2.4 SOME STORIES FROM HOLLY BIBLE

Bharathamuni in his Natyasastra speaks about “ashtarasas”¹³ as instructed by Brahma.besides these  Bharathacharya includes santharasa to Natyasastra as mentioned in the 6^th chapter.Similar to Hindu puranas, Bible stories also have much scope for stagability.

 2.4.1 SRINGARA

Bharata himself says, "whatever is sacred, pure, placid and worth seeing" can be compared to Sringara rasa. Of all the rasas, Sringara receives the most detailed and enthusiastic treatment by early rhetoricians and later writers on poetics. It is referred to as the king of the sentiments (rasaraja); as the lord of all sentiments (rasapati); writers vie in praising it. The word itself has been variously interpreted and a range of etymologies suggested for it. Just as the names of persons are assigned in accordance with the traditional customs and practice in his family so also the nomenclature of the Rasas and Bhavas and other things in as much as they are concerned with the dramatic performance, proceeds along the tradition in vogue and the advice of persons in authority. In the case of Sringara Rasa too, it is so named because it goes along with an elegant bright dress and make up pleasant to all. According to Natyasastra, both male and female characters are behind the outcome of Sringara Rasa. It has two Adhisthanas or Bases namely Sambhoga (Love in Union) and Vipralambha (Love in Separation). Sambhoga is love in union and gets itself manifested through the Vibhavas or Determinants viz. the pleasant season, garlands, unguents, ornaments, people dear and near, sensual objects, excellent mansions, objects of pleasure, going to the garden, experiencing pleasures, listening to sweet voices, seeing beautiful things, play and sports etc. The presentation of Sringara Rasa in the drama is by means of gestures through the Anubhavas (consequents) viz, clever and significant glances of the eyes, movements of the eyebrows, movements of limbs and sweet Angaharas (major dance figures).

Sringarabhakthi and valslyabhakthi are two other variations of sringara rasa. Mary Magdalana has devotional sringara towards Jesus Christ. Mary magdalana is similar to devotee Meera who absorbed in devotion to Lord Kishna becomes one with the paramatma. Mary;s devotion and love to Christ makes her surrender herself to Christ.  ¹⁴After the resurrection of Christ ,he appears to her.  Mary magdalana’s love for Christ is an example of Bhakthisringara (the devotional form of sringara).

On one occasion Martha entertained the Saviour in her house¹⁵, and, being anxious to feast him worthily, she was  cumbered with much serving.' Mary, meanwhile, sat at the feet of Jesus, and heard his words, which completed the good work of her conversion; and when, some time afterwards, be supped in the house of Simon the Pharisee, she followed him thither and she brought an alabaster box of ointment and began to wash his feet with tears, and did wipe them with the hair of her head, and kissed his feet, and anointed them with ointment - and He said unto her, Thy sins are forgiven.

2.4.2 HASYARASA

Hasya Rasa is an integral part of the Natyasastra. Laughter is the Sthayi Bhava or the dominant emotion in Hasya rasa. The determinants or Vibhavas of  Hasya rasa are Vikrtavesa (Unseemly dress), Vikrtalankara (misplaced ornaments), Dharstya (Impudance), Laulya (covetousness), Kalaha (quarrel), Asatpracapa (near-obscene utterance), Vyanga Darsana (displaying deformed limbs), Dosoda Harana (Pointing out the faults of others) and other related things. In the dramatic performance it is displayed through the Anubhavas or consequents like biting the lips, throbbing of the nose and the cheek, opening the eyes wide, contracting the eyes, perspiration,colour of the face,holding the sides and others.

The Vyabhicari Bhavas or the Transitory States of Hasya Rasa are lethargy, dissimulation, drowsiness, sleeplessness, dreaming, waking up, envy and other things.
Hasya is of two kinds, Atmastha or self-based, Parastha or based in others. When the actor laughs to himself it is called Atmastha when he makes another laugh it is called Parastha. The display of oddly placed ornaments, unseemly behaviour, irrelevant words, faulty dress, strange movements of the limb etc. make people laugh so this Rasa is called Hasya.
This Rasa is most common to women characters and persons of the mean order. It has six distinct varieties which are Smita (gentle smile), Hasita (slight laughter), Vihasita (open laughter), Upahasita (Laughter of ridicule), Apahasita (obscene laughter) and Atihasita (Boisterous laughter). The superior types of persons, the middling ones and the base ones have respectively two of these. Smita and Hasita belong to the people of high rank; Vihasita and Upahasita to the ordinary people and Apahasita and Atihasita to the mean people. For the people of high Rank, the cheeks are slightly blown, the glances are elegant, and the teeth can not be seen, in the Smita. And in Hasita, the mouth and the eyes are blooming, the cheeks are blown and the teeth are slightly seen. For the Middling ones, Vihasita should be befitting the occasion. It is laughter when slight sound is produced sweetly. The actor contracts the eyes and the cheeks. There is cheerful luster in the face. In the course of the Upahasita the nostrils become expanded. The shoulder and the head become a little bent. For the mean People the Apahasita is usually unsuitable to the context. Tears trickle from the eyes. The actor violently shakes the shoulders and the head. The Atihasita is excessively boisterous. The eyes are expanded,tears drop from them,and hands cover the sides. Hasya rasa is an essential part of the Natyashastra. When humorous interludes arise in the course of a dramatic performance the author shall so depict the smile or laughter as the case may be that the superior, middling and the mean do so befittingly.

