The Eight Principal Rasas

The eight principal rasas of the Hindus, with mrtti and vrindaka,
or tableaux and dramatic pieces, illustrating their character, by

Raja Sourindro Mohun Tagore.
Tagore, Sourindro Mohun, 1840-1914.
Calcutta, The author, 1880.
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TABLEAUX
MIJRTTI
AR.D
AND DRAMATIC
OR
.
VRINDAKA,
PIECES,
THEIR FHARACTER,
JLLUSTRATING
RAJA SOURINDRO MOHUN TAGORE, MUS. DOC.,

Companion Of the Order Of the Indian Empire;
OF ALBERT, sAxONY ;
ENIOHT COMMANDER OF THE ORDER OF LEOFOLD, BELGIUM ; OF THE FIRST cLAss OF THE QBDEB.
FORTUOUEsE MILI
I AND OF THE MOsT EXALTED ORDER OF FRANCIs JOsEFH. AUsTRIA ; CHEvALIER OF THE ROYAL
TARY ORDER OF CHRIST, AND OF THE sECOND CLASS OF THE IMPERIAL ORDER OF
MEDJIDIE; FRANC CHEYALIER
RHODES, AND MALTA ;
OF THE ORDER OF THE KNIGHTS OF THE HOLY sAvIOUR, MONT REAL, JERUSALEM,
EAsARAMALA, SIAM ; sAN
KNIGHT OF THE GURRHA sTAR OF sARAsvATI, NEPAUL ; AND OF THE ORDER OF
eITA-EAYAHA AND EANGITA-sILFA-vIDYA-sAOARA OF NEPAUL; OFFICIER DACADEMIE AND DEL INSTRUC
FUELIQUE, FRANCE; MEMBER OF THE ROYAL AsIATIC SOCIETY, FELLOw OF THE ROYAL SOCIETY
TION LETTERS, AND ART, LONDON ;
OF LITERATURE, AND HONORARY FATRON OF THE SOCIETY OF sCIENOF,
FELLOW OF THE UNIVERSITY OF CALCUTTA ; JUsTICE OF THE PEACE FOR THE TOWN OF CALCUT'IA;
HONORARY MAGISTRATE AND MAGISTRATE OF POLICE IN THE TOWN OF CALCUT'LA ; sOCIo ONORARIO
OF THE ROYAL ACADEMY, PALERMO; OF THE ROYAL ACADEMY OF ST. CECILIA ; OF THE sOCIETA
DIDAECAIICA ITALIANA, ROME; OF THE FHILHARMONIC ACADEMY OF BOLOGNA; OF THE
BIBLIOTEOA FOPOLARI CIRCOLANTI vINCENsO MONTI DI ALFHONsINE ; OF THE ATENsO
ALREAINDRO MANzONI IsTITUTO ; OF THE CIRCOLO BDUCATIVQVITTORIO FMMANUELE

IN YINCENzA ; EENE-MERITO CIRCOLO ACCADRMICO LA FLORA ITALICA, ITALY;
HONORARY MEMBER OF THE ROYAL MUSlCAL ACADEMY, sTOCRHOLM ; OF THE
ARCHJEOLOGICAL SOCIETY OF ATHENS ; OF THE FHILH \RMONIC SOCIETY, MEL
BOURNE ; OF THE ROYAL AsIATIC SOCIETY, CEYLON ; OF THE sOCIETA OPERARIA
DI LUCCA; OF THE ACCADEMIA LEITERARIA LAzzARO FAFI DI LUCCA ; -.
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OF THE FIRST CLASE OF ACADEMIR MONT REAL ; OF THE ACADEMIR
CORRESPONDING MEMBER OF THE OENEvA INSTITUTE ; OF THE ORIENTAL
I) AERObTATlON METEOEOLOCIOI'IfFIRIE
MUSEUM, VIENNA ; OF TE EROYAL
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ORRIsFoxDENT-E OF THE ACADEMY OF RAFFAELLO, URBIS); ACCADEMICO CORRISI.ONDENTE OF THE
JAVA; -*
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S)CIO CO-OI'EBATEUB OF THE A'QADEKYuOF FIITAGORIKA, e,
f 'R0211, MUSICAL INSTITUTE, FLORENCE;
EAFLEs; TDTTOREQDI MUsICA E DI LETIERE ACCADEMIA NAPOLI'LFBBREMERITO OF THE ROYAL
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scULO ITALICA ; YREsIDENT D'ONORE UFFICIALE DELEOATO LsTITUTO UMDERTO FRIMO,
LECHORN ; sOcIO D ONORE AssOCIAzIONE GIOYANILE sALERINTANA sALERNO ; sOcIO '
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FREEIDRRT OF LUNION YALDOTAINE, GENEYE; sOCIO FROTETTORE CIRCOLO;
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FROTE'ITORE CIRCOLO LETTERARIO ARTIsTICO MCsICALE EELLINI, CATANIA ;
810., 8:0, &C., &C. .,.
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MURTTI ANWITIH VRINDAKA,
TABLEAUX AND DRAMATIC PIECES.
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JLLU
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RAJA SQURINDRO MOHUN 'IAGORE, MUS. DOC.,

Companion Of the Order Of the Indian Empire;

KNIGHT COMMANDER OF THE ORDER OF LEOPOLD, BELGIUM OF THE FIRST CLASS OF THE ORDER OF ALBERT, SAxONY
$ j
AND OF THE MOST EKALTED ORDER OF FRANCIS JOSEPH, AUSTRIA CHEVALIER OF THE ROYAL PORTUGUESE MILI-
;
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TARY ORDER OF CHRIST, AND OF THE SECOND CLASS OF THE IMPERIAL ORDER OF MEDJIDIE FRANC CHEVALIER

OF THE ORDER OF THE KNIGHTS OF THE HOLY SAVIOUR, MONT REAL, JERUSALEM, RHODES, AND MALTA _
;
KNIGHT OF THE GURKHA STAR OF SARASVATI, NEPAUL AND OF THE ORDER OF BASABAMALA, SIAM; SAN
;
GITA-NAYAKA AND SANGITA-SILPA-VIDYA-SAGARA OF NEPAUL; OFFICIER DACADEMIE AND DEL INSTRUC

TION PUBLIOUE, FRANCE MEMBER OF THE ROYAL ASIATIC SOCIETY, FELLOW OF THE ROYAL SOCIETY
;
OF LITERATURE, AND HONORARY PATRON OF THE SOCIETY OF SCIENCE, LETTERS, AND ART, LONDON
; ;
FELLOW OF THE UNIVERSITY OF CALCUTTA JUSTICE OF THE PEACE FOR THE TOWN OF CALCUTTA
;
HONORARY MAGISTRATE AND MAGISTRATE OF POLICE IN THE TOWN OF CALCUTTA SOCIO ONORARIO
;
OF THE ROYAL ACADEMY, PALERMO OF THE ROYAL ACADEMY OF ST. CECILIA OF THE SOCIETA
;
;
DIDASCALICA ITALIANA, ROME; OF THE PHILHARMONIC ACADEMY OF BOLOGNA; OF THE

BIBLIOTECA POPOLARI CIRCOLANTI VINCENSO MONTI DI ALPHONSINE; OF THE ATENSO
ALESSANDRO MANzONI ISTITUTO; OF THE CIRCOLO EDUCATIVO VITTORIO EMMANUELE
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;
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ACADEMY, FLORENCE; PRESIDENT ONORARIO OF THE ACCADEMIA PITTAGORICA OVVERO
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VITTORIO EMMANUELE FILANTROPICO LETTERARIO SEDE IN CATANIA

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SOCIO
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PROTETTORE CIRCOLO LETTERARIO ARTISTICO MUSICALE BELLINI, CATANIA X,

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PRINTED BY C. BOSE 00., STANHOPE PRESS, 249, BOw-BAzAR STREET, AND PUBLISHED BY THE AUTHOR.
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WKEZWWIZ.
desire now perceptible amongst our countrymen and foreign

W
is
GROWING
mil friends to have clear knowledge of the various elements that com
a
bine to give Hindu Music and Drama such an interesting character. In

order'bto arrive at a correct estimate of the main principles underlying these

arts, to attain an insight into the nature of the
it
aesthetic necessary
is
Rams or Sentiments, which are their life and soul, and which give them
such variety. have attempted in these pages to furnish the curious
I
reader with short accounts of the dramatic laws of the Hindus, the
denitions of the various dramatic compositions as recognized in the
Stistras, an exposition of the Rasas, of the Bha'vas (through which the
former receive their full development), and of their various ramications, the
names of the Rdgas adapted to each Rasa, brief notice of the Aryan Stage
a
and of the color of the drop-scene peculiar to each, and such other matters
as have been found to bear on the subject. With the view of illustrating the
eight principal Bases of the Hindus, have selected well-known scenes from
I
our classical writings, given their Tableaux and composed short dramatic
pieces illustrating their character, preceded by descriptive songs set to such

Ra'gas and Toilas as have been declared appropriate to them by the authorities.
No one better aware of the imperfections of this work than myself; the
is
only excuse for bringing before the enlightened public the steady
is
en
it
couragement have hitherto received from them for my humble attempts at

I
bringing within their reach few relics of the untold musical and literary
a
treasures bequeathed to us by our illustrious forefathers.
S. M. TAG ORE.
2: v. ..c. . a(I v01 It!

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SOURINDRO MOHUN TAGORE.
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CONTENTS.
Page. Page.
The Character of the Drama 1 MI'Irtti 21
Natalia 3 Prahelik.
Prakara'ga 5 Dancing... 22
Vina 6 Bhva 24
Prahasana ,, The Sthyi Bhva n
Dima 7 Rati H 25
Vyyoga 8 Hsa n
Samabakra ,, SOka n
Vithi _ , 9 Krodha. n
.Aka . 10 Utsha 26
Ihamriga ,, Bhaya n
Nzitika. 11 JugupS.... n
Prakashika .. . 12 Vismaya. . . n
Vgika ... .. . ,, Sama ... n

Hafisik. . . ... 13 Anubhva 27
'Viyougini Bibhva .. . n
Dipik. ... ,) AIAmbAnA-Bibh va n
Kalotshatar 14 Uddipana-Bibhva n
Chitr .. A The Byavichri Feelings 28
Jugupsit. .- ... NirvecIa a:
Vicb itrrth " 15 Avega .. )Q
Sattaka Dainya 29
Trotaka , S'rama
Goshthi 16 Mada )9
Vrindaka Jarat A
Silpaka n Ug'rat ... 30
Prekhaga 17 Moha OD.
Salpaka , 18 Vibodha...
Hrillis'a ... ,, Svapna
Rsaka ... ... ,, Apasmra ... 31
S'rigadita ... 19 Garbba
Viluki ,, Maraga
Tumbaki ... ,, Alasya
Sajjita 20 Amarsha. . .
Parivartta ,, Nidr
CONTENTS.
Page.
Abahitth 32 Vilsa ...
Autsukya )) Vichchhitti .. .
Unmda 33 Vibboka ...
S'ak ... )) Kilakichita ...
Smriti )) Mottayita ...
Mati ... )) Kuttamita m
Bydhi ... 34 Bibhrama
Trsa )) Lalita ...
Brig )) Mada
Harsha ... ))
Vira Rasa
Asy. ))
The Karuga Rasa
Vishda 35 The Raudra. Rosa
Dhriti ))
The Hsya Rasa
Chapalat )) Smita
Glni )) Hasita ...
Chint 36 Vihasita
Vitarka )) Abahasita ...
The Sttvika Bhva )) Apahasita
Stambha... )) Atihasita
Sveda 87 The Bhaynaka, Rasa

Romcha ... ))
The Bibhatsa Rasa
Svara-bhaga )) The Adbhuta. Rasa. I...
Vepathu ))
The S'nta Rasa (additional)
Vaibargya. )) Conicting Basas O.
As'rn )) Vritti ... ...
Pralaya )) Kais'iki Vritti ... . .
Rasas 88 Sittati Vritti
S'rifigra )) Arabhati Vritti
Vipralambha 39 Bh rati Vritti
Prbba-rga 40 The dierent looks in the dierent Rasas
Nili-rga 41 The subjects of the Rasas determined
Kusumbha-rga )) The Rigas in relation to the Rasas
Majisth-rga )) Dancing in relation to the Sentiments
Mna )) Of the dierent kinds of Song in relation
Pranaya-mna ... COO )) to the dierent Rasas
I'rshyzi-mna 4-2 The Drop-scene in relation to the Rasas
'
Pravsa ... )) The Stage ...
Karuna-Vipralambha 4'3 The Assembly
Samhhoga ))
Lil ))
CONTENTS.
Page.
I.S'RIN_OARA RAsA. Sanskrit Song ... ... 115
Ram-Lilli. Its Translation ... 117
Argument ... ,, Hindu Notation .. 119
Sanskrit Song ,, English ditto ... 121
Its Translation Dramatic Piece ... 123
,, Hindu Notation ...
,, English ditto ... ... VI.BHAYANAKA RAsA.
Dramatic Piece ... Nri-singha ripping open the Bowels of
II.-ViRA RAsA. Hiranya-kasipu.

Bhima drinking Dus'aanas Blood. Argument ... 127
Argument Sanskrit Song ... 129
Sanskrit Song Its Translation ... 131
Its Translation ,, Hindu Notation 188
,, Hindu Notation ... ,, English ditto 135
,, English ditto Dramatic Piece 137
Dramatic Piece
IIL-KARUEA RAsA. VIL-BIRHATEA RAsA.
The Exile of Sit. Rudhira-priya and his Wife feeding

I
on Corpses.
Argument
Sanskrit Song Argument 139
Its Translation Sanskrit Song ... 141
,, Hindu Notation ... Its Translation ... 1413
,, English ditto ,, Hindu Notation .. 145
Dramatic Piece 7,, English ditto ... 14,7
IV.RAUDRA RAsA. Dramatic Piece 14,9
Vis'vdmitra cursing Haris'whandrm
Argument ... 101
VIIL-ADEHUTA RAsA.
Sanskrit Song 103 Transformation of Ahalgd from a

Its Translation 105 Stone into her previous Human
,, Hindu Notation 107 Form.
,, English ditto . 109 Argument
Dramatic Piece ... 111 Sanskrit Song
V.-HAsYA RAsA. _ Its Translation
Kcilnemis I/Vife beating her Husband ,, Hindu Notation
with a Broom-stick. ,, English ditto
Argument .. . 113 Dramatic Piece
_ ___n a '_ _____--__ I. -I
THE EIGHT PRINCIPAL RASAS OF THE IIINDUS.

BHARATA RISHI.
THE FATHER or HINDU DRAMA,
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THE BHABAETEH BP THE GHANA.

