Rasa theory and its application in translation With

Rasa theory and its application in translation With reference to the drama “Shakuntala” Original Writer: Kalidas Presentation by Ravi Kumar University of Ottawa

Structure of Presentation � Context of rasa theory � Structure of rasa theory � Rasa theory in Action � “Shakuntala”: Translation and Story Presentation” � Discussion & Conclusion � Audio –medial Clip

Context of rasa theory Rasa theory finds its root in late vedic period in Atharvaveda ( 200 BC-100 BC) Bharatmuni (First century AD approx. ) gave major statement in his Book Natyashastra Natyashatra is Indian treatise on the performing arts, encompassing theatre, dance and music

Context of rasa theory Bharatmuni says “rasa is realization of one’s own consciousness as colored by emotions” “rasa and emotions cannot be expressed directly through words, their essence being immediate experience; so they can be only suggested by words”

Context of rasa theory Philosophical side of rasa theory “rasa school emphasizes on experiential aspect of literature, the qualitatively new product that must be directly experienced in order not to confuse with an aggregate of its natural constituents. It is unworldly pleasure which accompanies it as transcendental”

Context of rasa theory Analogy by Bharatmuni “The unique taste delicacy arises from coming together of many ingredients each of which has its particular taste like conditioned response, but the taste of dish is different and of a higher order than that of each component”, the later one is unconditioned response or called cultivated response. “Similarly cooking involves providing heat as well as expertise – thus it not only involves bhavas but poetic inspiration and poetic art as well”

Context of rasa theory New dimensions Accepted as the core literary theory by all major dramatists as well as theoreticians including Abhinavgupta, Viswanatha, Pt. Jagananatha and Kapil Kapoor who have contributed towards a more subtle understanding of this theory. Equated with words like – flavour, sentiment, passion, mood or no translation at all

Structure of rasa theory � The Rasa theory is built around the concept of bhava which is subdivided into vibhava )व भव ), sthayibhava) सथ य भ व ), sancaribhava ) सकर भ व ), anubhava )अनभव ) and sattvikabhava) स तव क भ व ). � Bharata enumerates forty-nine bhavas - it is a claim about the range of human experience.

Structure of rasa theory Rasa is an emotion experienced by the audience created by the facial expression or the Bhava of the actor. Our discussion will focus only on following sthayibhavas) ������ ). RASA BHAVA MEANING COLOUR Shringar(love) Rati Love/delight Pale Light Green Hasya (humorous) Hasa Laughter White Karuna (Pathetic/kindly) Shoka Sorrow Grey Raudra (furious) Krodh Anger Red Veera (heroic) Utsaha Heroism Pale. Orange Bhayanaka (Fearful) Bhaya Fear Black Bibhatsa (Odious) Jugupsa Hate/disgust Blue Adbhuta (Wonderful) Vismaya Wonder Yellow Shanta (Peaceful) Shanta Peace White

Structure of rasa theory

Rasa theory: the experience of rasa Rasa can be experienced individually or collectively Rasa Representation of objects Awakened Emotion Impersonal contemplative mood Natural situation Known characters/ artists Artists actions & their physical expressions of emotions Whereas feelings and emotions when aroused by linguistic means are conditioned responses, moods are not, and this is also a fundamental aspect of rasa; rasa is based on conditioned responses, but in itself is something higher: we may call it unconditional or cultivated response.

Rasa theory and the audience Experts Patrons Poets Audience Familiar with text/ context Elders Singers Buffons Level of response depends on aesthetics sense of an individual/a group determined by their world view of the people. ( Kapil Kapoor links it to Sanskar and explains cab drives story in Chekov’s writings)

Rasa theory in action text /actors Cosmic balance create beauty text and context important coherence of bhavas evoke emotion dominant emotions Cosmic balance Rasa subservient emotions readers/ audience Rasa is realized when self looses its egoistic, pragmatic aspect and assumes an impersonal contemplative attitude – highest modes of being – free from all carving, striving and external necessity – it is blissful.

