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dc.contributor.authorMishra, Ram Ji
dc.contributor.authorKaur, Zameerpal
dc.date.accessioned2019-02-25T06:15:40Z
dc.date.available2019-02-25T06:15:40Z
dc.date.issued2018
dc.identifier.citationMishra, Ram Ji and Kaur, Zameerpal (2018) Abhijnanshakuntalam in the light of Karuna Rasa. The Creative Launcher. Vol. III(I). PP. 350-358.en_US
dc.identifier.issn2455-6580
dc.identifier.urihttp://kr.cup.edu.in/handle/32116/2016
dc.description.abstractThe theory of Rasa has been mentioned in the sixth chapter of ancient Sanskrit text in Natyashastra. There are eight kinds of Rasas and these are produced with the combination of Vibhava, Anubhava and Vyabhicharibhava. It is a combination of word and its sense which blesses the reader with an emotional effect. It classifies the dramatic content on the basis of emotions. These emotions are a sophisticated concept of the response to the art. In production of a play, Rasa is created by the actor, is enjoyed by the spectator. This theory is mostly applicable to dance-drama. Kalidasa was a great poet of Sanskrilt language in India. His works mainly based on Mahabharata and Puranas. Abhinjnanshakuntalam, a play by Mahakavi Kalidasa, tells the story of king Dusyanta who meets Shakuntala while on a hunting tripen_US
dc.language.isoen_USen_US
dc.publisherThe Creative Launcheren_US
dc.subjectKaruna Rasaen_US
dc.subjectPoeticsen_US
dc.subjectBhavasen_US
dc.subjectVibhavas, Anubhavasen_US
dc.subjectVyabhicharaibhavas Sattvika Bhavasen_US
dc.titleAbhijnanshakuntalam in the light of Karuna Rasaen_US
dc.typeArticleen_US
dc.identifier.urlhttp://www.thecreativelauncher.com/page.php?id=19
dc.title.journalThe Creative Launcheren_US
dc.type.accesstypeOpen Accessen_US


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