HAVING created the four Vedas, Brahma evolved the fth out of
them and called the Drama. The sage Bharata rst learnt from
it
it
Brahma, and played before Mahadeva. (1) The Drama consists of
1: an, u..'.wmwmm
three parts namely, Nritya (the drama proper), Nritta and Nritya
;
(dancing) (2) The art which holds the mirror up to nature by per

sonatin different characters, and by representing different costumes

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and gestures, the dramatic. (3) Many things are requisite in a
is
Drama but we shall not enter into them on the ground of their
;
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irrelevancy. The curious reader may, however, refer to the Sanskrit
_w-:-~v-_-.v-w1-
Drama, of which well he may drink his ll. On mature consideration,
it will clearly appear that sentiment the corner-stone of theatri

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cal representations since their avowed object to awaken senti

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ments in the minds of the audience similar to those which they body
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THE EIGHT PRINCIPAL BASAS OF THE HINDUS.
2
forth. The ten kinds of art which teach Various measured movements
of the limbs and the trunk with m'ldsa, together constitute Nm'tta or
dancing. (1) Nm'tta, without the dramatic element, called Nritya
is
(simple dancing) (2). of two sorts Viz., mdrga and
is
Nm'tya dez'. (3)
;
That kind of entertainment composed of music and dancing which
was performed by Bharata before Mahadeva, and which had previ

ously been sought by Brahma of Mahadeva, goes by the name of
(4) and that which in vogue amongst us, and which per
is
is
mdrga
;
formed before kings by men for their entertainment, by the name
of The word Ndtaka (drama), derived from nata (hero).

is
(5)
The Drama of two kinds, meirga and The Dramas which

is
desz'. (6)
Brahma created by dint of austerities, and which he represented

before Mahddeva and Pdrvatz', are called Mdrga-ndtyas. There are
twenty kinds of these namely, the Drama proper, prakampa, ca'gza,

;
prahasana (farce), dima, vyriyoga, samavakzira, mthi, aka, z'hdmn'ga,
ndtzkd, prdkashz'k, migu'kd, hasai, myogini, dz'pz'kd, kalotsdhatard,
chitrd, jugupsz'td and m'chz'treirtha'. The ten rst species were

founded by MahadeVa the remainder, by Parvati. Mahadeva and
;
Parvati rst instructed Brahma in these twenty Varieties of the
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'Drama. (1) Dantz'la and other authorities classify sixteen kinds of
Desi-ndtya ;namely, sattaka, trotaka, goshthz'; windaka, sillpaka, pref.
khav-za, sazzleipaka, hr'illz'sla, wisaka, .sirzllgadita, vilukz'i, tumbakz, sajjz'ta,
pam'ca'rta, mzirtt' (or jhdnlu') and prahelz'kai. (2)
utrsas.
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is
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dents, which consists of ve sandhz's, which contains m'ldsa and

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is
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feelings and sentiments, which in from ve to ten acts,

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which excites the udcitta gugza, which celebrates the lives of mighty
princes sprung from celebrated dynasties, or of great celestial or

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earthly characters, which like the tail of the cow
is
(z'.e., whose
acts gently grow shorter and shorter which acted by four or ve

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.THE EIGHT PRINCIPAL RASAS OF THE HIND'US.
long, whose language is simple and whose incidents are imbued

with harmonizing bhdvas, goes by the name of Na'taka. (l) The
hero should exist along with four or ve subsidiary charac~
-.,imms-mwa-_l~
ters. The performance excludes these z-hallooing from a distance,
killing, war, insurrection, marriage, eating, cursing, passing urine or

stool, death, sexual commerce, biting, scratching with the nails,
and other actions of an unsightly nature ;-also lying down, kissing,
laying siege, bathing, and using any essence on the stage. The acts
hwmkg
should not be over~long. The characters of the queen and her
handmaids, of courtiers and merchants, should be developed aesthe
tically; and on the conclusion of each act, the actors should go

out as a man. There should be no episodes, yet the way should
be open. to the conclusion of the subject ;-simplicity of action

also desirable; and the Drama should also unfold the origin
is
i
,
(0,) mean was? we, uasanqa' assfw rr'aaa'sfamq a

it
u
{5R3
\
famifqnaa sum mirrfasmajl infassgtuazanql

||
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u
I
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u
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n
\
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u
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n
,
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-...- ... ...

THE RIGHT PRINCIPAL nAsAs OF THE HINDUS.
of the main action and its conclusion. There should not be much
poetry. Sakuntald, Vezu'sahdm

and Anargha Rdghava are examples
of this species of the Drama.
I PRAKARARA.
THAT species of the Drama, the subject of which is ctitious
and human, which is based On the Iidi msa, whose hero is a Courtier,
a Brahmin, or a merchant, actuated by earthly motives, whose plot,
i although without the interest incidental to the delineation of royal
I
I
or celestial personages, is nevertheless Charming, which has servants,
I
I
pages, merchants and harlots or vulgar women for its dramatis
personw, whose heroine alternates between a woman of a family and
a prostitute, both of whom being sometimes introduced, is called

Pmkarana. (I)
No prostitute should be present at any conversation of the cour

i
_
tier, merchant, Brahmi-n, priest, prime minister, and travelling mer
chants. These characters should be discriminated clearly. The
examples are illritchhakatika, MdZati-meidhava and Pushpavzishz'ta.
(K) iiwtii en EIIFRIRI" afwfem I Sifts IQRFEH' 51:21arr Qlfi Hm I!
I
I wir arm FEKPISHIRIISNEI afar-q: I zrafazifa'ga' 5TH IWIFTUEIIIK' l
I
I mmaqimmi Hi1 RIYUEIIRIE: II nagee'ifza ERIE Emir m3}? 5 II A
"
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arglaagaf izi art Ream am II WWII UH HER~ a RH 3min a'rwi ll
llq'liifiiil gfenmmmvimsmi I arfaqn grain RUI m Eufq RF ufrf n

_
I
"4,
6 THE EIGHT PRINCIPAL~ RASAS OF THE HINDUS;
rigs.
THAT kind of the Drama, the subject of which is a cunning person,
which includes a variety of incidents, which consists of one act and
whose hero is cunning, learned and accomplished in music and danc

ing, is called Vdpa. He is to hold discourse with the air, and thus to
Its plot is ctitious; and it
\~_"'
unfold the intended circumstances.
I s-_.->--
should largely describe heroism, puissance, and prosperity. In it the
vim and (id?! msas preponderate. Its Vrz'ttz' is Bheiratz' (1), and its
uxm~
example Sdradd-tz'laka and Lz'ldmadhukam.
PBAHASANA.
THE hero of the Prahasana (farce) is an anchoret, a Brahmin, or
any other person. Its subject is imaginary ; and partly consists in

It
.. ..M." .s.H...- .M-m._.-.-._

running down bad characters. consists of one or two acts. It
should deal principally with risibility; and the ludicrous talk of
vulgar people enters into it in a. large measure. The dialogues of the

actors should be really comic. There is but one hero in it. The
-u-_-~.~.--'.___
Prahasana is of two kinds ;.uddha (pure ) and sankz'rgza (mixed).
With the above-mentioned characteristics, it is suddha ,- and when a
harlot, an impotent person, a page, a merchant, or maid-servants
(x) arm: @sjisft mmu swimming:

m
HFYHTTTW? n
m
__.-
QHT'I fawn: ufwr fez: u

q
rgi~iramzs'r Evian-mania: |
wmq aqziafsaiim at | r'gmwfr eta: um 1! auto": 1

gvmw' ;4-~' w; '~ A i-'-:\
THE EIGHT PRINCIPAL RASAS OF THE HINDUS. 7
form the comic gures, it is called sankz'rgza. There should be female

dancing in its representation. (1) Haisyairtzava, Kautuka-sarvaswa,
Kandarpakeh', Dhdrta-cham'ta and DhzZrta-nartaka are instances of it.
HIMh.
c- ... ;
THE subject of the Dz'ma is famous, and its hero celebrated and
It
uni-ak..
generous. is complete in four acts. It only excludes rich and
Mega msas ,' but whatever may be the sentiment, its movements
should be powerful and taking. It is mainly concerned with eclipses
of the sun and moon, with falling stars and wars. It should touch
upon magic, jugglery,\&c., and particularly describe gods, serpents,
rdkshasas, yakshasf ghosts and goblins. It should have sdttatz' and

drabhatz' wittz's. No less than ten and six heroes enter into it. (2)
Tn'puraddha is an example of it.
Mythical characters.
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THE EIGHT PRINCIPAL RASAS OF THE HIND'US.
8
______.________________________----~
;YYAYBSA.
THE hero of the Vyriyoga some god or personage of the blood
is
"I._._-M,
royal; but he should be proud, haughty, arrogant and boastful.
Few women should enter into its It in
is
dramatz's Personae. complete
'x'....c__..'',.-M-MA,
one act, and should treat of wars, &c., but they should not owe
their origin to a female interest. Its with Kaiiki. Other msas,
is
than his-ya, deli and sdnta, should preside in it. (1) Saugandhz'kd
. I
hamzba, Jaimadagnya-jaya and Dhanmijaya-mjaya are its instances.

..na.
PK~- ___.A._A.
SAMAEAEREA.
with gods and asums. Its
is
THE Samavaka'ra concerned hero
should be endowed with large measure of greatness. It coni
is
plete in three acts. Every act should severally take up three kinds
of hypocrisy, of escape and of dalliance.
be
There should twelve
heroes and. eighteen heroines in it. The rst act should be nished
in twenty-four, the second in eight, and the third in four, alazulas.F Its
plot should include wars, water, re and elephants. The ight in it
wyw-us-mwAi
rst owing to'panic in ght orvto water elephants or

is
secondly,/to
;
re thirdly, to seige. Dissimulation of three kinds, according to

is
;
the sources of happiness or misery and every poet should ascertain

;
* dagzda equal to twenty-four minutes.

A
is
(r) (QTU'TRRRIT RIRI'III: ssqrimazrm trafiitw FEE? i1 H5? RITE U:

l
I
Ma.MW.
HIPS HREHIFRFHEUHQRE: mszwtmba EUESRIFSFTII (RI:

II
afm'e-rtfsa: TERRIER FI'IIIEE:

I
...,dwmnsau- .U V I ._ M
THE EIGHT PRINCIPAL RASAS or THE unions. 9
the character of each, to meet the exigencies of his case. Dissimu

lat-ion, arises rst from the exigencies of case; secondly, from
a
.
w._ -
accident; thirdly, from persuation. also of three kind
is
Vz'heim
s,
.
...._..>..~.-_._..U_..:~
.
according to virtue, wealth and lust. The m'ha'ra undertaken for the
---.
welfare of ones self, agreeably to the vrata'i-rulings, called
is
m
.
Dharmavihdra that oihtira which observed for the acquisition of

is
-~--.'
,-
wealth, called Artham'ha'ra and that which e'ected by pleasing
is
is
,-
ccc,m,
w
girl and lying with her in secret, called Kdmavihdra. This
is
a,
--'''~
species of the drama contains complex metres replete with passion
alum-ur- ..
Samudra-lllanthana an example.
is
and sentiment. (1)
I.
I
I
_... .
'1'
H
Y
----.--.Q--,.--.._
I
,__r_r..m
~m-qw-ww~w:
IN the there one act and one or two actors. Like the
is
Vz'thz'
_..-_n-I.u
with the air. It bad or indif

is
Vina, consists of dialogues good,

it
~i,H
* voluntary not of penance.

A
Wmms
m imlm=
(9.)
faswrwfuu: ewsfewsiwmfsmvim
l
firms: fsfszs:
snafswww fsfiwmzsrr H31? miliwmg
u
mamas-5s?! iawuirfammwq as wifammmmfw' Rafa area am"

g
n
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A.
n
l
u
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l
|
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I
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u
l
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l
|
mrvush 3T far fasfelrw surfs Tommi: qfamrl ssltrfa

l
\
n
mil
'
in niimiwaimdwm imam?
1|
agmmsfafsir Qatar-(Hr
l
|
uqgmfsrfaw Emmi! rim

1
l l
l
10 THE EIGHT rnmcnmn BASAS or THE HINDUS.
ferent. It includes every sentiment. As the ddz' msa preponderates
in it, some say that the latter its soul. an
is
is
(1) Mdlamkdgmmz'tm
example.
axs.
...4.... -... _ ... wk;Ex
THE Anita called It of one act; its

is
utm'shtz'kcihka. consists
subject ctitious; and sometimes celebrated, at others, insigni

is
cant. The characters are terrene only. It should deal principally

.,
.
. with the sentiment of tenderness; but should never include
excessive beating calculated to result in death. The dialogues

..= _<
should turn upon self-accusation. It should consist mainly of

by
lamentation women; and should treat adequately of resorting to
playing, dalliance and cohabitation. (2) Its
is
groves, example
Sarmz'shthd Yaydtz'.
isiwsiss.
THE Ihdmm'ga consists of four acts. Its hero a god; its
is
heroine, The former arrogant the latter irascible. It

is
goddess.
a
';
should deal largely of sakshova, ight, angry words &c. No sexual

......--wvmKWNM-H_~WW_M'-
intercourse should take place between the hero and the heroine, in
consequence of quarreling, ravishment, intoxication, &c. In its action,
(Uitunmfsmwi aiiwsn (vmrsfcsnwmirmmmd

Wlilt mseifszsen Ema: we; simgfrfsjwm
|
at 515mm
misfit Ilji- stamens gfiq. ml
FFEFGWQET aiiam: WS'FEWQTEHPFH
u
asigfqs
|
"1 law am mamas; fiiigailmll

.
5"
'
lam _
qftllww nfswrwjnmfq rufrzassr faafzasrssm
n
65H
I
amnwiilsrxttmtfaszn Q5"

.
A... a;
__._.__
'.-.-
-~.-
the number of males, with) and sentiment, resembles the Vyayoga,
it
_
.
-.._.__f -
with the exception that in arms may be used. Fighting between
it
:a--nnc
A
the combatants should be avoided on some plea or other. (1) Km
_._z-=___,.__E<A_A~___._..=:.A.E
an instance of it.
is
ma-Sekhara Wj'aya
EA.
T
E
A
I It
THE subject of the Ndtz'kd is imaginary. has a good many
heroines. It in four acts. wittz' ought to be

is
complete Kai-9,1705
present in it. The hero should be prince, celebrated, meek and

a
good-natured the heroine should be born in the purple and should

;
;
_.. M.
live in the inner apartment ;She should also be skilled in dancing
;
she should be a virgin, with a bosom newly inamed with love.
wk... .... r____- .' .~'.. '
The hero, although attached to the fair one, should be con

stantly fearful of awakening the jealousy of his prince-descended,

talkative and sensitive queen. The power too of effecting the
___.....A....___.
union of the couple should rest with her. (2) Ratndvalz' and
Biddhasdla- Va'hjik are its examples.
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----->-__-_! x
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12 THE EIGHT PRINCIPAL RASAS OF THE HINDUS
sssxsssim.
m
THIs species of the drama treats principally of licentiousness.

- m
Both its hero and its quasi-hero should come of vulgar parentage;
-____."..
as also its heroine, who should also be of low propensities. Baccha

-
nalian orgies, dance and song should form part and parcel of the
a
_
representation. It consists of two acts only. (1) Sm'gdmtilaka is

all-
an instance of it.
ill
mMMW-l_
AI
is I
.
K
I
THAT kind of play in which the actors are richly dressed,
which has kaisz'kz' and bheiratz vritt'is, which has only one act, whose
M
is excellently generous, but whose hero extremely ill
is
heroine
M
natured, which is complete in seven divisions respectively treating of

_____-c__u-____._-___n_mumun__-'-n-u_m_.-,x_
_.___A.c_A.A., - "m"
upanycisaae self-accusation, the disabusing of false notions, lying,
utterance of hard words through anger or disease, the description
of some sign, and the conclusion. Kmadattd its example.

is
(2)
' The introduction of the subject incidentally.
(U mwsxassr shit WW: ammfem HWSHTWl

I
iusmqgm arm 51W sum-fuss far-"arch fsa'Ts: mar? out

n
u
unis? fasfuw dirt t mm:

|
tmmammgmaamgm
gash \
sir-um: music Miami's sts'vi

u
summing-nu 'ii'zu wrm'mi

a w:
n
zsmsgwfimm {fa
|
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n
(imam: sunsh amid

swim
|
(a) mlrsr zgwsfaasmfsm WWII?! fweF-afifs mi?

!
armmamgsmsrasam rim {fa s malisnruisz WWW-1

n
n
assist.
THIS is complete in one act. It consists mainly of music, but
the latter should be defective in measure. Its hero is destitute of

the aesthetic feeling ;but its heroine is brimming over with the
amorous hum'our. It is comic. (1) Yddabodaya is an example of it.
virsszsx.
THE Vz'yogz'ni should largely deal in separation and the conse
quent pangs of lovers. It is complete in one act. Its heroine is

generous ;- but its hero is very cruel. At intervals there should be
~
dance and song. (2) Bindumati is an instance.
11 1 s1K i.
THE hero of the Dz'pz'kci should be foolish ; and the play should
mainly concern itself with the comical exhibition of his folly. It con
sists of one act and has one actor. The speeches should be addressed to
the air. (3) We have not seen any example of this species in the Sans
I
krit works. It somewhat resembles the performance of the Bhafs,

who sometimes entertain the audience in the intervals of matches.
The performers generally come from Lucknow and other places in
the North-Western Provinces of India.
(o ner-n was 1W . itwfn mfua'r 55W: u

.._
WW1? susn s'm Hm I .
m7 WlFhS'QIl wrfm tawfzsr u 1mm fsm n'r faaismqnfam

.. . . ._
(5.)
,-.1,_
I
(a) swam ssnilsr

W WWI? waif 51H .
5
I
|
:Wl..~
r __ x, A._-~,x_-,,-.-
remit? aifagotm ssnlfsnsgsit gwizramnmfa-l:

n
I
r311?
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-- A, V . .. x... .- a... :,_*~w>i --.. ., .

1
. . .
.
l'_
I
lI
14; THE EIGHT PRINCIPAL RASAS OF THE HINDUs.
EALUTSARATARA.
' '
BOTH the hero and the heroine in the Kalotsdhatard should
T
be of equal descent. The. heroine should be well up in music and

dancing, and full of love. It consists only of two acts: its
subject ctitious. We do not nd any specimens of this
is
(1)
kind, either in the Sanskrit literature, or in recent works.

