Natyasastram - Chapter Six - Sentiments
Chapter Six - Sentiments
Chapter Six of Bharata Muni’s Natyasastra presents the foundational Rasa theory, which forms the core of Indian aesthetic thought. The Rasa Sutra (Chapter 6: Sentiments) provides a systematic explanation of how aesthetic experience arises in art and performance. In Indian aesthetics, Rasa signifies the bridge between emotion and transcendence, transforming the performer’s expression and the spectator’s response into a unified experience of delight. According to Bharata, “No meaning can be conveyed without Rasa, and no Rasa can be created without Bhava.” Thus, Rasa is regarded as the soul of Natya (dramatic art) and the ultimate purpose (Prayojana) of all artistic creation.
Here. Bharata Muni offers a detailed exposition of Rasa (sentiments) and Bhava (psychological states). The chapter begins with the sages posing questions to Bharata about the nature of Rasa and Bhava, as well as the true meanings of certain technical terms such as Digest (Saṃgraha), Memorial Verse (Kārikā), and Etymology (Nirukta). Bharata responds by defining these concepts, which describe how vast and complex knowledge can be organized and remembered.
Digest (Saṃgraha):
“When subjects taught in detail have been compressed and brought together in [a number of] Sūtras and their Bhāṣyas (commentaries), these constitute, according to the learned, a Digest.”
In other words, the most effective way to retain and transmit vast knowledge is to condense it and arrange it systematically. The Digest of the Nāṭyaveda encompasses all the essential components of dramatic art, including Sentiments (Rasa), Psychological States (Bhāva), Histrionic Representation (Abhinaya), Practices (Dharmī), Styles (Vṛtti), Local Usages (Pravṛtti), Success (Siddhi), Notes (Svara), Instrumental Music (Ātodya), Songs, and the Stage. Thus, the Nāṭyaveda Saṃgraha serves as a concise summary of the major aspects of drama.
Memorial Verse (Kārikā):
“When a rule (meaning) is briefly expressed in a Sūtra with a minimal number of words, it is called a Memorial Verse, which clearly conveys the intended meaning.”
A Memorial Verse, therefore, is a succinct and memorable statement of a principle or rule, designed to make complex ideas easy to remember.
Etymology (Nirukta)
Etymology, also known as Nirutkta, deals with the true or original meaning of words. It explains the structure of a term by analyzing its root (dhātu) and affix (pratyaya), along with its grammatical and contextual significance. Nirukta also explores the philosophical or functional reason behind a name, showing how meaning is derived. In this way, understanding Etymology helps students grasp not only the linguistic formation of words but also their deeper conceptual and cultural implications.
After defining Saṃgraha (Digest), Kārikā (Memorial Verse), and Nirukta (Etymology), Bharata Muni turns to the core subject of the chapter - the nature of Rasa and Bhava. These two concepts form the very foundation of aesthetic experience in the Natyasastra. Bharata explains how the interaction between Bhavas (psychological states) and their artistic expression gives rise to Rasa (aesthetic sentiment) in the mind of the spectator. In this way, he shifts the discussion from theoretical definitions to the experiential essence of dramatic art — the transformation of emotion into aesthetic delight.
Bharata provides an elaborate explanation of all the topics included in the Digest, presenting them along with their etymologies and memorial verses. He identifies eight principal Rasas that form the emotional foundation of dramatic art:
Erotic (Śṛṅgāra)
Comic (Hāsya)
Pathetic (Karuṇa)
Furious (Raudra)
Heroic (Vīra)
Terrible (Bhayānaka)
Odious (Bībhatsa) and
Marvellous (Adbhuta).
These Rasas, according to Bharata, were named by Druhina (Brahmā), the creator, signifying their divine origin and essential role in evoking aesthetic experience.
Bharata states that no dramatic meaning can exist without Rasa. It is the aesthetic emotion or feeling of delight experienced by the audience while watching a performance. Rasa is produced through the combination of three main elements — Determinants (Vibhāva), Consequents (Anubhāva), and Complementary Psychological States (Vyabhicāribhāva). These work together on a Durable Emotion (Sthāyibhāva) to create Rasa.
To make this idea clear, Bharata gives a simple food analogy. He says that just as the flavour or taste (rasa) of a dish arises from the mixture of different ingredients like spices, vegetables, and herbs, in the same way, when stable emotions combine with other temporary feelings and expressions, they produce the overall emotional flavour of a drama — the Rasa.
