| dc.contributor.author | Mishra, Ram Ji | |
| dc.contributor.author | Kaur, Zameerpal | |
| dc.date.accessioned | 2019-02-25T06:15:40Z | |
| dc.date.available | 2019-02-25T06:15:40Z | |
| dc.date.issued | 2018 | |
| dc.identifier.citation | Mishra, 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.issn | 2455-6580 | |
| dc.identifier.uri | http://210.212.34.21/handle/32116/2016 | |
| dc.description.abstract | The 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 trip | en_US |
| dc.language.iso | en | en_US |
| dc.publisher | The Creative Launcher | en_US |
| dc.subject | Karuna Rasa | en_US |
| dc.subject | Poetics | en_US |
| dc.subject | Bhavas | en_US |
| dc.subject | Vibhavas, Anubhavas | en_US |
| dc.subject | Vyabhicharaibhavas Sattvika Bhavas | en_US |
| dc.title | Abhijnanshakuntalam in the light of Karuna Rasa | en_US |
| dc.type | Article | en_US |
| dc.identifier.url | http://www.thecreativelauncher.com/page.php?id=19 | |
| dc.title.journal | The Creative Launcher | en_US |
| dc.type.accesstype | Open Access | en_US |
