgh) on 2015-09-28 14:00 GMT / http://hdl.handle.net/2027/umn.31951001053392h
Public Domain in the United States, Google-digitized / http://www.hathitrust.org/access_use#pd-us-google
72
bha
ba
Hri
1:
da
ra
na
ya
tra
ta
ma
bi
s'a
be
ta
dhh.
go
kshya
sa
pa
bi
ba.
ha
Third Strain.
Fourth Strain.
ra
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ti
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bhi
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THE EIGHT PRINCIPAL RASAS OF THE HINDUS.
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ga
ta
ni
i
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THE EIGHT PRINCIPAL RASAS OF THE HINDUS.
R A s A - L 1' L A.
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3rd Gap. Where can he have gone then? I searchd for him
thro wood and grove, hill and valley, by river and fountain; but
where is be?
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Public Domain in the United States, Google-digitized / http://www.hathitrust.org/access_use#pd-us-google
prints?
iia'al Gap. Yes, once only 3 twas in the wood. N o doubt the foot
marks were his; for I knew his sacred marks. But as I passed
on, they were no longer seen. But, girl, tell me why some
every now and then carried her on his shoulders, when her feeble
limbs were weary with walking.
5th Gop. How so? If he does, who told him to lure these simple
hearts by his sweet pipe? Ive come here, scorning the fear of my
guardian. L
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it is for you that we have come into this wood, leaving our home
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THE EIGHT PRINCIPAL RASAS 01" THE HINDUS.
down senseless.)
Bhim. (Soon recovers from his faint, and with a terrible shout,
strikes his mace at the head of Duhsdsan, who struggles under the deadly
blow.) Wretch ! Hell-hound I Now pay dearly for thy impious deed.
Come and witness Duhsasans plight. Low lies his head! '
If ye dare,
my mothers milk I
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who had made a promise to his step-mother to oblige her at any cost,
went to the wilderness. His affectionate brother, Lakshmana,
and his beloved wife, Sita, accompanied Rama,the former actu
ated by fraternal affection, the latter by conjugal love. While they
were residing in the Pachabate' forest, in came Havana, lord of
Lae'ikd, and ravished away Sita. Rama after a world of pains
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defeated and slew the ravisher with all the male members of his
family ; and after Sita had passed through the ery ordeal to prove
her chastity, she was accepted of her husband. There lived then
a washerman in Ayadhyd, who rebuked his wife in the following
terms, for her having kept away one night: What! Do you
take me for Rama-chandra that I shall take you back? Sita lived
for a whole year with Ravana, yet the king has taken her back.
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THE EIGHT PRINCIPAL RASAS OF THE HINDUS.
a
fails to delight me? A sudden uneasiness troubles my mind.
I
feel_a dead weight upon my heart. Why so, dear? Again, my right
eye shakes. What means this omen? Does it bode any evil?
I
dont know how fares with my dear lord. have acted foolish
O
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her eyes.) Dear, my heart forebodes these eyes shall never see his
Sit. Why are you so sad? Has any evil befallen us? Why
dont you speak? Eh?
Lalo. What shall say, lady? curst Fate! Didst thou mean
O
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THE EIGHT PRINCIPAL RASAS OF THE HINDUS.
account of your long abode with the wicked demon. At this, His
Maj esty-(Pauses).
Lak. Ay, good lady, I have been ordered to leave you in this
hermitage.
long be a queen and the happiest being alive ; but alas! for my
foul abode of his 1 I was then more dead than alive. O, the heart
entered Laka, bridging over the mighty deep itself, and delivered
me from the demons grasp, killing him in a bloody battle. We were
again restored to each others arms, and thought we should pass our
days happily in each others embrace. But who knew that cruel
Destiny had not yet been satised? O envious Fate! Didst thou
intend to cast me again adrift on this wide sea of woe? Hast
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they will ask me for the reason of my exile? Woes me! They
would doubt my virtue. O, the thought! How shall I appear be
fore them? How look? 0 shame! Lakshma, were I not with child,
my love, and tell him he has acted well, as it is the one duty
constantly pray in this solitude for his happiness and prosperity, and
for the blissful union of our souls in a world where parting is un
known. But enough.
Generated for Dasgupta, Sreemoyee (University of Pittsburgh) on 2015-09-28 14:01 GMT / http://hdl.handle.net/2027/umn.31951001053392h
[Curtain]
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THE EIGHT PRINCIPAL RASAS OF THE HINDUS.
IV.
