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Rasa Theory in Kalidasa’s Abhijnanashakuntalam

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 (A comprehensive research paper presented by Ashwin, Roll No. 202554) Introduction to Rasa Theory   Bharata Muni’s ‘Rasa’ theory initially originated in his Sanskrit treatise written on the performing arts-Natyashastra. According to the Natyashastra, the goals of theatre and its elements are to empower aesthetic experience and deliver emotional rasa. It has its roots in the Vedic period, in Rig Veda as well as Atharvaveda. The theory advocates that entertainment is the desired effect of performance arts but not the primary goal, and the primary goal is to transport the individuals present in the audience into another parallel reality, full of wonder and bliss, where he/she experiences the essence of his/her consciousness and reflects on spiritual and moral aspects. It suggests that every object and meaning has an emotional effect that diverts the human mind with its experience and controls the heart and mind of an individual. To facilitate the understanding of this theory Bharat
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The title of the Tamil Epic 'Cilappatikaram'

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https://www.thehindu.com/features/friday-review/history-and-culture/reinventing-silappadikkaram/article5096394.ece You can read  the complete text at: https://archive.org/stream/in.ernet.dli.2015.201802/2015.201802.The-Silappadikaram_djvu.txt   According to V R Ramachandra Dikshitar, the title  Cilappatikāram  – also spelled  Silappadikaram  – is a combination of two words, "silambu" (anklet) and "adikaram" (the story about). It therefore connotes a "story that centers around an anklet".     The story of the epic Silappadikaaram indeed grows from the anklet of Kannaki.The anklet might symbolize the marital relationship Kannagi had, that of her duty to her husband (which she incorrectly assumed to be to put up with anything her husband endeavours upon, even his affair with a concubine) which prevented her from acting before it was all too late!In Tamil marriage is referred to as ‘kaal-kattu’ (a manacle that binds one’s legs [to his/her duties as
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Abhijnana Shakuntalam (Act1-Act5)

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  Act I Act 1 takes place in the forest on the foothills of the Himalayas and moves to the hermitage of the great sage Kanva, by the river Malini. The King Duhsanta appears, followed by his Charioteer, in hot pursuit of a deer, specifically a Blackbuck, which is a sacred animal. Duhsanta is stopped in his hunt by an ascetic who reminds him of his duty This deer is of the Hermitage, O King! He should not be killed…no…no…do not strike him down. How fragile the life of this deer! How cruel your sharp- pointed arrows, swift-winged! Never should they fall on his tender frame like tongues of flame on a heap of flowers. Quickly withdraw your well-aimed arrow, bound to protect the distressed, not strike the pure. (p. 173)   Furthermore, Duhsanta has entered the sacred Hermitage, where such slaughter is sacrilegious. At the ascetic surging, Duhsanta decides to go to the Hermitage of Kanva, to pay his respect as well enjoy the hospitality offered there. As they near the Hermitage, Duhsan
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