Implementation of Rasa in Kālidāsa’s Mālavikāgnimitram: A Study
Keywords:
Śṛṅgāra Rasa, Vīra Rasa, Śānta Rasa, Adbhuta Rasa, Raudra Rasa, Bhayānaka Rasa, Bībhatsa Rasa, Hāsya Rasa, Karuṇa RasaAbstract
The plots in Kālidāsa’s plays are driven by the relationship between constraint and freedom. According to Bharata Muni’s Nāṭyaśāstra, the ultimate goal of Sanskrit drama is to produce an aesthetic experience in the form of rasa. “Rasa” has been explained extensively in Nāṭyaśāstra. It has been broadly translated as “sentiment,” but the literal translation of the word is “flavour. According to the Nāṭyaśāstra, there are eight sentiments recognized in drama. Arousing these sentiments in the minds of the spectators is the goal of an ideal Sanskrit drama. The transformation of the psychological states (sthāyī bhāvas) into sentiments (rasas) in the minds of the spectators marks the success of drama. Just as a tree grows from a seed and flowers and fruits from a tree, the sentiments are the source of all the psychological states, and likewise, the psychological states exist as the source of all the sentiments. The treatment of rasa by Kālidāsa in his works has been highly appreciated by all his readers. Also, it cannot be denied that his works are of high quality. Kālidāsa’s works are remarkable for their poetic excellence. But Mālavikāgnimitram is more prosaic. In this essay, I’m trying to discuss how Kālidāsa implements the all rasa in his marvellous work Mālavikāgnimitram in a fluent way.
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