EHITEA.
No acting takes place in the In person comes out
it
O'hz'trd.
a
and exhibits pictures embodying various feelings and sentiments (2).
Some of the Patua's of Western Bengal exhibit in pantomime

series of historical or mythological characters and incidents, with
a
running commentary with or without music.
in
verse, and
'
' "A ~
PISSSPSITA.
y
I
I '
sentiment of this kind of the drama
THE. disgust. It
is
is
complete in one act. The dramatz's 10mm should be rdkshasas,
i
ghosts, goblins, &c. (3) An instance of this species occurs in

II. aiWfu-lfl-I mmmw'w'q
the Begz'sdhiira-Ndiaka. We have reproduced in the present

it
treatise,eunder the heading,

Vz'bhatsa Rasa.
mawiswmwmqifaifiql areiuftwwrinqgiwiwrsfmt'l
WRIFIEIU RETIRE a RIIRII fsm RI Rfzm augiiqamiit
II
.~
I
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ll
fanammwifrs
(q)
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I
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II
l
.I
a A; _. I .x_.___.. ..._. _..'..... Ema-VA u iAd....n._x . .._.
_____. _...., __.______.___..-._Q_____.___...__-_..__~_.,__.__.,..__ _.,_... .W was

C_I____-_E-.-~~-'---.
I
THE EIGHT PRINCIPAL itAsAs oETT'HE HINnUs. "I5
ricsi'rsis'rsi.
SIX or seven persons are introduced in this species of the drama.
It contains no plot. The men should display feats of jugglery, with
or
itinerant Indian conjurors
(I)
comments on them. The Bedt'ytis
' '
exhibit these tricks.
.
T
T
K
II
A
S
THAT which mostly composed in prdkrita, which has only

is
one- character, and which professes toexcite the emotion of thewon
entitled Sattaka. ~For the rest, resembles the Ntitz'kti.

it
is
derful, (2)
Karpiiramarzjarz' isan instance of this variety._
sausage.~
'~. ~-\
-
1
_
THAT which contains ve, seven, eight or nine acts, whose hero
mortal but whose heroine called Trotaka.

is
is
heaven-born,
is
a
Every act of should contain the of the ez'dtzsheket

it
speeches
' i i i ' '
an example of it.
is
(3) Wkmmoreast
" patois derived from Sanskrit and put in the mouths of women and insignicant characters.
A
This comic character gures in almost every Sanskrit. drama. His wretched jokes generally
1'
irh upon eating. Falstaff-that

is,
He hears resemblance to the sack-loving and capon-greedy

a
only as to character the inimitable witticisms of the latter being all his own.
,,
;
(t) with: For tggfqtttttfsr: (R) was mum mail

I
WWW-sin a fwwisw'lr agtqrzth (a:

a
fastest
I
n
an asfaswsm sq: maddest-red

u
vial? sew atgmfm'l

HIT
(a) summary szmipm'sm
|
trial as aw fssrwi Etna: sins are aims: new iiissi

u
II
16 THE EIGHT PRINCIPAL RASAS OF THE HINDUS.
scssraf
THAT which introduces nine or ten men and ve or six
women, which destitute of decent talk, which contains
is
the with, which consists of one act and which mainly con
is
kazlslz'lci
cerned with Mmadvihdra, goes by the name of Goshthz'. (1) Raz'bata
madam'kd an instance of it.

is
IBIHHAKA.
THE play in which various stories are represented, whose
dramatic Personae are men of different castes, and which not tied
is

down to xed number of acts, called Vn'ndaka. The stories should
is
a
~
We have not found out any specimens of this

be fascinating. (2)
~ -.
variety.
.,.-
-
~
BILPAKA.
THAT which in four acts, which has four which
is
complete crittz's,
handles every rasa with the exception of the sentiments of quiescence

and mirth, whose hero Brahmin, which contains descriptions of
is
a
cremation-grounds, whose quasi-hero vulgar fellow, and which

is
a
ccc_.m.-.~
I (U Hism ri'nfmiwdm (R) fsmgnrqtmqsi

I
l
imam 1151 Qfm'ismfsi

mum was
||
ufatfda
|
amimi mslfwfam
Wgm mn'rrfsfaiinr
srm
l
fsssrftfm sxrrfa mfg: fang nsi

n
n
THE EIGHT PRINCIPAL BASAS OF THE HINDUS. 17
has AS21584, Taoa, sandeha, Ta'pa, Udbegaf Prasaktz', Prajatna,
Gmthana, Utlranthli,9 Abahz'tthd, Apratzpattz', Vz'laisa," Alasya,"
Va'myot,14 Pmhaw'sha,15 Aslz'lct,16 Mzifatci," stidhaminugamafs Uchchvdsa,"
Vt'smaya,2o Pra'ptz', Ldva,22 Vismritifs Sampheta," Vcu'aimdyaf5 Pmbo
dhana, and Ohamutlm'ti. (1)
_
.
i. p. ____-A.
Paaaaana
m)...
A PLAY in which the hero a low character, which has no Szitra
is
l-_'~,.w;..__._r~_~..~
dhdrms Vz'shkambhaka or Prabesaka, which has but one act, which
includes war and angry words, which contains every kind of
with, and in which benedictory songs are sung within, called i
is
nu---1-_--A___.~_-.~
lawn,
Bdlz'badha an instance of it.

is
Preizkhazga. (2) .
-
The arguing of doubtful point. The doubt of the existence or otherwise of thing.
3
1
Desire.
a
!
The mental heat incident to separation from The fear of a

lover. king.
8
Attachment.
i
a
4-.-
1 Contraction of the
9
Impatience at delay. body through

7
Quick endeavour. Episode.

11 Inattention, or disrespect. 1 E'orts for cohabitation. 13 Lassitude
fear, shame or self-respect.
"
__.~__-.__..___._.._...... .... /_.,.Maya. n-......,m~.A.v.

incident to toil or pregnancy. 1* Hostility. 1 Ecstacy. 1 Obscene
language. Foolishness.
1 Endeavours after minor means. 9 Chapter. 9 Wonder. "1 Attainment of
happiness.
9' Mercantile gain. 93 Forgetfulness. 9 Angry words. N Skill. '6 Awakening from sleep.
7 Astonishment.
' An actor who explains to the audience gaps in the plot.
--_-s__-.--m
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WW
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Wamarzmaaia:
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.!_~_,_
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ssstisasa- i
l
A PLAY which consists of three or four acts, whose hero is
a reprobate,_ which contains other rasas than the ride' and karuga,
which treats of mock ghts, blockade, and ight, and which includes
other crittis than Kaisi'ki and Bha'rati, is entitled SaZdpaka. (1)

Mtiydkdptilt'ka is its example.
/ I
HBI L L I S It - i
THE play which is complete in one act, which has seven,
eight or ten women, which has one hero, which contains words
pregnant with worth, which contains the with, and which
includes various kinds of music, is known by the name of

Hm'llz'a. (2)
Kelt'raz'bataka is an instance of it.

}
assess.
THIs has only one act and ve dramatic Personae. It should largely
display various languages. Its vrz'ttz's are kaist'ki and bhdrati- There
should be no Sdtradhdra. Like the Vithi, the entire act should abound
in music and dancing. Its benedictory verses should be sarcastical.
emsrwmtslii it must: we;

m: ms War:
(t) gm |
(a) as am: new?! {a in fat: I
n s a
WW *3. a" fifilifiawuq. I
"a? atdmqdumlmt i
a as zf'r'nisi will a a iir n sif'iil swr mi} ssmswfmiz n

THE EIGHT PRINCIPAL BASAS or THE HINDUS. 19
The heroine should be famous, and the hero, a numskull. It should
be replete with greatness, developed gradually. (1) Menakdhz'ta an
is
~m-~m~b4rt
example.
ssisasira. .
' ,.-''~tw._ _-~

THAT which has well-known story, which has one act, which
a
and generous hero, which has the bhdrati with

has a celebrated
in large measure, and which contains the word goes by the

a
51%,
mew-..,',. ..."''.-
'
name of grigadita. (2) Krirrasa'tala an example of it.
is
wa. ~_,
I
I
.
H
L
K
Y
I
,, ~_1~cc-~n
THAT which has mainly to do with the passion of terror, which
~A.i~.~_~__._~A.
in one act, and which exhibits poltroon of a hero,
is
is
complete
a
named Viluki. (3) _ We have not seen any specimens of this variety.
rsmsast
A PLAY in which the passion of the wonderful predominates,
which introduces two or three characters, and in the performance
of which the instrument tumbak played, goes by the name of
is
* wind instrument resembling the Gaelic is?!

A
bag-pipe.
I
(
(2) m uvawv'rwrqvsffiwfaih (a) mam wsnnnm'

|
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n
wqwsltm' rst? msrfsqn' mtirFr-masi sfana sign:

I
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n
n
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20 THE EIGHT PRINCIPAL RASAS or THE HINDUS.
Tumbakz. (1) It somewhat resembles the performances of the Indian
jugglers, who generally come from Madras and other parts of
W
Southern India.
8A J JITA.
THAT which is presided over by the passion of love, which
abounds in dance and song, which is full of the v-z'dzishaka, whose hero
is of low caste, which is complete in one act, which has a small

story, and which displays rich dresses and ornaments, is known as
Sajta (ornamented), (2) Something like this kind of entertain

ment is sometimes exhibited by khytimtzi-dancz'ng girls, in the inter
vals of the dance.
PAHIYABTTA.
THAT which has only one character, which is destitute of lan
guage or pantomime, and in which the actor entertains the audience

by assuming the diverse guises of women, men, and eunuchs, is called
Pam'vartta (changed). (3) These Protean changes are frequently
exhibited by Bahurlipz's and droll characters in some of the Hindu
operatic performances.
( 2) ms (sir fsiamm'isr a afirar l siftraia we iuraiwsiwfiw' |
gwmmw 115m was my n 1 .\ e

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wilt: 0\
@gwgnama massif-trivial.
filiafal'lgll Wag-q II as wzsfiqsrj uzarlqzuzs'r u
W.
THE EIGHT PRINCIPAL RASAS OF THE HINDUS.
msrra
THAT species of the drama which has no acting, but in which
celebrated historical characters are represented, without any

expressive pantomimic gestures, and in which a Saitradhdra is intro
duced, who explains the mute gures, is called Mu'rtt't'. (1) The
Jhlinkz' or Tableauz Vz'oants of mythological and other gures is

exhibited by a certain class of players coming chiey from Bombay,
Mathura, and other parts of India. The Mtirttz' of the six principal
Ragas was, on several occasions, exhibited at the writers house,
under his own supervision.
ssasshzsi.
THAT which at rst consists of brief representations of two
or three subjects, and in which the names of the emotions under
lying them being added, performance subsequently takes place by the

individuals whose names have emerged, is entitled Pmhelt'kd. (2) This
kind of performance is now known in Europe as the Ohamdes. No
specimens of it have yet been met with in the Sanskrit works. A

performance of this nature, called ViraJvadm, was recently held in
Bengali at the residence of the writer.
(r) swi was: siaam at (a) If it r13 aifq fawn: semis: \

|
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a
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l
l
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I:
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,_-~_._._-__~._
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22 THE EIGHT PRINCIPAL nxsns or THE HINDUS.
sesame
._._
of two kinds and ldsya. Ta'daca accompanies
is
Nm'tya ta'daca
;
III
c,x--_.
Sam'ta having Dhruvas and other kinds of songs. It has various
movements of the eyes, eye-brows and hands chiming in with
the sentiment of love. Having been rst performed by Tandu,

an attendant spirit of Mahddeva, the dance called It
is
tdrlzldaca.
of two kinds and vahumipa.

is
pebalz'
;
That which consists of movements alone, exclusive of the dra
matic element, That in which a person changes his dress

is
pebah'.
"WW
frequently, According to some, the vahurzipa tdndaca
is
cahurzipa.
consists in the dancer singing a Menu song to measure, and in

_ _''_,_. _ mm.-
his speaking and expressing various languages and sentiments,


with changes of dress.
The Maya dancing excites amour in the bosom of youth. It
is
divided into two parts; chhum'ta and yauvata. The dance of the
hero and heroine in representation exciting love, including senti
a
ment, passion, &c., bears the appellation of sfum'ta or chhum'ta. The
- WWWlQ-nq-nmu-
ag-Mm
extremely graceful dance of dancing girls, accompanied with various

gamesome movements-the magic to charm and bewitch-is entitled
yaumta.
..- ____,_cA._~mmm-w
..._.-.~___i__.._~_..-_-~_--
of three kinds and

is
Nm'tta m'shama, vz'kata

is
Zaghu. Vz'shama
;
rope-dancing with acrobatic feats the movements of a person in a,

;
frightful dress are m'kata dancing graceful upward tripping and that
;
sort of thing. constitute the Zaghud ance.

l
.,.__ccc
* which of certain conventional letters or words; such as

A
is
song composed unmenning
at IT, I?! 4w
2
THE EIGHT PRINCIPAL RASAS OF THE HINDUS. - 23
_'
According to Ndrada Sahz'td, puii-nm'tya (male-dancing),* or tab.
WW...._,_
dava and strt-nm'tya (female-dancing ), are generally known as llisya.
The dance which was performed by eight milkmaids, around
eight gures of Krishna, with auspicious words, is called Kdrshm'.

The dance which ushed Turkish men and women bearing boquets,
performed in amorous mood, accompanied with native songs, is called
jakkarz'. The dance which the SabarasiL perform with songs, is entitl
ed Sdbara. The dance which men and women in Savari dresses,
ornamented with gmgjd berries, perform, carolling native airs, is
..
called kuragz'. Mattdvali is the dance performed by the drinking
folks of Turkey. (1) Ndtya, nm'tya and nm'tta alike depend upon bhd'va.
...-..-. ...
" It
is certain that notwithstanding its present absence, male-dancing was in vogue in classic India.
+ A race of mountaineers formerly seen in the mountainous regions of Western India. The kind of
dance mentioned here is still in vogue among the Sthals and other peoples.
(r) aimi qwnrzi its nal avitqrtmfanr carer liiasi arr

u
amrn mfraiia'frraa gauge n auurz rst ri Faun Few mg

I
tiitwiriiq msriw satire l ans aw Fess wrzszmnmfiw'n

arias an n fas'qfsna'saemii fsan'a' an
mist aqvrrauzirri
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~-- G,....._._.___.__-.. ...____-..._..._~vwv~_ ,a'y

Basra.
A Bhtiva is a mental modication. There are three kinds of
Bhdvas ,- sthtiyz', bydvz'chdrz' and svtitttka. (1) The full development of a
Bhava is entitled Rosa.
srsirissira.
was
.ANY according or disagreeing Bha'va, which cannot be bid, and
which culminates in a Rasa: (passion) through bibha'va, anubha'va,
svdttz'ka and sachdri bhtivas, is called a S'thtiyi (permanent) Bhdva.
Every Rasa (passion) is imbued with a Sthdyi-bhdva, which never

disappears from it. Even where one Sthdyi-bha'va comes into

conict with another, it never loses its individuality, but main
tains its separateness intact. Hence the appropriateness of the
epithet. Witness, in .Maha'vtirata, heroism and other sentiments have
been introduced on account of wars and other events; still the

prevailing sentiment, which is quiescence, has not suffered the
slightest diminution. So also in Rtimdyaua, various other passions
come into play incidentally, but never to interfere with the presiding
sentiment, grief. Quiescence and grief are respectively the prevail
ing sentiments of the two epics. From this, it is manifest that

although many Sthdyi-bhdvas may enter into any Rasa, yet, on ac
count of the predominance of the latter, its permanancy alone is
(r) ew?! emit mitsigms'i miss: I

*5...
THE EIGHT rnmcrrn. RASAS or THE HINDUS. 25

-~'--__-n.|--I
paramount; the rest will be reckoned as watcher-sham The

Stkdyi-bha'cas are divided into eight classes viz.,-mtz', kdsa, soka,
;
krodha, utsa'ha, vaya, jugupsd and m'smaya. Some include same in
I
the list. (1)
BhTL _,
Rati the passion which

is
links together the hero and the

heroine ;namely, love. (2)
stat.~\
THE expansion of the facial muscles at something ludicrous
W_~II*W-
to or hear, the counterpart of the mental expansion, which

is
see
goes by the name of Hcisa (laugh). (3)

SURE.
THE mental agitation
is
which occasioned by the loss of friends

and relatives, or by the wreck of some interest, goes by the name of
A
Solar (grief). (4)
KHBHHA.
THE nervous and mental irritation -in extreme cases merging
w
in frenzy-which produced by the experience of wrong, and which

is
(K) qmsr rm at rsrqsnm: rst wsimil 5m: in

a
wsr
1
mmdmssrh ma: urilfn mm

tfsrsqnarg
a
(R) Rim:
marquee mfqsemrm lmnfaas
l
l
(8,)
w'mw WEE suit me? In: wmn smlfwrs urn m3

||
(rm 13 W? W1 um (8) zwmfzri 53m WW!