Thus, Rasa literally means “that which is tasted.” According to Bharata, Rasa is not something tasted physically, but emotionally and intellectually by sensitive and cultured spectators. When the audience watches a well-performed scene, they do not feel their personal joy or sorrow; instead, they experience a refined, aesthetic emotion that is universal and detached from everyday life.
Just as a connoisseur enjoys the blended flavours of food made with various spices, a thoughtful spectator experiences the blended flavour of emotions - such as love, sorrow, or anger - when these feelings are artistically expressed through gestures, expressions, and performance. Hence, these enduring emotions, when transformed into a shared aesthetic experience, are called Sentiments (Rasas).
The Erotic Sentiment (Śṛṅgāra Rasa)
The Erotic Sentiment (Śṛṅgāra Rasa) arises from the durable psychological state (Sthāyibhāva) of love (Rati). It is associated with brightness, purity, beauty, and elegance, symbolized through fine dress, ornaments, and graceful appearance. The term Śṛṅgāra comes from śṛṅga, meaning “decoration” or “beauty,” suggesting refinement and charm. Thus, a person who is elegantly dressed and adorned is called śṛṅgārin — one who embodies love and beauty.
Bharata explains that just as people are named according to their lineage, Rasas and Bhāvas are named according to tradition and association. Hence, Śṛṅgāra derives its name from its connection with beauty, elegance, and the charm of love. It originates in the natural attraction between men and women and is related to the vitality and fullness of youth.
Śṛṅgāra Rasa has two forms or bases:
Union (Saṃyoga), and
Separation (Vipralambha).
In the state of union, Śṛṅgāra arises from Determinants (Vibhāvas) such as the pleasures of the season, the enjoyment of garlands, perfumes, ornaments, the company of the beloved, beautiful surroundings, gardens, and playful conversation. It is expressed through Consequents (Anubhāvas) like gentle glances, graceful movements, pleasing smiles, and sweet speech. Its Complementary Psychological States (Vyabhicāribhāvas) include joy, enthusiasm, affection, and modesty — while excluding fear, indolence, cruelty, and disgust.
In the state of separation, Śṛṅgāra is expressed through feelings of longing and pain caused by distance from the beloved. These are shown through symptoms like indifference, languor, jealousy, anxiety, yearning, sleeplessness, illness, madness, or even death.
Philosophically, Bharata raises an interesting question: if the Erotic Sentiment arises from love, why does it sometimes express sorrow instead of joy? The answer lies in its twofold nature — union produces joy, while separation produces tender longing. The Daśa Avasthās (ten conditions) mentioned in the Vaiśikaśāstra or Science of Love describe the emotional states of lovers in separation, such as anxiety, languor, sleeplessness, and yearning. Though these evoke pathos, they still stem from the same root emotion — love (Rati).
Thus, while the Pathetic Sentiment (Karuṇa Rasa) depicts hopeless sorrow, Śṛṅgāra in separation expresses hopeful longing. The Erotic Sentiment is therefore the most joyful and refined of all Rasas, connected with love, beauty, and aesthetic pleasure. On stage, it is portrayed through pleasing expressions, graceful movements, soft words, and delicate emotions, making it the essence of artistic beauty and emotional harmony.
The Comic Sentiment (hāsya)
The Comic Sentiment (Hāsya Rasa) arises from the durable psychological state (Sthāyibhāva) of laughter (Hāsa). It is produced by Determinants (Vibhāvas) such as improper dress, impudence, greed, quarrels, deformities, or foolish and absurd speech. These situations create a sense of amusement and provoke laughter among the audience.
The Consequents (Anubhāvas) of Hāsya Rasa include facial expressions and bodily gestures such as twitching of the lips, cheeks, or nose, widening or narrowing of the eyes, changes in the face, sweating, and holding the sides while laughing. The Complementary Psychological States (Vyabhicāribhāvas) that accompany this Rasa are laziness, deceit, drowsiness, sleep, dreaming, and envy.
Bharata identifies two types of Comic Sentiment:
Self-centred (Ātma Hāsya) – when one laughs at oneself.
Centred in others (Para Hāsya) – when one makes others laugh through behaviour or speech.
Bharata further illustrates Hāsya Rasa with two important verses:
“When one laughs at oddly placed ornaments, strange dress, uncouth behaviour, words, and movements, it is called the Comic Sentiment.”
“When a person makes others laugh through his uncouth behaviour, words, movements of limbs, or strange dress, it is known as the Comic Sentiment.”
