08 Chapter 3

SOCIOLINGUISTICS STUDY OF NAVARASA
ABHINAYA VARIETIES
Art is the powerful way to communicate ideas, beliefs and feelings.
Any form of art teaches us about every historical period and tells about its
music, dance and drama.
Performing art such as dance can bring every subject to life and turn
abstractions into concrete reality. Using the body as a medium of
communication, the expression of dance is perhaps the most developed, yet
easily understood art form all over the world, expression ’’abhinaya” can
bring awareness to people, dance also connects people in a society by
presenting an idea that everyone can relate to in a universal way.
Performing the Navarasa helps the dancer to have a tremendous

exposure to this aspect as he/she personally observes the shift in emotions
and changes in behaviour of the character, through its literature using visual
arts forms. t - Zilo
66
Kiran depicting navarasa abhinaya
“Nava means 'Nine' and Rasa signifies 'mood,' 'emotion,' 'expression'

or ’sentiment”95. It is said that Bharatha muni gave 8th rasa and the 9th one
was identified by Abhinavagupta. Parts of the human experience that relate

the individual to society is also shown as a connection between the viewer
and society during a dance performance using abhinaya varieties.
Dance holds the possibility to improve society with the help of
nonverbal communication. Dance is a form of imagination created in the
society that renders happiness.
Abhinaya or expression is studied by each and every person even

when they are communicating, because facial expression plays a major role
to find out the other persons thought process. We can see this when we go
through all the NavaRasa abhinaya used in bharathanatya in detail, how
society and abhinaya “mukha abhinaya” are interrelated. Abhinaya is a form
of magic to describe navarasas, the nine basic emotions as experienced by
94. Image taken from google - navarasa abhinaya.

95. Navarasa — wikipedia definition online.
67
radha, the divine consort of lord Krishna where we find emotion expressed
by Radha when she hears the adventures and attributes of lord Krishna.
“Radha is shringara personified .When she is besides Lord Krishna
all other gopis create bibatsa at brija. She shows raudra when she thinks
of gopika, the other woman surrounding lord krishana; hearing Krishna
adventures and mischief , she displays adbutha; She exudes bhayanaka
when she hears some asura has attacked krishna; She is an embodiment of
feminine valour or veera .She is all hasya in the company of her beloved
lord Krishna.Radha is full of karuna bhava when she is with gokul vasi
(people).Every body experiences shantha bhava when Krishna play his
flute”.
Often these performing arts provide its audience with some

information, which helps to upgrade the lacking knowledge of history or epic
related stories. The audiences are back home after seeing a program having
gained only the superficial idea of these concepts. But to some extents these
performances remain in their thought process for a long time.
Dance provides some beautiful, colorful images in context to express
their great epics. Navarasa are the nine emotions that defines dance. It gives
the dancers and the audience. An opportunity to experience the full beauty of
expressive eyes, subtle muscle shifts, faces and body movements. The
Navarasa are as follows -
• Hasya depicting happiness.
• Rudra/Krodha representing anger.
68
• Vibhasta portraying disgust.
• Bhayanaka expressing fear.
• Shoka symbolising sorrow.
• Veera denoting compassion.
• Karuna implying compassion.
• Adbhuta indicating wonder.
• Shanta illustrating peace.
Bharatha’s Rasasidhantha is the most valuable contribution to aesthetics.

Rasa is the ultimate pleasure or making up of the mind-set which transforms
itself in to pure state of pleasure (Ananda). Rasa is the inner most
experience closely related to it. Ananda is complete and continuous

transformation and flows using emotional changes. Rasa is short lived and
exists till the infrastructure offered by Vibhavas etc exists.
Dance is an ancient expressional art form. It is one of the most
powerful forms of self expression. From times immemorial it has been
attached not only to humans but also animals and birds. It has revealed the
innate feelings and manifested using extraordinarily beautiful physical
gestures of being from ages. Moshe Feldenkrais,96 an Israeli scientist
believes that body and mind are not just mere parts but an objective reality.
%. Moshe Feldenkrais: Taken From Internet Article.
69
According to him a brain without a body could not think. He also
developed a therapeutic method called Feldenkrais Method. This method is

intended to give a greater functional awareness of the self.
The method uses body movement as the primary vehicle for learning.
Through dance, the different gestures and body postures help one to stretch
out their body parts whilst moving the muscles and the limbs to various
directions. It relaxes the muscles and discards toxins. Dance is a result of
happiness and joy”.
Dance in itself is a very big subject. It also ceals with the

psychological aspects of a being. To start with, we have taken Sringara rasa.
70
3.1 SRINGARA RASA
“There are three expressions of Sringara: in words, in dress and in
action”,
Sringara rasa the most important rasa under ‘Navarasa’ its amongst the
intimate rasa of the classical Indian dance, in Bharathanatyam in particular.
Natyashastra states that “Sringara” is of 2 kinds: in union and in
separation. Sringara in separation should be represented by indifference,
fear, jealousy, fatigue, anxiety, yearning, drowsiness, sleep, dreaming,

awakening, illness, insanity, epilepsy, inactivity, fainting, death and other
conditions.
Sringara is one of the Rasas, usually translated as erotic love,

romantic attraction or beauty. Rasa means flavour, and Natyashastra theory
of Rasa is the primary concept behind classical Indian arts including
theatre, music, dance, poetry, and even sculpture. Much of the content of
97. Sringara rasa - image taken from Google online.

traditional Indian arts revolves around the relationship between a man and a
woman. The primary emotion thus generated is Sringara, the Nara-Narayana

relationship.
How we get attracted to people, things and ideas? What makes us

beautiful and fascinating? These issues are analyzed in terms of Natyashastra
of Bharata Muni. The related topics of beauty, grace are examined in terms
of characteristic bodily movements.
Sringara is expressed as - “Kanta (loving glance) Sringara eyebrows

moved, glance through the sides of the eyes, and eyes with the intense look
of as if drinking the object.98
Classical dancers refer to Sringara as 'the Mother of all Rasas.'

