RASA ANALYSIS OF GIRISH
KARNAD’S HAYAVADANA
Research Scholar: Disha P Kariya
Research Supervisor: Dr Hetal Mehta
Maharaja Krishnkumarsinhji Bhavnagar
University

Introduction
 Hayavadana
 Two act play written by Girish Karnad
 Story of Devadatta, Kapila and Padmini
 Story of a horse headed man
 Use of various dramatic techniques
 Rasa Theory
 Pioneered by Bharat Muni
 An aesthetic feeling
 Rasa Analysis of Hayavadana (as a reader)

Reviewof Literature
1. Rasa as Aesthetic Experience The Rasa Sutra by Mohan Thampi
2. Rasa Analysis of Tamburlaine the Great By Dhwani Vachhrajani
3. Rasa theory in Indian Literature: An Analytical Perspective by Arzoo and
Manju
4. Applying Rasa Theory in David Williamson's The Removalists by Arnab
Chatterjee
5. A Reading of Keats “Ode on a Grecian Urn” in the Light of ‘Rasa’and
‘Dhvani’ by Dr. Habeeb C.
6. Application of Rasa Theory in James Joyce’s a Portrait of the Artist as a
Young Man by Madhurantika Sunil
7. Rasa Theory Applied to William Shakespeare’s Twelfth Night by Mahendra
Kumar Budhathoki

Research Objectives & Hypothesis
Research Objectives for this research paper are as below:
1. To analyse Hayavadana in light of Rasa
2. To identify rasas in Hayavadana
3. To analyse how rasas are used in Hayavadana
 Research Hypothesis
There is no dominant Rasa in Hayavadana

Research Methodology
 Qualitative research method
 Analysis of an Indian English play applying a classical Indian
theory of aesthetics
 Basic elements of Rasa theory
 Vibhava
 Anubhava
 Vyabhicaribhava
 Stthayibhava

Rasa Theory
 Origin: Natyashastra by Bharat Muni
 Indian concept of aesthetic flavour
 Rasa Sutra
“Vibhavanubhava-vyabhicari samyogad-rasa-nispattih”
 Concepts
 Vibhava: causes or mainsprings of emotions
1. Alambana Vibhava (Characters)
2. Uddipan Vibhava (Setting)
 Anubhava: Consequences expressed through bodily expressions
 Vyabhicaribhava: transitory states

Analysis
 Hayavadana
 Hasya Rasa in Hayavadana
 Sringara Rasa in Hayavadana
 Bhayankar rasa in Hayavadana
 Vira Rasa in Hayavadana
 Karuna Rasa in Hayavadana
 Rudra Rasa in Hayavadana
 Adbhuta rasa in Hayavadana

“…what an ethereal shape! Such a broad back-like an ocean with
muscles rippling across it-and then that small, feminine waist…”
(Hayavadana)
Here, the attractive outlook of Kapila is the Vibhāva (Alambanavibhāva as Kapila
is a human being), the garden and that tree on which Kapila climbs is also
vibhāva (Uddipana as tree is non-human thing), Anubhāva is the opened eyes of
Padmini constantly looking at Kapila’s body, which appeals to the dominant state
of love which results into the realization of Sringāra rasa or the erotic sentiment.

Conclusion
 A mixture of several emotions
 Skillful use of dramatic techniques
 Effective language
 No dominant Rasa in this play

Works Cited
Arzoo, Manju. "Rasa theory in Indian Literature: An Analytical Perspective." PalArch's Journal of
Archaeology of Egypt/Egyptology 17.11 (2020): 385-389. AI, Open. “Rasa Analysis of Girish Karnad's
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Budhathoki, Mahendra Kumar. “Rasa Theory Applied to William Shakespeare’s Twelfth Night.”
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Chatterjee, Arnab. "Applying Rasa Theory in David Williamson's The Removalists." Antipodes 33.1 (2019):
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Kariya, Disha P. “Short Introduction to Rasa Theory .” Short Introduction to Rasa Theory, 29 Apr. 2021,
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