Lecture Notes: Patta Tauta and Rasa Theory

Introduction to Patta Tauta

• Patta Tauta: A Kashmiri scholar from the latter half of the 10th century.
• Known through Abhinava Gupta, who regarded Tauta as a master.
• Tauta's commentary on Bharata's Natyashastra is lost; known through citations in Abhinava Bharati.
• Tradition suggests Hemachandra in the 12th century was the last to have direct access to Tauta's theories.

Theory of Rasa

• Tauta critiques Sri Sankuka's view that rasa is the imitation of emotion.
• Emotions are internal, cannot be imitated or perceived by sensory organs.
• Distinction between emotion and physical reactions.
• Grief example: Tears are a reaction to grief, not the imitation of grief.

Perspectives on Rasa Imitation

• Critique from three perspectives: spectators, actor, and Bharata.

Spectator Perspective

• Imitation requires perception by valid cognition.
• Example of drinking water as wine to illustrate perception and interpretation.
• Physical imitation is clear; emotional imitation is questioned.

Actor Perspective

• Emotions are internal and not perceptible; physical actions cannot imitate emotions.
• Actor's imitation of their own emotions raises further questions about authenticity.

Bharata's Perspective

• Views on aesthetic experience: not bound to true appearance, falsehood, doubt, or similitude.
• Tauta argues against contradictions in Sankuka's theory using spectators' awareness.

Criticisms of Sankuka's Theory

• Bhattatauda challenges the notion that emotions can be mimicked.
• Argues that emotions are mental and cannot be physically reproduced.
• Raises issue of knowledge vs. imitation: spectators see an actor, not the character's true emotions.

Tauta's Views on Rasa

• Shanta Rasa: Considered highest due to its link to liberation.
• Rasa is found primarily in drama; poetry supports drama.
• Poetry's success in Rasa depends on language, figures of speech, and plot.

Summary

• Tauta offers a nuanced view contrasting with Sankuka on the concept of Rasa.
• Poetic composition and drama are deeply connected to understanding Rasa.
• Bhattatauda's views distinguish between secular and Vedic poetry, focusing on description over narrative.

Closing Remarks

• The class covered major points on Tauta's theory and criticisms of Sankuka.
• Emphasis on understanding emotional imitation and aesthetic experiences in literature.