TYAGARAJA &
THE THEORY OF RASA
Anthony Raj
CLASS OF 2013-14, DAKSHINACHITRA
.
INTRODUCTION
Natya Sastra (circa 100 BC) enumerated eight rasas. Rasa, in effect, stood for a “consciousness altering experience”, which was beyond normal human emotions.
Abhinavagupta (circa 1000 AD) strongly canvassed for inclusion of Shanta as the ninth rasa, and declared it the Rasa of Rasas. Hence the term Navarasas. In his view, Bhakthi (Spiritual Devotion) was only an appendage of the Shanta Rasa. It was suitable only for sthothras, and not as the main theme of a major poem or drama, much less a Rasa.
But the debate did not end there. This essay explores the impact of this debate on art, architecture, music and in particular on Tyagaraja and his composition, by juxtaposing many theories and presenting them as a hypothesis for enunciation of the theory of Rasa possibly
in a modern vernacular.
RASA, THE NECTAR OF ARTISTIC EXPERIENCE
In different contexts, the term Rasa appears in Vedic and Upanishadic literature. The usage variously associates the word with a liquid
energizer, an elixir, a consciousness altering substance (though not
explicitly hallucinogenic). In the Taittiriya Upanishad, the word “Rasa” is used in a metaphysical sense, and equated with the Ultimate Reality. The full scope of the connotations can be understood from its lexicographic interpretation. The Sanskrit dictionary (Monier Williams) has the
following entry: Sap or juice of –plant; juice of fruit; any liquid or fluid; the best or finest part of anything; essence; marrow; elixir; potion;
seminal fluid of Shiva; charm, pleasure or delight; the taste or character of a work, the feeling or sentiment prevailing in it. All these connotations are germane to understanding the connection between Raga and Rasa. Bharata’s theory held that a Rasa is the developed and relishable state of a permanent mood (Sthayi Bhava), which results from the interplay of many attendant emotional conditions (Vibhavas, Anubhavas and Sanchari Bhavas, being the Vyanjaka or suggesting elements) on the on the sthayi. Rasa is the suggested delight experienced by an enlightened member of audience (sahardaya), through his ability to abstract and generalise the emotional experience, beyond individualities. Rasa was the sole artistic experience of the spectator, which the artist, the characters and the actors were not capable of sharing. This theory seemed to have survived undisputed for a millennium.
spiritual. This reflects the fundamental transcendentalism of Hindu
thought. All art is, therefore, validated by a single dominant criterion – its ability to elicit an emotional response. This criterion acknowledges that, at its most intense, the experience of beauty evokes a response that transcends its qualitative aspect, and acquires a mystical quality. This defines the potential of the artistic endeavour, and its reception, for personality transformation and spiritual evolution. At the intermediate aesthetic level, however, the tradition allows for the classification of works of art on the basis of the quality of the emotional response. The name given to these qualities is “Rasa”, a metaphorical expression derived from the Sanskrit “Rasa” = extract/ essence/ juice.”
In the words of Alessandro Dozio, “The Hindustani and Carnatic classical idioms have both a sophisticated semantic of pitch based on the concepts of swara and raga. They also share the simple but powerful scheme of the rasas believed to encompass the overall range of human emotions. .. The Indian theory of rasas has the bearing of a fully structured architecture built on systematic enquiry into probably every aspect of the question, from the corporeal reaction of the spectator to his psychological
disposition, from the setting of the event to the metaphysical implications of the aesthetic experience... Abhinavagupta added contributions of his own reviving the idea of the ancestral memories (vasanas) resonating in the consciousness of the subject of aesthetic experience to the causes, effects and transitory manifestations (bhavas) as prerequisite for the perception of rasa. The French musicologist Philippe Bruguière noticed how Abhinavagupta held that the rasika (sahrdaya) does not fully identify with the aesthetic object of the experience and that the remaining
distance between them is the space where the ancestral memories (vasanas) flow to mix with the imaginative faculty of the hearer. The emotional content of the work of art is thus brought forth - producing pure delectation, the amazed ravishment (camatkara), which is the ultimate aim of the aesthetic experience.”