Sringara in separation gives scope for all other emotions including jealousy,
fear, anger, compassion, and of course for the expression of physical
intimacy. No other Rasa has such a vast scope.
“Sringara appears in the interaction between men and women, and is

connected with the fullness of youth”, the latter being an attribute of the
devas and the immortal rishis. Temple sculptor, statues of beautiful devas
and fascinating Apsaras which were meant to attract people. The common
concept is that Sringara Rasa refers to love between man and woman and its
consequences.
A much deeper sense is actually conveyed by this term. The meaning
of this term, Sringara is beauty, Soundarya. That is why Sringara Lahari is
also known as Soundarya Lahari.
98. The Sanskrit verse Natya Sastra Samgraha: pg.483.
72
Beauty is that which attracts the mind or appeals to a particular portion
of the mind. That is love; love is not just Rati the amorous attitude. There
can be love between a child and its mother, between friends, between a
teacher and disciples and of course love towards god. The beauty in human
is love and this love is what distinguishes Man and makes him supreme in all
creation.
Hence, love is beauty, Sringara is truth and naturally considered to be
the king of the Rasas, not because it is seductive, passionate or amorous

love, though the general belief is so.
Rati is the Sthayee Bhava of Sringara. The basis is gender

differentiation. The main theme of Natya or Kavya is human life, which
mostly centers around the relationship between man and woman and this is
the primary emotional force. Naturally Sringara is dominant in its
description in Natya/Kavya. Sringara has got two aspects -milana and
Vipralambha (union and separation). Thus Sringara rasa can be created by
many different kinds of methods,'Krishna nee begane baro' can be shown as

Vatsalya, the bond between a mother and child; or Bhakthi, the tie between a
devotee and God as radha Krishna viyoga. Different interpretation of this
song can be carried out.
While exhibiting, acting or dancing the basic idea of a theme, the

study of various theories and literary material help the performer to
elaborate, dance gives the required strength of mood and atmosphere for the
audience, enabling it to get the most out of it. Of course, there are various
kinds of Sringara - Sambhoga Sringara, Vipralambha Sringara etc. However,
73
these need independent treatment for themselves. In the Indian context, the
chief goal of music, dance and drama is to produce 'rasa,' the aesthetic
emotion, brought about by the help of the various angas present in any
presentation, from not only the sahitya, tala, laya and abhinaya, mime,
gestures or poses but also from the total effect of the art of stagecraft.
Dance is a very powerful media through which one can express the
cultural heritage of the country since love is immortal and the inner need of
human beings we can see its presence in any literature.
Sringara rasa is generally thought to be too technical and more of
academic interest to the ordinary reader or listener since it is extensively

employed in Indian poetry, dance and music, I have tried my best to make it
simple enough, that anyone reading this would easily come to know, what
this 'king of rasa' is all about. Below you find a sloka on Sringara rasa.
w. Image taken from Google online.
74
“Sringara Satakam by Bhartruhari is a Sanskrit poem consisting of 100
verses,Sringara Satakam sloka : Nayaki sringara bhava varieties.100
Bhruu caaturyaat kuncitaaha kat'aakshaaha,

Snigdhaa vacoo lajjitaantaascha haasaaha,
Liilaa mandam prasthitam ca sthitam ca,

Striin'aam eetat bhuushan'am ca, aayudham ca.
Meaning:
The poet calls the women’s gestures both as ornaments and weapons.
He lists out the gestures: Slightly bending the brows and looking from the
edges of the eyes. Friendly and affectionate talk. Hesitant and modest smiles.
Slow elegant movement.
Sringara rasa follows the musical-dramatic-natura. structure of

multiple waves of building energy and sustaining it. Sringara Rasa is the
archetypal union of masculine-feminine, sun-moon, active-receptive,
stillness-dynamic movement. Its inhale-exhale that is reflected in nature, in

the divine couples of Shiva-Shakti, Krisna-Radha, Sita-Ram.u"
Bharatamuni refers to bhavas, the imitations of emotions that the
actors perform, and the rasas (emotional responses) that they inspire in the
audience during each performance is presented. Its been show below using
these graphs - how do the audience perceive each rasa as its studied under
sociolinguistic variables.
,0°. Sringara Satakam by Bhartruhari is a 7th Century A.D.

,01. Article from internet - Sringara Rasa.
75
Classification Based on Sringara Rasa Criteria Identification
1. Age
2. Gender
3. Form (bharathanatya/katakali)
4. Rasa Sringara
5. Expression
Table showing Sringara Rasa Identified by Male -10 and Female - 10
Age Group of 18 - 25
Slo No. Based On Male Female
Eye 4 ________________
______________________________________________________ i
2. Face 2 2
________________
3 '|
3- Lips 0
------------------------- j
i 4‘ Makeup 4 0
!
Graph showing Sringara Rasa Identified by (Male -10 and Female-10)
Average
___
Makeup
4
□
0
®1
Identification of Rasa
76
Pie-chart showing Sringara Rasa Identified by
(10 Male Respondents)
Male
Pie -chart showing Sringara Rasa Identified by

(10 Female Respondents)
Female
77
The above tables and these graphs shows Sringara Rasa identified on
the bases of eye, face lips and make up. Four male and five female
respondents have identified sringara Rasa based on eyes, two male two
female respondents have identified sringara Rasa based on face.
Three females have identified on the bases of lips, No male has

identified on the basis of lips. Four male and five female respondents have
identified Sringara Rasa based on makeup, no females have identified on the
basis of makeup.
Female respondents felt that eyes and later lips were more expressive
than any other face part.
While male category of respondents felt eye and makeup were given
equal importance whereas Sringara Rasa is identified on the entire facial
expression.
In the age group of 18 - 25, among the thirty (30) respondents, both
male and female only two (2) male and two (2) female respondents have
identified the Rasa correctly.
Table showing Sringara Rasa Identified bv
(Male -10 and Female - 10)

Age Group of 26-40
SI. No. Based On Male Female

1. Eye 1 3
2. Face 7 5
3. Lips 1 0
4. Makeup 1 2
78
Graph showing Sringara Rasa Identified by Male -10 and Female - 10
Age Group 26 - 40
1
Average
Li L rl
A
Eye
17
Face Lips
11
Makeup
«
4
1
3 5 0 2
Male
79
Female
The above table and graphs shows Sringara Rasa identified on the
bases of eye, face lips and make up. One male and three female respondents
have identified sringara Rasa based on eyes, seven male five female
respondents have identified sringara Rasa based on face, one male has
identified on the basis of lips and no female has identified on the basis of
lips. One male and two females respondents have identified sringara Rasa
based on makeup.
Female respondents felt that face and later eyes were more expressive
than any other face part. While male respondents felt face more appropriate
to identify the Rasa. Where as sringara Rasa is identified on the entire face.
In the age group of 26 - 40among the thirty (30) respondents, both
male and female only seven (7) male and five (5) female respondents have
Table showing Sringara Rasa Identified by

1. Eye 2 1
2. Face 6 8
3. Lips 0 0
A Makeup 2 1
Graph showing Sringara Rasa Identified by (Male -10 and Female-10)

□ Male 2 6 0 2
■ Female 1 8 0
81

Male

Female
82
The above table and graphs show Sringara Rasa identified on the basis
of eye, face lips and make up.
Two male and one female respondent has identified sringara Rasa
based on eyes, six male eight female respondents have identified sringara
Rasa based on face, none of them have identified based on lips. Two male
and one female respondents have identified Sringara Rasa based on makeup.
Female respondents felt that face and later eyes and makeup were
more expressive than lips. While male respondents felt face more appropriate
to identify the rasa when compared with eye and makeup. Whereas Sringara
Rasa is identified on the basis of entire facial expression.
In the age group of 41-60 among the thirty (30) respondents, both
male and female only six (6) male and eight (8) female respondents have
Sringara Rasa is Identified on the Basis of Entire Facial
Expression
In the age group of 18 - 25 among the thirty (30), two male and two
female respondents have identified Sringara Rasa based on face have

In the age group of 26 - 40 amongst the thirty (30) respondents, Seven
male and five female have identified correctly.