According to Bharata, Hāsya Rasa is seen more commonly in women and persons of lower character, and it has six varieties depending on the intensity of laughter:
Bharata also categorizes laughter according to three types of people:
The Comic Sentiment transforms laughter into an artistic experience, showing that even humour and ridicule, when represented with balance and grace, contribute to the overall emotional harmony of dramatic performance.
The Pathetic Sentiment (karuṇa)
The Pathetic Sentiment (Karuṇa Rasa) arises from the durable psychological state (Sthāyibhāva) of sorrow (Śoka). It represents the emotion of grief and compassion experienced in response to painful or tragic situations.
According to Bharata, Karuṇa Rasa is produced by Determinants (Vibhāvas) such as separation from loved ones, the downfall of friends, loss of wealth, captivity, disasters, death, or any other sorrowful events that cause deep emotional pain.
It is expressed on stage through Consequents (Anubhāvas) like shedding tears, drooping limbs, a change in voice, loss of colour, sighing, trembling, and fainting. These visible signs communicate inner suffering to the audience.
The Complementary Psychological States (Vyabhicāribhāvas) that support this Rasa include despair, anxiety, weariness, delusion, fear, helplessness, agitation, and lamentation. Together, these create the atmosphere of sorrow and evoke compassion in the spectators.
Bharata explains that the essence of Karuṇa Rasa lies in evoking sympathetic emotion rather than personal grief. The spectators do not feel their own sorrow but experience a refined and universalized sadness, leading to emotional purification (catharsis). Thus, Karuṇa Rasa transforms individual pain into a shared aesthetic experience that awakens empathy and tenderness.
In performance, this sentiment is depicted through scenes of loss, separation, or tragic conflict. For instance, in classical drama, it appears in the lamentation of heroes, the grief of mothers or lovers, or the downfall of noble characters.
The Furious Sentiment (Raudra Rasa)
The Furious Sentiment (Raudra Rasa) arises from the durable psychological state (Sthāyibhāva) of anger (Krodha). It represents intense emotion, rage, or fury caused by provocation, insult, injustice, or conflict.
According to Bharata, Raudra Rasa is produced by Determinants (Vibhāvas) such as battles, quarrels, harsh words, humiliation, cruelty, threats, or acts of oppression. These situations awaken anger in the character and prepare the ground for the expression of fury on stage.
It is expressed through Consequents (Anubhāvas) like red eyes, knitting of eyebrows, biting of lips, throbbing cheeks, flaring nostrils, harsh or loud speech, trembling, stamping of feet, and violent gestures. These external signs powerfully communicate the emotion of wrath.
The Complementary Psychological States (Vyabhicāribhāvas) include energy, determination, ferocity, agitation, restlessness, and pride. Together, these emotions intensify the feeling of anger and make it convincing in performance.
Bharata notes that Raudra Rasa is most often represented in heroes, kings, warriors, and divine beings who are enraged by injustice or evil deeds. In such portrayals, fury is not merely destructive — it becomes a force of moral power or heroic resistance.
For example, scenes of battle and revenge, such as a hero fighting against tyranny or defending righteousness, evoke Raudra Rasa. The audience, however, does not experience raw violence but rather a controlled and aesthetic form of anger, purified through dramatic art.
Thus, Raudra Rasa transforms the destructive energy of anger into a powerful artistic experience, showing how even violent emotions can serve the higher purpose of justice, courage, and moral strength when expressed through drama.
The Heroic Sentiment (Vīra Rasa)
The Heroic Sentiment (Vīra Rasa) arises from the durable psychological state (Sthāyibhāva) of energy or enthusiasm (Utsāha). It represents courage, confidence, determination, and the joy of achieving noble deeds.
According to Bharata, Vīra Rasa emerges from Determinants (Vibhāvas) such as firmness of mind, power, bravery, righteousness, and the pursuit of great causes — like defending one’s country, protecting the weak, performing sacrifices, or upholding truth and dharma.
It is expressed through Consequents (Anubhāvas) like steadiness of limbs, boldness of speech, composed facial expressions, and noble gestures. These create an image of self-control and valor rather than aggression or pride.
The Complementary Psychological States (Vyabhicāribhāvas) that accompany it include patience, intellect, pride, cheerfulness, and remembrance. Together, they create an impression of heroic excellence.
Bharata identifies three types of heroism, each corresponding to a different situation:
Dānavīra (Charity) – courage shown in acts of generosity and self-sacrifice.
Yuddhavīra (Battle) – bravery shown in warfare or combat.
Dharmavīra (Righteousness) – courage shown in moral or religious acts, defending truth and justice.