BHAKTHI RASA: THE NEW DEBATE
Even before Abhivanagupta, Bhatta Lollata (c. 900 AD) saw Rasa as a “heightened form of emotion”, rather than as something fundamentally distinct. He also held that the characters in the play, the artist and the actors could experience Rasa – views diametrically opposed to Bharata and Abhinavagupta.
King Bhoja of Rajasthan (circa 1100 AD) is reported to have developed Lollata’s theory further, and this became the foundation for Vaishnavites interpretation of Bhakthi rasa.
Circa 1250, Hemadri in his Kairelyadipika, enumerated the theory of Rasa in relation to Lord Vishnu, whose Bhakthas were identified both as vibhava ( characters in the story) as well as those who experienced the rasa.
THE ESSENCE OF BHAKTHI RASA
Rasa, therefore, came to be recognised not merely as aesthetic delight but an experience of spiritual delight, which supersedes all other
experiences. Goswami held that there was a hierarchical ranking of rasas based on their intensity. He reclassified the prevalent 12 Rasas into two categories: (a) Primary Rasas (5 in number), and (b) Secondary Rasas. Bharata’s original 7 rasas (excluding Shringara) were now ranked second to the Primary rasas, which were: (1)Shantha (peacefulness) or
Suddharasa, (2) Prita (veneration) or Dasyarasa, (3) Preyas (mutual love or camaraderie) or Sakhyarasa, (4) Vatsalyarasa (nurturing love) and (5) Madhurabhakthirasa (Passionate love), the new avatar of the original Shringara Rasa.
Madhurabhakthirasa came to be recognised as the ultimate perfection among all rasas. All relationships between the Supreme One and his devotees makes it the sweetest of all forms of love, going beyond temporal things (laukika), becoming transcendent and touching the farthest reaches of alaukika. The experience of rasa became available to all: the author, the actor, the bhaktha and the characters in the work of art.
Rati, originally considered the sthayi bhava of Shringara, now became associated with the five predominant rasas. It is ultimately manifested fully in the heart of the bhaktha in this world as it is in heaven above. Rati,the sthayibhava, thus stands for our permanent relationship with god. By constantly turning one’s mind towards the Deity learns to recognise all the various factors which either intensify or distract from this divine love. Gradually, the devotee learns how to transform the emotion (bhava) of ordinary desire (kama) into the pure and selfless love. His sadhanas become spontaneous expressions of love, leading to tasting pure essence of Love (rasa). Sattvikabhavas become markers of intense devotion.
THE IMPACT OF ADVAITA
This new thinking, combined with the tenets of Vaishnavism, not only impacted the theory of rasa; it even blasted a lot of old-world thinking out of shape in the 1600s.
Most monumental of its effect was felt in temple architecture itself. Pika Ghosh portrays how the curvilinear-towered Nagara-type temple, popular throughout North India for more than a 1000 years was found
increasingly unsuitable for the newly Vaishnavite Bengal. Gaudiya Vaishnavite movement inspired by Chaitanya (1486-1533) had led to a new devotional community in the XVII Century. The new tradition of collective worship through song and dance (samkirtanam) needed a suitable space. (Similarly, the expanding Muslim population needed a space appropriate to their congregational prayers.) Local Vaishnavite Hindu rulers used this opportunity to patronize an innovative style of monuments to express their role within the new political more. The sanctum sanctorum no longer occupied the centre space. The mantapam took more prominence and became almost central to the new
navaratna-use of elements drawn from the region’s distinctive vernacular
architecture. The rapid spread of the Ratna temples through the XVII and XVIII Centuries bore witness to its success.
In effect, this meant the demolition of hierarchical, caste-based order in the presence of the deity, and implicitly in the society at large. All human beings were considered god’s children equally, and irrespective of caste or creed. This seriously questioned the social order prevalent in India for many millennia. This enlightened philosophy changed everything it
touched. Temple architecture, Devotional Music, and society at large.