In the age group of 41-60amongst the thirty (30) respondents, Six
male and eight female respondents have identified sringara Rasa based on
face identified this rasa correctly.

Amongst these three categories of respondents, aged between 41-60
have identified the Sringara Rasa correctly.
83
3.2 HASYARASA
Comedy is another taste. People like to laugh and joke. “Humor its
entertainment that is intended to make people laugh”103. This is hasya-rasa,
the comic taste. Hasya Rasa means laugh. According to the way of
expression the laugh is divided into six categories. Those are Smita (slight
smile), Hasita (jesting way of laugh), Vihasta (Laughing), Upahasta

(ridiculous way of laughing), Apahasta (silly way of laughing) and
Athihasita (excessive laugh). This is stimulated by dress, expression etc, Its

shown by expansion of lips, nose, cheeks, wide staring, different eye
movements etc are Anubhavas. The vyabhikakri bhavas are laziness,
sleepiness etc.
Hasya is of 2 types-
a) When one laughs oneself.

b) When one makes others laugh.
6 types of laughing are -
l02. Image taken from Google -Hasya rasa.
,0\ Longman Dictionaty of Contemporary English-4,h edition 2005.
84
a) Smitha (gentle laugh)
b) Hasitha (laughter)
c) Vihasitha (boud styile)
d) Upaliasifha (satirical laughter)
e) Apahasita (silly laugh)
f) Athi hasitha (loud laughter)
Classification based on Hasya rasa criteria Identification:

1. Age
2. Gender
3. Form (b/k) (bharathanatya/katakali)
4. Rasa hasya
Table showing Hasya Rasa Identified Male -10 and Female -10
Age Group 18 - 25
1. Eye 0 0
2. Face 2 6
3. Lips 5 4
4. Makeup 3 0
85
Graph showing Hasya Rasa Identified by Male -10 and Female -10
Age Group 18-25
a
<j)
A verage
to
0
Eye
O Male 0
■ Female 0
Pie-chart showing Hasya Rasa Identified by 10 Male Respondents
Age Group 18 - 25
Male
Eye, 0, 0%
Makeup, 3, Face, 2 20%
30%
Lips. 5. 50%
86
Pie-chart showing Hasya Rasa Identified by 10 Female Respondents
Age Group 18 - 25
The above table and graph shows hasya Rasa identified on the basis of
lips. None of the respondents have identified sringara Rasa based on eyes,
two male six female respondents have identified hasya Rasa based on face.
Four females have identified on the bases of lips and five male have
identified on the basis of lips. Three male and no female respondents have
identified hasya Rasa based on makeup, no females have identified on the
basis of makeup. Female respondents felt that eyes and later lips were more
expressive than any other face part. While male category of respondents lelt
eye and makeup were given equal importance. Where as hasya Rasa is
identified on the entire facial expression.

In this age group 18-25 amongst the thirty (30) respondents both
male and female only Four females have identified on the bases of lips and
five male have identified on the basis of lips respondents have identified the
Rasa correctly.
87
Table showing Hasya Rasa Identified Male -10 and Female -10
Age Group 26 - 40
SI No, Based On Male Female

_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ i
—
. 1 Eye 0 1
2. Face 7 6
-----------------------------------------------1
3. Lips 2 i
4. Makeup 1 2
1____________
Graph showing Hasya Rasa Identified by Male -10 and Female - 10
Age Group 26 - 40
oo
<£>
m
A v e ra g e
co
1 i
Eye Makeup
□ Male 0 7 2
■ Female 1 6 1
88
Age Group 26 - 40
Age Group 26 - 40
89
The above table and graph shows hasya rasa identified on the basis of
lips. No male but one female respondent has identified hasya rasa based on
eyes, Seven male six female respondents have identified hasya rasa based on
face. One females have identified on the bases of lips and two male have
identified on the basis of lips.
One male and two respondents have identified hasya rasa based on
makeup, no females have identified on the basis of makeup. Female
respondents felt that face was more expressive than any other face part.
While male category of respondents felt the same here face was given equal
importance. Where as sringara Rasa is identified on the entire facial
expression.
In this age group 26 - 40 amongst the thirty (30) respondents both

male and female only two (7) male and six (6) female respondents have
One female have identified on the bases of lips and two male have
identified on the basis of lips.
Table showing Hasya Rasa Identified Male -10 and Female - 10
Age Group 41 - 60

1. Eye 0 0
2. Face 7 7
3. Lips 0 1
4. Makeup 3 2
90
Graph showing Hasya Rasa Identified by Male -10 and Female -10
Age Group 41 - 60
0
Eye Face Lips Makeup
□ Male 0 7 0 3
■ Female 0 7 1 2
Age Group 41 - 60
Male
91
Age Group 41 - 60
Female
The above table and graph shows hasya rasa identified on the basis of
position of lips. None of the respondents have identified sringara Rasa based
on eyes, seven male and seven female respondents have identified sringara
Rasa based on face. One female have identified on the bases of lips no male
have identified on the basis of lips. Three male and two female respondents
have identified sringara Rasa based on makeup. Only a single has identified
this rasa correctly.
In this age group 41-60amongst the thirty (30) respondents both male
and female only seven male and seven female respondents have identified
the Rasa correctly.
92
Hasya Rasa is identified on the basis of lips expression
In this age group 18-25 amongst the thirty (30) Four females have
identified on the basis of lips and five male have identified on the basis of
lips. Have identified the Rasa correct.
In this age group 26 - 40 amongst the thirty (30), respondents. One
female has identified on the basis of lips and two male have identified on the
basis of lips.
In this age group 41-60amongst the thirty (30) respondents. Only a
single has identified this rasa correctly.
Amongst these three categories of respondents members aged between
18- 25 have identified the hasya Rasa correctly.
93
3.3 ROUDRARASA
Raudra rasa is shown with evil spirits it generates fights. Raudra rasa
stimulates for anger, boldness, abuses and lies. The Vyabhikari Bhavas are-
Cold Bloodedness, Excitement, Intolerance, Sweating .Raudra can be
expressed by violent jumps, striking the floor forcefully with the feet. Anger
is one of the more easily communicable emotions. Audiences can easily
identify this feeling. To evoke such a feeling, the performer indulges in
violent actions. Raudra is characteristic of wicked characters like demons
(Rakshasas), but it does not mean that good characters should not show
Roudram even for a moment. Though their basic nature is not cruel, they can
have a momentary time of anger.
Bad characters, on the other hand, show their inherent quality of