¹⁶Once Christ was on his way from Jerusalem to  Jerico with his disciples. On the way he reaches a town among the crowd   there was a man names “Zachevus”.being amoneylender people disliked him. As he was a  short man. He climbes a sycamore tree to have a view of Christ. His exploids make him a laughing stock among the crowd.this is an example of hasya found in Bible.

2.4.3 KARUNAM

Karuna rasa is a very essential part of the Natyasastra. The dominant emotion or the Sthayi Bhava in Karuna rasa is soka or sorrow. The Vibhavas or determinants of  Karuna rasa are curse, distress, down fall, calamity, and separation from the near and dear ones, loss of wealth, murder, imprisonment, flight, dangerous accidents and misfortunes. Its presentation in the stage is through the following Anubhavas, viz. discharge of tears, lamentation, parched throat and mouth, pallor of the face, drooping of the limbs, gasping for breath, and loss of memory..
The Vyabhicari Bhavas of Karuna rasa are dejectedness, in difference, languor, anxiety, yearning excited state, illusion, loss of sense, sadness, ailments, lethargy, sluggishness, epileptic loss of memory, fear, death, paralysis, tremor, pallor in the face, shedding of tears, loss of speech and the kindred feelings. The Natyashastra states that the Karuna Rasa takes its origin through different Bhavas either at the sight of the death (or murder) of the dear one or when unpleasant words have an adverse impact. It is to be presented in the stage through sighs, lamentations, loss of sense, weeping bitterly and other similar gestures.⁷

The Crucifixion of Jesus¹⁷

Christ is an embodiment of kindness. Being Whipped, crowned with thornes,crucified between two thieves and pierced with spears by Roman soldiers. In this time Jesus Christ kind enough to pray for them and saying,” father forgive them for they now not what they do”. The image of Christ soaked in blood evokes in us.

 As they were going out, they met a man from Cyrene, named Simon, and they forced him to carry the cross.   They came to a place called Golgotha (which means “the place of the skull”)⁹  There they offered Jesus wine to drink, mixed with gall; but after tasting it, he refused to drink it. When they had crucified him, they divided up his clothes by casting lots.  And sitting down, they kept watch over him there. Above his head they placed the written charge against him: this is jesus, the king of the jews.

Two rebels were crucified with him, one on his right and one on his left.  Those who passed by hurled insults at him, shaking their heads and saying, “You who are going to destroy the temple and build it in three days, save yourself! Come down from the cross, if you are the Son of God!”   In the same way the chief priests, the teachers of the law and the elders mocked him.   “He saved others,” they said, “but he can’t save himself   He’s the king of Israel! Let him come down now from the cross, and we will believe in him.  He trusts in God. Let God rescue him now if he wants him, for he said, ‘I am the Son of God”.   In the same way the rebels who were crucified with him also heaped insults on him.

2.4.4 RAUDRAM

 Raudra Rasa is one of the important rasa in Natyasastra and the dominant emotion or the Sthayi Bhava in this rasa is Krodha or anger. It takes its origin in the Raksasas, Danavas and very haughty human beings with a regular battle as its immediate cause. Its outcome is though the Vibhavas or determinants much as Krodha (anger), Dharsana  (violation of modesty), Adhiksepa (abuse), Apamana (insult), Anrtavacana (uttering falsehoods), Vakparusya (Harsh words), Droha (animosity), Matsarya (jealousy) and kindred ones. The activities connected with Raudra Rasa are beating, tearing, harassing, chopping off, breaking, piercing, striking hurling missiles, shedding blood, seizing of weapons and similar activities.