MUSIC & BHAKTHI MOVEMENT
Indian music tradition is supposed to have shared a single, common heritage across India, for more than a thousand years, until the Islamic invasion. Thereafter, central Asian music seems to have pervaded the North Indian tradition, and it eventually came to be called Hindustani, with much less Hindu in it. However, the Bhakthi movement injected a new life into Hindustani music, with the arrival of Jayadeva and Meerabai among others.
Meanwhile, the South Indian Music tradition, became heavily influenced by the Bhakthi movement. Bhakthi rasa is now the very foundation of Carnatic music. This was mainly thanks to the Kannada Haridasa movement of Vyasaraja, Purandaradasa, Kanakadasa and others, the roots of which were sown during the Vijayanagar Empire, almost as a protest movement against the Mughul invasion. Thus the South Indian music tradition came to be known as “carnatic”, deriving from the colonial misspelling for Kannada. The great Kannada composer
Purandara Dasa (1480-1564) came to be known as the Sangitapitamaha or 'Father of Karnatik music'.
TYAGARAJ : THE MAN & THE MUSIC
Tyagaraja (1767-1847) is the uncrowned king, the patron, the new Guru and the very soul of Carnatic Music. To my mind, the Bhakthi Movement and the Concept of Bhakthi Rasa reach their pinnacle in his
compositions. There are volumes and volumes of praise written in honour of Tyagaraja, most of which is more lyrical than knowledgeable.
Dr.V.Raghavan’s is an erudite exception. His understanding of
According to the Sruti Magazine, to Tyagaraja is attributed the origin of the current pattern of the Kriti, consisting of Pallavi, Anupallavi and the Charanam. His innovation and forte is the art of Sangatis, the variations he worked on the Pallavi (opening line), which unfolded the moods and feelings as well as the contours of the melody in newer shades and phases.
“His lyrics reveal great depth of knowledge of the scriptures, epics, legends, purana, musical expertise, his humility as well as self-respect, introspection, and sense of humour,” says
Ludwig Pesch.
Is [possessing] wealth a greater pleasure
or is service in Rama's presence a greater pleasure? Answer me truthfully, O Mind!
Anupallavi
dadhi navanīta kṣīramulu ruciyō1
dāśarathi dhyāna bhajana sudhā rasamu ruciyō
Are curds, butter and milk more tasty? Or, is the nectarine essence of meditation on and bhajana of Dasaratha's son more tasty?
Charanam
dama śamamanu2 gaṅgā snānamu
sukhamā
kardama durviṣaya kūpa snānamu sukhamā
mamatā 3 bandhana yuta nara stuti
sukhamā
sumati4 tyāgarāja nutuni kīrtana
sukhamā
Is a bath in the Ganga of self control and tranquility more comforting?
Or, is a bath in the well of evil sense-objects comforting? Is extolling of humans fettered in egotism comforting, or is singing on the pure-minded Lord
praised by Tyagaraja comforting?
THE GIST
O Mind! Tell me honestly which induces unalloyed bliss? Is it
material wealth or the wealth of the Lord's darshana and service at
His shrine?
Which is more delicious? Is it the taste of milk, butter and the
curd? Or is it the nectarine (the Rasa) experience of meditation and
worship of Rama, the son of Dasaratha, more delicious?
Will wallowing in the slush of the dirty well of carnal pleasures
bring more pleasure, than the divine tranquillity experienced by
one who has controlled his senses is as refreshing as a bath in the
Ganga?
Does flattering or praising a mere mortal bloated with arrogance
and self-conceit bring more happiness than the height of bliss
brough by singing the glory of the eternal and compassionate Lord?
TEXT & CONTEXT
invited him to his court, and wanted him to sing in his praise. For Tyagaraja, performing at the palace meant performing at the king's pleasure and not purely in the worship of the Lord. It meant praising a mortal (narastuti). Tyagaraja, predictably, refused the king's offer and sang this great song to the astonishment and delight of his family and disciples.