Roudram in their normal speech, action and even in the manifestation of
their love. When such a character is shown the audience should immediately
savour the taste of it, even by the figure, costume and make-up. Charcter -
Duryodhana (Mahabharta),Vishwamitra.
I04. Image taken from Google- Raudra rasa.
94
Classification based on Roudra rasa criteria Identification:
1. Age
2. Gender
3. Form (b/k) (bharathanatya/katakali)
4. Rasa raudra
Table showing Roudra Rasa Identified Male -10 and Female -10
Age Group 18 - 25
SL No. Based On Male Female

________________ ---------------------------1
1. Eye 2 4
--------------------------- 1
2. Face 4 6
—------------------------- i
3. Lips 0 0
----------------------------- ------- i
4. Makeup 4 0
1_______ ____________________
Graph showing Roudra Rasa Identified by Male -10 and Female - 10
Age Group 18 - 25
0>Ol
(U
k_
<D
>
<
__>___
Face Lips Makeup
□ Male 4 0
■ Female 6 0
95
Pie-chart showing Raudra Rasa Identified by 10 Male Respondents
Age Group 18 - 25
Male
Pie-chart showing Raudra Rasa Identified by 10 Female

Respondents
Age Group 18 - 25
Female
The above table and graph shows raudra Rasa identified on the basis
of eyes. Two male four female respondents have identified raudra Rasa
based on eyes, four male six female respondents have identified raudra Rasa
based on face. None of them have identified on the basis of lips. Four male
96
and no female respondents have identified raudra Rasa based on makeup.
Female respondents felt that face was more expressive than any other face
part. While male category of respondents too felt the same.

In this age group 18-25 amongst the thirty (30) respondents both
male and female only four females have identified on the bases of two male
and four female respondents have identified the Rasa correct.
Age Group 26 - 40
SL No, Based On Male Female
L Eye 3 3
2. Face 6 4
—
3. ---;-------------------
Lips —----- 0 0
______________________________________________________
4. Makeup 1 3
Graph showing Roudra Rasa Identified by Male -10 and Female - 10
Age Group 26 - 40
7 ---------------------------------------------------------
6 -----
5 !
Average
97
Age Group 26 - 40
Respondents
Age Group 26 - 40
98
The above table and graphs show Raudra rasa identified on the basis
of lips. Three male and three female respondents have identified Raudra rasa
based on eyes, Six male four female respondents have identified Raudra rasa
based on face.
None have identified on the bases of lips. One male and three female
respondents have identified Raudra rasa based on makeup. Female
respondents felt that face was more expressive than any other face part.
While male category of respondents felt the same here face was given equal
importance.
In the age group of 26 - 40 amongst the thirty (30) respondents both
male and female only six respondents have identified the Rasa correctly.
Age Group 41 - 60
SI. Based On Male Female

No.
1. Eye 3 5
2. Face 3 2
3. Lips 1 1
4. Makeup 3 2
99
Graph showing Roudra Rasa Identified by Male -10 and Female -10
Age Group 41 - 60
Average
„°
□
3 *
<?■
■I
Age Group 41 - 60
Male
i, 30%
Lips, 1, 10% Face, 3 30o/o
100
Respondents
Age Group 41 - 60
Female
The above table and graphs show Raudra rasa identified based on
position of lips. Three male and five female respondents have identified
Raudra Rasa based on eyes, three male and two female respondents have
identified Raudra Rasa based on face.
One female and one male have identified on the bases of lips. Three
male and two female respondents have identified Raudra Rasa based on
makeup. Only eight identified this rasa correctly.
In the age group of 41-60amongst the thirty (30) respondents Three
male and five female respondents have identified the Rasa correctly.
10!
Raudra Rasa is identified on the basis of eye expression
In the age group of 18 - 25 amongst the thirty (30) Two male four
female have identified the Rasa on the basis of eye correct.
In the age group of 41-60 amongst the thirty (30) respondents, three
Amongst these three categories of respondents, people aged between
18- 25 have identified the Raudra Rasa correctly.

*
• ^
i 1 -A
3.4 VEERARASA
Veera rasa
The Veera Rasa this quality of heroism is attributed only to great,

benevolent and chivalrous men. Enthusiasm and valour is in the natue of
such heroes. When one thinks of such a hero, one imagines a handsome
valiant, beautifully attired, pleasing to look at and on entry, he should give
the impression of leadership and heroism.
Veera Rasa is generally associated with Sringara. Thus Sringara and

Veera rasas have been the dominant rasas in the most popular of tales from
our Puranas, History, Literature, Folk Tales and even real life.
Heroism is produced by an energetic, determined, unrelenting nature

which is neither taken by surprise nor by confusion. It comprises of
challenging words and deeds showing courage, boldness, bravery, and self-
confidence.
I05. Image taken from Google- Veera rasa.
103
“A person who deals with difficult, dangerous or unpleasant situation
with courage and confidence is a hero”106.
Hence these Rasas can be called the root of most creativity in all fine
arts, and more so in literature, music and dance. There are various shades of
heroes. Dhirodatta, Dhirodhhata, Dhiralalitha and Dhirashanta are some of
them, their names denoting the qualities predominant in them. Characters

from epic - Lord Krishna,Arjun,Bheema.
Classification based on Veera rasa criteria identification :
1. Age
2. Gender
4. Rasa veera
Table showing Veera Rasa Identified by (Male -10 and Female -10)

No.
1. Eye 3 5
2. Face 5 5
3. Lips 0 0
4. Makeup 2 o
l06. Longman Dictionary of Contemparory English 4th edtion ,2005.
104
Graph showing Veera Rasa Identified by (Male -10 and Female -10)
Pie-chart showing Veera Rasa Identified by (10 Male Respondents)
Age Group of 18-25
Male
105
Pie-chart showing Veera Rasa Identified by
Female
Lips, 0, 0% Makeup, 0, 0%
Face, 5, 50'
The above table and graph shows Veera Rasa identified on the basis of
eyes. Three male and five female respondents have identified Veera Rasa
based on eyes, five male and female respondents have identified Veera Rasa
based on face. None of them have identified based on lips. Two male and no
female respondents have identified Veera Rasa based on makeup.
Female respondents felt that face was more expressive than any other
face part, while male category of respondents too felt the same including
eyes.
In the age group of 18 - 25, among the thirty (30) respondents, three
male and five female respondents have identified the Rasa correct.
//■
Table showing Veera Rasa Identified by (Male -10 and Female - 10)
------------ —----------------- 1
Sh No. Based On Male Female

---- ---------------------------- ---- j
—— Eye 3
3
2. Face 6
--------------------------- 1
' 3. Lips 0 o
--------------------------- 1
4. Makeup 1 1
Graph showing Veera Rasa Identified by (Male -10 and Female - 10)
7 r
0 l
Face Ups Makeup
Eye
3 1
a Male
1
■ Female 3
107
Male

108
The above table and graphs shows Veera rasa identified on the basis of
eyes. Three male and three female respondents have identified Veera rasa
based on eyes. Six male and six female respondents have identified Veera
rasa based on face. None have identified on the basis of lips. One male and
one female respondents have identified Veera rasa based on makeup.
Female respondents felt that face was more expressive than any other
face part along with eyes. While male category of respondents felt the same
here face was given importance rather the eyes.