Shakuntala by Kalidas (370 -450 AD) Kalidasa (Devanāgarī: ������� "servant of Kali") was a renowned Classical Sanskrit writer, widely regarded as the greatest poet and dramatist in the Sanskrit language. His plays and poetry are primarily based on Hindu Puranas and philosophy. The text of Abhijñānaśākuntalam itself is adapted version, “re-telling of story from the epic Mahabharata. A radical departure from the basic text. Focus: Political Books: Abhijñānaśākuntalam, Raghuvaṃśa, Meghadūta, Vikramōrvaśīyam, Kumārasambhava

Shakuntala and its translation – the continued life � As per the available records, the play was the first Indian drama to be translated into a Western language, by Sir William Jones in 1789. ( Precolonial India) � Monier – Williams in 1855 ( colonial India) � Kale in 1898 – Colonial India � Chandra Rajan – Post –colonial India � Currently there will be more 200 popular versions of translation available in different languages.

Shakuntala and its translation Sir William Jones (Orientalist from England) “Great praise for Indian civilization. Equated Kalidas with Shakespeare”. Domesticated Shakuntala to suit the sense of morality of his target readership”. Example: Heavy hips of shakuntala toned down to elegant limbs. Passages explaining love between shakuntala and Dushyant appeared too erotic for his European readers. The translation sanitized and made appropriate for the receptor. Presented his opinion and felt apologetic about explicitness of the text

Shakuntala and its translation Sir Monier Williams – Sanskrit Professor at Oxford Administrative control from East India company transferred to crown of England. Inspite of great praise for India, Sir Monier Williams shifted focus towards prevailing attitude of crown towards India The subtle romance and elegance of shakuntla is depicted as rustic shakuntala She is seen as representative of hindu way of life Depicts victorian disapproval of sexuality hence expression of art is manipulated

Shakuntala and its translation M. R. Kale – Sanskrit Scholar and Grammar expert from India Appreciates the work of Monier Williams but develops totally a different attitude towards his version of translation Applies literal (word–to–word) that makes it very difficult for the English reader to understand the text as well as the context He gives detailed analysis of the play in terms of background, life of kalidas, plots, character and structure but he does not discuss translation strategy Sanskrit text and its corresponding translation go in parallel Intended for Indian reader who is familiar with Sanskrit and the culture, appears to be purely scholarly piece Text was translated during colonial period and Kale is not aware of post colonial theories

Shakuntala and its translation Chandra Rajan - Translator and English expert with connections in India and Canada Takes feedback from Indian as well as foreign readers before publishing Target readers are from India as well as outside India Gives lengthy introduction introducing Sanskrit, drama and Indian traditions Follows sense for sense – meant for reader not familiar with Sanskrit tradition Scholarly too but streamlined to meet the demands of a receptor culture

Shakuntala and its translation Four line stanza in Sanskrit where Dushyant describes Shakuntla’act Sir William Jones Sir Monier-Williams The damsel is fatigued, I imagine, by pouring so much water on the cherished plants. Her arms, graced with palms like fresh blossoms, hang carelessly down; her bosom heaves with strong breathing; and now her dishevelled locks, from which the string has dropped, are held by one of her lovely hands. Suffer me, therefore, thus to discharge the debt. Sir Monier-Williams Spare her this trouble, gentle maiden. The exertion of watering the shrubs has already fatigued her. The water-jar has overtasked the strength Of her slim arms; her shoulders droop, her hands Are ruddy with the glow of quickened pulses; E'en now her agitated breath imparts Unwonted tremor to her heaving breast; The pearly drops that mar the recent bloom Of the [S']irísha pendent in her ear, Gather in clustering circles on her cheek; Loosed is the fillet of her hair; her hand Restrains the locks that struggle to be free. Suffer me, then, thus to discharge the debt for you.

Shakuntala and its translation Four line stanza in Sanskrit where Dushyant describes Shakuntla’ act Kale Chandra Rajan Gentle maiden, I see that this lady is exhausted just by watering the trees. For her arms, on account of lifting up the jar, have their shoulders drooping, and their palms extremely reddened; her abnormal breathing, still causes her breasts to heave; on her face has gathered a mist of the drops of perspiration, obstructing (the play of) the Sirisha flower placed on her ear; and the knot of hair being loosened, her tresses, held (by her) with one hand, are disheveled. I will, therefore, discharge her (lit. make her free from debt). I see that the lady is exhausted from watering the trees; as it is, Her arms droop, languid, her palms glow reddened lifting up the watering-jar; her bosom still heaves as she draws deep breaths. The Sirisa blossom adorning her ear, caught in the sparkling web of beads of sweat, ceases its delicate play against her cheek. With one hand she restrains her hair, straying wild, unruly, released from its knot undone.

