期刊名称：Lapis Lazuli : an International Literary Journal
电子版ISSN：2249-4529
出版年度：2012
卷号：2
期号：1
出版社：Pinter Society of India
摘要：The theory of Rasa was propounded by Bharatmuni in Natyashashtra. He refers to Rasa as the delight that the audience derives from its experience of the generalized emotions presented in the drama. Seeing any evil or good action, one gets delight or sorrow. This sorrow or delight is known as Rasa in literature. According to Bharatamuni in this world 'nothing exists or excels without Rasa'. Similarly, in literature, without Rasa, the purpose of composition can not be achieved. There are eight Rasa in Natya of representation (Amarkosha 1, 7, 17). Out of the eight Rasa, Karun Rasa is one of the prominent Rasas which has its Sthayibhava as Shoka or grief. The theory of Rasa is built around the concept of Bhava which is divided into Vibhava, Sthayibhava, Sancharibhava, Anubhava and Sattvikabhava. Rasa and Bhava are mutual illuminators. Bhavabhuti in the Uttar Ram Charitamhas explained Karun Rasa as the main Rasa. When one feels very sad or sorrow, seeing one's plight condition, that situation is of Karun Rasa. It may occur due to many reasons such as death, separation, journey, plight condition etc. The drama which predominantly portrays and evokes the emotions or sentiments of pathos is a drama that belongs to Karun Rasa. var currentpos,timer; function initialize() { timer=setInterval("scrollwindow()",10);} function sc(){clearInterval(timer); }function scrollwindow() { currentpos=document.body.scrollTop; window.scroll(0,++currentpos); if (currentpos != document.body.scrollTop) sc();} document.onmousedown=scdocument.ondblclick=initializeLapis Lazuli ¨CAn International Literary Journal / Vol.II/ Issue I /SPRING 2012 ISSN 2249-4529 htpp//www.pintersociety.com On the basis of Abhinava Gupta's Sankhya Theory of ' Trigunatamaka Prakriti', Karun Rasa is of three kinds, the grief caused by destruction of righteousness is Sattvika, the grief caused by the loss of worldly esteem and well being is Rajasika and the grief caused by the death of someone one's own is Tamasika. In the West, drama has been chiefly divided into two classes¨Ccomedy and tragedy. Western criticism, developed from Aristotle's principles claims that conflict is the core element of any drama. In India, the class of a drama is determined by the Rasa or sentiment which the poet or playwright chiefly intends to embody in his drama. Aristotle also talks of the "pleasure" that is proper to tragedy, apparently meaning the aesthetic pleasure one gets from contemplating the pity and fear that are aroused through an intricately constructed work of art. Thus, it signifies that the end of the tragedy is a katharsis (purgation) of the tragic emotions of pity and fear. Kalidasa and Shakespeare have universal appeal and their characters are not of one age and country but of all ages and countries. It is very striking to note that Kalidasa has not written any tragedy whereas Shakespeare is more popular on account of his tragedies like Hamlet, Othello, Macbethare few to name them. Adya Rangacharya (1988: 117) rightly remarks that the more we study Kalidasa the more we find that drama as an art is entirely changing into his hands." In the Abhijnansakuntalam, first three acts are comic and its second three acts are tragic. The Hamletis primarily the tragedy of Hamlet, the Prince of Denmark. As tragedy invokes the feelings of pity, naturally it comes under the category of Karun Rasa. According to Bharatmuni Karun Rasa arises from the permanent mood of sorrow, and this sorrow results from curse,