Table showing Veera Rasa Identified by (Male -10 and Female - 10)
SI. No. Based On Male 1 Female

_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ i_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _
1. Eye 2 3
2. Face 4 4
3. Lips 0 0
4. | Makeup 4 3
__________i_________________________ ______________________ 1
109
Graph showing Veera Rasa Identified by (Male -10 and Female - 10)
4.5 ,
O Male 2 4
m Female 3 4
identification of Rasa
Male
110
Female
The above table and graphs show Veera rasa identified on the basis of
position of lips. Two male and three female respondents have identified
Veera Rasa based on eyes, four male and four female respondents have
identified Veera Rasa based on face. None of them have identified on the
bases of lips. Four male and three female respondents have identified Veera
Rasa based on makeup. Only five identified this rasa correctly.
In the age group of 41-60amongst the thirty (30) respondents two male
and three female respondents have identified the Rasa correctly.
111
Veera Rasa is identified on the basis of eye expression.
In the age group of 18 - 25, among the thirty (30) respondents only
three male five female respondents have identified veera Rasa based on eyes,
have identified the Rasa correct.
In the age group of 26 - 40 among the thirty (30), respondents both
In this age group of 41-60 among the thirty (30), respondents, three
18- 25 have identified the Veera Rasa correctly.
112
i
3.5 KARUNARASA
Karuna rasa
Pathos is the sathayi bhava of grief. It is stimulated by curse, pain,
calamity, separation from near and dear ones etc.
This rasa is worshiped for Yama and it is bom from the state of grief
.Karuna is of three kinds: Karuna for punishment by law, from loss of wealth
and from grief. Karuna rasa also arises from observing the killing of a loved
• 108
one or from hearing some unpleasant words and such things.
The anubhavas are shedding tears, drooping face, drooping limbs and
loss of memory etc. The Vyabhicari bhavas are disgust, exhaustion, fear,
confusion etc. Character - Prahalada, Beeshama.
107. Image taken from Google- Karuna rasa.

108. Understanding Bharatanatyam by - Mrinalini Sarabhai, Baroda University Lectures 1965 ,
Pg 48,49.
113
Classification based on Karuna rasa criteria Identification :
1. Age
2. Gender
4. Rasa karuna
Table showing Karuna Rasa Identified by (Male -10 and Female - 10)
Sl„ No. Based On Male Female

—
1. Eye 2 2
2. Face 6 7
hp---------------------------
3. Lips 1 3
_____________ |
—
4. Makeup 1 0
Graph showing Karuna Rasa Identified by (Male -10 and Female-10)
Pie-chart showing Karuna Rasa Identified by

Male

Female
The above table and graphs show Karuna Rasa identified on the basis
of eyes. Two male and two female respondents have identified, Karuna Rasa
based on eyes, six male and seven female respondents have identified
Karuna Rasa based on face. One male and three female have identified on
the basis of lips. Only one male and no female respondents have identified
Karuna Rasa based on makeup. Female and male respondents felt that face
was more expressive than any part of the face. While male category of
respondents too felt the same.
In the age group of 18 - 25 amongst the thirty (30) respondents two
male and two female respondents have identified Karuna Rasa based on
eyes, have identified Karuna Rasa correctly.

No.
1. Eye 1 0
2. Face 6 9
3. Lips 1 0
4. Makeup 2 1
116
Graph showing Kanina Rasa Identified by (Male -10 and Female-10)
10
9
8
7
6
5
< 4
3
2
1
0
Eye
D Male 1
■ Female 0

Male
The above table and graphs show Karuna rasa identified on the basis
of eyes. One male no female respondent has identified Karuna rasa based on
eyes, Six male and nine female respondents have identified Karuna rasa
based on face. Only one male has identified on the bases of lips no lemales
have identified on this basis.
Two male and one female respondent have identified Karuna rasa
based on makeup. Female respondents felt that face was more expressive
than any other face part. While male category of respondents felt, face was
more expressive than any part of the face.

In the age group of 26 - 40 among the thirty (30), One male no female
respondent has identified Karuna rasa based on eyes.
No.
1. Eye 1 2
2. Face 6 5
_____________________
3. Lips 0 0
4. Makeup 3 3
;
Graph showing Karuna Rasa Identified by (Male -10 and Female-10)
^a cn
A verage
co
ho
-k
0
□ Maie 16 0 3
@ Female 2 5 0 3
Male

Female
120
The above table and graphs show Karuna rasa identified on the basis
of position of eyes. One male and two female respondents have identified
Karuna Rasa based on eyes, six male and five female respondents have
identified Karuna Rasa based on face. None of them have identified on the
basis of lips. Three male and three female respondents have identified
Karuna Rasa based on makeup. Only three identified this rasa correctly.
In the age group of 41-60among the thirty (30), respondents one male
and two female respondents have identified the Rasa correctly.
Karuna Rasa is identified on the basis of eye expression
In the age group of 18 - 25 amongst the thirty (30) ,two male and two
female respondents have identified Karuna Rasa based on eyes and have
identified the Rasa correct.
In the age group of 26 - 40 amongst the thirty (30) One male no
female respondent has identified Karuna rasa based on eyes and have

In the age group of 41-60amongst the thirty (30) One male and two
female respondents have identified Karuna Rasa based on eyes have

Among these three categories of respondents, people aged between 18
- 25 have identified the Karuna Rasa correctly.
121
3.6 BHAYANAKA RASA
109
Bhayanaka Rasa It is stimulated by seeing or hearing words, sounds,
and objects , by fear of Jackals and owls ,by going into empty houses , lonely
forests , by seeing , listening to the stories of people he /she knows is being
killed or imprisoned etc.
It comprises of trembling legs and hands, eyes Hitting and pale faces
losing colour, and the loss of voice. It's Vyabhikari Bhavas are, Being stupid,
sweating, stammering, confusion, fear, loss of memory, death, swift
movements, anxiety, seeing ghost etc.
The deity worshiped here is Yama and color used is black. It is bom
from the state of fear. Bhayanaka is of three kinds: Bhayanaka from deceit
from wrong action and next from terror,110 Character - Bakasura,
Hiranyakashyapa.
109. Image taken from Google - Bhayanaka rasa.