I
V =.,--_--.=..-_.,
....
__-__-_____________________
shows itself in sundry: expressionsv of mouth, is called Krodha

s h
(anger)'.(1) .
' -
pp-(HI _
"-nrsanar
.
______..
THE pains which one is at on entering upon a course, constitute
-~___.._..._
e .
Utsdha (encouragement). (2)
f
. \
lemma,w _
. _ _.-_-.____._____-__~
THE apprehension of danger, accompanied with a painful emo~
tionunhinging in extreme cases-is called Bhaya (fear). (3)
*ansnPst.
THE mental attitude which is induced~ by the discovery of a
person or a things worthlessness, is called Jugupsd (aversion). (4)
YIS MAY .
THE shock of excitement which one feels on seeing or hearing
something never seen or heard before, is called Vismaya (wonder). (5)
515263
THE renunciationof the pleasures of the world, and the absorp
tion of the spirit in the Deity, is entitled Sama. (6) -

WIN?"
. '__ '. ..
, (t) "Fang?! i'iimrsw (Ll fqfqiig 113F155 sqiimfmrfg u
i (a) awmig Hm: aim-3mm we I maa m a raw ma; ,

1
{damn area fun-3am? min
(a)
(e) iimrviti 55m fill (Q) wit ffttrsmmmwmnsi an?"

I
AM.
,_ ,_ -~_____-_-_____-_-~-__M . \A.V_W\_-
m
.THE EIGHT PRINCIPAL RASAS OETHE HINDU. 27
w\aasssirh.lf
of
of;
s..'- :aaebbveeonsilps: the "actions which eretheexpressiqns
arwemotion, ;and or represented
in
which are described *a poem
'
Marley-1(1). -
'
'
_.
1.
.
'1

I
x'
stsaira.
.
@::*'
THE. causes of any Sthdytbhdva which enter into the composition
_..'
,
any poem or drama, are called Bibhtiva- Bz'bhtiva oftwo kinds
is
of
mum-,.
viz., rilamvana and uddt'pana. (2)
itamsasaunsairs.
,.~_.c~I.H
.
'
te'
THAT-which ises'sential the ewekenisg of the Stdyi-bhdva,

called the such; as the hero and the heroine,

is
zlrlambaha-ibt'thdva}
A I
~~M___M..AJ

'
of.

who are the mutual stay each other. (3)'
BHHIPAHArBIBHAY. -
g
THAT which ram called the Uddtpanatbibhdva. Uddi

is
excites
a
pana-bt'bhva constitutes the endeavours of the character concerned,

time and place. (4)
of
to
and his experience of feeling similarity as

a
i
The character of the sesame and Sachdri-bhvcts will be des;

I
cribed later on.

(5
wins mmfmmm (EWJ

(8,)

ifrmi WTIRF'II
Q:
(r) age Emir:

j
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n
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(a) mre~irsim summit: mHtvnf-ir

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wm'imreii w nished
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28 THE EIGHT rnmcrrxr. nxsxs or THE HINDUS.
THE amnesia: resumes.

A bha'va which is adequately developed, yet which sometimes
merges in the Sthdyi-bheiva, at others, emerges from it, is called a
..M
Bydm'chdrz' or Sachdn' bhgiva. There are thirty-three species of it ;
namely,m'rveda, tivega, daz'nya, srama, mada, jaratd, ugratci, moha,

bz'bodha, sapna, apasmdra, garba, mamm, alas-ya, amarsa, m'drei, aba
hitthyd, autsukya, unmdda, sakri, smm'ti, matz', byaidhz', santrlisa, Zajjd,
karsa, asuyli, bz'sha'da, dhn'tz', chapalatd, gldm', chz'nta and m'tarka. (1)
HIBYEEII.
~
THEfeeling of self-humiliation which arises from danger, envy,
the hearing of Paw-rims, and the knowledge of the supernatural,

goes by the name of Nirveda. Nz'rceda gives birth to poverty,

mental cogitation, sighs, tears, discoloration, &c. (2)
Evans.
FLURRY is called A'vega. If physical, it brings disease ; if it
arises from an external cause, it brings on xture; if from re, it
brings tears, &c. (3)
(I) WHH sh st
swrw I
ui3uum= agrmsmrerrwwemq
mm
mr'gwfawismfis'm sjsuarvwrge
(R) |
faaznzzmnzs'sm rm}? a'ls: QEFEWHEFHWTHQWIFQHEJ

W'ill mmsarmifmW: l swim
mam fwfm
(a)
airs?
l
gswmw wfanfaafsmmfss'mw was? Emmi gsrergismfns'i

n
HAINYQ.
THE weakness incident to poverty goes by the name of Daz'nya.
l
l Discoloration, etc., are the effects of this condition. (1)
saawa. I
I
THE perspiration which comes out after co-habitation or through i
fatigue, is called Srama. Hard breathing and dead sleep are its
effects. (2) l
aasa.
THE insensibility or the ecstacy which accompanies intoxication i
is called Mada. The good in this state lie down, the indi'erent

laugh and sing, while the bad use hard words and weep. (3) .
i
I
aaaara. l
I
THE xture which follows the sight or the mention of a dear,

a hateful, or a strange person or thing, is called Jafatci. During this
state a person sees steadfastly, or is struck dumb. (4) i
q
@liti wamfasiz ar frFqfa
W= rarefaztfzwm
i ( l) -"ii HFsaa'rFai's'J rim-i n
I
I (R) "
c
sci mtfacmsfa'q:
Q
swrraaeai nil Warmer: smfaufn'ii
(i)
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<.._~.____:.;.;___._._-;..
__.__ _ _, ..:_e ____._..I_m-_e- III
THE EIGHT PRINCIPAL RASAS OF THE HINDUS,
assert.
THE heat which is generated by feats of heroism, or on the
experience of wrong, goes by the name of Ugmtti. Its expressions

are perspiration, the shaking of the head, and fury. (1)
MBHA.
THE restlessness caused by civega, fear or by brooding over
misfortune, is called Moha. Dizziness, trance, roaring and inatten
tion to surrounding things are the effects of this condition. (2)
YiBBHI-IA.
THE returning of consciousness after sleep is called Vz'bodha.
It manifests itself in yawning, the stretching of the limbs, the shut
ting of the eyes, and the examining of the body. (3)
SVAPNA.
MENTAL activity during sleep is known as Svapna. Anger, excite
ment, fear, disquiet, pleasure and pain accompany dreams. (4)
(9,) lawlmii'difwf Ems-august l (i) FHWFWT fsinicamm i
as i<= fwtwa'iisrrsm II resuswsesmhsmswrasmx u
(a) Hr f'ifiusr zitfsgasr'mqfssr3: | (s) as?! fasting;

fastgia'sz a: \
qdmms'qsaaamissimfws n qmmtfm=mitw ||
assesses.
THE agitation of mind under astral inuence is called
Apasmdra. It brings on falls, tremblings, perspiration, foaming at

the mouth, etc. (1)
EIIBBBA.
THE pride generated by power, wealth, learning, or family dig

nity, is entitled Garbba. It leads to hautem', a display of the person,
and rudeness. (2)
masans.
DEATH from an arrow-wound, etc., is called Maraga. Its expres

sion is the falling down of the body. (3)
Aaasva.
THE lassitude brought on by fatigue or pregnancy, is called
I
Alasya. It results in yawning and the discoloration of the skin. (4)
AMABSHA.
THE pain which is felt at calumny or disgrace, is what
is known by Amarsha. Its expressions are the reddening of the
(l) sairmuen mrnarfxw wwmfasrm'wvimfaamfzerq u

|
gmwvammfzmw: strains smlssfa'irfzeiq

(a) (:3
u
(a) 1:55: Ex: nmfsamsgwmfza: ennui annaireraisz' vemrfcmfw

n
, I 32 THE EIGHT PRINCIPAL RASAS OF THE HINDUS.
._ .
eyes, the shaking of the head, frowning and general fury of de-
meanour. (1)
i'wK1M-~~
-
inset.
.
THE disappearance of consciousness through fatigue, mental
\
I ...-..
exhaustion or intoxication Nt'drd. It heralded by yawning,
is
is
the closing of the eyes, heavy breathing, and the stretching of the
1
limbs. (2)
aeaairraa.
.. . ._,.v. MWWwM-v
THE contraction of the body occasioned by fear, glory, shame,

delight, etc., called Abahz'tthd. This condition leads to the sudden
is
stoppage of an action,the abrupt introduction of another subject
than that of the conversation, and looking away. (3)
anrsnsra.
--~<---W.__~A..
IMPATIENcE at the delay in the attainment of the longed-for
1
entitled Autsulvya. Agitation of mind, hurry, perspiration,
is
object,
and sighs are known to accompany this condition. (4)
fazrurmmirmifsfnsarl HmiGswI-Ei'siamgtamr
(a)
(a)
I
i
simtl-mwmrammfasqmfza
WW
awrmfanawiuinsimfzns
ll
n
i
(a) mwiiswi f~f (a) zcmaiiiiirsju' arswefvpm

I
I
g
a: nufazssgiemsnwfmiui
funmatrswfuwfeurksin
ll
ll
m___
THE EIGHT PRINCIPAL HAsAs or THE HINDUs. 33
Hamish.
THE complete up-setting of the mind induced by lust, grief, fear,
or any other over-mastering emotion, known as Unmdda (insanity).
is
It
Wmw
leads to unseasonable laughter, crying and singing, as also to un
meaning talk. (1)

A
AI
l
y'guvuiwzftnmnnm
K
.
A
N
S
THE apprehension of evil from anothers malice or from the con
sciousness of guilt Paleness, trembling, the falling of the

is
isl'ailk.
voice, looking around, the withering of the countenance, etc., are
its accompaniments.
uw;*mm
(2)
I.
T
P6
5
3
I
m
THE feeling of similarity at the sight of a thing called

is
, Smm'tz'.
It seen in the contraction of eye-brows, etc.

is
(3)
~QQW
MATI.
THE ascertaining of a question by process of didactic ratiocina
a
tion called Smile, patience, contentment and respect

is
Matz.
accompany this condition. (4)
(r) ns-swim were irslwsifsa (s) mWFiWl'imJ

l
mmmfzssmwrfssqn en's: giotimmqa

n
vtwiwwa Wits: a-siw' fsmiqe'wr'stifasiui rii:

(a)
(s)
l
l
gauiiswiiwimwiisieuissw sitar sfsevii miss WW

n
II
l
BYAEHL
THE agitation of the bodily humours through imperfect oxida~
tion or through biliousness, is known as By/cidhi (disease). Inclina

tion to lie down on the ground, trembling, &c., are its symptoms. (1)

I
T B A S is . 1
THE trepidation generated by frightful sounds, lightning and

falling stars, is entitled Tlrlisa. Its manifestation is through
trembling. (2)
8515A.
THE witnessing of the decline of ones good name through indis
creet acts is Bm'rli. Looking down, etc., are its expressions. (3 ) . x

HABSHA.
THE delight at attaining our ends is Harsha. It vents itself in
tears and a choked utterance. (4)
I I
A S HYA .
THE impatience which a vain man feels at witnessing anothers
praise or prosperity, is Asziy. Fault-nding, contraction of eye
brows, slighting, malicious winking and expressions of anger, are
its concomitants. (5)
arfsnfzaiwillmml stfms'mmssmzrfem
mm
(I) (Q) n
I
(a) rsinqmw= n (a) srqmwg'mslsnitssumfwgm
st azswmfras gum irsqfsmsmrdfsmuq

u
(a)
maimed
|
i
vissiea.
THE fruitless pining which results in exhaustion, called
is
1 raw.i
Vzlshdda. It causes hard breathing, mental perturbation, and a
search for remedy. (l)

i_
HHBITI.
THE desire which generated through knowledge and cherished

is
It manifests itself in protable talk, delight,

is
objects Dlm'tz'.
laugh, &c. (2)
neasaaara.
THE vascillation which bred of pride, spite, or anger, is called

is
Ohapalatd. Scolding and wantonness are its accompaniments. (3)
staaa
THE languor which felt after sexual intercourse and labor,
is
and in grief, hunger and thirst, called Gldm'. It shows itself in

is
trembling, leanness, and depression of spirits. (4)
(r) smamrsarm fame mrravi'mniwwlelfsu

r3
ilH'iW-l! (a)
WWWRET
l
a1 Wf eammutmw
mmilfqm
u
ll
mamas;
(a) mqjisg'sm sn (I!)
'
I
fwsssmumamfqsuru wsriffir gmmfgqmmurg

II
36 THE EIGHT PRINCIPAL RASAS 0]? THE HINDUS.
.
. , .
carers.
PINING disappointment goes by the name of Ohz'ntri. Vacant
look and sighs are its adjuncts.
1)
(
A... IxMxW'_x__
YITABKA.
To argue an obscure point called Vt'tarka. Contraction of the
eye-brows is
and movements of the head and ngers are the signs. (2)
rsssirrrrsassirs.
.
THE mental condition arising from the Svatta-gugta called
is
Still sometimes assumes different on

it
Srittm'ka-bhdva. shapes
account of Anubha'va. Stambha, sveda, 'ro'mricha, svara-bhaiiga,
bepathu, 'vaz'bamya, asl'ru, and pralaya constitute the Sttm'ka
bha'va. (3)
4~_4_Wm w
STAMBHII.
_
_ THE mental stupor which generated by fear, excessive joy and
is
disease, called Stambha.

is
(4)
(r) Emi Fair fsswih srsismmawctgl w: sw flew WSW 3mg:

|
(a) as? few: mjfaswfsw :isrimwq mil msssr: em:

l
Elm: jump: mfjsn liftilsa

(3,)
fest migrates: (s) wiemsnima isisaifa:

n
srizmssmii
|
THE EIGHT PRINCIPAL RASAS OF THE HINDUS 37
HYEGA.
THE perspiration which comes out, after co-habitation, from toil
or heat, called Sceda. (1)
is
Business.
THE standing on end of the hairs of the body, for delight,
wonder or fear, Romdcha. (2)

is
avast-Basses.
'
THE hoarse voice which occasioned by intoxication, joy or
is
disease, named Svam-bhaga. (3)

is
THE trembling
vssarss.
of the body through anger,
I
envy, or fatigue,v
_
is
Vepathu. (4) .
it.
A
Y
Y
A
B
B
3
I
'
by
THE discoloration which caused intoxication, sorrow, or

is
known as
is
anger, Vaz'barzgya. (5)

Jimmy-Am
Assn.
THE tears which fall through anger, grief or excessive joy, are
'
called Aim. (6)
-
A
A
B
A
L
P
Y
'
The inactivity, physical and mental, which induced by happi

is
ness or misery, Pralaya.

is
(7)
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RASAS.
0204"
WHEN rate or any other Sthaiyi-bha'ua, being expressed through

bibha'va, anubha'va and safzcha'rz' bhdvas, delightfully vibrates over the
heart-strings of the audience, it is called a Rasa. There are nine
Rasas in all ;-namely, Srdgdra, Vim, Karuga, Raudra, Haisya, Bhayd
nalca, BI'bhats-a, Adeuta, and S'dnta. But dramatists recognise eight
only, merging the Sdnta in the Karuna Rasa. (1)
These eight species give rise to mental expansion, elation,
of mind;
perturbation, and withdrawal z'.e., Sl'rigdra and Htisya,
to the rst; Vim and Advuta, to the second; Bz'bhatsa and
Bhaytinaka, to the third; and lastly, Raudm and Karmic, to the

fourth.
I ,_ I
I.~SBINE1&BA.
THE feeling which springs up in the minds of the hero and
the heroine at the sight and embrace of each other in elegant
raiments, under the warm inuence of music and a beautiful scenery
fsmirmgna aw: Hqrfun am mt'la ii Tg:

It)
l
I
(rife ramfq: Mfume: eiiaei srmig Ham mu

II
rrsrtaitmmsmwmaim wrgswiI-crwmrai a as fs l
I
iuqisgs we? (in: mm as: assassin 'nmnwsnrtai

ll
II
THE EIGHT PRINCIPAL HAsAs 0E THE HINDUS. 39
clad in all the verdure and freshness of spring, goes by the name
of Sm'grira or Adz Rasa. The heroine should be other than anothers

wife, or a cold prostitute ; and the hero should act so as bets a
lover. Its color (when it is looked on as a person) is dark-brown ; and
its presiding deity, Vishnu. In this Rasa, rate is the sthtiyi-bhdva ; the
hero and the heroine are the tilambana-bt'bhziva of each other ; the
moon, sandal, the black bee and other objects apt to excite love are
its uddz'pana-bz'bhdva; contraction of eye-brows and side-glances are
its amtbhdva ; other bhtivas than ugratti, marazta, tilasya and jugupsa',
enter into it as byabhichtiri-bhtivas. (l) The Risa-Z6161: of Krishna is
an instance in point.
The Ade Rasa is divided into two kinds =- Vipralambha and

Sambhoga. (2)
A.
VIPRALAMBHA.
WHEN a lover pines for the sight of his or her beloved, it is

'called Vt'pralambha. It is divided into four classes :.P'li1bba-9'iga,
jllrina, Pracrisa and Kamma. (3)
* A religious festival celebrating the loves of Krishna, Rdh. and the milk-maids of Vrindgban,
at
mam
(r) miusmrmimfzsii: ifsvww$<qm= n
l
wilzwm (fa: as 151W}: siisizlm l

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u
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l
Wit mfw= sgfimsis 1H (Fa: sister vmiisgfifs rs-reams?!

