Essence of dance rasas in Tamil Grammar
Subashini Pathmanathan
The Tamil grammar was reputedly, composed by Agasthiar, and his work
is known to the world as Agasthiyam. But unfortunately the original
script has been lost due to ravages of time. One of Agasthiyar's twelve
disciples was Tholkaapiyar who is said to have written Tholkaapiyam, the
oldest Tamil grammar.
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The gestures are part and parcel of dance |
There are many commentaries written on Tholkaapiyam. Some of the
outstanding commentaries were written by Ilampooranaar, Theivachilaiyar,
Kallaadar, Peraasiriyar, Senavariyar, and Nachinaarkiniyar. However the
commentary, written by Ilampooranaar, is considered as the only complete
version available.
Tholkaapiyam is divided into three important chapters. 'Eluthu-athikaram',
deals with prose, 'Sol-Athikaaram', deals with words, 'Porul-Athikaaram',
deals with the meaning of the words. Porul-Athikaaram is divided into
two categories. Namely 'Akaporul', and 'Puraporul'. 'Akaporul' deals
with Love, and Chastity. 'Puraporul' deals, with Politics, Government,
Education, Business, and Worldly matters.
During the time of Tholkaapiyam, dance and drama, were considered
under one topic, namely Koothu. Those who practised dance and drama were
called Koothar, and they excelled in acting, dance, abinaya, and adavus.
Apart from dance, and drama, they excelled in music compilations.
At the time of Tholkaapiyar, dance and music were held in high
esteem. This is best expressed in the following lines in Tholkaapiyam,
such 'Kootharum, (male dancers), Paanrum (musician), Perunarum, (those
who recite the kaddiyum) and Viraliyarum' (female dancers).'
Another line in Tholkaapiyam refers to 'Naadaka Valakku, and 'Ulakiyal
Valakku', 'Naadaka Valakku', refers to dramatized life. Tholkaapiyam,
also mentions that a variety of Koothus (dance forms) existed in those
days. For instance Valli Koothu and Kuravai Koothu are some of those
mentioned in the ancient Tamil grammar.
The essence of Bhava, which is popularly called rasa, could be seen
in Tholkaapiyam. In the chapter Porul- Athikaaram, the references to
rasas could be seen.
Today there are altogether nine rasas in dance, as against eight
rasas that existed in ancient times. Those eight rasas could be seen in
Tholkaapiyam. The origin of rasas could be seen in different stanzas in
Tholkaapiyam. Hasya rasa denotes laughter; this rasa is called in
Tholkaapiyam as 'Nahkai'. Karuna rasa in dance arises out of
benevolence, but according to Tholkaapiyam this rasa occurs due to
poverty, loss, and contempt, and mainly this rasa arises out of sorrow.
Another rasa in today's dance is Bibacha was regarded in Tholkaapiyam
as hatred the rasa arises out of mental agony. According to Tholkaapiyam
this rasa arises out of mental agony. The adputha rasa originated from
astonishment bava.
This rasa was called in Tholkaapiyam as 'Marukai'. Acham rasa in
Tholkaapiyam is regarded as Bhiyanaka rasa. According to Acham rasa
originated from fear Bhava from thieves, animals, kings and Gods. Veera
rasa arises out of Bravery bava. According to ancient Grammar bravery
Bhava arises due to fame and charity. This Veera rasa refers in
Tholkaapiyam as exultant mood.
Routhra Rasa arises out of anger. Even Tholkaapiyam refers to this as
Vekuli. The Sringara rasa originates out of erotic Bhava, which was
regarded as Uvakai in ancient times. Then as now the usages of rasas
differ from one another, yet the substance and origin of Bhavas remain
the same. |