110. Understanding Bharatanatyam by - Mrinalini Sarabhai .Baroda University Lectures 1965 ,
Pg 50
Classification based on Bhayanaka rasa criteria identification:
1. Age
2. Gender
4. Rasa bhayanaka
Table showing Bhayanaka Rasa Identified Male -10 and Female - 10
Age Group 18 - 25

----------------------------------------------------------------- i
1. Eye 5 5
----------------------------------
Face 2 — 4
3. Lips 1 __________
1
4. Makeup 2 0
i____
Graph showing Bhayanaka Rasa Identified by Male-10 and FemalelO
Age Group 18 - 25
A verage
4
21
□ ■
S
LL
0
g
a;
>
123
Pie-chart showing Bhayanaka Rasa Identified by
Pie-chart showing Bhayanaka Rasa Identified bv

Female
124
The above table and graph shows Bhayanaka Rasa identified on the
basis of face. Five male five female respondents have identified bhayanaka
Rasa based on eyes, two male four female respondents have identified
bhayanaka Rasa based on face. One male and one female have identified on
the basis of lips. Only two male and no female respondents have identified
bhayanaka Rasa based on makeup. Female respondents felt that face was
more expressive than any other face part. While male category of
respondents too felt the same.
In this age group 18-25 amongst the thirty (30) respondents two
male four female respondents have identified bhayanaka Rasa based on face
have identified the Rasa correctly.
Table showing Bhayanaka Rasa Identified by
(Male-10 and FemaielO)
1. Eye 4 4
2. Face 4 3
3. Lips 0 1
4. Makeup 2 2
_____________________________
125
Graph showing Bhayanaka Rasa Identified by
Age Group of 26 -- 40
Male
126
Female
The above table and graph shows Bhayanaka rasa identified on face.
Four male and four female respondent has identified Bhayanaka rasa based
on eyes. Four male and three female respondents have identified
Bhayanaka rasa based on face. Only one female has identified on the basis
of lips no males have identified on this basis. Two male and two female
respondents have identified Bhayanaka rasa based on makeup. Female

respondents felt that eye and face was more expressive than any other face
part. While male category of respondents felt eye and face was more
expressive than any other part of the face.
In the age group of 26 - 40 among the thirty (30), Four male and three
female respondents have identified Bhayanaka rasa based on face.
127
Table showing Bhayanaka Rasa Identified by
Age Group of 41 -60
1. Eye 2 2
_______________________________I
Face 4 5
3. Lips 0 0
_______________________________1
4. Makeup 4 3
, _______________________________1
Graph showing Bhayanaka Rasa Identified by
Age Group of 41 -60

0>
Oi
^
Average
CO
fO
O
a Male
■ Female
Male
Female
129
The above table and graphs show Bhayanaka rasa identified on the
basis of the face. Two male and two female respondents have identified
Bhayanaka Rasa based on eyes, four male and five female respondents have
identified Bhayanaka Rasa based on face. None of them have identified on
the basis of lips. Four male and three female respondents have identified
Bhayanaka Rasa based on makeup. Only four identified this rasa correctly.
In the age group 41-60, among the thirty (30) respondents, two male
and two female respondents have identified the Rasa correctly.
Bhayanaka Rasa is identified on the entire facial expression
In this age group of 18 - 25, among the thirty (30), two male and
four female respondents have identified Bhayanaka Rasa based on face and
In the age group 26 - 40, among the thirty (30), four male and three
female respondents have identified the Bhayanaka rasa have identified the
Rasa correctly.
In the age group of 41-60among the thirty (30), four male and five
female respondents have identified. Bhayanaka Rasa based on face have

41-60 have identified the Bhayanaka Rasa correctly.
130
3.7 BEEBHATSA RASA
111
Beebhatsa rasa is employed only in very brief stretches as no one likes
to experience this rasa of disgust for very long, whether reading a book or
seeing something on stage. There is not much to describe in this rasa, except
to say that it is created when things like vomit, bad odor are properly
depicted
It is stimulated by seeing or hearing undesirable, ugly, and evil things.
It is acted by withdrawing the body, spitting, and agitation. The Vyabhikari

Bhavas are - Loss of memory, agitation, excitement, confusion, sickness,
death, etc.
A good artist can communicate this area easily and a bad one might
create confussion. Character - Kubja,shakuni.
111. i mage taken from Google - Beebatsa rasa.
131
Classification based on Beebhatsa rasa criteria identification :
1. Age
2. Gender
4. Rasa Beebhatsa
Table showing Beebhatsa Rasa Identified by
SL No. Based On Male Female

1. Eye 2 2
2. Face 6 7
3. Lips 1 1
4. Makeup 1 0
Graph showing Beebhatsa Rasa Identified by

132
Pie-chart showing Beebhatsa Rasa Identified by
Male
Female
133
The above table and graphs show Beebhatsa Rasa identified on the
basis of the face. Two male and two female respondents have identified
Beebhatsa Rasa based on eyes. Six male and seven female respondents have
identified Beebhatsa Rasa based on face. One male and one female have
identified on the basis of lips. Only one male and no female respondent has
identified Beebhatsa Rasa based on makeup. Female and male respondents

felt that face was more expressive than any other face part. In this age group
of 18 - 25, among the thirty (30) respondents, six male and seven female
respondents have identified Beebhatsa Rasa based on face and they have
identified the Rasa correct.


j
1. ! Eye 7 0
j
2. i Face 0 6
j
3. i Eips 2 2
4. | Makeup 1 2
1
134
Graph showing Beebhatsa Rasa Identified by
0
___Eye Face Lips Makeup
i Male 7 0 2 1
l Female 0 6 2 2

Male
Makeup, 1.
10%
135
Female
The above table and graphs show Beebhatsa rasa identified on the
basis of face. Seven male and no female respondent have identified
Beebhatsa rasa based on eyes none of the female identified based on eyes,
No male only six female respondents have identified Beebhatsa rasa based
on face. Two female has identified on the bases of lips two males have
identified on this basis. One male and two female respondents have
identified Beebhatsa rasa based on makeup. Female respondents felt that eye
and face was more expressive than any other face part while male category
of respondents felt eye and face was more expressive than any other part of
the face.
In this age group 26 - 40 among the thirty (30) only six female
respondents have identified Beebhatsa rasa based on face.
136
SI. No, Based On Male Female

____________________________ |
1. Eye 1 2
2. Face 4 3
3. Lips 0 1
4. Makeup 5 4
:
Graph showing Beebhatsa Rasa Identified by Male-10 and Female- 10