When in Jherusalem¹⁸, Christ whipes out moneylenders,gamblers,and peoples selling, and buying from the temple saying, “my house shall be a house of prayer and not a den of thieves”  Here we find the raudra bhava of Christ.  When it was almost time for the Jewish Passover, Jesus went up to Jerusalem.  In the temple courts he found people selling cattle, sheep and doves, and others sitting at tables exchanging money.   So he made a whip out of cords, and drove all from the temple courts, both sheep and cattle; he scattered the coins of the money changers and overturned their tables.  To those who sold doves he said, “Get these out of here! Stop turning my Father’s house into a market”  His disciples remembered that it is written: “Zeal for your house will consume me.”¹¹

2.4.5 VEERAM

Vira Rasa in one of the rasa in the Natayasastra and it deals with the exhibition of energy and enthusiasm with persons of high rank. The Vibhavas or determinants of  Virarasa are Asammoha or Composure and absence of infatuation, Adhyavasaya or perseverance, Naya or good tactics, Vinaya or humility, Parakrama or Valour, Shakti or Power, Pralapa or Aggressiveness, Prabhava or mighty influence and other similar things.

The Sancari Bhavas or the Transitory States of Vira rasa in Natyashastra are Dhrti (fortitude), Mati (intellect), Garva (Pride), Vega (impetuosity), Augrya (ferocity), Amarsa (indignation), Smriti (Recollection), Romancha (horrification) and other akin features. In this connection there are two verses in the Arya metre which are traditionally handed down. Vira Rasa is produced through enthusiasm, perseverance, absence of grief, absence of surprise and freedom from delusion. The Vira Rasa should be depicted perfectly on the stage through statements such as scolding and censuring the wrong doers, display of bravery, vigour, heroism, enthusiasms, aggressiveness and exploits.

Jesus Calms the Storm ¹⁹

Jesus and the disciples were crossing the sea of Galilee in a boat one evening when a violent storm appeared. The ship was filled with water and the disciples were afraid of sinking. They found Jesus was sleeping in the back of the boat. They woke Him up. But they thought He was sleeping because He did not care whether they lived or died. When Jesus woke up He stood and told the sea to be calm. Immediately the wind and waves calmed down. The disciples were now scared for a different reason. They did not really know who Jesus was at this time. This was shortly after many of them joined Jesus as His followers. They did not understand that Jesus was God’s Son and could control everything in the world if He choose.  When Christ and the deciples were travelling in a boat suddenly there was a gale and the boat was about to sink. The deciples call upon him for pray to save them. He calms the wind and the sea by commanding it to be calm. Here we can see veeram in Christ.

2.4.6 BHAYANAKAM

Bhayanaka rasa or the terrible sentiment is one of the essential rasas in the Natyasastra. The Sthayi Bhava of Bhayanaka rasa is Bhaya or fright. The outcome of Bhayanaka rasa is through the Vibhavas or determinants such as Vikrta Rava or terrific noise, Uarsana Sight of apparitions, Sivoluka Trasodvega or the panic and worried state on hearing the cries of jackals and owls, Sunyagara or the Empty house, Aranya Pravesa or entering a forest, Marana or deaths, Svajanavadha or the murder of kings men, Bandhana or Imprisonment, seeing or hearing about or discussing any of these things and the like.

The presentation of Bhayanaka rasa on the stage is through the Anubhavas such as Pravepitakaracarana (trembling of the hands and feet), Nayanachalana (movements of the eyes), Pulaka (hairs standing on ends), Mukha Vaivarnya (Pallor in the face), Svarabheda (change of voice and tone) and the likes. The Vyabhichari bhavas are Stambha (Paralysis), Sveda (Perspiration), Gadgada (Choked Voice). Romanca (horrification), Vepathu (trembling), Svarabheda (change of voice or tone), Vaivarnya (lack of luster), Sanka (suspicion), Moha (fainting), Dainya (dejection), Avega (Agitation), Capala (restlessness), Trasha (fright), Apasmara (epilepsy or loss of memory), Marana (death) etc.

²⁰The events that occurred at the time of the death of Christ evokes great fear in anyone. The earth became dark, the sun did not give light and the curtain in temple was rent in to two”. On seeing this events people gathered there run away in fear. This was  one of the best sequeneces in Bible which created fear or bhayanakarasa  in the minds of the people.   From noon until three in the afternoon darkness came over all the land.  About three in the afternoon Jesus cried out in a loud voice, “Eli, Eli, lema sabachthani?” (which means “My God, my God, why have you forsaken me?”).  When some of those standing there heard this, they said, “He’s calling Elijah.” Immediately one of them ran and got a sponge. He filled it with wine vinegar, put it on a staff, and offered it to Jesus to drink.  The rest said, “Now leave him alone. Let’s see if  Elijah comes to save him.”   And when Jesus had cried out again in a loud voice, he gave up his spirit.