Shakuntala and its translation Bhavas and Rasas at work In each successive acts and scenes, the characters play their roles through variety of bhavas, but the dominance of rati, shoka, utsaha and vismaya makes the play more receptive, hence at successive acts, well informed audience experiences heightened emotions and rasa that has combination of love and karuna. Simultaneously, veera and adbhut rasas play their subservient role. Separation of Shakuntala from his beloved creates imbalance in the environment influencing the emotional response of the audience. Her longing for her husband (shoka-bhava) moves the audience toward karuna rasa. Once she re-unites with the king Duhsyant, harmonay is restored, the audience gets heightened delight.

Shakuntala : Background Shakuntala is the daughter of sage Vishwamitra and the beautiful Apsara, Menaka who left her in an ashram of rishis. This tale revolves round the love of Shakuntala and the mighty king, Dushyanta. Originally mentioned in the Mahabharata, the story of Shakuntala has been immortalized by way of the Abhijyanashakuntalam, written by the great poet and dramatist Kalidasa.

Shakuntala – Her life Shakuntala's childhood was spent happily roaming around in the greenery of the hills, along with her two closest friends, Anasuya and Priyamvada. So gentle and soft-spoken was she, that even the birds and animals residing in the forest were drawn to her. She grew up to be a strikingly beautiful young woman, who radiated youth and elegance, though simply clad in cotton garments and flowers for ornaments. Dominant Bhava: rati Dominant Rasa: shringar

Shakuntala – Falls in love While on hunt in Jangales, King Dushyanta the most powerful king of his time meet Shakuntala and instantly fell in love with her. When he expressed his love for her, he realized that Shakuntala too reciprocated his feelings. Dominant Bhava: utsaha, rati Dominant Rasa: veera, shringar

Shakuntala – gets married Shakuntka and Dushyanta secretly got married as per Gandarv Vivah rules prevelent at that time. Dushyant spends overnight in the ashram and then left for his capital city, promising Shakunatala that he would return soon to take her back to his kingdom, as his lawfully wedded wife. Before leaving, Dushyant gave his precious ring to Shakuntala, as a sign of his love for her. He also particularly asked her not to lose it under any circumstance. Dominant Bhava: rati Dominant Rasa: shringar

� � � Shakuntala – cursed by a rishi After Dushyanta's departure from the ashram, Shakuntala spent much time dreaming about him and was often in her own dream world, neither eating nor sleeping properly. One day, rishi Durvasa, who was infamous for his nasty temper, came to the ashram. Lost in her thoughts, Shakuntala failed to notice the sage and did not greet him properly. Enraged by this insult, Durvasa cursed Shakuntala, saying that the person of her dreams would forget about her altogether. As he was about to depart, one of Shakuntala's friends explained to him the real reason behind Shakuntala's distraction and that it was never her intention to insult the rishi. Understanding Shakuntala's state and realizing that she was truly innocent; Durvasa modified his curse saying that the person who had forgotten Shakuntala would recall everything if she showed him a personal token of love that had been given to her. Dominant Bhava: krodh, shoka Dominant Rasa: raudra, karuna

� � Shakuntala – King’s memory loss Dressed in beautiful silk attire, Shakuntala left the ashram along with her foster father. On the way to the kingdom, the ring given to her by Dushyanta slipped off her finger into the river without her realizing it. Meanwhile, a fish swimming in the river swallowed the ring. When she reached Dushyanta's court, unfortunately, the king Dushyanta had lost his memory, due to Durvasa's curse. He did not recall anything at all about Shakuntala and their wedding. Hence, he refused to accept Shakuntala as his wife. In a final bid, Shakuntala told him about the ring he had given her and raised her hand to show it to him. Only then did she realize that it had fallen off somewhere and that she had lost it forever. Dominant Bhava: rati, shoka Dominant Rasa: shringar, karuna