(s)
mesa:
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[I
I
'-
410 THE EIGHT PRINCIPAL RAS'AS 0]? THE HINDU'_&
_______-_-___..xx.__
I I
(a)PuRssA-RAcA.
THE mental condition of the hero and the heroine, who have
W
seen each other personally by magic or in dreams, who have seen
each others likeness only, or who have heard of each others
beauty and charms through messengers, maids or heralds, and
who burn for a sight of each other, is called PzZrbba-rdga (rst
emotion).
The PcZ-rbba-niga shows itself in abhz'la'sa (desire), chz'ntti
(searching of means), smrz'tz' (brooding), gIILIa-kathana (enlarging

on the loved ones perfections),
' '-__-____ .____wm_~______.m_____u_m~__h_w_

udbega (excitement), prala'pa
(absent talking), unmdala (insanity), byzidhz' (sighing, pallor
and leanness), jag-aid (dullness of mind and body), and nally,
mamna (death). Death should never enter into a play, on the

ground of its disturbing the ow of sentiment; except when the
a
person is restored to life. But the drama may explicitly land him
on the verge of the grave, without actually letting it over his
close
bones. First the Pzirbba-niga of the heroine and then that of the hero
ought to be displayed through signs. There are three kinds of it ;
Nili, Kusumbha and
,h
iljlajz'shthd. (1)
./-___.n
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wrfs'lrjltmlr 1am: a swi- || wrstgr siwsmumsmmm I
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THE EIGHT PRINCIPAL'RASAS or THE HINDUS. (t1
(1)-manage.
THE ame which endures although. it nds' few occasions to yent
(l)
itself, is called Nz'Zi-rga.
)--Kusumbha-Riga.
(2
THE ,feeling- which, though manifesting its energy through appro
a
priate expressions, suddenly
is
vanishes,v called Kuswnbha-rdga. (2) _
)-Ma'1'ij1.l9hthi-Riga.
(3
THAT which manifests its presence by appropriate actions, dis
is
tinguished as Majzlehthti-rtiga. (3)
(U-IVH A.
N
THE anger-child of love and jealousy-which the , 'hero and

heroine feel, called Ma'na. (4)
is
~(1)Pra@a'ya-Ma'aa (Love-anger).
THE baseless anger which the hero or the heroine feels, because
he or she
Loves not
wisely but too well,"
termed Praaaya-mdna. (5)

is
it) Tfm WIT 3 Tamil WI: int

"
(8) EITII: R um'ziwieqga:

5;
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I
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ll
,_._-e.I. in..- we, m_e ....
)I'rshyi-Mtina.
(2
THE wrathful emotion which excited in the mind of the hero
is
ine on seeing her lover in the company of another mistress or on
simply hearing of or inferring such a circumstance, called
is
llrshyd-mzina. (1) It may be pacied in these six ways :-by sdma
(entreaties of female friends), ddna (bestowal

(bland speech), bheda
of ornaments, etc., on pretext), natzz' (falling at the feet), upekshd

(slight), and msdntam (ejection of anger by fright).
(c)-PRAvAsA
l
WHEN on urgent business, on account of curse or through hur

. ry, the hero unavoidably leaves behind him the heroine, she undergoes a
certain changes, which are called Pravdsa Vt'pralambha. Untidiness

of limbs and dress, single braid, sighs, weeping, falling on the
a
_-.--_-.~WM~_M-QW~
ground, feverish excitement, sallowness, leanness, indifference to
everything, apathy, vacancy of thought, visions of the lover, raving,

trance and nally death, are gradually brought about by Pravcisa
Vzp'ralambha. (2)
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i
THE EIGHT PRINCIPAL EASAS OF THE HINDUS. 4:3
(d)-KARUNA VIPRALAIVIBHA.
THE unavailing lamentation of the hero or the heroine at her or
his death, in the fond hope of recalling the loved image back, is
termed Karum Vzpralambha. (1)
B.
SAMBHOGA.
WHEN the hero and the heroine see and fold each other in loves
ecstatic embraces, it is called Sambhoga.
In dalliance, the actions of the heroine towards the hero arising
out of generosity, modesty and love, are classied under these ten
heads: Lil, Vz'ldsa, Vichchhz'ttz', Vz'bboka, Kz'lakz'chz'ta, Mottdyzla,
Kuttamz'ta, Bz'bhrama, Lalz'ta and Mada. (2)

(a)|. i LA .
THE heroines imitation of the hero by gestures, attitudes, dress,

ornaments and loving expressions, constitutes Lilli. (3)
(b)Vl LAn.
AT sight of the hero, when the fair one puts things-such as
carriages and furniturein elegant order, and displays her talk and
look to the best advantage, it goes by the name of Vz'lrisa. (4)
Quaint gasil
WW:
(I) zgjsstfaq :IEEFE IIFWHFQEEHIIIHHEW fwd IIFH II
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(a)
Emma's? EEEIIHITI 1135

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II
sieves Ev-Pr El-(GRIT {'51 lfsr'r fries; fiIEIIHI QJIIKQLWIIFITIIHT

II
I
4.4. THE EIGHT PRINCIPAL EAsAs or THE Hnmus:
i
.'. (c)-vIcI-IcI-IHI1'TI.
THE heroines putting on of a spare dress, such as is calculated
to heighten her personal attractions, is called Wchchhz'tti. (l)
(d)-VIBBOKA.
WHEN the heroine slights a thing through haughtiness, it is Vib

(107661.(2)
(e)I<ILAI<IITcI-II1'A.
THE blending of smile, pretended crying, laughter, fear, anger

and fatigueall arising out of the heroines vivid joy at meeting
the loved one, is known as Kilakz'chz'ta. (3)
(f)-IvIo'r'rAv|"rA.
WHEN the heroine absorbed in the contemplation of her lover,
scratches her ear and does that sort of thing, her action is called ]
Motteiyz'ta. (4)
(g)I<u'r'rA|vI|rA.
1
THE shaking of the heroines hand or her head, which follows the
heros sudden holding of her by the hair, the bust or the nether
W
lip, is entitled Kuttamita. (5)
(\I fqn HIP-mums l (a) amm'a r? seam armfzg I
(a) swfaagm a'stswmzt: II rrisfnfa ms: wigwfzan

(i) feimmfrnfeasmwmsi l (a) Emarmvr'r 12% siisi wm A
I
1, innit rmswmmmiqu was: safes Hm fatzatfqvf II

THE EIGHT PRINCIPAL EAsAs or THE HINDUS. 4.5
(k)s|sHRA|v|A.
Bz'bhrama the heroines putting on (through urry at the intel
is
ligence of the hero's approach) of an ornament on a wrong member. (1)
ft'j-hAu'rA.
WHEN beautiful woman makes an elegant toilette, her action
a
called Lalz'ta.
is
(2,)
(j
)-m A.
A
n
THE pride begot of good fortune and youth known as Mdaa. (3)
The lover should prepare for the is
master and main action,

through seemly amorous arts; but he should never allow himself to

exhibit vulgar or gross actions. (4)
rr-r'isa sass,
THE Rasa, the sthriyi-bhdva of which utsdha (high spirits), the
is
color of which whose presiding god the great Indra,

is
is
golden,
....
and in which the antagonists are the zilambana-bibha'va, their en

._.._-__
deavours to beat each other, the uddz'pana-bt'bhdva, their search for
help, etc., the anubhdva, and dhaz'ryya (patience), matz', garbba, (pride)
m'tarka and horripilation, the
is
smrt'tzz', byabhz'chdri-bhrivas, recog
nised as Vim Rasa. A great person should be the hero of this Rasa.
it,
There are four classes of according to dtina (gift), dharmma (merit),
(r) sitar titmn'iifmummfrgl sit src diemsrswlssw:

(a)
i
was?! spmitai fawn?) n?) as: (01:11am: smsrfqfm am

n
(a) WWW fawn?) sfsii H515 {mania fs'esw'r's'm s

a
n
I
I;
;
(kindness) and yuddha (ghting). The hero of the rst
_
dayd
class is Parasurdma; that of the second, Yudhz'shthz'ra ,- that

of the third, Jimzita'vdkana,- and that of the fourth, the hero
proper, Rdmachandra. (1) The drinking of Duhs'asanas life-blood
by Bhima is an instance in point, and one which we shall insert as
__-_
an example of this Rasa.
III.THE KABHHE BASE.
7- ~_
THIs sentiment is excited at the loss of what we love or like and
A.__A.
at the befalling of what we do not like. Its color is like that of the
Indian rock-dove ;* its presiding deity is Yama its
;1-
sthaiyi-bhtivq.
is grief its dlambana are objects of grief; the cremation of them

constitutes its uddipana-bz'bha'va declamation against the gods,

,-
falling down on the ground, lamentation, discoloration, sighs, raving

and xture are its anubim'va self-accusation, swoon, apasmdra,
,-
disease, langour, remembrance, labor, grief, immobility, insanity and
anxiety are its The karuga Rasa distinguished

is
byabhz'cheiri-bheivas.
"' In distributed as the Rock Dove (Columba
birds as extensively livia), slight local or geo
graphical variations constantly occur. Thus, in India, all the wild Blue Rocks have ash-coloured
feathers over the rump, whereas the European birds, as well-known, White rumps; and, as
is
is
well'known to most fanciers, this white rump one of the most difficult points to breed out in
is
any of our Blue varieties whereas the Blue breeds derived from the Indian birds have, as might be
;
expected, Blue rumps.

W. B. TEeETnEIEn, s. z. s, on Pigeons.
The Hindu Pluto.
I
(I) enm'eirilft szsrwrfem: W as H5; Hem-Henna

ll
I
HEEEHHI Haaiiirs names: aerzmg rlmfsnwfaeetimran

I
I
snmmmq fasissnzst Her: H EI m'dwgzsliesr s nsfaseg'ei Emu

I
fEQIHEIIEHEIHIEIQIEIIIIHEFEm
l
THE EIGHT PRINCIPAL RASAS OF THE HINDUSI'
m:
I _...?- m-n-aw-ww-wm ~v>s.
4:7
from Karmic. Vz'praldmbha by the existence of salsa. (grief) as its
stheiyi-bhdva ; rate (love) being the sthcZyi-bhdva of the latter, owing to

the presence in it of sambhoga (sexual commerce). (1) The exile of
Sita is its brightest example.
IV.-'I'HE HAHHBA BASE.

THE sthdyi-bhdva of this sentiment is anger; its color is red;
its presiding Raudm ,-* belligerents are its zilambana

deity is
bz'bhdva ,- their endeavours and ghting constitute its uddipana
bibhdva ,-its anubhdva are frowning, the biting of the nether lip, the
striking of the arms, general fury of demeanour, the shooting of
arrows and a rhodomontade display of ones perfections; and its
byabhichdri-bhdvas are irascibility, excitement, the bristling of the hairs,

sweat, vepathu, mada and frenzy. (2) The wrath of Visvamitra with
I I I
Harischandra is its example.
v.'ras Basra sass.

THE ludicrous actions and dialogues of actors possessing
ludicrous persons and tricked out in ludicrous dresses, excite the

* A form of Siva.
(a) mantra'4mii: use?! (B3 was fawn? (fa: mm? are a

gs:
II
A
.
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@TIsa' eufuma: Ravi-Emmi an I snswaafzmsr liteqmii as I

l
at: (WI'FGITHQIT 3T3IWI He: II aifaussfaiaarsizasan
mmar =afaugmwmzs= I wrqmwmqn'iqeiimifa H II
giin'iiiwfarammwsumfa a II siqnwmruaiteanmxm I
fFIQIl%WWfH7IIfEF$FU I suma'nitmm HI: |
mzasmfw-rrm siisrfzm I swam mar: waiwrfm: II
sieaiam st?! fqasreura' In: I wusaaar saw fzi'iljsiltaz l
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.__.W_._M,_T..__ xx x~~
48 THE EIGHT PRINCIPAL RASAS or THE HINnUs.
sentiment of His-ya or laughter. Its sthciyi-bha'va is the laugh ; its

color is white ; its presiding god is Pramatha, a courtier of Maha
deva ; ludicrous gures, talk and dresses, which tickle the lungs of
the audience 0 the sere,# go to make up its dlambana-bz'bhava ;
the actions of the players are its uddipana-bz'bhtiva ,- the drooping

of the eye-lids, contraction of the mouth, smile, etc., are its anu
sleeping, laziness and abahz'tthd, are its byabhz'chairi-bhdvas.
bhriva ,- (1)
The regal days of Kalnemi are an example of it.
HdejI/a is of six kinds ; Smz'ta, Hasz'ta, Vz'hasz'ta, Abahasz'ta, Apa

hasita and Atz'hwsz'ta. The good only resort to Smita and Hasz'ta, the
indifferent, to Vz'hasita and Abahasz'ta; and the vulgar, to A pahast'ta
and Att'hast'ta.
A
s M A. ~
IT
IN Smita, the eyes look slightly expanded and the nether lip
quivers. (2)
B
I T A ._ H A s
THAT laugh which discovers the teeth a little is called Hasz'ta. (3)
cl
VIHASITA.
THE graceful smile is called Vz'hasz'ta. (4)
D.
ABAHASITA.
IN Abahasz'ta, the head and shoulders shake. (5)
Vide Hamlet, Act II, Scene 1.
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THE EIGHT PRINCIPAL RASAS or THE HINDUS. 4,9
R
.APAHASITA
Apahaslta is

Laughter holding both his sides. Its expressions
are drops of sorrow. (1)
R
ATIHASITA.
THAT which convulses the whole frame is Atz'hasita. (2)
Sometimes, even in the absence of ludicrous accompaniments,

bz'bhdva and anubha'va excite laughter. (3)
vr.rss,ssartsaxa sass.
THE Rasa the sthdyi-lhdva of a which is fear, whose com
plexion is black, whose god is Kala (Death), whose dla'mbana

bibha'va is whatever excites terror, in which hard endeavours are
a
the uddipana-bz'bha'va, whose anubhdva are discoloration, an indistinct
utterance, pralaya, the bristling of the hairs perspiration, trembling ,_,_....__..____-W
and circumspection, and whose byabhichdri-blzdvas are hate, dvega,
swoon, apprehension, impatience, depression, alarm, apasmdra, bewil

derment and death, is called the Bhaydnaka Rasa. (4)
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VII.-THE sissa'rsa Essa.

THE Rasa whose stha'yi-bhdea is disgust, whose color is blue,
whose god is Mahakala whose dlambana-bz'bha'va are putrid esh,
etc., whose uddipana-bibhdva are the coming out of worms generated
in them, etc., whose anubha'va are spitting, grotesque gesticulations,
andthe drawing in of the eye-lids, and whose byabhichdrtbheivas are

trance, apasmdra, a'vega, disease and death, is known as the Bz'bhatsa
Rasa. The gorging by mi/eshas'as and I'Iikshaszs of corpses is an ex
ample of it. (1)

.___
VIIL-THE AHBHHTA BASH.