O)
cn
4^
Average
co
60

□ Male 14 0 5
a Female 2 3 14
137
Male
Female
138
The above table and graph shows Beebhatsa rasa identified on the
basis of position of face. One male and two female respondents have
identified Beebhatsa Rasa based on eyes, four male and three female
respondents have identified Beebhatsa Rasa based on face. One female has
identified on the basis of lips and no male has identified on the basis of lips.
Five male and four female respondents have identified Beebhatsa Rasa based
on makeup. Only seven identified this rasa correctly.
In the age group of 41-60, among the thirty (30) respondents, four
male and three female respondents have identified the Rasa correctly.
Beebhatsa Rasa is identified on the entire facial expression
In the age group of 18 - 25 among the thirty (30) Six male and seven
female have identified Beebhatsa Rasa based on face and have identified the
Rasa correctly.
In the age group of 26 - 40 amongst the thirty (30) No male only six
female have identified Beebhatsa rasa and have identified the Rasa
correctly.
In the age group of 41-60 among the thirty (30), four male and three
female have identified, Beebhatsa rasa based on face and have identified the
Rasa correctly.
Among these three categories of respondents, people between aged 18
- 25 between have identified the Beebhatsa Rasa correctly.
139
3.8 ADBHUTA RASA
112
ADBHUTA RASA is a sentiment of wondering ,curiosity and

surprise. Its bhava is vismaya or astonishment; it is shown using gaping of
eyes. It is recognized by some special features. This expression of

wonderment, amazement, surprise, exhilaration and also mixed feelings of
anticipation. The great feelings that one feels when one comes across
something divine and supernatural, some power or beauty that is remarkable

and never seen or imagined before is Adbhuta. Adbhuta is the curiosity of
man regarding the creation of the world and all its wonders, the astonishment
caused by seeing something unusual and magical. The appreciation of a
marvel that goes beyond the routine is Adbhuta. The glory of a king
returning from a successful battle, the magical feats of a god are both
Adbhuta to a common man. Adbhuta is when divinity makes a surprise

appearance in the world of men. A character enacted in this rasa is of lord
Krishna in his Vishwaroopa darshana.
112. Image taken from Google - Adbhuta rasa.
140
i <*S>1___ ^
Classification based on Adbhuta rasa criteria Identification:
1. Age
2. Gender
4. Rasa Adbhuta
Table showing Adbhuta Rasa Identified by

(Male -10 and Female - 10) Age Group of 18 - 25

No.
2 I
1. Eye 0
2. Face 6 7 i
3. Lips 0 3
4. Makeup 4 0
Graph showing Adbhuta Rasa Identified by

(Male -10 and Female - 10) Age Group of 18 - 25
>
<
□ Male
■ Female
1
Eye
0
2
Face
6
7 3
I
Lips
0
Makeup
4
0
141
Pie-chart showing Adbhuta Rasa Identified by
Male

Female
142
The above table and graphs show Adbhuta Rasa identified on the basis
of eyes. No male and two female respondents have identified Adbhuta Rasa
based on eyes, six male and seven female respondents have identified
Adbhuta Rasa based on face. No male and three female have identified on
the basis of lips. Only four male and no female respondents have identified
Adbhuta Rasa based on makeup. Female and male respondents felt that face
was more expressive than any other face part.
In the age group of 18 - 25 among the thirty (30) male and female
respondents only two female respondents have identified Adbhuta Rasa
based on eyes have identified the Rasa correctly.

1. Eye 3 2
2. Face 5 7
3. Lips 0 0
4. Makeup 2 1
143
Graph showing Adhhuta Rasa Identified by

□ Male 3 5 0 2
■ Female 2 7 0 1
Pie -chart showing Adbhuta Rasa Identified by

144
The above table and graphs show Adbhuta rasa identified on the basis
of face. Three male and two female respondent has identified Adbhuta rasa
based on eyes, Five male and only six female have identified Adbhuta rasa
based on face. None have identified on the base’s of lips. Two male and one
female respondents have identified Adbhuta rasa based on makeup. Female
respondents felt that face was more expressive than any other part of the
face . While male category of respondents felt eye and face were more
In the age group of 26 - 40 among the thirty (30), only three male and
two female respondents have identified Adbhuta rasa based on eyes.

Age Group by 41 - 60
SI, No, Based On Male Female
1. Eye 1 0
2. Face 8 10
3. Lips 0 0
4. Makeup 1 0
Graph showing Adbhuta Rasa Identified by
□ Male 18 0 1
■ Femaie 0 10 0 0
146
Male

Female
147
The above table and graphs show Adbhuta rasa identified on the basis
of position of eyes. One male and no female respondents have identified
Adbhuta Rasa based on eyes, eight male and ten female respondents have
identified Adbhuta Rasa based on face. No have identified on the basis of
lips. One male and none female respondents have identified Adbhuta Rasa
based on makeup. Only seven have identified this rasa correctly.
In the age group of 41-60among the thirty (30) respondents, One male
and none female respondents have identified the Rasa correctly.
Adbhuta Rasa is identified on the basis of eye expression
In the age group of 18 - 25 among the thirty (30) respondents only

two female have identified Adbhuta Rasa based on eyes, have identified the
Rasa correct.
In the age group of 26 - 40 among the thirty (30), Three male and two
female have identified eye Adbhuta rasa have identified the Rasa correctly.
In the age group of 41-60among the thirty (30) respondents only one
male has identified Adbhuta Rasa based on eye correctly.

- 40 between have identified the Adbhuta Rasa correctly.
148
3.9 SHANTA RASA
Shanta is serenity and peace. It represents the state of calm and

unruffled repose that is marked simply by the lack of all other rasas because
all emotions are absent in Shanta there is controversy whether it is a rasa at

all. According to Bharata, the author of NatyaShastra, the other eight rasas
are as proposed originally by Brahma, and the ninth Shanta is his

contribution.
Shanta represents complete harmony between the mind, body and the
universe. Sages in India meditate for entire lifetimes to attain this state.
Shanta is what bhagvan e Buddha felt when he was enlightened, when

he reached the higher spiritual plane that led him to salvation or nirvana and
freed him from the cycle of life and death. In music it is often represented
through a steady and slow tempo. There is a controversy whether this Rasa is
to be included in the list of Rasas at all. That apart, this rasa has a great
significance since it is here that every thing begins and ends. This denotes a
Image taken from Google- Shanta rasa.
149
frame of mind, blissful, free from tension content and near salvation. This
quality is personified by great sages like Buddha, Sankaracharya, Madhwa
acharaya etc.
Reading or hearing about the veda sukta (harikatha) elevates the
human mind to a higher realm of thought, of tranquil repose. Seeing such a

saintly character of simple attire naturally accompanied by a simple and
elevating music, fills the audience with a feeling of purity and piety.
This pan be noticed quite often in the auditorium, when such a scene
comes to pass in a drama, ballet, harikatha, musical discourse or a classical

vocal concert.
Classification based on Shanta rasa criteria identification :

1. Age
2. Gender
4. Rasa shanta
Table showing Shanta Rasa Identified by ( Male -10 and Female - 10)
'■ Eye 1 4
2. Face 7 6
3. Lips 0 0
4. Makeup 2 0
150
Graph showing Shanta Rasa Identified by (Male -10 and Female - 10)
□ Male 17 0 2
C Female 4 6 0 0
Pie-chart showing Shanta Rasa Identified by (10 Male Respondents)
Male
Pie-chart showing Shanta Rasa Identified by
Female
The above table and graphs shows Shanta Rasa identified on the basis
of face. One male and four female respondents have identified Shanta Rasa
based on eyes. Seven male and six female respondents have identified
Shanta Rasa based on face. No male and three female have identified on the
basis of lips. Only two female of the respondents have identified Shanta
Rasa based on makeup.

