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Learn the Lingo

Photo: M. Karunakaran

What a laugh! Hasya rasa can take many forms. Padma Subrahmanyam’s expression here is self-explanatory.

Dance

Hasya rasa: In the descriptions of the nine rasas or navarasa (Learn the Lingo, November 23, 2007) provided in ancient treatises, Hasya rasa is described as a situation that results from a deviation from the norm. This quintessential principle can be seen in humorous situations of every description. It applies equally to the circus clown, who wears shoes much too large for his feet, his hat askew, mismatched clothes and so on. Hasya is of various degrees, from subtle wit through riotous hilarity to downright slapstick comedy.

In the characters found in ancient Sanskrit lore, the monkeys from the Vanara sena (monkey army) in the Ramayan provide fodder for hasya. The ganas of Lord Shiva, with their disparate shapes and sizes and unconventional manners, are also sometimes portrayed as humorous characters. Stories of Krishna as the butter thief, or up to some other mischief as a child in Vrindavan, also exemplify hasya rasa.

A classical character type who personifies hasya rasa is the Vidushaka (jester) of Sanskrit drama. Another traditional example of hasya rasa can be found in the performance of Chhakyar Koothu. In this ancient Sanskrit theatre form, the solo performer, known as the Chhakyar, is a storyteller who keeps his audience spellbound by peppering even a well-known tale with piquant comments drawn from contemporary life, be it politics or social norms. That laughter is the best medicine is accepted the world over. In the Natya Shastra, the importance of hasya rasa is underlined by a significant association. After Brahma created the art of Natya, the demons objected, saying they were being discredited by the chosen storyline, and attacked the performers. Therefore various deities were appointed to protect the actors. None other than Omkara, the Cosmic Sound that heralds all creation, was chosen to protect the Vidushaka.

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