THE Rasa whose sthdyi-bhdvd is wonder, whose color is yellow,
whose presiding deity is a Gandharbba, i whose zilambanw

bz'bha'va is some extraordinary object, whose uddz'pana-bz'bhdva is the
glorication of that object, whose anubhdva are xture, perspiration,
horripilation, a choked utterance, hurry and staring, and whose
byabkz'chdri-bhdgas are m'tarka, livega, joy, etc, goes by the name of

Adbhuta. The leavingby Ahalya of her stone-body is an instance
of this Rasa. (2)
* A form of Siva. musician.
+ Celestial
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THE EIGHT PRINCIPAL RASAS OF THE HINDUS, _ 51
rss stars sass (sessions,
THE Rdsa the sthdyi-bhdva of which is quietude, whose hero

is a pious character, which is white like the kunda owerj" whose
presiding god is N arayana, whose dlambana-bz'bhdva is the conviction
of the vanity of all earthly things and the recognition of the Deity
as the only reality, whose uddipana-bibha'va are visits to holy men
and spots, whose anubhdva are horripilation, etc., and, nally,
whose
byabht'chdr'i-bhdvas are nz'i'ceda, joy, recollection (1), etc., is entitled
Sdnta, etc.
This Rasa excludes happiness, misery, anxiety, malice, anger ;-

in short, all passion and all desire ;it
is,
according to the rhetorical

writers, the Rasa par excellence.
-___
EBNFLIETIHH BASES.
Kamna, Wbhatsa, Raudm, Vim and Bhayanaka are hostile to

I
Adi,- Bhayanaka and Sdnta, to Vim Hdsya and Add, to Ka'mnd

,-
Bhaydnaka and Karuna, to Hdsya Vim, Raudm, Hdsya ,

Srz'ngdm,
,-
/
and Sa'nta, to Bhaydnaka Adi, to Hasya, Add and Bhayd

,-
,-
Blz'bhatsa
naka, to Raudm and lastly, Vim, Adz, Raudm, Hdsya and Bhayd
,-
I
naka, to Sa'nta. (2)

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52 THE EIGHT PRINCIPAL RASAS 01: THE HINDUS.
YHITT I.
IN Sringara, Hdsya and Kamnei, the Kazlsz'ki Waltz; in Vi'ra,
Raudm and Adbhuta, the Sdttatz' and Bhdmtz' Vn'ttz's ; and in Bhayzi
naka, Bibhatsa and Raudra, the Alrabhatz' Vm'ttz', are respectively
employed. (1)
A.
I I
KAISIKI VRITTI.
WHEN the actors and actresses-m ostly the latter-discourse
excellent music and perform dancing, with amorous accompani
ments, it is called Kaz'sz'ki Vm'ttl. (2)
B.
SATTATI VRITTI.
Vm'ttz' which is replete with sattaguna heroism, bounty,
THE
kindness and simplicity, which has just a sprinkling of A/di Rasa,

which is devoid of grief and which excites joy, is named Sdttatz'
Vm'ttz'. (3)
0'
I
ARABHATI VRITTI.
THE powerful Vm'tti which contains maiyd, jugglery, war, anger,
I O O O l
Imprisonment, kilhng, etc., goes by the name .of Ambhati. (4)
* The
quality of righteousness.
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THE EIGHT mmIcIrAL EAsAs or THE HINEUs. 53
.-....-I
D.
_
BHAEATI VRITTI.
THAT which full of grave speeches, conducted by great men

is
only, and which moreover is mostly carried on in Sanskrit, entitled
is
the Bharati V'rz'ttzz'. (1)
THE HIFFEBEHT LBBKS IN THE HIFFEBEHT REHAB.
-x~..c,-.>=vmmm am.~ ~ .-._ a. -

wm.m~
THE look in the Add Rasa should be ardent, cheerful, chaste,
graceful and languishing and should be ardently directed at the

it
;
beloved object. (2)

Wm
I
In the Vim Rasa, the look should be open, grave, xed, dazzling
and contracted. (3)
In the KaI-uaa Raga, the eyes should be half-shut the pupils

;
should betoken grief and the look should be directed at the tip of
WW
.....a...___,.,,___....., .... .... .

,
the nose. (4)
The Raudra Rasa requires restless lids, and the xed, red,
hard, frowning look. (5)
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54 THE EIGHT PRINCIPAL RASAS oP THE HINnUs.
In the Ha'sya Ram, the pupils should be partly hid and be rol
ling at times the lids should be partially closed. The pupils should
;
now be xed, and now active. (1)

_..<....._._.w... ._.,-e-_
The lids in the Bhaydnaka Rasa should sometimes be stretched
fully, at others, closed the look should at times be restless and be

;
cast around fearfully, as if seeking the way to y. (2)

.__,..,a
In the Bibhatsa Rasa, the eyes should be partially shut, and the
lids and pupils, restless the side-glance and very contracted look
5
go in as adjuncts. (3)
In
the Adbhutd Rasa, the look should be cheerful and contract

ed, with starling orbs and full pupils; the eyes should be half
'
shut. (4)
THE SHBJEETS BF THE BABAS HETEBMIREH.

I
IN the Adz Rasa, amorous passages of the hero and heroine;

in the Vim Rasa, wars, etc.; in the Kamna, death of husband or
son; in the Adlhuta, some extraordinary event; in the Hdsya,
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,
calculated to excite terror; in the Bibhatsa, disgusting images; in
_,
the Raudra, cursing, etc., and lastly in the Sa'nta, endeavours after
_ __.__..__.._______
......_4 Mg-WW"
contentment, are respectively treated of. (1)
THE Elissa IN BELAFIBN rs res eases.

IN Lovn.1l[alabasri, maclhyamclz', pachama, des'apa'li, megha,
kukubhd, mrilaba, siri, hindola, saindhabz', gujjari, gauzldakz', 601-6,
jag/atasri, pmthamamaycri, nattd, malla'ra, chha'ya', lalz'tal, dracz'ra
gauz'a, sz'ndhufd, bela'balz', gaufi, gauz'a, kamdtagauta, dhanndszjlcli,
ballan', sustha'vat'i and hujz'ka'.
.s/ri,
IN Hmorsn-Natta, dimmer,
saindhabz'kd, bela'bali, gauri,
gacgra, megha, soma, megharagi, loft, devakm'tz', sa'kard

cllhanndszka,
bharaga, hindola, desdkha chhayd, Zalz'ta, bedhagupta, dm'vz'ragam'a,
I
srikaathz'kd, tu'wi, mdlacagauZ'a, desapdlz, mcilaba, ndgaddhvani, tw-ushka
gaum and gaurasdraga.

I
IN TENnEaNEss.Sivm, kamodi, ramakelz', asa'vari, beldbali, saz'ndhaei,
bagdla, des'z', kausiki, bhzipa'li, geindha'ra and jayatas/ri.
IN THE InAscIBLE.-Turushkagaum.
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i
l 56 THE EIGHT PRINCIPAL RASAS or THE Hmnus.
, I
In Mmrm-Kauu'kz', kdmodi, sakard, bagdla and natt.
urn-".- "1W1"
IN THE TEEE1ELE.-1l[alZ(ira.
IN Drscusn-Pulindz'kd,
IN THE WoNnEEruI..Natta. (1)
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HENEIPIG {Pi BELATiUPi TB THE SEII'I'IMENTS.
IN the Sringdm Ram, the chhum'ta ,- in the Vim, the laghu
nm'tya ,- in the Kamna, the pebalz' ,- in the Raudm, the laghu dance ,
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58 THE EIGHT PRINCIPAL RASAS or THE Empire.
in the Adbhuta, the bahurupa ,- in the Hcisya, the vikata-dancing ;
in the Bhayanaka, the mattdbali ; and in the Bibhatsa, the jakkam'
dance, should be employed. (1)
BF THE HiFFEBENT KINGS B? 58915 I?! BELAI'IBH TH

THE HIFFEBEHT BABES.
IN the Sringdra Rasa, the amrz'tabandhaka ,- in the Vim, the
leihafi ,- in the Karuga, the kambuka ,- in the Raudra, the m'nodaka ,

in the Ha'sya, the chhutz'la; in the Bhaydnaka, the dhmbapada ,- in the
Bibhatsa, the sudhasz'la ,- and in the Adbhuta, the tn'puta, songs are
employed. (2)
THE BEEP-SCENE IR BELATIQH T8 THE BABES.

THE scene which hangs before the audience before the com
mencement of the play, or which drops in the intervals between the

scenes, is called Yabam'kd. It should be painted on a piece of nely
thin yet holeless cloth. As in every act and its sub-divisions, scenes
are changed, so the drop-scence should also change. In classic

times two comely girls appeared and removed the two wings of
every scene. In the Add Rasa, the white; in the Vim, the yellow ;
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THE EIGHT PRINCIPAL RASAS or THE HINDUS. 59
in the Karunzi, the smoke-colored ; in the Hdsya, the party-colored ;
in the Bhaya'naka, the blue ; in the Bibhatm, the smoke-colored ; in

the Adbhuta, the black ; in the Raudra, the red, drop-scene should be
used. According to some, the red color is of universal use. (1)

[In order to show the very form and pressure of the Rasas, and
to impress them strongly on the readers imagination, I have given
the tableaux Mounts and specimens of the Rasas. A short account of

the Aryan Stage has been introduced, as a matter of necessity, by
reason of the tableaux vivanta]
THE STAGE.
Acconnme to Kohala and other authorities, the foundations of
the stage should be laid with an invocation of the gods, and

other auspicious rites. After fasting three days, the Director
should plant the pillar of the stage at an auspicious moment of
an auspicious day, under happy astral inuence. The pillar should

be composed of gold, or catechu, kdntdla, or red sandal wood; its top
should be hollow, but its bottom comparatively thick and smooth.

Oh 1 Pillar, as the mountains, Himalaya, Sumeru and Mahendra are
fast and immovably xed on the ground, be thou even like them.
(QWWFWIIUTIWI In? Fafw rst twmii Haw? l
siwiuwiiiwimwn'win 51am? {REIT WIFE tIIII IQ-a II
smmiuszs-r'itmml Inga sImIami mismi'asmrf I
gamismiisrawre'au qmfwass
Wtifit1 II
This the invocation with which the well-selected Pillar should be
is
A
it;
, H
established. The pit should take in one-half of and the open
spaces should then be carefully lled up with sand. The dimen
sions of the Stage should vary with the character of the repre
sentations intended to be performed on it. Damodara says, that

m
should measure thirty feet, be handsomely constructed and

it
_s wmm
tted up. The pillar should not be planted in the centre. The
platform of the Stage should be made of wood; and windows

. .s_>____.______-___~_m__m'mmmw__.
should be placed all round it. The top should be adorned with
wooden gures, cupolas, ags of various colors, gates and gar
__
lands of owers; and the bottom should be white-washed. The
A
platform should not be slippery, lest the feet of the actors slip. On
west of the Stage and occupying one-third of the whole space,

the
there should be the Green-room. (l)

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THE EIGHT PRINCIPAL HAsAs oE THE Empire. 61 I
THE ASSEMBLY. W
,
THE eastern division of the theatre should be reserved for
the prince and the insignia of royalty. He should be a good

judge of music and dancing, and be open-handed. He is also
expected to be a sound critic and to be well versed in the distinc~
tions between the Marga and the Desi. He should be of a cheer

ful temperament, should receive an aesthetic culture and be well
versed in Kald and Ndtya. The Brahmins should sit in the front, __
the courtiersx and little children on the south, on the north the
heralds and connoisseurs, while the royal the body-guards should
remain outside. The theatre should be closed against the untidy,
heretics, strange armed people, the immoral, the sick, the inappre
ciating and the reprobate. The presiding men should be capable of
being umpires, and be remarkable for carefulness, gravity, justice,
modesty, taste, cheerfulness and a sound knowledge of music and

dancing. (1)
a _
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THE EIGHT PRINCIPAL RASAS OF THE HINDUQS.
I.
sRINGARA RASA.
._.,.<..__
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s A s A-L I L A.
THE Gopz'm's (milk-maids) of Brindabana, charmed by the beauty
and grace of Krishna and fascinated by the soft strains of his magic
pipe, ardently desired to be his wives. With that view they celebrated
the Kdtydyaniwata and prayed to the goddess to full their desire.
The goddess granted their request ; in consequence of which
Krishna took kindly to the fair ones, and promising to make love
with them at one and the same time, assumed countless shapes for
the purpose, and commenced upon the affair in right earnest. This
is called the Rdsa-lzl.

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Scmm- A Grove in .Brz'nddban.
Enter some Gapz'm's.
1st Gap. Where, girl, wheres our charmer?
I sought him as far as the Kadam

2nd Gap. God knows ! tree ;

but in vain.
3rd Gap. Where can he have gone then? I searchd for him
thro wood and grove, hill and valley, by river and fountain; but
where is be?
1st Gap. Well, maiden, didnt you anywhere mark his foot
prints?
iia'al Gap. Yes, once only 3 twas in the wood. N o doubt the foot
marks were his; for I knew his sacred marks. But as I passed
on, they were no longer seen. But, girl, tell me why some
delicate foot-prints, possibly of a woman, were at times seen along

with his.
1st Gap. They might be his sweet-hearts, dear. Methinks he
every now and then carried her on his shoulders, when her feeble
limbs were weary with walking.
3rd Gap. Likely.

4th Gap. It appears the gallant means to disappoint us, then.
' Milk-maids of Brinddban.

74: THE EIGHT PRINCIPAL RASAS OF THE HINDUS.
5th Gop. How so? If he does, who told him to lure these simple
hearts by his sweet pipe? Ive come here, scorning the fear of my
guardian. L
6th Gop. Tis sad ; Ive stolen out, hood-winking my husband.

7th Gap. And I, leaving my babe, who. is now crying for suck.
8th Gop. Where will the sly rake go? Could I but once get
hold of him, I would conne him in my bosom by clasping him in
these longing arms.

Enter Krishna laughing.
Gopr'm's (Jog/dly.) Here, here comes the brazen-face! (With

hasty steps they catch _hold of him, casting side-glances with mam
' ' ' I '
amorous trt'cks.)
1st Gop. Where have you been so long? Eh? Dont you know
it is for you that we have come into this wood, leaving our home
and everything dear ?
2nd Gop. Charming creature-l Stand you~ stilla moment, while

I stamp your lo'vd image on my soul. (Stands in his way.)
3rd Gop. Lord ! I am so fatigued with the long walk ! Dear, I
will now refresh myself a little. (Throws her arms round him.)
4th Gop. Charmer, my youth is the queen of this bosom ; you

are its liege subject. Do you now render tribute to it. If you delay,
it will exact its due by these arms. ( Takes hold
of his hand.)
5th Gop. I am athirst with the long walk, honey. Pray,
quench my rising thirst with the nectar of your lips. (Attempts to
kiss.)
[Curtain]
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v 'I R A R A s A .
2mm HHIHKIHB nnasismas swan.

Ac'rUATED by envy at Yudhisthiras power and renown, Duryo
dhona intrigued with his uncle Sakuni to lure the former into a
play at dice with him, thereby hoping to deprive the former of his
kingdom and power. Blinded by the intoxication of gambling

Yudhisthira pledged his all, and lastly his own self, his four bro~
thers and their wife, Draupadi. When Duhsasana dragged the

forfeited Draupadi by the hair to the court and called her a slave,
Bhima vowed that oneday he should drink the miscreants lifeblood.
This is the subject of the Vim Rasa.
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THE EIGHT PRINCIPAL RASAS OF THE IIINDL'S.
D8.5. m TAGORE.
THE EIGHT PRINCIPAL RASAS 01" THE HINDUS.
BHIMA DRINKING DUHsAsANAs BLOOD.
Senna-The Field of Kurukhsetra.
Enter Bhima and Duhsdsan ghting.

Bhim. Villain! Was it not thou that draggedst Draupadi

by her hair and strippedst her nude before the full assembly? Ah!
N ows the time to send thee to hell. I_ve found thee out after a
long search. Knave! Thou art doomed.
Duh. Dog, I defy thee. (Shoots an arrow at Bhima, who falls

down senseless.)
Bhim. (Soon recovers from his faint, and with a terrible shout,
strikes his mace at the head of Duhsdsan, who struggles under the deadly
blow.) Wretch ! Hell-hound I Now pay dearly for thy impious deed.
(In a loud voice.) _0 ye Kaurava warriors I Where are ye now?
Come and witness Duhsasans plight. Low lies his head! '
If ye dare,
come forward to his

rescue.
See, how I fulll my vow. (Planting
his knee on Duhsdsans breast and plunging his dagger deep into his
ritals, drinks his life-blood and dances.) Ha I This is sweeter than
my mothers milk I
[Curtain]
,
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______-______
% III.
KARULIA RASA.
I
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we EXILE a? Eli/Tali.
I
RLMA-oHANDRA in compliance with the injunctions of his father,

who had made a promise to his step-mother to oblige her at any cost,
went to the wilderness. His affectionate brother, Lakshmana,
and his beloved wife, Sita, accompanied Rama,the former actu
ated by fraternal affection, the latter by conjugal love. While they
were residing in the Pachabate' forest, in came Havana, lord of
Lae'ikd, and ravished away Sita. Rama after a world of pains
defeated and slew the ravisher with all the male members of his
family ; and after Sita had passed through the ery ordeal to prove
her chastity, she was accepted of her husband. There lived then
a washerman in Ayadhyd, who rebuked his wife in the following

terms, for her having kept away one night: What! Do you
take me for Rama-chandra that I shall take you back? Sita lived
for a whole year with Ravana, yet the king has taken her back.
Not so I.
it,
The man divorced his Wife. Having come to hear and

thinking the action of the washerman as a mark of general dissa
tisfaction with his own conduct, on account of Sita, Rama directed
Lakshmana to take her to the forest for exile, on some pretext.