Generated for Dasgupta, Sreemoyee (University of Pittsburgh) on 2015-09-28 14:01 GMT / http://hdl.handle.net/2027/umn.31951001053392h
shape
ing the wail, he went to the spot and without fully enquiring
into the matter, fell to calling Visvamitra names. Wroth at this, the
*
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Generated for Dasgupta, Sreemoyee (University of Pittsburgh) on 2015-09-28 14:01 GMT / http://hdl.handle.net/2027/umn.31951001053392h
Public Domain in the United States, Google-digitized / http://www.hathitrust.org/access_use#pd-us-google
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Generated for Dasgupta, Sreemoyee (University of Pittsburgh) on 2015-09-28 14:01 GMT / http://hdl.handle.net/2027/umn.31951001053392h
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DESIGNED
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THE EIGHT PRINCIPAL RASAS or THE HINDUS. 111
_
I
Visva'mitra discovered seated in a religious posture, three nymphs
I
let Nym. O kind-hearted, virtuous Haris-chandra, where are
you now?
2nd Nym. O Prince, come and witness our plight. This wretch
Enter Harisichandra.
Haris. (Approaching the nymphs.) Whats the matter? N0
fear! Courage! Ive come to your rescue. Who is the author
now thou art the captive of my weapon. ( Flourishes his sword high
in the air.)
( Vanish.)
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V.
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Generated for Dasgupta, Sreemoyee (University of Pittsburgh) on 2015-09-28 14:01 GMT / http://hdl.handle.net/2027/umn.31951001053392h
wound inicted by Ravana with his mighty spear, Sakti, and that
Hanumana was going to the Gandhamadana mountain for the medi
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cinal herb, with the view of reviving the dying hero, Havana anxi
ously called in his uncle, Kalnemi, and promised to give him one-half
of his kingdom, if the latter could anyhow contrive Hanumanas
death. The Reikshasa expressing before his wife his intention of
claiming the share to which should fall Mandodari, the fair daughter
'of the ddnaoa, Maya, his wife began to belabour him mercilessly
with a broom-stick. This is the subject of the Hdsya Rasa as illus
trated.
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THE EIGHT PRINCIPAL RASAS OF THE HINDUS.
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Generated for Dasgupta, Sreemoyee (University of Pittsburgh) on 2015-09-28 14:01 GMT / http://hdl.handle.net/2027/umn.31951001053392h
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THE EIGHT PRINCIPAL RASAS OF THE HINDUS.
joy ! I am mad for very ecstasy-my brain reels. Ha, ha, ha! One half
of the kingdom-one entire half! No light matter indeed
(Smiles) !
But the division must be equitable and just to the breadth of a hair.
(Draws a plan of Lanlai on the ground.) Suppose this is Laiik
this side must be mine-that, Ravanas. When he would throw
himself at my feet and humbly supplicate- Uncle, give me a bit
more-one bit more, I would not listen to him. Now that the
kingdom is as good as divided between us, I am as ne a man as
have I too.
THE men'r PRINCIPAL BASAS or run nmnns.
do so with one.
(Startles from his reverie.) Oh! must practise I
betimes how to sit right royally on the throne, or else the
(Starts. )
Bless me! my waist aches. Very well, let me now pace
a little like a king. (Strides up and down with an air of haughti
ness.) Guards are before me and guards are behind me. Who dares
approach the royal presence now? The mighty Lord of Laiika
stalks the earth. (Smiles complacentlg.) Methinks the sharer of
our royal bed hasnt yet received the happy tidings. I dont know
what she will do, when she comes to hear this. I fear lest she die
I
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of joy. No, dont think so, for she is my wife, and is expected to
share my matchless strength of mind. Perhaps, she is gone out.
On her return, of course, she will learn all this, and at once hasten
to grace my side like a queen. Though of mean parentage, her luck
is not so bad, or else why should she come by such a worthy husband?
But now, no use of wasting further time. Let me at once make a
rope of the bundle of straw lying here, as I require one, early next
morning. When Ravana should ask for a rope to measure the king
dom with, I would immediately throw it at his nose. 'Tis well.
(Begins to twine a rope, and burns with a nasal tone.)
Kdl. (Aside. ) I wont speak ; tis not t for princes and poten
95
THE EIGHT PRINCIPAL RASAS OF THE HINDUS.
your queen?
W.
what about my ornaments, pray?
W. (Laughs.
garly gear, then. (Oasts of the brass armlets.) But shall I not also
have a share of Mandodaris jewels ?
Kril Foolish woman ! And why jewels alone ? Her very self
will fall to my share.
W
K. W. (Indignantly) What, dotard? Do you mean to wive
Mandodari, your nephews wife? The Devil take you ! You lust
after her! (Takes up the broom-stick and beats him mercilessly.)
[Curtain ]
'E
s
THE EIGHT PRINCIPAL RASAS OF THE HIND'US.
VL.
BHAYANAKA RASA.