Female and male respondents felt that face was more expressive than
any other face part.
In the age group of 18 - 25 among the thirty (30) respondents, seven
male and six female have identified Shanta Rasa based on face and they
152
Table showing Shanta Rasa Identified by (Male -10 and Female - 10)
1. Eye 3 2
2. Face 6 6
3. Lips 0 0
1
4. Makeup 1 2
153
Male
Female
The above table and graphs show Shanta rasa identified on the basis of
face.Three male and two female respondents has identified Shanta rasa based
on eyes, six male and six female respondents have identified Shanta rasa
based on face.
None have identified on the basis of lips. One male and two female
respondents have identified Shanta rasa based on makeup. Female
respondents felt that face was more expressive than any other part of the face
. While male category of respondents felt that eye and face was more

In the age group of 26 - 40 among the thirty (30), only six male and
six female respondents have identified Shanta rasa based on face.
Table showing Shanta Rasa Identified by (Male -10 and Female - 10)

No.
1. Eye 0 2
2. Face 8 7
3. Lips 0 0
4. Makeup 2 1
155
Age Group of 4! - 60
156
The above table and graphs show Shanta rasa identified on the basis of
position of face. No male and two female respondents have identified Shanta
Rasa based on eyes and eight male and seven female respondents have
identified Shanta Rasa based on face. None have identified on the basis of
lips. Two male and one female respondent have identified Shanta Rasa based
on makeup. Only fifteen identified this rasa correctly.
In the age group of 41-60amongst the thirty (30) respondents. Eight

male and seven female respondents have identified the Rasa correctly.
157
Shanta Rasa is identified on the basis of entire face expression
In the age group of 18 - 25 among the thirty (30), Seven male and six
female respondents have identified Shanta Rasa based on face and they
have identified the Rasa correct.
In the age group of 26 - 40 among the thirty (30), Six male and six
female respondents have identified face Shanta rasa have identified the Rasa
correctly.
In the age group of 41-60 among the thirty (30), eight male and seven
female respondents have identified. Shanta Rasa based on face have
Among these three categories of respondents, people aged between

41-60 between have identified the Shanta Rasa correctly.
After analysis of these three different groups of people, the identification
based on gender and age can been seen,
3.1 Sringara Rasa is identified entirely on the basis of entire facial
expression
- 60 have identified the Sringara Rasa correctly.
158
3.2 Hasya Rasa is identified on the basis of lips expression.
Among these three categories of respondents, people aged between 18-
25 have identified the hasya Rasa correctly.
3.3 Raudra Rasa is identified on the basis eye expression

Among these three categories of respondents, people aged between 18-
25 have identified the Raudra Rasa correctly.
3.4 Veera Rasa is identified on the basis of eye expression

18- 25 have identified the Veera Rasa correctly.
3.5 Karuna Rasa is identified on the basis of eye expression

- 25 have identified the Karuna Rasa correctly.
3.6 Bhayanaka Rasa is identified on the entire facial expression
41-60 have identified the Bhayanaka Rasa correctly.
3.7 Beebhatsa Rasa is identified on the entire facial expression
Among these three categories of respondents, people aged 18-25
between have identified the Beebhatsa Rasa correctly.
159
3.S Adbhuta Rasa is identified on the basis of eye expression
Amongst these three categories of respondents, people aged 26 - 40
between have identified the Adbhuta Rasa correctly.
3.9 Shanta Rasa is identified on the basis of entire face expression

Amongst these three categories of (30) respondents, people aged
between 41-60 between have identified the Shanta Rasa correctly. Further
chapter deals that analysis of different modes of abhinaya using graphs.

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SOCIOLINGUISTICS STUDY OF NAVARASA

Art is the powerful way to communicate ideas, beliefs and feelings.

music, dance and drama.

communication, the expression of dance is perhaps the most developed, yet

presenting an idea that everyone can relate to in a universal way.

Performing the Navarasa helps the dancer to have a tremendous

arts forms. t - Zilo

“Nava means 'Nine' and Rasa signifies 'mood,' 'emotion,' 'expression'

was identified by Abhinavagupta. Parts of the human experience that relate

and society during a dance performance using abhinaya varieties.

Dance holds the possibility to improve society with the help of

nonverbal communication. Dance is a form of imagination created in the

society that renders happiness.

Abhinaya or expression is studied by each and every person even

94. Image taken from google - navarasa abhinaya.

“Radha is shringara personified .When she is besides Lord Krishna

of gopika, the other woman surrounding lord krishana; hearing Krishna

adventures and mischief , she displays adbutha; She exudes bhayanaka

Often these performing arts provide its audience with some

Dance provides some beautiful, colorful images in context to express

• Hasya depicting happiness.

• Rudra/Krodha representing anger.

• Bhayanaka expressing fear.

• Shoka symbolising sorrow.

• Veera denoting compassion.

• Karuna implying compassion.

• Adbhuta indicating wonder.

• Shanta illustrating peace.

Bharatha’s Rasasidhantha is the most valuable contribution to aesthetics.

itself in to pure state of pleasure (Ananda). Rasa is the inner most

experience closely related to it. Ananda is complete and continuous

Dance is an ancient expressional art form. It is one of the most

powerful forms of self expression. From times immemorial it has been

%. Moshe Feldenkrais: Taken From Internet Article.

developed a therapeutic method called Feldenkrais Method. This method is

happiness and joy”.

Dance in itself is a very big subject. It also ceals with the

“There are three expressions of Sringara: in words, in dress and in

intimate rasa of the classical Indian dance, in Bharathanatyam in particular.

Natyashastra states that “Sringara” is of 2 kinds: in union and in

separation. Sringara in separation should be represented by indifference,

fear, jealousy, fatigue, anxiety, yearning, drowsiness, sleep, dreaming,

Sringara is one of the Rasas, usually translated as erotic love,

97. Sringara rasa - image taken from Google online.

woman. The primary emotion thus generated is Sringara, the Nara-Narayana

How we get attracted to people, things and ideas? What makes us

of characteristic bodily movements.

Sringara is expressed as - “Kanta (loving glance) Sringara eyebrows

Classical dancers refer to Sringara as 'the Mother of all Rasas.'

fear, anger, compassion, and of course for the expression of physical

intimacy. No other Rasa has such a vast scope.

“Sringara appears in the interaction between men and women, and is

also known as Soundarya Lahari.

98. The Sanskrit verse Natya Sastra Samgraha: pg.483.

Hence, love is beauty, Sringara is truth and naturally considered to be

the king of the Rasas, not because it is seductive, passionate or amorous

Rati is the Sthayee Bhava of Sringara. The basis is gender

description in Natya/Kavya. Sringara has got two aspects -milana and

Vipralambha (union and separation). Thus Sringara rasa can be created by

many different kinds of methods,'Krishna nee begane baro' can be shown as

devotee and God as radha Krishna viyoga. Different interpretation of this

song can be carried out.

While exhibiting, acting or dancing the basic idea of a theme, the

human beings we can see its presence in any literature.