In this song, he asks us what happiness can mere wealth (nidhi) bring. Worldly wealth will perish and even intellectual attainments lead only to rebirth. Can nidhi, bring more happiness (sukham) than the pleasure of being in the presence of Raama (Ramuni sannidhi)?. Contemplation of the Lord is all the gangasnaana (the purifying bath in the holy Ganga) we require for our salvation. This sweet, simple and short song probes and prods us, through a series of questions, to experience Ramabhakthi and delight in its pleasures. He does not even bother to give us the answers. Tyagaraja is convinced, without an iota of doubt, that we shall find the answers. Choose any composition of Tyagaraja at random, and you will run into such enlightened thoughts, except for the Raga and the Words.
The very best of Tyagaraja is always found in his Telugu kritis. To some scholars, his Sanskrit kritis, including some of the Pancharathna Kirtis, are too verbal and too scholarly. I presume we must attribute this to the gradual evolution of Tyagaraja, simultaneously as a composer and a bhaktha. I believe Nidhi Chala Sukhama is perhaps the first major milestone, where simplicity of language, humour in wordplay, extensive knowledge of the Upanishads and Musicology, unshakeable faith in his Lord and the deepest of love man is capable of – all come together so powerfully and so sweetly and so simply. My sweet lord!
To crown it all, Tyagaraja developed the Tyagaraja Mudra which marks the end of all his compositions with such signature sign offs: sumati tyagaraja, dhurina tyagaraja etc. One would think the man had a big ego. You cannot be more wrong. Here “Tyagaraja” stands essentially for Shiva (Lord Tyagaraja), who along with the other members of the Trinity,
achieved their divine status by worshipping Rama.
With sumati tyagaraja, he signs off with the thought that Tyagaraja’s (shiva’s) kirtanas give us the ultimate bliss or alternately, shiva’s kirtanas in honour of Rama bring the ultimate bliss. Tyagaraja
considered himself a man of real wisdom, and the correct perception of the comparative value of things (sumati). He always saw himself as
Rama’s most ardent devotee and took upon himself the duty of educating us on the higher values of life, and to admonish and appeal to us to seek bliss through Ramabhakthi. When he alludes to himself as dhurina
tyagaraja – he considers himself as capable of carrying the burden of leading, educating and uplifting us.
We could never find a more loving, capable teacher.
THE RAGA & THE RASA
According to Deepak Raja, “the Raga is the fundamental principle governing Hindustani music. It is the primary focus of musical studies, primary material for crafting in performance, the primary object of aesthetic appreciation, and the primary validation of the musical endeavour.” According to the Rasa theory, the aim of the artistic
endeavor is to induce, in the spectator’s mind, a heightened awareness of one of the Sthayi Bhava-s, which are innate dispositions and latent
energies common to all humans. The simultaneous activation of any of the Sthayi Bhava-s in the work of art and in the spectator’s mind
constitutes the experience of Rasa. Against this backdrop of the Rasa theory, the musical culture has accepted the notion of a Raga as a
melodic representation of an emotional idea. And, indeed, some Rasa-s – such as Hasya (comic), Raudra (furious), Bhayanaka (terrible) and
Bibhatsa (odious) -- are now recognized as being beyond the
representational reach of music as an art form. By implication, Rasa-s that constitute the special territory of music, are also identified.
Performances are valued for the clarity of aesthetic intent, and its translation into experience for the audience.
Tyagaraja composed most of his songs in medium tempo, as befitting the Bhakti mood. This particular song is conceived in the Kalyani Raga, considered the ‘Queen of Ragas’. Kalyani is designed to elicit the tender touch of a mother. Named after the supreme goddess, it is the 65th
Melakartha raga, and said to belong to the (eleventh) Rudra or the Face Chakra. Believers in the Chakra theory hold that the Rudra Chakra “houses our ability to become what we wish to become”.