Shakuntala – gives birth to a child Utterly humiliated and dejected, Shakuntala returned to a remote part the forest, where she, in due course of time, gave birth to a beautiful baby boy. Bharata gradually grew older and turned out to be a strong, handsome youth. He used to ride the wild animals and often made a sport of opening the mouths of lions and tigers in order to count their teeth. Bharata, as she named him, was one day destined to become one of the most powerful icons of Indian history. Dominant Bhava: shoka, utsaha Dominant Rasa: karuna, veera

Shakuntala – King recalls his past � � � In the meantime, a fisherman was utterly surprised to find a royal ring inside the belly of a fish he had caught. Recognizing the royal seal, he took the ring to Dushyanta. As he held the ring, Dushyanta immediately recalled his past his love for Shakuntala, the wonderful time spent with her and the memories of his lovely bride. Dominant Bhava: vismaya, rati Dominant Rasa: adbhuta, shringar

Shakuntala - king meets his son � � � Wasting no more time, Dushyanta immediately sets out to find Shakuntala. As he did not find her at her father's ashram, he moves deeper into the forest to find her. In the forest, he saw a young lad playing with lion cubs. Utterly amazed, Dushyanta asked the boy his name. The boy said that he was Bharata, the son of King Dushyanta, the king gets a pleasant surprise. Dominant Bhava: utsaha, vismaya, Dominant Rasa: veera, adbhuta

Shakuntala, Bharat and Dushyant reunite – Harmony Restored � Upon Dushyanta’s requests, the boy took him to Shakuntala. � Dushyanta meets Shakuntala and narrates about his memory loss. � He asked her to join him again and thus, the family gets reunited. Dominant Bhava: utsaha, vismaya shoka, rati, shanta Dominant Rasa: veera, adbhuta, karuna, shringar, shanta Audience gets heightened delight – the mixture of many rasas

Discussion and Conclusion � Domestication by William Jones � Domestication by Sir Monier Williams � Literal Word to word by Kale � Sense to Sense by Chandra Rajan

Discussion and Conclusion RK: Story telling or adaptation with of support of images: Rewriting and trans-creation Little closer to Structuralists: jackobson – Intersemiotic - written text translated into different mode Cinema / drama / music Functionalists: Katharina Reiss –Communication approach - audio-medial. Nida’s dynamic equivalance: Meaning of ST with same impact of TL audience Skopos: Reiss and Vermeer: Based on scope / aim translator decides how to maintain functional adequacy in intercultural context Even – Zohar’s polysystem at play but mix of innovatory and conservative is needed Toury DTS (norms, rules and idiosyncrasies) idiosyncrasies related to behavior characteristics provide part support as does manipulation school Bassnett and Lefevere’s idea of cultural turn helps more as it deals with power, ideology, institution and manipulation. Refraction also fails as Kalidas is already classists, however, the idea of greater popularity in different culture remain within the context. So is the role of idea of after life or continued life by Walter Benjamin

Discussion and Conclusion More closer hermeneutics of translation ( philosophical approach to translation) by George Steiner as philosophical as well as intellectual working of translator are at work : first Kalidas as rewriter or transcreator, later, the other translators from Sanskrit to English). Thus his four motions: initiative trust, aggression, incorporation as well as compensation brings us closer to understand rasa theory. I remain critical to the concept of aggression though. Where “rasa is based on conditioned responses, but in itself is something higher: unconditional or cultivated response. However, all theories discussed before fail to address “Realization of Rasa when self looses its egoistic, pragmatic aspect and assumes an impersonal contemplative attitude – highest modes of being – free from all carving, striving and external necessity – it is blissful”. This is one of the most “Striking Difference between western thoughts and Indian traditions”

Discussion and Conclusion The answer may be sought in Indian Drama and Indian Cinema where, a very careful approach is taken to arouse the feelings of the viewers and provide heightened experience through a story based on action, love, romance, separation and reunion supported by songs http: //www. youtube. com/watch? v=HBx 0 BH 77 L 3 E