!
Lakshmana as younger brother did as he was directed. The object

a
of Rama in exiling his beloved wife was to please his subjects.

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TBANSLATIBH BF THE 5883.

gutting from tho lips ot
uhshwouu
tho ttttihlt titliugs
of lltt lift-long stilt, Sits, tluughtot of gunshot, hung down
htt head will htohs out into the tollowiug luwtututiou :

gushuutl! what it should some to this! gins! a lid not
dream of suth uu stout. 5 most out: you must, why thou
do 5 suitor thus? gut, @ host of tutu, @ writs of tho solw:
lint, ttituti of tho wtttthtti, do you upptut outs httott wt. 5

shall just hltss this outs with your that fun, uutl thou til you
fmwoll for out.

THE EIGHT PRINCIPAL RASAB OF THE HINDUS. 93
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THE EIGHT PRINCIPAL RASAS
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THE EIGHT PRINCIPAL
UESIGNEDBeLITHOGRAPHED
0F
KA'RUNA.
FOR
RASAS
SITA
OF THE
D.".S M TAGORE
HINDUS.
LAKsHMmgA
THE EXILE OF SITA.
SCENE-The Hermitage of Balmiki.
Sitd discovered seated, Lakshman standing beside her.

Sit. Dear Lakshma, how it that such tranquil scene

is
a
fails to delight me? A sudden uneasiness troubles my mind.
I
feel_a dead weight upon my heart. Why so, dear? Again, my right
eye shakes. What means this omen? Does it bode any evil?
I
dont know how fares with my dear lord. have acted foolish
O
it
I
!
in leaving his sweet side. My mind misgives in

ly
me. (With tears

her eyes.) Dear, my heart forebodes these eyes shall never see his
lovd face more.
Lak. (Looks down and sighs.)
Sit. Why are you so sad? Has any evil befallen us? Why
dont you speak? Eh?
Lalo. What shall say, lady? curst Fate! Didst thou mean
O
I
should execute such a cruel behest? (Strikes his head.)

I
Sit. Lakshma, pray, what ails you? Tell me, dear, what's the
news of my lord? Fares he well (Takes hold Lakshmans hand.)
of
WM
?
Out, pray. Your gloomy look alarms me.

I
assess
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2%
Lak. (Aside) How shall I tell her such cruel tidings?

Gant help. (Aloud) Gentle lady, they doubt your virtue on
account of your long abode with the wicked demon. At this, His
Maj esty-(Pauses).
Sit. Has done what? Tell me, pray-has forsaken me?

Lak. Ay, good lady, I have been ordered to leave you in this
hermitage.
Sit. (Ganfaunded) What ? He exiles me? He so full of loving

kindness ! But why has he exiled me? Why has he cast a lasting
stain on my fair fame by thus leaving me-his innocent, unoending
spouse-t0 my fate? Has he been led away by the vulgar report ?
Ah me! I have passed unscathed through the ery ordeal ; still,

still, is there room for such suspicion? Nay, he knows full well I am
his, body and soul. Perhaps he has done this simply to satisfy his
subjects. He is not to blame, but this curst lot. (Heaves a sigh.)
Alack ! Was I born for this? Breathes there on earth anotherisoul
so wretched as I am? O cruel Fate! Didst thou mean to make
me ever miserable? O, thou hast doomed me to pine in end

less woe, but never hast, for a moment, given me to taste of the
cup of bliss. When my dear lord took my hand, after breaking

ivas great bow, methought from the bride of a hero, I should ere
long be a queen and the happiest being alive ; but alas! for my
hopes! When about to ascend the throne, my love had to go to

run EIGHT PRINCIPAL RASAS or THE HINDUS. 99
wilderness and I accompanied him. But for allthat, I enjoyed para

dise in the wild in his company, till wicked Rdvana came disguised
as a saint and ravished me away. O, what a gloomy dungeon-that
foul abode of his 1 I was then more dead than alive. O, the heart
shrinks to recall the pangs I felt on account of my separation

from my dear love. But he rescued me after a world of pains. He
entered Laka, bridging over the mighty deep itself, and delivered
me from the demons grasp, killing him in a bloody battle. We were
again restored to each others arms, and thought we should pass our
days happily in each others embrace. But who knew that cruel
Destiny had not yet been satised? O envious Fate! Didst thou
intend to cast me again adrift on this wide sea of woe? Hast
thou not again doomed me to a life of lone wretchedness?
(Pauses) Dear, I dont so much care for dangers and sufferings ;
I passed many an evil day in the wild. ( Weeps.) But, dear!
what answer shall I return to the girls of the hermitage, when~
they will ask me for the reason of my exile? Woes me! They
would doubt my virtue. O, the thought! How shall I appear be
fore them? How look? 0 shame! Lakshma, were I not with child,
I would drown myself outright in the Ganges. Who knows what
anguish may not my dear husband suffer on my account. O, how he
is bewailing my separation! But what avails now this idle lament

ation! Beloved, dont droop and pine for me. Lakshma, pray,
hasten to him and console his sorrowing self. Let him never remain
alone; for loneliness fans the flame of grief. Pray, tender him
my love, and tell him he has acted well, as it is the one duty
of a king to satisfy his subjects. Tell him also not to forget me

quite, though he has renounced me for ever. Brother, I shall
constantly pray in this solitude for his happiness and prosperity, and
for the blissful union of our souls in a world where parting is un
known. But enough.
[Curtain]
IV.
THE RAUDRA RASA.

--00>Ooo_
vxsvheairsa ssssiss asses-newest.
VISVAMITRA tried by austerities to subdue the three aaidyds,*
when maya assumed a human and cried aloud for help.

shape
Prince Haris-chandra had come to the forest for hunting. Hear
ing the wail, he went to the spot and without fully enquiring
into the matter, fell to calling Visvamitra names. Wroth at this, the
sage cursed the Prince.
*
The personication of emotion.
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TLA-BASAMA.
First Strain.
Nripa ti - ka. lu sha manu ja k ta p5. ma ra dhri ta

_-_-_ _____ -
ti ma yi sa d ra te -.
I
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- -
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__._ -
s'a tma ma ha mu m.
Third Strain.
I
l-__- -
gach chlm re ku pi ta hri da ya ku s'i ka ta ma ya
ma ma ti kri ta ma dhva re.

fig
$9

110 THE EIGHT PRINCIPAL RASAS or ran nmnns.
Fourth Strain.
V V
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-
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to di tam.
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V
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Lit): andPrint by KfilDhulyDll

'
DESIGNED
&
'lllE mom PRINCIPAL
VIVAMITRA CUR SING

RAUDRA.
LITHOGRAPHED
HARIS'CHANDRA.
RASAS on THE IIINDUS.
FOR D.".S.M.TAGORE.

. .
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VIsVAMITRA OURSING HARIs-OHANDRA.

woo
/
Senna-The Hermitage of Visvdmi'tra.
I
Visva'mitra discovered seated in a religious posture, three nymphs
weeping beside him.

I
let Nym. O kind-hearted, virtuous Haris-chandra, where are
you now?
2nd Nym. O Prince, come and witness our plight. This wretch
has brought us captive here. _0 help us, for we are about to be

led as victims to the altar.
3rd Nym. Where are you, O Mercys self I
Enter Harisichandra.
Haris. (Approaching the nymphs.) Whats the matter? N0
fear! Courage! Ive come to your rescue. Who is the author
of all this? (Looking forward. ) Ah, heres the culprit! Vil

lain, thou art bent on killing helpless females! Knowst thou
not this is my domain? Knowst thou not that violence can never
i be safely committed here, and that it is my mission to extirpate the

pernicious practices of superstition? But thou shalt pay dearly for
this atrocious deed. Thy esh shall feed the sacricial re ere thou
doest any sort of harm to these innocent creatures. O hypocrite !
0 impostor! Dost thou clothe thyself in bark, wear beads, bear a

assent
2%
head of matted hair, mutter mantras with closed eyes? Scoundrel,
now thou art the captive of my weapon. ( Flourishes his sword high
in the air.)
Va. (Wrathfully) Who is it that thus rashly disturbs my

holy meditations?
(Arises from his seat.)
Nymphs. Hey! Victory to Hari's-chandra! Victory to the

Prince I
( Vanish.)
Visl. (Seeing HarisI-chandra.) O! Haris-chandra, son of Tri

saku! Be thou Hari-chandra or one of the Holy Three, thou
art doomed. Thou shalt become as fuel to my rage. I am engaged
here in austerities, and thou hadst the audacity to interrupt

me? Arrogant fool, I will humble thy pride. (Aside) Ahlhow
shall I punish him? (Lays his left hand upon his bow, and raises the
right to curse HarisC-chandra.) Punish him I must, be it by weapon

or by curse. (Tightens his belt'and makes sundry other manifestations
of an intention to combat; then pauses a little.) Ah, thats it! As

S/iva consumed him of the owery bow by the ame of his wrath,
even so will I punish this meddling varlet.
[Curtain]
_____._.__-_--_______________-
" Set forms of
i
prayer.
.
_.________i__s%
V.
HASYA RASA.
KIsLIiEMiS WiF'E HEATING HEB HHSBANG WITH

A BBBBPd-STXEK.
HEARING that Lakshmana was lying moribund under the
wound inicted by Ravana with his mighty spear, Sakti, and that
Hanumana was going to the Gandhamadana mountain for the medi
cinal herb, with the view of reviving the dying hero, Havana anxi
ously called in his uncle, Kalnemi, and promised to give him one-half
of his kingdom, if the latter could anyhow contrive Hanumanas
death. The Reikshasa expressing before his wife his intention of
claiming the share to which should fall Mandodari, the fair daughter
'of the ddnaoa, Maya, his wife began to belabour him mercilessly
with a broom-stick. This is the subject of the Hdsya Rasa as illus
trated.
31317332 I
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ghiilnemi, the nnele ot gtziunnn, thought thus within
hiutoelt :
iihe wightg nnuuninn, non ot giiunnn, has gone to the

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with nothing leno than the portion whieh eontnino the eeoielenee ot
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LithiandPrint: byKrmtohuryDu:
DESJGNED
KALANEMIs' WIFE HEATING
&LJTHOGRAPHED
HER HUSBAND.
HAsYA.
FOR
WITH
A
oas.uTAooR.
THE EIGHT PRINCIPAL RASAS OF THE IIINDL'S.
BROOM-STICK.
KALNEMIS WIFE BEATING HER HUSBAND WITH

A BROOM-STICK.
Somm-A part of Laka.
Kdlnemr' discovered seated before his Hut.

Kril. (Solus, withjoy.) Man is the sport of Fortune ; when she

smiles on him, he is blessed with cheering plenty. But this is true
only of ordinary mortals-as for me, I am above her smile or frown.
My star is Vrz'haspati, who even cannot compete with me in good
luck. Though the priest of the gods, he is ever destined to drag his
existence in a hovel. True, I live now in a lowly hut, but the dawn
of morrow will nd me in a stately palace, on a throne aming
with gems, bards singing my praises around, and celestial damsels
waving sprinkled with fragrant waters, over my_august per

cho'wrr's,
son. I will do nothing but command-I shall hold the celestials in

fee. They shall stand on tiptoe to receive commands from our royal
lips. Why shall? Methinks they already do so. Thrice-happy day !
Ha, ha, ha, ha What a torrent of good fortune-what an abyss of

!
joy ! I am mad for very ecstasy-my brain reels. Ha, ha, ha! One half
of the kingdom-one entire half! No light matter indeed
(Smiles) !
But the division must be equitable and just to the breadth of a hair.
(Draws a plan of Lanlai on the ground.) Suppose this is Laiik
this side must be mine-that, Ravanas. When he would throw
himself at my feet and humbly supplicate- Uncle, give me a bit
more-one bit more, I would not listen to him. Now that the
kingdom is as good as divided between us, I am as ne a man as
Havana. He is in no way superior to me. What, if Ive got one

mouth, and he, ten? "lies not much. Stomach he has one, so
time;
gasses ---vs=a%%s%
124,
have I too.
THE men'r PRINCIPAL BASAS or run nmnns.
What the fellow will eat with ten mouths, I shall a
do so with one.
(Startles from his reverie.) Oh! must practise I
betimes how to sit right royally on the throne, or else the
rascally subjects will defer (Holds a broom-stick in

their homage.
his right hand and assumes a ridiculous attitude in the air as of sit
ting on a throne.) No,not in this way. (Changes his posture.)
Yes. thats it. Look, how my majesty shines, sceptre in hand!
(Starts. )
Bless me! my waist aches. Very well, let me now pace
a little like a king. (Strides up and down with an air of haughti
ness.) Guards are before me and guards are behind me. Who dares
approach the royal presence now? The mighty Lord of Laiika
stalks the earth. (Smiles complacentlg.) Methinks the sharer of
our royal bed hasnt yet received the happy tidings. I dont know
what she will do, when she comes to hear this. I fear lest she die
I
of joy. No, dont think so, for she is my wife, and is expected to
share my matchless strength of mind. Perhaps, she is gone out.
On her return, of course, she will learn all this, and at once hasten
to grace my side like a queen. Though of mean parentage, her luck
is not so bad, or else why should she come by such a worthy husband?
But now, no use of wasting further time. Let me at once make a
rope of the bundle of straw lying here, as I require one, early next
morning. When Ravana should ask for a rope to measure the king
dom with, I would immediately throw it at his nose. 'Tis well.
(Begins to twine a rope, and burns with a nasal tone.)
Enters Kzilnemis Wife.
Kdl.s Wife. I say, what are you about, man ?
Kdl. (Aside. ) I wont speak ; tis not t for princes and poten
tates to reply at the rst address.
95
K. W. Beshrew you! Not a word ! Are you struck deaf?
Ka'l. (Hams again.)
K. W. What a curious fellow ! Look at his way ! He indulges

in mirth, while his miserable wife passes her days with brass armlets
on. Shame! A plague on your merriment !
Kdl. Patience, good woman I Fortune will soon smile, nay

she has already smiled on you, 'dear. Put off those unseemly orna
ments. Dont you see what I am engaged upon?
K. W. What is it? You are making a rope ! Are. you going

to hang yourself with it? Why do you make it of straw then, and
not a stout one of jute?
Kdl. Come, listen, how it stands: Lakshmana is struggling

under the mortal wound of Sahti, and Hanumana is going to
the Gandharmidan for the life-restoring herb. If he can return with
it ere break of morrow, the dying hero will live. Havana says
to me with humble entreaties : Uncle, if you can anyhow plot
Hanus death, or by an illusion defeat his object, steeping his senses
in forgetfulness for the night, Lakshmana will surely die, and his
broken-hearted brother will follow in his wake, and Sita will be
mine. Should it so happen, we would share the kingdom equally
I
between ourselves. Ive accordingly so ordered it that, to be sure,
he is already lost in the mazes of illusion. Pooh ! Pooh! Do you

think he will be able to go to the mountain still? I am now twining
a rope for measuring Laka. With my own share, tomorrow, I shall
become a king. 0 happy day l
________________ %
K. W. (Jog/fully.) Is it so? Gracious me! Then I shall be
your queen?
Kdl. (Jog/fully.) Why, dear? You are as good as seated beside
me on a throne of royal state.

