RASA BHAVA DARSHAN

This post is written by khantha mahadevan

Sajjan’s book is a treasure on this subject with superb photographs and analysis this gives a fulsome view and understanding of the Rasabhav

RASA BHAVA DARSHAN

The monumental book published in 1997 by Clarion with the title “Rasa Bhava Darshan” records via priceless black and white photographs the magnificent effort of actor Sajjan to bring to life every “rasa” and every “bhava” associated with the rasa as mentioned in the Natyashastra. This rich photographic legacy was undertaken by Shri O P Sharma based on the translation by Sanskrit scholar Dr. B V Mishra who translated into Hindi and then English the relevant portions of Natyashastra.

Bharatha Muni in his Natyashastra had listed 8 ‘Rasas’ (Rapture) and 49 ‘Bhavas’ (sentiment) that are associated in total with all the rasas. In the seventh chapter, Bharatha Muni states that only certain bhavas are permitted for each rasa. Out of a total of 49 bhavas, 46 are allowed in Shringaara (love), only 11 bhaavaas in Hasya (Humour), 24 in Karuna (pathos), 14 in Raudra (Wrath), 16 in Veera (Chivalry), 16 in Bhayaanaka (Fear), 11 in Beebhatsa (Abhorrence) and 12 in Adbhuta (Wonder). Bharatha Muni had not included Shaanta (Calm) rasa. There can be no rasa without Bhaava and no Bhaava without Rasa. The two go hand in hand and attain perfection when they complement each other. The 49 Bhaavas are further subdivided into 8 permanent sentiments, 33 mutable sentiments and eight emotional sentiments.
In Shringaara or the Rapture of Love, only the sentiments of indolence, violence and disgust are not allowed. The remaining 46 bhaavas associated with Shringaara are included in comments. Shown below are four of the bhaavas that Sajjan brings to life belonging to Shringaara.

‘Shringaara rasa’. The song, the lyrics, music, the picturization all crystallize to perfection in Nutan’s talent. Her extraordinary ability to bring so many bhaavas expressed by the poet Gulzar to the eyes of the viewer make this one of my most beloved songs. Dada Burman’s music, Lata ji’s voice, the maestro Bimal Roy’s vision combin with grace and charm in Nutan’s eyes as she escapes into the night hoping for a rendevouz with her beloved, wishing she could be as dark as the night to escape being noticed. The bhaavas I can identify in this song are laughter, awe, thrill, apprehension, envy, bashfulness, joy and eagerness.

मोरा गोरा अंग लइ ले
मोहे शाम रंग दइ दे
छुप जाऊँगी रात ही में
मोहे पी का संग दइ दे
एक लाज रोके पैयाँ
एक मोह खींचे बैयाँ
हाय
एक लाज रोके पैयाँ
एक मोह खींचे बैयाँ
जाऊँ किधर न जानूँ
हम का कोई बताई दे
हो~ ओ~
मोरा गोरा अंग लइ ले
मोहे शाम रंग दइ दे
छुप जाऊँगी रात ही में
मोहे पी का संग दइ दे
बदरी हटा के चंदा
चुप के से झाँके चंदा
आ~ अ~
बदरी हटा के चंदा
चुप के से झाँके चंदा
तोहे राहू लागे बैरी
मुस्काये जी जलाइ के
हो~ ओ~
मोरा गोरा अंग लइ ले
मोहे शाम रंग दइ दे
छुप जाऊँगी रात ही में
मोहे पी का संग दइ दे
कुछ खो दिया है पाइ के
कुछ पा लिया गवाइ के~
कुछ खो दिया है पाइ के
कुछ पा लिया गवाइ के
कहाँ ले चला है मनवा
मोहे बाँवरी बनाइ के
हो~ ओ~
मोरा गोरा अंग लइ ले
मोहे शाम रंग दइ दे
छुप जाऊँगी रात ही में
मोहे पी का संग दइ दे

Sajjan’s book is a treasure on this subject with superb photographs and analysis this gives a fulsome view and understanding of the Rasabhav

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