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hated name, but in vain. At last he tried to. kill his son by casting
him into the re, beneath an elephants feet, by steel, poison, &c. ;
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all which proved vain, for Hari saved his own worshipper. One day,
the king asked Prahlada, How have you come unhurt from these I
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Public Domain in the United States, Google-digitized / http://www.hathitrust.org/access_use#pd-us-google
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Public Domain in the United States, Google-digitized / http://www.hathitrust.org/access_use#pd-us-google
Generated for Dasgupta, Sreemoyee (University of Pittsburgh) on 2015-09-28 14:01 GMT / http://hdl.handle.net/2027/umn.31951001053392h
Public Domain in the United States, Google-digitized / http://www.hathitrust.org/access_use#pd-us-google
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Public Domain in the United States, Google-digitized / http://www.hathitrust.org/access_use#pd-us-google
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Public Domain in the United States, Google-digitized / http://www.hathitrust.org/access_use#pd-us-google
THE EIGHT PRINCIPAL RASAS OF THE HINDUS.
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Generated for Dasgupta, Sreemoyee (University of Pittsburgh) on 2015-09-28 14:01 GMT / http://hdl.handle.net/2027/umn.31951001053392h
Public Domain in the United States, Google-digitized / http://www.hathitrust.org/access_use#pd-us-google
THE EIGHT PRINCIPAL BASAS or THE HINDUS. 139
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Generated for Dasgupta, Sreemoyee (University of Pittsburgh) on 2015-09-28 14:01 GMT / http://hdl.handle.net/2027/umn.31951001053392h
hearing of the death of his son, fell in the eld after performing
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prodigies of valor, both the belligerents forsook the eld for grief.
and began to feast heartily upon the esh and blood of the sleeping
heroes.
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Generated for Dasgupta, Sreemoyee (University of Pittsburgh) on 2015-09-28 14:01 GMT / http://hdl.handle.net/2027/umn.31951001053392h
Public Domain in the United States, Google-digitized / http://www.hathitrust.org/access_use#pd-us-google
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Public Domain in the United States, Google-digitized / http://www.hathitrust.org/access_use#pd-us-google
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Public Domain in the United States, Google-digitized / http://www.hathitrust.org/access_use#pd-us-google
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Public Domain in the United States, Google-digitized / http://www.hathitrust.org/access_use#pd-us-google
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Public Domain in the United States, Google-digitized / http://www.hathitrust.org/access_use#pd-us-google
Rudhi. Where, good woman, where are you? Here Ive got
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it
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fought to-morrow and no doubt you will have good entertainment
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)
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Public Domain in the United States, Google-digitized / http://www.hathitrust.org/access_use#pd-us-google
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VIII.
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Generated for Dasgupta, Sreemoyee (University of Pittsburgh) on 2015-09-28 14:01 GMT / http://hdl.handle.net/2027/umn.31951001053392h
husband cursed her to be a stone. She, with tears in her eyes, tried
to vindicate her innocence. Convinced of it, Gotama said, Very
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Public Domain in the United States, Google-digitized / http://www.hathitrust.org/access_use#pd-us-google
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Public Domain in the United States, Google-digitized / http://www.hathitrust.org/access_use#pd-us-google
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THE EIGHT PRINCIPAL
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Third Strain.
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OF THE HINDUS.
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Generated for Dasgupta, Sreemoyee (University of Pittsburgh) on 2015-09-28 14:02 GMT / http://hdl.handle.net/2027/umn.31951001053392h
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THE RIGHT PRINCIPAL
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RASAS OF THE HINDUS.
FOR DESMTAGORE
Generated for Dasgupta, Sreemoyee (University of Pittsburgh) on 2015-09-28 14:02 GMT / http://hdl.handle.net/2027/umn.31951001053392h
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THE EIGHT PRINCIPAL RAsAs on THE HINnUs. 161
Rdm. I too was thinking of it. Well, let us better ask our
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I
reverend sage about it. (To Visvamitra.) Sire, pray, tell me, was
this once the abode of some holy man?
innocence! Holy sire! You are all-wise ; pray tell me who this is.
whose curse she had been transformed into the stone. By the holy ,s
touch of your feet, she has regained her former self.
Lak. I was at rst struck with fright; but now that I have
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heard all about it, my mind has found rest. Thro the favor of the
sage, however, we have this day seen a wonder.
WMWsE
!
[Curtain]
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Generated for Dasgupta, Sreemoyee (University of Pittsburgh) on 2015-09-28 14:02 GMT / http://hdl.handle.net/2027/umn.31951001053392h
Public Domain in the United States, Google-digitized / http://www.hathitrust.org/access_use#pd-us-google
Generated for Dasgupta, Sreemoyee (University of Pittsburgh) on 2015-09-28 14:02 GMT / http://hdl.handle.net/2027/umn.31951001053392h
Public Domain in the United States, Google-digitized / http://www.hathitrust.org/access_use#pd-us-google
JUL
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Generated for Dasgupta, Sreemoyee (University of Pittsburgh) on 2015-09-28 14:02 GMT / http://hdl.handle.net/2027/umn.31951001053392h
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Tagore,SourindroMohun.
Theeightprincipalassesof theHindus
1840-1914.
UNIVERSITYOF MINNESOTA
31951001053 392'H
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