Abstract
Largely left underexplored in rasa studies has been an implication made in the middle of the tenth century that śāntarasa eludes theorization with respect to the theater (nāṭya) but may function within an exclusive theory of poetry (kāvya). A discussion in the Daśarūpaka (“The Ten Dramatic Forms”) and its commentary cryptically imply in the fourth chapter of that work that if śāntarasa is viable at all as a genre of rasa theory, it is medium-specific to kāvya and not possible in nāṭya. Though śāntarasa is a dubious category for theater theory and pragmatics, they seem to argue, it may be acceptable in poetry through a synergy of two theoretical schemas: poetics and Yoga psychology. Reviewing these arguments opens up a larger conversation about the significance of medium to rasa theory and the inherent limitations for conceiving unified theories of art.
Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