Vīra Rasa is most suited to gods, kings, and noble heroes — those who act not for selfish gain but for a higher ideal.
The mood of Vīra Rasa is uplifting and inspiring. It fills the audience with admiration and a sense of strength, reminding them that courage and steadfastness are essential virtues in life.
The Terrible Sentiment (Bhayānaka Rasa)
The Bhayānaka Rasa or Terrible Sentiment arises from the durable psychological state (sthāyī bhāva) of fear (bhaya).
It represents the emotion of terror, anxiety, and helplessness that one feels when faced with danger, evil forces, or uncertainty.
Determinants (Vibhāvas): frightful noises, sight of ghosts or wild animals, war, loneliness in a dark forest, hearing about a dreadful event, or facing death or captivity.
Consequents (Anubhāvas): trembling, pale face, change of voice, loss of speech, wide eyes, trembling hands, and goosebumps.
Complementary Psychological States (Vyabhicārī Bhāvas): paralysis, agitation, doubt, fatigue, delusion, anxiety, and forgetfulness.
Bharata explains that this Rasa is mostly represented in tragic or suspenseful scenes where characters face danger or the unknown.
It is expressed through gestures and facial expressions showing shock, trembling, or horror.
The Bhayānaka Rasa reminds audiences of the fragility of human life and the natural emotion of fear shared by all beings.
The Odious Sentiment (Bībhatsa Rasa)
The Bībhatsa Rasa or Odious Sentiment is based on the durable psychological state of disgust (jugupsā).
It reflects repulsion or aversion toward anything impure, unpleasant, or morally degrading.
Determinants (Vibhāvas): seeing or hearing something revolting—bloodshed, cruelty, filth, improper conduct, or anything morally corrupt.
Consequents (Anubhāvas): spitting, frowning, covering the nose, turning away, or expressing physical discomfort.
Complementary Psychological States (Vyabhicārī Bhāvas): sickness, agitation, disgust, shame, or fainting.
Bharata notes that Bībhatsa Rasa is often seen in scenes depicting violence, immoral acts, or physical disgust.
Though unpleasant, it has an important purpose—it teaches moral refinement by making the audience reject the ugly and the impure.
The Marvellous Sentiment (Adbhuta Rasa)
The Adbhuta Rasa or Marvellous Sentiment arises from the durable psychological state of wonder (vismaya).
It expresses curiosity, amazement, and admiration when one encounters something extraordinary or beyond understanding.
Determinants (Vibhāvas): witnessing divine miracles, seeing rare or beautiful sights, hearing astonishing news, or experiencing supernatural events.
Consequents (Anubhāvas): wide eyes, joyful expression, raised eyebrows, exclamations of awe, or gestures of surprise.
Complementary Psychological States (Vyabhicārī Bhāvas): excitement, enthusiasm, joy, curiosity, and restlessness.
Bharata describes this Rasa as uplifting and positive—it fills the mind with admiration for the mysterious and divine aspects of life.
In drama, Adbhuta Rasa helps the audience move from ordinary perception to a sense of spiritual wonder, making it the most elevating of all Rasas.
The Essence of Rasa Theory (In a Nut Shell)
Bharata’s Rasa theory stands at the heart of Indian aesthetics and performance tradition. It explains how art transforms ordinary emotions into refined, universal experiences of joy, sorrow, or wonder.
According to Bharata, the purpose of drama (Nāṭya) is not merely entertainment but the awakening of Rasa—aesthetic pleasure that elevates both the actor and the audience. Through the combination of Determinants (Vibhāvas), Consequents (Anubhāvas), and Transient States (Vyabhicārī Bhāvas) acting upon a Permanent Emotion (Sthāyī Bhāva), the spectator experiences Rasa, a deep emotional response that is both detached and universal.
The eight Rasas—Śṛṅgāra (Love), Hāsya (Laughter), Karuṇa (Sorrow), Raudra (Anger), Vīra (Heroism), Bhayānaka (Fear), Bībhatsa (Disgust), and Adbhuta (Wonder)—represent the full spectrum of human emotion. Each Rasa connects to a specific psychological state and is expressed through gesture, dialogue, music, and expression on stage.
Ultimately, Bharata teaches that Rasa is the soul of drama (Nāṭyasya Ātmā). Without Rasa, a performance is lifeless; with it, the stage becomes a mirror of life itself. By evoking Rasa, art transcends the personal and leads the audience toward an experience of aesthetic bliss (Ānanda), bridging emotion and spiritual realization.
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