Kalyani ( “auspicious ) is one of the “grand” ragas, along with Sankarabharanam, Thodi, Kalyani, Kamboji and Bhairavi. It is
considered suitable for singing at all times of day, and is presented as the main raga in many concerts, with elaborate Alapana, Neraval and
Manodharma Swaras. It is commonly held that Kalyani encapsulates emotions which help us experience the delight of Shringara (as per the old menu), Vatsalya and Bhakthi rasas. In the light of Goswami’s theory, the soulful combination of the svara, the raga and the kirti must help us relish the suga of all the five Predominant Rasas. The variety, the depth and the myriad feelings it is capable of portraying has made the Kalyani a perennial favourite of composers and performers for centuries. The Tamil Pann equivalent of Kalyani is Arumpalai. Kalyani is also featured in
Hungarian Music.
The Indian ear is very well tuned to Kalyani and it is no wonder that composers capitalize on this. It has provided inspiration to multitudes of composers, both classical and film songs Illayaraja is reported to have exploited the versatility of Kalyani to the maximum.
Tyagaraja’s Nidhi Chala Sukhama itself is considered as a masterpiece in Kalyani. Though there are a number of theories about various ragas and their resultant rasas, it is known that a single raga can evoke a wide gamut of feelings, different sthayis resulting in different rasa
NIDHI CHALA SUKHAMA?: Through the Prism of the Rasa Theory
ABHINAYA: The dramatic presentation is Vacika . The kirti is sung in a question and answer mode, where the composer leaves it to the listener to provide his own answers to the questions raised by him. The kriti consists of the Pallavi, the Anupallavi, the a Charanam.
PRAKRTI: Telugu
ALANKARA: The song is sung in Kalyani Ragam, in Madhyama Svara, to bring about the Bhakthi and Sringara elements.
STHAYI BHAVA : Rati.
VIBHAVA (The context): Annoyed with gifts offered by the King.
(JugupsA), and the effect of worldly pleasures which will lead to sin and rebirth.
ANUBHAVAS: The desire to live a life of simplicity and spirituality (Bhakthi) in the eternal presence of the Deity and to reach Mukthi
SANCHARIS (transitory moods): Amarsa (Indignation), Mati ( Self Assurance), Vitarka (Deliberation), remembrance of all the pleasures of Ramabhakthi.
PRADHANA RASA: The predominant mood (Rasa) is clearly Madhura-RasaBhakthi, with shades of Shringara, Bibhatsa, and Raudra. But these are overcome at the end by the realisation of love for the lord.
CONCLUSION
The brief review of the Rasa Theory clearly indicates that there is a need to redefine it in the contemporary context and in modern text. It also demonstrates the inclination to put the cart before the horse, as it were. The implicit conflict between the theorists and artists reminds us of the case of chopping one’s foot to fit the shoe. Does theory come first or the performance? Should the experience of the sahardaya be defined and limited by theoretical framework? Or should his experience redefine the theory of rasa for our times?
REFERENCE BOOKS & ARTICLES
William J.Jackson; Tyagaraja: Life & Lyrics; Oxford University Press; 1991.
Dr.V.Raghavan; Collected Writings on Indian Music – Vol. II; Dr.Raghavan Centre for Performing Arts, Chennai, 2007.
Ludwig Pesch ; The Illustrated Companion to South Indian Classical Music , Oxford University Press, 1999.
Deepak S. Raja, Khayal vocalism – continuity within change; DK Printworld, New Delhi,2009
Deepak S. Raja, Psycho Acoustics (from an upcoming book)
Phil Hine; Rasa Theory, ( http://enfolding.org/wikis-4/tantra-wikiwikis-4tantra-wiki/tantra_essays/rasa-theory/
Buchta & Schweig; Rasa Theory; work in progress.
Alessandro Dozio; The Indian concept of rasa and the Western system of keys: A short essay about the emotional meaning of the musical experience; Summer 2013.
Pika Ghosh, Space & the New Temple Vernacular of Seventeenth-Century Bengal, Traditional & Vernacular Architecture: Proceedings of the Seminar, 6-12 JANUARY, 2001. Edited by Subashree
Krishnaswamy. Published by Madras Craft Foundation.
http://lyrical-thyagaraja.blogspot.in/2009/10/raga-sudharasa.html; October 4, 2009.