(They dance a reel.)
K. Well then, you are a king, and I, your queen. But

W.
what about my ornaments, pray?
Ka'l. O, about your ornaments? That too has been settled.

Ravana has pledged his word that he should adorn you from top to
toe with jewels of rare excellency. In sooth, you will hardly be able
to move with their weight.
K. Ha! Is it so? ) Let me put off these beg

W. (Laughs.
garly gear, then. (Oasts of the brass armlets.) But shall I not also
have a share of Mandodaris jewels ?
Kril Foolish woman ! And why jewels alone ? Her very self
will fall to my share.
W
K. W. (Indignantly) What, dotard? Do you mean to wive
Mandodari, your nephews wife? The Devil take you ! You lust
after her! (Takes up the broom-stick and beats him mercilessly.)
[Curtain ]
'E
s
THE EIGHT PRINCIPAL RASAS OF THE HIND'US.
VL.
BHAYANAKA RASA.
i
N8I~81Pi$tiah BIPPINE BPEN THE BBWELS CF

l HIBANYA~KASIPH
I
HIRANYA-KASIPU, king of daitgas, hated Hari (Vishnu) with all

his heart; so much so that he beheaded any one in his kingdom
that dared to pronounce the name of Hari. In order to revenge
himself for this, Hari made Prahlada, son of Hiranya, a lover of his
name, as early as the fth year of his age. Highly indignant at this,
the daitgdking tried his best to dissuade the boy from taking that
,
hated name, but in vain. At last he tried to. kill his son by casting
him into the re, beneath an elephants feet, by steel, poison, &c. ;
all which proved vain, for Hari saved his own worshipper. One day,

the king asked Prahlada, How have you come unhurt from these I
dangers? The son replied- It is my Hari who has saved me by

his protecting arm. At which the father rejoined-Wheres the
residence of your vaunted Hari? Prahlada said Everywhere;
the universe is his home and the rmament his handiwork. Is
be here within this pillar? said Hiranya.
Yes, was the reply.
At this, the enraged king struck at the pillar with his sword;
when 10 ! comes out a gure, upper part lion and below man, and
kills the impious wretch. The occasion of this Nri-singha incarnation
is that Brahma had granted the daitgas prayer by saying that
none of women-born should have power over him. Our illustra
tion shews N ri-singha in the act of ripping open the bowels of
Hiranya.
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BOWELS
BHAYNAKA.
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NRI-SINGHA RIPPING OPEN THE BOWELS OF

HIRANYA-KASIPU.
_0O(.
SoENE.Hirar_\ya-Kas'ipus Court.
Nri-sinha Avattira discovered seated ,- Hiranya-Kasipu standing at

a little distance.
Hiranya. Whats this? Whats this? What have we here?

Ah me ! What a marvel l 0 horror of horrors I What a men
strous gure ! How has it come? Why comes it? Quick as thought,
it has come forth from the crystal pillar, bursting it asunder, just as
I struck at it with my sword ! Dear me I Has the Almighty taken
this shape for my utter ruin? Its angry manes stand on end its
rolling eyes ash re. My hairs bristle on my body ; my blood runs

cold. I am struck almost dumb. What shall I do now? Shall I
strike it with my sword ? And how can I? My hands are paralysed.
Nor can I seek safety in ight, my heels seem so nailed to the
ground. What a preter-natural gure I It looks, Oh, prodigious !
more like a lion than a man! O my God! What a tremendous roar !
The earth herself totters to her ruin. Ha ! It is going to destroy me?
Woe is me! I am gone! Who on earth can deliver me from its

giant grasp? Before this I was a stranger to fear. What has
become of me now? Mercy me! A cold shudder creeps all over me.
Tis too late-too late for retreat. I am undone-utterly undone I
There it comes, there, there 1

(Nri-sinha jumps upon Hiranya-Kasi
pus breast and rends it in twain.)
[Curtain]
SEW - ..1
THE EIGHT PRINCIPAL BASAS or THE HINDUS. 139
W

VII.
BIBHATSA RASA.
BHBHIBh-PBIYA Mill HIS WiFE FEEHiNG Bl!

888F888.
. WHEN Dronacharya, the preceptor of the Karas and Ptindavas,
hearing of the death of his son, fell in the eld after performing
prodigies of valor, both the belligerents forsook the eld for grief.
Seeing the occasion, Rudhira-Priya (blood-loving), a ra'khasa, and
Vasa-gandha (grease-smelling), his wife, entered the eld of the slain
and began to feast heartily upon the esh and blood of the sleeping
heroes.
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@ihhatea lites,
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TBAHSLATiGN B? THE SURE.


(EB
in this
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we mam immoral. mess
.
DES lGNEU .3 LHHoGRAPew'wn

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a
Lith andIrmt-by
v KrmtohuryDas
RUDHlRA-PFIYA
'
AND
HIS
THE EIGHT PRINCIPAL
RASAS
MBHATSA.
WIFE FEEDING
0N
DESIGNED a LITHOGRAPI fhD FOR l).".S.Mv TAGURE.

or THE IIINDL'S.
CARCASES
KW
iwrwrrawa
'92
RUDHIRA-PRIYA AND HIS WIFE FEEDING ON
'
CORPSES.
SCENE-The Field of Kurukshetra after the Battle.

Enter Vasei-gandhzi.
Vasd. (Dancing with joy.) Hey! What a battle has raged

here Lo the earth is'deluged with blood. Myriads of corpses are
!
lying scattered- around. joy! What happy day! wish the

O
I
battle may extend over thousand years. The brains of the ele
a
out of their sculls, are lying in heaps. will
O,
phants, dashed
I
eat my ll of them! What a sweet smell has lled the whole air!
It will feast upon these
adds keenness to my growing appetite.

I
delicacies right heartily. (Dances. But wheres my dear Rudhira

)
priya gone! O, how he hungers after reeking esh and blood!

Let me call him anon. These delicious things will lose their relish
unless he partakes with me. (In a loud voice.) Oho! Rudhira
priya, ho! Come, come, make haste, heres a hearty repast for you.
Enter Rudhira-priya with a putrid Corpse on his shoulders.
Rudhi. Where, good woman, where are you? Here Ive got
for you a putrid body. Help yourself with and appease your
it
craving appetite. Twas lying under the press of a dead elephant.
Well rotten Look, what a thick swarm of maggots are eating into
!
it. O, most delicious

!
SEW
"
seams
assess-r assesses
150 THE EIGHT PRINCIPAL nAsAs or THE HINDUS.
"r
% Vasti. Where, wheres it P (Eagerly takes hold of the corpse.)
Rudhi. Well, you have so strong a craving for rotten esh?
Vas-d. 0, you always feast upon fresh meat; how can you be
expected to have a taste for putrid esh. Flesh is never so palatable

If
it,
as when well rotten. you have no liking for you better help
yourself with this fresh blood and meat. Again the battle will be
fought to-morrow and no doubt you will have good entertainment
a
;
then.
Rudhi. Is so? Again tomorrow? 0 joy

it
(Dances.
)
!
[Curtain
]
VIII.
ADBHUTA RASA.
TBAPISFBBMATIBN 8F kHALYFIt F8855 is STONE INTI}

HEB PBEYIBHS HHMAR F8898.
ONCE Indra, bewitched by the beauty of Ahalya, spouse of
Gotama, became his disciple, and afterwards opportunely taking the

of his master, lay with her.
shape On coming to know this, her
husband cursed her to be a stone. She, with tears in her eyes, tried
to vindicate her innocence. Convinced of it, Gotama said, Very
well ,' when the Deity, assuming the Rama incarnation, will touch
you with his feet, you shall be restored to youroriginal form.

Our illustration shows the transformation of the woman from the
stone into her previous human form.
\1}
0|.
'1.. lillllll iplll

as ' "7 \1 Y as
THE EIGHT PEINoIPAL EAsAs or THE HINnus. 153
%
(viii-(l)
era am we WW ilwl
rst ll
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....
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Zirlhhutu rst
@Ihe eutiweut
NW o11
the wuudeujful.
TBANSLATIUN as THE sexes.

by
Qgutting;
heeu eurseti her hushuuri,
ut
fur tpiup with the
wieheti Quriru, @huipu, the spouse the serge @uteuuu, was
at
lying as steue, when eiruuehuuriru suu usuruthu,
u
with his feet; hurt in! the upper part

at
teueheei her ghuipelrs
ut
at
twig heruute iihe that the perseu puehiess. he theu thus

u
theu
ut
suppiieuteti ieiuru: the euutpieriuu reseurhiiug the

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wereitui!
ut
6
eiuuti! turd
t9
uew-huru
@
seu giughu!
of
geiuuhi! @ue teueh thy huiiuweti teet has thus rendered
heuutitui; hut
st
the upper purt su have uut pet heeu

53;
rug heuig
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at
@u thuu
tu
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uhie get quit my hushuuris eurse. re

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at
ut'
wwuer the wuriris teur, uuee were touch the ether steuu
my hutiu with thy iutus feet.

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THE EIGHT PRINCIPAL RASAS on THE HINDUS. 159
% NATTA.
TXLa-GATA.
First Strain.
Ja ja r5 ba ja na ka en es dha ha ni lm bu da
ya ya gha
in nu kin to hi to re ra jo a ghri so ro ja ya go In
ba bhayn. to no. mi da-- 11 to -.

ja.
nu bha ha
Second Strain.
Pu ma. ka ru gar ha n5. de ka

pi
u re bar shma ma Ha d. s'a

ni
ki -- ra
pi
ta syah mu. ms nu shya kn 16 ba mad bhu to ma

1'
e
na nai ba bi na syn so - mya ga dya ra ghu

ti
s'a pa
ta
A
pa
ti
re
ta
ka
bi
sa

piir
ya
n5
gra
dur
ha
s5.
mma
ma
ti
bhi
bhi
THE EIGHT PRINCIPAL
su
me
s'a
ha
pa
ra.
RASAS
ue
Third Strain.
m5
pa
p
ti
na
ta
mu
be
dash
OF THE HINDUS.
ti
kri
neh

ta
kba

lu
pras
I
Illl t llplhllll
Lith-R313
' A.l-1R1
an z.\i<
"1mtby Krutohutyliaa
THE RIGHT PRINCIPAL
DESIGNED 8=LITHOGRAPHED
FOR DESMTAGORE
THE EIGHT PRINCIPAL RAsAs on THE HINnUs. 161
TRANSFORMATION OF AHALYA FROM A STONE INTo HER

PREVIOUS HUMAN FORM.
_<>OO
sCENE.The Hermitage of Gotama.

I
Enter Ra'ma and Laksmana with Visca'mitra.
Rim. 0 Laksmaa! Lo ! What a calm reigns in this still so

litude? Surely it must have been some hermitage. We must be
standing on sacred ground. Dear, dont you feel a tranquil delight
'
in entering it i
Lah. Yes, dear lord, I do. But why is it so void of life P
Rdm. I too was thinking of it. Well, let us better ask our
I
reverend sage about it. (To Visvamitra.) Sire, pray, tell me, was
this once the abode of some holy man?
Vise. Yes, noble prince! Twas Gotama held his hermitage

here.
Ram. O! the holy sage, Gotama? But why is it so lonely

now? What stillness! In the air theres not a y stirring. Strange
indeed!
I
Visv. Pray, come along and satisfy your curiosity.
Ram. I follow, sire. (They go to a spot, and as soon as Rama

steps on a stone, it is transformed into a woman.)
Ram. Whats this 1 Whats this P What a marvel!

Lak. What a wonder ! I never beheld such a miracle before.
Ram. What can this be ? Is this a mortal or a celestial? That

look, that sweet expression, seems something super-human. What _
innocence! Holy sire! You are all-wise ; pray tell me who this is.
Visl). Prince, she is Ahalya Devi, the wife of Gotama, by

whose curse she had been transformed into the stone. By the holy ,s

touch of your feet, she has regained her former self.
Ra'm. O ! I remember having heard from you her story. Tis a

pity that so virtuous and innocent a lady should fare thus ;a
thousand pities!
Lak. I was at rst struck with fright; but now that I have
heard all about it, my mind has found rest. Thro the favor of the
sage, however, we have this day seen a wonder.
Rdm. What wonders have we not witnessed here in the wilder

ness in his company?
I
Visv. O Rama! All this is thy work. Thou art the life and
-light of this universe. Everything in thy creation is wonderful
because of thee. The planets perform their daily rounds in the starry
heavens by thy force. Is this not a wonder P Now the sky is calm
and serene, the next moment it is oercast with clouds, and down
comes the rain! A small grain grows up into a large tree I One
living being comes out of another 1 How wonderful are thy works I
WMWsE
!
[Curtain]
\ s
he.
%
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Printed by 249, Bow-Bazar Street, Calcutta.

I.
0. Base Co., Stanhope Press,

\\
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JUL
3 0 I979
Am
PK 2907
.135
Lib quarto
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QuanoPK 2907.E5T3
Tagore,SourindroMohun.
Theeightprincipalassesof theHindus
1840-1914.
UNIVERSITYOF MINNESOTA
31951001053 392'H
lilliiiiliiliiiii lilililllilililllllil!

The Eight Principal Rasas

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The Eight Principal Rasas

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The eight principal rasas of the Hindus, with mrtti and vrindaka,

or tableaux and dramatic pieces, illustrating their character, by

Public Domain in the United States,

We have determined this work to be in the public domain

.'_' -:I ~.~ _ .

RAJA SOURINDRO MOHUN TAGORE, MUS. DOC.,

ALREAINDRO MANzONI IsTITUTO ; OF THE CIRCOLO BDUCATIVQVITTORIO FMMANUELE

Charles Lesley Ames

UNIVERSITY OF MINNESOTA LIBRARY

4 -~ THE EIGHT PRINCIPAL -

STRATING THEIR FHARACTER,

RAJA SQURINDRO MOHUN 'IAGORE, MUS. DOC.,

Companion Of the Order Of the Indian Empire;

GITA-NAYAKA AND SANGITA-SILPA-VIDYA-SAGARA OF NEPAUL; OFFICIER DACADEMIE AND DEL INSTRUC

DIDASCALICA ITALIANA, ROME; OF THE PHILHARMONIC ACADEMY OF BOLOGNA; OF THE

BOURNE OF THE ROYAL ASIATIC SOCIETY, CEYLON OF THE SOCIETA OPERARIA

DI LUCCA; OF THE ACCADEMIA LETTERARIA LAzzARO PAPI DI LUCCA

NAPLES DOTTORE DI MUSICA E DI LETTERE ACCADEMIA NAPOLI BENE-MERITO OF THE ROYAL

INSTITUTION OF NETHERLANDS INDIA AT THE HAGUE PATRON OF THE ATHENNEUM OF

THE ROYAL UNIVERSITY OF SASSARI, SARDINIA; ORDINARY MEMBER OF THE ORIENTAL

LEGHORN SOCIO D ONORE ASsOCIAzIONE GIOVANILE SALERINTANA SALERNO SOCIO

FONDATORE ATENEO GIOVAN BATISTA ALLEOTTI IN ARGENTA, NAPLES HONORARY

PRESIDENT OF LUNION VALDOTAINE, GENEVE; SOCIO PROTETTORE CIRCOLO

VITTORIO EMMANUELE FILANTROPICO LETTERARIO SEDE IN CATANIA

PROTETTORE CIRCOLO LETTERARIO ARTISTICO MUSICALE BELLINI, CATANIA X,

&C., &C., &C., &C.

desire now perceptible amongst our countrymen and foreign

bine to give Hindu Music and Drama such an interesting character. In

order'bto arrive at a correct estimate of the main principles underlying these

pieces illustrating their character, preceded by descriptive songs set to such

couragement have hitherto received from them for my humble attempts at

treasures bequeathed to us by our illustrious forefathers.

2: v. ..c. . a(I v01 It!

SOURINDRO MOHUN TAGORE.

Vgika ... .. . ,, Sama ... n

Sveda 87 The Bhaynaka, Rasa

II.-ViRA RAsA. Hiranya-kasipu.

IIL-KARUEA RAsA. VIL-BIRHATEA RAsA.

The Exile of Sit. Rudhira-priya and his Wife feeding

Sanskrit Song 103 Transformation of Ahalgd from a

THE EIGHT PRINCIPAL RASAS OF THE IIINDUS.

DESIGNED LIIHUGRAPHED FOR U TLM. TA GORE.

THE BHABAETEH BP THE GHANA.

sonatin different characters, and by representing different costumes

it will clearly appear that sentiment the corner-stone of theatri

cal representations since their avowed object to awaken senti

samurai sea was? We

me: {a 1% iiisiiwqliw (1) 13:2? mm?! sham armor-Ends:

a amamimfw mitt-ii agwsrir msnmaiimd wrilfaqwii

was performed by Bharata before Mahadeva, and which had previ

ously been sought by Brahma of Mahadeva, goes by the name of

formed before kings by men for their entertainment, by the name

of The word Ndtaka (drama), derived from nata (hero).

The Drama of two kinds, meirga and The Dramas which

Brahma created by dint of austerities, and which he represented

before Mahddeva and Pdrvatz', are called Mdrga-ndtyas. There are

twenty kinds of these namely, the Drama proper, prakampa, ca'gza,

prahasana (farce), dima, vyriyoga, samavakzira, mthi, aka, z'hdmn'ga,

ndtzkd, prdkashz'k, migu'kd, hasai, myogini, dz'pz'kd, kalotsdhatard,

chitrd, jugupsz'td and m'chz'treirtha'. The ten rst species were

Parvati rst instructed Brahma in these twenty Varieties of the

(I) QJIFWWFDYD IIRIIRHIREIRIFH: miinil 5181.): ugai Htmfzfw

5*? Ina-3f am? am m'li {FE QR:

_ 1" aw aq'qw 3H.