At that moment the curtain of the temple was torn in two from top to bottom. The earth shook, the rocks split   and the tombs broke open. The bodies of many holy people who had died were raised to life.   They came out of the tombs after Jesus’ resurrection and went into the holy city and appeared to many people.  When the centurion and those with him who were guarding Jesus saw the earthquake and all that had happened, they were terrified, and exclaimed, “Surely he was the Son of God.¹⁶

2.4.7 BIBATSAM

Bibhatsa Rasa in Natyasastra deals with the odious sentiment and the Sthayi bhava of Bibhatsa Rasa is juguptsa or disgust. The outcome of  Bibhatsa Rasa is from the Vibhavas or determinants such as Ahrdya- apriya- aveksa (seeing what is unwholesome or displeasing), Anisfa- Sravana- Darsana- Parikirtana (hearing, seeing and discussing what is undesirable) and such similar things. Its representation on the stage is through the anubhavas such as Sarvangahara (Squeezing up all the limbs), Mukhanetraghur-nana (moving the face to and fro, rolling the eyes), Hrllekha (heartache, grief anxiety), Nisthivana (spiting), Udvejana (expressing disgust) and the likes.

²¹There is a story of a leper in the new testament.he was covered with sores, hated by the society and driven out. nobody came near him. He was detested and hated by everyone. The sight of this leper evokes bheebalsa emotions.

2.4.8 ALBUTHAM

Adbhuta rasa in Natyashastra is about the sentiment of wonderment surprise. The Sthayi bhava of the rasa is Vismaya or astonishment. The outcome of Adbhuta rasa is through the Vibhavas such as Divyadarsana (seeing a heavenly being), psitamanorathavapti (Attainment of the cherished desire), Uttamavanadevakulabhiga- mana (proceeding towards excellent park, temple etc), seeing magical tricks and creations of things that can never be imagined about etc. The presentation of Adbhuta rasa on the stage is through the Anubhavas such as Nayanavistara (gaping of the eyes), Animesapreksana (staring with wink less eyes), Romanca (horrification), Asru (tears), Sveda (Perspiration}, Harsa (delight), Sadhuvada (uttering words of congratulation), Pradana (making gifts), Bandhahahakara (senses of shouts of ha, ha), karacaranangulibhramana (movements of hands, feet) and the like.

The Vyabhicari bhavas of Adbhuta rasa are shedding tears, paralysis, perspiration choking of the voice, horrification, thrill, excitement, sluggishness, sinking down etc.
According to the Natyashastra, the Rasa called Adbhuta should be recognised through these special features such as marvellous statement, conduct, actuary, form etc. Its presentation on the stage is through the perception of touch, earnest display of laughter, shouting of ha ha, congratulatory remarks, tremor, choking words, perspiration etc.

Jesus Walks on Water ²²

Jesus sent His disciples across the sea of Galilee one night while He went to the mountains to pray. The disciples obeyed and went to their boat. But during the night there was a storm. The disciples worked hard to get the boat to the other side.

Early in the morning they saw a man walking on the water. They were scared. They did not know it was Jesus coming to be with them. Jesus called to the disciples in the boat and told them not to be afraid. Jesus told them who He was. As Jesus came to them the storm began to calm.

Peter asked Jesus if he could walk on the water too. Jesus told him to get out of the boat and walk to Him. Peter was surprised to walk on the water. But soon he started looking at the waves and the storm. When he took his eyes off Jesus he began to sink. Jesus reached out and caught Peter. They went together into the ship.

After they were in the boat the Bible says that the disciples worshiped Jesus. They began to realize that Jesus really was the son of God.  The miracle Christ worked in a marriage function at Kana of Galeelia evokes albutham (wonder) in us.The wine arranged to be served at the marriage reception ran shot.following the request of Mary the mother of Christ he transforms six stone jars water in to wine.

2.4.9 SANTHAM

Jesus Christ is the embodiment of santharasa. We can best see the santha rasa in the images of Christ especially in the image of the sacred heart of Christ.

Refference:

1                    The Holly Bible, the sacred text of Cristianity, it had two divisions-old testament

                And the new testament. Mani,Vettam. Puranic encyclopaedia.DCB Kottayam

2                   The ten commandments,which Moses the prophet received from the supreme Lord

               Yahova.

3                   Apocrypha-these are the part of Holly Bible which written during the period between

             the time of old testament and new testament. It consist of about fourteen sacred texts.

              Mani,Vettam. Puranic encyclopaedia.DCB Kottayam-2012.

4                   The man who translated the Holly Bible in to English. Mani,Vettam

               Puranic encyclopaedia.DCB Kottayam-2012.

5                   psalm 149:9.3. The Holly Bible,(mal.trans) POC Publications, Kottayam.1986.page635

6                   psalm 150:4. The Holly Bible,(mal.trans) POC Publications, Kottayam1986.page635

7                   colossians 1:16 . The Holly Bible,(mal.trans) POC Publications, Kottayam1986. page223

8                   exodus 15:20.   Ibid-page no 63.

9                   samuel 6:14      ibid-page no 276

10             psalm 149:3      ibid-page no 635

11             psalm 150:4      ibid-page no 635